15 January 2013

The Cross Channel Film Lab (CCFL) today announced its selection of four low to medium budget feature film projects, all utilising visual effects and/or Stereo 3D in brave, original and imaginative ways, to participate in the Lab’s year-long workshop programme in 2013.  The scheme will develop a further four film projects during 2014. 

Writer-director-producer teams will work with experts from the UK and France, combining story and technology at an early stage to refine and present their projects, and strengthen their production and post-production planning.  Script consultants, VFX and Stereo 3D experts, and specialist researchers will assist the filmmakers in exploring the most effective ways for the projects to use technology and engage audiences at a lower budget.

In today’s cinema, visual effects, computer generated images and Stereo 3D are usually associated with high budget films.  The Cross Channel Film Lab initiative aims to foster the use of these tools for British and French independent cinema at low to medium budget levels.  Building on the success of a pilot scheme in 2010,

CCFL brings together the strengths and skills of 11 partners from both sides of the Channel, from the film industry and from the research and development fields.

The Lab offers filmmakers a unique opportunity to develop their screenplays and production strategies within an applied research platform dedicated to Stereo 3D, visual effects and CGI.

During 2012, Creative England, Bournemouth University, Falmouth University, Cornwall Council and Arts Centre Trust Cornwall worked with France’s Le Groupe Ouest, Artefacto, Université de Bretagne Occidentale, Télécom Bretagne (3D Fovea), Ecole Européenne Supérieure d’Art de Bretagne (EESAB), the Dinard Film Festival and a range of industry partners to build a collaborative R&D model for the Cross Channel Film Lab.

The four projects selected to participate i the CCFL programme in 2013 are: REINE DU SABBAT (France): writer-director Pablo Aguero, producer Nicolas R. de la Mothe; A TALE FROM THE DEEP (France): writer-director David Vital-Durand, producer Ilann Girard; ONE AND ALL (UK) : writer-director Henry Davies, producer Denzil Monk; and THE MACHINE (UK): writer-director Richard Fenwick, producer Caroline Cooper Charles.

The first UK workshop of the CCFL in 2013 will take place in March, and writers, producers, directors and visual effects and Stereo 3D practitioners will be able to participate alongside the selected CCFL filmmakers in an Immersion Week of Open Sessions, with the support of Creative Skillset’s Regional Fund.

To learn more about the CCFL or find out about Open Sessions, please visit the website at www.crosschannelfilmlab.com or contact UK Project Directors Mary Davies and Pippa Best at uk@crosschannelfilmlabuk.com

 

ENDS

 

 

Notes to editors:

Funding for the Cross Channel Film Lab comes from the following partners, including an investment of 50% from the INTERREG IV-A programme France (Channel) – England.

  • With a budget of €173.5 million, the Interreg IVA France (Channel) England programme aims to promote the emergence – between the French and English parties – of a space of common citizenship fostering a sense of belonging to a cross-border area, and endowed with a specific identity.
  • Cornwall Council leads the Cross Channel Film Lab Phase 2 as part of its commitment to supporting the Creative Industries in Cornwall.
  • Cornwall Arts Centre Trust (ACT) is one of Cornwall’s key creative industries organisations.  The UK partner on CCFL Phase 1, ACT leads Krowji, Cornwall’s biggest creative sector cluster, Carn to Cove (a performing arts scheme for rural communities, including film screenings), and Creative Skills (professional development support for creative industries practitioners).
  • Le Groupe Ouest is France’s leading provider of feature film script development services, serving as the French partner of the Torino Film Lab and Script & Pitch Workshops.  Le Groupe Ouest recently led an experimental programme with Pôle Images & Réseaux to explore the impact of new technologies on screenwriting and directing (see www.1fois5.com). 
  • Creative England supports the sustainable growth of independent creative businesses, and the talent that feeds them, in every part of England outside London.  Launched in October 2011, its mission is to develop the film, television, games, digital and creative sectors in the English regions.  Its work includes investing in talent, growing businesses, boosting audience access, production support, improving market intelligence and encouraging innovation. Creative England receives Grant-in-Aid funds from the BFI, and is the BFI delegated body for the distribution of Lottery funds for film in the English regions outside London.  It has also secured investment from the Government’s Regional Growth Fund for a programme of funding to support the games, digital and creative services, making it the first joined up, dedicated support agency for the creative industries outside London.
  • The Media School at Bournemouth University is the largest centre of professionally based higher education for the media and communications industries in the UK and has an excellent industry reputation.  Since 1989, the National Centre for Computer Animation has conducted research of “international significance” and pioneered “excellent” undergraduate and postgraduate courses in computer visualisation, animation and digital effects. 
  • Falmouth University is a vibrant and forward-thinking specialist arts university and key player in the national and international creative scene.  A justifiable international reputation for excellence in Art, Design, Media, Performance and Writing has grown from over a century of nurturing original thinking, supported by highly talented and professional staff.
  • 3D Fovea is part of the Télécom Bretagne research centre, a leading research lab studying the impact of stereo 3D images on the viewer’s brain and the use of different 3D optical systems. 
  • ISB/UBO University of Brest’s Sound for Image department is one of the best in France.  Its research lab focuses on the impact of sound spatialisation on picture perception, including the perception of stereo 3D images.
  • Artefacto researches and builds autostereoscopic systems that enable stereo 3D to be viewed without glasses, and is one of the few companies in Europe working in this applied research field.
  • Ecole Européenne Supérieure d’Art de Bretagne (EESAB) is researching interactive pre-visualisation set design, allowing creative teams to anticipate the consequences of their writing choices on the viewers’ perception.
  • Le Festival du Film Britannique de Dinard, in northern Brittany, has embodied the collaboration between the UK and France in the realm of cinema for the last 20 years and will host an annual CCFL2 showcase.

Industry partners

The Lab offers a wide range of expertise from across the film industry plus broad research knowledge and experience from its academic partners.  Consultants and mentors include representatives of companies such as Amak, Apix3D, Arte France, Bait Studios, BBC Films, Digimage, Eyes3Shut, Film4, ImageEyes, McGuff, Mikros, Mocaplab, Nvizible, Peanut FX, Rushes, Studio Canal, Tiger X, Valhalla Audio, Vertigo Films, Vision 3 and Zoptic.

Individuals working with CCFL include script consultants Pippa Best, Mary Davies and Antoine Le Bos; VFX practitioners Maurice Banayoun, Remi Brun, Paddy Eason, Michael Elson, Jean-Baptiste Lère, Jonathan Privett and Christian Volckman; and Stereo 3D specialists Hugo Barbier, Francois Garnier, Chris Parks, Richard Lloyd, Martin Parsons and Thierry Pouffary.  This pool of experts will be added to as the scheme progresses, in response to the individual needs of selected projects. 

 

Creative Skillset

Creative Skillset is the Creative Industries’ Sector Skills Council (SSC) which comprises TV, film, radio, interactive media, animation, computer games, facilities, photo imaging, publishing, advertising and fashion and textiles.  Its aim is to support the productivity of the UK industry to ensure that it remains globally competitive.  It does this by influencing and leading; developing skills, training and education policy; and through opening up the industries to the UK’s pool of diverse talent.

 

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