Cross Channel Film Lab – Open Sessions on VFX and Stereo 3D at Falmouth University,  23 – 26 March 2013

Save the date!  Join the filmmakers whose projects have been selected to take part in the CCFL’s 2013 workshop programme in three days of Open Sessions, from Saturday 23 to Monday 25 March, at Falmouth University’s Tremough campus.

The sessions will be hosted by the Cross Channel Film Lab and are supported by the Creative Skillset Film Skills Fund as part of A Bigger Future 2.  They will explore the innovative use of VFX and Stereo 3D in low to medium budget feature films, the focus of the Lab’s remit, and are open to VFX and Stereo 3D specialists, screenwriters, producers, directors, DoPs and those working in other areas of the film industry who would like to learn more about these topics. 

Participants may attend the whole three days or select individual sessions of particular interest.

CCFL Open Sessions speakers include Stereo 3D experts Francois Garnier, Josephine Derobe and Fabienne Tsaï; VFX specialist Paddy Eason; script consultants Pippa Best, Mary Davies and Antoine Le Bos; industry representatives Tom Leggett of Film Four, Dan Macrae of Studio Canal, Wendy Bevan-Mogg of Creative England and Charlotte Lee of BBC Films; with more speakers to be announced soon.

Sessions will include:

  • Case studies of films that make the most of creative limitations, such as Wim Wenders’ Pina
  • New narrative models presented by the creative restrictions of low cost VFX and Stereo 3D and a new European approach to the medium
  • Distributors’ and financiers’ perspectives on current and future audiences and markets
  • Practical examples of an approach to budgeting and scheduling lower budget VFX and Stereo 3D films
  • Career advice, such as how to transition from animation to VFX

There will also be a chance to learn more about Creative Skillset’s support for the industry.

For more information on the CCFL Open Sessions and how to attend, visit



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


  • 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.


About Creative Skillset


Creative Skillset is the licensed Sector Skills Council for Entertainment Media, Fashion and Textiles, Publishing and Advertising, Marketing and Communications.  It is owned and invested in by employers working in social partnership with unions and aspires to have the best skills and talent in the world to drive growth of the industries and the UK economy.  Creative Skillset brings all parts of the Creative Industries together to add value through collaboration on workforce development.


A Bigger Future 2 is Creative Skillset’s three year skills and training strategy for the UK film industry, funded in part by the industry itself through the Skills Investment Fund (SIF) as well as by the National Lottery from the BFI.  Building on the original A Bigger Future strategy, A Bigger Future 2 focuses on addressing the vital skills and training needs of the industry to deliver maximum economic and cultural return: safeguarding and creating jobs, nurturing talent and maintaining the UK’s position at the forefront of the international film industry.