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Appendix XVII Summary of evaluation of short film training schemes The principal training schemes 96 (with Skillset‟s contribution in brackets) are: The Digital Shorts scheme training provided by the Script Factory, which has a core programme covering the essentials of digital production and distribution, as well as specialist training modules in directing, producing, animation and documentary filmmaking. Designed to empower filmmakers to get the best and most appropriate training (approximately £120,000 a year); Cinema Extreme training across the scheme‟s development and production process and, to achieve the scheme‟s overall goal, in how to bridge the gap between shorts and features (approximately £50,000 a year); The Blank Slate scheme focusing on the progression route from shorts to features (approximately £50,000 a year). Below is a summary of the evaluation of the training provided to date in conjunction with the UK Film Council‟s programmes and supported by Skillset. Please note, all evaluations were performed by third parties, and varying methodologies and formats were adopted. Cinema Extreme training scheme 2006/07 Training is run in conjunction with the production scheme, and was noted as successful, as indicated by the commissioning of five films instead of the intended four, due to the high standard of developed projects. Training of staff was noted to be highly successful, as measured by career progression and credits. A project manager was trained successfully to become an executive producer, and the project coordinator was offered a post at the NCF. Feedback from participants and partners was noted as consistently positive. Participant targets were met. Some filmmakers whose films were not commissioned as part of the scheme have been brought into other schemes at the UK Film Council or Film4. 96 Also relevant to the makers of short film is Skillset's funding of the Bridging the Gap scheme run by the Scottish Documentary Institute (based at the Edinburgh College of Art, part of Screen Academy Scotland), which aims to make seven short documentary films a year, each ten minutes long. Page 100
The training scheme is best known for developing directors and producers, but also benefits editors, directors of photography, camera operators and production accountants. Both the film production and the training scheme have strong track records in terms of their output which gives them crucial industry credibility. Regarding future recommendations: changes have been proposed to the administration of hardship support and bespoke elements of training, to reduce labour intensive bureaucratic work and increase efficiency of delivery. Digital Shorts Script Factory training programme, Sept 2007-July 2008 and Sept 2008-March 2009 Collated information taken from 117 feedback forms, relating to six workshops with 153 attendees, revealed the following: ● The location and length of the training courses was almost universally approved of, though importantly one disabled participant noted difficulty with access at the Soho Theatre. The majority of respondents found each of the general training sessions useful, but with variation in participants‟ prior experience/preparation noted as a problem in some cases. 10% of respondents highlighted “not enough notice” as an issue; some participants were only able to be contacted two days before the course so a lot of preparatory work had to be done at short notice. ● Producer, documentary and animation specific sessions also obtained very positive feedback with one exception. The art of storyboards and animation, which received 42% “not useful” responses. ● In general, it appears that the Digital Shorts training is well-received and regarded as comprehensive, with few suggestions for anything else needing to be covered by the courses. The evaluation process itself consists of informal discussions during the programme, formal feedback questionnaires after each workshop, a formal debrief with workshop tutors, dialogue between Digital Shorts partners and their selected filmmakers, an annual report upon completion and long-term filmmaker tracking. Tracking is proposed to be conducted via email questionnaire to analyse the value of training as a filmmaker‟s career develops. However, no results were available at the time of writing this report. Page 101
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Northern Alliance Review of short f
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Appendices I Case studies 56 II Def
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1. Executive summary 1.1 Introducti
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support a single disabled filmmaker
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emerge as a result of the structure
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target audience consists of the var
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While our interviewees had sympathy
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3.2 The UK Film Council‟s strateg
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Table 2: Summary of the NCF‟s pro
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All of the entities in the table ab
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Table 4: Recent applicants and awar
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Table 5: Strategic partners‟ prio
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There is a need to ground all futur
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Table 8: Success and its cost, from
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Shorts appears relatively efficient
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As noted in section 4.2 above, the
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Given that Cinema Extreme positions
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Figures for the Digital Shorts prog
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“We have no brief to work towards
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4.5.2. Revenues Table 14: Scheme re
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Others were more critical, openly q
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4.7 Support for showcasing films at
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The provision of culturally signifi
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less than a quarter of the cost of
Page 49 and 50: Recommendation: The UK Film Council
Page 51 and 52: emove the perceived element of comm
Page 53 and 54: As part of our review we checked th
Page 55 and 56: films produced in the UK. We would
Page 57 and 58: million in only a few weeks. I was
Page 59 and 60: That dedication and persistence has
Page 61 and 62: Appendix II Definitions Exactly wha
Page 63 and 64: Directors, started in 1989 and prod
Page 65 and 66: Appendix IV Why short films are mad
Page 67 and 68: Appendix V The public value of shor
Page 69 and 70: Social networking sites, such as Be
Page 71 and 72: Investment in the production of sho
Page 73 and 74: Agency Scheme Number of shorts Budg
Page 75 and 76: Appendix VIII Overview of the UK Fi
Page 77 and 78: Some rules, such as the requirement
Page 79 and 80: The future The short film schemes h
Page 81 and 82: Appendix XI Short film internationa
Page 83 and 84: Beyond Europe 1: New Zealand Film C
Page 85 and 86: Appendix XII Data availability Summ
Page 87 and 88: it subject to loss because of staff
Page 89 and 90: Appendix XIII Platforms and audienc
Page 91 and 92: “There isn‟t much of an audienc
Page 93 and 94: Appendix XV Access and diversity Pa
Page 95 and 96: Appendix XVI Business affairs Short
Page 97 and 98: (b) VAT is paid on awards and provi
Page 99: Completion Fund, and from the Natio
Page 103 and 104: Appendix XVIII The role of film fes
Page 105 and 106: Appendix XIX List of interviewees O
Page 107 and 108: Appendix XX Sample survey questionn
Page 109 and 110: 3. Measuring success How does your
Page 111 and 112: 4B. Festival screenings of short fi
Page 113 and 114: 4E. Revenue generated: Please provi
Page 115 and 116: 4H.Of the above, how many have subs
Page 117 and 118: 'Developing exceptional talent' and
Page 119 and 120: for making and reporting distributi
Page 121 and 122: Of the filmmakers supported by resp
Page 123 and 124: Filmmaker activity On average, each
Page 125: Appendix XXII Northern Alliance Nor
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Northern Alliance - BFI

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