Northern Alliance - BFI

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Agency Scheme Number of shorts West Midlands Arts Board Yorkshire & Humberside Arts Board Croydon Borough Council Wandsworth Borough Council First Academy Film & Video Production Scheme New Work Commissions Short Film & Video Production Awards Croydon Film & Video Awards Wandsworth Film & Video Making Award Budget/genre 8 £4k/£13k. With Central TV, for television £5k, experimental and new technology Up to £10k 3 Up to £1.3k 2 Up to £5k Page 74
Appendix VIII Overview of the UK Film Council‟s principal short film schemes Cinema Extreme is targeted at filmmakers who are thought to be one short away from making their first feature length film. These films are made for around £50,000, can be shot on film or digitally, and usually have a longer running time of around 20 minutes. Cinema Extreme is managed by Londonbased independent production company, The Bureau. The Completion Fund targets entrepreneurial filmmakers that have produced a short film independently, but who lack the funding to complete the postproduction on their film. The Completion Fund is managed by Mayavision International, also a London-based production company. Digital Shorts is an entry-level scheme, with budgets up to £12,000 and film lengths around ten minutes on average. Since 2006, filmmakers have been able to receive funding through Digital Shorts more than once. Following this decision, some regions introduced two levels of Digital Shorts – microbudgeted short films targeting absolute first timers (such as North West Vision‟s Virgin Shorts scheme) and basic Digital Shorts, targeting filmmakers with some experience, for example a student or self-financed short film. Both Digital Shorts and Digital Nation are managed by each of the regional screen agencies, and <strong>Northern</strong> Ireland Screen; in Scotland both strands are delivered by independent agency DigiCult. 87 There is a minimum delivery requirement of four short films per year for each scheme. Digital Shorts Plus (now Digital Nation) is aimed at filmmakers who have already made a short film, either through Digital Shorts or in another context. These films have higher budgets, in the region of £17,500-£20,000, and can be longer than ten minutes. 87 Film Agency for Wales has managed a short film scheme in the past but is not currently involved in Digital Shorts. Page 75
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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
Page 23 and 24: Table 5: Strategic partners‟ prio
Page 25 and 26: There is a need to ground all futur
Page 27 and 28: Table 8: Success and its cost, from
Page 29 and 30: Shorts appears relatively efficient
Page 31 and 32: As noted in section 4.2 above, the
Page 33 and 34: Given that Cinema Extreme positions
Page 35 and 36: Figures for the Digital Shorts prog
Page 37 and 38: “We have no brief to work towards
Page 39 and 40: 4.5.2. Revenues Table 14: Scheme re
Page 41 and 42: Others were more critical, openly q
Page 43 and 44: 4.7 Support for showcasing films at
Page 45 and 46: The provision of culturally signifi
Page 47 and 48: 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: Agency Scheme Number of shorts Budg
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 and 100: Completion Fund, and from the Natio
Page 101 and 102: The training scheme is best known f
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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