The UK’s VFX sector is pushing back against a surprise government decision that generative AI will not qualify for the additional tax relief for visual effects.
The sector received a major boost in the March budget with the announcement UK VFX costs on film and high-end TV productions will receive a 5% increase in tax relief within the UK’s new Audio Visual Expenditure Credit (Avec), for an overall net rate of 29.25%.
The government is also removing the Avec’s 80% cap on qualifying expenditure for UK VFX costs. These changes will take effect from April 1, 2025.
However, in a recent Treasury consultation document seen by Screen,...
The sector received a major boost in the March budget with the announcement UK VFX costs on film and high-end TV productions will receive a 5% increase in tax relief within the UK’s new Audio Visual Expenditure Credit (Avec), for an overall net rate of 29.25%.
The government is also removing the Avec’s 80% cap on qualifying expenditure for UK VFX costs. These changes will take effect from April 1, 2025.
However, in a recent Treasury consultation document seen by Screen,...
- 6/3/2024
- ScreenDaily
Key members of the UK Screen Alliance fielded questions at yesterday’s UK Parliament’s cross-party inquiry into British film and high-end TV.
The last year or so has seen the UK film industry come under a fair amount of scrutiny from the UK government. After all, it’s an incredibly successful sector and a guaranteed money-spinner so the incumbent administration has been looking at the industry in the wake of a pandemic, Hollywood strikes and a reshaped industry landscape to see what the future holds.
There have been industry-wide surveys, new levels of tax relief announced in the chancellor’s annual budget and now, leading figures from the UK screen sector have been invited to Parliament to discuss the future of the British film and high-end TV industry.
Perhaps the key takeaway from the discussions is that these leading figures feel the UK is well placed to handle the...
The last year or so has seen the UK film industry come under a fair amount of scrutiny from the UK government. After all, it’s an incredibly successful sector and a guaranteed money-spinner so the incumbent administration has been looking at the industry in the wake of a pandemic, Hollywood strikes and a reshaped industry landscape to see what the future holds.
There have been industry-wide surveys, new levels of tax relief announced in the chancellor’s annual budget and now, leading figures from the UK screen sector have been invited to Parliament to discuss the future of the British film and high-end TV industry.
Perhaps the key takeaway from the discussions is that these leading figures feel the UK is well placed to handle the...
- 3/20/2024
- by Dan Cooper
- Film Stories
The UK’s close ties with Hollywood and the impact of the package of measures for the UK film industry unveiled in chancellor Jeremy Hunt’s spring budget were under discussion as Adrian Wootton, chief executive of the British Film Commission (Bfc), Andrew Smith, corporate affairs director at Pinewood and Neil Hatton, chief executive of the UK Screen Alliance faced the UK parliament’s cross-party inquiry into British film and high-end TV today (March 19).
When asked by the committee about the slowdown of inward investment in 2023, in which there was a 39% decline compared to 2022 in the wake of the Hollywood strikes,...
When asked by the committee about the slowdown of inward investment in 2023, in which there was a 39% decline compared to 2022 in the wake of the Hollywood strikes,...
- 3/19/2024
- ScreenDaily
General manager Chris Burn said he expects other UK VFX companies will follow suit.
The decision by leading UK visual effects (VFX) house Double Negative (Dneg) to pay overtime to its staff for the first time has been described as “transformative” by Chris Burn, the company’s London-based general manager.
The move highlights both the competitiveness of the sector and the high potential for burnout of the people who work within it.
From October, Dneg will go against industry norms and pay overtime at a rate of 1.5 times the normal hourly salary to all UK staff in non-management positions. The...
The decision by leading UK visual effects (VFX) house Double Negative (Dneg) to pay overtime to its staff for the first time has been described as “transformative” by Chris Burn, the company’s London-based general manager.
The move highlights both the competitiveness of the sector and the high potential for burnout of the people who work within it.
From October, Dneg will go against industry norms and pay overtime at a rate of 1.5 times the normal hourly salary to all UK staff in non-management positions. The...
- 9/16/2021
- by Geoffrey Macnab
- ScreenDaily
Entry-level roles at production and post-production firms to be supported.
Amazon has launched a £2.5m fund to help small businesses across England take on apprentices through the UK government’s levy transfer scheme.
The tech giant has set aside £1m of the Amazon Apprenticeship Fund to specifically support roles in the creative industries over the next two years, including film, TV, music and publishing.
Amazon Studios works with a number of independent production companies across the UK to develop and commission Amazon Originals for its streaming service Prime Video, including documentary series such as All Or Nothing: Tottenham Hotspur, motoring show The Grand Tour,...
Amazon has launched a £2.5m fund to help small businesses across England take on apprentices through the UK government’s levy transfer scheme.
The tech giant has set aside £1m of the Amazon Apprenticeship Fund to specifically support roles in the creative industries over the next two years, including film, TV, music and publishing.
Amazon Studios works with a number of independent production companies across the UK to develop and commission Amazon Originals for its streaming service Prime Video, including documentary series such as All Or Nothing: Tottenham Hotspur, motoring show The Grand Tour,...
- 5/31/2021
- by Michael Rosser
- ScreenDaily
With the Brexit deadline looming on Dec. 31, film and TV production remains largely in the dark about how businesses can operate between Britain and the European Union.
When Britain formally left the E.U. on Jan. 31 this year, a transition period running until the end of 2020 took effect, during which trade negotiations were meant to be finalized.
But with less than a month to go, the U.K. and E.U. are still talking, and there is little sign of compromise on two key sticking points which are holding up a deal: state aid rules and fishing rights.
A wary sense of frustration has now set in within U.K. film and TV, which acknowledges that — deal or no deal — Brexit will lead to greater red tape and costs. Despite this, industry leaders agree that the U.K.’s booming content industries will be able to overcome the challenges posed by Brexit.
When Britain formally left the E.U. on Jan. 31 this year, a transition period running until the end of 2020 took effect, during which trade negotiations were meant to be finalized.
But with less than a month to go, the U.K. and E.U. are still talking, and there is little sign of compromise on two key sticking points which are holding up a deal: state aid rules and fishing rights.
A wary sense of frustration has now set in within U.K. film and TV, which acknowledges that — deal or no deal — Brexit will lead to greater red tape and costs. Despite this, industry leaders agree that the U.K.’s booming content industries will be able to overcome the challenges posed by Brexit.
- 12/4/2020
- by Tim Dams
- Variety Film + TV
They include asking household members to sign NDAs when appropriate.
The UK’s post-production and visual effects sectors have been issued government-endorsed guidelines to get business back to full strength following the Covid-19 outbreak.
The sectors, which normally turn over in excess of £2bn ($2.5bn) per year and employ more than 17,000 people, have largely remained open throughout the lockdown with the use of remote processes and social distancing at facilities.
The UK Screen Alliance, which represents more than 100 companies, has now published the ‘Guidance for safe working in post-production and visual effects during the Covid-19 pandemic’ to document best working practices already in use.
The UK’s post-production and visual effects sectors have been issued government-endorsed guidelines to get business back to full strength following the Covid-19 outbreak.
The sectors, which normally turn over in excess of £2bn ($2.5bn) per year and employ more than 17,000 people, have largely remained open throughout the lockdown with the use of remote processes and social distancing at facilities.
The UK Screen Alliance, which represents more than 100 companies, has now published the ‘Guidance for safe working in post-production and visual effects during the Covid-19 pandemic’ to document best working practices already in use.
- 6/1/2020
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
The U.K. film and high-end TV sector has moved a step closer to restarting with the publication of government-endorsed guidelines for working safely during the Covid-19 pandemic (access the documents below).
The U.K.’s visual effects and post-production sectors have also published their Covid-19 guidance. The confirmation of all guidelines technically allows production to resume, although the road ahead remains complex due to insurance considerations. As revealed by Variety, proposals for a government-backed insurance plan have now been submitted to government, and include a multimillion-pound fund.
The firmed-up production guidelines — a 44-page document titled ‘Working Safely During Covid-19 in Film and High-End TV Drama Production’ — come after weeks of industry consultations. They were led by the British Film Commission, and produced as part of a wider Covid-19 task force spearheaded by the British Film Institute.
The Bfc described the consultation process as “possibly the most comprehensive conducted on...
The U.K.’s visual effects and post-production sectors have also published their Covid-19 guidance. The confirmation of all guidelines technically allows production to resume, although the road ahead remains complex due to insurance considerations. As revealed by Variety, proposals for a government-backed insurance plan have now been submitted to government, and include a multimillion-pound fund.
The firmed-up production guidelines — a 44-page document titled ‘Working Safely During Covid-19 in Film and High-End TV Drama Production’ — come after weeks of industry consultations. They were led by the British Film Commission, and produced as part of a wider Covid-19 task force spearheaded by the British Film Institute.
The Bfc described the consultation process as “possibly the most comprehensive conducted on...
- 5/31/2020
- by Tim Dams
- Variety Film + TV
The value of film production in the U.K. climbed 7% to £1.96 billion ($2.42 billion) last year, the second-highest level on record. The vast majority of that was generated by Hollywood movies, but although the British independent sector is overshadowed commercially, it is holding its own creatively.
Despite the pain and disruption caused by the coronavirus crisis, Adrian Wootton, CEO of the British Film Commission, is confident that the production boom that the U.K. was enjoying pre-lockdown will resume. Underpinning that is the 25% tax rebate for production, a strong and growing studio infrastructure, a thriving VFX sector, and a rich vein of talent behind and in front of the camera, Wootton says.
Apart from Covid-19, another cloud looming is Brexit, the full effect of which will only be felt at the end of the year. The VFX sector is particularly vulnerable, as a third of its workforce is from European Union countries.
Despite the pain and disruption caused by the coronavirus crisis, Adrian Wootton, CEO of the British Film Commission, is confident that the production boom that the U.K. was enjoying pre-lockdown will resume. Underpinning that is the 25% tax rebate for production, a strong and growing studio infrastructure, a thriving VFX sector, and a rich vein of talent behind and in front of the camera, Wootton says.
Apart from Covid-19, another cloud looming is Brexit, the full effect of which will only be felt at the end of the year. The VFX sector is particularly vulnerable, as a third of its workforce is from European Union countries.
- 5/11/2020
- by Leo Barraclough
- Variety Film + TV
After more than three years of rancour and political infighting, the U.K. finally leaves the European Union at 11Pm tonight, bringing closure to one of the most unsettling chapters in the country’s history.
A transition period running until the end of 2020 will now take effect, during which trade negotiations between the E.U. and U.K. will be finalized. This means that little will change in the short term for the U.K. film and television industry, and its European and international partners. But longer term, and depending on the outcome of trade negotiations, Brexit is likely to lead to both challenges and opportunities for the U.K.’s buoyant creative industries.
What is clear is that in recent months, the mood around Brexit has changed. A large majority of the U.K.’s creative industries voted to stay within Europe, and have expressed sadness and regret that...
A transition period running until the end of 2020 will now take effect, during which trade negotiations between the E.U. and U.K. will be finalized. This means that little will change in the short term for the U.K. film and television industry, and its European and international partners. But longer term, and depending on the outcome of trade negotiations, Brexit is likely to lead to both challenges and opportunities for the U.K.’s buoyant creative industries.
What is clear is that in recent months, the mood around Brexit has changed. A large majority of the U.K.’s creative industries voted to stay within Europe, and have expressed sadness and regret that...
- 1/31/2020
- by Tim Dams
- Variety Film + TV
Costs around new visa requirements could prove prohibitive for sector which employs one-third of its workforce from Europe.
Deal or no deal, the UK visual effects sector is facing almost certain loss of mid to long-term competitiveness under the high costs and red tape of visa proposals post-Brexit.
“London’s position as a European powerhouse is at risk,” warned Framestore CEO and co-founder William Sargent. “We are a centre of excellence but if barriers are erected then other clusters in other cities will emerge.”
Antony Hunt, CEO of the Cinesite Group, said, “We will always benefit from highly-skilled overseas artists...
Deal or no deal, the UK visual effects sector is facing almost certain loss of mid to long-term competitiveness under the high costs and red tape of visa proposals post-Brexit.
“London’s position as a European powerhouse is at risk,” warned Framestore CEO and co-founder William Sargent. “We are a centre of excellence but if barriers are erected then other clusters in other cities will emerge.”
Antony Hunt, CEO of the Cinesite Group, said, “We will always benefit from highly-skilled overseas artists...
- 2/15/2019
- by Adrian Pennington
- ScreenDaily
Costs around new visa requirements could prove prohibitive for sector which employs one-third of its workforce from Europe.
Deal or no deal, the UK visual effects sector is facing almost certain loss of mid to long-term competitiveness under the high costs and red tape of visa proposals post-Brexit.
“London’s position as a European powerhouse is at risk,” warned Framestore CEO and co-founder William Sargent. “We are a centre of excellence but if barriers are erected then other clusters in other cities will emerge.”
Antony Hunt, CEO of the Cinesite Group, said, “We will always benefit from highly-skilled overseas artists...
Deal or no deal, the UK visual effects sector is facing almost certain loss of mid to long-term competitiveness under the high costs and red tape of visa proposals post-Brexit.
“London’s position as a European powerhouse is at risk,” warned Framestore CEO and co-founder William Sargent. “We are a centre of excellence but if barriers are erected then other clusters in other cities will emerge.”
Antony Hunt, CEO of the Cinesite Group, said, “We will always benefit from highly-skilled overseas artists...
- 2/15/2019
- by Adrian Pennington
- ScreenDaily
UK Screen Alliance, the trade body representing the UK VFX, post-production and animation industries, has slammed the Government’s post-Brexit Immigration Bill white paper, calling it “disastrous.”
The Government’s proposal, published yesterday, is to implement a single visa scheme for both EU and non-eu immigration based on the ‘Tier 2’ visa regime that currently exists for non-eu immigration. This would include a minimum salary threshold of £30,000.
The UK Screen Alliance said this will “severely limit the VFX and animation industries’ access to the international talent it needs to succeed and continue to grow. One in three workers in VFX and one in five workers in animation are from the EU. Expensive visas with unrealistic minimum salary thresholds will add significantly to operating costs and impact on the sector’s competitiveness in the global market. UK Screen Alliance’s own research shows that 7% of the combined animation and VFX workforce are...
The Government’s proposal, published yesterday, is to implement a single visa scheme for both EU and non-eu immigration based on the ‘Tier 2’ visa regime that currently exists for non-eu immigration. This would include a minimum salary threshold of £30,000.
The UK Screen Alliance said this will “severely limit the VFX and animation industries’ access to the international talent it needs to succeed and continue to grow. One in three workers in VFX and one in five workers in animation are from the EU. Expensive visas with unrealistic minimum salary thresholds will add significantly to operating costs and impact on the sector’s competitiveness in the global market. UK Screen Alliance’s own research shows that 7% of the combined animation and VFX workforce are...
- 12/20/2018
- by Andreas Wiseman
- Deadline Film + TV
VFX and animation industries will find it harder to attract international talent and stay competitive, says organisation.
The UK Screen Alliance has criticised the government’s Immigration Bill, which sets out plans for a post-Brexit visa system.
UK Screen Alliance says the Bill’s proposed visa system will “severely limit” the VFX and animation industries’ access to the international talent. It also says that expensive new EU visas will add significantly to operating costs and impact on the sector’s competitiveness in the global market.
However, UK Screen Alliance welcomed the government’s decision to put out to consultation a...
The UK Screen Alliance has criticised the government’s Immigration Bill, which sets out plans for a post-Brexit visa system.
UK Screen Alliance says the Bill’s proposed visa system will “severely limit” the VFX and animation industries’ access to the international talent. It also says that expensive new EU visas will add significantly to operating costs and impact on the sector’s competitiveness in the global market.
However, UK Screen Alliance welcomed the government’s decision to put out to consultation a...
- 12/20/2018
- by Tim Dams
- ScreenDaily
Video highlights from the opening day and what’s coming up on the final day of the event.
The Media Production Show takes place 13-14 June at London’s Olympia. Check out highlights of the first day below (or on mobile Here).
Click for more information and to register to attend
What’s coming up on the final day of the event:
Cinematographers Masterclass - 10:30
With: Adam Etherington, DoP; Ben Smithard Bsc, DoP; Graeme Dunn, DoP; Stephen Foote, DoP; Steve Saunderson, DoP
Chair: Will Strauss, acting editor, Broadcast Tech
Editors Masterclass: TV - 10:45
With: Christopher Bird, editor; James Page, editor; Mark Talbot-Butler, senior editor (credits: Top Gear)
Chair: Elouise Carden, joint managing director, Rapid Pictures
Nurturing VFX Talent - 11:00
With: Clare Norman, Head of Production, Milk; Davi Stein, Head of Compositing, Course Leader, Escape Studios; John Rowe, head of digital vfx, Nfts
Chair: Priyanka Balasubramanian, Ves Treasurer and MD, Hula Hoop[p...
The Media Production Show takes place 13-14 June at London’s Olympia. Check out highlights of the first day below (or on mobile Here).
Click for more information and to register to attend
What’s coming up on the final day of the event:
Cinematographers Masterclass - 10:30
With: Adam Etherington, DoP; Ben Smithard Bsc, DoP; Graeme Dunn, DoP; Stephen Foote, DoP; Steve Saunderson, DoP
Chair: Will Strauss, acting editor, Broadcast Tech
Editors Masterclass: TV - 10:45
With: Christopher Bird, editor; James Page, editor; Mark Talbot-Butler, senior editor (credits: Top Gear)
Chair: Elouise Carden, joint managing director, Rapid Pictures
Nurturing VFX Talent - 11:00
With: Clare Norman, Head of Production, Milk; Davi Stein, Head of Compositing, Course Leader, Escape Studios; John Rowe, head of digital vfx, Nfts
Chair: Priyanka Balasubramanian, Ves Treasurer and MD, Hula Hoop[p...
- 6/14/2017
- ScreenDaily
Animation and facilities organisations to join as umbrella membership association called UK Screen Alliance.
After nearly a decade as a voluntary group, Animation UK has announced it will become a membership organisation in partnership with the UK Screen Association, the trade body for visual FX houses, post-production facilities and film studios.
The organisations will join under one umbrella organisation to be called the UK Screen Alliance.
The announcement came at the Manimation 2016 conference in Manchester.
By joining into one larger association, the two lobbying organisations will facilitate further interaction between the government and parts of the screen industries and the alliance will develop joint working groups between the facilities and animations sectors to advance key policies.
Neil Hatton, current chief executive of the UK Screen Association, will become CEO of the overall UK Screen Alliance and will continue to lead the existing facilities remit.
Chair and founder of Animation UK, Oli Hyatt MBE, will...
After nearly a decade as a voluntary group, Animation UK has announced it will become a membership organisation in partnership with the UK Screen Association, the trade body for visual FX houses, post-production facilities and film studios.
The organisations will join under one umbrella organisation to be called the UK Screen Alliance.
The announcement came at the Manimation 2016 conference in Manchester.
By joining into one larger association, the two lobbying organisations will facilitate further interaction between the government and parts of the screen industries and the alliance will develop joint working groups between the facilities and animations sectors to advance key policies.
Neil Hatton, current chief executive of the UK Screen Association, will become CEO of the overall UK Screen Alliance and will continue to lead the existing facilities remit.
Chair and founder of Animation UK, Oli Hyatt MBE, will...
- 11/17/2016
- ScreenDaily
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