I have now completed my studies at Cardiff Metropolitan University! My final project involved creating a mixed media animation, laser cutting to create 3D models, and projection mapping.
All of this came together to create an immersive installation which will be open to the public at the Graduate Degree Show on the 7th of June, at Cardiff School of Art and Design. I warmly invite you to come along and see it for yourself – me and my course mates have been working very hard to produce our final outcomes and there’s a lot of amazing art and design to see! I am planning on moving to Bristol within the next month so I would love to meet and talk to other creatives in the area. I’ve included a link to my project trailer so you can get a glimpse of what is to come…
Project trailer: https://youtu.be/zGZsXJmkR8E?si=ziiGmlFfYdZm52vO
Find out more about the exhibition here: https://www.cardiffmet.ac.uk/artanddesign/Pages/CSAD-Summer-Show.aspx
Virtual production is a modern filmmaking technique that combines real-time computer graphics with traditional production processes. It enables filmmakers to create immersive and realistic virtual environments and visual effects in real-time during filming.
During virtual production, actors perform in front of LED panels that display the virtual environments and elements. These environments are created using real-time gaming engines like Unreal Engine. This allows filmmakers to see the final scene while shooting, making it easier to direct and coordinate actors and visual effects. The use of real-time engines also allows for instant content changes, reducing the time needed for rendering before filming. As a result, virtual production significantly reduces post-production processes, as a majority of the “post-production” work is done in pre-production. This saves time and money. It also enables immediate creative decisions, experimentation with different visual elements, and the achievement of higher realism in films.
Moreover, virtual production can save even more time and money by reducing the need for expensive and complicated location shoots. Digital artists can create photorealistic worlds in Unreal Engine, which are then displayed on LED walls, perfectly replicating real locations. With some physical set dressing and props, it becomes incredibly easy to believe you are in the actual location. Additionally, virtual production allows for the creation of ideal filming environments, eliminating lost shoot days due to poor weather conditions.
Virtual production has revolutionized the filmmaking industry, pushing the boundaries of storytelling and visual effects. It has become an integral part of many blockbuster films, TV shows, and commercials, offering endless possibilities for creating captivating and visually stunning content. It can also be utilized on a smaller scale, from internal communication videos to virtual events. When done correctly, virtual production can be budget-friendly, making it worth considering for all types of productions.
To find out more about virtual production, contact [email protected]
NEW STATE-OF-THE-ART FACILITY SET TO ENHANCE UNESCO CITY OF FILM STATUS
Award-winning visual content production company Distortion Studios has acquired and fitted out brand new studios in Brislington. The (200m2) studios will enable producers across all disciplines – television, film, advertising, music, corporate and events – to create original IP utilising the cutting-edge technology of Virtual Production and the power of Unreal Engine.
This initiative, supported by funding from Creative UK and in partnership with iMAG Displays, will see the first permanent Virtual Production studio in Bristol. At the forefront of creative and technological development, the new studio was set up by the team at Studio Giggle, a multiple award-winning creative team, including a group of highly experienced Unreal Engine experts and specialists in immersive digital arts.
Distortion Studios are decked out with state-of-the art equipment including 11x4m curved LED Volume, ROE Black Pearl 2 V2 LED panels, 2x2x3m wild wall mobile led panels, 2x Stype RedSpy tracking system, Stage Precision, Pixera Media Servers and Brompton processing.
Later this month, Distortion Studios will open its doors with a series of launch events. They will be hosting two full days of demos on Thursday 25th and Friday 26th April and a drinks reception on the evening of the 25th. The demo sessions will allow visitors to learn more about virtual production, interact with the LED screen, and speak to the Distortion Studios team.
Distortion Studios would like to invite the Bristol Creative Industries members to the launch in April. To attend, please email [email protected] .
Jonathan Brigden, Managing Director of Distortion Studios comments, “We’re thrilled to have set up our studios in this great City in the South West. Blurring the lines between fantasy and reality, the benefits of VP are simply infinite. We’re proud to be cementing Bristol’s status as a UNESCO City of Film.”
Hannah Long, Portfolio Manager at Creative UK adds “We are absolutely thrilled to have been a part of this journey with Studio Giggle and see the development of their brand new state of the art Virtual Production studio, Distortion Studios, in the vibrant City of Bristol. Jonathan, Steve and their team are such a talented and friendly bunch and a delight to work with. We are proud to have them in the Creative Growth Finance portfolio and as their Portfolio Manager, I cannot wait to see the exciting projects that lay ahead.”
Press contact: Debbie Lawrence at The Lippin Company Ltd : [email protected]
About Distortion Studios
Distortion Studios is a specialist virtual production studio based in Bristol. Blurring the lines between fantasy and reality, Distortion Studios is run by an in-house team of specialists in immersive digital arts. Using cutting-edge equipment, our experts in virtual production are able to create stunning visual effects and captivating environments for film, television, music, events and other media in the most cost-effective way possible.
Our team of award-winning live and film production innovators with more than 20 years’ experience includes masters in Unreal Engine as well as a global network of talent and resources to achieve every creative vision.
Distortion Studios where ideas become reality.
www.distortion.studio
About Creative UK
Creative UK believes in the power of creativity to change lives. We unite the creative industries and generate opportunities for innovation to thrive by investing in creative people and businesses. And we harness the power of the creative sector to build a stronger, fairer, and more prosperous future.
We are the UK’s leading Creative Industries investor and a strategic investment partner for growth-minded creative businesses. Creative Growth Finance is a landmark fund providing vital scale up finance to the UK’s most promising creative businesses, partnering with Triodos Bank to offer loans of £100,000 to £1m.
www.wearecreative.uk/investment
Ever cruise past a social media post or ad, and it’s just… uninspiring? Static imagery? Dull text? We understand. Shouting above the noise in a cluttered content landscape can be a real challenge, meaning that this is precisely how you don’t want people to see your online content. When you don’t make a statement, the content you’ve worked so hard on ends up being scrolled past like it’s nothing, and that’s undoubtedly not going to help you grow. However, there is a way beyond this – your riposte of motion graphics! Injecting a touch of animation into your social activity can transform things from forgettable to fascinating. This is precisely what we’re talking about today as we put motion graphics under the spotlight. We’ll show you what they are, why they pack such a powerful punch, and how you can harness them to up your own social media and marketing efforts. Let’s get into it.
What are Motion Graphics?
Let’s start with the basics – what exactly are motion graphics? Motion graphics are essentially animated graphics that convey motion and visual storytelling through various design elements, such as typography, illustrations, and shapes. Here’s an example: Goodwood Festival of Speed – Female Trailblazers. Motion graphics are often short, bitesize pieces of content with major visual impact. Remember how the Netflix logo bounces into view when you fire up your app? That’s motion graphics in action. Now, think about them in a marketing context. Motion graphics take your standard static images and text to the next level. Their hypnotic movements seize your audience’s focus and memorably deliver your message. You’ve likely seen them in explainer videos, product demos, social ads, and TV/film title sequences. The key is their emphasis on animated graphic design over live-action footage. This specialised focus makes them extra engaging to watch. So, in a sea of sterile posts, motion graphics add a vital spark. Their kinetic energy can instantly magnetise wandering eyes – precisely what you need to stand out! And according to research… social media video generates over 1,200% more shares than text and images combined, which explains why 59% of marketers are using them.
What are the benefits of using Motion Graphics?
With motion graphics fresh in our minds, let’s get into why you should use them. What superpowers can these kinetic visuals unlock for your marketing? The answer is plenty! For starters, motion graphics are like social media catnip. Their compelling visual energy can mesmerise your audience, earning more likes, shares, and comments across platforms. Just take a moment to think about how captivating Instagram Reels, YouTube Shorts, and TikToks are. This punchy, short-form content grabs the masses’ attention and encourages them to want more. Quite simply, if you’re not creating this kind of content, you’re missing out on a great opportunity to engage your audience. Next, brand recognition. When correctly produced, motion graphics are a powerful way to create a consistent, recognisable style. So when viewers see your graphics in motion, they’ll know it’s you. Building that instant brand awareness is marketing gold. What about storytelling? These days, effective marketing is all about connecting with an audience or target market emotionally, drawing lines between humans and the vision of your business. Take a look at this example for the United Rugby Championship. Motion graphics are an innovative and strategic way to make this easy, allowing you to explain complex topics clearly and memorably. Say goodbye to confusion and hello to clarity! So, if you’re looking for more visibility, engagement, and captivated audiences, motion graphics check all the boxes. Let’s get shaking and see how these mesmerising animations can escalate your marketing!
How to incorporate Motion Graphics in your Marketing Campaigns
You may think that bringing motion graphics into your marketing efforts is a big challenge. Probably an expensive, long, and arduous process where you’ll spend a lot of money without necessarily getting a massive viral return, but that’s not really the case. For starters, motion graphics aren’t that costly, especially when you’re keeping things simple. It’s not like you need to pay for a huge studio, cameras, and actors like you do with traditional advertising. If you plan to use motion graphics as part of your social media efforts, there is a process that ensures you get the best results and the best ROI. Here are some tips:
Conclusion
With the proper prep, strategy, and style, you can create captivating animations that spellbind audiences. Just imagine – more shares, stronger branding, crystal clear storytelling. All of this leads to a positive ROI! Ready to start animating your content and taking it to the next level? Vivid have got you covered. We’re here to help craft bespoke animations that dazzle and delight.
Contact us today to explore how custom motion graphics can electrify your next campaign! Let’s get those creative juices flowing.
Boarders, the brand-new comedy drama created by Bafta-nominated Daniel Lawrence Taylor (Timewasters), is now available on BBC Three and BBC iPlayer after filming entirely in Bristol and the South West with support from Bristol Film Office last year.
The six-part high energy series, produced by Studio Lambert (The Nest, Three Girls) in association with All3Media International, follows the lives of five talented black inner-city teenagers navigating their way through an alien world – the British public school system.
The main filming site for the series was in Clifton, and Bristol Film Office worked closely with Studio Lambert to provide nearby production offices and parking for the crew during the five-month shoot. Other Bristol locations that feature include Ashton Court, Carolina House on Dove Street, Redcliff Hill, Stokes Croft and St Nicholas Market. Filming for interiors also took place on sets built at The Bottle Yard Studios. Further afield in the region, filming took place at Chavenage House near Tetbury and in Weston-Super-Mare.
As well as assisting with locations, Bristol Film Office liaised closely with the production team to connect it with local crew talent including Bristol company Latent Pictures which runs a paid development programme for underrepresented filmmakers. Around 90 crew members worked on the production per day, 70% of which were regional crew, with more than 55% from Bristol and the South West.
Line Producer, Carleen Beadle-Larcombe, says “Bristol Film Office were exemplary in helping source locations. There were last minute location changes needed because of weather or cast availability – alternatives options were quickly suggested and things like parking suspensions and road closures were issued quickly and efficiently. In addition Bristol Film Office helped Boarders source last minute Graffiti artists which were needed in order for us to complete filming at a new location.”
Madeleine Sinclair, Executive Producer for Studio Lambert adds: “The premise of the show is about access to opportunity and that was important to reflect in the production and crew. With the help of the Bristol Film Office, we aimed to attract local talent and give opportunities to those from underrepresented backgrounds across the crew. In addition to this, we brought on Latent Pictures, a Bristol-based company working with underrepresented filmmakers, to produce all our ‘behind the scenes’ footage.
“We had a number of ScreenSkills trainees in our HMU, Sound and Assistant Director departments and shadow directors joining us regularly on set. I think it was hugely valuable to the production because we had some really fantastic people and it made for a really interesting and buzzy set with crew from a whole range of backgrounds, who each brought their own different experiences.”
Prince Taylor, Executive Producer at Latent Pictures, says: “Collaborating with All3Media and Studio Lambert to create an engaging EPK (electronic press kit) was a great experience not only for the team, but for all of the Latent Talent we were able to provide paid training for. We could see how representation and authenticity were priorities for all involved and this helped create a learning environment that meant our trainees could really thrive, connecting with what they were learning and the wider teams involved.”
23-year-old Jojo Bossman (they/them) from Bedminster in South Bristol, was a Camera Trainee on Boarders. They say: “Boarders was definitely the most diverse show or feature I’ve ever worked on, which was wonderful. It was a really significant milestone for me in that it was the first long form job created by and starring Black people I’ve worked on.” Read a Q&A with Jojo about their experience working on Boarders here.
Following a problematic viral video involving a student, Jaheim (Josh Tedeku), Leah (Jodie Campbell), Omar (Myles Kamwendo), Toby (Sekou Diaby) and Femi (Aruna Jalloh) are offered sixth form scholarships to St Gilbert’s, one of the country’s oldest and most prestigious schools, in an attempt to rehabilitate its image. They soon find themselves in a world they can only describe as something out of Harry Potter, surrounded by lush playing fields, cloistered grandeur and complex social rules which they must decipher quickly in order to survive. They will go on a journey as they learn about themselves, their identity and what it’s like to live alongside the one percent – which they discover is nothing like life as they knew it.
Boarders is created and written by Daniel Lawrence Taylor, with episodes written by Emma Dennis-Edwards, Yemi Oyefuwa and Ryan Calais Cameron, and script edited by Missy Howard. It is directed by Ethosheia Hylton and Sarmad Masud and produced by Ali MacPhail. Executive producers are Daniel Lawrence Taylor, with Susan Hogg and Madeleine Sinclair for Studio Lambert and Nawfal Faizullah and Ayela Butt for the BBC.
Boarders is now available as a boxset on BBC iPlayer. Episode one aired on BBC Three on Tuesday 20th February and further episodes will air weekly.
A new skills training programme to support creatives looking to break into behind-the-camera roles on scripted film and high-end TV productions made in the West of England will launch later this month.
It comes after Bristol City Council’s Film Services have secured almost £300,000 (£299,818) from the West of England Mayoral Combined Authority, led by Metro Mayor Dan Norris, to deliver an industry-led West of England Film & High-End TV Workforce Development Programme to help creatives make their impact and find new career opportunities.
Delivered by The Bottle Yard Studios, Bristol UNESCO City of Film and Bristol Film Office – the three departments that make up Bristol City Council’s Film Services – the year-long programme will be open to regional participants from backgrounds currently underrepresented in the industry. Tailored training will demystify the world of scripted production and prepare trainees for entry level crew positions, with the aim of strengthening the pipeline of diverse local crew talent.
The investment comes at an important time of continued growth in the West of England’s film and high-end TV sector, with an estimated 21,000 new crew forecast to be needed across the UK by 2025.*
Metro Mayor Dan Norris, who leads the West of England Mayoral Combined Authority, said: “The West of England is fast becoming the Hollywood of the UK. Only recently, huge names like Disney+ have checked in to The Bottle Yard Studios’ new state-of-the-art and West of England Mayoral Authority-funded TBY2 facility – that’s a massive vote of confidence in our world-leading creative industries. But to keep up the pace, we need to tap into the extraordinary wealth of creative talent we have in the West. That means supporting them with world-class training to create that new home-grown creative generation for the sector.
“That’s why I’m delighted to be launching this programme fully funded by the Mayoral Combined Authority I lead, to give West of England residents the opportunities they need to thrive in film and high-end TV – something the West does so well. It gives a platform to the next generation of talent who will shape our region’s bright creative future. So, to those considering a career in film and TV: I want to hear from you!”
Councillor Craig Cheney, Deputy Mayor of Bristol with responsibility for City Economy Finance & Performance said: “It’s brilliant to see Bristol’s thriving film and TV sector in the spotlight once again and we are delighted to secure funding to further support this vital industry, as well as the talented people who bring Bristol’s creative sectors to life.
“Bristol remains a world-leading hub for film and TV production, with some the industry’s biggest names choosing our city to produce their shows. Bristol’s new state-of-the-art film studio, The Bottle Yard’s TBY2 facility, has already played host to some of the UK’s most exciting productions since opening its doors in 2022 supported by £12 million in funding. However, as the sector continues to go from strength to strength, more targeted investment into training and developing the next generation of homegrown production talent is becoming increasingly necessary. This industry-led development programme will tap into the deep pool of creative talent here in the West Country and open new career pathways to underrepresented groups who may never have had the opportunity to take their first steps into this fast-growing sector.”
Laura Aviles, Head of Film, Bristol City Council says: “We’ve long made the case that targeted skills investment for scripted crew in our region is essential if we’re to develop this often-overlooked segment of the screen workforce. Film and high-end TV production levels in Bristol and the West have been increasing steadily in past years, supported by The Bottle Yard’s expansion and the region’s Film Offices facilitating more productions on location. With this success comes the opportunity to grow our local talent base – which is crucial when the existing crew base hits capacity, something we anticipate as we move on from last year’s US writers and actors strikes. We are delighted to have secured this funding to deliver a programme designed to help local entrants understand and navigate the fast-paced world of production they are not yet familiar with, to support them in identifying the right opportunities and having the confidence to step into industry roles that suit their talents and ambitions.”
Natalie Moore, Bristol UNESCO City of Film Manager, says: “Developing a local skills pipeline for scripted crew is a key priority in our Bristol UNESCO City of Film Action Plan. Opening up opportunities for regional talent from a wide range of backgrounds makes for a more sustainable and resilient industry base. With so many career opportunities that can and should be made available to people living within the region, we want to make access routes into the film and TV industry easier to navigate and provide support to build a more diverse local workforce. This programme will create a clear pathway to help underrepresented talent from Bristol and the West into scripted production careers, demystifying the industry and preparing them for employment with the right level of support and guidance.”
The programme, which is funded by the UK Government through the UK Shared Prosperity Fund, will feature a series of sessions repeated for three intakes throughout 2024, including a ‘Get to Know the Industry’ webinar, an Industry Induction Day at The Bottle Yard Studios, and a specially designed 5-week training scheme to equip potential new entrants for a career in film and high-end TV production. Training will focus on confidence-building, set etiquette and work-readiness, communication skills and teamwork, wellbeing and resilience, as well as digital and financial literacy and how to find work as a freelancer.
The programme will aim to engage up to 750 people in total across its different strands of activity, with a view to 45 undertaking the 5-week training course that will equip them to go on to get jobs. Those who complete the full training will be added to a New Entrants Portfolio given to film and high-end TV productions filming in the region.
The programme will also launch a digital New Entrants Hub, designed to signpost anyone in the West of England interested in a career in film or high-end TV to useful resources, training and development opportunities that are relevant to the region.
Applications will be invited from residents of Bristol, Bath and North East Somerset, and South Gloucestershire aged 17 and above**. Underrepresented target groups will include young people aged 17-25**, those not in education, employment or training, under-employed people and those on zero-hour contracts, women, people from the global majority, disabled people, people living with mental health issues, carers and care leavers. An Access Fund will be provided to support any participants who face a financial barrier to taking part.
The West of England Film & High-End TV Workforce Development Programme has been devised following recommendations of the BFI Skills Review (June 2022) and Olsberg’s Workforce Development Report commissioned by Bristol City Council and The Bottle Yard Studios (July 2023). The first call for applications will open in January 2024.
The West of England Mayoral Combined Authority is working in partnership with Bristol City Council’s Film Services (comprising The Bottle Yard Studios, Bristol UNESCO City of Film and Bristol Film Office) to deliver the Mayoral Priority Skills Fund. This fund provides flexible grants to meet current priority skills gaps in the region. This project is part-funded by the UK Government through the UK Shared Prosperity Fund.
Upcoming productions recently filmed in Bristol and the West of England include Jilly Cooper adaptation Rivals (Disney+), series three of spy thriller Alex Rider (Amazon FreeVee), series three of Stephen Merchant’s The Outlaws (BBC/Amazon Prime Video), comedy drama Boarders (BBC Three), teen crime thriller A Good Girl’s Guide to Murder (BBC Three) and series five of children’s drama Malory Towers (CBBC). Titles currently in production in the region include Wolf Hall: The Mirror and the Light (BBC/Masterpiece PBS) and romantic comedy The Road Trip (Paramount+).
How Do Stories Work? Part 6: How is the attention economy changing the way we tell stories?
Dear Storyteller,
As filmmakers, we must adapt and evolve with the times to capture and maintain our audience’s attention while keeping purpose and authenticity at the core of our storytelling.
Many purists would consider the idea of ‘versioning a story’, that is adapting it for different ‘channels’, to conflict with the very soul of the storyteller. A story should simply have the time it needs to be well told.
But what works ‘best’ depends on the context of the telling. We no longer communicate sat face-to-face around an open fire but through multiple and proliferating digital media. We have been suddenly removed from millions of years of storytelling evolution.
However, the need to communicate across multiple media can be an invaluable opportunity for stories to reach and connect with wider audiences. Film narratives need to be crafted into multiple variants to engage, not as auteur works of art, but as purposeful tools with a central unifying message.
In times of seemingly dwidling attention spans, the pressure is on to communicate the essence of a message more quickly.
But how fast can you tell a story with a sense of context, character, place and emotion, whilst also letting it breathe, before the story falls apart and the essence is lost?
Of course, our attention span depends on viewing context and on how invested the audience is in your subject before they take their seat.
So, you need different versions to engage different audiences watching with different levels of pre-existing attenuation to your message, from the active listener to the casually curious.
Is it possible to tell a complex story dealing with complexity, multiple characters, and the nuance of human emotion in one minute?
Well yes, but not in one step. Editing, unlike say sculpting, is a non-destructive process of refinement. So by a careful process of distillation, each step yields a shorter yet distinct form that can be used to connect with audiences in different ways, each time stripping away more of the context and complexity whilst bringing the essence more sharply into focus.
Here’s a recent example of this creative versioning process in action.
The brief from our colleagues ImpactEd Group was to reveal the transformation of a child enabled by the concentrated attention of an adult, herself guided by the skilful evaluation of data.
Each version of the film had to convey more and more succinctly both the context and emotion of a transformative experience.
‘How can data help transform the life of a child?‘
Edit phase 1 (8 days)
5’00″ version for a Campaign Launch for a pre-invited captive audience
Edit phase 2 (2 days)
2’30” version for Branded Channels for a partially engaged remote audience that has navigated to your domain
Edit phase 3 (1 day)
1’00″ version for Social Media for an audience with passing curiosity surfing your content via media feeds guided by hashtags and leading text.
What remains is the transformative essence of a relationship. An adult really listening to a child.
“I didn’t have that one person I could talk to. And now I have.”
So attention is in short supply.
As the attention economy pulls us into a vortex of distraction, we need to fall in love again with being.
And films, as channels of emotion, can remind us of the very essence of who we are.
All we need is someone to listen, and someone to listen to.
How do stories work? A newsletter for storytellers, changemakers and dreamers:
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Got a story to tell? Or purpose to communicate? Need some friendly advice?
🎯 Please get in touch.
#AttentionEconomy #CreativeProcess #FilmmakingProcess #SparkFilms #FilmsToBelieveIn #TurningChanceIntoDestiny #Purpose #Authenticity #Filmmaking #Storytelling #HowStoriesWork #DocumentaryFilmmaking #WhatMakesAGoodStory #FilmProductionBristol #VideoProductionBristol #BristolFilmmakers #BristolStoryTellers #DocumentaryFilmmakerBristol
NextGen Skills academy has teamed up with industry leaders A Productions and Aardman Animations to offer aspiring animators a free 10-week Accelerate in Animation Skills Bootcamp to accelerate their career prospects.
The course is designed for young people aged 19+ who already have intermediate 3D animation skills and want to enter the animation industry. It has been created in partnership with these two renowned local studios to create industry-vetted content and expert guidance.
Participants needs to be based in the West of England Combined Authority region or planning to do so and the course is a perfect fit for recent animation graduates and those will self-taught skills who are ready to take their passion to the professional level.
Those taking part will work collaboratively on an industry brief, working as a remote animation studio to craft a captivating short film in just ten weeks. The creative brief has been approved by A Productions and Aardman and participants will benefit from the wisdom of dedicated tutors and animations professionals through masterclasses and studio insights.
The course will give students a deeper understanding of the animation industry, enhance their technical skills, help them acquire real experience of the animation pipeline and build an impressive portfolio of work.
The Accelerate in Animation Skills Bootcamp takes place between January and March 2024 and the deadline for applications is Thursday 14th December.
Full details can be found on the NextGen Futures website and applications can be made here.
Moonraker VFX, a Bristol-based Visual Effects Studio, took part in the RTS Futures Festival yesterday, offering valuable insights, advice and information to aspiring individuals seeking a career in the television industry.
The free event took place at M Shed on Bristol’s Harbourside and drew over 400 young attendees, where a range of the city’s media organisations were on hand to give careers advice.
Hosted by the Royal Television Society, the RTS Futures Festival provided a platform for industry professionals to connect with graduates and students, guiding them through the complexities of the modern broadcasting landscape.
Moonraker—known for its groundbreaking work in Natural History programming including the BBC’s recent Earth series—engaged with attendees, sharing knowledge and experiences to inspire the next generation of talent.
Simon Clarke, Creative Director at Moonraker, commented, “Participating in the RTS Futures Festival was a fantastic opportunity for us to connect with the bright minds set to become future leaders of the television industry in the decades to come. Moonraker’s presence at the event underscores the studio’s commitment to fostering talent and contributing to the growth of the sector.”
RTS Futures aims to help graduates and those in the early stages of their career to progress and learn about different areas of television. It has an ongoing calendar of events, learn more: https://rts.org.uk/rts-futures
JonesMillbank, Bristol-based video production company, has won a competitive pitch to work with I heart Wines on their 2024 TV ad campaign.
The wine with a big heart has chosen the production company that connects brands to people to reach and resonate with their loyal customers and new converts alike.
The campaign will align with a brand refresh that comes 13 years after launch.
“The win is a fantastic opportunity to work with an exciting brand that’s bubbling with personality, sass, confidence and authenticity.”
“When we were invited to pitch we knew we had to go for it. We’re incredibly proud that the pitch was led by our 26-year-old in-house creative and director Abbie Howes. She completely embodied the brief and their audience.”
“Our concepts hit all the right notes and we’re delighted to have been chosen to work directly with Freixenet Copestick”.
Emma Fogerty, Senior Brand Manager at Freixenet Copestick said “we are absolutely thrilled to announce that we have chosen JonesMilbank to be our creative partner in producing our new TV ad. We’re excited to embark on this journey together to bring our ideas to life and see the creative vision take shape.”
***
JonesMillbank are a full-service video production company.
They work in-house with a talented team of multi-disciplined creatives, telling authentic stories for a range of clients such as Delivery Hero, IDLES, SOHO Coffee Co and University of Bristol.
jonesmillbank.com | 01173706372 | [email protected]
