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.”
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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]
Renewable electricity company Good Energy, in collaboration with Bristol-based agency, McCann, has revealed its new TV advert urging homeowners to choose the greener option with a Good Energy heat pump.
The 20 second ad, voiced by soul singer and songwriter Lemar, features an animation of a deflating home with the question ‘heating letting your home down?’
Two animated engineers then install a heat pump onto the deflated home, which then reinflates as viewers are encouraged to choose hassle free heating and ‘fill their home with Good Energy’.
The ad brings to life Good Energy’s premium heat pump installation offering, providing customers with a fully in-house expert service from design through to installation and on to aftercare, ensuring that switching to a heat pump is hassle free.
Broadcasting soon after the government announced a 50% increase in the Boiler Upgrade Scheme grant for installing a heat pump to £7,500, the ad will be shown via Sky Adsmart and ITVX to viewers in Good Energy’s key catchment areas in the South and South West.
Good Energy worked with McCann Bristol on the creative development and media strategy for the advert, which is appearing from October 9th, and will be supported with digital retargeting and local PR activity.
Laura Wildish, Head of Marketing, Good Energy said: “Heat pumps are a real hot topic right now. With the increase to the grant, and as people are turning their heating on, lots of people will be thinking about making the switch.
“Our ad is for people who might have been considering for a while but want to know they are going to get expert advice and a good service. We hope lots more homes will be filled with Good Energy soon.”
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Leading filmmakers, producers and writers will join production companies, commissioners, and politicians will gather at the second Bristol and Bath Screen Summit on Wednesday 8 November. The UWE Bristol event at Arnolfini will celebrate the rise of the regional voice but will also explore what is required over the next five years to drive growth and to continue to develop talent in the city region.
Hosted by TV presenter and writer Sarah Beeny, the Bristol and Bath Screen Summit will build on last year’s inaugural event, with updates on the work towards a Regional Production Fund and the first regional new writers’ programme led by Channel 4.
Actor and BBC Radio Bristol’s new breakfast show presenter ‘Mr Bristol’ Joe Sims and ITV West Country’s Seb Choudhury will lead a series of expert panels as they unpick the building blocks for talent development, including what makes a hit returning series and what everyone needs to know about embracing creative technologies – from deepfake to artificial intelligence: the pleasure and the pain.
Award-winning producers and directors from the region’s production community, including Five Mile Films, BBC Studios Factual Entertainment Productions, Strong Film and TV, Twenty Twenty Television, Sid Wild and Bristol AF, will be among the panellists.
The afternoon’s final session will bring Nancy Medina (Bristol Old Vic’s artistic director and joint CEO) together with Sir Peter Bazalgette (co-chair of the Creative Industries Council, chair of the Royal College of Art’s Council, and former chair of ITV plc) to discuss the UK Creative Sector Vision.
The creation of the Screen Summit is a key recommendation from research by academics at UWE Bristol’s Digital Cultures Research Centre (DCRC).
Figures released by the Bristol Film Office show that film and TV production was worth an estimated £20.1m to Bristol’s economy in the 2022-23 financial year. This demonstrates that production levels have been maintained over the last 12 months. However, there continue to be opportunities to enhance the strength and visibility of the area as a regional screen powerhouse.
Lynn Barlow, UWE Bristol’s assistant vice-chancellor creative and cultural undustries engagement, said:
“With shows such as ITV’s Ruby Speaking and BBC 1’s Rain Dogs shining the light on Bristol, plus a highly anticipated third series of the Outlaws in the cutting room – no doubt bringing more BAFTAs, Emmy nominations and RTS awards to the region – it’s not surprising that UNESCO is using Bristol City of Film as a case study of a thriving, creative, and innovative city.
“But in the year since the last Summit our freelance community has seen work dry up with productions postponed or cancelled and, although there are positive signs for an upturn in business, it will be a while before it is buoyant again.
“The Screen Summit will bring together key players in the industry to continue the discussion on how to boost the region as a sustainable production location, build on its strengths and overcome the challenges in its way.”
The Bristol and Bath Screen Summit takes place on 8 November at Arnolfini, Bristol, from 14:00. Networking and refreshments will follow.
Tickets cost £25 for an individual and £35 for a company and are available online.
40 free tickets for freelancers, with at least one year’s industry experience, are available on a first come first served basis. To qualify, freelancers are asked to include a link to a professional profile on Talent Manager or LinkedIn when booking a ticket. This offer is open until 18:00 on Sunday 22 October.
“I didn’t enjoy butchering this magnificent creature, but you apparently need a wake-up call that even you should be able to understand.”
Grant Hadwin
Domicide is the act of destroying one’s own home. It can also be a tendency, carried out through the repetition of thousands of hidden actions, mostly out of sight and out of mind.
I’ve been wanting to write a post on this subject for a while, but have been holding back, waiting for a triggering moment. And last Wednesday that moment arrived when the Sycamore Gap came crashing into the cosy living room of our collective imagination.
The loss of a beautiful lone tree fuelled a predictable outcry. The media fuelled the outrage, baying for the punishment of some ‘degenerate youth’, before pivoting to turn with less outrage on a ‘crazy old man’, perhaps a ‘former lumberjack’.
What is it about one tree that causes us such outspoken agonies while the destruction of the wider world continues unabated with passive acceptance? Could this have something to do with the power of the totem, working as symbolic pressure valve to channel and dissipate our collective sense of grief and loss at the destruction of our home, releasing our outrage so we can return to business as usual?
When I heard the news, my first thought was not for the tree but for the person who had chopped it down. What could have been their motivation? For this must have been a carefully planned act, and so can’t be easily dismissed as some moment of ‘madness’. No, to me, this felt like a howl of pain, a wake-up call that I recognised immediately.
In 2007 I started a 7-year filmed investigation into the motivations of another ‘environmental terrorist’, who orchestrated another attack on an ancient tree in an apparently mindless ‘crime against nature’. But it was not that simple.
On the islands of Haida Gwaii, a remote archipelago off Canada’s Pacific coast, stood a giant and genetically unique Sitka Spruce, known to the indigenous Haida people as ‘K’iid K’iyass’. Owing to the unusual yellow pigmentation of its needles, outsiders called it ‘The Golden Spruce’.
There it stood on the banks of the Yakoun River for 250 years, protected from the enveloping tide of industrial logging in its own protected reserve, complete with tourist trail and signage. Until one night in January 1997, when a lone former logger and timber engineer called Grant Hadwin arrived under the cover of darkness to cut it down.
For the Haida, ‘The Golden Spruce’ was much more than an object of scientific curiosity, a beautiful ‘freak’ of nature. For them this was a mythical being, a boy transformed into a tree, a sacred elder that stood as a wonderous manifestation of the connectedness of all things- a kin-centric belief system.
And Grant Hadwin, himself an instrument of the system of industrial extraction, had come to destroy it in a self-proclaimed act of protest. What kind of madness was this?
This is an extract from the letter that Grant wrote to the authorities justifying his actions:
“Dear Sir or Madam,
I don’t care much for ‘freaks’ whether they teach in University classrooms, sit in corporate board rooms, perform in the circus or are put on display as examples of old growth forest.
I mean this action to be an expression of my rage and hatred towards university trained professionals and their supporters whose ideas, ethics, denials, part truths and attitudes appear to be responsible for most of the abominations done towards life on this planet made in the name of ‘progress’.
I didn’t enjoy butchering this magnificent creature, but you apparently need a wake-up call that even you should be able to understand.
It was challenging to leave this majestic plant in a temporary vertical position.
The next storm will cause this one thousand year old plant to fall into or near The Yakoun River. Please find enclosed some of the last known photographs of ‘The Golden Spruce’.
Yours truly,
Grant Hadwin.”
And this was my film interpretation of the aftermath of what had happened.
What insight might this story give us into the mind of the individual who took down our cherished Sycamore?
And what does this particular choice of totem, the lone tree left standing in a sea of devastation, tell us about the timeless forces of corruption at work on humanity, and about our separation from the land, our natural home?
The Golden Spruce came with its own ancient mythology, with a story that began with the murderous arrival of the Europeans in 1774. The British came bearing ‘gifts’ of blankets laced with smallpox, hoping to wipe the indigenous people from the face of their land. 70% of the Haida population died in the enveloping plague, with lone survivors retreating into the sanctuary of the forest. Among them were a village elder and his grandson. As they fled the village, the boy ignored his grandfather’s advice not to look back, and found himself rooted to the ground, a boy transforming into a tree.
And there K’iid K’iyass stood for 250 years, one tree preserved by the logging company as a living cultural artefact, while the rest of the ancient forest was cut down and hauled to the mill, first as masts for ships of war, and then to build the frames of aircraft that brought death from the skies.
And the Sycamore Gap bears the same legacy. A lone tree, left in a sea of devastation, the land wiped clean by the civilising forces of Rome as far as the wall of Hadrian, built to keep out the savages who still lived from the land and who resisted agriculture, taxation and wage slavery. The wall was there to keep the money economy of Rome safe and sound until the empire burned under Nero, incinerated by the flames of its own self-serving corruption and arrogance.
#Storytelling #Filmmaking #Authenticity #Purpose #Meaning #FilmsToBelieveIn #DocumentaryFilmmaking #FilmProductionBristol #BristolFilmmakers #DocumentaryFilmmakerBristol
Moonbase: The Next Step has been launched in two new formats at the Giant Screen Cinema Association’s (GSCA) conference.
Originally made in an immersive 4K Fulldome format, Moonbase: The Next Step will now also be available for IMAX and Giant Screens.
The additional formats will allow new audiences to go on a breath-taking lunar journey where a hostile environment tests the limits of science and engineering.
Moonraker VFX, the Bristol, UK, based visual effects studio behind Moonbase, has appointed Cosmic Picture as its sole distributor for the IMAX and Giant Screen markets.
The announcement has been made to coincide with the GSCA conference (18-21st Sept) held across venues in Cincinnati and Indianapolis, where a Giant Screen version of the Moonbase trailer was shown.
Narrated by NASA astronaut Nicole Stott, Moonbase: The Next Step is a story of human endeavour, explaining how humanity might one day fulfil its ambition to make a permanent base on the Moon.
Emmy Award winning, Moonraker VFX, has a passion for science and natural history television (having worked on the BBC’s acclaimed Earth series and National Geographic’s One Strange Rock) as well as extensive experience in Immersive Visitor Attractions.
Moonraker VFX also worked on the BBC’s Arctic: Our Frozen Planet, which swept the board at the GSCA’s awards this year, winning Best Film-Short Subject (tie), Best Film for Lifelong Learning, Best Cinematography, Best Sound Design and Best Original Score.
Jon Grafton, Managing Director and Co-Founder, Moonraker VFX, said: “We’ve had a very successful year at the GSCA conference and are very excited for Moonbase’s future with IMAX and Giant Screen audiences.
“With India’s recent successful Moon landing, space exploration is back in the news and the public imagination. Informed by our team of scientific advisers, our film is the perfect guide to recent events and future next steps in space exploration. Moonbase: The Next Step will make a great addition to the programmes of IMAX and Giant Screen venues.”
Antonietta Monteleone, President of Film Distribution at Cosmic Picture, said: “We are excited to be partnering with the highly experienced award winning team at Moonraker and look forward to bringing this immersive adventure to Giant Screen and IMAX audiences around the world.”
Please direct enquiries about Moonbase’s new IMAX and Giant Screen formats to Antonietta Monteleone, President of Film Distribution, [email protected], Tel: 914-617-8032, Mobile: 203-505-0810, https://cosmicpicture.com/.
To learn more about fulldome formats, request an information pack or for licensing enquiries contact [email protected] or visit www.moonbasethemovie.com.
Finding it difficult to break into the animation industry or to understand what role would be right for you? Here’s an opportunity you won’t want to miss!
Next week, there’s a chance to meet a host of animation professionals from some of Bristol’s leading studios, who will be taking part in the industry one-to-one panel at the next Bristol Animation Meetup.
The professionals on the panel – from Aardman Animations, A Productions, Rumpus Animation, Sun & Moon Studios and Skwigly magazine – will be available for 10-minute pre-bookable slots from 7pm-8.30pm. They are open to all members of the animation community, from professionals and students to hobbyists and enthusiasts.
The line-up includes Jo Hepworth from A Productions. Working as a director, Jo is involved in all aspects of the animation production pipeline, from scripts to music and everything in-between. Her daily roles see her working closely with all departments to guide the team and keep everyone on track creatively.
The Bristol Animation Meetup event takes place at King Street Brew House on September 28th from 6:30pm. To celebrate its first anniversary, there will be a two-hour session where members of the animation community can get advice, feedback and guidance from leading lights of the industry.
For more info and to book a chat with Jo or any of the other industry guests, follow the link here.
BAM is sponsored by Skwigly online animation magazine, Rumpus Animation and Sun & Moon Animation.
Both the prevalence and effectiveness of video marketing have been on the rise since 2015. According to Wyzowl’s State of Video Marketing Survey 2023– 92% of marketers reported a positive ROI from video content.
So creating videos that are consistent with your brand and look professional is very important for marketers. But, without your own in-house production team, this can prove challenging – and expensive.
Usually businesses choose to outsource video editing – bringing in the big guns (like the P+S Video and Motion Graphics team) to craft something on-brief and on-budget, before smashing it into the stratosphere.
However, we understand that sometimes you just want to do it yourself, whether it’s a quick interview-style vid, a vlog, or a simple success story. So, how do you make it look consistent with the rest of your brand, without breaking the bank?
Fully customised to your brand (or sub-brand) specification, our Video Toolkits are the easiest way to produce brilliant content on a tight deadline or budget. Not only will your content look great, but you’ll also significantly reduce the cost of producing further content.
The toolkit includes a variety of custom-made assets, each designed to suit the type of content you’re producing. So whether it’s interviews, self-shot ‘talking to camera’ vids, or even event and webinar footage, you can use the toolkit with minimal knowledge of Adobe After Effects or Premiere Pro to insert and customise your brand elements.
But it’s probably better to show than tell, right?
In the following short videos, we’ve broken down the elements that can be included in the toolkit package. This example was produced for Thrio – one of our fantastic clients – using their brand colours, fonts and adhering to their motion guidelines.
Not all of the assets featured may be required in your toolkit, and equally this isn’t the extent of what we can produce for you – it’s all dependent on the style/purpose of video content you’re likely to need in the future. We’ll make something bespoke and fit for purpose.
Logo sting for intro and transition
Custom-made animation of your logo for the start of your video.
Watch video here.
Lower-third caption
An easily updated lower-third caption that can feature speaker name, job title and company name.
Watch video here.
Divider screen title
Custom-made title slide animation with easily editable text and optional imagery.
Watch video 1 here.
Watch video 2 here.
Subtitles
Perfectly legible subtitles in your brand font, ready for editing. You’ll also notice the ‘bug’ in the top right of this example – a semi-transparent logo overlay that features in the top corner of your video.
Watch the video here.
Quote screen
Have a question, quote or fact worth highlighting? Showing it on screen will really anchor it in the viewer’s mind.
Watch the video here.
Social links
A custom scene for just before the end of the video that features your social handles for quick reference.
Watch the video here.
Transition and logo sting outro
Custom-made animation of your logo to feature at the end of your video.
Watch the video here.
So, how does this all look together? Here are a few example toolkits for you to check out:
Watch video 1 here.
Watch video 2 here.
Whatever story you want to tell, we’ll help you share it with the world, on-brand and within budget. Talk to Proctors today.
There’s no escaping artificial intelligence (AI) right now. Whether it’s facial recognition, your smart speaker or the latest Instagram filter, everyone is using AI – even without realising it. It’s in your social media feed, powering your digital payments, and even helping your phone or laptop to autocorrect.
Whilst some of it may seem like the stuff of science fiction, this is just the beginning. AI is no longer a technology of the future, so what can we expect, what does it all mean and should we be excited or concerned about its potential?
In this paper, we’ll take a look at the impact of AI on the entertainment industry, including what we’ve seen so far. We’ll then explore the potential, the implications, and how businesses and professionals can respond to industry change.
We’ll also discuss the importance of brand identity and how a solid foundation of brand strategy can help you to stay authentic, create cut-through and capitalise on the trend to avoid being left behind.
In a recent global artificial intelligence study, PwC estimated that the total economic impact of artificial intelligence will be $15.7 trillion in the period to 2030, making it “the biggest commercial opportunity in today’s fast changing economy”. And when we consider how many areas of our lives it’s already permeated, you can see why.
AI is essential in many of our day-to-day tasks, enabling automation, personalisation and even fraud detection. Most people are familiar with Virtual Assistants or Chatbots online, and are using apps to monitor traffic or weather conditions almost daily.
But AI and its machine learning (ML) subset are nothing new. The concept has been around since the early twentieth century, with science fiction depicting artificially-intelligent robots and dystopian futures, from Fritz Lang’s Metropolis in 1927 to franchises like Star Wars, Star Trek and The Matrix.
By the 1950s, the idea of artificial intelligence was cemented in the minds of scientists, mathematicians and philosophers the world over and, thanks to the development of computers and machine learning algorithms, AI flourished in the 60s and 70s. This continued into the 21st century, with more funding and computer storage bringing us to the age of “big data”.
The human capacity to collect data is now far outperformed by artificial intelligence, which can process huge amounts. Applying AI in this way has been successful in a number of industries including banking, marketing and social media, and of course, entertainment.
2022 was the year when AI became truly accessible, with the democratisation of Generative AI tools enabling the general public to use these algorithms to create pretty much anything, from the pope in a puffer jacket to Donald Trump’s arrest.
The big hitters in the space right now include OpenAI’s Generative AI model, ChatGPT, and image generators such as Midjourney. These algorithms take existing data and use them to create entirely new content.
Other examples include ‘deepfake’ technology, which uses AI to make it appear as though someone did or said something that they actually didn’t, by replacing the likeness of one person for another in audio or video.
Whilst there are legitimate concerns about the current trajectory of AI, it’s not showing any signs of slowing down, with the potential to improve efficiency, reduce the risk of human error and drive profitability.
Since artificial intelligence first graced our screens, television and film have continued to portray the future, with each reimagining of AI more elaborate and fantastical than the next. But now, the things we once imagined are becoming our reality.
In 2023, AI is having a huge impact on everything from imagery and video to set design and theatre robotics. It’s being used in sport to support officiating and by streaming platforms to recommend shows, films or music. It’s even written a play which premiered online in February 2021.
So, what does AI in the entertainment industry look like right now?
Like many other sectors, AI has been making its mark in the entertainment space for a while, be it film, television, music, theatre or sport. The technology has already been applied in ways similar to other industries – such as content personalisation on streaming services like Netflix or Spotify – and it’s evolving all the time.
Both platforms use AI and machine learning to provide recommendations based on users’ preferences. Netflix even goes so far as to personalise thumbnails to entice users, by ranking hundreds of frames from movies and shows to decide which are most likely to encourage a click.
Spotify also took personalisation to a whole new level earlier this year, with the launch of its AI DJ feature. DJ is “a personalised AI guide that knows you and your music taste so well that it can choose what to play for you”, delivering a curated lineup alongside a hyper-realistic commentary.
Let’s take a look at how artificial intelligence is being used in other areas of the industry.
We’ve already touched on film and TV’s long relationship with artificial intelligence, so what’s changed in the last near century? The short answer: a lot. In addition to personalised viewing recommendations and AI-powered distribution from streaming services, the technology is also being used in a myriad of other ways.
AI-powered platforms and machine learning algorithms are being trained and applied to casting, improving the accuracy and efficiency of decision making. They can also be used to enhance visual effects and even analyse
data of existing scripts to generate new, original stories.
It’s not uncommon for shows and films to be using machine learning or AI in some way or another, but its application in VFX is probably the most recognisable. Recent examples include Lucasfilm’s The Mandalorian where actor Mark Hamill was de-aged to depict a younger version of his original Star Wars character, Luke Skywalker.
Another interesting development comes from Texas-based company StoryFit, who are leveraging AI technology to compile data on storytelling elements in scripts. The platform helps writers and studios understand and better connect with their audiences, providing insights on character relatability, plot inconsistencies or even which books should be adapted for film.
Perhaps one of the most incredible applications of AI in film is the use of Neural Radiance Fields or NeRFs. This new powerful and low-budget VFX tool can learn how light is reflected in a scene and produce a 3D model that looks like it was shot on the same set. Using just a few input images, AI can fill in any gaps not covered by the camera and estimate how that section might look, creating light and manipulating images in ways previously unimaginable.
As a traditionally human-centric art, theatre is perhaps an unexpected place to find the presence of artificial intelligence. But it is seeing development of AI technologies, from lighting robotics to set design and even playwriting.
Examples include the use of tools such as Midjourney for theatrical design, to create set designs in collaboration with AI, and plays written entirely by AI such as THEaiTRE: When a Robot Writes a Play or the Young Vic’s production of AI which featured the GPT-3 system on stage.
The COVID-19 pandemic forced the world of live theatre into the virtual and digital space, with creators streaming live or pre-recorded performances to audiences at home. It also saw live theatre enter the metaverse, where AI has been integral to development.
Virtual reality and online spaces allow theatre to maintain its live identity, whilst providing new and more interactive ways for audiences to experience the narrative. One example is YouTuber Rustic Mascara’s appropriation of the video game space for live performance back in July 2022.
In an attempt to fill the live-theatre void during the pandemic, actor Sam Crane live streamed the first ever full production of Hamlet inside the online world of Grand Theft Auto. You can learn more about this and the future of theatre in the metaverse in ‘The Future of Theatre’ Conference from The Stage.
Emerging technologies such as AI, big data, and IoT (Internet of Things) are becoming essential components of sport in recent years – and there are already a plethora of applications. One of the most prolific is the introduction of technologies such as VAR (video assistant referee), goal line technology and Hawkeye, designed to help support officiating and decision-making.
Other examples include the use of computer vision for tracking and analysing human motion. Machine learning algorithms can use data to evaluate skills and player potential, ranking them to help with scouting or recruitment.
AI can also be used to predict results or ball possession, and provide game analysis, spotting trends, tactics and flaws.
The music industry has already had its fair share of run-ins with AI, with mixed responses. We’ve highlighted the use of AI in streaming to personalise listening and improve user experience, but what about AI-generated music?
2023 has already seen AI make headlines in the music world, including a music generator that can turn any subject into a Drake-inspired record, or a new Oasis album that imagines how the band might have sounded if they’d stayed together.
But this new era of music making is not without controversy. When French DJ David Guetta used AI technology to add Eminem’s ‘voice’ to one of his songs, it sparked a debate about copyright and creators’ rights. Calls to ensure that artificial intelligence is used to support culture and artistry rather than replace it have been heard across the industry, something we’ll explore in the next section.
It’s clear that the industry is taking note and exploiting AI technology where the opportunity presents itself. But what’s the impact so far, is everyone excited about the potential of AI or are there concerns about its future?
The evolution and increasing popularity of artificial intelligence is controversial across all industries, with many recognising its benefits and potential, whilst simultaneously raising concerns about risk.
In April 2023, Avengers’ Director Joe Russo predicted that AI could be making movies within two years. This, coupled with reports that the first AI-generated feature film will begin production in May 2023 is enough to send filmmakers into a flat spin – our worst fears about robots taking over could be realised in an imminent dystopian reality.
For the film industry, one of the biggest advantages of using AI is its ability to save time and resources. It’s also being used to improve accuracy and efficiency, analysing huge amounts of data – such as actors’ past performances or social media activity – to predict who is likely to be successful in a particular role.
This data analysis can also be used to analyse scripts and create new, original stories, saving time for screenwriters and providing opportunities for creativity and storytelling. AI can also save time and money on VFX, making it easier and faster to add visual effects, using NeRF and other technologies.
Theatre has already reaped some of the benefits of artificial intelligence in its ability to connect with larger audiences onlines. But there are also positives to be drawn from the use of AI in other areas.
Set designers Jason Jamerson and Michael Schweikardt discussed how tools such as Midjourney can be used to improve the design process, arguing that if used in the right way, it might help the process of materialising an idea for production. They explain that they don’t want AI to design the set, but it can give them new, interesting concept overlays whilst allowing them to remain the designers.
In sport, as well as helping to improve the accuracy of officiating – making sports fairer and less subjective – AI can also produce personalised training or nutrition plans for professional athletes. Thanks to the development of wearable technology which provides information about the wear and tear on an athlete’s body, AI can even help improve health and fitness or prevent injury.
Computer analysis is also used to influence line-up decisions before and during games. By comprehending metrics such as motion, speed, serve placement, and even player posture, AI helps managers and coaches make better decisions for their players and teams.
But having already seen how AI can be leveraged to support and improve traditionally-human tasks, what other positives might come from implementing this technology across the industry?
Despite these wide-ranging positive impacts, there are understandably concerns about the risks associated with the increased use of artificial intelligence. The most obvious is of course, the potential for AI to replace human jobs.
As algorithms and AI tools become increasingly advanced, there is a risk that they could replace some roles that humans would have historically carried out. Ultimately, this could lead to job losses in the industry along with a fall in creativity, uniqueness and emotional depth that only humans can provide.
The Guardian reported earlier this year that creatives across the industry are taking action against AI, in a bid to protect their jobs and original work from automation. Photographers and designers are among the first to face a “genuine threat”, and Hollywood filmmakers are worried that advances in the technology will mean fewer jobs across the industry and pose “a real threat to writers down the road”.
Another challenge to AI technology came in the wake of deep-fake technology being used for so-called ‘revenge porn’, with devastating consequences. Understandably, this led to wide-spread criticism and calls for further regulation in future developments.
There are calls for more regulation in other areas too. Apple’s development of synthetic voices for audiobooks has caused controversy and concern among the voice actor community. Some are worried about damage to the livelihoods of lesser-known actors and have pushed for the technology to advance more ethically.
So, will we see homogenisation or a decline in the quality of entertainment or art? Author and screenwriter Marthese Fenech thinks the technology needs regulation and a cautious approach. She explains, “I do very much understand and empathise with the concerns of my fellow creatives and artists. I still harbour some reservations about the technology; none of us wants to be replaced by a machine, something without a soul or the ability to emote.
“Admittedly, I am often reluctant to adopt burgeoning technology – it took me years to transition from an analog camera to a digital one. As an author, screenwriter, editor, and teacher, I’ve met the growing pervasiveness of AI with resistance and hesitation.”
However, having seen some of Mark’s work, Marthese has shifted her perspective: “Mark’s ability to completely transform a project from something passable to something transcendent has altered my perspective. To see something that has lived in my imagination for two decades come to life so vividly defies description.”
There’s no denying the huge potential of artificial intelligence. Now, the entertainment industry has the chance to capitalise on the trend and do incredible things.
It’s time to start viewing AI as an opportunity, rather than a threat. So, how can creatives not only stay competitive but make the most of new technologies?
BIFA founders Raindance, explain that “by highlighting the value of human creativity, filmmakers can differentiate themselves from AI and justify their continued employment”. They also stress the importance of staying “competitive by continuous learning and adapting to new technologies”.
The combination of both AI and human ability has huge potential. By collaborating with AI experts or learning how to use the tools effectively, creatives can learn new skills and stay ahead of the curve. This is something Mark is very interested in, with plans to help businesses and brands use AI to their advantage.
Whilst AI is great at solving problems or processing large amounts of data, there are nuances and concepts that only humans can offer. Some tasks are difficult or even impossible for AI to complete, such as those requiring empathy, social skills or physical dexterity.
So how best to maintain humanity and protect originality? One way is to have a strong foundation – to know who you are and what you stand for. In other words, a brand strategy that really stands up.
As the entertainment industry becomes more saturated and AI tools are used to create content or marketing materials, it’s more important than ever to maintain originality and authenticity that can’t be replicated by machine learning. If you want to create cut-through in a competitive space, having a strong brand personality and a plan for how you’ll deliver your key messages are both vital.
Whatever your role and niche within the industry, every brand or business needs a unique and authentic voice, even if what you’re saying or selling is the same or similar to your competitors. As AI technology continues to develop, creating human connections with messages that really resonate will help give you the edge.
There are ample opportunities to use AI tools to help you learn more about your audience or find new ways to connect with them. But at some point, you’re going to need that human touch to make whatever you create uniquely yours.
When it comes to creativity, there’s always a need to protect what is sacred. But if leveraged in the right way, artificial intelligence could be – and indeed already is – hugely exciting and potentially beneficial for the entertainment industry and business owners that don’t have blockbuster budgets but need to reach their ideal clients.
By having a clear brand identity and a strategy to help you bring your message to your audience, you can remain authentic, stay relevant and make the most of any opportunities AI might throw your way.
I believe in bringing the joy of entertainment to as many people as possible and helping business’s both large and small achieve their dreams. With over 20 years’ experience in the creative space and a finger on the pulse of the latest technologies, I’m here to help.
(Note this article was researched and written by humans!)
Earth tells the story of our planet’s four and a half billion-year history with stunning photoreal computer generated effects.
Presented by naturalist, Chris Packham, who calls it a “biography of our planet”, the series is showing on Monday nights in the UK on BBC Two throughout August and available for streaming on iPlayer.
Moonraker VFX contributed to around 30% of the final footage—97 minutes, a feature film’s worth—and represents one of the studio’s largest ever television projects.
Since being first engaged by the BBC Studios’ Science Unit, nearly two years ago, over 30 VFX artists have produced more than 13,600 individual graphic elements and 360 shots of photoreal CGI.
Scientific accuracy was always the highest priority for Earth and so Moonraker worked very closely with over 200 scientists and researchers who were employed to provide guidance on everything from palaeontology and geology to climate.
“This project was challenging. How could we convincingly place the audience on a version of earth, from earlier in its history, that may feel very familiar but look completely different from how it does now? The visual evolution of these landscapes took a lot of hard work and consideration to make sure we got every detail right,” says Simon Clarke, Co-founder and Creative Director at Moonraker VFX.
“We contributed to some really demanding shots, like time-lapse scenes of geological events spanning many millions of years, which required huge attention to detail and asset creation.
“There were also a few firsts. We visualised ancient flora or fauna that has never been imagined in 3D before, paying particular attention to textural details and placing them in their natural habitats. The scientists were astounded with what we came up with.
“It’s been a phenomenal project and fantastic opportunity to demonstrate the talent and creativity at Moonraker VFX, but it was certainly a team effort and we’re very grateful to the BBC’s production team as well as the scientific advisers who made Earth possible.”
Rob Liddell, Executive Producer, BBC Studios, said: “With Earth we wanted to push the boundaries of what was possible with VFX sequences featuring some of the planet’s most dramatic moments. The ambition was high and Moonraker has been a brilliant partner in helping us realise it. The team brought amazing flare and attention to detail to every shot, resulting in some breathtaking moments of visual drama.”
At JMP, are delighted to welcome Matt Joy to our growing team, joining as Managing Partner.
Matt has a wealth of industry experience, having spent more than 10 years in the sports industry, and most recently four years at a strategic brand agency.
His previous roles have included five years as Marketing Manager at Stoke City during their Premier League golden years, before moving south and helping create the Marketing team at Bristol Sport during the rebuild of Ashton Gate. Following that, he spent four years at Mr B & Friends in Bristol.
In regards to his responsibility at JMP, Matt will be a crucial cog in our ability to excel as an agency, offering additional strategic insights and creative campaigns to our clients.
Managing Director Joe Meredith expanded on this.
“It’s a significant role, the biggest addition we’ve ever made to the business,” he said.
“It’s something that I feel we’ve both wanted to happen for a long time. Everything just needed to align. Matt is in a position to elevate the offerings of JMP and I’m really excited to work with him to take JMP to the next level ”
Matt expressed his excitement about what lies ahead, for both himself and JMP.
“I’m really looking forward to it,” he said. “I’ve known Joe since I initially moved to Bristol and how he has grown the agency in that time has been great to see. It’s an exciting time to now get involved and add to the recent successes.
“My role is going to be quite broad but ultimately I will have a real focus on the growth of the agency. First of all to define who we are, our offerings and identify where we can add real value to our clients, both current and new.”
Matt joins our newly-formed Senior Leadership Team, alongside MD Joe and Operations Director Vicki Theobald.
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