This document summarizes an event held by the Audience of the Future initiative to discuss immersive technologies and build consortia for future projects. The event included presentations on the state of the art in areas like performance and visitor experiences. It also provided information on the demonstrator program including its objectives to significantly advance creative, technical, and commercial aspects while reaching audiences of over 100,000. The event concluded with networking to facilitate collaboration between organizations for future funding applications.

1. Audience of the Future, Consortium Building Event
VISITOR EXPERIENCE
Friday 18th May 2018
National Railway Museum
@UKRI_News #industrialstrategy #AudienceFuture

2. Welcome and Introductions
Prof Andrew Chitty
Interim Challenge Director
Audience of the Future
UK Research and Innovation
@drewchit
#AudienceFuture
#IndustrialStrategy 2

3. AGENDA
11.15 Welcome and Introductions
11.20 Audience of the Future: Scene Setter + Q&A
11.50 State of the Art: Presentations
12.10 State of the Art: Panel Discussion + Q&A
12.40 Lunch Break
13.30 Networking and Consortium Building
14.50 Wrap-up and Next Steps
15.00 Event End

4. Audience of the Future
What we’re trying to do
Prof Andrew Chitty
Interim Challenge Director
Audience of the Future
UK Research and Innovation
@drewchit
#AudienceFuture
#IndustrialStrategy 4

5. CHEAD presentation 14.04.18

11. “Immersive experiences are new forms of content, new narrative
mechanisms and a new language around production which spans the
Creative Industries…..
“The best technology will not produce the step change needed
without equal excellence in content production and understanding of
immersion as a narrative form.
“The UK must ensure it is the most highly skilled nation producing
content that exploits these technologies”
Sir Peter Bazalgette Independent Review of the Creative Industries

13. Audience of the Future
To capture new global audiences and grow our leading market position
in creative content, products and services by adopting, exploiting and
developing immersive technologies.
Challenge Statement
*

14. • Immersive technologies (AR, VR, XR) are the most significant and
potentially disruptive technologies to impact the Creative Industries
since the web in the mid 90s
• They present both opportunities and threats to the UK’s current level
of global competitiveness as both IP creator and production centre
• Global commercial opportunity for UK Creative Industries is through
content/experiences enabled by immersive technology rather than
platform or hardware
Audience of the Future Rationale

15. That by 2025 UK is a global market leader in the creative immersive sector.
1. UK creates 10% of global creative immersive content
2. The UK Creative Industries sustains its above average growth.
3. The UK has a low barrier of entry for producing high-quality immersive content,
4. The UK has an increased skilled workforce to create immersive content.
5. Increased private investment in immersive technology and experiences
Programme Objectives
*

17. • Audience of the Future is central to Creative Industries Sector Deal
• High expectations that AoTF will de-risk investment
• Identifying/ testing viable audience propositions & business models
• Innovation in production tools/reskilling workforce
• Industry engagement across the value chain
• Specialists in AR/VR/XR companies but also…
• Content studios, IP owners, creative technology companies, hardware
providers, platforms operators, investment community, distributors
Industry Context

18. Audience of the Future – £33m grant funding
• Ambitious, pre-commercial
content innovations using
global IP.
• New experiences that advance
the state of the art and test with
real audiences at scale.
• Large collaborations across the
supply chain to explore future
commercial models.
• Talent development and
experimental production
for the Screen Industries
• Delivered with Clusters
Programme
• Designing for future audiences £2m
• Making content production cheaper,
faster, more accessible £8m
• Investment Acceleration £2m
£16m Demonstrator
Programme
£12m CR&D
Programme
£5m Industry Centre of Excellence

19. £m 2018/19 2019/20 2020/21 Total
ISCF Funding 4.50 14.00 14.50 33.00
Matched Industry
Funding
1.70 8.10 9.70 19.50
CICP Funding 0.75 1.25 1.25 3.25
Total (£m) 6.95 23.35 25.45 55.75
Audience of the Future – a £56m programme

20. 20
Demonstrator Programme: rationale
• That UK Creative Industries future success in Immersive economy will be
based on our strength in innovation in content, experience and business not
in technology
• That investment in AR/VR/MR/XR at scale is currently held back by lack of
clear audience propositions, forms and formats that could underpin
commercial models and unlock required investment
• The current market is largely pre-commercial, with much current work
innovation driven, small scale, promotional or ancillary rather than seeking
revenue generating opportunities from new audiences.
• Public investment in a series of large scale, pre-commercial, collaborative
experience demonstrators could stimulate content innovation, audience
testing and business modelling at scale, provide sectoral learning and
unlock investment.

21. • Up to £16m; Max Grant £4m
• 4 areas identified with industry as maximum opportunity
• Performance
• Moving Image
• Sport Entertainment
• Visitor Experience
• Looking for projects that can significantly advance creative,
technology and commercial state of the art across a whole sector
Demonstrator Programme: overview

24. © Royal Shakespeare Company

36. 36
Demonstrator Programme: Objectives
• Innovation: we will support industry led consortia to develop NEW
audience experiences that show they can significantly advance the
current state of the art
• Insight: each large scale demonstrator must reach an audience of
>100,000 in order to learn lessons at scale
• Capacity building/knowledge sharing: each consortium should
have sufficient reach to advance knowledge across their sector and
a plan for how to do that*

37. • Your project must demonstrate it can significantly advance the
current state of the art in its chosen field
• Creatively
• Technologically
• AND commercially
• Deliver an audience >100,000 and gather insight
• Use, partner with or have access to globally recognised IP,
cultural institutions or cultural brands
Requirements

38. 38
What do we mean?
• Significantly advance the current state of the art
• Creative proposition
• Audience Proposition
• Commercial Proposition
• Technical implementation
• Reach >100,000 users across the lifetime of the project
• One or more audience propositions or tests
• Gather audience data
• Derive commercial insight
• Use globally recognised IP
• To reach audience
• To address rights and IP issues
• To inform commercial models

39. 39
Ambition and Scale
“Each one of these demonstrators would be
the biggest creative VR project in the world at
the moment”
Jeremy Bailenson, Director Stanford VHI Lab

40. 40
Ambition and Scale
• This is a very ambitious programme
• but absolutely not just a VR one
• We are looking for gamechangers
• not just the next thing (a bit bigger)
• or the same thing (a lot bigger)
• or something that isn’t core to the future of the sector
• The scale of funding available is beyond people’s current
experience
• in thinking, in project scope, production, scale of experience, talent
• but we need to spend it wisely

41. 41
Consortia
• To meet the ambition we think you will need to engage the
whole value chain:
• Specialist XR companies but also institutions, academic and
industry R&D teams, IP owners, rights holders, cultural, content
and experience producers, talent, hardware, technology platform
and distribution partners
• In a consortium with a vision to impact the sector not just
deliver a project for a single company or institution

42. Immersive Experiences: multisensory narrative or
interactive audience experiences mediated through
technologies including:
• virtual, mixed and augmented reality (VR, AR, MR)
• haptics
• advanced visualisation
• other sensory interfaces
Definitions

43. • Audience propositions that curate, design, interpret or present
cultural or entertainment experiences within a physical location. They
include:
• collection and object based institutions such as museums and
galleries
• cultural and heritage locations
• location-based entertainment experiences such as theme parks
or tours
• New environments and experiences that combine these elements
• We particularly encourage ambitious proposals and partnerships with
reach across the sector.
Visitor Experience

44. • To be eligible to lead a bid for funding you must:
• be a UK-registered business,
• carry out your project work in the UK
• intend to exploit the results in or from the UK
• work in collaboration with others
• Collaborations must include at least one SME
• A business may only lead on one application and partner in a
further 2 applications.
• If not leading a business can be a collaborator in any number of
applications.
Eligibility: lead bidders

45. • You can claim up to a max £4 million in grant funding across the consortium
• Significant match funding is required
• To claim the max £4m grant total project costs must be > £5 million.
• Total cost is the combination of the requested grant value and the applicant’s
contribution.
• We anticipate funding projects with total costs £5m to £10m and above
• Demonstrators are classed as industrial research so are funded
• up to 70% of your total project costs if you are a small or micro business
• up to 60% if you are a medium-sized business
• up to 50% if you are a large business
Funding: lead bidders and companies

46. • Universities and IROs – 100% (80% FEC)
• Other research organisations can claim 100% of their project costs
• They must be non-profit distributing and disseminate project results.
• Total research organisations max 30% of grant
• Public Sector Organisation or Charity - 100% of eligible costs
• Must be performing research activity & disseminate project results.
• Must ensure that the eligible costs do not include work / costs already
funded from other public sector bodies
Funding: research organisations

47. • Application Deadline 1st August Noon
• Assessment over August
• Invitation to Interview 1st September
• Interview panel w/b 10th (TBC)
• Notification of outcome w/b 24th (TBC)
• Projects start from 1st Nov 2018
• and must complete by 31st Dec 2020
Timeline

48. AUDIENCE Q&A
Prof Andrew Chitty
Interim Challenge Director, Audience of the Future
@drewchit

49. STATE OF THE ART: PRESENTATION
Emily Smith
Director of Marketing and Business Development
Atlantic Productions
@AtlanticProds

50. AUDIENCES OF THE FUTURE
Emily Smith – Director of Marketing and Business Development
Alchemy VR and Atlantic Productions

51. Since 2014 Alchemy has been
creating educational experiences
that have exhibited in museums
around the world.

52. BAFTA
(BRITISH ACADEMY OF
FILM AND TELEVISION)
EMMY LUMIERE
(ADVANCED IMAGING
SOCIETY)
WILDSCREEN
(PANDA AWARDS)
JACKSON HOLE
(WILDLIFE FILM
FESTIVAL)
NATURAL HISTORY
MUSEUM ALIVE
Best Specialist Factual
FLYING MONSTERS
Best Specialist Factual
DAVID
ATTENBOROUGH’S
GREAT BARRIER
REEF DIVE VR
Digital Creativity
NATURAL HISTORY
MUSEUM ALIVE
Best 3D Documentary
MICRO MONSTERS WITH
DAVID ATTENBOROUGH
Best 3D Documentary
DAVID
ATTENBOROUGH’S
KINGDOM OF PLANTS
3D Creative Arts
DAVID
ATTENBOROUGH’S
GREAT BARRIER REEF
Best Documentary in 4k
CONQUEST OF THE
SKIES
Best 3D Documentary
NATURAL HISTORY
MUSEUM ALIVE
Best presenter led
NHM ALIVE! App
Best Interactive
FLYING MONSTERS
Best 3D Programme
DAVID
ATTENBOROUGH’S
GREAT BARRIER
REEF: AN
INTERACTIVE
JOURNEY
Best Interactive
CONQUEST OF THE
SKIES
Immersive: Fulldome, 3D
FLYING MONSTERS
Best 3D
FLYING MONSTERS
Best Presenter
DAVID
ATTENBOROUGH’S
FIRST LIFE
Outstanding Nature
Programme,
Outstanding Writing &
Outstanding
Graphic Design and Art
Direction
DAVID
ATTENBOROUGH’S
RISE OF ANIMALS
Outstanding Nature
Programme
FLYING MONSTERS
Outstanding
Graphic Design and Art
Direction
SOME OF OUR AWARDS
JACKSON HOLE
(SCIENCE AND MEDIA)
NATURAL HISTORY
MUSEUM ALIVE
Best Earth Sciences
FLYING MONSTERS
Best Presenter & Best
Earth and Environmental
Science
DAVID
ATTENBOROUGH’S
GREAT BARRIER REEF
Best Earth & Sky
CONQUEST OF THE
SKIES
Best Immersive, Full
dome, 3D &Large Format
TELEVISUAL
(BULLDOG AWARDS)
DAVID
ATTENBOROUGH’S
GREAT BARRIER
REEF
Best Specialist Factual,
Best In Show

67. CONTACT:
E emilys@atlanticproductions.co.uk
T +44 (0)20 8735 9300
F +44 (0)20 8735 9333
Brook Green House
4 Rowan Road
Hammersmith
London
W6 7DU
PRESENTED BY:
EMILY SMITH
Director of Marketing and Business Development

68. STATE OF THE ART: PRESENTATION
Ruth Sessions
Director of Production, Factory 42
@RuthSessions

69. STATE OF THE ART: PRESENTATION
Ruth Sessions
Director of Production, Factory 42
@RuthSessions

70. STATE OF THE ART: PRESENTATION
Greg Furber
Creative Director, Rewind.co
@REWINDco

80. STATE OF THE ART: PRESENTATION
Prof Paul Moore
Head of School Communication & Media, Ulster University
@moore_gp

81. STATE OF THE ART: PANEL DISCUSSION
Prof Andrew Chitty@drewchit
Greg Furber @REWINDco
Prof Paul Moore @moore_gp
Ruth Sessions @RuthSessions
Emily Smith @AtlanticProds

82. LUNCH BREAK (45 minutes)
13.45 Facilitated Networking and Consortium Building
14.50 Wrap-up and Next Steps
15.00 Event End
@UKRI_News #industrialstrategy #AudienceFuture

83. NETWORKING AND CONSORTIUM BUILDING
Tara Solesbury
Programme Manager
AHRC Creative Economy Programme
Audience of the Future Team

84. NETWORKING AND CONSORTIUM BUILDING
Five minute ‘speed meetings’ with potential collaborators
Who are you?
Why are you here today?
What are you looking for?
Move on to next meeting

85. WRAP-UP AND NEXT STEPS
Prof Andrew Chitty
Interim Challenge Director, Audience of the Future
UK Research and Innovation
@drewchit
@UKRI_News #industrialstrategy #AudienceFuture

86. Email by end of next week with:
Slides from today
Video of all presentations
Opt in delegate detail spreadsheet
Want to opt in then contact: audience.future@ceprogramme.com
Customer Support Service: 0300 321 4357
Support@innovateuk.gov.uk
@UKRI_News #industrialstrategy #AudienceFuture