Mastered Announce New Funding from Greater London Authority for VFX, Animation and Post.

Mastered, the the talent development agency for the screen sector, unveil their Skills Bootcamp initiative.

As new technologies transform how content is created, edited and delivered, the rate at which professionals need to upskill increases dramatically.

To help studios and professionals keep up, the Greater London Authority has committed £160k to VFX, animation and post to develop the capital’s talent, via the Skills Bootcamp initiative. Employers of all sizes can now commission bespoke programmes from Mastered on everything from mastering procedural in Houdini to experimenting with AI-enhanced 3D workflows.

“We know studios are under pressure to deliver ambitious projects while navigating new technologies and production challenges. This funding ensures senior leaders, engineers, and creative specialists can access world-class training without the usual cost barriers, keeping the UK at the forefront of innovation.”

Perri Lewis, CEO of Mastered

90%-subsidised upskilling for employees

Skills Bootcamps for professionals are short, intensive courses that wrap around your team’s existing project work, so they learn things that they can use the very next day. Curriculums are designed exclusively for each studio, so each programme fits the very unique needs of the people who take it. 90% of the costs are covered by the Greater London Authority.

Supporting junior talent – for free

Skills Bootcamps for juniors and completely free to the learners, and support a more diverse pipeline of talent into the sector.

All Spring Media are currently running a VFX production manager Skills Bootcamp to help production co-ordinators make the move up.
The JGA Group supports post-production assistants with their Get into Film and TV programme.
NextGen Skills Academy nurture juniors into roles in 3D animation and visualisation with their technical Skills Bootcamps.

If you wish to support these initiatives, please reach out to the providers to offer advice, time or opportunities for their graduates.

UK Screen Alliance Members Receive Nominations for the 2025 Broadcast Tech Innovation Awards

The shortlist of nominations for the 2025 Broadcast Tech Innovations Awards has been announced, highlighting the exceptional work of UK Screen Alliance members

The Broadcast Tech Innovation Awards 2025 are sponsored by Appear, EIZO, ERA, Gravity Media, Moments Lab, Netflix and Serious and will be held at The Brewery, London on 27 November 2025, where the winners of the 21 categories, decided by a panel of industry experts, will be announced.

The shortlist includes:

Best Sustainability Initiative

Cut the Carbon & Clear Cut, Cut the Carbon & Clear Cut

Excellence in Audio Post-Production (Non-Scripted)

Richard Gallagher of Fifty Fifty, Flintoff

Excellence in Audio Post-Production (Scripted)

Emily Nuttall, Gemma Thorn & Oliver Green of Core Post, Alma’s Not Normal

Excellence in Grading (Non-Scripted)

Wesley Hibberd & Steve Owen of Films at 59, The Wild Ones

Excellence in Grading (Scripted)

Paul Harrison of Residence Pictures, Dreamers

Excellence in VFX

Richard Frazer & BlueBolt VFX Team, A Thousand Blows
Rob Harvey, Sam Reed, He Sun, Cesar Nunes of Lola Post, Walking with Dinosaurs
The Lux Aeterna VFX Team, Solar System
David Schneider, Tallulah Baker, Jane Paton, Iain Reed, Jamie Stokes & Union Team, Black Mirror S7 – USS Callister: Into Infinity

Post Producer of the Year

Dave O’Callaghan, Residence Pictures
Liz Hird, dock10

Tech Team of the Year

dock10 Media Hub, dock10
Craig Howard, Anthony Timmons, Josh Saxton, Rebecca Chapman, Tom Dyson, Evie May Sellars, Core Post

Hoho Rights Launches New ‘Animated Classics Channel’

Folk Tales, Literary Classics and Biblical Epics Find a New Home on YouTube as Hoho Rights Launches New ‘Animated Classics Channel’

Children’s distribution and rights management company Hoho Rights (Cloudbabies, Toad and Friends), is continuing its dynamic multi-platform strategy by launching a new Animated Classics Channel on YouTube on Wednesday, 1st October which will showcase a number of landmark animated series produced by S4C in collaboration with major broadcasters including the BBC and HBO.

“For some time, a significant part of our strategy has been to find ever creative ways to bring high-quality content to new audiences on platforms with which they are increasingly familiar. Having begun my career at S4C, I am absolutely thrilled to give new life to these incredible landmark series which because of their ground-breaking animation and timeless subject matter have absolutely stood the test of time and are now accessible for new audiences to discover”.
Helen Howells, Joint Managing Director, Hoho Entertainment

Covering a range of topics including religion, literature, opera, and history, the carefully-curated collection will feature major series which were ahead of their time in terms of animation techniques. This bill includes the largest broadcasting co-production ever undertaken – Animated Tales of the World – which featured 39 stories from 39 countries and won two Primetime Emmy Awards in 2001.

Appealing from both nostalgic and educational points of view, much of the content will be linked to the curricula, providing a valuable resource for both educators and students.

“These much-loved programmes hold a special place in the hearts of viewers in Wales and beyond, and we’re delighted to introduce them to new audiences on YouTube. In today’s digital world, it’s vital that quality educational content is accessible online – and we’re excited for a whole new generation to discover, enjoy, and learn from these classic animations.”
Llion Iwan, Chief Content Officer at S4C

From Britain to Europe: Animation UK Builds Bridges at Cartoon Forum

Animation UK was proud to return to Cartoon Forum last week, with Executive Chair Kate O’Connor championing the Animated UK Meets Europe initiative and advocating for a lasting role for British creativity in European markets.

The Animated UK Meets Europe programme is a vital platform for reinforcing cross-border collaboration, and an instrumental means by which to showcase British talent and foster collaboration with European partners.

“Europe is a vital partner for the UK animation sector. This initiative shines a spotlight on our distinctive talent and creative excellence, while reinforcing our commitment to long-term collaboration.”
Kate O’Connor, Executive Chair of Animation UK

Although the UK’s withdrawal from Creative Europe MEDIA prevents British producers from leading projects directly into Cartoon Forum, this dedicated platform is an essential bridge, ensuring UK stories, talent, and partnerships continue to flourish on the international stage.

This year, three UK-led projects were highlighted during a dedicated session, supported by BBC Children’s and S4C: Amelia Fang (CAKE Entertainment, UK, with DCM, Germany), Let’s Play in Tiger Bay (Hoho Entertainment and Bumpybox, UK), and The Adventures of Robin Robin (Aardman Animations, UK).

The programme also featured a roundtable led by Vanessa Chapman, with representatives from the BBC, YLE, and France Télévisions. The discussions emphasised the increasing importance of co-productions as a key strategy for securing funding and fostering creative exchange.

“The UK Meets EU initiative adds another layer of value by spotlighting UK talent and fostering stronger relationships between UK and European studios.”
Patricia Hidalgo, Director of BBC Children’s and Education

Animation UK is grateful to our partners BBC Children’s and Education and S4C for their support, and to all the producers, broadcasters, and creatives who contributed to making this a strong showcase for UK animation.

The success of this year’s programme signals a positive step toward strengthening UK animation’s role in creative Europe in a post-Brexit landscape.

Spotlight on… The Core Skills of VFX Handbook Launch

The UK’s VFX community gathered at Cinesite’s London offices to mark the launch of the updated Core Skills of VFX Handbook, authored by Saint John Walker and supported by UK Screen Alliance and the Metro London BFI Skills Cluster.

The Core Skills of VFX Handbook, last updated in 2017, has long been a cornerstone for educators and aspiring artists, but the fast pace of technological and cultural change in the sector meant a refresh was urgently needed. This new edition has grown from 70 to 112 pages and has been shaped through a year-long consultation process involving focus groups and over 100 industry contributors.

For the first time, the Handbook includes information on remote working, real-time VFX using games engines, virtual production, and the influence of AI.

The launch event welcomed educators and industry professionals for a premiere look at the publication, with limited printed copies available on the day. Following a welcome from Neil Hatton, CEO of UK Screen Alliance, attendees heard from Saint John Walker about the process of compiling the Handbook, before joining a panel discussion and Q&A exploring the challenges facing graduates, the future of VFX skills, and how the Handbook fits into this climate as an antidote to the current precarity of the industry.

People ask me about the difference between this edition and 2017, and I think since Covid, the industry has been more aware that it is people, not technology, that drives the industry forward. This is indicated by the inclusion of pictures of events and social highlights, and a chapter on People. Like the industry, the Handbook has grown and specialised – from 70 to 112 pages. Also, it’s free thanks to sponsorship from UK Screen Alliance with lottery funds. I think it’s the positive shot in the arm the industry and education needs right now to ensure a stream of new, inspired talent.
Saint John Walker, Author of the Core Skills of VFX Handbook

Following the launch, a panel discussion featuring Neil Hatton (CEO, UK Screen Alliance), Saint John Walker (author of the Core Skills of VFX Handbook), Klaudija Cermak (Programme Leader and VFX Compositing Lecturer, Escape Studios), and Michele Sciolette (Head of VFX Technology, Cinesite) explored the opportunities and challenges facing the VFX workforce and how the Handbook will support new entrants.

Here are some key insights from the panel:

Graduate opportunities and industry engagement

The panel acknowledged concerns over declining graduate opportunities in VFX and positioned the Handbook as a tool to bridge the gap between education and industry. While some of its recommendations will take time to embed into curricula, the free resource empowers students to access the information directly and apply it to their own studies and career planning. By demonstrating how a broad range of skills can be valued in the VFX landscape, the Handbook helps to ensure that emerging talent is retained in the industry pipeline.

Artificial Intelligence

Information around the inclusion of AI in VFX is interwoven throughout the Handbook, as opposed to being dedicated to a specific chapter. This allows the Handbook to exists as a living document that can be updated alongside ever-changing AI developments. There is unlikely to be a specific chapter 16 on AI but, rather, the resource will see more consistent updates in the future as we receive more clarity around the intersection of AI and VFX.

Virtual production

The new edition features a dedicated chapter on virtual production, broadening understanding beyond simply LED volumes. Multiple companies contributed to this chapter, articulating virtual production as a diverse and flexible set of tools that will play an increasingly central role in VFX workflows.

The human side of VFX

A newly introduced chapter on “People: VFX’s Secret Weapon” addresses the social realities of VFX work. By emphasising collaboration, community, and relationships, the Handbook challenges the stereotype of VFX as an isolated, purely technological career, instead underscoring its social and diversely creative dimensions.

“It will be essential that new entrants are equipped to engage with current and future practices in a sector characterized by rapid technological innovation and expanding creative possibilities. This comprehensive blueprint for curricula will serve as a vital resource for industry, academia, and above all the graduates aspiring to thrive in our pioneering sector.”
Neil Hatton, CEO of UK Screen Alliance

Find the freely downloadable online version of the Handbook here.

A New Chapter for ENVY Group: HALO, new beginnings, and the future of post-production

ENVY Group, named the Best Post Production House at the 2025 Broadcast Awards, has announced a major new chapter through its acquisition of Halo Group, creating the UK’s biggest independent post production group.

This development brings together two creative powerhouses in post, uniting their award-winning talent and expertise to enhance client experience and expand the Group’s capabilities across broadcast, film, and advertising.

CEO Dave Cadle and Creative Director Natascha Cadle shared their perspectives on what this milestone means for clients, teams, and the wider industry.

Bringing Halo into the ENVY Group means we are able to expand our capabilities into more scripted work, giving clients more choice and flexibility across an even wider range of post-production services. With more suites, and creative spaces available, we can offer an efficient workflow that supports ambitious projects from start to finish. For our teams, it means collaborating in a larger creative community, designed to deliver exceptional results for every production.
Dave Cadle, CEO of ENVY Group

In an industry that is evolving faster than ever, ENVY’s ability to adapt and grow remains central to its success.

The post-production industry is moving faster than ever, with increasing demand for efficiency, scale, and creative quality. Bringing incredible talent together under one ENVY Group was a natural decision as it allows us to consolidate and deliver end to end solution for our clients. We will continue investing in technology, talent, and streamline workflows to stay ahead of the curve, so we can assist our clients of every size and genre.
Dave Cadle

ENVY Group has long been recognised for its innovation and award-winning work. With Halo now part of the family, the company is positioning itself to meet the industry’s changing needs and explore new opportunities for creative partnerships.

What excites us most is the opportunity to bring two creative cultures together. ENVY and Halo share the same passion for excellence, and now we can combine our strengths to offer clients more choice, more flexibility, and more innovation than ever before. This is about creating a great experience for our clients from start to finish.
Natascha Cadle, Creative Director of ENVY Group

The move marks an important milestone for ENVY, reinforcing its commitment to investing in talent, technology, and world-class facilities, while ensuring clients continue to receive the very best service in post-production.

BBC’s Award-Winning Children’s Documentary Series ‘My Life’ Goes Global with Serious Kids

The BBC’s critically acclaimed children’s documentary series My Life is set to reach viewers around the world for the first time, following a new distribution deal with London-based company Serious Kids.

The half-hour documentaries, which air on CBBC and BBC iPlayer, have won multiple accolades, including BAFTAs, International Emmys and the Prix Jeunesse. Each episode tells a personal story from a young person’s perspective, often addressing complex or challenging issues through a child’s eyes.

Under the deal, Serious Kids will curate and distribute a collection of standout titles from the past 15 years, developed in collaboration with independent production companies such as Big Deal Films, Drummer TV and Nine Lives Media. The package will be unveiled at this year’s MIP Junior market in Cannes.

The line-up ranges from the BAFTA-winning Boy on a Bicycle (Drummer TV), in which Ahmed offers a glimpse of life in a refugee camp; to Girl Genius (Big Deal Films), following Kashmea’s campaign to tackle food allergy deaths; and Marvellous Messy Minds (Nine Lives Media), charting three children’s experiences with anxiety, ADHD and OCD.

“I’ve long made it my mission to bring these wonderful films to children and families beyond the UK. Sharing uplifting, homegrown stories is key to showcasing British culture – and taking them to MIPJnr helps build cultural understanding across borders.”
Patricia Hidalgo, Director of BBC Children’s & Education

“We are finally ready to launch the series at Mipcom Junior after over a year’s work on bringing this together. We thank everyone at BBC Children’s and Education, Big Deal Films, Drummer TV, Nine Lives Media and Flix for working with us on this project. We know from attending BAFTA and Emmy award ceremonies over the years that these films are well respected around the world and we are excited to see the response from international broadcast community. If successful we can add new films to the collection to supply what will hopefully be a strand on many other channels besides CBBC.”
Genevieve Dexter, Founder and CEO of Serious Kids

“Sharing stories is such an important way to communicate across different cultures and I am sure young audiences across the world will enjoy and learn from this My Life series.”
Cat Lewis, CEO & Executive Producer at Nine Lives Media

Through being appointed as the worldwide distributor for a selection of My Life films, Serious Kids expands its catalogue of award-winning children’s and family programmes and extends its reach into international markets.

UK Screen Alliance Members Honoured in 2025 Emmy Nominations

The Yard VFX, DNEG, Industrial Light & Magic, RISE FX, Company 3, Union, Important Looking Pirates, and Pixomondo are amongst the list of VFX studios with Emmy nominations this year for outstanding special visual effects.

The 77^th Primetime Emmy Awards, honouring the best in American prime time television from June 1 2024 until May 31 2025, will take place at 1am on Monday, 15 September (BST).

This year’s Emmy Nominations highlight the exceptional work of UK Screen Alliance members, including The Yard VFX, DNEG, Industrial Light & Magic, RISE FX, Company 3, Union, Important Looking Pirates, and Pixomondo. See the list of nominees from UK Screen Alliance member companies below.

The live ceremony in the U.S., hosted by comedian Nate Bargatze, will be broadcast on CBS, and will be available to Paramount+ subscribers on demand the following day.

Nominees for Outstanding Special Visual Effects in a Season or a Movie:

Andor – Disney+, Lucasfilm Ltd.

Special Creature Effects by Scott Pritchard, Visual Effects Supervisor (ILM)
Jean-Clément Soret, Senior Colourist (Company 3)

Dune: Prophecy – HBO | Max, HBO presents a Legendary Television production in association with Flying Life Productions, HerbertProperties LLC, and Wandering Jew Productions

Philip Engstrom, Visual Effects Supervisor (ILP)

House Of The Dragon – HBO | Max, HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

Sven Martin, Visual Effects Supervisor (Pixomondo)
Fausto Tejeda, Associate Visual Effects Supervisor (Pixomondo)

The Last Of Us – HBO | Max, HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

Stephen James, Visual Effects Supervisor (DNEG)
Andreas Giesen, Visual Effects Supervisor (RISE FX)
Philip Engstrom, Visual Effects Supervisor (ILP)

The Lord Of The Rings: The Rings Of Power – Prime Video, Amazon MGM Studios

Daniele Bigi, VFX Supervisor (ILM)
Greg Butler, VFX Supervisor (DNEG)
Laurens Ehrmann, VFX Supervisor (The Yard)

Outstanding Special Visual Effects in a Single Episode

Black Mirror “USS Callister: Into Infinity” – Netflix, Broke & Bones for Netflix

David Schneider, Senior DFX Supervisor (Union)
Tallulah Baker, VFX Producer (Union)
Jane Paton, 2D Supervisor (Union)

Severance “Hello, Ms. Cobel” – Apple TV+ , Fifth Season in association with Apple

Shawn Hillier, Visual Effects Associate Supervisor (ILM)
Radost Ridlen, Visual Effects Associate Supervisor (ILM)
Martin Kolejak, Environments Lead (ILM)
Brian Holligan, Producer (ILM)

Animated UK meets Europe at Cartoon Forum: Kate O’Connor on the Future of UK-EU Creative Relations

Kate O’Connor, Executive Chair of Animation UK, recently spoke to The European Animation Journal about rebuilding creative bridges with Europe and the role of UK producers in today’s shifting landscape.

In the interview, Kate reflects on the return of the Animated UK Meets Europe initiative at Cartoon Forum, highlighting why this platform is central to ensuring that the UK’s creative voice remains strong across European markets.

Post-Brexit realities have reshaped the way UK producers can participate, with funding decisions now limiting involvement to minority co-production partnerships. Yet Kate underlines that Cartoon Forum remains a vital space, not only for showcasing UK work but also for setting an example for future generations on overcoming structural challenges, such as the loss of access to Creative Europe MEDIA funding.

She also references Animation UK’s Blueprint for Sector Growth, which makes the proposal for closer alignment with European policy frameworks to strengthen long-term collaboration.

👉 Read the full interview here to explore Animation UK’s case for the UK animation industry re-joining Creative Europe.

The VFX and Animation World Atlas reveals global growth over the last 12 months

UK Screen Alliance in conjunction with the British Film Commission are proud to be platinum sponsors of the 2025 edition of the Visual Effects and Animation World Atlas, published today (29^th July).

The Atlas presents a snapshot of the global workforce, and as the data collection is repeated every quarter, it gives an indication of the recent changes in the sector. The data is drawn from a study of 120,000 VFX and animation professionals associated with 2,450 studios worldwide, and is collected from public sources such as company websites and individual social media profiles.

The Atlas shows that the global VFX and animation work force grew by 9.3% in the second half of 2024, followed by a contraction of 7.6% in the first half of 2025, giving a 1% net industry global growth over the past 12 months. The London workforce reduced by 5.1%. This figure includes the impact on the UK of the global collapse of the Technicolor group, which resulted in the shuttering of The Mill and MPC in February; followed by the closure of Jellyfish Pictures in March. Together these accounted for the loss of around 500 jobs in the UK.

London remains by far the largest city hub in Europe for VFX and animation, with 10,564 people, more than double the size of Paris, it’s closest European rival. In the global league table, London sits third, just behind Mumbai on 10,866, and Los Angeles on 12,354.

The UK has recently improved its tax incentives for film and TV, with an uplifted rate of 29.25% net for VFX, which is also now exempt from the 80% cap on eligible expenditure. VFX, post production and animation are also eligible for a net rebate of 39.25% for films with core production expenditure under £15 million. Although the VFX uplift can be claimed on expenditure from January 1^st 2025, it wasn’t confirmed in UK law until late March, with many productions reportedly delaying decisions for this certainty. UK Screen Alliance, the trade body for VFX, post and animation, feels that the impact of the recent improvements is only just beginning to be apparent.

“The VFX and Animation World Atlas is fast becoming an invaluable data source for our industry with its trend analysis and up-to-date information. But even though the data is recent, it reflects the industry as seen through the rear-view mirror. UK Screen Alliance has surveyed its member companies to gauge future sentiment, and found that 71% have seen an increase in sales enquires since the introduction of the VFX uplift, with 43% of those surveyed indicating a significant increase. As those enquiries translate into confirmed bookings VFX companies are showing increasing confidence in a return to sustained growth in excess of 5% over the next 12 months.
“The UK’s VFX industry has an unrivalled reputation for success, with award-winning innovative crews. Now that we can couple that with a competitive tax incentive, we know that many productions are viewing the UK as a priority destination for VFX. “
Neil Hatton, CEO of UK Screen Alliance

The VFX and Animation World Atlas is available as a free download from www.vfxatlas.com