CEO of UK Screen Alliance Makes the Case for Employer Engagement to Protect the Screen Industry’s Talent Pipeline

“The decisions we make now will shape the industry for years to come”: Neil Hatton’s call to action for employer engagement in Film, TV, and VFX further education

Capital City College (CCC) has launched a Creative and Digital Specialist Hub and Skills Advisory Board at its Mosaic@Soho campus, bringing together employers, educators and students to shape the future of digital and creative skills across London. This board launch is especially timely, following from the recent UK Government announcement this week of five new Technical Excellence Colleges (TEC)s, including CCC as a TEC for digital and technology.

At a busy launch event held this week, this new advisory board saw strong engagement from industry partners, including employers from global organisations, innovative start-ups and SMEs.

The event opened with a keynote from UK Screen Alliance CEO, Neil Hatton MBE, making the case for stronger engagement from employers in the film, TV, and VFX industry with the further education sector. With industry-aligned qualifications under threat from government reform and a generation of new talent at risk of being lost, he warned that inaction now could mean critical skills shortages when the sector’s recovery gathers pace.

Read Neil’s speech below:

Strengthening Employer Engagement in Further Education for Film, TV and VFX

Good afternoon everyone,

It’s a pleasure to be here with you today—educators, employers, and learners—people who collectively shape the future skills base of the UK’s film, television, animation, and VFX sectors.

Today, I want to focus on employer engagement with education—not as a “nice to have,” but as a strategic necessity.

Our creative industries are one of the UK’s great success stories: contributing an estimated £145.8 billion to the economy. That’s 5.5% of the UK’s GVA. They are a global export powerhouse, a magnet for inward investment, and a defining cultural asset. They are rightly recognised as a priority sector within the government’s Industrial Strategy.

And yet, this is also an ecosystem under extreme pressure, particularly in film and television, with rapidly evolving business models, adjusting to new geopolitical and investment realities, and disruptive technological change.

But just as TV and Film has its challenges, so too does education. Further Education has long operated under financial constraints, now compounded by a constantly shifting policy environment such as T Levels, V Levels, and the transition to a Growth and Skills Levy.

We may not agree with all these reforms. The creative industries—with their project-based nature—don’t always fit neatly into standardised systems. In some cases, government proposals risk undoing progress already made.

But this is precisely why employer engagement matters more, not less. As change accelerates, we must be actively involved—pragmatic, collaborative, and focused on shaping workable solutions. Its what we do day-to day-anyway!

Let’s look at the industry context and while recent history seems bleak, there is some sunlight.

Film and television have had a difficult three years. Since the pandemic, we’ve gone from the boom of peak TV and Covid catch-up, to the disruption of the writers’ and actors’ strikes. Beneath those strikes was a deeper recalibration: a shift from subscriber growth to profitability in streaming services, leading to reduced commissioning of original content. The anticipated post-strike recovery didn’t fully materialise.

Domestically, the BBC’s budget has fallen 30% in real terms, while for commercial broadcasters the cost-of-living crisis has weakened advertising revenues. The result has been less investment in content.

The film and TV world as we knew it before the pandemic, is not the reality now and we are still adjusting to a new normal.

Across the supply chain, we’ve seen redundancies, hiring freezes, and fewer entry-level roles. For many trying to enter the industry, opportunities simply haven’t been there.

And yet, this is not a story of decline across the board.

There are clear signs of renewal in some parts.

In VFX, recent tax credit uplifts are reinforcing the UK’s position as a global destination for inward investment. Data from the World VFX Atlas shows the London VFX and animation workforce grew by 10% over the past year. That is significant. 1000 people in new jobs.

Yes—budgets are down. Contracts are shorter and harder won. But the direction of travel for VFX is positive. There are tantalising signs of at least another 5% growth over the next 12 months.  The global pie for VFX may have become smaller—but as a result of the tax credit changes that we campaigned for and won last year. the UK is poised to take a larger slice.

However, we must be realistic. The first phase of recovery focuses on experienced professionals—bringing back those who were laid off. Entry-level hiring may take little longer to return.

This creates a dilemma.

Because education does not operate on a one-year cycle. You can’t just turn it on or off based on current demand. It operates on a pipeline of three, five, even ten years.

If we allow that pipeline to weaken now, we may face labour shortages just as the industry hits its next growth phase.

Let’s zoom out further and consider the full talent lifecycle.

The digital VFX industry is still relatively young. It really began to take shape in the late 1980s and early 1990s. From 2001 to 2011, it gained significant momentum in the UK, mostly thanks to a young wizard called Potter.

Many of its early pioneers—those with 30-plus years of experience—will begin to step back in the coming years. This is not an immediate retirement crisis, but it raises important questions: will we have the right mix of skills and experience at the right time?

That depends on a functioning talent development pipeline—where mid-level professionals are supported to progress, and new entrants are ready to step in behind them.

It will just mention AI. It will have an impact, but not as existential as the doom-mongers have been predicting. It’s another useful tool in the box and creates opportunity if embraced thoughtfully. The jobs are still there but with upgraded skills.

At the same time, film and TV are no longer the only destinations for students who study it.

3D and real-time technologies are expanding from gaming and virtual production, into architecture, product design, immersive experiences, and beyond. 3D visualisation is increasingly embedded in sectors like automotive, healthcare, criminology, and life sciences.

We are also seeing the growth of the creator economy, where people are ignoring conventional career pathways. They are getting on with just doing their own thing, choosing to build their own opportunities rather than following traditional career pathways.

Now let’s turn to the education landscape itself, and to set the scene,  I want to rewind fifteen years to 2011.

This report called Next Gen was published by NESTA. It was written by Ian Livingstone, founder of Eidos,  and Alex Hope, founder of DNEG. Its subtitle was “Transforming the UK into the world’s leading talent hub for the video games and visual effects industries.”

In 2011, VFX and Games were enjoying a period of growth but they were already suffering skills shortages that were only alleviated by sourcing excellent skilled talent from overseas, an avenue that just a few years later would be choked off by Brexit.

The report was critical of the subjects then available in the curriculum, and advocated for the blend of skills required by these frontier sectors to thrive, namely STEM coupled with Art and strong emphasis on coding.

The report inspired a group of forward thinking games and VFX employers to collaborate with AIM Awards to create a Level 3 extended diploma in Games, Animation and Visual Effects Skills, as still taught with great success here today at Mosaic.

Additionally these employers developed a strong and innovative package of industry engagement for the colleges teaching the qualification, and formed the NextGen Skills Academy network of affiliated colleges.

Mosaic is one of 13 colleges teaching the Next Gen qualification. Across the UK there’s around 600 students currently enrolled. And the outcomes are good with 78% of alumni passing into higher education on relevant degree courses, 12% starting work directly and 8% getting apprenticeship placements.

So far so good, but here’s the rub.

Government policy is moving towards a simplified Level 3 landscape centred on T Levels, V Levels, and A Levels. Specialist qualifications like NextGen—and others such as UAL diplomas—are at risk of defunding.

These qualifications underpin the teaching in specialist institutions like Mosaic, but also at London Screen Academy, ELAM and The Brit School and provide flexible, industry-aligned pathways. To lose these qualifications would significantly impact how we prepare students for careers in the creative industries.

It looks as if the UAL qual will be defunded by the academic year 27-28.

The Aim/NextGen qual could survive until 2029-30, but it’s living on borrowed time.

We are expecting DfE and Skills England to issue an implementation plan that confirms these timelines in June or July this year.

This is understandably frustrating. Industry has already invested heavily in building effective pathways. What exists is not broken—and does not need fixing in this way.

But we are rapidly approaching the end of the runway and may soon need to consider alternatives. Doing nothing is not an option. Nor is accepting new qualifications designed without meaningful industry input.

Employer engagement, therefore, becomes essential.

If industry does not actively shape these new pathways, we risk ending up with systems that fail to meet real-world needs.

So what are the options?

T Levels offer depth and include a mandatory work placement—but raise challenges around scalability, geographical access, and employer capacity.

V Levels provide broader reach without mandatory placements—but with significantly reduced teaching time.

We may need to support both, depending on context and future announcements on placement flexibility.

So how do we move forward?

First; stronger collaboration.

Advisory boards are important to create deeper partnerships—co-designing courses, sharing insight, and creating fast, effective feedback loops.

Curricula must reflect real industry needs. That doesn’t mean chasing every new tool, but it does mean focusing on core, transferable skills: problem-solving, storytelling, shot composition, communication, collaboration, and adaptability.  The Core Skills of VFX Handbook that we co-funded last year is example of effective collaboration between academia and industry.

Second; placements and apprenticeships.

There is no substitute for real-world experience. But we need more flexible models—shorter placements, project-based work, virtual opportunities.

We need to bring employers to students as well as students to employers.

Apprenticeships remain valuable, but must work for employers—supported by appropriate incentives and flexible delivery models.

I will continue to press government to build these necessary flexibilities into T Levels and apprenticeships. But we will need employers of all sizes to open their doors to more students.

Third; tutor development.

Educators need access to industry to teach effectively. If we invest in teachers, we invest in every student they go on to teach.

We should expand opportunities for industry exchange—teachers gaining industry experience, and professionals contributing directly to education.

I’m proposing a pilot scheme with the GLA to encourage bidirectional industry exchange initiatives—where tutors go on placements in studios—and industry professionals spend time teaching in colleges.

There’s real progress on the horizon here.

And finally; inclusion.

We must widen access—not only because it is right, but because diversity goes hand-in-hand with creativity and innovation.

This means reaching new communities, creating alternative entry points, and ensuring pathways are visible, accessible, and viable.

So, to conclude:

The industry is beginning to recover. Growth is on the horizon. But the talent pipeline that underpins that growth needs attention now.

My call to action is simple.

To employers: see education as part of your workforce strategy. Offer placements, contribute to curriculum development, and invest time in shaping the future talent pool.

To educators: continue to adapt and innovate. Build partnerships, focus on core skills, and prepare students for long-term careers, not just first jobs.

And to all of us: work together.

If we act in isolation, we create fragmentation and inefficiency. In a time of constrained resources, collaboration is essential.

None of this is easy. But difficulty is not an excuse for inaction. The decisions we make now—about engagement, collaboration, and investment—will shape the industry for years to come.

The Next Gen report remains as relevant today as it was 15 years ago. I’m going to borrow Alex Hope’s final words in his conclusion to the report, as they seem to perfectly sum up this call to action. He said then, “We cannot sit back and allow others to do it for us. We must step up and contribute.”

I echo his words and sentiment. I’m up for it. Are you?

Thank you for listening.

BAFTA TELEVISION CRAFT AWARDS 2026 NOMINATIONS ANNOUNCED

The nominees have been announced for the 2026 BAFTA TV Craft Awards, highlighting the work of UK Screen Alliance members

Yesterday, BAFTA announced the nominations for the 2026 BAFTA Television Craft Awards with Samsung OLED, hosted by Maisie Adam, celebrating the very best in television over the past year.

View the full list of nominations for the BAFTA TV Craft Awards with Samsung OLED HERE. Below, find the nominees for Special, Visual, and Graphic Effects.

BAFTA TV Craft Special, Visual, and Graphic Effects Nominees

Andor

• Industrial Light & Magic
• Luke Murphy
• Mohen Leo
• Neal Scanlan
• Jean-Clément Soret

Prehistoric Planet: Ice Age

• Framestore
• Russel Dodgson
• Andy Jones
• Simon Bland
• François Dumoulin
• Gavin McKenzie

USSR Callister: Into Infinity (Black Mirror)

• Union VFX
• Stargate Studios Malta
• Magic Lab Studios
• James MacLachlan
• Josie Henwood
• Sam Chynoweth

The Witcher

• Sara Bennett, Milk Visual Effects
• Richard Reed
• Scanline VFX
• David Stephens
• Jet Omoshebi
• Caimin Bourne

A special mention to the team at Cinesite for their work on The Witcher, as well as the team at Milk VFX, and One of Us.

The BAFTA Television Craft Awards with Samsung OLED will take place on Sunday 26 April.

Greater Manchester Animation Sector Report

Landmark North West Animation Survey highlights urgent need to treat animation as a priority sector

On Monday 9th March, the results of a major sector survey mapping the scale, growth and challenges of Greater Manchester’s animation, VFX, motion graphics, games cinematic and immersive media industries were published. The research was led by Manchester Animation Festival in collaboration with BBC Children’s & Education, MediaCity and the MediaCity Immersive Technologies Innovation Hub, following the launch of a landmark data‑gathering initiative in October 2025 designed to build the most comprehensive portrait to date of the region’s animation ecosystem.

The report makes compelling case for animation to be recognised as a strategic industry in its own right, rather than continuing to sit in the shadow of broader film and television policy. It presents Greater Manchester as one of the UK’s most significant animation hubs, with decades of accumulated skills, global relationships and cultural impact, but also warns that the sector is now under growing strain.

“With this regional report, Greater Manchester Combined Authority now have both the data and the unique opportunity to make real changes that benefit it’s internationally renowned collective of creatives working in the animation sector and to set to the blueprint for prosperity that the rest of the animation hubs across the UK can follow.”

Dr Steve Henderson, Festival Director at MAF and GMAS Survey Author

The findings show a region with a substantial and internationally significant animation ecosystem. Greater Manchester’s strengths extend well beyond one part of the screen sector, encompassing animation, VFX, motion graphics, XR and games-related work, supported by a recognised creative community and important industry platforms such as Manchester Animation Festival and Motion North. The report also highlights the importance of these events in supporting networking, confidence, recruitment and industry visibility.

Yet the report is equally clear that this is a sector facing real fragility. It warns that without targeted intervention, Greater Manchester’s animation industry could contract rapidly through the loss of freelance talent, erosion of skills and declining confidence in the viability of animation careers. That warning is backed by stark survey findings: 42% of freelancers said they feel less secure about their role in the industry, while 28% said they are actively seeking opportunities outside animation. Once lost, the report notes, the workforce and expertise will be extremely difficult and costly to rebuild.

The report also argues that animation is too often overlooked in policy despite offering something strategically different from much of the wider screen economy. While inward investment in film and high-end television brings jobs and short-term activity, the report notes that much of the long-term value and IP ownership can sit elsewhere. Animation, by contrast, is described as inherently IP-driven, capable of generating enduring brands, long-tail revenue and stronger local creative identity.

That distinction matters not only for Greater Manchester, but for the UK as a whole. The regional case set out here reflects a wider national problem: animation is often nominally included within the broader TV and film sector, but in practice receives far less tailored recognition and support. This is even though animation is a high-skill, high-value, innovation-led and export-facing industry, with business models and workforce structures that differ materially from live action.

The recommendations in the report are therefore significant. They call for animation to be explicitly recognised as a priority creative industry within local and regional strategies, and for any screen office, screen fund or related support mechanism to actively include animation rather than defaulting to live-action film and television. The report also recommends support for early-stage animation IP, retaining ownership within the region, tackling freelancer insecurity, and strengthening flagship events that support the wider ecosystem.

For Animation UK, this should be seen as both a regional wake-up call and a national policy signal. Greater Manchester is not an emerging cluster asking for special treatment; it is an established animation centre warning that a valuable and distinctive industry is being placed at risk by under-recognition and under-support. If this is happening in one of the UK’s leading animation regions, it should concern policymakers everywhere.

“Greater Manchester’s report shows clearly that animation is a high-value, high-skill, IP-generating sector that is too often overlooked in policy despite its cultural and economic importance. The regional picture it describes reflects a wider UK reality. If government is serious about backing the future of the screen industries, animation must be recognised as a priority sector in its own right before more skills, talent and creative capacity are lost.”

Kate O’Connor, Animation UK

Animation UK believes the implications go well beyond Greater Manchester. Across the UK, animation businesses and freelancers are under mounting pressure from weakened commissioning pipelines, fragile development routes and insufficient policy attention. The danger is that animation continues to be treated as an add-on to the wider screen sector, even though it is one of the UK’s most important indigenous creative industries — generating IP, building long-term value, developing specialist skills and contributing to both economic growth and cultural impact.

The full report can be download and shared here.

VISUAL EFFECTS SOCIETY ANNOUNCES WINNERS FOR THE 24TH ANNUAL VES AWARDS

From ‘Avatar’ to ‘KPop Demon Hunters’: Inside the 2026 VES Awards Winners

The Visual Effects Society has announced the winners of the 24th Annual VES Awards, which took place last night at the The Beverly Hilton in Los Angeles. The ceremony honoured outstanding achievements in visual effects across 25 categories spanning film, television, animation, gaming, technology, commercials, special venue projects, and student work.

The evening’s most decorated project was Avatar: Fire and Ash, which earned seven awards, including Outstanding Visual Effects in a Photoreal Feature. The film also received accolades for Outstanding Character in a Photoreal Feature for the character Varang, portrayed by Oona Chaplin, who presented the ceremony. A special congratulations to UK Screen Alliance Member, Industrial Light & Magic, for their fantastic work on Avatar: Fire and Ash.

In the animated feature categories, KPop Demon Hunters led with three awards. Among its honours were Outstanding Animation in an Animated Feature and Outstanding Character in an Animated Feature for the character Rumi.

Other top-category winners included Sinners for Outstanding Supporting Visual Effects in a Photoreal Feature; Prehistoric Planet: Ice Age for Outstanding Visual Effects in a Photoreal Episode; and BMW’s commercial Heart of Joy: Meet Okto the Octopus for Outstanding Visual Effects in a Commercial. A special congratulations to UK Screen Alliance Members, Industrial Light & Magic, Outpost VFX, and LIGHT for their outstanding contributions to Sinners.

Additional honourees included the video game Ghost of Yōtei (Outstanding Visual Arts in a Real-Time Project), the Disney+ series Andor (Outstanding Special (Practical) Effects in a Photoreal Project), and Azimuth (Outstanding Visual Effects in a Student Project).

“The VES is honoured to recognize brilliant artistry and technological innovation across a wide range of disciplines. The craft of visual effects is constantly evolving to push the limits of our imaginations, and tonight’s inspiring winners and nominees represent best-in-class work from around the world. Congratulations to all!”

Kim Davidson, VES Board Chair

(source: Visual Effects Society)

See the full list of winners below:

1. OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL FEATURE

Avatar: Fire and Ash

Richard Baneham

Peter Litvack

Eric Saindon

Nicky Muir

Steve Ingram

2. OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL FEATURE

Sinners

Michael Ralla

James Alexander

Nick Marshall

Espen Nordahl

Donnie Dean

3. OUTSTANDING ANIMATION IN AN ANIMATED FEATURE

KPop Demon Hunters

Joshua Beveridge

Jacky Priddle

Benjamin Hendricks

Clara Chan

4. OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL EPISODE

Prehistoric Planet: Ice Age; “The Big Freeze”

Russell Dodgson

Tracey Gibbons

François Dumoulin

Gavin McKenzie

5. OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL EPISODE

The Residence; “The Fall of the House of Usher”

Seth Hill

Tesa Kubicek

John Nelson

Gabriel Vargas

6. OUTSTANDING VISUAL ARTS IN A REAL-TIME PROJECT

Ghost of Yōtei

Jason Connell

Matt Vainio

Joanna Wang

Jasmin Patry

7. OUTSTANDING VISUAL EFFECTS IN A COMMERCIAL

BMW; “Heart of Joy | Meet Okto the Octopus”

Tom Raynor

Helen Tang

Jack Harris

Alex Kulikov

8. OUTSTANDING VISUAL EFFECTS IN A SPECIAL VENUE PROJECT

The Wizard of Oz at Sphere

Ben Grossmann

Tamara Watts Kent

Dr. Irfan Essa

Matt Dougan

Glenn Derry

9. OUTSTANDING CHARACTER IN A PHOTOREAL FEATURE

Avatar: Fire and Ash; Varang: Leader of the Ash Clan

Stephen Clee

Stuart Adcock

Keven Norris

Joseph Kim

10. OUTSTANDING CHARACTER IN AN ANIMATED FEATURE

KPop Demon Hunters; Rumi

Sophia (Seung Hee) Lee

Andrea Matamoros

Marc Souliere

Joshua Beveridge

11. OUTSTANDING CHARACTER IN AN EPISODIC, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECT

IT: Welcome to Derry; “The Thing in the Dark;” The Pickle Monster

Philip Harris-Genois

Pierric Danjou

Chloé Ostiguy

Jonathan Bourdua

12. OUTSTANDING ENVIRONMENT IN A PHOTOREAL FEATURE

Avatar: Fire and Ash; Bridgehead Industrial City

Gianluca Pizzaia

Steve Bevins

Dziga Kaiser

Zsolt Máté

13. OUTSTANDING ENVIRONMENT IN AN ANIMATED FEATURE

Zootopia 2; Marsh Market

Limei Z. Hshieh

Alexander Nicholas Whang

Joshua Fry

Ryan DeYoung

14. OUTSTANDING ENVIRONMENT IN AN EPISODIC, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECT

Andor; “Welcome to the Rebellion;” The Senate District

John O’Connell

Falk Boje

Hasan Ilhan

Kevin George

15. OUTSTANDING CG CINEMATOGRAPHY

Avatar: Fire and Ash

Steve Deane

A.J. Briones

Zachary Brake

Andrew Moffett

16. OUTSTANDING MODEL IN A PHOTOREAL OR ANIMATED PROJECT

Avatar: Fire and Ash; The Windtraders’ Gondola

Michael Smale

Sam Sharplin

Joe W. Churchill

Jacqi Dillon

17. OUTSTANDING EFFECTS SIMULATIONS IN A PHOTOREAL FEATURE

Avatar: Fire and Ash; Simulating Pandora

Nicholas James Illingworth

Sarah C. Farmer

James Robinson

Ryan Bowden

18. OUTSTANDING EFFECTS SIMULATIONS IN AN ANIMATED FEATURE

KPop Demon Hunters

Filippo Maccari

Nikolaos Finizio

Daniel La Chapelle

Srdjan Milosevic

19. OUTSTANDING EFFECTS SIMULATIONS IN AN EPISODE, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECT

Prehistoric Planet: Ice Age; The Big Freeze

Edward Ferrysienanda

Kevin Christensen

Guy Schuleman

Kevin Tarpinian

20. OUTSTANDING COMPOSITING & LIGHTING IN A FEATURE

F1: The Movie; Modern Race and POV Footage

Hugo Gauvreau

Chris Davies

Raushan Raj

Amaury Rospars

21. OUTSTANDING COMPOSITING & LIGHTING IN AN EPISODE

The Last of Us; “Through the Valley;” A Storm of Ice, Fire and Flesh

Tobias Wiesner

Mark Julien

Owen Longstaff

Brendan Naylor

22. OUTSTANDING COMPOSITING & LIGHTING IN A COMMERCIAL

BMW; “Heart of Joy | Meet Okto the Octopus”

Alex Kulikov

Jack Harris

Adam Chabane

Nicola Borsari

23. OUTSTANDING SPECIAL (PRACTICAL) EFFECTS IN A PHOTOREAL PROJECT

Andor; “Who Are You?”

Luke Murphy

Dean Ford

Jody Eltham

Darrell Guyon

24. EMERGING TECHNOLOGY AWARD

Avatar: Fire and Ash; Kora Fire Toolset

Alexey Dmitrievich Stomakhin

John Edholm

Murali Ramachari

Aleksandr Isakov

25. OUTSTANDING VISUAL EFFECTS IN A STUDENT PROJECT

Azimuth

Thomas Teisseire

Cassandre Cinier

Martin Bluy

Mathis Giraudeau

EE BAFTA FILM AWARDS 2026 NOMINATIONS REVEALED

As BAFTA unveils its 2026 nominations for Special Visual Effects, the outstanding work of UK Screen Alliance members takes centre stage

The 2026 EE BAFTA Film Awards Nominations have been released, highlighting the following work from UK Screen Alliance members in the Special Visual Effects category:

“Avatar: Fire and Ash” (20th Century Studios)

• Industrial Light & Magic

“F1” (Apple Original Films/Warner Bros.)

• Industrial Light & Magic
• Framestore

“Frankenstein” (Netflix)

• Industrial Light & Magic

“How to Train Your Dragon” (Universal Pictures)

• Framestore

“The Lost Bus” (Apple Original Films)

• Cinesite
• Industrial Light & Magic
• Belo FX
• Outpost VFX
• Rise

The EE BAFTA Film Awards ceremony will take place on Sunday, 22 February 2026.

OSCARS 2026 BEST VISUAL EFFECTS NOMINEES

Nominations for Best Visual Effects at the 98th Academy Awards have been announced, showcasing the incredible work of UK Screen Alliance members

 “Avatar: Fire and Ash” (20th Century Studios)

• Industrial Light & Magic

“F1” (Apple Original Films/Warner Bros.)

• Industrial Light & Magic
• Framestore

“Jurassic World: Rebirth” (Universal Pictures)

• Industrial Light & Magic
• Important Looking Pirates

“The Lost Bus” (Apple Original Films)

• Cinesite
• Industrial Light & Magic
• Belo FX
• Outpost VFX
• Rise

“Sinners” (Warner Bros.)

• Industrial Light & Magic
• Outpost VFX
• LIGHT

The winners will be announced at the Academy Awards, which will take place on 15 March, hosted by comedian Conan O’Brien.

EE BAFTA FILM AWARDS 2026 LONGLIST REVEALED

The remarkable work of UK Screen Alliance members recognised in the 2026 BAFTA longlist

The 2026 EE BAFTA Film Awards longlists have been released, highlighting the following work from UK Screen Alliance members:

Special Visual Effects

Ten of 71 films submitted for consideration are advancing in the Special Visual Effects category:

“Avatar: Fire and Ash” (20th Century Studios)

• Industrial Light & Magic

“F1” (Apple Original Films/Warner Bros.)

• Industrial Light & Magic
• Framestore

“Frankenstein” (Netflix)

• Industrial Light & Magic

“How to Train Your Dragon” (Universal Pictures)

• Framestore

“Jurassic World: Rebirth” (Universal Pictures)

• Industrial Light & Magic
• Important Looking Pirates

“The Lost Bus” (Apple Original Films)

• Cinesite
• Industrial Light & Magic
• Belo FX
• Outpost VFX
• Rise

“Superman” (DC Studios)

• Industrial Light & Magic

“Tron: Ares” (Walt Disney Pictures)

• Industrial Light & Magic

“Wicked: For Good” (Universal Pictures)

• Industrial Light & Magic
• Outpost VFX
• Framestore

The EE BAFTA Film Awards nominations will be announced on Tuesday, 27 January 2026, and the ceremony will take place on Sunday, 22 February 2026.

OSCARS 2025 BEST VISUAL EFFECTS SHORTLIST REVEALED

The Academy highlights the work of UK Screen Alliance Members in Best Visual Effects Oscar Shortlist

The Academy of Motion Picture Arts and Sciences have announced the shortlist of 10 films in the running for Best Visual Effects for the 98th Academy Awards, highlighting the work of UK Screen Alliance Members:

 “Avatar: Fire and Ash” (20th Century Studios)

• Industrial Light & Magic

“The Electric State” (Netflix)

• Industrial Light & Magic

“F1” (Apple Original Films/Warner Bros.)

• Industrial Light & Magic
• Framestore

“Frankenstein” (Netflix)

• Industrial Light & Magic

“Jurassic World: Rebirth” (Universal Pictures)

• Industrial Light & Magic
• Important Looking Pirates

“The Lost Bus” (Apple Original Films)

• Cinesite
• Industrial Light & Magic
• Belo FX
• Outpost VFX
• Rise

“Sinners” (Warner Bros.)

• Industrial Light & Magic
• Outpost VFX
• LIGHT

“Superman” (DC Studios)

• Industrial Light & Magic

“Tron: Ares” (Walt Disney Pictures)

• Industrial Light & Magic

“Wicked: For Good” (Universal Pictures)

• Industrial Light & Magic
• Outpost VFX
• Framestore

The Oscar VFX bake-offs will take place from 10-11 January, where the 10 shortlisted films will be considered for the final nominations, which will be announced on Thursday, 22 January.

Oscars Visual Effects Longlist Honour UK Screen Alliance Members

The longlist of twenty Oscar finalists for Best Visual Effects has been released, highlighting the exceptional work of UK Screen Alliance members

Variety has confirmed the titles longlisted for Best Visual Effects Oscars, highlighting the remarkable work of UK Screen Alliance members across the board:

Cinesite

“The Lost Bus” (Apple Original Films)

Industrial Light & Magic

For “Avatar: Fire and Ash” (20th Century Studios)

“The Electric State” (Netflix)

“F1” (Apple Original Films/Warner Bros.)

“The Fantastic Four: First Steps” (Marvel Studios)

“Frankenstein” (Netflix)

“Jurassic World: Rebirth” (Universal Pictures)

“Lilo and Stitch” (Walt Disney Pictures)

“The Lost Bus” (Apple Original Films)

“Mission: Impossible – The Final Reckoning” (Paramount Pictures)

“Predator: Badlands” (20th Century Studios)

“The Running Man” (Paramount Pictures)

“Sinners” (Warner Bros.)

“Superman” (DC Studios)

“Tron: Ares” (Walt Disney Pictures)

“Wicked: For Good” (Universal Pictures)

Outpost VFX

For “Captain America: Brave New World” (Marvel Studios)

“The Lost Bus” (Apple Original Films)

“Wicked: For Good” (Universal Pictures)

“Sinners” (Warner Bros.)

Framestore

“F1” (Apple Original Films/Warner Bros.)

“The Fantastic Four: First Steps” (Marvel Studios)

“How to Train Your Dragon” (Universal Pictures)

“Mickey 17” (Warner Bros.)

“Predator: Badlands” (20th Century Studios)

“Wicked: For Good” (Universal Pictures)

Important Looking Pirates

“Jurassic World: Rebirth” (Universal Pictures)

“Predator: Badlands” (20th Century Studios)

Belo FX

“The Lost Bus” (Apple Original Films)

DNEG

“Mickey 17” (Warner Bros.)

LIGHT

“Sinners” (Warner Bros.)

The Yard VFX

“Predator: Badlands” (20th Century Studios)

One of Us

“Mission: Impossible – The Final Reckoning” (Paramount Pictures)

Rise

“The Lost Bus” (Apple Original Films)

The Oscar VFX bake-offs will take place from 10-11 January, where 10 shortlisted films will be considered for the final nominations which will be announced on Thursday, 22 January.

BLUE ZOO TO BE HONOURED WITH BAFTA SPECIAL AWARD

Multi-award-winning animation studio, Blue Zoo, will receive a BAFTA Special Award next month, recognising the studio’s extraordinary 25-year legacy and its significant social and cultural impact

Today, BAFTA announces that Blue Zoo will receive a BAFTA Special Award next month, recognising the studio’s extraordinary 25-year legacy in children’s media and its significant social and cultural impact. The honour celebrates Blue Zoo’s commitment to creating animation that educates, empowers, and entertains millions of children and families around the world – work that reflects BAFTA’s mission to champion excellence in content for children and young people.

As part of its year-round Young BAFTA programme – which focuses on inspiring and nurturing the next generation of creatives in film, games and TV through its initiatives, events and resources – BAFTA is honouring a studio that continuously elevates the craft of content creation for young audiences. The award will be presented to Blue Zoo’s co-founders Adam Shaw, Oli Hyatt MBE, and Tom Box, as part of a special presentation and celebratory lunch at BAFTA 195 Piccadilly on Monday 8 December 2025.

Blue Zoo was founded in 2000 by university classmates – Adam, Oli, and Tom – and has since become the UK’s largest and one of the most respected producers of children’s and family content. For 25 years, the BAFTA-winning studio has combined creativity with purpose, using art and storytelling as a powerful tool to create immersive worlds that inform and ignite curiosity.

“Receiving a BAFTA Special Award is a profound honour. From the start, we’ve believed animation can do more than raise a smile: it can teach, empower, and build lovable worlds that matter to children and families everywhere. It’s a huge pat on the back for Blue Zoo, our fantastic staff, our clients, and, by extension, to the wider animation community. This award is as much for them as it is for us. 25 years ago, we were just three lads sitting under the stairs of the student union bar, discussing setting up an animation company. We could have only dreamed of moments like this. We hope the Award isn’t just a nod to our past, but it’s a cheer for what we do next at Blue Zoo. We’ll keep giving back, and we’ll keep speaking up for children and for our sector, but most of all, we will keep making high-quality content that inspires and entertains. Thank You BAFTA.”

Oli Hyatt MBE, Co-founder and Managing Director of Blue Zoo

Featured across BBC, Netflix, StudioCanal and their own YouTube channel, Blue Zoo has brought to life numerous series including Daytime Emmy-winning The Adventures of Paddington, LEGO City: No Limits, Mojo Swoptops and their debut project, which coincided with the launch of CBeebies back in 2000, “Blue Cow” for The Story Makers. The studio is the force behind several acclaimed educational series such as Numberblocks and Alphablocks (in collaboration with Alphablocks Ltd.), which teach foundational numeracy and literacy skills to pre-schoolers. These programmes have become staples in early childhood education, widely praised for their innovation and accessibility.

Blue Zoo was the first TV and film animation studio to be B Corp certified, achieving the certification in September 2021. The B Corp certification verifies that the company meets high standards of social and environmental performance, accountability, and transparency. As part of their commitment to positive change in the world, the studio has also worked pro bono with charities to use the power of animation to highlight key social issues. These include Sinking Feeling – created for PAPYRUS UK, the charity working to prevent youth suicide – and most recently their multi-award-winning, We Campaign Because They Can’t, for the Royal Society of the Protection of Birds (RSPB). Produced in collaboration with GOOD Agency, this series of short animations used creativity and humour to highlight environmental issues and encourage young audiences to advocate for nature.

Beyond its own productions, Blue Zoo places social responsibility at the heart of everything it does, using its position as a leading studio to champion the wider UK animation and children’s content sector through hands-on advocacy. This vital work includes Oli Hyatt MBE’s long-standing leadership in securing and defending creative-sector tax credits and co-founding Animation UK, as well as Tom Box’s focused work on developing industry skills and training. Blue Zoo is at the forefront of lobbying for children and the industry, helping lead the national debate on funding, skills, and growth. As a key voice supporting progressive industry initiatives such as The Young Animator of the Year UK Competition, NextGen Skills Academy, the Children’s Media Foundation, and of course Animation UK initiatives, Blue Zoo is dedicated to protecting and enhancing the future of animation and children’s programming for a healthier ecosystem across the country.

“Blue Zoo’s work exemplifies the very best of the screen arts – innovation with impact, and entertainment with purpose. For an incredible 25 years, Blue Zoo has created worlds that educate and empower, reflecting the diversity of modern childhood and proving that animation can be a powerful tool for learning, laughter and lasting change. We are delighted to honour a studio that champions inclusivity and imagination at every level of production.”

Jane Millichip, CEO of BAFTA