CATEGORIES

sponsored by Jigsaw24 Media

This category rewards a tech-driven innovation the judges believe is the most significant of the last 12 months. It could be a project aimed at aiding creativity or tackling a challenging tech issue, and must demonstrate genuine innovation.

The award should be submitted on behalf of the project team and can be entered by any member of the team – a product manufacturer, service provider, production company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

NEW for 2023

This award goes to a project that utilised a UK TV or film studio complex (including both conventional studios and virtual studio Volume Stages) in an especially innovative way. The judges will be looking for the project and/or studio facility to have demonstrated exceptional creative and/or technical abilities in the process of capturing the content.

The award should be submitted on behalf of the production team and studio and can be entered by any member of the production team with the agreement of the team. At least one of the production team needs to be UK-based.

This award goes to a project the judges consider to be exceptional in its use of cloud in transforming traditional ways of working. Judges will be looking for examples of how cloud-based services have been utilised to great effect at any stage of production, post, distribution, archive management and so on.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – a product manufacturer, service provider, production company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

NEW for 2023

This category rewards the best use of graphics in TV. It honours graphics projects that either provide viewers with greater levels of insight or provide a viewing experience that truly maximises the potential of the images. The graphics should creatively and technically push the boundaries, have the ‘wow’ factor and really capture the imagination. They can be something used to enhance a TV broadcast, sports content or any other form of content.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the graphics house, production company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

This category rewards the best use of remote production in devising technically impressive, creative ways to produce content remotely. Projects should demonstrate effectiveness in reducing the number of staff and OB facilities on-location, as well as seamlessly restructuring the production to be handled effectively and efficiently in a remote production hub/decentralised production locations.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – a product manufacturer, service provider, production company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

sponsored by Medialease

This award will go to a virtual production the judges consider to be outstanding in how it utilised the Volume Stage to create an end result that truly took advantage of the creative opportunities opened up by the tech.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – a product manufacturer, service provider, production company, broadcaster, virtual production studio facility and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

This award will go to a non-scripted TV production the judges consider to be outstanding in terms of its audio post-production. The judges are seeking productions that excel in their sound design/Foley, sound treatment and/or the audio mix. The project could include examples of audio restoration and audio quality enhancement too, as part of the audio treatment.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the post-production house, production company, software company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

This award will go to a scripted TV production the judges consider to be outstanding in terms of its audio post-production. The judges are seeking productions that excel in their sound design/Foley, sound treatment and/or the audio mix. The project could also include examples of audio restoration and audio quality enhancement as part of the audio treatment.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the post-production house, production company, software company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

NEW for 2023

The judges are looking for an outstanding example of offline editing, where an editor or team of editors has assembled an edit that excels in bringing the production to life.

The project can be in any genre, and the entry will be able to demonstrate how the editor(s) went about crafting the cut, including some of the key challenges and decision making that went into creating the edit.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the post-production house, production company, manufacturer, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

sponsored by Eizo

This award will go to a non-scripted TV production the judges consider to be outstanding in terms of its colour grading. Judges will be looking for a range of factors, from original and eye-catching ‘hero’ grades to more subtle grading work that ensures the consistency/accuracy of a scene.

The production could be very stylised in terms of the grade or one that is noteworthy for helping to establish tension/moods/enhance period details and so on. The key factor should be that the grade is both creatively strong and enhances the production in a style that would have been difficult to achieve any other way.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the post-production house, production company, manufacturer, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

sponsored by Eizo

This award will go to a scripted TV production the judges consider to be outstanding in terms of its colour grading. Judges will be looking for a range of factors, from original and eye-catching ‘hero’ grades to more subtle grading work that ensure the consistency/accuracy of a scene.

The production could be very stylised in terms of the grade or one that is noteworthy for helping to establish tension/moods/enhance period details and so on. The key factor should be that the grade is both creatively strong and enhances the production in a style that couldn’t have been achieved any other way.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the post-production house, production company, manufacturer, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

This award will go to a TV production the judges consider to be outstanding in terms of its use of visual effects. Judges will be looking for a range of factors, from original and eye-catching ‘hero’ VFX to more subtle/invisible effects that simply ensure the consistency/accuracy of a scene.

The production could be a VFX-heavy project or one that uses VFX in clever, creative ways but where there are only a limited number of VFX shots. The key factor should be that the VFX are both creatively strong and enhance the production in a way that would have been very challenging using only live action/in-camera effects.

The award should be submitted on behalf of the production team and can be entered by any member of the production team – the VFX house, production company, broadcaster, and so on – with the agreement of the team. At least one of the production team needs to be UK-based.

The Post Producer of the Year will go to an individual who consistently excels at overseeing and managing the post-production team to ensure content is delivered successfully to the client’s brief.

Judges will be looking for post producers that can demonstrate how they go the extra mile to ensure complete client satisfaction with the service provided by the post-production facility.

Please note that forms must be completed by an employer/mentor on behalf of a nominee.

NEW for 2023

This award goes to a post-production product that excelled in, for example, how it overcame significant challenges, in its creative approach, the teamwork involved, the timescales involved, the technical innovation, or in any other way you can demonstrate.

This award goes to a tech product or service that has had a major impact on the industry over the last year. The tech could be a new product or service, or existing tech that has played a significant role in enabling innovation during the eligibility period.

NEW for 2023

The Tech Team of the Year will go to a team that has excelled in its tech-driven creative problem-solving on a specific project or series of projects during the qualifying period.

Judges will be looking for examples of where the team has demonstrated outstanding knowledge and expertise, as well as high-level practical and creative skills during their work on the project(s), as well as examples of how the team pulled together to create the end results.

The award can be entered by any member of the team, with the agreement of the team. At least one of the team members needs to be UK-based. The project(s) the team has worked on can be for both UK and non-UK-based clients.

Nominate that young star within your company that has shown considerable tenacity and commitment to the business in the last 12 months. All roles within the post-production business are acceptable, from administration to creative to technical.

Please note that forms must be completed by an employer/mentor on behalf of a nominee and the nominees must be 30 or under between our qualifying period: 6 August 2022 to 14 September 2023

Nominate that young star within your company that has shown considerable tenacity and commitment to the company or project in the last 12 months. All tech-focused roles within your business are acceptable. This person could also be a freelance nomination, made by a project manager of a recent production.

Please note that forms must be completed by an employer/mentor on behalf of a nominee. The nominees must be 30 or under on between our qualifying period: 6 August 2022 to 14 September 2023

This will be awarded by the Broadcast Tech team to an individual or organisation that has made a major contribution to the industry and has had a notable impact during the last 12 months. There will be no shortlist announced for this award.

This category is not open for entries