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Broadcast Sports

Entries are now open for the 2022 awards

Entry Deadline: 16 September 2022

The awards qualifying period is from 2 August 2021 to 16 September 2022 and the cost per entry is £275 + VAT

For entry enquiries, please contact: shane.murphy@mbi.london 

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     Video Specs

Best Innovation Project

This category rewards a tech-driven innovation the judges believe is the most significant of the last 12 months. It could be a project focused on any stage of the pre-production, production or post-production workflow and be aimed at aiding creativity or tackling a challenging tech issue. 

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. 

Best Use of Creative Innovation in the Cloud

This award goes to a development the judges consider to be exceptional in its use of the cloud in transforming traditional ways of working. Judges will be looking for examples of how cloud-based services have been utilised to open up new possibilities in the way content is stored, accessed, managed and discovered. This could be in any aspect of production or post-production, including making it possible for facilities to provide ‘pop up’ services and flexible remote working opportunities. 

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. 

Best Use of Real-Time VFX (Virtual Production)

This award will go to a virtual production the judges consider to be outstanding in terms of its use of real-time VFX. Judges will be looking for how well the project utilised the Volume Stage to create an end result that truly took advantage of the creative opportunities opened up by virtual production. 

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. 

Best Use of Remote Production

This category rewards the best use of remote production in a sports, news or entertainment broadcast. It honours productions that have devised technically impressive, creative ways to produce content remotely. Judges will look at the effectiveness of the remote production in reducing the number of staff and OB facilities on-location, as well as how the production is handled in the 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. 

Best VFX Project

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 – 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. 

Creative Use of AR and VR

This category rewards the best use of AR and VR in TV, sports or advertising. It honours AR and VR projects that take full advantage of immersive augmented or virtual reality to provide a user experience that would be impossible to achieve any other way. It should creatively and technically push the boundaries, have the ‘wow’ factor and really capture the imagination. The AR and VR can be something used to enhance a TV broadcast, sports content or commercial, and could be an example of how immersive content is being used within the multiverse. 

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. 

Excellence in Audio Post-Production
(Non-Scripted)

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 regard to their sound design/Foley, sound treatment and/or the audio mix. The project could 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 – 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. 

Excellence in Audio Post-Production
(Scripted)

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 regard to their sound design/Foley, sound treatment and/or the audio mix. The project could 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 – 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. 

Excellence in Grading
(Non-Scripted)

This award will go to a non-scripted TV production the judges consider to be outstanding in terms of its colour grading work. 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 – 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. 

Excellence in Grading
(Scripted)

This award will go to a scripted TV production the judges consider to be outstanding in terms of its colour grading work. 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 – 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. 

Excellence in Virtual Studios

The judges are looking for an outstanding example of a virtual studio environment for a sports or entertainment broadcast. This could be related to the ground-breaking use of AR to enhance the studio presentation, or around the creative use of a virtual studio environment to extend small physical spaces into studio sets that appear much larger to the viewer, or any other state-of-the-art use of real-time AR in a virtual studios setting. 

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. 

Innovative Use of Technology in Storytelling

This award will go to a TV production the judges consider having made the most pioneering use of technology as part of the storytelling process. Judges will be looking for productions that opted to push the boundaries of storytelling through the clever and novel use of technology. This could include stand-out uses of AR, CG, VFX, bespoke/unusual cameras, ultra-high resolutions, streaming innovations, audience engagement 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. 


 

Post-Producer of the Year

This category honours the work of the post-producer. The post-producer of the year will go to an individual who consistently excels at overseeing and managing the team of operators (video editing, audio editing and voiceover recording, motion graphics/animation, VFX, colour grading, quality control and admin) to ensure content is delivered successfully to the client’s brief. You will be able to demonstrate how the post-producer goes the extra mile to ensure complete client satisfaction with the post-production process and the service provided by the post-production facility. 

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

Post Supervisor of the Year (Freelance)

This category honours the work of the post supervisor on productions across HETV and film. The role of a post supervisor is integral to the production and the post supervisor of the year will be awarded to the individual who’s excelled at looking after the post-production budget, workflow and schedules, and aided the key decision-makers in the creative and technical processes, ensuring there are no bottlenecks or hold-ups. You will be able to demonstrate the post supervisor is up to date with the latest technology, able to multitask and prioritise the various demands that present themselves. They must have a firm grasp on budgeting and be able to keep track of spending and will also have to be quick at solving problems and creative in finding solutions. 

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

This category costs £99+VAT per entry
 

Standout Tech of the Year

This award goes to a tech product or service that has had the biggest impact on the industry over the last year. The tech can be hardware or software, or a combination of both, and should be used within production, post-production or elsewhere within the facilities sector (TV studios, OB, distribution/broadcast, and so on).

The tech could either be an existing product or service, or one that’s been significantly adapted during the eligibility period to provide a fresh new range of benefits to the end user. 

Streaming Platform of the Year

This category rewards a streaming platform that has adapted the most in the last year, to offer its subscribers substantially improved services and content. It honours the streamer that has devised technically creative ways to provide viewers with straightforward, innovative and intuitive access to content. Judges will also be looking for how much high-quality original content has been commissioned for the platform over the last 12 months. The category could also be awarded to a new streaming service that stands out from the crowd, both in terms of its content and interface. 

The award can be entered on behalf of the streaming platform by the platform itself, a product manufacturer or service provider connected to the development – with the agreement of the streamer. At least one of the project team needs to be UK-based. 

Technical Innovation (Entertainment or Sport)

The judges are looking for an outstanding example of invention and innovation through the creative use of technology during an entertainment or sports production. This could be related to pioneering approaches to the studio presentation; in the ground-breaking use of remote production, capturing or streaming content from technically challenging locations; through broadcasting at ultra-high resolutions on a wide range of devices; or any other standout use of technology in an entertainment or sport broadcast.  

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. 

 

Young Talent of the Year (Post-Production)

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 on 16 September 2022. 

This category costs £99+VAT per entry

Young Talent of the Year (Technical)

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 16 September 2022. 

This category costs £99+VAT per entry

Special Recognition Award

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

Testamonials

  • Everybody sees what happens on the screen and what goes out, but there's so much work and effort goes into production, the preplanning and making these things happen, to be recognised for that work that goes on preproduction is amazing!
    Richard Wormwell
    dock10
  • Being able to show those unsung heroes within the technical innovation space is a really important achievement and it's a great awards to be part of...
    David Harnett
    Timeline TV
  • To recognise people that do stuff that isn't normally recognised, you know it's normally the hosts, the executive producers and the creative directors, but yeah the technical stuff makes it happen!
    Lisa Edwards
    Studio Ramsay
  • We're such an important industry to the country, and to everyone we serve from our clients to everyone at home, and there's a huge amount of work that's gone into the last couple of years innovation wise and it's great to be recognised.
    Jai Cave
    Envy Post Production

 

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