CATEGORIES

This category rewards a creatively-driven AI, generative AI or AI-enabled automation innovation the judges believe stands out from the crowd.

It will be an AI/genAI development that aids creativity in some way, perhaps assisting in the creative process by generatively developing ideas, or perhaps it’s an AI tool that’s a soundboard for creatives to check and evaluate ideas of their own. 

The award 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. 

This category rewards an AI, generative AI or AI-enabled automation innovation that is specifically aimed at creating efficiencies and enhancing workflows.

It will be an AI/genAI development that tackles a challenging tech/workflow issue and will likely demonstrate innovation in automating a previously time-consuming manual, non-creative process (although this is not a requirement for entry). 

The award 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. 

This category honours skills initiatives that focus on creating and maintaining a highly skilled, diverse workforce.

The industry skills initiatives can be aimed at seeking out and encouraging people from underrepresented communities to join the industry, initiatives that make it easier for neurodivergent people and people with physical disabilities to gain employment in the industry, as well as skills initiatives that help encourage a gender balance within traditionally male-dominated areas of the industry. 

The industry skills initiative should be focused on the UK market. 

This category rewards a tech-driven innovation the judges believe is one of 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. It could also be an innovation focused on a virtual environment, including a virtual studio or virtual production stage. 

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. 

This award goes to a project the judges consider to be exceptional in its use of cloud in transforming the way we work. Judges will be looking for examples of how cloud-based workflows have been utilised to great effect at any stage of production, post, distribution and content management. 

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. 

This category honours an initiative that has gone above and beyond in championing and demonstrating actions to enable sustainability over the last year.  

Your entry should show how sustainability has been at the heart of your actions and explain the different ways sustainability-focused changes have been planned and implemented and the positive results they have achieved. The sustainability initiative will at least partly have taken place in the UK or Ireland. 

This category rewards a tech innovation in live production the judges believe has had a significant impact on either a specific live production or, more generally, the live production sector in the last 12 months.

It could be an innovation aimed at aiding creativity or tackling a challenging tech issue and could be in any area of live production – sports, music, arts, entertainment or news. The tech innovation could also have involved a virtual environment, such as a virtual studio or virtual production stage. 

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. 

This award goes to a project that has utilised archive content in an exceptional way. The project could excel in having sourced historically important and previously unseen archive footage; it could be a particularly complex and meticulous restoration project; or it could be a production that’s taken an especially innovative, creative approach to its use of archive. The uniting factor is that archive is a fundamental part of the production. 

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. 

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 an eye-catching viewing experience. 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 graphics could also have been used in a virtual environment – virtual studio or virtual production environment – too. 

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 award goes to a non-scripted 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. 

This award goes to a scripted 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. 

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This award goes to a non-scripted 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/a certain mood/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

This award goes to a scripted 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/a certain mood/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 goes to a 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 otherwise have been very challenging to achieve. The VFX could also have been created for a virtual production environment. 

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 goes to an individual who consistently excels at overseeing and managing the post-production team to ensure content is delivered successfully to brief.

Judges will be looking for post producers that can demonstrate how they go the extra mile to ensure complete satisfaction with the service provided by the post-production facility. The individual can work at a post-production house or in-house at a production company. 

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

This award honours technology used predominantly in post-production 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 in either a specific post-production project or the post-production industry as a whole during the eligibility period. 

This award honours technology used in production 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 in either a specific production or the production sector as a whole during the eligibility period. 

The Tech Team of the Year will go to a production, post-production or tech team that has excelled in its 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 demonstrating 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 achieve success.  

This is your opportunity to nominate that young star in your company that has shown considerable tenacity and commitment to the business in the last 12 months.

All live production-focused roles within your business are acceptable, including predominantly creative as well as non-creative positions. 

Please note that forms must be completed by an employer/mentor on behalf of a nominee. The nominees must be 30 or under between 20 September 2024 – 19 September 2025. The company the person works for must be based in the UK. 

This is your opportunity to nominate that young star in 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. The nominee can work in either picture post or audio post-production. 

Please note that forms must be completed by an employer/mentor on behalf of a nominee. The nominees must be 30 or under between 20 September 2024 – 19 September 2025. The company the person works for must be based in the UK. 

This is your opportunity to nominate that young star in your company that has shown considerable tenacity and commitment to the business in the last 12 months.

All tech-focused roles within your business are acceptable. 

Please note that forms must be completed by an employer/mentor on behalf of a nominee. The nominees must be 30 or under between 20 September 2024 – 19 September 2025. The company the person works for must be based in the UK.