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The FOCAL International Awards 2013


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Outstanding Achievement in the Field of Film Restoration and Preservation

A special award.

Best Use of Footage in a History Production

Includes documentaries and docudramas dealing with historical issues, events or people.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.
Recipient - The award should go to the production team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Footage in a Current Affairs Production

Includes documentaries and docudramas dealing with issues, events or people that have been in the News in the past year.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - The award should go to the production team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Footage in a Factual Production

Includes documentaries and docudramas dealing with issues, people or events which could include disasters, environmental issues, the economy, human interest etc.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - The award should go to the production team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Footage in an Entertainment Production

Includes list and blooper type programmes, humorous use of footage, comedy sketch series etc.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.
Recipient - The award should go to the team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Footage in an Arts Production

Includes programmes featuring any of the arts, literature, architecture, history of film, biographies, ballet etc.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - The award should go to the production team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Footage in a Production featuring Music

Includes programmes featuring history of music, biographies of musicians etc.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - The award should go to the production team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Sports Footage

Productions for any media platform which use footage of any sports.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - The award should go to the production team involved, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Footage in an Advert or Short Production

A production of up to 10 minutes, for example, made for any media platform. Includes Advertisements, Trailers, Pop Promos, and Shorts made for any media platform, TV, cinema, online, corporate or educational etc.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - Creative team and, or, advertising agency, including the Footage Researcher(s), headed by the Director or Producer. Supporting visual material is required.

Best Use of Wildlife and Natural History Footage

Made for any media platform. Includes use of footage of animals, plants and the physical world made for any platform.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - Creative team, including the Footage Researcher(s), headed by a Producer or Director of the production company. Supporting visual material is required.

Best Use of Footage on Digital or non-Television Platforms

Includes websites and any online productions, museums, exhibition, theatres, concerts, festivals, social media, educational, corporate, digital book publishing, digital signage, etc.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - Creative team, including the Footage Researcher(s), headed by the Producer or Director. Supporting visual material, including web link where applicable, is required.

Best Use of Footage in a Home Entertainment Release

Includes sell through DVDs and giveaways. This Award is essentially aimed at productions that were principally designed for first release on a home video format, but the jury will consider submissions of a production that has previously been released on another platform where it can be demonstrated that the home video release is distinct from the original releases and/or where there is notable added value in terms of packaging, extra features, well presented menus and navigation.
In general the Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - Creative team, including the Footage Researcher(s). Supporting visual material, including packaging, is required.

Best Use of Footage in a Cinema Release

Includes any feature film or feature length documentary which goes on general cinema release to the public. It is not intended for productions which are launched at festival cinemas without then going on general cinema release.
The Judges will be looking for examples of work where:
1) footage is central to the success of the production or it has given it an added value
2) intelligent use of archival footage has helped the understanding of the topic or illustrated it in a way that words alone could not do
3) traditional construction or innovative use of footage has managed to portray a topic in a unique way
Judges will also consider any of the following:
1) has the archive material been widely seen?
2) what efforts have been made to find new and / or appropriate footage?
3) what efforts that have been made to ensure that the footage looks as good as possible?
4) does what is seen on the screen match what the commentary or interviews say?
5) is the programme's narration factually accurate?
6) is the use of footage historically accurate?
The criteria are deliberately loose, as submitted productions may be judged in a variety of ways and for a variety of reasons.

Recipient - Production team, including the Footage Researcher(s), headed by a Producer or Director. Supporting visual material is required.

Best Archive Restoration / Preservation Project

Whole projects on collections will be considered separately to individual titles and the best awarded accordingly. Restoration work of film or video tape will be considered. Projects or titles which are not successful in being shortlisted, may nevertheless be highlighted for commendation at the Restoration/Preservation Conference to be held during the day before the main Awards ceremony 2nd May 2013.
Recipient - A library / archive and / or technical facility which has invested in a major project of restoration or preservation of archive moving image content originating on film or video. Supporting visual material is required e.g. restoration work in progress, the complete restored work plus before and after shots if possible.
NB. You will be asked to include a statement which explains:
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them.
2. Original aspect ratio and format.
3. Restored aspect ratio and format.
4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry.
5. What methodology was used.
6. What preservation elements have been generated and where they will be stored.

Best Archive Restoration / Preservation Title

Whole projects on collections will be considered separately to individual titles and the best awarded accordingly. Restoration work of film or video tape will be considered. Projects or titles which are not successful in being shortlisted, may nevertheless be highlighted for commendation at the Restoration/Preservation Conference to be held during the day before the main Awards ceremony 2nd May 2013. Recipient - A library / archive and / or technical facility which has restored and preserved a single title of archive moving image content originating on film or video. Supporting visual material is required e.g. restoration work in progress, the complete restored work plus before and after shots if possible.
NB. You will be asked to include a statement which explains:
1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them.
2. Original aspect ratio and format.
3. Restored aspect ratio and format.
4 Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry.
5. What methodology was used.
6. What preservation elements have been generated and where they will be stored.

The Jane Mercer Footage Researcher of the Year Award

Recipient: An individual Footage Researcher (or team), NOT restricted to FOCAL International membership, primarily responsible for the footage research for a production or productions premiered during the qualifying year. This can include series that have been aired over many years, providing the cited episode was premiered in 2012.
Anyone may nominate any Researcher for this award. Nominations can be submitted online and additional names may be suggested during the course of the jury process.
The Jury will be looking for an individual or team who displayed some or all of the following qualities: a depth of knowledge; tenacity; thoroughness; imagination and an ability to enhance and protect the integrity of the footage.
NB. Up to 3 credits during the qualifying year (productions premiered in 2012) can be cited. For each credit a short synopsis and reason for submission will be required. Also, both the Researcher and a representative of the production team e.g. Producer/Director, Production Manager will be asked to include a supporting statement to cover the following:

Researcher's statement per credit may include the following (minimum 100 words):
1) Indicate the level of Archive budget
2) Duration of project / number days worked on the project
3) How many third party clearances were needed and the level of difficulty
4) Indicate the difficulty of sourcing footage and delivery issues of master material
5) Knowledge and skill employed to seek rarer or underused material
6) Level of involvement in the selection of archive used in the final edit
7) Follow-up administration. Level of responsibility or involvement in reporting usage of archive material back to copyright holders.

Statement from the Production Manager / Director per credit may include (minimum 100 words):
Explain how:
1) The Researcher(s) had a thorough understanding of the editorial content and goals of the production, and the footage found, played a vital role in the storylines and the shaping of the production.
2) The footage researched addresses the needs of the narrative.
3) The footage exceeds the expectation for the topic.
4) Every effort has been made to discover original material for the production.
5) Material clearances were addressed respecting copyright laws and ownership rights and due diligence / best endeavours were followed if necessary.
6) Footage and related information were delivered in a clear and efficient manner.

NB. No supporting visual material will be asked for until the Jury has made their shortlist of final nominations.

Footage Employee of the Year

Recipient: An individual member of staff working for a library or facility company, which is a member of FOCAL International, who has shown outstanding skill and dedication in the service of archive preservation/restoration, cataloguing/management, or, who has provided a particularly good service in supplying content to users.
Submissions can be made by anyone, except the person themselves, but you must have their authorisation.
A statement (minimum 100 words) will be required to explain the work of the nominee and why they are deserving of this award.

Footage Library of the Year

Recipient: A FOCAL International Footage & Content Library Member. This award could be for providing a particularly good service in supplying content or introducing an innovative library management project or other beneficial innovation. Good service could be measured in terms of the online operation and/or the personal level of interaction with clients. It could also include work which has benefitted the industry in general.
Anyone can nominate a Library but the Library must be a paid up member of FOCAL International.
A supporting statement (minimum 100 words) will be required to explain the work of the library during the qualifying period and why they are deserving of the nomination.

Lifetime Achievement Award

Recipient - Anyone who has performed a minimum of 25 years service in the archive industry and is recognized to have contributed to the promotion, good practice or understanding of the content industry via a variety of means e.g. their writings, teachings, presentations, actions etc.
Anyone can submit the name of a person supported by relevant statements as to why they feel the said person should be considered for this Award which is a gift of the FOCAL International Executive.
NB. All Nominees should authorise the submission; they will need to provide a personal CV in support of the nomination; two statements of minimum 100 words each will be required outlining the achievements of the nominee both at work and also what they have contributed to the industry.


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On the Night...

L-R: Nora Mehenni, Amanda Dantas-FOCAL International, Sara Tonkin

Paul Sargent-Lifetime Achievement Award Winner and Sue Malden-Chair of FOCAL International

FOCAL's Anne Johnson (L) and Event OrganiserJulie Lewis (R) with host Dan Snow

Dan Snow

Ronny Temme

L-R:Paul Collard-Deluxe, Maggie Agard-MPL, Mark Bonnici-Deluxe

L-R: Filip Firlej, Bhirel Patel, Robin James and Linda Reeve from BBC Motion Gallery

L-R: Alex Henwood, Elliott Rootsey, Jane Foster and Gordon Craig from Fremantle Media Archive

L-R: Julie Lewis, Pam Fisher, Claudine Tordjeman and Anne Johnson

L: Jon Robertson-Masters of Cinema

R: Davide Pozzi-L'Immagine Ritrovata

Lifetime Achievement Award decanter

L-R: Matt Reynolds, Raelene Rawlings and Nic Peters from Sky News

L-R: Gerry Lewis, Martin Rogers-Prime Focus, Fiona Maxwell-BFI

L-R: Jo Griffin, Gerry Gedge, Alexa, Chris Fossey from Prime Focus

L-R: Mark Bonnici-Deluxe and Jon Robertson-Masters of Cinema

L-R: Mick McKenna and Phil Davey from Munro Sounds

L-R:Clive Hodge-BBC SPP, Rod Carter-BBC Worldwide, Jackie Walton-BBC Worldwide, James Hurrell-BBC Worldwide, Sonia Hunt-BBC SPP, Scott Bayliss-BBC SPP

L-R: Jonathan Wood-BBC Studios and Post Production, Fiona Maxwell-BFI, Kevin Shaw-BBC Studios and Post Production

L-R: Martin Rogers-Prime Focus, Vicki Turner and James Kearney Framepool

L-R: Ben Thompson, Corinna Reicher-IWM and Melanie Carman-IWM

Jo Chiles and Alan Bradshaw-AP Archive

Raphael Spagnolo, Anne Seymour from AP Archive

L-R: Kate Orchard, Nicola Corbett, Matt Butson from Getty Images

R: Obi Adumekwe-AP Archive

L-R: James Kearney-Framepool, Vicki Turner-Framepool and James Smith

Jane Fish, Paul Sargent, Corinna Reicher and Melanie Carman from IWM Film Archive

L-R: Jackie Walton-BBC Worldwide, Scott Bayliss-BBC SPP and James Hurrell-BBC Worldwide

L-R: Alwyn Lindsey and Luke Smedley from AP Archive

L-R: Elisabeth Quesseveur, Anne Seymour, Raphael Spagnolo from AP Archive

L-R: John Rosling, Victoria Speigelberg, James Hoyle from British Pathe

L-R: Rod Carter-BBC Worldwide, Clive Hodge-BBC Studios and Post Production

R: Sonia Hunt-BBC Studios and Post Production

Rosie Wilson and Chris Ratcliffe from Bloomberg LP

L-R: Jack Bridger-Journeyman, Edward Caffrey-Journeyman, Genevieve South-ESPN and Karin Lindstroem-ESPN

Ronny Temme, Simona Monizza and Elif Rogen-Kaynakci from EYE Film Institute Netherland

L-R: Mark Atkin and Tom Gatis from Crossover

Tim Jordan and Francis Welch from BBC Bristol

L-R: Janice Simpson, Grover Crisp-Sony Pictures Entertainment, Debbie Chernoff-MTI Film, Larry Chernoff-MTI Film

L-R: Olly Jennings, Flora Watters from Clips and Footage

L-R: Mark Hands-Heart and Greg Richards from Input Media

R: Jane Foster-Fremantle

L-R: Corky Balch-All Rights Clearance, Nic Peters-Sky News, Mike Aplin-Getty Images

Kim Fleming-Getty Images, Paul Davies-Getty Images and Paul Bell

Colm Bairead and Cleona Ni Chrualaoi from Colm Bairead Ltd/Midas Productions

L-R: Bjorn Lantz-Digital Vision and Allegra Grevelius-Nobel Media Archive

L-R:Elizabeth Klink and Susan Huxley

Elspeth Domville and Bill Cobban

L-R: Amanda Huntley and Robert Dewar from Huntley Film Archive, Chris Barwick-BBC Motion Gallery, Veronique Foucault-AP Archive

L-R: Gerry Weinbren-Index Stockshots, Serena Sharp-Kinolibrary, Jenny Hammerton-AP Archive and Jenny Coan-Kinolibrary

L-R: Nora Mehenni and Tamara Lorenzo-Getty Images

L-R: Rory Sheehan-BBC, Peter Elphick

L-R: Justin Hardy-Hardy Pictures, Sofia Lennquist-Getty Images, Nicola Corbett-Getty Images

R: Jenny Hammerton-AP Archive

L-R: Christopher Mitchell-OR Media, Alan Bradshaw-AP Archive

L-R: Charles Fairall-BFI, Douglas Weir-BFI and Mark Bonnici-Deluxe

Middle: Dawn Egerton-Bubble and Squeak

L-R: Monika Kiedrowska and Ebba Eriksson from Videoplugger

L-R: Paul McAllister-Screenocean, Val Evans, Belinda Harris-Two Four

L-R: Mitzi Berberi, Anne-Marie Pardoe and Kate Miller from Zodiak Rights

L-R: Anne Johnson-FOCAL International, Jerry Kuehl and Adel Kuehl

L-R: Rupinder Gataroa-Zodiak Rights, David O'Hare-Zodiak Clips and Dominique Strouthous-Zodiak Clips

L-R: Adrian Wootton-Film London and Anthony Wall-BBC

L-R: Dan Snow, Taylor Downing-Flashback Television and Paul Sargent

Jerry Kuehl and Julie Lewis-FOCAL International

L-R:Mark Hands-Heart-Input Media, Heidi Sheakespeare-Bonded Services and Greg Richards-Input Media

L-R: Josh Rucci and Chris Ratcliffe from Bloomberg LP

L-R: Nic Peters-Sky News, Mark Atkin and Tom Gatis from Crossover

L-R: Mick McKenna and Phil Davey from Munro Sounds

L-R: Gregg Holland-Digital Video, Kevin Shaw-BBC Studios and Post Production

L-R: Clive Hodge and Kevin Shaw from BBC Studios and Post Production

Middle: Matt Reynolds-Sky News

L-R: Edward Caffrey and Jack Bridger from Journeyman Pictures and Elizabeth Klink

L-R: Cath Pick-Zodiak Clips, Damian Keogh-Skyworks and Dominique Strouthous-Zodiak Clips

L-R: Anne Johnson-FOCAL International, Simon Marbrook-Premier

Simon Marbrook-Premier

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