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The FOCAL International Awards 2014

Please read the Entry Guidelines first, then the Category details. When you have chosen an appropriate Category that you want to make a submission to, go to the Award Submission Form. On the submission form you select the chosen category and the correct form will appear. Please note that the forms do not retain your information so it is advisable to prepare and save your text in advance in case there is a problem! Also have your purchase order number ready or your credit card ready. We can only take Mastercard or Visa and you should have it cleared for overseas transactions in advance. Good luck!!


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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?
NB. Colorisation will be marked down.
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. There is a £60 (plus VAT) submission fee for this category.

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 recent past.
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?
NB. colorisation will be marked down.
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?
NB. colorisation will be marked down.
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 & TV, 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 Music Performance Footage

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.
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.
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), who has demonstrated outstanding achievement whilst being 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 2013.
Anyone may nominate any Researcher for this award which is NOT restricted to FOCAL International members. 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 2013) 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 - this will be circulated to all FOCAL International Members for voting.

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, including the Library themselves, 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 - this will be circulated to all FOCAL International Members for voting.

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...

Dan Snow - host FOCAL International Awards

Dan Snow hosting FOCAL Internatonal Awards Ceremony

The Dream Team organisers - Amanda Dantas, Anne Johnson and Julie Lewis, FOCAL International

Sue Malden and Elizabeth Klinck

Adam Ol'ha and Vladimir Opela winners from Czech Rep

Guests from Deluxe

Amanda from Huntley Film Archives and Gintare from Footage Farm

Guests from IMG Sport Archive

Guests from IMG Sport Archive

Amanda Huntley and Robert, Elisabeth and Jenny from AP Archive

Guests from Zodiak Clips

Guests from Testimony Films

Guests from Deluxe

Guests from IWM and Strike Force

Sue Malden speaking at Awards ceremony

Guests from AP Archive

Guests fro Testimony Films

Guests from AP Archive

Sue Malden, Amanda Huntley, Richard Wright

Dan Snow hosting FOCAL International Awards Ceremony (2)

Guests from Getty Images

Guests from Espresso Education

Guests

Rob Lloyd, Kal Dhillon, Rachel Brinton-Matthews

Guests

Guests from BBC Studios and Post Production

Guests

Guests from BBC Scotland

Guests from Lion TV

Awards stage

Andrew Wright and Tim Emblem English

Veronique Foucault and guest

Anne Seymour and Elisabeth Quessever, AP Archive

Susan Munns and colleague, AP Archive

Chris Fossey, Prime Focus and colleague

Kieron Webb with ladies from IWM

Martin Rogers, Luke Smedley and James Kearney

Guests from Science Photo Library

Rita, Rob and Anne

Guests from INA

Ben Jones and Steve Lake

Guests from BSkyB

Guests from Shutterstock

Guests from BBC Worldwide

Guests from Electric Robin

Andrew Wright and James Norton

Anne Seymour and Ben Cooke

Jane Fish, Corinna Reichner and Kieron Webb

Alison McAllan and Paul Sargent

Paul Collard and Ben Thompson

Filip, Claudine and friends

Declan Smith, Lucy Smee and Elaine Shepherd

Guy Taylor, IMG and colleague

Stephen Kahn and John Smith

Guests from STV

Guests from Erica Starling Productions

Mark Bonnici and colleagues

Guests from Espresso

Guest from Prime Focus plus Luke Smedley, AP Archive

Anne Fleming, Clyde Jeavons and Vladimir Opela

Robert Harding and Karen Walsh

Barry Purkis and Suzanne Gray

Guests from Getty Images

Ben Jones, Science Photo Library and Rachel Brinton Matthews, Bridgeman Footage

Jeremy and Katie from ITN Productions

John Smith and guests

Filip Firlej and Linda Reeve

Shane Warden, IMG and George Bevir, Broadcast Tech

Wayne Lovell and collegue, Fremantlemedia Archive

Filip Firlej, Linda Reeve and Kathy Manners

Guests from the Erica Starling Company

Elspeth Domville, Elizabeth Klinck and Richard Goldthorpe

Robert Harding and Sue Malden

Luke Smedley, James Smith and James Kearney

Vladimir Opela and guests

Dan Snow with guests

Alastair White and guest

Raelene Rawlings and guest

Alwyn Linsey, Luke Smedley and colleague AP Archive

Sue Malden, Rachel Brinton Matthews and Amanda Dantas

?? with guest from INS

Guest from Zodiak

Javier Botero and guests

Claudine Tordjeman and guest

James Smith, Alison Mercer and guest

Guests from Strike Force

Jenny Hammerton and John Rowling

Guests

Paul Gardner and Gaelle Ledorguet

Jane Rundle and guests

Dan Snow with Amanda and Jess

Martin Roges, Gintare and Leonidas Liambeys

Wayne Lovell, Fremantlemedia Archive and colleague

Roulette game, post awards party

Ben Jones and Kieron Webb

Lifetime Award on pedestal

Event staging

Dining room

Event stage

Guests dining

Guests dining

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2014 Intro by host Dan Snow at FOCAL International Awards Ceremony