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The FOCAL International Awards 2017


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Best Use of Footage in a History Production

Includes documentaries, docudramas or shorts dealing with historical issues, events or people of up to a maximum of 60 minutes in length or per episode.
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 £75(plus VAT) submission fee for this category.

Best Use of Footage in a History Feature

Includes documentaries, docudramas or shorts dealing with historical issues, events or people of more than 60 minutes in length.
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 £75(plus VAT) submission fee for this category.

Best Use of Footage in a Factual Production

Includes documentaries, docudramas or shorts dealing with issues, people or events which could include disasters, environmental issues, the economy, human interest, current affairs, 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. There is a £75(plus VAT) submission fee for this category.

Best Use of Footage in an Entertainment Production

Includes documentaries, docudramas, shorts, list and blooper type programmes, humorous use of footage, comedy sketch series, quizzes 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. There is a £75(plus VAT) submission fee for this category.

Best Use of Footage in an Arts Production

Includes documentaries, docudramas or shorts featuring any of the arts, literature, architecture, dance, history of film & TV, biographies or artistes, writers, entertainers 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. There is a £75(plus VAT) submission fee for this category.

Best Use of Footage in a Music Production

Includes documentaries, docudramas or shorts featuring history of music, biographies of musicians, singers, composers 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. There is a £75(plus VAT) submission fee for this category.

Best Use of Sports Footage

Productions for any media platform which use footage of any sports. Productions can include documentaries, docudramas, shorts, trailers, adverts 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. There is a £75(plus VAT) submission fee for this category.

Best use of Footage about the Natural World

Productions for any media platform which use footage of animals, plants and the physical natural world including weather, floods, earthquakes and natural disasters . Productions can include documentaries, shorts, trailers, adverts 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 a Producer or Director of the production company. Supporting visual material is required. There is a £75(plus VAT) submission fee for this category.

Best Use of Footage on other Platforms

Submissions can include footage used in any production online e.g. documentaries, shorts, trailers, adverts, pop promos websites etc It can include footage used by museums, exhibitions, theatres, concerts, festivals, social media, education, corporate productions; digital book publishing; digital signage; footage used in apps etc also qualify. It can include footage used in sell through home videos and giveaway DVDs where footage is featured and good packaging, well presented menus and navigation give added value.

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. There is a £75(plus VAT) submission fee for this category.

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. Supporting visual material is required. There is a £75(plus VAT) submission fee for this category.

Best Archive Restoration & Preservation Title

Whole Restoration projects, whether multiple or single title, will be considered 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 archival moving image content, whether single or multiple connected titles, originating on film or video.
Supporting visual material is required e.g. illustration of restoration work in progress, and a copy of the complete restored work , which should include a fully authored BLURAY or DVD as produced for public consumption, or other medium where appropriate. The work should have been completed and made accessible or been published within the qualifying year (2016).
WORK IN PROGRESS SHOULD NOT BE SUBMITTED.
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 e.g. damage, dispersal of elements and complexity of reconstruction (up to 100 words)
2. Original and restored aspect ratio and format (up to 100 words)
3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality (up to 100 words)
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 (up to 100 words)
5. What methodology was used (up to 100 words)
6. What preservation elements have been generated and where they will be stored (up to 100 words)
7. How and where has the restoration been presented and made available to the public (up to 100 words)
There is a £75(plus VAT) submission fee for this category.

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 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 2016.
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 2016) 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.

Supporting visual material of the cited programmes will be required. There is NO submission fee for this category.

Footage Employee of the Year

Recipient: An individual member of staff working for a library, archive or facility company, which is a member of FOCAL International, and who, over the past year, has shown outstanding skill and dedication in the service of archive preservation/restoration or cataloguing/management, or provides continuing outstanding service in supplying content to users. Nominations can be made by anyone, except the person themselves, but all submission must include authorisation from the nominee. A statement (minimum 150 words - maximum 500 words) will be required to detail how the nominee meets the criteria for this award. The award winner will be decided by a special Jury of FOCAL Researcher, Library and Skills and Services members. There is NO submission fee for this category.

Footage Library of the Year

Recipient: A FOCAL International Footage & Content Library Member organisation which, in the past year, has introduced a new service, initiative or innovation. Such services, initiatives and innovations could include new, or improved services for users; sales and marketing initiatives; cataloguing, preservation or digitisation projects or work that has been of positive benefit to the industry in general. Nominations can be made by anyone, including the Library themselves, but the Library must be a paid up member of FOCAL International. A statement (minimum 250 words - maximum 750 words) will be required to detail how the nominated Library meets the criteria for this award. The award winner will be decided by a special Jury of FOCAL Researcher, Library and Skills and Services members. There is NO submission fee for this category.

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. A list of publications, speaking and training engagements should be included. There is NO submission fee for this category.

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On the Night...

Decanter

Award

Room setup

AP Archive team

Screenocean team

Anne Fleming and Clyde Jeavons

Alastair White and guests

Elizabeth Klinck and guests

The War Show winners

Nina Krstic and Caroline Waterlow

Pam Fisher and Sue Malden

Anne Johnson and Gordon Craig - Fremantle

Pam Fisher, Joan Porter MacIver and Brid Dooley

Michael Aplin - Getty Images, Linda Reeve and Kevin Smalley - Getty Images

Tim Emblem-English, Clare Watson-Film London and guest

Sky News team

1912-1992: 80 Years of Olympic Films Restored winners

Adele, Jerry Kuehl, Serge Viallet and Anne Viallet-Thevenin

Robin James - Getty Images and Les Krantz iFocus Films

Michael Aplin - Getty Images, Chris Hulse - BBC Motion Gallery and Chris Prior - Getty Images

Hardeep Sigh Kohli - host

host

host

Adrian Wood - Inkula Media

Kevin Brownlow - Photoplay - Napoleon (winner)

Sir David Attenborough acceptance video for Zoo Quest in Colour

Sue Malden - FOCAL International Chair

Serge Viallet - Lifetime Achievement winner

Elizabeth Klinck, Simon Wood - ITN Source and Richard Goldthorpe - British Pathe

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FOCAL Awards Promo