1 May 2014
FOCAL Announces the Annual Footage Industry Winners at Gala Ceremony
The 11th annual FOCAL International Awards in association with AP Archive, hosted by Dan Snow, took place last night at The Lancaster London Hotel, honouring producers, filmmakers and other creative professionals who have used library footage across all genre and platforms of production.
SEE RIGHT SIDE PANEL FOR VIDEO OF CEREMONY INTRODUCTION AND DAN SNOWS SPEECH
London, UK – 1st May 2014 – Opening last night's sparkling ceremony, Sue Malden, Chair, FOCAL International, applauded the FOCAL organising team - Julie Lewis, Anne Johnson and Amanda Dantas together with the awards jurors, who number nearly 70, for dealing with a record-setting 239 submissions from 19 countries entered in this year’s awards. She also thanked the sponsors and all who took part in the competition.
Host and history TV presenter Dan Snow spoke of his recent miserable foray into natural history filming and of how it is so much easier to source stock footage of tigers! He also said that his love of archive has, if anything, grown this year because of the attention on WW1. "I've been making lots of programmes about WW1 and giving lots of talks in schools. And I have learnt this, that archive is what makes WW1 different....Thank you all for making it accessible, protecting it and promoting it."
AP Archive scooped the Best Archive Restoration / Preservation Project Award for its massive project to digitise 32,000 hours of 20th century history, which was carried out in conjunction with Prime Focus Technologies. They were also voted Library of the Year and on top of that, one of their employees, Jenny Hammerton, picked up the award for Footage Employee of the Year.
Alwyn Lindsey, Director of International Archives for AP had already written in the awards brochure as main sponsor of the event, "It’s easy to think of the FOCAL International Awards as that one evening of prize-giving that takes place each Spring. The truth is rather different and in fact, the evening itself represents the culmination of a full year of hard work and endeavour. The evening is merely the tip of a very large iceberg and it’s really about pulling together people from the industry who share common goals, interests and passions, and ultimately it is this bringing together of people that FOCAL International does best."
The Czech Republic also featured strongly in these awards. Director Adam Ol'ha picked up the Award for Best use of Footage in a Factual Production with his personal journey through New Life of Family Album. Then there was the Lifetime Achievement Award for Vladimir Opela, not only for his work as Curator of the Czech National Film Archive, where he has served since 1965 and 'saved' valuable collections, but also for his international work, for example, at UNESCO and for his influential teaching and writing.
Leonidas Liambeys who did the archive research for Anemon Productions' Silent Balkans was there from Greece to collect the award for Best use of Footage in a History Production. Javier Botero from the USA collected the Best use of Footage in a Current Affairs Production prize for the outstanding We Steal Secrets: The Story of Wikileaks directed by Alex Gibney. Other titles which had already won numerous accolades but which also picked up FOCAL gongs for their use of archive footage were The Trials of Muhammad Ali and Makers, a landmark TV documentary and web initiative also made in the USA.
Cecilia Cenciarelli from Cineteca di Bologna and Davide Pozzi from L'Immagine Ritrovata laboratory were there to receive an award for the immaculate colour restoration of Manila in the Claws of Light, made in 1975 by radical Filipino filmmaker Lino Brocka. The unexpected surprise of the evening was a video message from Mr Martin Scorsese on behalf of the Film Foundation, World Cinema Project and the Film Development Council of the Philippines (Philippines).
"We were thrilled when the opportunity came to restore Manila, one of Brocka's greatest films," Scorsese said. He went on to thank the institutions and individuals involved for their remarkable work on the restoration and concluded, "It means a great deal to us to see our efforts acknowledged. I thank you."
The UK winners included, Goodbye Granadaland produced by Shiver for ITV in the category Best Use of Footage in an Entertainment Production whilst Lone Star Productions took the Arts category prize for Arena: The National Theatre - War and Peace. The BBC, which is always strong in the music category, won an award for its rare vintage performances in David Bowie - Five Years. Director Jacqui Morris picked up a very well deserved prize for the 'carefully chosen footage that doesn’t overwhelm the narrative' in McCullin. The Best use of Wildlife Footage category went to Mentorn Media for Edwardian Insects on Film and the Best Researcher award went to John Smith for his passion, creativity and imagination across a range of genre.
The full list of winners in each category are shown below:
Best Use of Footage in a History Production
Sponsored by Getty Images/BBC Motion Gallery
• Silent Balkans - Anemon Productions (Greece)
Best Use of Footage in a Current Affairs Production
Sponsored by ITN Source
• We Steal Secrets: The Story of WikiLeaks - Universal Pictures (USA)
Best Use of Footage in a Factual Production
Sponsored by FremantleMedia Archive
• New Life Of Family Album - Evolution Films (Czech Republic)
Best Use of Footage in an Entertainment Production
Sponsored by Footage Farm
• Goodbye Granadaland - ITV Entertainment / Shiver for ITV (UK)
Best Use of Footage in an Arts Production
Sponsored by Bridgeman Footage
• Arena: The National Theatre - War and Peace - Lone Star Productions (UK)
Best Use of Music Performance Footage
Sponsored by Clips & Footage
• David Bowie - Five Years - BBC Events Production (UK)
Best Use of Sports Footage
Sponsored by ITV Sport Archive
• The Trials of Muhammad Ali - Kartemquin Films & Kat White (USA)
Best Use of Footage in an Advert or Short Production
Sponsored by IMG Sports Video Archive
• A Film Never Made - Alchemy Films in association with University of Wisconsin (UK/USA)
Best Use of Wildlife and Natural History Footage
Sponsored by Shutterstock
• Edwardian Insects on Film - Mentorn Media (UK)
Best Use of Footage on Digital or non-Television Platforms
Sponsored by Science Photo Library
• MAKERS (website & TV initiative) - Kunhardt McGee Productions (USA)
Best Use of Footage in a Home Entertainment Release
Sponsored by Film London
• Britain's Railways - The Home Front War Years 1939-45 - Strike Force Entertainment Ltd (UK)
Best Use of Footage in a Cinema Release
Sponsored by British Pathe
• McCullin - Frith Street Films Ltd and British Film Company (UK)
Best Archive Restoration / Preservation Title
Sponsored by FIAF
• Manila in the Claws of Light (Maynila Sa Mga Kuko Ng Liwanag) (1975) - The Film Foundation/World Cinema Project and the Film Development Council of the Philippines (Philippines). Restoration work carried out at: Cineteca di Bologna / L'Immagine Ritrovata laboratory, in association with LVN, Cinema Artists Philippines and Mike de Leon.
Best Archive Restoration / Preservation Project
Sponsored by Creative Skillset
• AP Archive Digitisation - AP Archive, (UK).
Restoration / Preservation Work by: Prime Focus Technologies.
The Jane Mercer Footage Researcher of the Year Award
Sponsored by AP Archive
• John Smith (UK) - Brushing Up On ...; Morecambe and Wise: The Whole Story; The Class of 92
Footage Employee of the Year
Sponsored by Broadcast Tech
• Jenny Hammerton (AP Archive)
Footage Library of the Year
Sponsored by Bonded Services
• AP Archive
Lifetime Achievement Award
Sponsored by FOCAL International
• Vladimir Opela
A full list of all submissions, synopses, and credits can be viewed on the FOCAL website now at http://www.focalint.org/focal-international-awards/2014/the-focal-international-awards-2014
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ABOUT FOCAL INTERNATIONAL
The Federation of Commercial Audiovisual Libraries International is a professional not-for-profit trade association formed in 1985. It is fully established as one of the leading voices in the industry, with a membership of over 300 international companies and individuals. Its purpose is to facilitate the use of library footage, images, stills and audio in all forms of media production; promote its members - libraries selling content plus those whose serve the industry; provide a platform for members to promote themselves and their interests; encourage good practise in the research, licensing, copyright clearance and use of footage; support, promote and educate on the need to preserve and restore footage and content; act as an information resource for the footage and content industry; offer training in key skills and in the broader appreciation of the footage and content industry.
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