Games for Film contest

In partnership with

• 14:00 Paul Brindley, IC tomorrow - Introduction• 14:15 Joanna Knight, Lionsgate - Challenge #1 & 2: Theatrical & home entertainment releases• 14:35 Andrew Woodyatt, Revolver – Challenge #3: Spike Island• 14:55 Mike Lerner, Roast Beef Productions - Challenge #4: Smash and Grab• 15:15 Paul Durrant, Abertay University - Contest overview• 15:35 Paul Brindley, IC tomorrow - Contest application process• 15:50 Jake Cassels, The Connected Set - Previous contest winner• 16:00 End

Today’s agenda

IC tomorrow is a Technology Strategy Board programme, committed to supporting innovation and economic growth in the digital sector, on multiple platforms and across a variety of industries. We do this by:

• providing investment to start ups and SMEs through our contests

• facilitating networking and matchmaking opportunities between content owners and innovation companies, both online and offline, through upcoming events and the IC tomorrow network directory

• the IC tomorrow digital testbed; a platform where consumers can try out new business models; and where content owners and innovation companies can test potentially disruptive new business models in a secure environment with those consumers - getting useful analytics back in the process.

About IC tomorrow

 

Content providers on board…

… and a wide variety of digital innovators

SALLY POTTER

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IC tomorrow contests

IC tomorrow runs grant funded contests in partnership with challenge partners.

• Aim is to seed fund development of new digital products and services and forge relationship with rights owners/challenge partners.

• Rights owners/challenge partners set challenges for applicants to solve.

• Solutions should be applicable to a range of other partners and offer wider commercial market potential.

Visit https://www.ictomorrow.co.uk/biz to view the latest contest announcements.

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IC tomorrow and Abertay University

Abertay University is offering a Prototype Fund specially designed for start-up and small,

established developers requiring additional working capital up to £25,000 to cover the staff

costs to produce a prototype for a new intellectual property.

Together with IC tomorrow, Abertay University has run contests using its Protoype Fund

capital to find the best gaming concepts for IC tomorrow partners, including EMI, Tate Britain,

and National Geographic.

About Abertay

Abertay University was awarded the UK's first Centre for Excellence in Computer Games Education.

The Abertay GameLab was opened in September 2008 to provide a modern multi-disciplinary working environment for the teaching of game technology and game application development.

Abertay University is the only UK University with official accreditation for both computer games technology and computer arts; and offers world-leading courses in computer arts and computer games technology.

Home to Dare to be Digital - the UK's premier computer games design competition for University students.

Abertay University launched Scotland's first degree in computer arts, underpinning the creative industries sector that supports 600,000 jobs across Britain and contributes more than £20 billion to the UK economy.

The contest aims to provide the best games and film concepts for our challenge

partners, the BFI (British Film Institute) and Lionsgate.

The Games for Film contest

Joanna KnightSenior Business Manager, New Media

Lionsgate

To develop a marketing concept using gaming mechanics to drive consumer engagement with

new theatrical release(s).

For a theatrical release, the objectives should be immediate and should: • drive engagement• communicate key selling points• drive ticket sales for the cinema• increase word of mouth recommendations via audience to friends.

In short, the game should have either a viral element to it or it should create a desire to

forward/share with friends. Leaderboards with competition prizes could form a simple solution to

creating desire to share, driving competition between friends or other possible solutions could

use social location mechanics.

The type of game or game mechanic is open; as is the platform; but it is expected that the

applicant will be creatively influenced by the choice of movie.

Challenge #1: Theatrical releases

THE POSSESSION

TOWER BLOCK*

THE BIG WEDDING

SILENT HILL: REVELATION 3D

GREAT EXPECTATIONS

THE TEXAS CHAINSAW MASSACRE 3D

THE LAST STAND

PLAYING THE FIELD

DIRTY DANCING

THE RAILWAY MAN

THE INVISIBLE WOMAN

FILTH

THE HUNGER GAMES: CATCHING FIRE

Challenge #1: Theatrical releases

The list of possible titles from which the developer can choose is as follows:

*Please note that due to the complex nature of global film distribution and the intellectual property associated with any release the titles available for the purpose of this challenge listed below may not actually be available for commercial exploitation following the conclusion of this contest, except *where indicated. We therefore encourage developers to consider how they might approach films in a genre sense for this challenge, rather than specifically develop for the film listed.

For a theatrical release, the objectives should be immediate and should:

• create engaging content to capture audience and potentially drive revenue• deliver an innovative concept that will drive strong word of mouth (for games and media

alike)• design a concept that can be built upon from its initial execution e.g. extra levels/improved

technology performance/extended game play• exploit and grow existing databases of interested and relevant consumers to effectively

market new releases (digital and theatrical)• build desire to consume movie content• integrate effective game play with content from film to align the entertainment value across

both platforms• in an ideal scenario, the game would be 'skinnable', so that it can easily be transferred from

film to film• crossover with social networking sites to spread awareness beyond the game directly.

Challenge #1: Theatrical releases

Home entertainment marketing differs from theatrical release marketing in a number of ways. For

example the viewer can interact with the film while it is playing; and the experience can be more

solitary without the need for the sense of ‘event’ which comes with a cinema release. Also home

entertainment, post-release, is much more instantly accessible: the audience does not have to go

to the cinema to consume what we are trying to sell as people can click through very simply from

their device (phone or tablet) to purchase.

In effect there is much more impulse opportunity across home entertainment marketing. It is also

important for us to promote our library titles in conjunction with our new releases where possible –

and this is relevant across both the theatrical and home entertainment challenges.

The type of game or game mechanic is open; as is the platform; but it is expected that the

applicant will be creatively influenced by the choice of movie.

Challenge #2: Home entertainment releases

DIRTY DANCING (CLASSIC)

WHAT TO EXPECT WHEN YOU’RE EXPECTING

KELLY BROOK BRAND*

MAD MEN

MOST HAUNTED BRAND*

FRIENDS WITH KIDS

MAGIC MIKE

KEITH LEMON THE FILM

THE EXPENDABLES 2

THE POSSESSION*

TOWER BLOCK*

ON THE ROAD

Challenge #2: Home entertainment releases

The list of possible titles from which the developer can choose is as follows:

THE BIG WEDDINGSILENT HILL: REVELATION 3DGREAT EXPECTATIONSTHE TEXAS CHAINSAW MASSACRE 3DDIRTY DANCING THE HUNGER GAMES: CATCHING FIRETHE PAPERBOYLOVELACETHE RAILWAY MANFILTHHUMMINGBIRDTHE PROFESSIONALS

The successful applicant should attempt to do the following:

• create engaging content to capture audience and potentially drive revenue• deliver an innovative concept that will drive strong word of mouth (for games and media

alike)• design a concept that can be built upon from its initial execution e.g. extra levels/improved

technology performance/extended game play• exploit and grow existing databases of interested and relevant consumers to effectively

market new releases (digital and theatrical)• build desire to consume movie content• integrate effective gameplay with content from film/TV show to align the entertainment value

across both platforms• implement click-to-purchase or pre-order capacity (from iTunes or linking through to online

retailers such as HMV, Amazon or Play.com)• if applicable, include consumer detail so that they can access a movie/TV show within the

app • In an ideal scenario, the game would be ‘skinnable’, so that it can easily be transferred from

film to film• crossover with social networking sites to spread awareness beyond the game directly.

Challenge #2: Home entertainment releases

Andrew WoodyattHead of Theatrical Marketing

Revolver

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Spike Island is a new film directed by Mat Whitecross (Sex & Drugs & Rock & Roll, 2010). The film follows 72 hours in the lives of five young lads from Manchester who travel to Spike Island to see their idols, The Stone Roses, play their legendary 1990 gig.

Challenge #3: Spike Island

There are a number of possible angles to a games and film partnership which the film

makers are keen to explore. These include, but are not restricted to:

• interactive elements that also provides info on the film • the use of cast avatars• an application or service which not only invites younger audience to engage with the film but

also has a nostalgia element – is it possible to appeal to two different demographics in one game?

• creative use of the strong music element from the film• an application or service which invites people to book their tickets or pre-buy a DVD• a game that could work to promote the theatrical or DVD launch.

Please note that although the film is based around a Stone Roses gig and whilst the Stone Roses

are pivotal to the story and soundtrack, the producers would prefer to see examples of games

which are not just for fans of the band; rather for fans of the film.

Challenge #3: Spike Island

Mike LernerProducer

Roast Beef Productions

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Smash and Grab: The Story of the Pink Panthers is a feature documentary made for cinema. Produced by Academy Award-nominated Mike Lerner, and Sundance–winning director Havana Marking, the film reveals the underworld of diamond stealing, smuggling and fencing.

With a detailed recounting of a safe heist as the back bone to the film, there are also interviews with the police on the trail; and, with the terrible Balkan conflicts as backdrop, an explanation of the wider context. This is real life cops and robbers - with a quarter of a billion dollars worth of jewels already gone. Inspired by noir graphic novels and films such a Sin City, Smash & Grab is part-animated using a brilliant and original rotoscope technique.

Challenge #4: Smash and Grab

There are several key themes to the movie which could be explored within the game:

• planning a heist• stealing a diamond• tracing a diamond globally as it makes its way back into the legal trade• catching the bad guys.

We are particularly looking for applications which might sit within a social media context.

We would like gaming technology to connect audiences with the cinema release faster, drive

attendance, and to enable the “buzz” to spread quicker.

Another important aspect of the challenge is to make full use of the animation style. This is a

unique and innovative feature of the film and we would like the developers to make the most of it.

Challenge #4: Smash and Grab

Paul DurrantDirector of Business Development

Abertay University

• Innovation

• Route to market

• Commercial viability

• Applicant’s potential for success

• Business scale and capacity

Fund criteria

• Looking for competitive advantage

• Something that gives the project an edge

• Unique game design, originality in deployment or market etc

• However, must be in the context of market opportunity

Innovation

• Looking for clarity of route to market

• Why the prototype will make a difference to getting there

• Next steps likely to generate additional working capital

• Broad view including use of prototype to promote project

• Explaining track record, relationships etc will improve success

Route to market

• Looking for ambition and reasonable scale

• Startups need to show potential for sustainable business

• Targeting new or untapped markets acceptable, BUT

• MUST show you understand the niche you have identified

• Need for working capital to fund project ahead of grant claims

Commercial viability

• Can you and your team deliver the prototype?

• Background, skills and past achievements important

• However, graduate start-ups not excluded –but in that case must show you have mentors, networks etc in support

• This contest will look at this aspect very closely in terms of the potential to have a sustainable business/supply chain relationship in the field

Applicant potential

• Do you already have a development team?

• Does it have the required skills depth?

• One person developers /design-only teams may not qualify

• Identify weaknesses and explain how you will address

Business capacity

• Working capital needed to spend in advance and reclaim after

• Might take a couple of months for your first grant claim

• Grant is primarily for salary costs

• Evidence of PAYE payslips and bank statement required

• This applies also to Directors that are hands-on in the project

Important aspects

• Work in partner University, our studio or your own

• Overseen by industry-experienced Portfolio Managers

• Progression/milestones linked to grant payments

• Periodic retrospective claims

Funded projects

• Strictly speaking grant is non-repayable, BUT

• Expecting contribution to replenish fund from successful projects

• Mechanism proposed by recipient on case-by-case basis

• Example: % of sales revenue over £X sales until £Y cap

Sharing success

• Work with us to develop another contest

• Promote/join the talent pool

• Encourage your local university/other centres to host projects

• Invest in/partner with one of the grant recipients

Other opportunities

Application process

Stage one

• Register and apply at: https://connect.innovateuk.org/web/games-for-films-contest, follow us at @ICtomorrowbiz or search #gamesforfilm.

• Once registered you will have access to the online application form and supporting documents.

• Complete the answers to the questions offline so you are ready to complete the application form in one attempt and produce your two minute video (web cam is acceptable).

• Upload your video to YouTube, ensuring privacy is set to public.

Deadline: Complete the online application form, including the link to your YouTube video, before noon on 20 September 2012 .

We expect to choose up to 12 finalists from ‘Stage one’ to go through to ‘Stage two’.

Application process ‘Stage one’

A common review process applies to all application forms entries:

• each application is reviewed by a Review Panel

• each application is reviewed against the same set of assessment criteria

• the Review Panel then assess the collective scoring and identify a ranked order of the review. The Panel will discuss the applications and the videos to identify the proposals to invite to pitch live

• all other applicants will be informed they have not been successful with their application

• only successful applicants from ‘Stage one’ will be invited forward to ‘Stage two’.

Assessment process ‘Stage one’

Stage two

Up to 12 successful applicants will be invited to the ‘Stage two’ panel session on 25 or 26 October 2012 at the Game City conference in Nottingham.

Those chosen to go through to ‘Stage two’ will be required to answer some additional questions and to provide a 10 minute presentation with Q&A. Up to 5 minutes is able to be used to pitch your proposal to the panel and the remaining time will be used by the panel as Q&A.

Only one person is able to represent each proposal.

Practice sessions have been arranged in front of the IC tomorrow team to provide feedback and enable you to improve your pitch.

We expect to choose approximately four applications from this stage. Successful applicants will then have four to six months from receipt of the offer letter to add their applications to IC tomorrow. Consumer trials must be live spring 2013. The IC tomorrow team will help the successful applicants to gain access to licensed content from our key sponsors and other content providers as required.

Panel session ‘Stage two’

• Successful 'Stage two' applicants will be sent a provisional letter of engagement.

• Following this, applicants will be required to attend a project launch meeting with IC tomorrow and the relevant challenge partner/organisation to discuss their plans for delivery and agree the nature of their collaboration, including any requirements for exclusivity.

• Once the plan of delivery is mutually agreed, it is worked up into a service agreement.

• The service agreement has to be signed off within three months.

Successful ‘Stage two’ applicants

Key dates

Contest opens 6 August 2012

Briefing event 15 August 2012

Closing date for submissions 20 September 2012 noon

Finalist notified 26 September 2012

Practice pitch sessions at IC tomorrow office W/C 1 October to 19 October 2012

Final panel session at Game City conference in Nottingham

25 or 26 October 2012

Prototype trials launched February/March 2013

Jake CasselsProject Director

The Connected Set

http://theconnectedset.tv

Past contest winner for the ‘Quiz Trail’ app

Following an Abertay sponsored innovation contest in 2011, winner The Connected Set has launched the ‘Quiz Trail’ app with Tate Britain, which is available in the iTunes store. This was Tate Britain’s first ever app.

The game reached number one in “New and Noteworthy” and was also featured in the educational top ten in the app store. The game has also received coverage on the Guardian Apps Rush and on BBC 6 Music’s Planet of the Apps.

Tweet us!Follow us @ICtomorrowbiz to keeping in touch and up-to-date with

the latest information, news, press releases and system updates.

Games for Film contest hashtag #gamesforfilm

IC tomorrow telephone: 0300 321 4358

Contact details