APPLY TODAY | 15 SPACES
Saturday 20th August 2022
11 AM- 4pm
Gorey School of Art
This course will run over one day on Saturday, 20th August 2022 from 11:00am to 4:00pm.
Screen Wexford are proud to present this unique opportunity to get a hands-on practical experience with super 16mm film and cameras. This workshop will give you an opportunity to practice loading/unloading, exposure, shooting film, post-production workflows and using different film stocks in Arriflex and Bolex cameras.
- – Choosing film stocks
- – Overview of the camera and its components
- – Arriflex
- – Bolex
- – Superspeeds
- – Zooms
- – Camera Mags
- – Varispeed
- – Basics of loading
- – Exposing film
- – Working with film vs digital
- – Shooting 16mm
- – Unloading
- – Completing negative reports
- – Processing film and negative scanning
This workshop will be delivered by JP Quill. JP has experience working across the camera department; working on drama features, shorts, documentaries, TV, music videos, commercials, branded content, corporate video, and art films in both Ireland and internationally.
This course is aimed at new entrants and trainee crew who want to work or are working in the camera department of the Film & TV Drama industry. There are a maximum of 15 spaces.
For technical difficulties with the online system please email firstname.lastname@example.org
Selection for the workshop will be based on the quality of application and industry experience relevant to the course.
Monday 23rd May 2022
10 AM-12 pm
The Presentation Arts Centre Enniscorthy
Free: CLICK HERE to register.
This event is for Wexford based filmmakers to meet, support one another and learn new skills with the aid of expert workshops.
Throughout 2022, Screen Wexford are running a series of networking events throughout Wexford. At each event Screen Wexford will bring a new industry expert to share tips and resources about working in the Film & TV industry.
We are looking for members of the Wexford film & TV community to join us as we connect, socialise, share industry tips and opportunities.
We aim to provide opportunities for filmmakers to meet people working in the industry at all levels.
We will host workshops throughout the year on a variety of topics for beginners and advanced. Over the course of the year we will look at a wide range of areas from sound to costume design and from drama to documentary.
CLICK HERE to register and grab a free ticket to our May Networking event!
At our May Networking Event our guest speaker will be broadcast Camera operator Garr Cleary.
Garr will bring us through the industry workflow, will give us an introduction into working with Sony FX6 & Fs7, getting started in the business and how to approach shooting for television.
Garr Cleary has been working as a camera op in the film and TV industry for over 12 years. He has worked on some of Ireland’s most known shows and Documentaries featuring on RTE, BBC, History Channel, Netflix and more. Garr has travelled around the world specialising in filming adventure and travel series like Ultimate Hell week and Go fly!
Screen Wexford is a Wexford County Council initiative supported by Arts and Economic Development Departments. We aim to advance the film industry in Wexford by facilitating indigenous and international Film & TV production while supporting training initiatives that develop and grow our film community.
Be sure to save your spot at our upcoming Screen Wexford event on Monday, May 23rd, 2022 CLICK HERE
Wexford County Council’s Screen Wexford has appointed Al Butler as its new Film Coordinator.
Al is a veteran of Irish film, TV & commercial production with over two decades of experience writing, directing, editing and producing in advertising, documentary, TV & digital content.
“I’m really excited to pursue this new opportunity of working with Screen Wexford. Our film industry is changing rapidly and this presents Wexford with a great opportunity to support incoming productions and develop world-class local crew,” he says.
His role will continue the development and implementation of the Screen Wexford Strategic Plan for the region. Screen Wexford is a Wexford County Council initiative supported by Arts and Economic Development Departments. Its aim is to advance the film industry in Wexford by facilitating indigenous and international Film & TV production while supporting training initiatives that develop and grow our film community.
Al joins Screen Wexford bringing industry experience to the role having worked in production for the past 20 years. He studied filmmaking at the National Film School, IADT. In his previous role Butler worked for one of Ireland’s busiest production companies, The Coop, where he was Creative Producer & Director since 2015. He has vast experience working in production environments that span all areas from Animation to Commercial and TV to Documentary. Al was previously the Video & New Media Manager for Red Bull Ireland, and has also worked for a number of other production companies in both production and post-production capacity along with a background as a freelance video generalist.
Since the creation of Screen Wexford, outgoing film Coordinator Linda Curtin has worked with the Screen Wexford Steering Group, which includes Liz Burns (Arts Officer), Liz Hore (Director Of Enterprise/Wexford LEO) and Laura Way (Bodecii Film). The Screen Wexford Steering Group have been engaged with the screen sector, government agencies, training bodies and guilds, including Screen Ireland, Screen Skills Ireland, WWETB, Creative Ireland & SDGI, to develop an ambitious vision for County Wexford in the thriving Irish film, television and animation industry.
“Linda has done really exceptional work in creating and facilitating a massive body of work around training, funding and marketing. She has created a brand and direction for Screen Wexford to follow into the future. Linda has created an impressive range of programs for Screen Wexford, the echoes of this work will be felt into the future and have started a journey and created a roadmap for Screen Wexford.’ Butler says. Speaking about his own appointment, he concluded: “The team in Wexford County Council have been incredibly supportive and are very passionate about the development of Screen Wexford and the local film industry. They see the changes that streamers have brought to the sector and the opportunity this presents to Wexford to be an integral part of the next generation of film production in Ireland,” he says.
The Screen Wexford Steering Committee are delighted to welcome Al and look forward to working with him in his new role as Film & TV coordinator. Al will bring a fresh perspective to the role developing, overseeing and implementing the vision of Screen Wexford to build a thriving indigenous industry, providing opportunity and job creation in film, TV, Animation, AR and VR in County Wexford.
Al brings with him a wealth of industry experience, knowledge and leadership and understands the demands of this rapidly growing sector, as well as the needs of local filmmakers, creative talent, HOD’s, production, crew and post production. With the appointment of Al as our full time coordinator, We are excited for the future of Screen Wexford.’
‘Linda Curtin’s innovation, passion, diligence and investment in the Screen Wexford vision, the industry and local filmmaking talent, has been exceptional. We would like to take the opportunity to thank Linda for her hard work and wish Her every success in her career and practice as a filmmaker. Screen Wexford will continue to work with Linda on special training programmes in the future.
After receiving a high standard of applications from all over the county, Screen Wexford is pleased to announce that the Peggy Walsh Award for Female Camera Talent 2022 goes to Therese Dalton.
Having originally studied broadcast journalism in Dublin, Therese Dalton pursued a career in the film and television industry in San Francisco and lectured at the city’s Academy of Art. Returning to Ireland, she worked as an editor for RTE and the BBC and subsequently as a camera operator.
Back in her native New Ross, Therese continues to freelance and to run filmmaking workshops for young people and as coordinator for the County Wexford Youth Film Project. On learning of her win, she spoke of being “honoured to receive the award” and how she was “mesmerised by the magical quality of Peggy Walsh’s Super 8 film footage from the 1960s.”
Peggy Walsh, to whom the award is dedicated, was an amateur filmmaker born in Wexford a hundred years ago. She enriched the county by leaving behind an extraordinary film archive that documents local life – most famously the visit of President John F. Kennedy in 1963. Award winner, Therese Dalton went on to say how as a cinematographer shooting with digital video cameras for the past twenty years, she never felt the modern format matched the “luminous ethereal quality of Super 8 film.”
Screen Wexford, the local film initiative spearheaded by Wexford County Council, decided to support women filmmakers from the locale by awarding this new bursary – and, by naming it in honour of Peggy Walsh, to draw attention to the Wexford woman’s extraordinary talent and legacy.
Applications for the award were judged by Wexford native Jessica Drum – Chief Executive of the Screen Guilds of Ireland – and Film Director Diramuid Goggins, who both remarked on the challenge of making the selection due to the quality of the submissions. John Leahy, manager of the Irish Society of Cinematographers and 24-4 Drama will support Therese through the provision of equipment and has also linked her up with new mentor – John Conroy, AFC, ISC. Therese will also receive 1 year’s subscription to Women in Film & Television Ireland who promote greater representation of women on screen and behind the camera.
Linda Curtin, Wexford’s outgoing Film & TV Coordinator for Screen Wexford, points out parallels between the work of Therese Dalton and Peggy Walsh in terms of aesthetic and outlook. “Like Peggy, Therese is a true artist with a fascination for people and place.”
Peggy Walsh’s daughter, Ann Larkin, said “The Walsh family extend our sincere best wishes to Therese Dalton for winning the award. With a little inspiration from Peggy and a mountain of professional support, the opportunities are endless. The financial award is brilliant but the mentoring is priceless. Every frame captured is a memory made!”
SCREEN WEXFORD HAS HAD A BUSY 2021!
To celebrate, the team at Screen Wexford would like to announce an end of year Showcase Event taking place in Wexford Art centre on Thursday 2nd December 2021 from 7-9pm. This event will include short films screenings, launch of Screen Wexford’s new website, and is an opportunity to meet the team behind Screen Wexford whilst learn of new and exciting plans for 2022.
This showcase event will include:
NEW VOICES SHORT FILM SCREENING
In December 2020, from a highly competitive slate of submissions, three Wexford based teams were selected to receive production finance; equipment support from lighting company Teach Solais; and a professional mentor to support the filmmakers throughout the production process.
The three winning projects being presented in our showcase are:
‘Sonny, Mammy and Patch the dog’
by Sinead O‘Quigley, Richard Deering and Adam Hart, is a dark comedy about how life can be put back together after a bereavement.
Samsara by Unity, a collaboration between artists Mirona Mara and Jonathan Murphy who have made an animated short about the cyclical nature of life, death and rebirth.
Halted by Robert Tyrell and Joanne Heffernan – a documentary about the everyday lives of the Travelling Community in Wexford.
REMIXING THE ARCHIVE PROJECT
Earlier this year, Screen Wexford ran an exciting new training programme in the field of film archive that invited ambitious early-stage career filmmakers and artists working with the moving image across Wexford, to engage imaginatively with the enormous untapped potential of archive film (from the IFI / BFI / BBC & NI Screen) whilst creating a new archive-inspired piece. The workshop was delivered by Akajava Films in collaboration with the Make Film History project with the support of Screen Skills Ireland. 9 films made during this project will also be screened.
Speaking about the work being screened as part of the showcase, Screen Wexford’s co-ordinator Linda Curtin said that “Wexford has a wealth of creative talent and I’m very excited to share the work produced through our programmes – these short films represent a diversity of subject matter, culture and ethnicity and I hope they inspire others to launch their careers as filmmakers and engage with our Screen Office’.
This event has limited access due to covid restrictions and is invite only. However, we will stream the event online over Zoom. Details as follows:
Webinar ID 889 2893 4395
Webinar Passcode 696849
For further information please email email@example.com
BEYOND 2021 took the theme of place to look at how the Creative Industries are forming the heart of new vibrant cultural and creative economies. The conference is in its 4th year and was a hybrid event that took place both in Belfast and online. We are highly invested in championing creativity and entering the immersive space here in Screen Wexford, so we journeyed up to make some connections and to see what we could learn from their vibrant film & TV industry.
The conference was held in partnership with Future Screens NI and supported by Belfast City Council and Matrix NI. As a delegate, we enjoyed a bespoke programme of activities, with location-based immersive experiences, networking, receptions and lots more. Feeding our curiosities was the depth of research and innovation shared that looked to reimagine, reinvent and reinvigorate place. For Screen Wexford, place, and the marketing of same, is an important part of our remit. We strive not just to put Wexford on the map, but to make it a true production centre and we are examining creative ways to do that.
The absolute stand-out events for us were:
1. Fuelling the Future: How to Build New Place-Based Talent Pipelines
At a time when the UK government is talking about national skills shortages across multiple sectors, is it time for the Creative Industries to take a different track, and time to recognise that skills issues in regional and local creative economies need regional and local solutions? But can place-based talent pipelines be created and nurtured to successfully fuel growth in regional and local creative economies? How are different places across the UK approaching the question of where we need to get to and how we can get there? Where is this working and who can we learn from?
Dominic Lusardi, Advisor/NED, Digital Thinkers
Emma Turner, Head of Film CPD and Future Skills, ScreenSkills
Frank Lyons MBE, Interim Executive Dean of Arts, Humanities and Social Sciences, Ulster University
Rachel Nicholson, Head of Institution, Backstage Academy
Rosalind Coleman, Producer, Punchdrunk
You can view the talk online on Beyond’s channel here.
2. Materiality in the Metaverse: Tools to Thrive in the New Spaces of Fashion−
Fashion experts from academia and industry explore the distinctions between the three levels of the new Fashion Metaverse, the opportunities and issues presented by each, and the tools required to support the next generation of designers and fashion entrepreneurs as they navigate these new worlds and markets.
Miss Jade How, Head of Fashion, Lockwood Publishing
Prof Jane Harris, Professor of Digital Design and Innovation, Director of the Fashion, Textiles and Technology Institute (FTTI, UAL), University of the Arts London, London College of Fashion
Dr Mike King, CEO, Numerion Software
Alex Lambert, Creative Director, Happy Finish
Leanne Elliott Young, CEO & Co-Founder, Institute of Digital Fashion
Watch back Materiality and the Metaverse here.
3. Wide Open Spaces: Building Rural Creative Networks
A third of creative business hubs are outside of the UKs big cities, and beyond them lie thousands of small innovators, entrepreneurs, creative practitioners and businesses, many in remote places. Regions where creative economies are dispersed face unique challenges as they grow, but are also ideally placed to reinvent themselves for the digital age, create new jobs, bring investment and provide a unique sense of place and place-making. This panel looks at what is needed if we’re to support and grow the creative economy in these places.
Joanne Evans, Creative Industries Impact and Partnerships and Development Manager, University of Exeter
Dr Karen Cross, Academic Strategic Lead for Fashion Management, Events, Tourism and Hospitality, Robert Gordon University
Emily Sorrell, Innovation Designer
Dr Josh Siepel, PEC Work Strand Lead for Creative Clusters, Innovation and Access to Finance, SPRU, University of Sussex and Creative Industries Policy and Evidence Centre
Check out Wide Open Spaces: Building Rural Creative Networks here.
4. Altered Places: How Augmented Reality Could Change our Relationships with our Worlds
In this video piece Augmented Reality Product Designer Campbell Orme asks if and how AR can change our relationships with places.
Watch back Altered Places here.
5. Augmenting Places: AR for the People
As the medium becomes more popular, what responsibilities do AR makers have to place – and the communities that live there? Angela Chan, an expert in innovative inclusion in storytelling, talks to leading AR makers to find out how it can be used to open up both places and our imaginations for new encounters with history, our environment and each other – before questioning how we should address the potential issues around accessibility, inclusion and ownership that this opening up of place can unlock.
Angela Chan, Head of Inclusion / Doctoral Researcher, StoryFutures, Royal Holloway, University of London
Rob Morgan, Creative Director, Playlines
Dr Paul Clarke, Senior Lecturer in Performance Studies, Artistic Director, University of Bristol, Uninvited Guests
Nosa Eke, Writer/Director
Check out Augmenting Places: AR for the People here.
6. Belfast Stories: Turning Place 360
Founder of Belfast-based agency Yellow Design, Michael McGlade, explores their work in Belfast and London that is remaking and revealing new aspects of place, past and present, through AR.
Michael McGlade, Creative Director, Yellow Design
Watch Belfast Stories: Turning Place 360 here.
Overall, it was beyond impressive and we can’t wait for next year’s array of talks, immersive experiences and fresh collaborators!
ALBERT is the authority on environmental sustainability for film + TV. Founded in 2011 and governed by an industry consortium, they support everyone working in film and TV to understand their opportunities to create positive environmental change. Their training helps industry colleagues to live and work sustainably by providing an optimistic, science-based, solution-centric and enjoyable introduction to the environmental challenges we face. Aimed at those who work in production and crew, their courses are free and open to everyone.
As a Screen Office, we undertook Sustainable Production Training which provides the knowledge and skills to create productions in a more sustainable way. Through this course, we looked at…
– environmental basics
– industry’s impact
– production case studies
– carbon calculation and certification
Reduction of our carbon footprint is a hot topic in almost every industry. Whether it’s building and construction or IT data-centres, transport or manufacturing, everyone is becoming increasingly conscious of how much energy they use and how much carbon they put into the atmosphere – and the film and television industry is no different. There are taxes coming. And probably fines too.
Carbon neutral filmmaking is on the way up the agenda and is being taken seriously – anywhere from Screen Ireland to Netflix and Amazon and even in our own county council arts and film offices around the country. Anything we do in Wexford in the area of screen production will take its carbon footprint into account, whether by energy conservation and recycling or by factoring in carbon credits or carbon capture.
The Association of Film Commissioners International (AFCI) is the global non-profit professional organisation representing city, state, regional, provincial and national film commission members on six continents. AFCI’s mission is to provide advocacy, connectivity and education necessary for film commissions and businesses in the screen sector to foster economic growth, to initiate the groundwork for strong infrastructure and provide the essentials for professional development in a fair, sustainable and socially diverse manner world-wide.
Earlier this year, Screen Wexford invested some time in acquainting ourselves with the AFCI’s Film Commission’s course materials to ensure we meet international industry standards when operating our Screen Office. Their online courses are specific to Screen Commissioners and are self-directed. Here are the courses we took:
Film Commission Fundamentals
Film Commission Fundamentals (FCF) is an online course providing valuable information and training to individuals involved with film commissions in any capacity. This course is an introduction and orientation to film commission work. Film Commission Fundamentals give the participant an overview of all aspects of film commission work. Topics of study include film commission operations, marketing your jurisdiction, an overview of economic development, film incentives programs, scouting, location photography, plus working with production and clients and within the local jurisdiction. Graduates of the course will gain an understanding of the skills required of every film commission staff member, and the way in which film commissions can successfully interact with the production community and their jurisdictions. Upon finishing the course, we were awarded a certificate of completion and later went on to study Film Commission Professional.
Film Commission Professional
Film Commission Professional is an online course building on the information presented in Film Commission Fundamentals course. It provides more in-depth information on several of the most important elements involved in film commission work. Course participants will explore important topics in greater depth including the business aspects of film production, effective marketing techniques, economic development impact and reporting, and the importance of alliances and partnerships such as working with crew, guilds, unions, and economic development officials.
Both courses were incredibly informative and gave an insight into the hard and soft skills required to run a Screen Office. A must for any screen office professional. You can read more about the AFCI here.
Welcome to the future of location scouting – VIRTUAL SCOUTING.
Here at Screen Wexford, we are committed to exploration of new technologies for the development and positioning of our Screen Office. Very early on, we asked ourselves the question ‘How can we future-proof the marketing of our locations whilst preparing for advances in technologies in the area of virtual production?’ Since the advent of covid, remote working has seen the production pipeline change and advance. More and more teams are working remotely with key decision makers inputting on locations both remotely and through the VR space.
The beauty of 360 degree footage is that it can allow viewers to engage with the footage / environment / location through a VR headset but also through 2D. Key decision makers in the production process have the ability to see exactly what’s in a space and therefore its full cohesive potential. We think that 360 location scouting will literally change the game.
– It effectively demonstrates scale;
– It’s convenient and cohesive: instead of multiple shots of a location, one compact 360 file (taken as either 360 still or video) can give a really strong sense of a location that the viewer can engage with in an immersive way. In sum, you don’t miss a picture as it takes in the entire space;
– It’s time saving – the speed of capture and the workflow are really incredible. You can document one entire room in under a minute and then share it with your team;
– Health & Safety: Being covid safe is of uppermost importance to crews. The beauty of 360 shooting is that it can negate larger numbers of crew on a recce. IE – instead of bringing a production designer, grip and electric team on a recce, a location manager can remotely communicate (in live mode) relevant location data;
– It’s portable and fits in your pocket;
– Since it negates large numbers in attendance on a recce, a virtual location shoot is sustainable in terms of reducing our carbon footprint. Less flights and more remote decision making make for greener productions;
– If you’re not sharing in live format, you can transfer the footage from the camera to the Insta360 Studio app on a desktop. For file-sharing, you can lock the position on the video, download and send. You can also review footage with teams over video conferencing or in-person on a TV screen, going through each location in detail in order to break down the specifics.
Earlier this year we tested various 360 camera including the Insta360 One X and the Insta360 Pro 2. Both are incredibly versatile but the One X came out ahead in terms of it’s versatility, size, cost and post-production workflow. We see this experimentation as part of our future-proofing in the area of Virtual Production and hope to integrate these 360 virtual recce shoots into our service offering in the next year.
South by Southwest, abbreviated as SXSW, is an annual conglomeration of parallel film, interactive media, and music festivals and conferences that take place in Austin, Texas, United States. Screen Wexford was fortunate enough to attend the virtual event from the comfort of our remote office in Wexford. We missed the in-person interactions (whole doesn’t love sitting in a dark room at 9am at a film festival….or 9pm at the festival hub) but we were certainly not disappointed by the line up and array of talent in attendance. Over the course of the five day festival, we attended talks, watched films, shared some amazingly immersive XR experiences and discovered new ways to connect in this unique digital space. From this, lots of exciting ideas have emerged which we will integrate into our programme for the year ahead.
If you’re interested, you can check out our SXSW Diary below:
Driving Action Advocacy Through Online Community
Online communities are nothing new (case in point: Reddit turned 15 last year); but as the world adapted to 2020, these digital spaces have proven their worth in a whole new way. Reddit has witnessed this first hand, as more people joined its many thousands of communities for connection, distraction and belonging in a time of unprecedented disconnection. While IRL experiences continue to evolve in unexpected ways, the communities on Reddit remain a constant source of conversation and companionship — as well as a valuable lens from which to examine human psychology, consumer behavior, and general sentiment. Join Reddit’s Chief Operating Officer Jen Wong as she takes the virtual stage with CNN’s Kerry Flynn for a conversation about why online communities were made for this moment, their role in the evolving digital ecosystem, and the inherent value they bring to brands looking to build authentic connection, brand advocacy, and drive action.
Amy Webb Launches 2021 Emerging Tech Trend Report
In this provocative session, futurist Amy Webb, professor at NYU Stern School of Business and founder of the Future Today Institute, provided a data-driven analysis for the emerging tech trends that need to be on your radar in 2021––scenarios for the future of business, governing and society.
Laurieann Gibson on Tapping Into Your Creative Vision
Empower the dreamer in you: the artist, the writer, the athlete, the entrepreneur, the mover and shaker. World-renowned creative visionary, choreographer and author Laurieann Gibson shared the principles that have shaped and guided her artistic work developing some of the world’s biggest pop stars. In conversation with creative director, celebrity stylist and costume designer June Ambrose, Gibson spoke about the inspirational jewels she’s garnered over her 20-year career in entertainment in order to ignite your creative passions, encourage you to create a unique roadmap to success, and to “dance your dance.”#DanceYourDance
Why Do We Fear Innovation?
From the printing press to vaccines to artificial intelligence, the introduction of almost any transformative technology has been met with wonder as well as fear and rejection. Many of history’s greatest inventors were considered heretics–the archetype of the mad scientist exists for a reason. Why does the new still scare us? What does it take to build acceptance for transformative ideas? How does the unprecedented scientific progress to deliver COVID vaccines influence this? What role does disinformation play in shaping our fears? How can we ensure innovators consider ethical issues, so outcomes can lead to the betterment of people and the planet? What can innovators learn from artists and creators of fiction?
Climate Change Meet Up
We are living with the reality of climate change every day. How can we begin to adapt beyond acknowledgement and complacency? This meet up looked at the reality of the climate crisis and the solutions that have the opportunity to save our planet.
Can VR Create Real Change?
“VR for Good”, “the Empathy Machine”, “Story living”… VR has gotten quite a reputation for creating impact. But does the hype really add up? We are at a pivotal moment in history, with socio-political division at an all-time high and less than a decade left to prevent climate crisis. Could creating virtual realities actually help move us towards a better tomorrow? Join top VR for Good creators and curators as they dig into the impacts of this medium, putting real change and direct action front and center. We will tackle three difficult questions that get to the heart of this issue.
A Survival Guide to Alternative Film Distribution
Digital distribution continues to evolve with over 100 digital and streaming platforms offering movies and television series, catering to audiences eager to escape lockdown madness. At a time when theatre availability is uncertain and digital models are key, distributors and filmmakers are working out different ways to effectively release films of all genres and budgets. This panel will explore the platforms now available, how the business models work, and what types of films work in these distribution structures. Emerging trends will be discussed including AVOD, film libraries, education/public library streaming, and MOD (manufacture on demand DVD). On the more traditional side, the speakers explored how distributors are monetizing their content and adapting to new processes.
Brian Eno Stewart Brand on Film, Music, and Creativity
Musician Brian Eno in discussion with Stewart Brand, the subject of a new documentary on Stewart called We Are As Gods. The film profiles Stewart Brand: legendary pioneer of the counterculture, cyberspace, futurism, and modern environmentalism. Today, he urges people to use our god-like powers to fight extinction by reviving lost species, but his former allies in the environmental movement vow to stand in his way. Brian Eno created the beautiful and indelible original music for We Are As Gods. The two are friends and co-founders of the Long Now Foundation, an organization dedicated to shifting humanity’s perspective to long-term thinking. Brian and Stewart chat with filmmakers about the film, collaborating on the musical score, and limiting creative possibilities in the digital age.
The Future is Accessible: Accessibility in XR
XR is redefining what we consider reality – creating the potential for entirely new mediums and means of expression. This paradigm-shifting technology allows users to experience entire worlds and alter their perceptions of reality. For XR technology to reach its full potential, it needs to be accessible. As we develop VR, AR, and other spatial computing experiences, we have the opportunity to create technologies that are accessible from the start. As workplace and educational paradigms become increasingly digital-forward, ensuring users of all abilities can avail themselves of XR technology is more important than ever. Hear from industry experts, academics, and creators on the current state of accessibility in XR and what we can do to ensure the future of XR is for everyone.#FutureIsAccessible
Entrepreneurship Equals Empowerment
Leveling the playing field for entrepreneurship is the single most important thing we can do to build a better economy. We must empower our next generation with the tools they need to create economic independence by bringing together businesses, governments, nonprofits and community orgs to invest in small business and remove barriers for disenfranchised groups. The challenges faced in 2020 highlighted many opportunities to do better, but also gave us hope, as the world rose to support Black entrepreneurs. We must continue to remove obstacles, encourage more aspiring Black entrepreneurs – and other traditionally marginalized communities – to start and scale businesses, and provide them with the technology, educational programs and opportunity to access capital that they need to succeed.
All-in-all an incredible festival. We connected with some amazing talent that we hope to bring to Wexford in some capacity in the coming months.
Hope to see you there next year!
In January, 2021, Wexford County Council green-lit the planning permission for the construction of Tara Studios – a proposed 250,000 square feet, state-of-the-art film studio at Borleigh Manor, just north of Gorey. A planning objection was later lodged by a local in relation to the scale of the project in a quiet rural area. The developers are still awaiting a decision from An Bord Pleanála.
Despite the Covid 19 pandemic, the global film and television industry has experienced substantial growth in the last number of years. Screen Wexford sees that the region can continue to benefit from this trend through the expansion of infrastructure and facilities. It is anticipated that Wexford’s new film studios, if they come to fruition, could help generate in the region of 350 jobs on incoming productions and a further 30 jobs at Tara Studios itself, plus additional local employment for technical and craft workers. The proposed facility will include seven sound stages along with supporting buildings on the 160 acre site – a significant new contribution to the Irish film industry.
The team behind Tara Studios is headed up by John Gleeson and Ivan Dunleavy. Gleeson hails from North Wexford and is recognised as one of Ireland’s most established advisors on film finance and an expert on the Irish Film and Television Tax Credit, Section 481; with a past list of media clients that include Amazon, Apple, Disney, Netflix, Sony and Universal Pictures. Ivan Dunleavy, whose parents were originally from Wexford, is the former chief executive of Pinewood Studios, the UK’s iconic “dream factory” and home to the James Bond franchise among many others. Dunleavy has also been an executive producer on film productions and involved in post-production in the area of ground breaking visual effects.
Screen Wexford, the county’s film and television agency, are hopeful that the decision comes soon from An Bord Pleanála and that it’s a positive one.
2020 marked Screen Wexford’s inaugural year and it would not have been complete without attending FOCUS – THE MEETING PLACE FOR INTERNATIONAL PRODUCTION. This year’s market took place online and proved to be a vibrant space to connect and share global production expertise across film, TV, advertising, animation and games. FOCUS has established itself as an important date in the screen industry calendar offering a plethora of filming solutions, potential partners and production intelligence for all types of project and all levels of budget, from pre through to post-production. A number of Ireland’s Screen Offices were also in attendance as well as The Locations Guild of Ireland, Screen Producers Ireland, Commercial Producers Ireland and of course Ireland’s lead agency for screen production – Screen Ireland.
There were too many valuable talks and workshops for us to share but the stand out event for us was:
THE REALITY OF VIRTUAL PRODUCTION
2020 witnessed an enormous development in the area of virtual technology or virtual production. Its potential appears to be limitless. The release of The Mandalorian in 2019 and the pandemic has created a tremendous interest in the potential of VFX and an acceleration of what creatively, might be possible in terms of production. eg. It allows production design to be realised earlier and also it allows more control. But advances such as these require large teams of people and are currently massively expensive. The discussion looked at what we can expect over the next 5-10 years.
Tim Keene – Managing Director, The Third Floor London
Hasraf ‘HaZ’ Dulull – Director / Producer, HaZ FILM Ltd.
Brian Mitchell – Head of Rebellion Film Studios
Glenn Kelly – Head of Production, Imaginarium Studios
The FOCUS programme is developed in consultation with a Content Advisory Board featuring representatives from leading industry bodies. Members include the British Film Institute, British Film Commission, Pact, Directors UK, Advertising Producers Association, The Production Guild GB, ScreenSkills, UK Screen Alliance, Creative Europe Media Desk UK and Women in Film and TV. The content programme is presented in association with media partner Variety and sponsored by Production Service Network.
Screen Wexford is proud to announce successful applicants for the New Short Filmmakers Fund in Drama, Documentary and Animation.The fund is an initiative of Wexford County Council’s Arts Office in conjunction wit Bodecii Film and is run by Screen Wexford, the county’s agency for promoting Film & TV production and training.
From a highly competitive slate of submissions, three Wexford based teams have been selected to receive €2,500 production finance; equipment support from lighting company Teach Solas to the value of €1,500; and a professional mentor to support the filmmakers throughout the production process.
The three projects to make it through to final selection are:
• HALTED by Robert Tyrell and Joanne Heffernan – a documentary about the everyday lives of women from the Travelling Community in Wexford.
• SAMSARA by Unity, a collaboration between artists Mirona Mara and Jonathan Murphy who plan to make an animated short about the cyclical nature of life, death and rebirth.
• SONNY, MAMMY AND PATCH THE DOG by Sinead O’Quigley, Richard Deering and Adam Hart is a dark comedy about how life can be put back together after a bereavement.
Speaking about the three successful teams and their upcoming films, Screen Wexford’s co-ordinator Linda Curtin said that “although the benchmark for choosing projects was the potential to make a great short film, we also wanted to represent a diversity of subject matter, culture and ethnicity.” According to Curtin, the selection panel which also included playwright-actor Michael Cristofer and writer-director Conor Morissey was excited by the quality of projects selected, but overall it had been a tough process given the surprisingly high standard of submissions. She added that “we hope to repeat this process in future given the level of talent and creativity in the county.”
Wexford County Council’s Screen Industries initiative, Screen Wexford, has announced the appointment of a new Film and TV Coordinator, Linda Curtin, who will oversee the implementation of a Screen Sector Strategic Plan for the region. This initiative is part of a drive for the development of film, TV and animation in County Wexford. The aim is to attract more international and indigenous film and TV productions to the region, and to nurture homegrown talent.
Curtin is an award-winning filmmaker who has been working in the industry for ten years in varying capacities from festival marketing to hands-on film production in the fields of documentary and art film. Her work has been broadcast on TV and exhibited in galleries and festivals worldwide. She facilitates workshops in creative filmmaking, while making collaborative works funded in conjunction with bodies such as CREATE and the Arts Council of Ireland. She has been involved in film programming and currently serves as a member of the board of directors of the Cork Film Centre and First Cut Film Festival.
“Screen Wexford is perfectly placed to promote the many unique advantages to shooting here,” Curtin states, “but equally important is to help grow our local grassroots film and TV industry. The arts and media sectors are hugely vibrant in the county, with tremendous potential for growth. From a film locations perspective, the county has enormous untapped potential from our unique Norman and Viking architecture to our sprawling coastline. I’m very excited to get stuck in. We have big plans.”
The Screen Wexford Steering Group, which includes Liz Burns (Arts Officer), Liz Hore (Head Of Enterprise/Wexford LEO) and Laura Way (Bodecii Film), have been engaged with the screen sector, government agencies, training bodies and guilds, including Screen Ireland, Screen Skills Ireland, WWETB, Creative Ireland & SDGI, to develop an ambitious vision for County Wexford in the thriving Irish film, television and animation industry.
“We are excited to have Linda in her new role at Screen Wexford, especially as this is a crucial time for Film and TV production and development in Ireland. Currently there are thirteen large scale productions filming in the country, with a demand for trained crew. With Linda as Film and TV Coordinator, Screen Wexford will be focused on the development of filmmaking infrastructure, regional skills development and nurturing of local talent, and also attracting foreign and international productions to the county.”