Professional Skills Unit

1. Identify your film/projects market
- Science / Medical / Festivals / National Geography / Discovery Channel
- Sell it to directors and producers. The foundry post production houses - framestore, Mpc, Double negative, ILM, Ingenuity 

2. Structure your individual (Group?) website marketing on-line presence

Link to website website:
3. Identify an employer/company who you will invite to the degree show.

Recruitment manager / Technical Director / Production Manager

Contacted the foundry to invite them and information on promoting student films using their products as stated on their website:

Kamilia - Secretary:

4. Evidence of how other animators /creative have marketed their products.
2004 film, Ryan.

Cork Film Festival
Cork - Ireland
International Short Film Festival of Drama
Athens - Greece
International Fantastic Film Festival (PIFAN)
Puchon - Korea
International Animation Festival
Melbourne - Australia
IFP Los Angeles Film Festival
Beverly Hills - USA
Film Festival
Sydney - Australia
Newport International Film Festival
Newport - USA
Mountain Film Festival
Telluride - USA
Animation Festival International
Kalamazoo - USA
Animation Festival International
Kalamazoo - USA
WorldFest - International Film Festival
Houston - USA
Delaware Valley Arts Alliance
Narrowsburg - USA
Golden Gate Awards Competition & International Film Festival
San Francisco - USA
Belgrade Documentary and Short Film Festival
Belgrade - Serbia
Florida Film Festival
Maitland - USA
Aspen FilmFest (Shortfest)
Aspen - USA
Genie Awards
Toronto - Canada
International Film Festival
Cleveland - USA
International Film Festival
Tampere - Finland
March 2 to 13 2005, San Jose - USA
Reel to Real International Film Festival for Youth and Families
Vancouver - Canada
Annual Academy Awards / OSCARS
Hollywood - USA
Film Festival
Victoria - Canada
Black Maria Film and Video Festival
Jersey City - USA
Sundance Film Festival
Park City - USA
Future Film Festival
Bologne - Italy
Toronto Film Critics Association Awards
Toronto - Canada
Canada's Top 10 - International Film Festival Group
oronto - Canada
Madrid - Spain
International Festival of Documentary and Short Film - (Zinebi)
Bilbao - Spain
Golden Horse International Film Festival
Taipei - Taiwan
Cape Town World Cinema Festival
Cape Town - South-Africa
International Film and Video Festival
Columbus - USA
International Animated Film Festival / CINANIMA
Espinho - Portugal
International Animated Film Festival / CINANIMA
Espinho - Portugal
AFI International Film Festival
Los Angeles - USA
Holland Animation Film Festival
Utrecht - Netherlands
Holland Animation Film Festival
Utrecht - Netherlands
ION International Short Film, Animation & Games Festival
Los Angeles - USA
International Film Festival
Leeds - England
October 28 to 31 2004, Barcelona - Spain
International Film Festival
Valladolid - Spain
International Festival for Documentary and Animated Film
Leipzig - Germany
International Short Film Festival
Uppsala - Sweden
The Festival du Nouveau Cinéma Montréal
Montréal - Canada
Woodstock Film Festival
New York - USA
Imago Film Festival
Fundao - Portugal
International Animation Festival
Ottawa - Canada
Atlantic Film Festival
Halifax - Canada
LA Shorts Fest
Los Angeles - USA
Prix ARS Electronica
Linz - Austria
International Short Film Festival
APalm Springs - USA
International Animation Festival
Hiroshima - Japan
 Los Angeles - USA
International Animated Film Festival
 Annecy - France
International Film Festival
 Cannes - France

Worldwide Short Film Festival
 Toronto - Canada
5. Individual scheduling - weekly meetings etc. - (Google calendar)

6. Individual marketing plan for the degree show

Invite industry
Business cards
Flyers - Galleries around london

Facebook group
Send to festivals

8. A short personal reflective account of how you have responded to this unit:

This Unit has been a exciting journey throughout our pre, post and production stages of the Synaesthesia. The requirements for this unit has catapulted the film process.
This Unit has inspired myself to researching into my specialist are which I have no decided to be Texturing.
Although texturing is known to be through UV opening and photoshop painting, Mari from the foundry has opened up a new dimension in texturing, giving the artist less technical problems to deal with.
The challenges were many, but the outcome of the 2 final rendered shots felt as though we had won a award for the best animation festival. Now that I have identified the films workflow, and rendering problem, steps can be taken to avoid future conflict such as rendering time and to use the correct render packages.
The Marketing of the film is important to the promotion of Synaesthesia, by inviting related specialisms from the industry gives the team members the chance to network industry professionals, even possible employers.
This unit seems to be carefully constructed as is guides final year students into knowledge of workflow and area specialism.

9. Evidence of Networking between team mates:

Broadcast Health and Safety

- We have taken the following Safety Precariousness for BROADCAST HEALTH AND SAFETY:

1.1 Interlaced Footage Required:

1.3 HD Settings

High Definition Format
All material delivered for UK HD TV transmission must be:
1920 x 1080 pixels in an aspect ratio of 16:9
x 25 frames per second (50 fields) interlaced - now known as 1080i/25.
x colour sub-sampled at a ratio of 4:2:2
The HD format is fully specified in ITU-R BT.709-5 Part 2

1.3  Sound Quality

Sound must be recorded with appropriately placed microphones, giving minimum background noise and
without peak distortion.
The audio must be free of spurious signals such as clicks, noise, hum and any analogue distortion.
The audio must be reasonably continuous and smoothly mixed and edited.
Audio levels must be appropriate to the scene portrayed and dynamic range must not be excessive. They
must be suitable for the whole range of domestic listening situations.
Stereo audio must be appropriately balanced and free from phase differences which cause audible
cancellation in mono.
The audio must not show dynamic and/or frequency response artefacts as a result of the action of noise

1.4 Tolerance of out of gamut signals

In practice it is difficult to avoid generating signals slightly outside this range, and it is considered
reasonable to allow a small tolerance, which has been defined as follows under EBU Rec103:
x RGB components must be between -5 % and 105% (-35 and 735mV)
x Luminance (Y) must be between -1% and 103% (-7mV and 721mV)
Slight transient overshoots and undershoots may be filtered out before measuring, and an error will only
be registered where the out of gamut signals total at least 1% of picture area. Many monitoring devices
are designed to detect errors to this specification.

1.5 ‘Blanking’ 

HD images must fill the active picture area (1920 x 1080 pixels). No ‘blanking errors’ are permitted on new,
up-converted, or archive material.
However a two pixel tolerance will be permitted during CG or complex overlay sequences where key signals,
graphic overlays or other effects do not fully cover the background image. Where animated key signals or
overlays cause moving highlights at the edge of the active image it is preferable to blank these pixels
completely.  A note of the timecodes and reasons for these errors should accompany the delivered