Award Ceremony …

Jerwood Moving Image Awards

The Jerwood Moving Image Awards is a major new prize for artists working in digital moving art, launched by the Jerwood Charitable Foundation.

The awards have been set up to celebrate and support artists in the early stages of their careers, bringing some of today’s most exciting talent in digital art to new audiences, via both this website and an exhibition at the Jerwood Space. The awards encompass a wide range of artistic practice – from film, documentary, video and music to dance, installation and drawing.

The Jerwood Charitable Foundation is dedicated to imaginative and responsible funding, with a particular remit to support talented artists in the early stages of their careers. The organisation already runs a number of prizes and awards across several disciplines – and in particular in the visual arts disciplines of painting, drawing, sculpture, photography and applied arts, under the banner of Jerwood Visual Arts.

Guidelines for Entry

Closing date 08.00 on Monday 3 December 2007

The Prize

These new awards will celebrate and reward artists in the early stages of their careers working in digital moving image. An independent panel of judges will undertake a rigorous and artistically focussed selection process, leading to up to 30 pieces of work being presented on a dedicated website. A shortlist of work by up to eight artists will be exhibited at the Jerwood Space in London in 2008. Three winners will be selected from the shortlist, with each being awarded a prize of £10,000.

There will be a public vote where people will be invited to vote on their choice of work. The winner of this public vote will be featured on the website. No prize will be awarded.

The Website and How to Enter

All submissions will be received and judged online through our website at You will need to be able to submit your work and fill in the application form through our site, according to the technical specifications outlined here. The judging will take place online but privately. The public will then be able to view the shortlists, finalists and winners online. They will be able to download your moving image works onto their laptops, to their telephones and to their MP3s. Please read these Guidelines and our Terms and Conditions

Digital Moving Image

We are using the term digital moving image to describe the range of artists’ practice with the moving image. We are using the term in an inclusive way. We prefer it to film or video, as it includes not only film, but all practices beyond film, and in the world of fine arts (including painting, video, drawing, digital art, and so on), animation, illustration, dance, music, as well as digital arts, new media and installation work. Generally we are using it to refer to work made within the context of contemporary art as opposed to work made under the context of mainstream cinema or television. We are also using it to refer to work made for the digital online context.

What are we looking for?

Three awards of £10,000 will be presented on 4 March to three artists whose work, in the opinion of the judges:

  • Demonstrates originality, imagination and excellence
  • Presents high-quality, well-produced digital moving image
  • The work will be judged
    • on the artistic merit and imagination of the idea behind the work
    • on the imaginative use of digital moving image as art
    • on how the structure and concept of the work suits the online environment, and the editorial decisions made to conceive the work


Work submitted must fulfil the following criteria:

  • They must be high quality imaginative digital moving image works between 1 and 10 minutes long
  • The digital moving image works must have been made in the last two years (i.e. since September 2005)
  • The applicant (or applicants) must have conceived of the idea and be responsible for the final editing. All collaborators must be identified and the applicant is responsible for seeking their permission for entry and distribution through our website
  • By submitting an application artists are agreeing to comply with our Terms and Conditions
  • The work submitted may form part of a larger work, but will be judged on the basis of the work submitted and not the larger concept.


Applicants must be:

  • Principal artist or collaborators resident in the UK for the last three years
  • Graduates of a recognised training institution within the last 10 years
  • OR practising artists who have publicly exhibited digital moving image in the last 10 years
  • Over 18 years old

Entry of work

Applications will only be accepted online via the Jerwood Moving Image Awards website

Work must be submitted in uploadable format Typically, your video file will have one of the following filename extensions:

.mov, .mpg, .dv, .mp4, .3gp, .asf, .wmv

An application form must be completed online

Key dates

Closing date for entries is 3 December 2007
Shortlist announcement 18 January 2008
Finalist announcement 8 February 2008
Exhibition at the Jerwood Space 20 February to 20 March 2008
Winner announcement 4 March 2008


The Jerwood Charitable Foundation is dedicated to imaginative and responsible funding with a particular remit to support talented artists in the early stages of their careers. We already run a number of prizes and awards across several disciplines and in particular in visual arts disciplines of painting, drawing, sculpture, photography and applied arts. The Jerwood Moving Image Awards will sit alongside these prizes and awards under the existing banner of Jerwood Visual Arts.

Saul Bass …

Saul Bass

Saul Bass (May 8, 1920 – April 25, 1996) was a graphic designer and filmmaker, best known for his design of film posters and motion picture title sequences… But that’s enough about Saul Bass, lets have a look at why I have looked at him for the research into TV / Film / Moving Image.










Anatomy of a murder (1959)

The Man with the Golden Arm (1955)

Ocean’s Eleven (1960)

Iconic opening title sequences. Just shows what happens when a graphic designer is aloud to do things his way!


Advertising Standards Authority

Who we are

ASA offices: Mid City Place

The ASA is here to make sure all advertisements are legal, decent, honest and truthful.

We are independent of both the Government and the advertising industry and we are recognised by the Government, the courts and other regulators such as the Office of Fair Trading (OFT) and Ofcom as the body to deal with complaints about advertising.

Our work includes acting on and investigating complaints as well as proactively monitoring and taking action against misleading, harmful or offensive advertisements, sales promotions and direct marketing.

Just one complaint can lead to an ad being withdrawn and we’ve made sure the complaints procedure is as quick and easy as possible.  If we uphold a complaint about an ad, the advertiser must withdraw or amend the ad and not use the advertising approach again.

We aim to resolve complaints as soon as possible and strive to ensure a healthy working relationship with advertisers and media owners.  We work with the Committee of Advertising Practice to educate and train advertisers on the rules to help prevent problem ads from appearing in the first place.

Download our Guide to the ASA to find out more about what we do.

Found out more about how we deal with complaints.

Motion Design Census …

Pay Scale

The long awaited, first ever Motion Graphic Design Census just came out, and it’s full of interesting facts and numbers about the motion design industry. Bran Dougherty-Johnson and Jake Sargeant did a great job crunching the numbers and designing this excellent PDF.

I’m surprised by quite a few of the findings. Specifically about how much people charge and get paid to perform their craft. Either the survey is skewed young, and therefore inexperienced, or there is a real trend toward lower salaries in this industry. Let’s talk about the money.

Self-employed: Hourly Rate

Wow. The largest bracket for a self employed hourly rate is $35?! This is much lower than I would have imagined. I would love to see the break down below $35 as well. This isn’t for intro level Jr positions either. We are talking about freelancers that choose their own prices. While we are at it, let’s also take a look at the average annual income from all of those surveyed.

25th Percentile: $30,000
Median: $50,000
75th Percentile: $80,000

Better, but still a bit lower than I expected. As the tools and training become less expensive and easier to use, the average salary goes down. This is true for any job, especially creative ones. There is nothing you can do to stop this trend. Well, almost nothing… These numbers are called the average because they are just that, average. You can make any amount above this number without any special training, schooling or certificate. How?

Don’t be Average
The average salary is for average workers doing average work. Be better than average and ask for what you’re worth and your pay goes up. It’s really the best part about being in a creative industry. Be better than average at what you do, learn more stuff, solve more problems, make more beautiful work, be fun to work with. In short, don’t be average.



Wrath of the Titans –

John Carter – MPC VFX Supervisor Adam Valdez and Producer Phil Greenlow led the team delivering 180 shots for the picture. MPC’s main areas of work were the “Warhoon Attack’ and ‘Helium City Throne Room’ scenes.

Harry Potter : Deathly Hallows Part 1 – One of the biggest challenges for MPC was the transformation sequence, where six members of the order of Phoenix take a polyjuice potion to assume Harry’s form and confuse Voldemort. MPC was responsible for the digital transformations, creating fully CG versions of the six characters and animating them for a full screen performance.

Quantum of Solace – MPC’s main challenge was to destroy a hotel with a series of explosions. The external plates of the hotel were shot on location in Panama while the internal shots were filmed at Pinewood Studios. A small section of the hotel façade was built at Pinewood Studios to be destroyed and used for close up shots.

All of the wide external plates were shot clean in Panama and MPC did the full destruction in post. 2D elements of fire, smoke, embers and explosions were incorporated with digital matte paintings and 3D debris to give the final look.