The consortium building events enable bidders to find out more about the £16M Demonstrator Programme - competition to explore future global, mass market, commercial opportunities in immersive experiences and technologies through supporting a limited number of large and ambitious pre-commercial collaborations in four sectors. This is the presentation from the Sports Entertainment Consortium Building event that took place 22nd May 2018 in Edgbaston Stadium.

1. Audience of the Future, Consortium Building Event
SPORTS ENTERTAINMENT
Tuesday 22nd May 2018
Edgbaston Stadium
@UKRI_News #industrialstrategy #AudienceFuture

2. AGENDA
11.15 Welcome and Introductions
11.20 Audience of the Future: Scene Setter + Q&A
12.00 State of the Art: Presentations
12.20 State of the Art: Panel Discussion + Q&A
12.50 Lunch Break
13.30 Networking and Consortium Building
14.50 Wrap-up and Next Steps
15.00 Event End

3. Audience of the Future
Context and demonstrator rationale
Prof Andrew Chitty
Interim Challenge Director
Audience of the Future
UK Research and Innovation
#AudienceFuture
#IndustrialStrategy
3

4. CHEAD presentation 14.04.18

10. “Immersive experiences are new forms of content, new narrative
mechanisms and a new language around production which spans the
Creative Industries…..
“The best technology will not produce the step change needed
without equal excellence in content production and understanding of
immersion as a narrative form.
“The UK must ensure it is the most highly skilled nation producing
content that exploits these technologies”
Sir Peter Bazalgette Independent Review of the Creative Industries

12. Audience of the Future
To capture new global audiences and grow our leading market position
in creative content, products and services by adopting, exploiting and
developing immersive technologies.
Challenge Statement
*

13. • Immersive technologies (AR, VR, XR) are the most significant and
potentially disruptive technologies to impact the Creative Industries
since the web in the mid 90s
• They present both opportunities and threats to the UK’s current level
of global competitiveness as both IP creator and production centre
• Global commercial opportunity for UK Creative Industries is through
content/experiences enabled by immersive technology rather than
platform or hardware
Audience of the Future Rationale

14. That by 2025 UK is a global market leader in the creative immersive sector.
1. UK creates 10% of global creative immersive content
2. The UK Creative Industries sustains its above average growth.
3. The UK has a low barrier of entry for producing high-quality immersive content,
4. The UK has an increased skilled workforce to create immersive content.
5. Increased private investment in immersive technology and experiences
Programme Objectives
*

16. • Audience of the Future is central to Creative Industries Sector Deal
• High expectations that AoTF will de-risk investment
• Identifying/ testing viable audience propositions & business models
• Innovation in production tools/reskilling workforce
• Industry engagement across the value chain
• Specialists in AR/VR/XR companies but also…
• Content studios, IP owners, creative technology companies, hardware
providers, platforms operators, investment community, distributors
Industry Context

17. Audience of the Future – £33m grant funding
• Ambitious, pre-commercial
content innovations using
global IP.
• New experiences that advance
the state of the art and test with
real audiences at scale.
• Large collaborations across the
supply chain to explore future
commercial models.
• Talent development and
experimental production
for the Screen Industries
• Delivered with Clusters
Programme
• Designing for future audiences £2m
• Making content production cheaper,
faster, more accessible £8m
• Investment Acceleration £2m
£16m Demonstrator
Programme
£12m CR&D
Programme
£5m Industry Centre of Excellence

18. £m 2018/19 2019/20 2020/21 Total
ISCF Funding 4.50 14.00 14.50 33.00
Matched Industry
Funding
1.70 8.10 9.70 19.50
CICP Funding 0.75 1.25 1.25 3.25
Total (£m) 6.95 23.35 25.45 55.75
Audience of the Future – a £56m programme

19. 19
Demonstrator Programme: rationale
• That UK Creative Industries future success in Immersive economy will be
based on our strength in innovation in content, experience and business not
in technology
• That investment in AR/VR/MR/XR at scale is currently held back by lack of
clear audience propositions, forms and formats that could underpin
commercial models and unlock required investment
• The current market is largely pre-commercial, with much current work
innovation driven, small scale, promotional or ancillary rather than seeking
revenue generating opportunities from new audiences.
• Public investment in a series of large scale, pre-commercial, collaborative
experience demonstrators could stimulate content innovation, audience
testing and business modelling at scale, provide sectoral learning and
unlock investment.

20. • Up to £16m; Max Grant £4m
• 4 areas identified with industry as maximum opportunity
• Performance
• Moving Image
• Sport Entertainment
• Visitor Experience
• Looking for projects that can significantly advance creative,
technology and commercial state of the art across a whole sector
Demonstrator Programme: overview

21. © Royal Shakespeare Company

35. 35
Demonstrator Programme: Objectives
• Innovation: we will support industry led consortia to develop NEW
audience experiences that show they can significantly advance the
current state of the art
• Insight: each large scale demonstrator must reach an audience of
>100,000 in order to learn lessons at scale
• Capacity building/knowledge sharing: each consortium should
have sufficient reach to advance knowledge across their sector and
a plan for how to do that*

36. 36
What do we mean?
• Significantly advance the current state of the art
• Creative proposition
• Audience Proposition
• Commercial Proposition
• Technical implementation
• Reach >100,000 users across the lifetime of the project
• One or more audience propositions or tests
• Gather audience data
• Derive commercial insight
• Use globally recognised IP
• To reach audience
• To address rights and IP issues
• To inform commercial models

37. 37
Ambition and Scale
“Each one of these demonstrators would be
the biggest creative VR project in the world at
the moment”
Jeremy Bailenson, Director Stanford VHI Lab

38. 38
Ambition and Scale
• This is a very ambitious programme
• but absolutely not just a VR one
• We are looking for gamechangers
• not just the next thing (a bit bigger)
• or the same thing (a lot bigger)
• or something that isn’t core to the future of the sector
• The scale of funding available is beyond people’s current
experience
• in thinking, in project scope, production, scale of experience, talent
• but we need to spend it wisely

39. 39
Consortia
• To meet the ambition we think you will need to engage the
whole value chain:
• Specialist XR companies but also, academic and industry R&D
teams, IP owners, rights holders, content and experience
producers, GFX, specialist technology and data providers,
Studios, talent, hardware, platform and distribution partners
• In a consortium with a vision to impact the sector not just
deliver a project for a single company or institution

40. Immersive Experiences: multisensory narrative or
interactive audience experiences mediated through
technologies including:
• virtual, mixed and augmented reality (VR, AR, MR)
• haptics
• advanced visualisation
• other sensory interfaces
Definitions

41. Sports Entertainment
• Experiences and formats that provide remote access to sporting events
across a range of platforms and generate significant revenues from this
remote audience in addition to spectators attending the events.
• We particularly encourage proposals
• That apply immersive technologies to new audience propositions in sports where
remote audiences are (or could) be significant drivers of value.
• Where events, rights positions and creative opportunities afford significant
opportunities to engage the public
Scope: Themes

42. • To be eligible to lead a bid for funding you must:
• be a UK-registered business,
• carry out your project work in the UK
• intend to exploit the results in or from the UK
• work in collaboration with others
• Collaborations must include at least one SME
• A business may only lead on one application and partner in a
further 2 applications.
• If not leading a business can be a collaborator in any number of
applications.
Eligibility: lead bidders

43. • You can claim up to a max £4 million in grant funding across the consortium
• Significant match funding is required
• To claim the max £4m grant total project costs must be > £5 million.
• Total cost is the combination of the requested grant value and the applicant’s
contribution.
• We anticipate funding projects with total costs £5m to £10m and above
• Demonstrators are classed as industrial research so are funded
• up to 70% of your total project costs if you are a small or micro business
• up to 60% if you are a medium-sized business
• up to 50% if you are a large business
Funding: lead bidders and companies

44. • Universities and IROs – 100% (80% FEC)
• Other research organisations can claim 100% of their project costs
• They must be non-profit distributing and disseminate project results.
• Total research organisations max 30% of grant
• Public Sector Organisation or Charity - 100% of eligible costs
• Must be performing research activity & disseminate project results.
• Must ensure that the eligible costs do not include work / costs already
funded from other public sector bodies
Funding: research organisations

45. • Application Deadline 1st August Noon
• Assessment over August
• Invitation to Interview 1st September
• Interview panel w/b 10th (TBC)
• Notification of outcome w/b 24th (TBC)
• Projects start from 1st Nov 2018
• and must complete by 31st Dec 2020
Timeline

46. AUDIENCE Q&A
Prof Andrew Chitty
Interim Challenge Director, Audience of the Future
@drewchit

47. STATE OF THE ART: PRESENTATION
David Mahoney
Chief Strategy Officer
England and Wales Cricket Board
@ECB_cricket

48. IMMERSIVE
TECHNOLOGY AND CRICKET

49. Content
1. The state of cricket
2. Cricket and immersive technologies

50. A truly global sport…
100+ Cricket is played in over 100 countries
800m Cricket has over 800 million worldwide fans
730m There were over 730 million IT20 viewers in 2016
2.5m+ Over 2.5m watched WT20 Final 2016 on Sky Sports
Sold Out The Women’s World Cup Final was a sell-out at Lord’s

51. …that dominates the narrative of the British summer
2nd
10m+
Highest
ever
700+ hrs
Growth
The second most played team sport in England
The game has 10.4 million followers in the UK
There have never been higher attendances than in the last 2 years
There were over 700 hours of live cricket broadcast on TV in 2016
The women’s game is set for exponential growth

52. Our Successes
New Broadcast Partnership
Doubled revenue from 2020
New tournament agreed to launch in 2020
Hosting World Cup in 2019: over 3 billion viewers
Women won the World Cup
Finalists in World T20 and semi-finalist in CT17
Launched All Stars to 37,000 kids (5-8)
Fully independent Board

53. Good Governance &
Social Responsibility
Strong Finance and
Operations
Game for
everyone
Brave
Cricket
Innovativ
e &
Contemp
orary
Growth

54. Content
1. The state of cricket
2. Cricket and immersive technologies

55. CRICKET AND INNOVATION
55
22.0IMMERSIVE TECHNOLOGY

56. THE SIZE OF THE MARKET
56
22.0IMMERSIVE TECHNOLOGY
VIRTUAL REALITY
(VR)
AUGMENTEDREALITY (AR)
A digital environmentthat replacesthe user’s
physicalsurroundings.
Digital contentthatis superimposedovera live
streamof the physicalenvironment.
82 million
(UnitsGlobally2018)
Sizeof smartphonemarket
Potential3 billionglobally
ImmersiveTechnology-whatis.techtarget.com
2018will beabigyearforaugmentedreality – but2021will bebigger

57. CRICKET IS ALREADY EXPERIMENTING
57
22.0IMMERSIVE TECHNOLOGY

58. IMMERSIVE TECHNOLOGIES & CRICKET
22.05.18 IMMERSIVE TECHNOLOGY 58
OUR APPROACH
PERFORMANCE RECREATIONAL CONSUMER
Building technology toimproveprofessional cricketers
performance onthe field
Creating experiences that allowrecreational cricketers
togetmorefrom playing cricket whether in the back
garden orat theirlocal club
Maximising the opportunitiesfor cricket consumersto
be exposed toand enjoy cricket whether ata game or
at home
VR VR/AR AR
COMMERCIAL
Generating revenue opportunities from immersivetechnologiesin cricket

59. IMMERSIVE TECHNOLOGIES & CRICKET
22.05.18 IMMERSIVE TECHNOLOGY 59
EXAMPLE
PERFORMANCE RECREATIONAL CONSUMER
VR Elite performancetraining,toprepare
internationalplayersbeforemajortours
andgames
UseVR togivefansinhome experiences.
CreatenewARexperiencesatclub or
recreationallevel.
ARtoenhancefanexperienceleveraging
cricket’sdatarichexperience.VRto
replicatethein stadiaexperienceathome
(bestseatin thehouse)
ImagesStrivr,EONSportsVR&MLB.com

60. STATE OF THE ART: PRESENTATION
Chris Aylett
CEO, Motorsports Industry Association
@MIAmotorsport

61. AUDIENCE OF THE FUTURE
SPORTS ENTERTAINMENT CONSORTIA
Chris Aylett
Chief Executive
Motorsport Industry Association (MIA)

62. MOTORSPORT INDUSTRY ASSOCIATION
The only business network organisation serving the global motorsport and High Performance
Engineering industry
• Whose 300 international corporate members transact over £5 billion of global motorsport
business
• Creating strategic alliances with government and industry, building networks and international
business partnerships
• Driving forward business growth initiatives to strengthen the motorsport industry, its profitability
and success
• Driver of cross-sector business and horizontal innovation
 Energy Efficient Motorsport
 Motorsport to Automotive
 Motorsport to Defence
 Motorsport to Creative

63. THE UK: A WORLD-LEADING
MOTORSPORT CENTRE OF EXCELLENCE
8 out of 10
Formula 1 teams are either
Headquartered or have major
facilities in the UK
30% of sales turnover
re-invested into R&D
(10x that of road-car manufacturers)
Over £10bn
Estimated global sales turnover
(2016)
4,300
Motorsport businesses
45,000 staff
(incl. 25,000 highly skilled engineers
& apprentices)
87%
of UK motorsport
businesses export
The UK is “THE global leader in the sport and business of motorsport”
Professor Michael Porter - Harvard University

64. MOTORSPORT ENTERTAINMENT
TAKES MANY FORMS
CONTINUOUS
INNOVATION
Rapid
response
delivery
Constant
prototyping
Rigid time
constraints
Intense
competition
Changing
technical
regulations

65. MOTORSPORT AND CROSS-SECTOR
INNOVATION
Motorsport pioneered horizontal innovation, creating long term connections with
other industries
From Spitfires… To Race Cars…. To Automotive…. Defense….
Marine…. Aerospace… Medical… Retail…
To Off-Highway,
Energy Efficiency
And more…

66. MOTORSPORT AUDIENCE OF THE
FUTURE
OPPORTUNITY FOR MOTORSPORT TO BE:
• Personalised
• Entertaining
• Immersive
• Interactive
• Engaging
• Realistic
To continue to reflect motorsport’s pioneering nature - and remain
competitive against other entertainment-focused sectors…

67. THE STATE-OF-THE-ART OF
MOTORSPORT USING IMMERSIVE
Aprilia Racing is using a augmented reality wearable
device, DAQRI Smart Helmet, in order to visualize
AR content that helps the mechanics during the
preparation and maintenance of racing bikes.
MOTO GP HOLOOAK AR EXPERIENCE
Dassault Systèmes’ Design Studio has created the
HoloOak AR experience for Everspeed Group in the
context of the Le Mans 24 hour race. Users wearing a
Microsoft Hololens AR device become immersed in a
virtual environment in which they can interact with
the actual vehicle and its virtual version.

68. ©MIA 2018
THE STATE-OF-THE-ART OF
MOTORSPORT USING IMMERSIVE
V8 Supercars are using real-time
tracking and Augmented Reality
technology to engage viewers whilst
broadcasting their event live.
The technology enables the viewer to
see the inside of a virtual car and sit
in the driver’s seat.
https://www.youtube.com/watch?v=n
CPNWYORqjc
V8 SUPERCARS & NCAM AR TECHNOLOGY

69. ©MIA 2018
THE STATE-OF-THE-ART OF
MOTORSPORT USING IMMERSIVE
Formula E is the only event in the world
that lets fans play an active role in
influencing the outcome of the race.
FANBOOST gives fans the opportunity to
vote for their favourite driver and award
them an extra boost of power during the
race.
https://youtu.be/m3hfb-J6k2w
FORMULA E FANBOOST

70. ©MIA 2018
THE STATE-OF-THE-ART OF
MOTORSPORT USING IMMERSIVE
Since their integration in 2015, Epson’s Moverio smart glasses have
allowed Mercedes-AMG Petronas Motorsport to offer the only
augmented reality tour in the Formula One paddock, giving people a
unique insight into the world of F1.
MERCEDES AMG PETRONAS MOTORSPORT
AUGMENTED REALITY GARAGE TOUR
https://www.youtube.com/watch?v=6R1sjqU_dXc

71. Motorsport Industry Association
The Apex on 10th Street
Stoneleigh Park
Warwickshire
CV8 2LG
Tel: +44 (0)2476 692 600
Email: emilie.gessen@the-mia.com
www.the-mia.com
CONNECT WITH OUR COMMUNITY

72. STATE OF THE ART: PRESENTATION
Tim Part
Senior Consultant, MTM London
@MTMlondon

73. This document is confidential and intended solely for the use and information of the addressee
State-of-the-art in Sports Entertainment
Engaging the Audience of the Future
06.04.18│ MTM │ ross.taylor@mtmlondon.com │ Tel +44 (0) 20 7395 7510

74. We are an elite agency – offering a unique combination of
skills, knowledge and experience in media and sport
Audience insight &
fan engagement
Sports rights and
media
Sport growth
strategies
Advertising &
sponsorship
effectiveness
Product
development
Media & tech
futures

75. 75

76. 76

78. “You know, think about it,
when you watch a show
from Netflix and you get
addicted to it, you stay up
late at night…”
“We’re competing with
sleep, on the margin.”

79. What are the trends we are seeing in the sports market at
the moment?
art
Fan generated content
Unbundling (e.g. Sky)
Growth of OTT platforms
and D2C offers
Growth of live second-
screen activity
Continued popularity of
Fantasy Sports
VR and interactive formats
Smart stadia

80. Many tools at our disposal, but what, why and when
should we use each of them?
74k659m 73m

81. The state-of-the-art toolkit for engaging the modern
sports fan
World-class
research
Media
expertise
Strategic
thinking
Data

82. STATE OF THE ART: PANEL DISCUSSION
Prof Andrew Chitty@drewchit
David Mahoney @ECB_cricket
Chris Aylett @MIAmotorsport
Tim Part @MTMlondon

83. LUNCH BREAK (45 minutes)
13.30 Facilitated Networking and Consortium Building
14.50 Wrap-up and Next Steps
15.00 Event End
@UKRI_News #industrialstrategy #AudienceFuture

84. NETWORKING AND CONSORTIUM BUILDING
Tara Solesbury
Programme Manager
AHRC Creative Economy Programme
Audience of the Future Team

85. NETWORKING AND CONSORTIUM BUILDING
Five minute ‘speed meetings’ with potential collaborators
Who are you?
Why are you here today?
What are you looking for?
Move on to next meeting

86. WRAP-UP AND NEXT STEPS
Prof Andrew Chitty
Interim Challenge Director, Audience of the Future
UK Research and Innovation
@drewchit
@UKRI_News #industrialstrategy #AudienceFuture

87. Email by end of this week with:
Slides from today
Video of all presentations
Opt in delegate detail spreadsheet
Want to opt in then contact: audience.future@ceprogramme.com
Customer Support Service: 0300 321 4357
Support@innovateuk.gov.uk
@UKRI_News #industrialstrategy #AudienceFuture