{"id":10140,"date":"2025-05-26T15:02:59","date_gmt":"2025-05-26T13:02:59","guid":{"rendered":"http:\/\/theyard-vfx.com\/stage\/?p=10140"},"modified":"2025-08-26T11:01:02","modified_gmt":"2025-08-26T09:01:02","slug":"marche-du-film-2025","status":"publish","type":"post","link":"http:\/\/theyard-vfx.com\/stage\/2025\/05\/26\/marche-du-film-2025\/","title":{"rendered":"Bridging Borders in VFX at Cannes 2025"},"content":{"rendered":"

[vc_row][vc_column][vc_separator color=\u00a0\u00bbcustom\u00a0\u00bb border_width=\u00a0\u00bb2″ accent_color=\u00a0\u00bb#bdae8d\u00a0\u00bb][vc_column_text]<\/p>\n

During the 2025 March\u00e9 du Film at the Cannes Film Festival, The Yard was proud to participate in the British Film Commission’s panel, \u201cCrossing Channels: Production and VFX in the UK and France,\u201d held in partnership with Film France\u2013CNC.\u00a0<\/span><\/h6>\n

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In an evolving film industry, cross-border collaboration has become an essential path to answer the global demand for high-end visual storytelling. At the 2025 March\u00e9 du Film<\/a> in Cannes, The Yard joined leading voices from both sides of the Channel for \u201cCrossing Channels: Production and VFX in the UK and France,<\/strong><\/em>\u201d a panel hosted by the British Film Commission<\/a> and Film France\u2013CNC<\/a>. The conversation explored how shared tax incentives, complementary talent pools, and a common creative culture are fueling a new era of Franco-British cooperation in production and post.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/4″][vc_single_image image=\u00a0\u00bb10145″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb3\/4″][vc_column_text]<\/p>\n

The roundtable brought together leading voices from both sides of the Channel to discuss the growing synergies between the two countries in production, post, and visual effects.\u00a0Moderated by Adrian Wootton OBE, CEO of the British Film Commission, the panel featured insights from Laurens Ehrmann (Founder & Senior VFX Supervisor, The Yard), Neil Hatton MBE (Chief Executive, UK Screen Alliance), Michael Illingworth (Founder & Creative Director, Vine FX), and Daphn\u00e9 Lora (Head of Film France \u2013 CNC). Together, they unpacked the financial and creative benefits of working across the UK and France\u2014two nations increasingly aligned in their support for innovative and award-winning visual storytelling.<\/p>\n

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See below key take-aways from the conference :<\/p>\n

[\/vc_column_text][vc_empty_space][vc_column_text]Tax Incentives driving Growth<\/strong><\/span>[\/vc_column_text][vc_column_text]<\/p>\n

The discussion opened on the transformative impact of updated tax incentives on the VFX sector in both countries. As Daphn\u00e9 Lora explained, France\u2019s 40% rebate<\/a> (for VFX spending above \u20ac2M) has powered an impressive acceleration in VFX investment, with over \u20ac140M injected into the sector since its inception and more than 100 projects supported in the past five years. Notably, this has helped bring VFX-only international projects like The Rings of Power-Season 2<\/em><\/a> to France, an Amazon MGM Studios’ series which VFX were crafted by The Yard.<\/p>\n

On the UK side, Neil Hatton MBE, Chief Executive of the UK Screen Alliance, detailed recent reforms to the Audiovisual Expenditure Credit (AVEC), particularly the new uplift for visual effects. Notably, the UK now offers a 29.25% net rate for VFX<\/a>, enhanced by an exemption from the 80% cap\u2014a game-changer for productions wanting to consolidate both shooting and post in the UK.\u00a0A complementary limited-budget tax relief of 39.75% is also available for projects under \u00a315M, including co-productions and productions shot abroad\u2014marking a strategic win for independent creators.<\/p>\n

These tools create a compelling financial environment for studios of all scales and reinforce France’s and the UK\u2019s position as a magnet for both blockbuster and independent VFX work.<\/p>\n

[\/vc_column_text][vc_empty_space][vc_single_image image=\u00a0\u00bb10141″ img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb alignment=\u00a0\u00bbcenter\u00a0\u00bb][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Cross-Channel Collaboration in Action<\/strong><\/span>[\/vc_column_text][vc_column_text]<\/p>\n

The conversation spotlighted two recent case studies that exemplify the cross-border collaboration now taking root.<\/p>\n

The Yard, which has grown from Paris and Montpellier to now include a new studio in the UK, was highlighted for its work on The Lord of the Rings: The Rings of Power<\/em> Season 2. <\/a>The VFX were crafted in France at The Yard and in many other countries with the overall VFX supervision based in the UK, close to the Shepperton studios back lot where parts of the series were filmed. What started as a compact project grew in scale to over \u20ac6.5 million in VFX work, with more than 40 artists involved over 18 months. The challenge of building upon Weta\u2019s iconic work from Season 1 while creating new environments tested and affirmed The Yard\u2019s capabilities to deliver on blockbuster expectations. Laurens Ehrmann explained that the studio was ready to tackle these challenges, building upon its experience with previous international productions, such as The Gray Man<\/a>, John Wick : Chapter 4 <\/a><\/em>or Indiana Jones and the dial of Destiny<\/a>, <\/em>even if it was working in paralell on another major project, Halo-Season 2<\/a>, <\/em>for a similar budget and close to 450 VFX shots. He emphasized the value of this project in strengthening long-term relationships with Amazon MGM Studios and key VFX supervisors.<\/p>\n

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In tandem, Michael Illingworth of Vine FX, based in Cambridge, presented their recent work on The Amateur<\/em><\/a>, which was shot in the UK, France, and Turkey, with post-production and VFX centralized in the UK. While ILM handled key shots, Vine focused on graphic sequences. The project exemplified how even when shooting spans countries, post can also be undertaken in the UK, underlining the country\u2019s strength in post-production infrastructure.\u00a0Paris Has Fallen<\/em><\/a>, co-produced by France’s Studio Canal, UK’s Urban Myth Films and G-Base and US G-Base, was cited as another seamless UK-France project that demonstrated just how naturally productions can cross borders when aligned through policy, infrastructure, and creative intent, as the shooting took place in France and the VFX crafted in the UK.<\/p>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Decentralization Trends: The rise of regional innovation<\/strong><\/span>[\/vc_column_text][vc_column_text]<\/p>\n

A central thread throughout the panel was the shift away from traditional capitals like London and Paris. Studios such as V<\/strong>ine FX in Cambridge and The Yard in Montpellier are helping redefine the map of VFX talent and opportunity.<\/p>\n

For The Yard, this strategy is deliberate: Montpellier<\/a> was chosen not just for lifestyle, but for access to French top-tier, returning talent from places like New Zealand, the UK, and Canada\u2014artists eager to work on global projects without relocating to Paris. Today, the great majority of The Yard\u2019s Montpellier team hails from international backgrounds.<\/p>\n

Moreover, The Yard has created a strategic\u00a0partnership with ArtFX<\/a>, one of France\u2019s premier VFX and animation schools, backed by the national France 2030 initiative \u201cLa Grande Fabrique de l\u2019Image.\u201d<\/a> This collaboration goes beyond recruitment\u2014it includes contributing to curriculum development, offering masterclasses, and creating direct hiring pipelines for emerging talent, allowing French talent to stay in France and be prepared for international productions.<\/p>\n

[\/vc_column_text][vc_empty_space][vc_single_image image=\u00a0\u00bb8467″ img_size=\u00a0\u00bbfull\u00a0\u00bb add_caption=\u00a0\u00bbyes\u00a0\u00bb alignment=\u00a0\u00bbcenter\u00a0\u00bb][vc_empty_space][vc_column_text]<\/p>\n

On the UK side, Adrian Wootton and Neil Hatton expressed optimism about continued decentralization. With studios expanding into Bristol, Scotland, and the northeast (especially as gaming and VFX converge).<\/p>\n

[\/vc_column_text][vc_empty_space][vc_column_text]Future Outlook: A Borderless Creative Corridor<\/strong><\/span>[\/vc_column_text][vc_column_text]<\/p>\n

As the panel wrapped up, one message resonated above all: the UK\u2013France production corridor is no longer just a partnership of convenience\u2014it\u2019s a strategic alliance shaping the future of European filmmaking. Aligned tax incentives, world-class infrastructure, and shared artistic values have positioned the two countries as complementary pillars of a thriving VFX ecosystem.<\/p>\n

More than ever, proximity matters. The (almost) nonexistent time difference, ease of travel by train, and increased availability of senior talent across both territories are making real-time collaboration not just possible, but seamless. Being close to VFX supervisors and production teams during post is helping to raise the bar on both quality and efficiency.<\/p>\n

While the industry continues to adapt to broader shifts\u2014from geopolitics to AI regulation\u2014one constant remains: the human factor. It is the shared vision of passionate artists, producers, and institutions like the British Film Commission and Film France\u2013CNC that is turning this corridor into a global powerhouse. And as projects like The Rings of Power<\/em> and The Amateur<\/em> demonstrate, the future of visual effects in Europe is not just promising\u2014it\u2019s already happening.<\/p>\n

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Watch the full recording of the conference below:<\/p>\n

[\/vc_column_text][vc_empty_space][vc_video link=\u00a0\u00bbhttps:\/\/www.youtube.com\/live\/ofS1xaagtjg?si=q9kEiCkOFpfi9g6i\u00a0\u00bb][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Find out about our work here.<\/strong><\/span><\/a><\/span><\/p>\n

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MORE NEWS<\/h4>\n

[\/vc_column_text][vc_separator color=\u00a0\u00bbcustom\u00a0\u00bb accent_color=\u00a0\u00bb#bcae8d\u00a0\u00bb][vc_masonry_grid post_type=\u00a0\u00bbpost\u00a0\u00bb max_items=\u00a0\u00bb4″ element_width=\u00a0\u00bb3″ item=\u00a0\u00bbmasonryGrid_OverlayWithRotation\u00a0\u00bb grid_id=\u00a0\u00bbvc_gid:1756198839948-4fb29cf7-86e4-0″ exclude=\u00a0\u00bb6712, 6293, 9457, 9257, 9103, 5954, 10140″][vc_empty_space][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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