{"id":565375,"date":"2026-05-04T09:29:11","date_gmt":"2026-05-04T09:29:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/565375\/"},"modified":"2026-05-04T09:29:11","modified_gmt":"2026-05-04T09:29:11","slug":"special-effects-animation-video-games-why-the-united-kingdom-has-become-the-global-benchmark-for-creative-industries","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/565375\/","title":{"rendered":"Special effects, animation, video games: why the United Kingdom has become the global benchmark for creative industries"},"content":{"rendered":"

The United Kingdom brings together one of the largest audiovisual ecosystems in the world, with \u00a35.6 billion spent on production in 2024, a figure expected to reach \u00a38.7 billion by 2028. More broadly, British creative industries are growing one and a half times faster than the rest of the country\u2019s economy and account for \u00a345.6 billion in exports.<\/p>\n

These figures reflect a deliberate industrial strategy, driven for decades by a government that has made creativity a lever of economic power. The sector plan for creative industries, presented in June 2025 as part of the new UK industrial strategy, now sets a new objective: to make the United Kingdom, by 2035, the world\u2019s leading destination for investment in creativity and innovation.<\/p>\n

London, a global epicentre for special effects and post-production<\/p>\n

At the heart of this ecosystem, one sector stands out in particular: visual effects (VFX). British companies such as Framestore, DNEG, and Moving Picture Company have won the Academy Award for Best Visual Effects at 10 of the last 15 ceremonies, a track record that reflects the exceptional concentration of talent and studios in the London area. This convergence of factors prompted Laurens Ehrmann, founder and CEO of The Yard VFX<\/a>, to cross the Channel a year and a half ago. Founded in Paris in 2014, The Yard VFX has become in a decade one of the most internationally recognised French studios for visual effects, with credits including Ford v Ferrari (Le Mans 66), John Wick 4, Indiana Jones 5, the latest season of Stranger Things, and The Rings of Power, whose season 3 is entirely filmed at the Shepperton studios in the UK.<\/p>\n

\u201cThe decision to set up in London is based on three key factors,\u201d explains Laurens Ehrmann. \u201cFirst, it is the international hub for project production. Second, there is a huge number of experienced artists based in London, particularly French ones. Finally, we anticipated the revision of the international tax credit, which would make the UK even more attractive.\u201d Indeed, under the new AVEC (Audio-Visual Expenditure Credit) scheme, spending on visual effects for film and high-end TV productions now benefits from an overall net rate of around 29.25%, according to the British Film Commission<\/a>.<\/p>\n

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The \u201csnowball effect\u201d of the Harry Potter saga<\/p>\n

To understand why London holds such a unique position, the founder of The Yard VFX points to a key moment in British entertainment history: the Harry Potter saga, whose first film was released in 2001. \u201cAt that time, most London players decided not to compete aggressively, but rather to use this saga to grow together. This allowed the London ecosystem to develop and, actually attract more projects. It\u2019s a snowball effect.\u201d<\/p>\n

This entire ecosystem has also benefited from attractive taxation. In addition to the VFX tax credit, there are other incentive schemes: a 34% tax credit for film and series production, 39% for animation, and even 53% for independent film production. Not to mention a 40% reduction in property taxes for film studios until 2034. As a result, \u201ctoday, British players have the ability to consolidate the market and keep productions within the country,\u201d emphasises Laurens Ehrmann. \u201cAll of this has energised, even boosted, the entire activity in London.\u201d<\/p>\n

An attractive ecosystem for French players<\/p>\n

To successfully establish itself in London, The Yard VFX chose independence: financed at 95% through its own funds, it relied on local organisations such as the UK Screen Alliance, the BFI (British Film Institute) and London & Partners to support its setup. A partner of The Yard VFX, the ARTFX<\/a> school has followed the same path. Founded in France, it has for years trained technicians and artists for the world\u2019s leading VFX studios. Its establishment in London was driven by the same reasons that led Laurens Ehrmann\u2019s studio to expand there. The two companies also share offices in Shoreditch.<\/p>\n

\u201cARTFX\u2019s establishment in London is part of a desire to bring training closer to the global industry,\u201d explains Charles Chorein, Managing Director and Head of ARTFX London School. \u201cThe choice of London came naturally due to my 15 years working in studios here and the fact that British studios were asking us for a local presence.\u201d<\/p>\n

The school is currently supporting its first 15 students within its UK branch, with a first full-time cohort scheduled for September 2026. Career opportunities are numerous: Technical Directors, Environment Artists, Lighting Artists, Compositors\u2026 \u201cThe UK market has a constant demand for highly skilled talent capable of mastering complex production pipelines and integrating AI,\u201d notes Charles Chorein.<\/p>\n

For him, London\u2019s strength lies above all in its density: \u201cBenefiting from a unique concentration of talent, world-renowned studios, and post-production providers within a limited geographic area fosters exceptional synergy. The city\u2019s longstanding expertise in storytelling and technology makes London a key crossroads between European creativity and American production capabilities.\u201d<\/p>\n

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An ecosystem supported by the State<\/p>\n

Beyond visual effects, the momentum attracting The Yard and ARTFX extends to the entire creative industries sector, which is strongly supported by public authorities. The UK government is currently developing the \u201cCoSTAR\u201d ecosystem (Convergent Screen Technologies and Performance in Realtime), a network of five R&D labs with \u00a375.6 million in funding to develop new technologies across video games, television, cinema, live performance and entertainment. In addition, twelve new regional creative clusters are planned, supported by a \u00a3150 million \u201cCreative Places Growth Fund.\u201d Createch\u2014the convergence of creative industries and technology\u2014is identified as a potential \u00a318 billion in additional value over the next decade, with growth ten times faster than the sector average.<\/p>\n

A few tips for successfully crossing the Channel<\/p>\n

For French players considering setting up in the UK, Laurens Ehrmann shares a few lessons from his experience: \u201cYou need to be very well supported, find the right local contacts, and connect with the various organisations. Don\u2019t rush, because setting up takes time. And be resilient: opening an office in London doesn\u2019t immediately bring projects. You need to show that you are integrated into the ecosystem and have a physical presence. It\u2019s a real investment in both time and money.\u201d<\/p>\n

Charles Chorein, for his part, emphasises the importance of networking: \u201cBe present at industry events and make sure your demo reel is flawless. In London, opportunities are not only found behind a screen, but in your ability to build real connections with professionals.\u201d<\/p>\n

Both entrepreneurs share the same conviction: the complementarity of the French and British creative ecosystems. Far from being a clich\u00e9, it is a reality on the ground\u2014whether in training talent, producing tomorrow\u2019s blockbusters, or developing the creative technologies of the future.<\/p>\n

The Commercial Section of the British Embassy in Paris supports French companies in their expansion projects. Click here<\/a> to find out more.<\/p>\n","protected":false},"excerpt":{"rendered":"The United Kingdom brings together one of the largest audiovisual ecosystems in the world, with \u00a35.6 billion spent…\n","protected":false},"author":2,"featured_media":565376,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[59,57,58,50,56,54,55],"class_list":["post-565375","post","type-post","status-publish","format-standard","has-post-thumbnail","category-united-kingdom","tag-gb","tag-great-britain","tag-greatbritain","tag-news","tag-uk","tag-united-kingdom","tag-unitedkingdom"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/565375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=565375"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/565375\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/565376"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=565375"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=565375"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=565375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}