Issuu

ISSUE 8

AUTUMN 2026

Introduction Welcome to the Latest Edition of FOCALPoint Welcome to FOCALPoint, our online magazine and a space to share stories, ideas and insights from across the FOCAL community. It’s been a busy and exciting few months. We’ve welcomed a new Managing Director, launched the Festival of Archives, celebrated the FOCAL International Awards, expanded our mentoring programme, and have lots more planned for the future. As FOCAL continues to grow, so too does the opportunity to connect, collaborate and learn from one another. In this edition, we explore the many ways archives connect us with stories, people and the past. We examine the relationship between archive content and social history, the value of following your passions, milestone birthdays and the growing importance of digital collecting. We uncover hidden collections brought back to life through digitisation, follow a basketball story filled with exciting discoveries, delve into the art of audio restoration, and explore an extraordinary film repatriation project on a truly colossal scale. Along the way, we introduce new FOCAL Executives, look back at recent FOCAL events and industry festivals, and celebrate this year’s mentoring programme cohort. These stories reflect the creativity, expertise and impact of our members and the wider industry, and demonstrate the many ways archives and footage are preserving our past, enriching the present, and shaping the future. We hope you enjoy reading them. Get in touch with us at info@focalint.org if you have a story to tell. The FOCALPoint Team

FOCALPoint is the journal of FOCAL International Ltd, the Federation of Commercial Audio Visual Libraries and is produced biannually. All opinions expressed in the magazine are those of the writers, and interviewee concerned and do not necessarily reflect the views of FOCAL International or its Executives. The editors reserve the right to edit contributions. No material – whether pictures or copy – published in FOCALPoint may be reproduced in any other publication without the express permission of the holder of the copyright for that material; this may be FOCAL International itself, a contributory writer or a picture library or agency. Copyright: FOCAL International Ltd info@focalint.org Design and Format: Sebastian Martin, FOCAL International. Front cover photo: Kay Page, FOCAL International FOCAL Awards photos: Phil Lee/FOCAL & Jed Leicester/Shutterstock/FOCAL

Index Contents Putting History in Perspective: One Event, Two Perspectives �� 3 Meet our New FOCAL Executive: Kevin Smalley �� 8 Chasing Storms and Dream Jobs: A Story About Following Your Passions �� 9 R3store Studios Celebrates Tenth Anniversary �� 11 FOCAL Festival of Archives Connects the Global Archive Community �� 16 Are We Facing a Digital Black Hole? �� 17 FOCAL Awards 2026 Gala Evening Photographs �� 21 Lifetime Achievement Award: Jane Fish �� 23 Meet our New FOCAL Executive: Gabriel Rivera �� 26 Beyond National Heritage: Preservation, Context, and Re-Use of Colonial Newsreeels �� 27 Finding the Heart of the Archive Community at Sheffield DocFest 2026 �� 29 Beyond the Broadcast: Unearthing the Archive of a Women’s Sports Pioneer �� 31 Audio Restoration from the Perspective of an Archive Owner �� 33 How Hollywood Film Company is Repatriating Technicolor Films �� 35 FOCAL Mentoring Programme 2026: FOCAL Mentees �� 37 FOCAL Mentoring Programme 2026: FOCAL Mentors �� 41

Putting History in Perspective: One Event, Two Perspectives Article by Manuel Heller, PROGRESS

Left: “The Europeans fled the country in a panic.” From West German Newsreel “Blick in die Welt” 1960/19 (BIDW27436) Right: “Belgian and French officers are training Tschombé’s soldiers, who […] perpetuate the hunger and misery inflicted by the colonial powers […].” From East German Newsreel “Der Augenzeuge” 1961/07 (DEFA05189)

Some time ago, I came across a West German newsreel report about the Congo Crisis. The report showed a country in chaos and people fleeing the violence, but the images predominantly focused on white families and children. Curious about how the same context might have been presented from the other side of the Iron Curtain, I looked for a corresponding report in the East German newsreel Der Augenzeuge. The comparison was striking: in the East German report, the violence of white colonialism was placed at the centre of the story, with Black Congolese children portrayed as its victims. This is a familiar pattern from the Cold War: events and conflicts were presented through competing political narratives, particularly when states had strategic interests in a region. The two reports selected different protagonists, images and explanations of what was happening. Neither report should be mistaken for a complete or neutral account of the Congo Crisis. Both are historical sources, and both tell us something about the event. But they also tell us about the political, social and institutional circumstances in which they were produced.

That distinction has stayed with me. It raises a question that is highly relevant to the work of archives, archive platforms and researchers today: When historical footage is reused, how much of the perspective of the original material is carried into the new story? The Images We Inherit Historical images are rarely shown in their original context. A history programme may use only a few seconds of a much longer report, and those seconds can become the visual representation of an entire event. In representing the Congo Crisis today, we rely on images that have survived, been preserved, digitised, catalogued and made accessible. The West German newsreel presents white families as the most visible victims and Congolese society as being in chaos, while the East German report shifts the focus towards white colonial violence and the emancipation of Black Congolese families and communities. When these images are reused today, they do not lose their original context simply because they appear in a new production. They continue to carry traces of the narrative in which they were created: who was considered important, who was shown as vulnerable, who was given agency and who remained outside the frame.

Left: “The joy at [the Congo’s] new freedom soon turned to horror at the inability to make use of it.” From West German Newsreel “Blick in die Welt” 1960/19 (BIDW27436) Right: “But the idea of freedom cannot be killed” From East German Newsreel “Der Augenzeuge” 1961/08 (DEFA05190)

This does not mean that historical footage should not be used. On the contrary, it is indispensable. But it does mean that archival images need to be approached as sources rather than as transparent windows onto the past. The Conditions of Visibility There is no single archive that can provide a complete picture of history. Every collection reflects the people and institutions that created it, as well as the political and economic conditions in which they worked. These circumstances shape not only how events are recorded, but which events enter the archive in the first place. Some stories were never recorded, some material was not preserved, and some collections remain difficult to find or access even when they have survived. Under the considerable time and budget pressures of production, footage that is easy to find, access and clear is more likely to be used than material that is difficult to discover. Digitised and well-described collections therefore gain visibility, while other material may remain unseen. Visibility creates its own momentum: footage that is easy to find is used more frequently and increasingly becomes part of the visual vocabulary through which an event is remembered. These patterns are not neutral or accidental. They reflect wider inequalities in the production, preservation and distribution of audiovisual heritage, shaped by colonialism, imperialism, economic power and unequal access to technology. Those with the greatest political and financial resources have not only produced and preserved more material; they have also had greater influence over which

stories were recorded, funded, digitised and made accessible. Perspectives from less powerful states, communities and non-state actors have consequently been harder to find. This affects not only major documentaries or carefully researched historical productions – the kinds of work we often have in mind when discussing archival storytelling. Images are also used every day in television, online journalism and social media, often in productions made quickly and without the time or resources for extensive archival research. In these contexts, familiar and readily available images are even more likely to be reused. Individually, such productions may attract less attention than a major documentary, but collectively their volume and reach have a significant influence on the visual memory of our societies. More Than One Perspective The responsibility therefore does not lie with researchers alone. While archive platforms cannot fill every gap in the historical record, they can help address some of the structural inequalities that determine what becomes visible by making overlooked and underrepresented material more discoverable. This does not mean pretending that every archive can provide a complete or perfectly balanced account of an event. At PROGRESS, for example, we do not have the material to represent the Congo Crisis comprehensively, and we cannot claim to offer a Congolese perspective on it. The comparison described here is still a comparison between two European perspectives: one West German and one East German.

Nevertheless, placing them alongside one another makes the narratives behind the images visible and allows researchers and audiences to question what they are seeing rather than accepting one version as selfevident. This principle can be applied more broadly. State archives can be complemented by nonstate archives, and collections from powerful countries and institutions can be considered alongside material from less powerful states, community archives and amateur films. Maledominated historical records can be expanded through feminist and other marginalised perspectives. From Principle to Practice This is the practical challenge I face in my work at PROGRESS. My role is to manage and develop the collections we represent. An archive platform has to respond to what users are looking for, but discovery can also work in the other direction: a researcher may come looking for one image and find material they did not initially know to look for. PROGRESS represents both West German and East German newsreel collections, allowing researchers exploring the Cold War to compare material from both sides of the former Iron Curtain rather than relying on a single narrative. Through collection development, metadata, editorial curation and conversations with researchers, we can influence what becomes visible and how easily different perspectives can be found. The potential of this approach can be seen in Blast the Past a German television production drawing on material from PROGRESS’s collections. Its premise is that “there is no single history”: each episode brings two contrasting perspectives into dialogue. Seeing this reach a television audience is both exciting and encouraging – it shows what becomes possible when the diversity and contradictions within archival collections shape the programme itself. Looking Beyond Moscow This principle also guides me when selecting potential partners, particularly as we approach the anniversaries of the fall of the Berlin Wall in 2029 and the dissolution of the Soviet Union in 2031. These dates will renew interest in the Cold War and its aftermath but should also encourage us to look beyond familiar perspectives.

The history of the Soviet Union and Eastern Europe has too often been approached through Moscow , allowing a Russian imperial perspective to shape how we understand the region. Its history must also be explored through the Soviet republics, the countries under Soviet influence and the communities whose experiences have remained less visible. With these anniversaries in mind, PROGRESS is actively looking for collections and partners in regions whose audiovisual heritage has often been difficult to access internationally. Alongside the East German DEFA film heritage, we are working with Ukrainian newsreels from 1917 to 1930 and preparing an Armenian newsreel collection covering the 1930s through the 1980s for presentation on our platform. We are also in conversation with institutions and individuals from various other countries in the region. This is not about correcting the historical record, but a modest attempt at making more of its perspectives available. History as a Kaleidoscope There is no single historical image that can represent an event in its entirety. Every image reflects the people who filmed it, the institutions that preserved it, the systems that made it accessible and the storytellers who select it today. History is a kaleidoscope of different perspectives and narratives. We will not always get it right, and we cannot fill every gap in the archive. But by placing Western and Eastern sources, official and personal records, and central and peripheral perspectives alongside one another, we can make the narratives behind historical images more visible and thereby make a modest contribution to a more diverse and historically conscious field of vision. We cannot correct history, but we can influence how it is told – and which stories become possible to tell next.

Unlock history with AP Archive Explore AP’s vast archive of award-winning premium videos and images — with flexible affordable packages and expert guidance every step of the way. aparchive.com

74271744, Michael Ochs Archives

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3239308, Fox Photos

2167381300, Leon Neal

Memorable stories Meaningful events Moving images

Discover millions of moments from our archive of images and video footage. Explore exclusive content from prestigious partners including NBC News, BAFTA, and BBC Motion Gallery, featuring history-defining events, cultural milestones and authentic records of everyday life across decades. Our Research and Project Specialist teams can support you every step of the way, helping find the perfect content, managing your project and using tools like VIDA for seamless access to BBC footage. Want to discuss your project? Get in touch at LondonBroadcast@gettyimages.com

Meet our New FOCAL Executive Kevin Smalley Getty Images Sales Director

Tell us a little about yourself and your role within the industry.

I’ve worked in the industry for 27 years, which is quite frightening when I think about it. I have now been at Getty for 15 years and am currently a Sales Director overseeing the Media, Broadcast & Production sectors across EMEA. This covers off the full spectrum of organisations…from huge broadcasters & media publishers, to independent filmmakers & digital startups, via a whole variety of production companies. I’m sure most people will know a fair bit about Getty Images but we were founded in 1995 and currently offer a growing library of over 662 million visual assets (videos and stills). Whilst we are obviously a commercial organisation, we are extremely passionate about content, whether that be news, sport, entertainment or archive through to creative content…anyone who has been fortunate enough to have been on one of our archive tours can testify to this passion. We also work with leading content owners such as BBC Motion Gallery, NBC News, AFP & many others to ensure that our clients have as much choice as possible when creating their projects.

What inspired you to join FOCAL’s Executive Council, and what are you most looking forward to contributing?

My relationship with FOCAL goes back a quarter of a century when I started working at Moving Image and when FOCAL’s summer parties involved a boat trip down the Thames…there was always a worry that drinks may run low before we got back. Over that time I’ve benefitted hugely through the work that FOCAL has done, whether it’s connecting with clients in informal settings, to building deeper relationships with peers in the industry. I was keen to be more involved and had heard very good things from friends who had been part of the Exec Council. With the changes being felt throughout the industry I am keen to work more closely with industry colleagues as we collectively navigate the current challenges and opportunities.

What do you think should be FOCAL’s biggest priority for its members and the wider industry over the next few years? I would argue that, given FOCAL’s remit, the single biggest priority is protecting the value, ownership and licensing model of archive content in the age of AI. Whilst AI is creating unprecedented demand for archive content it is also creating significant risks to both content owners and users. What is the biggest change you’ve seen in the industry during your career, and where do you think it is heading next?

I think change has been constant in the wider industry in the last 25 years…you could point to the shift from print to digital, the emergence of streamers and YouTube or the aforementioned AI. However, from a personal point of view, and probably showing my age, I remember the logistical challenges posed by tapes! From physically running around Soho grabbing them, or arranging couriers to pick up viewing copies…it seems a lifetime ago compared to where we are now.

What role do you think FOCAL can play in supporting and shaping the future of the industry?

I believe FOCAL can play an important role in ensuring that archives remain trusted, protected and commercially valuable assets in an ever-changing media ecosystem, one in which AI is increasingly key. This can be done through focus on areas such as becoming the industry’s AI and Rights Forum, acting as the voice for archive authenticity, continuing their investment in training and skills and developing stronger relationships with adjacent industries, eg digital platforms and streamers.

Fun Questions: What talent are you most proud of?

Let’s go with something non-work related. I run ultramarathons and have completed the Marathon Des Sables and the UTMB in Chamonix to name a couple. Very happy to set up a FOCAL run group!

What has been a highlight of your working year so far? Well, that’s been set up perfectly for me to say…being voted on to the Exec Council at FOCAL!

Chasing Storms and Dream Jobs: A Story About Following Your Passions Article by Martin Lisius, StormStock When I tell people what I do, I usually get one of two reactions. The first is, “You’re crazy!” (Brad Pitt once said that to me.) The second is, “Wow… that’s a dream job.” I like the second one a lot better.

Martin Lisius storm chasing - wheat field Floydada

How It All Started I grew up in Texas, where the sky is big and the storms are bigger. I was the kind of kid who would drag a ladder out, climb to the roof, and set up a weather station just to see what the clouds were up to. My mom, who was an artist, didn’t just let me — she cheered me on. If it was for learning, she was all in. I took my first storm photo when I was twelve: a big, fat bolt of lightning, slicing through the sky outside our kitchen window. I thought it was the most beautiful thing I’d ever seen. And maybe it was. By 1991, I’d made my first documentary about storm chasing, Chasing the Wind, which aired on public television. By 1993, people were calling to license my footage. That’s when I started StormStock, which has grown into the world’s top source for weather and climate footage. I’ve been lucky enough to meet movie directors, cinematographers, and yes, some famous folks along the way. Once, I even got to play a storm chaser in a Chevy commercial. I still tell people that one with a grin. In 1998, I caught the first-ever Super 35mm footage of a violent tornado in Spencer, South Dakota. It made headlines, and it made my heart race like nothing else. Soon after, people started asking, “Can we chase storms with you?” And that’s how Tempest Tours Storm Chasing Expeditions began in 2000. Today, it’s considered one of the most respected storm chasing tour companies in the country. Safety and education are the heart of it — we teach people meteorology, show them how to stay safe, and yes, we have a lot of fun along the way.

Why Did This Dream Job Happen? It wasn’t luck. It was a combination of a few things I can share: Mentors Matter My mom was an artist, my dad an engineer. She taught me to see the world creatively; he taught me to take it apart and figure it out. Both believed in learning and curiosity. They weren’t strict, but they were always guiding me in little ways that mattered. Tip: If you don’t have mentors, find some. They’ll push you, cheer for you, and maybe even help you see yourself in ways you can’t yet.

Harper Kansas tornado - copyright Martin Lisius

Be sure to check out the FOCAL Mentoring Programme! Put in the Hours Before my first professional job, I spent hundreds of unpaid hours doing the work I loved. That effort became my demo reel — the thing that got me hired. Tip: Degrees help, but employers want proof you can deliver. Start small, make something today, then make another. Build your own story through action. Fear Less by Understanding People often ask, “How do you watch a tornado and not freak out?” It’s simple: I understand what I’m seeing. Knowledge replaces fear. Tip: Learn your craft inside and out. Once you understand it, nothing feels impossible. Define your goal and go for it. Ignore the naysayers — they just don’t get it… yet. Creativity Is Your Secret Weapon Being good is fine. Being great requires creativity. It’s what makes work feel like play, what makes problems solvable, and what makes a career yours instead of someone else’s. Tip: Treat creativity like a friend. Use it. Lean on it. Let it guide your work. R-E-S-P-E-C-T Respect isn’t just courtesy. It’s understanding others, listening carefully, and valuing their perspective. I learned that from mentors, from colleagues, and from anyone I spent time with on the road chasing storms. Tip: Listen first. Understand second. Respect will follow. A Few Steps to Your Own Dream Job • Find a mentor. • Put in the time — start today. • Fear nothing — understand your craft. • Make creativity your ally. • Listen. Show respect. If I could turn a childhood fascination with storms into a career I love, so can you. Start small. Stay curious. And chase your own wind. Tarzan CG StormStock - copyright Martin Lisius

R3store Studios Celebrates Tenth Anniversary Article by Jo Griffin, R3store Studios

The Complete and Utter History of Britain episode 04 Side-by-Side

This year, R3store Studios celebrates its tenth anniversary. Back in 2016, Jo Griffin set out to build a dedicated archive and restoration company with a mission to preserve film heritage for future generations, drawing on a deep background in film knowledge and the latest technology. Over the years, R3store has developed strong partnerships with national and regional film archives, museums, brands and film distributors, while continuing to work with home movies and private collections. The studio takes the same approach with every project: it’s all history, and every film reel deserves to be preserved for the future.

Over the years, the studio has worked on some remarkable projects, including genredefining BBC programmes such as The Singing Detective, Play for Today and Doctor Who. R3store works closely with the charity Film is Fabulous!, whose work has helped uncover important lost episodes of early British television. Through this partnership, R3store was commissioned by the BBC Archive to 2K scan and fully restore The Nightmare Begins and Devil’s Planet, two long-missing Doctor Who episodes now available on iPlayer. This year the studio also scanned a lost Morecambe and Wise episode and the Beatles’ first ever performance on Top of the Pops.

TMNT Side-by-Side

A reel of film arriving at R3store could be anything from a well-worn home movie to a television programme, medical recordings, sporting footage, an advert, music rushes, a newsreel, artists films or a feature film, no two days are the same! Every project receives the same care and attention, with digitisation and restoration tailored to the needs of each reel, because every film carries a piece of history.

The studio has also worked with the archives of major music artists including Led Zeppelin, Wham!, Elton John, The Who and Kylie Minogue, helping to bring rare and previously unseen footage into new documentary projects. Music cans are often poorly labelled, so working closely with archive producers allows the team to view these reels and uncover the hidden gems that make it into finished documentaries.

The Dream Ends Before & After

Working with film distributor Arrow over the years has brought some fantastic titles to restore, including The Apartment, The Ring, Children of the Corn, The Andromeda Strain, Street Fighter, Sixteen Candles and the Teenage Mutant Ninja Turtles trilogy, to name just a few. In April 2024, the studio was acquired by Underground Vaults & Storage (UV&S), the US-based archival storage company. Since the acquisition, R3store has grown, upgrading its technology while maintaining its core values of client and collection focused film preservation.

The expansion crossed the Atlantic. R3store’s US operation in Wichita, Kansas, became fully operational in 2025, providing high-resolution film scanning, tape digitisation, cleaning and preparation services across North America. That capability soon proved itself on a highprofile project: Stewart Copeland’s personal Super 8 archive, shot during his years touring with The Police in the late 1970s and early 1980s, was digitised by R3store. The resulting film, Copeland, is a feature documentary on the drummer’s life and career and had its world premiere at the Raindance Film Festival in London this summer.

Madness: Take It Or Leave It Side-By-Side

For decades, UV&S has worked with film, entertainment and other archival collections requiring long-term physical protection. Bringing R3store into the company connected two parts of the same preservation challenge: safeguarding original materials and creating high-quality digital versions that make the content within those collections accessible. Jo Griffin continues to lead R3store, while investment in facilities, technology and people has expanded what the studio can offer. In March 2025, the UK operation moved to larger premises at Danes Yard on Sugar House Island in Stratford. Three additional scanners and two film cleaners increased the studio’s capacity for film preparation, digitisation and restoration, and later that year R3store expanded its audio facilities with a new Audio Restoration Suite.

R3store Studios and UV&S team at the R3store 10th Anniversary

Thank you to all our incredible clients and friends for your support over the last ten years, for trusting us with your precious materials. We look forward to all the exciting new projects still to come. “R3store Studios has an incredible past, built by people who care deeply about preservation, restoration, and the stories held within archival media,” says Jeff Ollenburger, President of UV&S. “For decades, UV&S has protected our clients’ most valuable archival collections. R3store Studios builds on that legacy by helping digitise, restore, and make those collections available to new audiences. We’re excited about what’s ahead as we continue to expand our capabilities and create new opportunities for our clients.” “When you work in archive, you never really know what the next reel is going to contain. That is still one of the things I love about my job, and that will never change. Ten years in, we’ve grown and technology has changed, but the reason we do the work hasn’t.” — Jo Griffin R3store Studios is a division of UV&S, a familyowned company that has protected clients’ most valuable archival collections since 1959, offering secure storage, records management and event services across the US and UK. To find out more about UV&S, visit uvsinc.com.

The future of film history

DEPENDS ON WHAT WE PROTECT TODAY Trusted by preservation professionals to securely protect irreplaceable film and media assets for future generations. UV&S partners with archives, studios, and cultural institutions worldwide to provide secure vault storage through to full digital restorations. Proud sponsors of FOCAL International’s “Footage Person of the Year” Award

2026 FOCAL INTERNATIONAL AWARDS NOMINATIONS R3store Studios: Company of the Year African Jim: Shortlisted for Best Restoration

Proud Framework Partner for the BFI FOR FILM SCANNING, MASTERING, AND RESTORATION SERVICES

a division of

UVSINC.COM Storage & Recycling | Technology | Event Services | R3store Studios | R3eltu-

FOCAL Festival of Archives Connects the Global Archive Community Article by Kay Page, FOCAL International

Around 250 archive professionals came together for the FOCAL Festival of Archives for a day of discovery, conversation and connection. Bringing together the media, cultural heritage and archive sectors, the Festival reflected the increasingly international nature of the community, with exhibitors travelling from seven countries. At the heart of the day was the exhibition, where 28 organisations showcased an incredible array of collections, expertise and services spanning national and regional archives, museums, news and broadcast collections, specialist footage libraries, and providers working in restoration, preservation and digitisation. For delegates, it was an opportunity to discover new collections, explore licensing and business opportunities, meet potential partners and reconnect with colleagues from across the industry. Alongside the exhibition, presentations and panel discussions explored some of the key issues facing archives today, including creative storytelling and clearance, news-driven digitisation, and the value and sustainability of regional collections. The day concluded with an evening reception, bringing delegates, exhibitors and speakers together to continue conversations and celebrate the archive community. FOCAL International would like to thank our exhibitors, speakers, sponsors and everyone who joined us and helped make the Festival such a success.

Save the date for 2027 The FOCAL Festival of Archives returns to London on 15 June 2027. Join us to discover new collections, make new connections and be part of the conversations shaping the future of the archive sector. For information about exhibiting, sponsoring or attending, contact info@focalint.org.

Are We Facing a Digital Black Hole? Article by Graham Relton, Yorkshire and North East Film Archive

Bradford 2025 Opening Event (c) Bradford Culture Company

Rapid changes in technology, failure to back up files, old devices which no longer power up, and hard drives full of obsolete files – the screen heritage of the 21st century is at risk. Are we facing a digital black hole? The imminent threat for national and international news stories or the latest feature films is not quite as urgent; this content is front and centre of the cultural conversation and, importantly, valued for commercial exploitation. But what about films created by communities, moving image memories made by the public, everyday life captured today? What should we do about this content? Faced with a culture of ephemera, the Yorkshire and North East Film Archive and the wider Film Archives UK network (comprised of 14 not-for-profit UK screen heritage organisations), believe it is critical that the moving image heritage made today is collected and documented in the present, ensuring that this living memory will be accessible for generations to come. This mission to save and celebrate films made by, and for, local people isn’t new, it has been at the heart of the work of the regional film archives for 50 years; the difference now is format and scale. You could argue that collecting and caring for analogue content is easier, especially once it finds its way to a recognised film archive, often many decades after it was originally made. Stored in environmentally controlled vaults it will be around for hundreds of years, but modern formats are different. In today’s society, we are bombarded with moving image content at every turn. Given the pure volume of content, it’s hard to know where to start your contemporary collecting journey. This is especially daunting for small not-for-profit regional film archives with limited capacity who are navigating challenging funding landscapes. But you have to start somewhere, don’t you? Or do you just raise the archive ‘drawbridge’ and only collect analogue footage? Of course, you have to face the digital blackhole, and at the Yorkshire and North East Film Archive at York St John University, which serves over 8.2 million people, we decided to get granular rather than generalised, honing our focus on a West Yorkshire city with a rich filmmaking history that was embarking on a momentous year: Bradford UK City of Culture 2025.

Our aspiration was to collect born-digital content that was representative of the people of Bradford, reflecting how they live, work, play and celebrate their cultural identity during a landmark year. Together with our existing collections, dating back to 1896, these contemporary films would create a moving image legacy for Bradford. Screen Time: Bradford ran from May 2025 to May 2026. Engagement work through film screenings, conferences, special events and creative marketing helped to build trust, encouraging filmmakers, content creators, and community groups to submit newly-made films created in the last 20 years.

Bradford Film Makers (c) Yorkshire Film Archive

The rich and varied body of material collected represented voices, communities, and experiences that have historically been underrepresented in the Archive’s collection, ensuring a more inclusive and authentic record of life in the district. Submissions ranged from mobile phone footage capturing everyday moments to recordings of significant occasions, as well as creative documentaries exploring social issues and uplifting local stories. Thanks to funding from the BFI National Lottery Screen Heritage Fund, awarding National Lottery Good Cause funding, the Archive acquired 486 born-digital films, far exceeding our original target of 150. Crucially, the project influenced how filmmakers and partners considered the future of their work, recognising that content created today holds long-term value for audiences and communities. It demonstrated the significant value and potential of contemporary collecting as a means of preserving the moving image heritage of a place in real time. Contributors frequently described a strong sense of pride and validation in seeing their work recognised and preserved. The project captured the spirit and diversity of Bradford during its tenure as UK City of Culture 2025, establishing a strong foundation for future digital preservation activity within the Archive and across the wider heritage sector. Find out more about the project approach, outcomes and lessons learnt, detailed in our Screen Time Evaluation Report: www.yfanefa.com/news As a regional film archive, we know that “everyday” footage is often considered “ordinary” in the moment, but with the passage of time it becomes the “extraordinary”, reflecting a slice of real life, community and culture that in 20, 50, 100 years’ time will be irreplaceable. There is real value of preserving this contemporary content, first and foremost, a value to communities and our audiences, important work that not-for-profit archives like us need funding and support to continue. These new rich and diverse community films are a significant part of our regional and national story, complementing not competing with news output, documentary and feature films. With the support of the filmmakers, we hope they can have a commercial value, which will help sustain our charitable endeavours. Hundreds of the new films collected can be seen on our website: www.yfanefa.com Resource and technology might not be our biggest challenge, rather the need to stimulate hearts and minds in our communities. Many of today’s current content creators don’t realise they are capturing the heritage of the future, they don’t appreciate the cultural value of their footage in the moment, and when they do, in decades to come, it could be too late.

The FOCAL International Awards celebrate the very best use of archival footage across the creative and cultural industries. Congratulations to the 2026 winners! Best Use of Footage in Advertising or Branded Content ‘Starring GREAT Britain’ Campaign SMUGGLER / Hazel May ltd / Pablo London / Whitehouse Post / Framestore

Best Use of Footage in a History Production Sponsored by: Reuters Connect Hurricane Katrina: Race Against Time Lightbox / Proximity Media / National Geographic

Best Use of Footage in an Arts & Cultural Production

Best Use of Footage on Innovative Platforms

Black Is Beautiful: The Kwame Brathwaite Story Misfits Entertainment / Wayfarer Studios / Mediawan Rights / Entourage Media / Shanakee Archive Agency

Memory Bank: Bradford Yorkshire Film Archive at York St John University

Best Use of Footage in a Cinematic Feature Sponsored by: British Pathé

Best Use of Footage in a Music Production Sponsored by: Reelin’ in the Years Productions

Je n’avais que le néant - “Shoah” by Lanzmann (All I Had Was Nothingness) Les Films du Poisson / Les Films Aleph / ARTE France

Broken English Rustic Canyon Pictures

Best Use of Footage in a Factual or Natural World Production

Best Use of Footage in a Short Film Production Sponsored by: Shutterstock

Craigavon, New City Northern Ireland Screen

Song of My City Erddigo

Best Use of Footage in a History Feature Sponsored by: FOX Archives

Best Use of Footage in a Sports Production Sponsored by: Getty Images

True North Studio 112 Inc. / Revolution Remix LLC

Diamond Diplomacy Flying Carp Productions

Student Jury Award for Most Inspiring Use of Footage Sponsored by: Sky Clip Sales Je n’avais que le néant - “Shoah” by Lanzmann (All I Had Was Nothingness) Les Films du Poisson / Les Films Aleph / ARTE France

Best Archive Restoration and Preservation Project or Title Sponsored by: Hollywood Film Company The German Retreat and Battle of Arras IWM

Jane Mercer Researcher of the Year Award Sponsored by: The Associated Press Sophia Doe Once Upon a Time in Space

Footage Person of the Year Sponsored by: UV&S Megan McCooley Yorkshire and North East Film Archive

Company of the Year Reuters Connect

Lifetime Achievement Award Jane Fish In her introduction, Fiona Kelly remarked: “When I started in the job, Jane continued to show me how generous she was. She takes time getting to know the people she is working with. She listens, asks questions and considers angles and perspectives that the rest have barely thought of. She always had time to answer questions, offer advice or lend a helping hand. No problem was too big, no challenge too difficult to overcome with Jane onboard.” With Helen, adding:

At this year’s Awards, the Lifetime Achievement Award was presented to archive industry legend, Jane Fish, by Jo Griffin, FOCAL’s Executive Director, Fiona Kelly and Helen Upcraft from IWM. Jane Fish has dedicated more than forty years to the Imperial War Museums (IWM). She is a trusted advisor to researchers, archive producers, and broadcasters in the UK and internationally, guiding them on content, historical context, and copyright, and overseeing research, access, supply, and licensing. Across decades of technological change and organisational restructure, she remains a constant source of expertise, adapting processes from analogue to digital and developing new approaches to meet complex project demands. A longstanding supporter of FOCAL International, Jane has served on its Executive Council, Events Committee, and FOCAL International Awards jury, championing the responsible and creative use of archive film. More recently, she focuses on cataloguing IWM’s original film paperwork, enhancing understanding of both the historical context of film production and the evolution of the museum’s collections.

“I know that Jane is held in enormous regard by a generation of FOCAL members, researchers and producers. She is unfailingly calm and efficient when dealing with enquiries and often delivers her responses with a wry sense of humour. Over the years she has become both a font of knowledge about the archive she helps to manage and a film historian in her own right. It’s been an absolute pleasure and privilege to work with you.” On the night, Jane gave a heartfelt speech thanking FOCAL for the honour and reflecting on the importance of our industry: “I have felt privileged to be part of our archive sector where we have a unique and complicated responsibility for the films in our care: to safeguard and preserve, to document and context, and to make available for a multitude of uses. All to allow the past to help us understand our present and, possibly, our future” This award celebrates not just a remarkable career but a legacy of collaboration, mentorship and dedication. Congratulations to Jane Fish on this deserved recognition.

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Meet our New FOCAL Executive Gabriel Rivera Archive Producer Tell us a little about yourself and your role within the industry.

I’m an archival producer and currently serve as Creative Director of Archival Research at Breakwater Studios, a two-time Academy Award-winning documentary film studio based in Los Angeles. I love the research and discovery involved in uncovering rare, previously unseen, and historically significant archival materials, as well as the creative process of weaving them into documentary storytelling. I’m especially interested in histories that have been overlooked or underrepresented.

What inspired you to join FOCAL’s Executive Council, and what are you most looking forward to contributing? FOCAL has been an invaluable resource throughout my career, both for discovering archival material and building relationships with colleagues around the world. I’ve benefited tremendously from this community and wanted an opportunity to give back. I’m particularly interested in helping expand FOCAL’s reach in Latin America, bringing more archives and collections into the fold, and strengthening connections between researchers, archives, and filmmakers.

What do you think should be FOCAL’s biggest priority for its members and the wider industry over the next few years?

I think expanding access to archival collections and advocating for their preservation should be among FOCAL’s biggest priorities. I think there’s a lot of material out there that remains difficult to access or largely unknown. I’d love to see FOCAL continue connecting researchers and filmmakers with these collections, particularly in underrepresented parts of the world.

What is the biggest change you’ve seen in the industry during your career, and where do you think it is heading next?

One of the biggest changes I’ve seen is how central archival material has become to documentary storytelling. It’s increasingly being used not just to illustrate history, but to inspire and drive entire narratives, often in creative and unexpected ways. I think that trend will continue, bringing greater demand for rare material, higher-quality sources, and the preservation and restoration of original elements.

What role do you think FOCAL can play in supporting and shaping the future of the industry?

I think FOCAL is uniquely positioned to bring together the many people and organizations involved in archival media, from archives and rights holders to researchers and filmmakers. By fostering those relationships and advocating for greater access and preservation, FOCAL can help archival material reach new audiences. I’d also love to see FOCAL encourage greater use of archival media in education, particularly in history classrooms, where it can offer students different perspectives on the past and encourage critical engagement with historical sources.

Fun Questions: What talent are you most proud of?

I love when my work takes me out into the world in search of rare archival material, and I think one of my strengths is connecting with people and earning their trust along the way. I’ve been lucky to have opportunities to travel in search of archival materials, and meeting people, hearing their stories, and building relationships is one of the great joys of the job for me. Often, the person I’m meeting is the one member of a family who has taken it upon themselves to preserve a relative’s or their family’s legacy. I find that fascinating, and I have tremendous respect for the care they’ve given these materials, sometimes for decades. Many of these encounters turn into lasting relationships. And there’s a real exhilaration in returning from one of these trips with photographs, films, or other materials that haven’t seen the light of day in years.

What has been a highlight of your working year so far?

One of the highlights has been seeing The Eyes of Ghana continue to find new audiences and having the opportunity to participate in Q&As and discussions around the film’s archival footage, particularly at Lincoln University, where Ghana’s first president, Kwame Nkrumah, studied. I was also invited to Bowdoin College to present the film and speak to two history classes about the archival material I uncovered during production. I shared footage beyond what appeared in the film to explore how different voices documented and interpreted historical events. It’s been especially rewarding to see the film spark these conversations and find a life beyond the screen.

Beyond National Heritage: Preservation, Context, and Re-Use of Colonial Newsreels Article by Bas Agterberg, The Netherlands Institute for Sound & Vision This article focuses on examples of colonial transnational films and how the digital turn within archives now offers access to these collections. It discusses the context and the archive processes of the newsreel Wordende Wereld, which was produced in the Dutch East Indies between 1947-1950. How was this collection of ‘Indonesian’ newsreels preserved and how can we increase accessibility? Transnational film collections The colour film High Stakes in the East shows a beautiful picture of Indonesia in ten minutes. This short documentary was nominated for an Academy Award in 1943. It is an example of film propaganda that is interesting for several reasons. Commissioned by the Dutch East Indies Government, the film was made for an American audience. The idea was to show the importance of the Dutch governing the Dutch East Indies . It was one of the first films that the Dutch produced, which had for PR reasons - established The Netherlands Information Bureau in New York. The footage shot in the Dutch East Indies was edited in the United States by the acclaimed director John Fernhout. Although the quality of the film was recognized with an Oscar Nomination, the film missed its objective: by the time it was completed, Japanese forces had occupied the Dutch colony in South-East Asia. High Stakes in the East was never released in the Netherlands or in Indonesia. After World War II, it was stored in the newly formed Netherlands State Film Archive (RVD). It got little attention until it was one of the films in a project called ‘Treasures’ which from 2012 restored, digitised and presented Dutch films that had won or were nominated for an Academy Award. The story of films like High Stakes in the East challenges the notion of national heritage in an archive like the Netherlands Institute for Sound & Vision. This film is a transnational story with global relevance.

Wordende Wereld, Balinese traditionele dans, 19-02-1948

Wordende Wereld The weekly newsreel Wordende Wereld was produced by Multifilm Batavia, also known as Governmental Film Company. Although this company appeared independent, their films were funded by the Dutch Government and its staff were civil servants. One of them was Mannus Franken, who began his career in the avant-garde movement and co-directed the film Rain (1929) with Joris Ivens. Having directed films and newsreels in Indonesia during the 1930s, Franken suggested the title Wordende Wereld (Indonesian Digest in English). The newsreels are about ten minutes long, each featuring four different items. The Government’s goal was to demonstrate its goodwill to the people of Indonesia. Following Indonesia’s proclamation of independence in 1945, the Netherlands sought to retain control and created a Federal State of Indonesia under Dutch supervision. It took until 1950 for sovereignty to be handed over after a Colonial War between 1945 and 1949, The Dutch phrased their military activity ‘Police Actions’. The Newsreels were intended for both Indonesian and Dutch audiences. However, they proved unpopular in the Netherlands, where only a small number of cinemas screened ‘Wordende Wereld’, though clips were incorporated into the Dutch newsreel Polygoon Hollands Nieuws. A total of 148

episodes were shown in the Netherlands and are now part of Sound & Vision’s archive collection. Production continued in Indonesia after 1950, resulting in a further 17 episodes.

In 2014, historian and director of a historical television programme, Gerda Jansen Hendriks, published her PhD about the Dutch government films in the East until 1962. She describes the changes and debates on film policies of the Dutch in the Dutch East Indies. Her research also includes an overview of films in different archives, analyses the films as well as their production processes. Noting that the newsreels were released in Dutch, Malay and English, she concluded that they very much reflected a Dutch viewpoint, more specifically a Dutch perspective in which the Netherlands kept its position in a future Indonesia.

Wordende Wereld, redevoering, gehouden door Drs. Moh. Hatta tijdens de openingszitting van de ministerconferentie van de Nederlands-Indonesische Unie, 25-03-1950

Archiving the Newsreels Following Indonesian independence, businesses such as Multifilm Batavia were handed over or sold. The original Multifilm in the Netherlands retained prints of Wordende Wereld and compiled an inventory at the request of the Indonesian Government in 1953. The original film materials in Indonesia had been destroyed in several fires in the studio in Jakarta. The inventory of Multifilm showed 625 items were sent to Indonesia. The Dutch selected 245 relevant items as copying the 625 items was considered too expensive. The films were stored in a vault for nitrate film and remained inaccessible for decades. Interest in audiovisual archives grew in The Netherlands during the 1980s. A significant part of the films were catalogued, and the Indonesian archive sent 62 cans of nitrate film which were duplicated onto acetate film. The videos enabled former Dutch residents of Indonesia to describe this footage, making the films more accessible which led to frequent use by Dutch documentary filmmakers in their new productions, reaching a larger audience through this re-use than during their original cinema release. A major push to improve accessibility and stimulate re-use was the digitisation of films Between 2007 and 2014, Sound & Vision invested in scanning facilities to digitise a large part of its film collection including newsreels Wordende Wereld. This initiative highlighted the need for a comprehensive overview of the collection and the need for the metadata created in the 1980s. Moreover, an understanding of the context in which these films were produced was relevant to make sense of the information within the films.

High Stakes, oliewinning, 01-01-1942

These newsreel items are invaluable for anyone with an interest in Indonesia as there is hardly any other footage of the archipelago available from this period. While widely reused in Dutch broadcasts, international access remained limited. Jansen Hendriks’s study shows that it is important to also understand the context. The digitisation and context are two factors that gave Sound & Vision an impulse to enrich the collection’s metadata, supported by growing interest in its colonial history and the cooperation between the Netherlands and Indonesia to preserve this documentation. In 2024, Sound & Vision and the National Archive of Indonesia (ANRI) re-established their connection by signing a Memorandum of Understanding Exchanging files and expertise on Wordende Wereld is one of several projects that will increase the accessibility of these films that provide an intriguing view on colonial history in South East Asia.

Finding the Heart of the Archive Community at Sheffield DocFest 2026 Article by James McDonald, Shanakee

You can measure the money in any industry by the festival merch. At Sheffield DocFest 2026, there’s no free tote bag anymore and I suspect I’m not the only one wondering: if you can’t get a cotton branded bag in which to hide your imposter syndrome for a long weekend, how will you be able to conceal your dread for the collapse of the entire industry? But whatever about the money and merch, DocFest is thriving as well as ever with big crowds queuing, chatting, networking and getting selfies for their socials. Everyone is selling something after all. Some are selling films, but most of us are just selling ourselves. Much like the very first time I attended Sheffield DocFest back in the early noughties, I was a twenty-something aspiring filmmaker with a half-baked idea for a short documentary. But I had qualified to pitch it to a panel of established industry people in front of an audience of festival attendees who like to bear witness each time a dream dies in a conference room. Why anyone would choose to attend an event like that baffles me, when they could instead be watching much better (finished) films, listening to panels of people who know what they’re talking about or just drinking a pint with work friends in the Sheffield sunshine (it’s always sunny at DocFest). But there I stood, in a windowless hall air conditioned to the exact temperature of an abattoir, winging it, enthusiastic but innocent, grilled by the panel who asked me what the first shot of my final film would be even though I hadn’t shot a frame (I made something up but it wasn’t good enough to get me the grant on offer). The audience bayed for blood as if watching a fallen gladiator. The thumbs pointed down and I was sent packing and penniless back to London on the next train as I couldn’t afford a hotel for the night let alone the cost of the industry pass for the festival. Years later, I’ve somehow found my place in the industry as an archive producer and trips to Sheffield are now a much more social and enjoyable experience. Especially post-pandemic in the age of remote working and Zoom meetings, this is a way to meet colleagues new and old in person and watch our work together on the big screen instead of in isolation on our TVs at home. As ever, the festival began on the train journey. The leg from St Pancras to Sheffield was a time-machine back to my early career, as I bumped into two colleagues from almost 20 years ago when we were making educational shortform documentaries for the Open University. We must have made about a hundred films and radio documentaries within the five busy years we worked together; each one with a shoestring budget and quick turnaround that would even make Channel 5 wince. It’s where I learned the craft and found my passion for working with archival material. The festival had plenty of screenings and discussions of interest to the archive-curious too. The opening night film ‘We, The Hated’ followed the film-maker’s girlfriend’s involvement in the Just Stop Oil protest group, who we see gluing themselves to central London roads and the M25, throwing soup on Van Gogh’s Sunflowers and ultimately getting arrested just before they can break into Gatwick airport for what would have been their most audacious protest and no doubt would have further polarized their portrayal by the media and perception by the public. The archive in this film plays second fiddle to the astounding verité footage of the protests and the couple’s day to day life at home, but the Just Stop Oil story is only fully understood by seeing how the media coverage focused on their tactics rather than their motivations to stop the world from burning itself to death. The final irony is that when defending themselves in court they were not permitted to explain the motives behind their actions. They were judged and jailed purely on their acts without any context of the climate crises they are trying to wake us up to. By the end of the screening, I could sense the audience was inspired and outraged, but also struggling with how to write a LinkedIn post that balances concern for climate collapse and social media shareability. O tempora, o mores!

The only production at the festival I had any direct involvement in was the series ‘Katie Price: Nothing to Hide’, which premiered the first of its four episodes before being launched launched on Sky’s Now TV in July. Amid a festival of worthy productions bootstrapped by filmmakers who passionately financed them by remortgaging their homes, such a celebrity biopic is somewhat of an anomaly, but we can’t have an entire festival of Ken Burns slideshows about 19th century Nantuket. The documentary world is a broad church and the audience responded very well to the first episode of Katie Price. Such a long-overdue retrospective of her career through distinct eras of tabloids, reality television, and now social media, combined with Katie’s own reflections seems is granting her life a reappraisal by British society. That might not change the world, but neither does gluing yourself to a road. ‘Fair Use LIVE!’ was a (VERY!) enthusiastically titled panel discussion going right into the heart of the archive producer’s wheelhouse. Visibility was given not only to archive producer Christina Bartson on the panel, but also light was shone on the invisible art of fair use, which is not only a mystery to many in the industry but is surrounded by myths and misconceptions by even the well-seasoned documentary-makers. A masterful tour de force was given by lawyer Louise Lambert from Reviewed and Cleared who gave unprepared advice (LIVE!!!) to panelists Christina and film-maker Toby Bull and also to the myriad filmmakers in the audience who took the opportunity to acquire free legal wisdom. Luckily none of them seemed to actually have gotten their heads around it by the end so Louise isn’t out of a job until they all figure out how to just ask ChatGPT instead. ‘The Archivist’ was the film with possibly the most obvious name to connect it to our humble archive trade, albeit without the same Dana White enthusiasm that could perhaps have more fittingly named it something like ‘The GREATEST Archivist EVER!’, but as even the trailer admits, its subject, Doc Rowe, does not actually consider himself an archivist (though he is an honorary doctor, courtesy of the University of Sheffield). He has been filming folk customs of Britain for decades and has amassed a huge archive, which is now facing the same peril as the customs it captured. Unfortunately I didn’t get to see it as it had sold out too quickly, which was all the more disappointing to me as I coincidentally have known Doc for many years as I also dabbled in filming many of those same traditions, so I have an informed appreciation for the man’s dedication and achievements. He might not be an archivist, but he is the GOAT(!) for whatever he is. Disappointed though I was to miss the film, as an archive producer, I was very familiar with not being able to find what I’m looking for. And it is crucial to give credit to the people like him who are documenting our world, making sense of it, which is essentially what documentary-makers are doing. And credit too to those of us keeping those materials safe for the next film-maker to be able to reinterpret them and to say something new in due course. That, in my view, is the core value that archive producers (and actual archivists) bring to the film industry. But for all that to happen, the industry does need to be financially viable to allow us to make this our job rather than just a hobby. And festivals like DocFest do this by maintaining their affordability and accessibility. As well as providing live sign language interpretation and subtitles for panel discussions, the festival also gives substantial discounts to entry level attendees. I was able to get a 30% discount on the festival pass due to my membership of FOCAL International (who also provide free tote bags by the way). These small factors are what keep the festival thriving and the wider industry not only alive but growing. The festival is itself a living archive, preserving the connections that make a community through real-world conversation and shared experiences in person. Like a temporary village, but not one of strangers anymore, one that is now home.

Beyond the Broadcast: Unearthing the Archive of a Women’s Sports Pioneer Article by Mandi Robinson, Archival Producer at Archival Ninjas

Image courtesy of Alamy

When we began archival research for Breaking Glass: The Pat Summitt Story, we knew there would be no shortage of material documenting Pat Summitt’s extraordinary career. Eight national championships, nearly four decades at the University of Tennessee, and her status as one of the most recognizable figures in college basketball history left behind a substantial archive. But telling the full story of Pat’s career meant going back much further than the era of packed arenas, nationally televised games, and extensive sports coverage. Pat began her career at a time when women’s basketball received dramatically less media attention than it does today. Fewer games were televised. Fewer cameras were present. And many of the moments that shaped the early years of her story aren’t readily available through the traditional sports archives we would normally turn to first. That changed the way we approached the research. The production already had extensive access to the Summitt family’s personal archive and University of Tennessee collections, giving us a strong foundation for the research. But even with those resources, there were still parts of Pat’s story that couldn’t be found in the expected places. That pushed our research beyond both the personal archive and traditional sports vendors. We looked to independent videographers, local and news sources, photographers, universities, and other historical collections for pieces of Pat’s story that might otherwise have been lost or overlooked. Some of the most exciting discoveries came from exactly those places.

Independent videographers had captured moments that may have never existed in conventional sports archives. Personal and institutional collections offered material that helped fill in periods where traditional coverage was limited. And because of the extraordinary goodwill surrounding Pat, archivists, rights holders, videographers, and others often genuinely wanted to help tell her story. In some cases, that meant going back through their own collections to see what might still be there. But at the same time, we also found meaningful gaps. There were early games we could not locate through traditional archives or licensing entities. Historical Olympic photography and other visual material from the 1970s and ‘80s could be surprisingly difficult to find. We searched for interviews, appearances, promotional campaigns, and other pieces of women’s basketball history that simply did not have the same readily accessible archival footprint we might expect from a comparable sports story today. That became one of the most interesting lessons of the project: the absence of traditional broadcast archive does not necessarily mean the archive doesn’t exist. It may simply live somewhere else. It might be in a university collection, a family archive, a local photographer’s files, an independent videographer’s tape, or in material that has never been formally catalogued or digitized at all. There was also something fascinating about watching the archive itself change as Pat’s career progressed. Earlier in her career, fewer cameras and fewer media outlets meant fewer materials were created in the first place. As Pat’s profile grew and women’s basketball received greater visibility, the volume and variety of material grew with it. That evolution mirrored Pat’s own impact on the sport. She helped take Tennessee from a growing program to a national powerhouse while becoming one of the figures who brought women’s basketball to a much larger audience. In that way, the archive became a record of more than Pat’s career. The stark difference between what exists from her early years and what exists from later decades also traces the changing place of women’s basketball in American sports and media. Ultimately, combining traditional game footage with personal, institutional, and unconventional sources allowed us to build a fuller archival record of Pat’s career than any one archive could provide. For me, that is what made the research especially rewarding. Archival work is often described as finding something that already exists. Projects like this are a reminder that sometimes the more interesting question is: “What else is out there that no one has found yet?” And sometimes, finding it means knowing where else to look.

Audio Restoration from the Perspective of an Archive Owner Article by Tom Lowe, Film Sound Restoration

Bob Godfrey and OJ at the Oscars

When I started thinking about this piece for FOCAL, there were a few ways I thought about approaching it, but one idea stuck out: as well as working in audio restoration, I manage an archive, that of my grandad, Bob Godfrey (1921 - 2013). Bob was a British animator, best known for his children’s TV shows Roobarb (1974) and Henry’s Cat (1983-1993). He started as a background artist at Larkins Studio, got fed up of drawing still backgrounds, and began making his own films in the basement of his north London flat, with some of his colleagues from Larkins. That didn’t go down well with his boss, and he was quickly dismissed, probably because he was seen as a bit of a threat to the order of the studio! Undeterred, he set up Biographic with Keith Learner, just as commercial TV launched in the UK. Their advert was the first animated commercial shown on ITV, going out on the opening night in London. A few years later, as the studio was taking off, Nancy Hanna and Vera Linnecar joined him, having also left Larkins. Biographic continued to grow, but Bob wanted to make his own films and so set up Bob Godfrey Films in 1965. Bob would make adverts as a way to fund his own short films, but larger productions required financing in more traditional ways with companies such as British Lion. Great was one of those, a just-under-30-minute biopic of Isambard Kingdom Brunel, which took four years to make and won Best Animated Short Film at the 1976 Oscars, a first for a British film. 2015 marked the 40th anniversary of Great, and I felt it deserved festival screenings and a Blu-ray release, having never been released on home video. There had been occasional broadcasts on Channel Four, but nothing else, largely because of its complicated rights history before it ended up with StudioCanal. We got the rights in 2016, along with all the elements StudioCanal held, having managed a screening at the 2015 Manchester Animation Festival while negotiations were still ongoing. The disc took much longer, and after many more delays it is finally out this year.

Having got the original negative, sound negative and other assets, I needed to digitise them. I’d never done this before, so I asked around, starting with Tony Fish, my grandad’s longsuffering editor, who suggested Jo Griffin at the newly opened R3store Studios. One of the best recommendations I’ve ever received! Once the scans were back and the audio transferred at the BFI, I realised the film needed restoring, and that I’d give the audio a go myself. At the time I was mostly a sound designer on short films, used to less-than-ideal production audio, with tools like iZotope RX, so had the tools and some experience to carry this out. I’d never restored an older archive film but figured the tools and processes would be similar. I was right about the tools. The process is another matter, and it comes down to delicacy and attention to detail. Take out too much noise or hiss and you damage the character of the soundtrack and quickly put dialogue intelligibility at risk. On a new film I’m almost always working on dialogue alone, so nothing I do touches the music and effects. On an old film there often aren’t any stems, so you’re working on a full mix with dialogue, music and effects, all together. When getting Great scanned, I mentioned my background in audio to Jo, and asked if R3store ever got asked to carry out audio restoration. Shortly after this, she started recommending me for restoration jobs, and 2023 was when things really kicked off with four films for the Arrow boxset Blood Money Vol. 2. After that boxset I set up a new part of the company for this type of work under the Film Sound Restoration (FSR) name. By 2024 I’d been working with Jo for six years but had only met face-to-face once, largely thanks to the Covid lockdowns. In early 2024 we finally met up again for a drink, and at that meeting she mentioned R3store were moving to bigger premises, and would I like a sound studio alongside the team. A little over a year later, the move was complete and I’d set up the sound studio. In the short number of years since I started audio restoration for archive and classic films, there have been numerous changes and additions to the tools available, and they have got better and better, opening up possibilities that weren’t there a few years ago. Possibly the biggest advancement is the ability to separate a full mix back out into individual dialogue, music and effects stems. It means what can be achieved with audio restoration is more precise than ever before. At FSR we are constantly exploring and testing them, building workflows and adopting the best of what becomes available. So in a few years I’ve gone from doing sound design for short films to restoring audio on classic and archive films, and it all started because of a film my grandad made in the 1970s. Looking after a library of classic films really does bring a different perspective. I’m incredibly protective of his legacy, and the importance of any film and director’s legacy is always in the back of my mind. I treat every film’s audio as if it was one of my grandad’s, so that what the audience hears is the best it can be.

Tom Lowe is an Audio Restoration specialist and runs Film Sound Restoration (www. filmsoundrestoration.com) at R3store Studios in Stratford, London. Learn more about The Bob Godfrey Collection at www.bobgodfreycollection.co.uk

How Hollywood Film Company is repatriating Technicolor films Article by Simon Clark, Hollywood Film Company Technicolor was founded in 1915 and went on to become one of Hollywood’s most recognisable brands, working on classic films such as The Wizard of Oz and Gone with the Wind. Disney’s first feature-length colour animated movie, Snow White and the Seven Dwarfs, opened in Technicolor in 1937. The Technicolor group owned several leading visual effects studios including MPC, Mikros Animation and The Mill, with operations in the US, UK, Canada and India.

When Technicolor collapsed in early 2025, shockwaves rippled across the global film and television industry. Thousands of talented professionals suddenly found themselves out of work, but another unexpected problem was quietly emerging behind the scenes. Scattered across storage facilities in the UK, Europe, and Worldwide sat almost one million media assets that had once been entrusted to Technicolor. Original camera negatives, film prints, videotapes, audio recordings, and LTO data tapes containing decades of creative history were suddenly caught in limbo “stuck” with a number of storage companies who were no longer being paid to store them. Stored safely but no longer supported by the company that had managed them, these assets belonged to more than 23,000 customers, ranging from major studios and

broadcasters to independent producers and rights holders. The question was simple: How do you reconnect nearly a million items with thousands of rightful owners? The answer came in the form of Hollywood Film Company (HFC).

Founded in 1938, HFC is one of the most respected names in film handling, storage, distribution, and post-production services. Over its long history, the company has received an astonishing 14 Academy Awards for technical achievement, making it uniquely qualified to take on this challenge. In late 2025, the Technicolor estate asked HFC to help manage the complex process of identifying, validating, and returning these materials to their owners. Simple in theory. Monumental in practice. The operation begins when a former Technicolor customer submits a claim through a platform developed jointly by HFC and Technicolor. That claim is then electronically matched against Technicolor’s historic inventory records. From there, the detective work begins.

Teams carefully identify materials, verify ownership, and resolve any competing or conflicting claims. In many cases, this stage takes the longest because every match requires legal review and approval before assets can be released. Once ownership has been confirmed, customers can enter into an agreement with HFC to have their materials returned, continue storing them, or, in rare circumstances, arrange for disposal. But the goal is clear: preserve wherever possible. Many of these assets represent decades of cultural and commercial value. Some are original camera negatives. Others are masters that may one day be restored, remastered, rereleased, or digitised for future generations. Fortunately, the industry has rallied around the effort. The majority of the UK-based materials are currently stored with Underground Vaults & Storage and Iron Mountain, both of whom have been highly supportive throughout the process. Their cooperation has helped ensure that the assets remain safe while ownership is established and long-term plans are put in place. For many customers, the story does not end with simply getting their materials back. HFC is working with a network of specialist partners who can assist with digitisation, restoration, colour grading, encoding, and the preparation of content for modern distribution platforms. In other words, some of these assets may soon begin a second life. While the collapse of Technicolor marked the end of an era, it also sparked one of the most ambitious asset recovery projects the film industry has ever seen. Behind the scenes, thousands of claims, countless hours of verification, and the cooperation of storage providers and industry partners are helping ensure that valuable film and television heritage is not lost. It’s a reminder that preserving the past is rarely as simple as putting something on a shelf. Sometimes, it requires a global effort to make sure history finds its way home.

* Not quite…. This may seem like the end of Technicolor but the huge legacy and catalogue lives on. Whether you are a researcher, a producer, an archivist or just interested in films, the assets that HFC are trying to repatriate are of importance to us all. Anyone who feels they have a justifiable claim to a film or production that has assets previously stored by Technicolor can find out more about the process by contacting me on simon@hollywoodfilmcompany.com, or Allan if you are in the United States of America allan@hollywoodfilmcompany.com. We have a team ready to help and we really want the films to be returned to their rightful owners as soon as possible!

FOCAL Mentoring Programme 2026 FOCAL is proud to continue its outreach activities with the 6th edition of the FOCAL Mentoring Programme, which offers support and guidance to individuals seeking to enter or advance their careers in the media archive industry. This year we are pleased to welcome 14 exceptional people from the UK, Spain, France, Sweden, Ireland and the USA taking part in programme which runs through to November 2026. We wish to thank all the mentors who have been matched with the mentees who are supporting this programme, sharing their knowledge and invaluable advice.

FOCAL Mentees Anna Hagnefur I am an Archive Sales Executive, working for the Swedish pubcaster SVT in this role since 2024. I have previously worked in the film-, tv- and publishing industry in the UK and Sweden in various different roles since 2008, with a particular interest in documentary. I also have a background in art with focus on analogue practices, and I have a soft spot for vernacular photography. I hope the programme will give me an opportunity to learn more about the archive industry from an archival producer’s perspective, and also broaden my network with deeper connections.

Anna Wiles I’m a London-based producer with a background in documentary filmmaking and new media arts. After working as an editorial TV producer and contributing to BAFTAwinning series, I moved into archive production, where I discovered a strong interest in uncovering unseen material and shaping new narratives through archival storytelling. Selected for the Grierson Archive Producer Scheme 2025, I am currently on a placement as an archive producer trainee, continuing to develop my skills in sourcing and managing archive for factual and documentary productions. This work is strengthening my practice, while my background in new media arts continues to inform my interest in using archive as a creative storytelling tool across different platforms. I’m excited by the opportunity the FOCAL mentorship offers to deepen this approach, expand my understanding of the field and learn from experienced professionals working across the archive industry.

Cara Casier Cara Casier is a filmmaker and history lover based in New York City. She has worked in documentary production with McGee Media for the past couple of years, contributing to projects for PBS and HBO, including Black and Jewish America: An Interwoven History, Black History in Two Minutes (or So), Dear Ms: A Revolution in Print, as well as an upcoming PBS history series on Black music. Working on these historydriven projects has given her a newfound appreciation for and curiosity about archives, and she is excited to continue growing her skill set in this integral element of nonfiction storytelling.

Cassie Sagness I’m a documentary producer based in Ohio. Creatively I’m drawn to archival-driven stories and investigations, and have worked as an archival producer on a variety of documentary features and series. In addition to my documentary work, I’m currently pursuing a Masters degree in the Study of Law at The Ohio State University Moritz College of Law. I am especially interested in the intersection of law, archival material, and nonfiction storytelling.

Catalina Altuna Catalina has worked as a projectionist for the past ten years. After completing her Film Preservation Studies at Elías Querejeta Zine Eskola, she gained a year and a half of experience in film digitisation at Filmoteca Española, working with a historical collection. She was later invited to return to the Film Preservation Studies course as a final project tutor. She currently combines this experience with projection work and is part of the technical departments of international film festivals across Spain.

Chantelle Greenough I’m a Content Executive with a background in photography. Volunteering within the archives at my local contemporary art gallery, writing blogs to showcase archival material in my day-to-day work, and researching my own cultural heritage, I’ve developed a growing interest in the archive sector. I’m looking forward to learning, making connections, and engaging with the opportunities offered through the FOCAL mentorship.

Claire Bénaud I’m a French Archive and Digitisation Officer now based in Manchester, UK. After a career change, I decided to go back to university and graduated last year from the Conservatoire National des Arts et Métiers in Paris with a degree in archives and heritage, specialising in audiovisual archives. Since starting my role as an archive and digitisation officer earlier this year, I’ve been developing my skills in digitisation, metadata creation, and the long-term preservation of analogue and digital collections. I’m particularly drawn to film archives, visual storytelling, the challenges and importance of caring for moving image materials, and I am looking to develop further in this area. I’m very happy to be part of the FOCAL Mentoring Programme and excited to deepen my knowledge, gain confidence, explore career paths, learn from experts, and connect with the international archival community.

Daniel Marcou I’m a new archival researcher in Minneapolis, Minnesota, transitioning into documentary work after four decades in librarianship. I came to archival research through a career of finding and sharing stories — first in libraries, where I produced short documentaries and was named a Library Journal Mover and Shaker in 2009, and now in service of filmmakers working with archival footage. Alongside research, I bring hands-on experience in video editing and writing. I’ve trained through the Netflix DART Program and Maine Media Workshops, and I’m a member of the APA and FOCAL International.

Isabel Lyndon I am a filmmaker and archival researcher based in Oakland, California. Most recently, I co-produced Who Moves America (2026, dir. Yael Bridge) and was associate producer for an untitled feature documentary about Rev. Jesse Jackson (dir. Shola Lynch). I’ve contributed to documentaries and videos from PBS Frontline, KQED, American Public Media, and the Investigative Reporting Program. I hold a master’s degree from the UC Berkeley Graduate School of Journalism.

Jori Brooks-Johnson Jori Brooks-Johnson is a filmmaker, public historian, and archival researcher based in Brooklyn, New York. She is a double graduate of NYU, with a BFA in Film & TV and an MA in Archives & Public History. Jori has served as an archival researcher and assistant for projects by Retro Report and PBS American Masters. In 2025 she created the archival documentary Harbouring History: Brooklyn’s Transforming Waterfront in collaboration with PortSide NewYork, a maritime history organisation in Red Hook, Brooklyn. Jori is passionate about bringing the hidden gems of archives to wider audiences through documentaries, and is excited to expand her work in this field.

Justina Tran My name is Justina Tran and currently based in Brooklyn, NY. Some of my favorite docs are American Movie, Act of Killing, Pianoforte, and New Wave. As an archival person, I’m always on the lookout for more music and media at all times. Feel free to send any recs! I enjoy films that include my interests of music, cinema, food, and travel. The older Vice series, States of Undress does a very good job of combining culture, politics, and fashion in a way that I hope to see in more docs in the future. Even Though, I’m in NYC I’m curious about the doc world in London and abroad, so I’m excited to see where FOCAL leads me.

Victoria Muldoon Hello, I was a Documentary Filmmaking Zoom Film School Trainee at Four Corners and have attended the Screenskills Archive Researcher Trainning Programme. I’ve voluntered for the Bengali Photo Archive at Four Corners and the London Screen Archive.I was a junior researcher on a Netflix feature documentary and a six part anthology series as part of Rise at Raw at Raw TV. I’m delighted to be part of the Focal International Mentoring Programme.

Yassmine Betioui Yassmine Betioui is a filmmaker and emerging film preservationist. She has worked as an archive assistant with LUX London and Cinédoc Paris, and restored original nitrate negatives with TransPerfect Media. Her interests are in the future of film restoration, where she wishes to contribute to projects focused on artist moving image and heritage cinema from the MENA region.

Zlata Filipović Originally from Bosnia Zlata Filipović is Irish-based EMMY and IFTA award winning producer of numerous feature and television documentaries as well as short films that have screened across the world gathering awards and acclaim. She most recently produced the IFTA nominated Listen to the Land Speak for RTE presented and authored by the late Manchán Magan. In 2022 she produced Epic West as well as the IFTA nominated hybrid feature documentary How To Tell A Secret. Zlata was producer on the multi award-winning documentary Farthest (IFTA Best Documentary 2018, EMMY 2018) about NASA’s Voyager mission which premiered at Tribeca Festival 2017 and well as producing IFTA-award winning documentaries Somebody To Love (IFTA 2014) and Blood of the Irish (IFTA 2010). Her other notable work includes Grierson award nominated documentary Here Was Cuba. She is the recipient of Netflix Documentary Talent Fund 2023 for the film Two Mothers nominated for IFTA 2025. She is a EURODOC 2024 alumni with feature documentary project The Last Balkan Cowboy (currently in production).

FOCAL Mentors Alessia Petitto Alessia Petitto began working as an archive researcher in 2009. She attended training courses at the Cineteca di Bologna, FIAF, and INA (France), deepening her knowledge of the various aspects of the archival footage workflow, from film restoration to rights management. She worked on archive research for Martin Eden, directed by Pietro Marcello (Venice Festival 2019); Marx Can Wait, directed by Marco Bellocchio (Cannes Festival 2021); and Leonora Addio, directed by Paolo Taviani (Berlinale festival 2022), Wax and Gold, directed by Ruth Beckermann (Berlinale Festival 2026). She teaches at various Italian universities and film schools, training new archive researchers and archive producers.

Camille Carlier After graduating in journalism with an experience at the Documentary department at ARTE, Camille worked for several years in the Acquisitions and News Departments of France Télévisions. After which she worked as a freelance for the Very Short Films International Festival as a Development Coordinator. She then moved to London to develop her career in Archives and worked for two years at FOCAL International as the Awards, Events and Membership Coordinator. She developed the awards competition as well as designed, launched and managed FOCAL’s first Mentoring Programme for people willing to grow a career in the archive industry. Camille is now back in Paris, working at Le Chaînon Manquant (The Missing Link), a sourcing, research and clearance agency, as Archive Researcher and Development Coordinator. Her credits include Surf, le feu sacré, Chaplin, Spirit of the Tramp, The real story of Saving Private Ryan, Narcotrafic: Poison of Europe and the posthumous short film of Jean-Luc Godard, Drôles de Guerres.

Chris Fossey Chris has a 20+ year career working in Content Services and Post Production facilities in London. A large amount of Chris’s career was spent at the BBC working across many archive projects, Post Producer on many BBC programmes including Strictly Come Dancing, Children in Need and Pointless. Since 2020 Chris has worked at Iron Mountain Media & Archive Services as a Senior Business Development Manager, a role that allows him to work with Broadcasters, Distributors and Sports Associations to name a few to help preserve and protect their historic archives.

Elizabeth Bowley Elizabeth has worked at British Pathé for over seven years, beginning her journey at the company as an Archive Coordinator before progressing to her current role as Business Development Manager. She oversees territories across the Americas, Germany, Eastern Europe, and Australasia, and has helped provide archive content for projects including Marty Supreme, Babylon, and Turning Point: The Bomb and The Cold War. With a background in history, she is passionate about the incredible archive content the company is able to offer clients.

Geoff Walton Geoff Walton is a London-based Archive Producer working mainly in feature-length documentaries; most recently for MGM’s Sounds of 007 and the Abbey Road Studios anniversary documentary If These Walls Could Sing.

Graham Relton Graham co-leads the Yorkshire and North East Film Archive at York St John University, a unique pan-regional resource dedicated to saving and celebrating the screen heritage of Yorkshire and the North East over the past 135 years. As Head of Access, he facilitates access to the rich and diverse collections for artists and academics, curators and programmers, researchers and producers to reveal compelling stories from the vaults. Graham is the producer of a series of award-winning human-centred archival short films, he also regularly curates and presents archive screenings as part of his commitment to connecting with a wide variety of audiences. With over 25 years’ experience in the arts and heritage sector and a proven track record in project management, film curation and interpretation, Graham is a passionate champion of the UK public film archive sector, advocating for the value of archive in a changing cultural landscape.

James Macmillan James has over 20 years’ experience in the film and television industry, covering Post Production, Broadcast Operations, Access Services, Archive Digitisation and Restoration, and Content Operations. After nearly 2 decades at ITV, James moved to Prime Focus Technologies in 2022 as Head Of UK Operations, working closely with Channel 4. James is passionate about archive preservation and access services, and has a keen interest in film and music.

James McDonald James has over twenty years of experience on over a hundred film and TV productions as archive producer and in other roles. He founded Shanakee Archive Agency in 2013 and now leads the team of archive producers overseeing projects’ archival workflow and trouble-shooting issues relating to budgeting, negotiation, intellectual property, and anything unexpected.

Jeremy Shields My name is Jeremy Shields and I’ve been a TV Researcher and Archive Researcher for 25 years. I studied History and Politics at Queen’s University in Belfast and started work for the BBC in Belfast in 1999. I started off working in Information and Archives and a year later I put an idea forward for our local politics magazine programme, Hearts and Minds, based on archive I’d found about architecture in Belfast, we made the film and I was there in Television Current Affairs until I took voluntary redundancy in 2023. I worked on many different kinds of programmes, I was the lead researcher on the audience debate programmes, but my main love was working on anything that was archive based. I developed a deep knowledge of archive relating to the conflict in Northern Ireland and that was my specialist subject. I was part of the team that won a FOCAL Award for the archive in our Ian Paisley obituary/documentary and the last big project I worked on was a film called “The Secret Army”, that looked back on and investigated a film made about the IRA in 1972 that had disappeared from view for reasons that became obvious in the film. I’ve been involved in freelance film research since 2023 and I’ve started working for the library service in Belfast where I’m currently working in the library round the corner from where I live.

Jo Griffin Jo Griffin is the co-founder and Digital & Restoration Director at R3store Studios, a leading London-based film restoration and digital archiving company. With more than 25 years of experience in the media and restoration industry, Jo has led high-profile projects for organisations including the British Film Institute, Arrow Video, BBC, ITV, Warner Bros, Sony Pictures, Wimbledon, and Guinness. Known for her expertise in film preservation and client-focused approach, she has helped position R3store Studios as a trusted name in restoring and safeguarding cinematic and historical archives for future generations.

Lawrie Schneider Lawrie Schneider is Associate Director, Content Distribution at CBC/ Radio-Canada. In this role, he oversees all external access to, and the monetization of, the archive of Canada’s national public broadcaster. He leads a team of customer service representatives and librarians across English and French services, enabling the offering of over 90 years of content to clients from around the world. Prior to joining CBC/ Radio-Canada, Lawrie held several distribution roles at Warner Bros. International Television Distribution and Blue Ant Media. He has a BA from Queen’s University and an MBA from the Schulich School of Business at York University, both in Canada.

Louise Pankhurst I am a technically trained film archivist with an MA in Film with Film Archiving. I have over 20 years of experience working in the film archive sector both in private and public archives and I am currently an Account Manager at the Associated Press archive, where I collaborate closely with archive producers around the world on documentary projects covering a wide range of subjects. I also run London’s Home Movie Day held every third Saturday in October at the Cinema Museum in Kennington.

Luke Smedley Luke Smedley is Head of Orchard Clips, the footage sales division of OR Media Group. He is an innovative content and operations manager with extensive experience in the commercialisation of film and video footage. Across more than 20 years he has handled all types of footage, from nitrate newsreels to viral mobile phone video. Luke has managed the film and video archives of the Associated Press as well as the extensive user generated content collection and content partnerships of social media publisher, LADbible Group. His knowledge spans from film formats and video codecs to metadata and copyright. Luke led the FOCAL International Award winning AP Archive Digitisation project.

Paul McClintock Paul brings over 15 years of film and television experience to his role as Digital Collections Officer at Northern Ireland Screen, where he is responsible for curating, managing, and promoting the moving image archive’s digital collections. Previously Paul worked as an editor for major broadcasters including BBC, ITV, RTE and Disney. He served as editor for the Broadcast award winning Pablo, and most recently on the archive based series Sixties NI for ITV.