Futures in Film CIC. The one organisation named here, because the relationship is ours to describe.

We partner and collaborate with Futures in Film CIC, and Screen Sisters works on and collaborates on its projects and activities. The Story-to-Screen Lab is a joint programme.

The two companies are legally separate. Each holds its own money, risk and equipment, they share a director, and arrangements between them are in writing. The shared directorship is public on Companies House, and we print it rather than wait for it to be found.

What belongs to Futures in Film stays theirs, and is not in our own record.

Naming an organisation as a partner is a claim about them, not about us.

Several say in the room that they are content to be named. None is printed until it is in writing, from a named person, on a date.

• The studio that holds our base. A working lot in East London; the stages are down the corridor.
• A London camera rental house. Two of our delivered days ran inside it, on professional bodies.
• An aerial film company. Two days of camera rigging for women, on their premises.
• A stabilisation and rigging specialist. A named department on our unit at 3 Mills.
• Screen schools and universities. Our members have sat in cohorts beside their students.
• Mosques, churches, synagogues, schools and women's groups. Where the reach comes from, and where the screenings go. How that works.

• A charitable foundation, funding our first year of delivery.
• A public development corporation, whose agreement puts us inside a working studio.
• A national engineering body, whose enterprise programme anchors the simulation work.