Imagine this. Instead of writing a traditional article like this one, we shorten our article to a series of headlines and project them onto a famous skyscraper. Outside an advertising awards show. We tease the event. And we invite you and influencers along to it. You take pictures and film parts of the show. You then post it on social media. We film the entire stunt. Afterwards, we edit the vid into different cut-downs for different channels. That my friends is a brand activation in practice.
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So what actually is the definition of a brand activation? ChatGPT defines it as a ‘marketing strategy designed to actively engage consumers with a brand, creating a memorable experience that drives awareness, interaction, and emotional connection’. It’s a decent definition for this recent advertising phenomenon. But for us, it’s an idea worth advertising. Something for your brand to shout about. And right now, activations are becoming more common. They’re taking full advantage of digital capabilities to propagate ideas online which in turn, amplifies brands organically for free. 30 years ago, a Tango ad on a Saturday night was talked about on a Monday morning in the school playground, or at the water-cooler. Today, it’s instant on Whatsapp, TikTok, Twitter and so on. And great activation ideas that live online, always have the possibility of getting shared time and time again.
Here are some of my favourite brand activations from recent times including an app concept for Toyota that was the no.1 downloaded app in the country it was made for.
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You read right. Sounds bonkers. But it was genius. True to their values, REI closed their doors on Black Friday. Instead of getting caught up in the chaos of the shopping day, they wanted their staff to #OptOutside, have a stress-free day off and enjoy the great outdoors. The feel-good news story was picked up by all the mainstream media outlets in the states, and the brand saw sales, brand warmth and employee retention increase off the back of this one activation.
Xbox wanted the world to know how tough their new Tomb Raider game was so they created an interactive billboard that played out like a live game show. Then they subjected the six people on the London billboard to the extreme weather conditions from the actual game. Fans streamed the show via Twitch, where they could even control the weather via their smartphone. Until only the grittiest contestant was left. The results were off the charts, from 450k+ views on Twitch, 2 million views on Facebook and 18 Cannes Lions.
How? By flipping disability around and creating ThisAbles. Ikea found 1 in 10 people in the world live with a disability. So they hacked their most iconic IKEA products by developing 13 open-source 3D printed add-ons, each solving a different accessibility issue. Besides the 5M$ worth of earned media from PR, 4,625 people downloaded the 3D models. One of the great brand activations, that intrinsically links to their vision and genuinely make people’s everyday, wonderful.
Education groups came together to launch Denmark’s Mental Health Day and create awareness about the increase of youth burnout. How? They crafted human sized candles and erected them all over the country to start a nationwide conversation. Each of the statues were made from wax that symbolised inaction leading to an entire generation burning out. They also targeted policy makers with small versions of the burnt-out youth, and produced a series of solutions to help address the growing issue.
The global sports brand discovered that 32% of women around the world feel uncomfortable swimming in public. In the Middle East, it jumps to a staggering 88%. So adidas created the world’s first swimmable billboard in Dubai, encouraging every woman in the city to dive in and become ambassadors for its new inclusive swimwear collection, regardless of their shape, ethnicity or ability. It sparked a global conversation across 60 countries about making swimming more inclusive as a sport for women.
Put your phone down while you drive and pick up rewards. That was the simple award-winning idea for Toyota in Ireland.
The app topped the Irish app charts, received national TV, radio and press coverage worth nearly £350k. But above all Irish people drove over 13 million miles with their phones faced down. And Toyota showed how “built for a better world” made a real tangible difference in people’s lives.
People think they know what ‘suicidal’ looks like: crying, anger, despair. In the absence of these signs, nobody intervenes. With 125 people taking their own lives each week, long-term partners Campaign Against Living Miserably (CALM) and ITV, the UK’s largest commercial TV station, urgently needed to highlight the fact that ‘suicidal’ doesn’t always manifest the way people expect. So on the happiest day of the year, they created The Last Photo, a hard-hitting campaign that started a vital national conversation and empowered the UK to help prevent suicide.
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The next time you brief your creative agency, think about what it is you’re really looking for. If it’s brand awareness, perception, resonance and share of voice, give your agency the license to think bigger. Creativity shouldn’t be squeezed into conventional media formats – let your brand break free and break the mould. That’s what garners coverage, reach and long-term legacy.
It’s where experiential meets content meets stunts meets brand amplification. And in today’s world, that means more bang for your budget. Just remember, the best activation ideas can be summed up in an attention-grabbing headline. If you nail that and get excited about making it happen, who knows? Your brand activation could be talked about for years to come. Building long-term brand awareness and advocacy, that’s some return on investment.
Drop us a line at https://saintnicks.uk.com/contact-us/ and let’s chat about how we can use brand activations to take your brand further.
For a PR campaign to be successful, it requires several things, but above all, it needs to be strategic, creative and data-driven.
Great campaigns come down to understanding your objectives, your audience and your ability to tell a great story, among a few other things!
When building a winning PR strategy, here are eleven things that will take your PR from ordinary to extraordinary.
Before you start executing, you need to set clear objectives for your campaign. Develop a detailed PR plan that uses the SMART criteria (Specific, Measurable, Attainable, Relevant, Time-bound) to define goals that are big and realistic.
For example, instead of setting a vague goal like “increase brand awareness”, set something more specific like “increase social media mentions by 30% within three months of the campaign launch”. This way, you can track progress and show value to stakeholders.
Understanding your target audience is the foundation of any PR campaign. Use tools like surveys, social media analytics and customer data to create detailed personas and better understand your target audience.
For example, if you’re promoting a new fitness app, you might find that your main audience is health-conscious millennials who use Instagram and TikTok for fitness inspiration. This information would then inform your content and channel strategy. Make sure that your key messages are tailored to the right audience and are going into the right places.
A good story is the backbone of any campaign.
It should align with your brand values, resonate with your audience, and be effectively communicated through media relations. Think about the story you want to tell and how it ties in with current trends or societal issues.
For example, you may want to focus on your environmental credentials, leveraging your governance or sustainability efforts. This way, you promote your product and position your brand as one that aligns with your audience’s core beliefs and ethos.
Not all media channels are equal, and what works for one campaign may not work for another. Choose the platforms and social media channels that your audience uses and loves.
LinkedIn might be a more effective platform than Instagram if your audience consists of business professionals. If you’re targeting a local audience, partnering with local news outlets and community organisations might be more effective than using national media.
Once you’ve chosen your channels, focus on creating content that’s tailored to each platform and audience segment. High-quality, engaging content, including social media posts, is more likely to be shared and picked up by media.
Creating compelling content can position a company as an industry authority.
For a B2B tech company, this might mean creating in-depth white papers for industry publications and snackable infographics for social media. The key is to adapt your message to fit the format and expectations of each channel while keeping consistency in your overall narrative.
Timing can make or break a campaign.
Consider industry events, product launches, press releases, and media lead times when planning your campaign timeline. When plotting out your timelines, look for opportune moments in the calendar and be hyper-aware of any periods which may detract from what you’re trying to do.
A good PR strategy also factors in an element of reactiveness when it comes to timing. Recognise that real-world events can have an impact on your efforts. Don’t be afraid to hit pause on your plans should something like this happen. Just because you’ve planned some public relations activity around a certain time doesn’t always set it in stone.
As PR experts, when creating PR strategies, we would always counsel to be reactive to issues at hand. If that means holding fire on a launch moment, so be it.
And finally, set your key performance indicators (KPIs) at the start of your campaign to measure PR success and track consistently. This might be media mentions, social media engagement, website traffic, or lead generation, depending on your campaign goals.
Use tools like GA4, Semrush or Ahref, social media insights, and media monitoring platforms to gather data. Regularly analyse this to see what’s working and what’s not, and be prepared to make real-time changes to your strategy.
Analytics tools are essential for tracking various performance metrics in PR campaigns.
So, those were seven strategic tips for building a winning PR strategy. But here are four more pro tips from PR professionals that can take your strategies to the next level.
If you want effective media outreach, building relationships with media outlets is crucial.
Research media journalists who cover topics related to your industry and familiarise yourself with their work and preferences to tailor your pitches effectively. Nothing puts a journalist off more than an ill-considered pitch.
Develop a list of key media contacts and build relationships with them through regular communication and engagement.
Going beyond this, you can even reach out to key journalists before you’ve even drafted any press releases. Including them from the outset with themes and ideas brings them on the journey; you can tap their industry knowledge and create mutually beneficial relationships this way.
By developing relationships with media outlets, you can increase your chances of securing media coverage and achieving your PR goals.
Collaborating with influencers can significantly extend your business reach.
Identify influential social media personalities in your industry who align with your company values. Partner with them for endorsements, reviews, or joint content creation.
An influencer doesn’t just live on Instagram and TikTok, though there are a lot of them there. The term influencer has become something of an ugly word in recent years as people associate the term with pushy people who get free things. But all an influencer is, is someone with a platform and presence whom an audience trusts.
That could just as easily be an individual on Linkedin as it could be on TikTok or Instagram
Influencers can help amplify your message, increase brand awareness, and drive website traffic. They promote content and build a community. When selecting influencers, consider their relevance, reach, and engagement rates. By leveraging influencers, you can tap into their established audiences and enhance your PR efforts.
Issues management and crisis management are essential for preparing for and responding to unexpected events that can impact your brand’s reputation.
Issues management involves the prediction of potential issues and crises. Crisis management is the steps you put in place to react to said issues. A crisis response should be quick and transparent to effectively manage the situation.
Ensure that you are prepared for any eventuality, so regular training for spokespersons is important for consistent messaging during crises and preparedness with issues management.
Combined, these plans should include protocols, communication strategies, pre-approved messaging, key contacts and such.
Staying up-to-date with industry trends and best practices is crucial for creating an effective PR strategy.
Continuously monitor industry news, research, and developments to stay ahead of the curve.
Attend conferences, workshops, and webinars to learn from industry experts and network with peers. Stay informed about the latest PR tools, technologies, and platforms to optimize your PR efforts.
By staying up-to-date, you can refine your PR strategy, improve your skills, and achieve better results. Keeping abreast of industry trends ensures that your PR plans remain relevant and effective in a constantly evolving landscape.
A successful PR campaign is a combination of strategy, creativity and data-driven decision-making. By setting clear objectives, understanding your audience, telling a compelling story, choosing the right channels, creating content that’s tailored, timing your campaign well and measuring consistently, you can amplify your PR.
Remember, the best PR campaigns are ones that are agile and adaptable. Listen to your audience, be prepared to pivot and always keep the end goal in mind.
I read something today about retail media and how people were using it poorly. It mentioned Attention and Influence and that really grabbed me.
The marketing world is on a slippery slope.
The slope towards hyper short term ROAS figures & daily sales targets against daily media spent. Adjustments made in real time always following data, blindly.
A slope driven by those who stand to profit from it, those whose employment depends on it and those that clearly don’t truly understand the relationship between the advertising £ and ROAS.
If there is spreadsheet or dashboard with figures that seem to correlate, well that is the box ticked for those that read the reports. Job done.
Much has been written about ‘Short and Long’ and its incredibly compelling, yet still it’s a daily battle for those of us advising on the best use of a client’s advertising budget.
There are undoubtedly low consideration products with massive latent demand that can build healthy businesses in a short term ROAS world, but in my experience of 30 years in the game and seeing the results of all sorts of campaigns, these are the exceptions not the rule.
There are so many categories that are hugely competitive or have longer consideration windows. This is where relying on solely short term ROAS is frankly a nonsense. There may be data, but the data is most definitely being interpreted wrongly to the detriment of the brand spending the money.
If we want someone to buy a product, one that’s been around a long time and has multiple competitors, or a new product that no one has heard of, we must influence the purchaser in our brands’ favour and we do this by grabbing their attention.
This is what the Mad Men did it in the 60’s. Grabbing the attention of the consumer and influencing them, turning them on to products they never even knew existed and didn’t know they needed. They told compelling stories that drew the audience in. This process didn’t happen in one day, it was a process that occurred over time, and it most definitely wasn’t linear, but you can be sure that healthy sales built over time. In modern talk, they were building the top of the funnel with thousands if not millions of potential customers. In those days the demand was harvested in bricks and mortar retail but let’s not be mistaken the bricks and mortar were the last step on the journey not the first.
There is so much talk about Offline and Online when it comes to ROAS. Offline is largely unattributable, it doesn’t fit the short term ROAS model, so is inefficient. I’ve been in meetings and heard countless stories of marketing departments discounting media choices based purely on the fact it was unaccountable in a short term ROAS model, it clearly had little if any worth to the bottom line. Online is clickable & measurable and that dashboard looks amazing. There are short term ROAS figures aplenty. We can see the sales right here and now.
My head hurts when I think about this.
In my world there is a shift towards understanding that the likes of YouTube don’t really sell product today. Thank goodness, it’s a drum I have been banging for years. But, but, but it’s a digital medium so it must work on a short term ROAS basis, it’s digital, that’s what digital does right? We have a dashboard. Sadly, the danger is as soon as YouTube figures don’t look great in the dashboard it gets culled. Little thought of what YouTube may be contributing to the bottom line that we can’t attribute is taken into consideration. We can’t put it in a chart, so it doesn’t make the cut.
Please, let us stop talking about Online and Offline. It’s misleading. The burgeoning TV streaming market is the perfect example. It is TV but its digital (the targeting capabilities are simply awesome), so is it ‘Online’ or ‘Offline’? It’s piped into your lounge and broadcast on that 55-inch TV, which also offers the viewer an option to watch YouTube, the legacy ‘online’ medium, alongside good old Linear TV, the bastion of ‘offline’ mediums. All three end up being viewed on the same TV in the same lounge – the difference is purely the type of content the viewer chooses to access. ‘Online’ or ‘Offline’ is irrelevant, each medium has incredible ability to grab attention and influence the viewer, but they all will look weak on a short-term ROAS Model.
Yes, we need to harvest demand that we are generating, 100%, that’s your short term ROAS right there. However, we must remember there will be far more demand to harvest and it will be far easier to convert at the bottom of the funnel if we grabbed their attention and influenced them further up the funnel.
Right, I’m off to brush up on classic Don Draper lines for my next pitch.
Nine Tree Studios, Bristol’s biggest independent studio, has launched a WhatsApp Community to give back to local filmmakers, photographers, creatives, and production companies.
Primarily it’s a free loyalty programme offering studio discounts and freebies, including:
There’s also groups for advice and jobs, and private channels for production companies and studios to collaborate and share advice.
“We’ve always wanted our space to be able to support Bristol’s creative community” said Russell Jones, Co-Founder of Nine Tree Studios.
“Nowadays email newsletters feel old and clunky and aren’t really suited to what we wanted, like offering free studio hire to those who need it, and promoting and discussing events.”
“By virtue of having members we also hope it’ll be a space for freelancers, screen professionals, studios and production companies to share advice, post jobs, collaborate, and generally chit-chat.”
You can join the community at https://chat.whatsapp.com/D64qZ5CmnxCASYEevxDFEV and visit https://www.ninetreestudios.co.uk/community for more information and terms.
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Nine Tree Studios is Bristol’s largest independent studio.
Suitable for set builds, commercial productions, photography and HETV, the space features two main studios – a 4,640sq ft soundstage and a 567sq ft infinity cove – plus a podcast suite, green rooms, production offices and a 9,000sq ft backlot.
For more information visit www.ninetreestudios.co.uk or email [email protected].
Most businesses now know about the power of content. But not all content is made equal.
Different types of content serve different purposes and audiences. So content, for content’s sake is not the best way to run your content marketing strategy.
What type of content marketing should you be creating? Which formats will work best for your audiences? Where should you be activating it for maximum effect?
These are all valid and common questions when approaching a content marketing strategy… and it all starts with understanding your audience.
Knowing your audience is crucial to building out a strong and effective content strategy.
You need to know a couple of things before you start producing any content.
Firstly, you need to have a very clear understanding of your audience’s habits, behaviours and browsing patterns. What are the things they like? What don’t they like? What are their preferred channels?
There’s no benefit in creating a series of long-form blogs and whitepapers, when you’re audience prefers video content. There’s also little benefit if ploughing resources into channels and outlets that your audience simply does not exist in.
Understanding your business in relation to your audience is also very important.
You need to identify the needs of your audience; their pain points and what motivates them to take action. Then you have to overlay this understanding with content ideas on how you can answer those questions and fix their problems.
When you clearly understand these things, you’re on the first step to developing a content strategy.
Next, you need to understand the buying journey.
Principles such as the 95 – 5 rule outline that only 5% of your audience is ready to purchase at any given time. 95-5 states, that because of this, you should not spend all of your time and efforts trying to convert that 5%. Rather, you should spend it engaging with the other 95.
Now the buyer journey does vary from business to business. For some, it can be days, for others, years.
So what this means, in real terms. Is reducing the amount of hard sales content marketing you produce, in favour of more content that builds relationships, and loyalty and fosters engagement.
Producing high-quality content is great. But if all that content does is try to land a sale, your audiences are going to become very fatigued, very quickly.
Finally, you need to understand and clearly establish your unique value proposition (UVP).
What sets you apart from your competitors? What makes your products or services unique?
By understanding your UVP, you can create content that showcases your unique strengths and differentiates your business from others.
This is what’s going to make you stand out!
With an understanding of your audience’s interests and your own UVP, it’s time to start thinking about what content you can make,
A well-planned strategy will help you create content that resonates with your audience, aligns with your business goals, and sets you apart from your competitors.
Content creation is an extremely helpful way to drive prospects through the buying process, but also an incredible way to build brand loyalty. Rather than think about the quick wins, you should be thinking more in the long term.
Think about ways you can engage, entertain, delight and educate your audiences, rather than just trying to make a sale.
It’s not about conversions… it’s about conversations.
So, the Million Dollar Question… what kind of content should you be making?
Well the answer to that question, should become apparent once you’ve done all the appropriate strategic research and planning.
Depending on the content format and type you choose, you can appeal to buyers at different stages of their journey. From awareness and consideration, through to the final decision, different content types can have varying effects.
At the awareness stage, potential customers realise that they have an issue that needs a solution.
They won’t be looking for answers at this stage but will turn to search engines and social channels to contextualise their problem.
The best type of content that would help generate leads at this stage is top-level informative and relevant content that will explain their problem, concern or situation. It won’t seek to offer immediate answers and solutions or try to push the issue.
It’s about educating and informing… and you can do this in a number of ways.
A blog post or article falls under the category of awareness stage content. Writing blog posts allows a marketing team to target a specific pain point or problem that your audience is experiencing. You may also use search engine optimisation to target keywords that match the search turn. This will assist you in creating valuable content that search engine users may find, in turn potentially generating leads.
White papers are a form of long-form material, similar to blog posts. However, they differ from blogs in that they provide a comprehensive answer to a specific issue. They can be used to inform, clarify and educate prospects during the awareness stage. They are especially helpful for B2B companies because they cover specific issues related to the industry.
For the awareness phase of the buyer’s journey, the following types of video content work best:
Keep these videos short, educating and engaging not hard selling. The goal is to present your best content, as the solution to the viewer’s problem and make them aware of your brand.
This stage of the buying process is when your customer starts to think about which service or product to solve their issue.
With extensive research and careful consideration of all available options, it is regarded as the lengthiest phase of the buying process. During this phase, your content marketing strategy should include quality content that is as informative as possible, but content that also flexes your knowledge and expertise around the question at hand.
Social media can help reveal more about your product and brand.
It can also be the place where your audience can discover more about your brand’s reputation. Social media has an impact on consumers at the awareness stage, but it can also move people from the awareness stage to the consideration stage.
Successful social media marketing, for instance, can show competitive value, increase brand awareness and facilitate decision-making.
For the consideration phase of the buyer’s journey, consider the following types of video content.
These videos should educate the audience about your solution, address their specific problems and differentiate your offering from competitors. The goal is to build trust, give detailed information and convince customers your product or service is the solution to their problem.
Email can be utilised at any point during the buying process, but it’s most effective during the consideration stage.
Your customer might not be prepared to make a purchase at this time. But any queries they might have can be addressed in your emails. Email also allows you to learn more about your audience. Click-through-rates, web traffic, bounce data, email opens and behaviours on your site can provide valuable insights.
To move buyers through the process, you can start introducing your product or service in more detail.
This is the most valuable stage of the consumer buying process.
It’s where the buyer will evaluate all of their options and decide on the right provider for a solution. At this stage, your buyer knows about your brand through reading your social media network, digital content and high-quality blog posts, and now intends to make a purchase.
Here’s how you can make a difference at this stage
Offering a trial is the best method to address any last-minute queries your customer may have about your service. It’s like how car dealerships give test drives. Many software companies free trials to potential customers to give potential customers increase their customer base and widen their market appeal.
Because it appeals to your customer’s fear of missing out, a coupon or voucher is an excellent marketing strategy for the decision stage. Your customer is already fully informed about your company or product at this point in the process. They are now seeking an excuse to make a purchase. At this point, a short-term offer or deal can frequently earn their business.
A case study can be used in both the consideration and decision-making stages of the buyer’s journey. They’re essentially a kind of research report that focuses on how your solution helped business at another company. They’re excellent for demonstrating how and why your good or service is superior to those of your rivals. By analyzing these case studies, businesses can identify gaps and areas of improvement which can then be utilized to enhance their own strategy.
For the decision stage of the buyer’s journey, the following types of video content work best:
These should be high quality, short and focused on getting the prospect to buy your product or service. Get them to take action.
Creating content is always designed for the personality and interests of your target audience segments.
But always remember the 95-5 rule, not everyone is ready to buy from you right away. Warm up your audiences and work hard to endear them to your brand during this incubation period.
Wherever you post your content, be it on YouTube, LinkedIn or Facebook use proprietary analytics to monitor the reception of your content. Different channels often have different windows of opportunity for the most effective posting.
Test and learn with this, mix up your posting schedule and try to learn what times work best for you and your audiences.
Now, you’ll likely have noticed the repeat mentions of various types of video content throughout the buyer journey.
Video is more than just a useful tool for conveying information. Video is one of the best ways to tell a story It also has the highest interest level out of any other content form. Making it one of the most valuable and effective parts of your content marketing efforts.
Video content is incredibly versatile and offers a wide variety of creative opportunities for video marketers. A YouTube video, for example, can educate customers on how to use a product, while also entertaining and engaging.
But, there can often be some confusion and concern about producing content like this. You want to be producing quality content. But a lot of people correlate quality content, with extremely high production value and an associated high cost. That’s not always the case.
For example, TikTok can be a very effective source of video content throughout the buyer journey. But TikTok videos don’t need massive production value… if anything, lower production value content works far better here, than something slick and shiny!
YouTube, is becoming increasingly important and quality is important here. It has to look great and something people always overlook, it has to sound great too!
If you’re committed to making video content, know also that sweating the assets is a good thing. Just because you’re making a YouTube video, doesn’t mean it should just be a YouTube video. Consider how you can slice and dice your assets to be used on different channels.
The greater your format variety, the greater your chance of cutting through.
Measuring and improving performance is critical for content marketing success. By tracking your performance, you can identify what’s working and what’s not, and make data-driven decisions to improve your strategy.
To measure performance, you need to track key metrics, such as:
By tracking these metrics, you can identify areas for improvement and make adjustments to your strategy.
To improve performance, you need to analyze your data and identify opportunities for growth. This may involve:
By continuously measuring and improving performance, you can optimise your website content creation and activation, ultimately driving better results.
Content marketing isn’t about creating content for content’s sake – it’s about strategic storytelling that resonates with your audience. The key is knowing your unique value proposition and your audience’s journey, and focusing on the 95% who aren’t immediately ready to buy.
In the vast world of content creation, video content is king, it’s versatile and highly engaging across all stages. Remember, it’s about conversations not just conversions.
The ultimate goal? Content that educates, entertains and connects with your audience!
My name is Michael James, I am a driven postgraduate part of the Bristol UWE Alumni. I am known for:
Thriving in social environments and building strong professional relationships.
Demonstrating an unwavering work ethic and relentless pursuit of goals.
Embracing challenges as opportunities for growth and learning.
Balancing academic rigor with a love for sports and active lifestyle.
My current area of work is UX/UI design and digital marketing, with a passion for enhancing brand images in the digital space. Currently exploring opportunities to collaborate on projects that push the boundaries of digital design and marketing. Keen to contribute my skills to forward-thinking teams and exciting initiatives in this dynamic field.
If you would like to learn more about myself and have any positions open..
Please contact me!
07873168911
https://mikeyj100.github.io/portfoliopage/
The creative sector is rapidly evolving, with new talents and innovative minds shaping industries such as graphic design, media production, games and animation, art, photography, performance, theatre, fashion, and design. To ensure this sector remains vibrant and continues to thrive, it’s crucial that we support the next generation of creatives, offering them the resources and connections to jump-start their careers.
At Weston College and University Centre Weston, we’re dedicated to nurturing the talent of tomorrow through a wide range of creative pathways. Whether learners dream of becoming graphic designers, media producers, animators, or fashion designers, our courses equip them with the skills, experience, and knowledge necessary to succeed in today’s competitive job market. But there’s a vital element that makes this journey complete: real-world engagement from creative businesses.
Looking to the future, and as Sir Peter Bazalgette said:
In every scenario the Creative Industries are set to be of central importance to the UK’s future success. We have two great assets: the English language and our creativity, but the skills and business models of this sector are of increasing importance.
Source: https://www.gov.uk/government/news/bazalgette-review-sets-recommendations-for-continued-growth-of-uks-creative-industries
Employers supporting FE and HE providers offer crucial curriculum overviews which is needed for all learners. Without this, we are unable to prepare them for their future career and, simply put; they will not be industry ready. We value the support from employers who can be involved from a curriculum perspective, who offer projects, workplace experiences and more so we can provide robust, ready and industry savvy individuals. The Creative Sector businesses can inspire learners during their study through this engagement. We have found that this is especially vital for learners unable (or not looking) to go to university; or that want to stay local and contribute to their local economy. They can hear, experience and look to local employers for their next steps into industry.
How Creative Industries Can Get Involved
If you’re a local business in the creative sector, now is the time to step forward and engage with emerging talent. There are countless opportunities to connect with learners and help shape their future careers. We’re calling on creative companies to work with us by offering guest lectures, work experience placements, project work or attending our career events. Your involvement can make all the difference, providing learners with invaluable industry insights and hands-on experience that will give them the edge they need to flourish post-education.
This November, Weston College is hosting its annual careers event, which will bring together over 1,000 FE and HE students. This is a fantastic opportunity for creative businesses to meet fresh, enthusiastic talent and discover how they can contribute to the growth of local industry. Whether you’re looking to exhibit, scout new recruits, or simply share your experiences, we encourage you to take part. The event will be held in Weston-super-Mare on the 19th of November.
Why Partner with Weston College?
Weston College is passionate about supporting learners who want to stay local and contribute to the creative economy in the region. With Bristol 30 minutes away by train, learners are keen to look at exploring careers on offer. By partnering with us, you’re not only supporting the career aspirations of young creatives but also fostering a robust local workforce that can fuel innovation in your own business. Our creative pathways provide a pipeline of skilled professionals ready to make their mark in graphic design, media production, games and animation, art, photography, theatre, and more.
We believe that by building strong connections between education and industry, we can create a thriving creative community in Weston-super-Mare and beyond. We are here to support our learners but we also support business and want to listen, act and implement skills needed.
Let’s Connect
If you’re a creative business eager to inspire and work with emerging talent, we’d love to hear from you. Whether you’re interested in delivering a guest lecture, offering work experience, or promoting career opportunities, there are many ways to get involved. Your support can open doors for our learners and help develop the future of the creative industries.
For businesses interested in exhibiting at our annual careers event or partnering with Weston College in any capacity, please email us at [email protected] to register your expression of interest. Our passion is to support learner and industry so please do get in touch.
Birch, Bristol’s newest podcast studio, has opened at Nine Tree Studios in Brislington.
Designed with both “audio and video first”, the space offers high quality audio recording in a comfortable suite that’s designed for film.
“When we opened Nine Tree Studios, supporting the local creative industries was at the heart of everything” said Russell, Co-Founder of Nine Tree Studios.
“We have a huge amount of versatile space, and we want it to be useful, accessible and affordable – not just sit there empty. Bristol doesn’t have a huge amount of podcast suites, with some professionals even travelling to London just to record.”
“With our space we hope to welcome and support a variety of creatives, content producers, influencers and hobbyists alike.”
With full-RGB lighting and space for branding, the studio is perfect for both guest and episodic podcast recording.
Birch also has access to Nine Tree Studios’ other facilities, including ample parking, green rooms for hair and makeup, and a large kitchen breakout space.
The studio can be hired from the hour for just audio recording or including video, with various options to suit beginners and professionals alike.
Nine Tree Studios is Bristol’s biggest independent studio. Located just outside the centre of Bristol there’s parking for over 30 vehicles with easy access to Bristol, Bath and the M4.
For more information visit www.ninetreestudios.co.uk, email [email protected], or call 01173706372.
Sir Peter Bazalgette is one of the most influential figures in the UK’s creative industries.
As the former chairman of Endemol UK and creative director of Endemol Group Worldwide, he was responsible for some of the most successful and recognisable television shows of the past 25 years, including Big Brother, Ready Steady Cook, Ground Force and Changing Rooms.
Sir Peter, who was also chairman of Arts Council England and non-executive chairman of ITV, was recently appointed as the new chancellor of the University of the West of England (UWE Bristol).
In an interview with Dan Martin, he discusses his career, the support needed from the new government to grow the UK’s creative industries, how to improve the sector’s diversity, and why he has taken on the role of UWE Bristol’s new chancellor.
For an extra insight, read to the end to discover Sir Peter’s favourite TV show of all time!
Sir Peter Bazalgette officially took up his role as chancellor of UWE Bristol at the university’s graduation ceremonies in July, which were held for the first time at Bristol Beacon following a new partnership between the two organisations.
“Until 1955, there was only the BBC, and until 1982, there was only the BBC and ITV. Then there was Channel Four, and then Channel Five came along in the 90s. So even by the 1990s, there were very few channels. Sky Television and Virgin weren’t there at that point, but subscription TV came along when they arrived.
“Fast forward to recently and when I was chairing ITV, we launched ITV X and to be listed we had to negotiate with more than 30 platforms.
“In terms of production, that has changed a lot too. We used to just have public service media putting money into television production, but now we’ve got Netflix alone spending more than a billion in the UK, not to mention Apple, Amazon, Disney and so on.
“It’s changed massively, and people are consuming their TV when they want and how they want.”
“As much as documentaries are wonderful things, try to have a repeat series, whether it’s factual or fictional, but one that can be repeated and can come back again because that gives you certainty and turnover.
“You should also have a range of clients among both the streamers and the public service media.”
“None of us ever know the night before a show goes out for the first time whether it’s going to be a complete flop or a big hit.
“Big Brother had already become a massive phenomenon in Germany, Spain and Holland before it came to the UK, but not every format works in every country. For example, Survivor has never really taken off in the UK, but it has been a hit in America since the 1990s.
“When Big Brother launched, it was like trying to ride a bucking bronco. It got bigger and bigger. It was on the front page of every newspaper every day, and we had the press on our doorsteps.
“In most of the early Big Brother houses in other countries, the key talking points were two housemates getting amorous with each other. But true to form in Britain, we instead had a class struggle, with working class Craig defeating middle class Nick, who became known as Nasty Nick. Lots of people couldn’t believe we hadn’t set the whole thing up, but we had no idea any of that was going to happen, none at all.”
“It was massively controversial wherever it was broadcast. People thought it was exploitative and invasive, but actually it was interesting in that it had a transsexual woman, a gay man, someone who suffered from Tourette syndrome, and all sorts of extraordinary people who at the time were demonised. But they won because people saw their lovely character shining through, and so it did have a positive element.
“It was also an example of early fusion technology because it was on TV as an edited programme, it was on the internet, people watched it live, and you could vote on the telephone. It represented a convergence of media, and it was part of the process of the generation, who today on their mobile phones shoot and edit videos, becoming media literate. They used to watch the live transmission, and then watch the edited programme, before complaining we hadn’t put certain bits in, or we’d been unfair to certain characters.
“They then realised that the programme was an edited piece that was entirely subjective and what the director thought the story was. There was a big element of the viewer developing media literacy which was groundbreaking.”
“The creative industries, as they say on The X Factor, have been on a journey. We were the first country in the world in 1997 to define an industrial sector called the creative industries, but we then had to catch up because we didn’t have any data about our GVA, our employment etc. In time we had the Creative Industries Council, and we then established an advocacy body that is now called Creative UK, but in many ways, Britain is still playing catch up with the creative industries. With the new government, I hope that the journey and process will continue.
“The creative industries are 6% of the UK’s GVA, but we get 1% of public investment. Clearly that is not aligned with the creative industries as a priority sector for growth which we have been told is the case by both the former Conservative government and the Labour Party.
“Private investment is currently not good enough. The British Business Bank, which encourages investment in small and medium sized enterprises, is not really attuned to the way the creative industries run, the way small creative businesses work, and the criteria by which they have to be judged and invested in. We need to make progress on public and private investment.
“We also need to make progress on research and development tax credit definitions. The UK has a narrow definition of R&D, which is different to the one in other countries in Europe which includes the creative industries so creative businesses can claim tax credits for the innovation that they carry out.
“We need a more flexible apprenticeship scheme because small companies find it difficult to use the apprenticeship levy.”
“The creative industries are naturally and organically arranged into clusters. When I made a proposal for public investment in clusters in 2017, which was enacted in 2018 in the creative industries sector deal, it was going with the flow of where clusters typically are. For example, there’s the fantastic screen cluster in Bristol, an advertising cluster in Manchester, fashion in Leeds and games in Dundee. All of those things were happening organically and I suggested that we got behind it.
“The investment was £56m in nine creative clusters and each of them had an anchor partner of a university which could feed the value of applied research into local SMEs. It was fantastically successful over five years. It was matched by about £260m from industry and other sources. It’s a very good example of how you use small amounts of public money to generate growth and investment. It connected applied research with more than 2,500 SMEs, and created lots of new jobs, products and services.
“We found it incredibly difficult to get clusters two funded, despite the extraordinary success story which underlines my point about public investment not being aligned with the national policy to grow the creative industries.
“In the end, we did get it funded, but it still depends on UK Research and Innovation honouring the commitment in the next Spending Review, which has to be agreed by the new government.
“That’s another example of how Britain has not caught up with the creative sector, and isn’t backing it in the way that we are organised.”
“We need to do a lot better in this area. If we claim that the creative industries is not just an economic powerhouse, but a social and cultural powerhouse, and that what we produce, our music, theatre, films, TV, books and so on, touches the pulse of the nation, then it has to represent the whole nation and all of the communities. It can only do that if all of them find easy career pathways.
“One of the key things to do is defining better career pathways, which was set out in the former government’s creative industries sector vision last year. When I work with Speakers for Schools, the charity set up by Robert Peston, and speak to first year sixth form students, I ask them ‘what’s your favourite music?’, ‘what’s your favourite fashion?, ‘what’s your favourite film?, ‘what’s your favourite TV show?, ‘what games do you play?’. It always leads to a big discussion about who has the best taste.
“I then ask them to tell me about the jobs that all of those products represent and there’s dead silence. As an industry, we have not defined the career pathways properly. If we do, we’ll have a much more diverse sector.
“We also need much better outreach. When I was deputy chair of the National Film and Television School, we greatly increased the money we put into finding people of talent from all communities, such as having bursary funds dedicated to Black and Asian people. These are the sorts of things you can do to make a difference, but we have a way to go.”
🤝 This morning at #UWEGraduation Sir Peter Bazalgette was presented as the new chancellor of UWE Bristol – succeeding Sir Ian Carruthers OBE who has performed the role with distinction for the past 13 years 👏
Welcome, Sir Peter! pic.twitter.com/K6DSUZ5D5u
— UWE Bristol (@UWEBristol) July 18, 2024
“The role higher and further education plays in training, inspiring and producing the next generation of talent in the creative sector is critical.
“The particular thing that interested me about UWE is that the creative industries is one of the key areas in which they specialise.
“Activities that impress me about UWE include The Foundry which encourages collaboration, new ideas and development of technical knowledge. I also like the fact that they have a student ventures centre which encourages graduates to set up businesses, I like the university enterprise zone, and I like that more than 50% of graduates tend to work in the surrounding area after they’ve graduated. This is a very good statistic, and shows the contribution that UWE is making to Bristol and its surroundings.
“Finally, as a TV producer and chair of the Arts Council, I visited the city many times and I love what Bristol has already and its potential for growth.”
“Antiques Roadshow. I can’t get enough of it!
“I love the combination of the personal histories and regional histories that are linked to an object. You learn so much about history, and individual stories of brilliant heroism. There’s also the arts and culture, the wonderful locations they visit and the element of greed when it’s revealed what the item is worth. It’s the perfect TV show. I wish I’d invented it myself.”
Nine Tree Studios in Bristol celebrated their opening earlier this month with an event that saw over 150 attendees from across the creative sector.
The 10,000sq ft facility includes two soundstages for film and photography plus a podcast suite, office space, green rooms and a fully-equipped kitchen studio.
Backed by Bristol-based commercial production company JonesMillbank, the studios have been designed to support both small-scale and broadcast-level productions.
“This has been a long road, but it was amazing to see so many new and old faces, all coming together to support and celebrate our launch.” said Russell Jones, Co-Founder of Nine Tree Studios.
Located in Brislington (BS4), the studios are perched near the centre of Bristol allowing them to service productions mixing studio and on-location filming, aided by its 8,900sq ft secure yard for trucks and trailers.
The studios are now Bristol’s largest independent studio, joining a raft of creative spaces throughout the city including neighbouring virtual production stage Distortion Studios and the established Bottle Yard Studios.
“Like restaurants on a high street, the more there are, the better they are, the more their reputation builds. We’re proud of everything Bristol has to offer and stands for, and the more facilities, talent, crew and creative companies that are based here only goes to benefit the region as a whole” Russell continued.
Nine Tree Studios features:
For more information and bookings please visit www.ninetreestudios.co.uk, call 0117 3706 372, or email [email protected].
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