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].
Mostly Media, the Bath-based media planning and buying specialists enjoyed recent success at the Independent Agency Awards scooping not one, but two awards.
Hosted by the Alliance of Independent Agencies at the leading worldwide marketing and digital festival ‘MAD//FEST’, this prestigious award ceremony celebrates the finest work across the independent agency sector.
Firstly, for the third time in four years, Mostly Media proudly received the Best Use of Media award, this time for their work on behalf of the UK charity, Crohn’s & Colitis UK.
Secondly, Mostly won the coveted Freedom Award for Client Service, a testament to their exceptional culture and dedication to clients.
Head of Digital Tom Marshall who led the team’s digital campaign commented: “It is a fantastic achievement for such a wonderful cause. To receive the recognition for both Best Use of Media & Client Service was really special, and so well deserved for all the amazing planning and strategic work from the CCUK (Crohn’s & Colitis UK) team, they were amazing to work with on this campaign, so a big thank-you to them for trusting us with this project. Special mention also to the Mostly Team for their brilliant strategy, planning, implementation, and optimisation work – 250,000+ symptom checker completions & delivery of the campaign message to potential sufferers of Crohn’s & Colitis is out of this world!”
Recap of Mostly Media’s Recent Award Wins:
– **2021**: Best Use of Media on behalf of thortful (DTC / Brand Response)
– **2023**: Best Use of Media on behalf of Cawston Press | B-Corp™ (FMCG / Brand)
– **2024**: Best Use of Media on behalf of Crohn’s & Colitis UK (Charity / Performance)
– **2024**: Freedom award for Client Service on behalf of Crohn’s & Colitis UK (Charity / Performance)
About Mostly Media
Based in Bath, Mostly Media is an award-winning top-20 independent media planning & buying agency that prides itself on scaling businesses at pace through media strategy.
Founded on the principles of creativity, agility, and client-focused service, Mostly Media has a proven track record of achieving exceptional results for a diverse range of clients.
What were you up to 20 years ago?
20 years ago to the day, and almost to the minute as I write, I was presenting my last show on Bristol University’s student radio station. ‘Burst FM’ was then still in its infancy, broadcasting from a converted water closet (yes, really) on the 5th floor of the students’ union building. Tight budgets and plumbing costs meant one of the toilet pans was still in-situ and, freshers being freshers, each new presenter thought they were the first and only one to try it out, live on-air. As it happened, the flush usually did still work, and I have many tapes to prove it…
Burst was a huge part of my university life and I have it to thank for all that’s followed. I’d been intent on a career in radio since developing an unlikely adolescent love of Radio 2. While at school, I began writing material for Terry Wogan‘s breakfast show and sending it in by letter or fax. This continued throughout my time at Bristol University, when my various characters and noms de plume had a daily spot on Wake Up to Wogan at 8.50am. Luckily for my cred, most of my fellow students were either still asleep or ensconced in lectures so they knew little of it.
Very few students knew about Burst, which was mostly an online-only stream at a time when that was a huge limitation to consumption! It’s hard to believe now, but live streaming was of little use to anybody in 2004; smartphones and tablets were still emerging and listening online required effort. Burst’s listening figures were often in single digits at any one time, doubling or trebling at the flick of a switch downstairs in the Union’s Cafe Zuma, where they selectively pumped out Burst to their customers. We occasionally received calls on-air, usually wrong numbers rather than from listeners, but most of the interaction came via that much missed old friend of the millennial… MSN.
The real value of Burst was for those who got involved. A tiny audience was actually a gift while we were all making our mistakes and misjudgements on-air. I had a go at absolutely everything, even running the station for a year. By the time of my final Burst show, I was already working full-time in radio. I’d had two offers from the BBC and accepted one that meant, sadly, I had to leave Bristol the moment my studies were complete. Nobody knew at the time (at either end) but some of my later shows for Burst actually came down the line from a BBC studio far away!
But, 20 years ago today, I returned to that converted blue and orange bog once more for my very last show on Burst. Following “Bye Bye Baby” from The Bay City Rollers (horrendously predictable) and a few choked words, I played out with an old weepy called “Me And The Elephant”, a song about memories we’ll never forget. Very graciously indeed, the song’s singer had also agreed to appear in person on my show. His name?
Terry Wogan.
Today, Burst is a thriving student station which is never far from winning its next award. 2024’s students are lucky enough to learn their craft in a smart studio, albeit no longer with en-suite comedy… and, of course, everybody listens online. Whether it’s the start of a long career, or a brief flirtation with something a little bit different, I bet they’ll look back with a big smile. 20 years on and some 4,500 radio shows down the line, I certainly do.
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