There’s no escaping artificial intelligence (AI) right now. Whether it’s facial recognition, your smart speaker or the latest Instagram filter, everyone is using AI – even without realising it. It’s in your social media feed, powering your digital payments, and even helping your phone or laptop to autocorrect.
Whilst some of it may seem like the stuff of science fiction, this is just the beginning. AI is no longer a technology of the future, so what can we expect, what does it all mean and should we be excited or concerned about its potential?
In this paper, we’ll take a look at the impact of AI on the entertainment industry, including what we’ve seen so far. We’ll then explore the potential, the implications, and how businesses and professionals can respond to industry change.
We’ll also discuss the importance of brand identity and how a solid foundation of brand strategy can help you to stay authentic, create cut-through and capitalise on the trend to avoid being left behind.
In a recent global artificial intelligence study, PwC estimated that the total economic impact of artificial intelligence will be $15.7 trillion in the period to 2030, making it “the biggest commercial opportunity in today’s fast changing economy”. And when we consider how many areas of our lives it’s already permeated, you can see why.
AI is essential in many of our day-to-day tasks, enabling automation, personalisation and even fraud detection. Most people are familiar with Virtual Assistants or Chatbots online, and are using apps to monitor traffic or weather conditions almost daily.
But AI and its machine learning (ML) subset are nothing new. The concept has been around since the early twentieth century, with science fiction depicting artificially-intelligent robots and dystopian futures, from Fritz Lang’s Metropolis in 1927 to franchises like Star Wars, Star Trek and The Matrix.
By the 1950s, the idea of artificial intelligence was cemented in the minds of scientists, mathematicians and philosophers the world over and, thanks to the development of computers and machine learning algorithms, AI flourished in the 60s and 70s. This continued into the 21st century, with more funding and computer storage bringing us to the age of “big data”.
The human capacity to collect data is now far outperformed by artificial intelligence, which can process huge amounts. Applying AI in this way has been successful in a number of industries including banking, marketing and social media, and of course, entertainment.
2022 was the year when AI became truly accessible, with the democratisation of Generative AI tools enabling the general public to use these algorithms to create pretty much anything, from the pope in a puffer jacket to Donald Trump’s arrest.
The big hitters in the space right now include OpenAI’s Generative AI model, ChatGPT, and image generators such as Midjourney. These algorithms take existing data and use them to create entirely new content.
Other examples include ‘deepfake’ technology, which uses AI to make it appear as though someone did or said something that they actually didn’t, by replacing the likeness of one person for another in audio or video.
Whilst there are legitimate concerns about the current trajectory of AI, it’s not showing any signs of slowing down, with the potential to improve efficiency, reduce the risk of human error and drive profitability.
Since artificial intelligence first graced our screens, television and film have continued to portray the future, with each reimagining of AI more elaborate and fantastical than the next. But now, the things we once imagined are becoming our reality.
In 2023, AI is having a huge impact on everything from imagery and video to set design and theatre robotics. It’s being used in sport to support officiating and by streaming platforms to recommend shows, films or music. It’s even written a play which premiered online in February 2021.
So, what does AI in the entertainment industry look like right now?
Like many other sectors, AI has been making its mark in the entertainment space for a while, be it film, television, music, theatre or sport. The technology has already been applied in ways similar to other industries – such as content personalisation on streaming services like Netflix or Spotify – and it’s evolving all the time.
Both platforms use AI and machine learning to provide recommendations based on users’ preferences. Netflix even goes so far as to personalise thumbnails to entice users, by ranking hundreds of frames from movies and shows to decide which are most likely to encourage a click.
Spotify also took personalisation to a whole new level earlier this year, with the launch of its AI DJ feature. DJ is “a personalised AI guide that knows you and your music taste so well that it can choose what to play for you”, delivering a curated lineup alongside a hyper-realistic commentary.
Let’s take a look at how artificial intelligence is being used in other areas of the industry.
We’ve already touched on film and TV’s long relationship with artificial intelligence, so what’s changed in the last near century? The short answer: a lot. In addition to personalised viewing recommendations and AI-powered distribution from streaming services, the technology is also being used in a myriad of other ways.
AI-powered platforms and machine learning algorithms are being trained and applied to casting, improving the accuracy and efficiency of decision making. They can also be used to enhance visual effects and even analyse
data of existing scripts to generate new, original stories.
It’s not uncommon for shows and films to be using machine learning or AI in some way or another, but its application in VFX is probably the most recognisable. Recent examples include Lucasfilm’s The Mandalorian where actor Mark Hamill was de-aged to depict a younger version of his original Star Wars character, Luke Skywalker.
Another interesting development comes from Texas-based company StoryFit, who are leveraging AI technology to compile data on storytelling elements in scripts. The platform helps writers and studios understand and better connect with their audiences, providing insights on character relatability, plot inconsistencies or even which books should be adapted for film.
Perhaps one of the most incredible applications of AI in film is the use of Neural Radiance Fields or NeRFs. This new powerful and low-budget VFX tool can learn how light is reflected in a scene and produce a 3D model that looks like it was shot on the same set. Using just a few input images, AI can fill in any gaps not covered by the camera and estimate how that section might look, creating light and manipulating images in ways previously unimaginable.
As a traditionally human-centric art, theatre is perhaps an unexpected place to find the presence of artificial intelligence. But it is seeing development of AI technologies, from lighting robotics to set design and even playwriting.
Examples include the use of tools such as Midjourney for theatrical design, to create set designs in collaboration with AI, and plays written entirely by AI such as THEaiTRE: When a Robot Writes a Play or the Young Vic’s production of AI which featured the GPT-3 system on stage.
The COVID-19 pandemic forced the world of live theatre into the virtual and digital space, with creators streaming live or pre-recorded performances to audiences at home. It also saw live theatre enter the metaverse, where AI has been integral to development.
Virtual reality and online spaces allow theatre to maintain its live identity, whilst providing new and more interactive ways for audiences to experience the narrative. One example is YouTuber Rustic Mascara’s appropriation of the video game space for live performance back in July 2022.
In an attempt to fill the live-theatre void during the pandemic, actor Sam Crane live streamed the first ever full production of Hamlet inside the online world of Grand Theft Auto. You can learn more about this and the future of theatre in the metaverse in ‘The Future of Theatre’ Conference from The Stage.
Emerging technologies such as AI, big data, and IoT (Internet of Things) are becoming essential components of sport in recent years – and there are already a plethora of applications. One of the most prolific is the introduction of technologies such as VAR (video assistant referee), goal line technology and Hawkeye, designed to help support officiating and decision-making.
Other examples include the use of computer vision for tracking and analysing human motion. Machine learning algorithms can use data to evaluate skills and player potential, ranking them to help with scouting or recruitment.
AI can also be used to predict results or ball possession, and provide game analysis, spotting trends, tactics and flaws.
The music industry has already had its fair share of run-ins with AI, with mixed responses. We’ve highlighted the use of AI in streaming to personalise listening and improve user experience, but what about AI-generated music?
2023 has already seen AI make headlines in the music world, including a music generator that can turn any subject into a Drake-inspired record, or a new Oasis album that imagines how the band might have sounded if they’d stayed together.
But this new era of music making is not without controversy. When French DJ David Guetta used AI technology to add Eminem’s ‘voice’ to one of his songs, it sparked a debate about copyright and creators’ rights. Calls to ensure that artificial intelligence is used to support culture and artistry rather than replace it have been heard across the industry, something we’ll explore in the next section.
It’s clear that the industry is taking note and exploiting AI technology where the opportunity presents itself. But what’s the impact so far, is everyone excited about the potential of AI or are there concerns about its future?
The evolution and increasing popularity of artificial intelligence is controversial across all industries, with many recognising its benefits and potential, whilst simultaneously raising concerns about risk.
In April 2023, Avengers’ Director Joe Russo predicted that AI could be making movies within two years. This, coupled with reports that the first AI-generated feature film will begin production in May 2023 is enough to send filmmakers into a flat spin – our worst fears about robots taking over could be realised in an imminent dystopian reality.
For the film industry, one of the biggest advantages of using AI is its ability to save time and resources. It’s also being used to improve accuracy and efficiency, analysing huge amounts of data – such as actors’ past performances or social media activity – to predict who is likely to be successful in a particular role.
This data analysis can also be used to analyse scripts and create new, original stories, saving time for screenwriters and providing opportunities for creativity and storytelling. AI can also save time and money on VFX, making it easier and faster to add visual effects, using NeRF and other technologies.
Theatre has already reaped some of the benefits of artificial intelligence in its ability to connect with larger audiences onlines. But there are also positives to be drawn from the use of AI in other areas.
Set designers Jason Jamerson and Michael Schweikardt discussed how tools such as Midjourney can be used to improve the design process, arguing that if used in the right way, it might help the process of materialising an idea for production. They explain that they don’t want AI to design the set, but it can give them new, interesting concept overlays whilst allowing them to remain the designers.
In sport, as well as helping to improve the accuracy of officiating – making sports fairer and less subjective – AI can also produce personalised training or nutrition plans for professional athletes. Thanks to the development of wearable technology which provides information about the wear and tear on an athlete’s body, AI can even help improve health and fitness or prevent injury.
Computer analysis is also used to influence line-up decisions before and during games. By comprehending metrics such as motion, speed, serve placement, and even player posture, AI helps managers and coaches make better decisions for their players and teams.
But having already seen how AI can be leveraged to support and improve traditionally-human tasks, what other positives might come from implementing this technology across the industry?
Despite these wide-ranging positive impacts, there are understandably concerns about the risks associated with the increased use of artificial intelligence. The most obvious is of course, the potential for AI to replace human jobs.
As algorithms and AI tools become increasingly advanced, there is a risk that they could replace some roles that humans would have historically carried out. Ultimately, this could lead to job losses in the industry along with a fall in creativity, uniqueness and emotional depth that only humans can provide.
The Guardian reported earlier this year that creatives across the industry are taking action against AI, in a bid to protect their jobs and original work from automation. Photographers and designers are among the first to face a “genuine threat”, and Hollywood filmmakers are worried that advances in the technology will mean fewer jobs across the industry and pose “a real threat to writers down the road”.
Another challenge to AI technology came in the wake of deep-fake technology being used for so-called ‘revenge porn’, with devastating consequences. Understandably, this led to wide-spread criticism and calls for further regulation in future developments.
There are calls for more regulation in other areas too. Apple’s development of synthetic voices for audiobooks has caused controversy and concern among the voice actor community. Some are worried about damage to the livelihoods of lesser-known actors and have pushed for the technology to advance more ethically.
So, will we see homogenisation or a decline in the quality of entertainment or art? Author and screenwriter Marthese Fenech thinks the technology needs regulation and a cautious approach. She explains, “I do very much understand and empathise with the concerns of my fellow creatives and artists. I still harbour some reservations about the technology; none of us wants to be replaced by a machine, something without a soul or the ability to emote.
“Admittedly, I am often reluctant to adopt burgeoning technology – it took me years to transition from an analog camera to a digital one. As an author, screenwriter, editor, and teacher, I’ve met the growing pervasiveness of AI with resistance and hesitation.”
However, having seen some of Mark’s work, Marthese has shifted her perspective: “Mark’s ability to completely transform a project from something passable to something transcendent has altered my perspective. To see something that has lived in my imagination for two decades come to life so vividly defies description.”
There’s no denying the huge potential of artificial intelligence. Now, the entertainment industry has the chance to capitalise on the trend and do incredible things.
It’s time to start viewing AI as an opportunity, rather than a threat. So, how can creatives not only stay competitive but make the most of new technologies?
BIFA founders Raindance, explain that “by highlighting the value of human creativity, filmmakers can differentiate themselves from AI and justify their continued employment”. They also stress the importance of staying “competitive by continuous learning and adapting to new technologies”.
The combination of both AI and human ability has huge potential. By collaborating with AI experts or learning how to use the tools effectively, creatives can learn new skills and stay ahead of the curve. This is something Mark is very interested in, with plans to help businesses and brands use AI to their advantage.
Whilst AI is great at solving problems or processing large amounts of data, there are nuances and concepts that only humans can offer. Some tasks are difficult or even impossible for AI to complete, such as those requiring empathy, social skills or physical dexterity.
So how best to maintain humanity and protect originality? One way is to have a strong foundation – to know who you are and what you stand for. In other words, a brand strategy that really stands up.
As the entertainment industry becomes more saturated and AI tools are used to create content or marketing materials, it’s more important than ever to maintain originality and authenticity that can’t be replicated by machine learning. If you want to create cut-through in a competitive space, having a strong brand personality and a plan for how you’ll deliver your key messages are both vital.
Whatever your role and niche within the industry, every brand or business needs a unique and authentic voice, even if what you’re saying or selling is the same or similar to your competitors. As AI technology continues to develop, creating human connections with messages that really resonate will help give you the edge.
There are ample opportunities to use AI tools to help you learn more about your audience or find new ways to connect with them. But at some point, you’re going to need that human touch to make whatever you create uniquely yours.
When it comes to creativity, there’s always a need to protect what is sacred. But if leveraged in the right way, artificial intelligence could be – and indeed already is – hugely exciting and potentially beneficial for the entertainment industry and business owners that don’t have blockbuster budgets but need to reach their ideal clients.
By having a clear brand identity and a strategy to help you bring your message to your audience, you can remain authentic, stay relevant and make the most of any opportunities AI might throw your way.
I believe in bringing the joy of entertainment to as many people as possible and helping business’s both large and small achieve their dreams. With over 20 years’ experience in the creative space and a finger on the pulse of the latest technologies, I’m here to help.
(Note this article was researched and written by humans!)
Earth tells the story of our planet’s four and a half billion-year history with stunning photoreal computer generated effects.
Presented by naturalist, Chris Packham, who calls it a “biography of our planet”, the series is showing on Monday nights in the UK on BBC Two throughout August and available for streaming on iPlayer.
Moonraker VFX contributed to around 30% of the final footage—97 minutes, a feature film’s worth—and represents one of the studio’s largest ever television projects.
Since being first engaged by the BBC Studios’ Science Unit, nearly two years ago, over 30 VFX artists have produced more than 13,600 individual graphic elements and 360 shots of photoreal CGI.
Scientific accuracy was always the highest priority for Earth and so Moonraker worked very closely with over 200 scientists and researchers who were employed to provide guidance on everything from palaeontology and geology to climate.
“This project was challenging. How could we convincingly place the audience on a version of earth, from earlier in its history, that may feel very familiar but look completely different from how it does now? The visual evolution of these landscapes took a lot of hard work and consideration to make sure we got every detail right,” says Simon Clarke, Co-founder and Creative Director at Moonraker VFX.
“We contributed to some really demanding shots, like time-lapse scenes of geological events spanning many millions of years, which required huge attention to detail and asset creation.
“There were also a few firsts. We visualised ancient flora or fauna that has never been imagined in 3D before, paying particular attention to textural details and placing them in their natural habitats. The scientists were astounded with what we came up with.
“It’s been a phenomenal project and fantastic opportunity to demonstrate the talent and creativity at Moonraker VFX, but it was certainly a team effort and we’re very grateful to the BBC’s production team as well as the scientific advisers who made Earth possible.”
Rob Liddell, Executive Producer, BBC Studios, said: “With Earth we wanted to push the boundaries of what was possible with VFX sequences featuring some of the planet’s most dramatic moments. The ambition was high and Moonraker has been a brilliant partner in helping us realise it. The team brought amazing flare and attention to detail to every shot, resulting in some breathtaking moments of visual drama.”
At JMP, are delighted to welcome Matt Joy to our growing team, joining as Managing Partner.
Matt has a wealth of industry experience, having spent more than 10 years in the sports industry, and most recently four years at a strategic brand agency.
His previous roles have included five years as Marketing Manager at Stoke City during their Premier League golden years, before moving south and helping create the Marketing team at Bristol Sport during the rebuild of Ashton Gate. Following that, he spent four years at Mr B & Friends in Bristol.
In regards to his responsibility at JMP, Matt will be a crucial cog in our ability to excel as an agency, offering additional strategic insights and creative campaigns to our clients.
Managing Director Joe Meredith expanded on this.
“It’s a significant role, the biggest addition we’ve ever made to the business,” he said.
“It’s something that I feel we’ve both wanted to happen for a long time. Everything just needed to align. Matt is in a position to elevate the offerings of JMP and I’m really excited to work with him to take JMP to the next level ”
Matt expressed his excitement about what lies ahead, for both himself and JMP.
“I’m really looking forward to it,” he said. “I’ve known Joe since I initially moved to Bristol and how he has grown the agency in that time has been great to see. It’s an exciting time to now get involved and add to the recent successes.
“My role is going to be quite broad but ultimately I will have a real focus on the growth of the agency. First of all to define who we are, our offerings and identify where we can add real value to our clients, both current and new.”
Matt joins our newly-formed Senior Leadership Team, alongside MD Joe and Operations Director Vicki Theobald.
JonesMillbank, Bristol-based video production company, is now a Certified B Corp.
They join a growing community who are leading a global movement that makes business a force for good.
And Bristol is gaining pace, with over 70 companies from Ecologi to Triodos Bank, Too Good To Go, Psychopomp and Sawday’s inspiring change.
JonesMillbank have achieved a score of 94.7, but like all B Corps, certification is just the start of the journey.
“We’re incredibly proud to be a Certified B Corp, which recognises our ethos and all the work we’ve done to date. But we’re excited about how the certification will inspire us and our team to do more” said Russell Jones, Co-Founder at JonesMillbank.
“And there’s a huge opportunity for improvement. With the opening of our new TV and film studio, Nine Tree Studios, we’ll have more space and resources to support Bristol’s community, from internships to pro-bono hire, creative industry support, and event hosting.”
Nine Tree Studios will host this month’s Purpose in Practice event, run by Assembly, featuring Adam Millbank, Co-Founder of JonesMillbank, as guest speaker.
Of the B Corp Certification, Adam said “We’ve always aspired to leave a positive lasting impression on everyone we encounter. It’s been part of our culture throughout our journey. Being part of the B Corp community further amplifies this goal and will ensure the company will always balance its financial goals with true positive purpose”.
JonesMillbank commenced their B Corp journey in November 2019, and part of their certification recognises their support for impactful businesses, including over 50 education institutions and numerous charities and public sector organisations.
For more information and to start your own B Corp journey, visit www.bcorporation.net.
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JonesMillbank are a full-service video production company.
They work in-house with a talented team of multi-disciplined creatives, telling authentic stories for a range of clients such as University of Bristol, IDLES, NHS England, The Royal Mint and Battersea.
jonesmillbank.com
01173706372
[email protected]
Widely considered the most effective marketing medium, videos bring life to the brands that were once dependent on static and print. And whilst it has been hugely popular for the best part of a century, it has only grown more prevalent in recent years with the widespread uptake in smartphone and social media usage. For marketers, educators, and storytellers alike, video helps to engage with audiences in a far more immersive and memorable way. It can be formatted and stylised to specific guidelines, and most importantly, can simplify complicated messages comprehensively.
Cut forward to 2023, and we simply can’t get enough of it. We’re averaging a lengthy 95 minutes a day on TikTok, using YouTube to answer 1 in every 4 search queries, and collectively uploading 82 years of video content to YouTube daily. So, if you’re not doing everything in your power to make video work for your brand, you’re missing out on a sizeable opportunity.
Video can be used to suit a wide range of different formats and styles, from short-form social media content to long-form documentaries, making it a highly versatile medium that can be tailored to specific brand objectives. But with video being so widely consumed, we’ve grown to become connoisseurs of the moving image. Consumers have no time for slow starts, are becoming easily distracted, and can sniff out branded content a mile off. This shift in behaviour directly factors into the way that leading brands now develop their video content and should also factor into how you develop your own.
We’ve delivered short and long form video for high calibre clients across a variety of global markets. If you’re looking to leverage great video content for your brand, drop us a line today and let’s talk. No strings.
Discover more industry insights and opinions at saintnicks.uk.com/insights
Nine Tree Studios, a brand new 10,000sq ft film, television and commercial production studio, has opened in Bristol.
The studios are now Bristol’s largest independent film and television facility, with the venture being backed by JonesMillbank, Bristol-based video production company.
The studios will support Bristol’s creative industries as well as attracting talent and productions from further afield, fuelling Bristol’s existing draw for film, television and commercial productions.
The facility is being launched in phases. Phase one encompasses a versatile production space with attached offices, suitable for a range of dry hire and set build requirements, as well as events and photography, with significant parking for cars, vans and trailers.
Phase two will see the build and fit-out of a state-of-the-art production facility encompassing a 2,600sq ft primary soundstage, two smaller 300sq ft studios, grading suites, wardrobe, sound facilities, and expanded office and meeting space, all housed in a Class-A soundproofed facility.
Located in Brislington (BS4), the studios are perched near the centre of Bristol, servicing productions mixing studio and on-location filming in the region.
The facility will also become home to JonesMillbank, allowing productions to be supported by crew and creatives, whilst bolstering their own in-house production capabilities and resources.
“This is an incredibly exciting chapter in our history. We’ve been based in Bristol for 12 years, steadily growing our team, portfolio and clients, but this represents a huge leap forward and an incredibly exciting development for the region too” said Russell Jones, Co-Founder of Nine Tree Studios and JonesMillbank.
“We’ve already secured funding to develop and expand the space, helping to support not only our own productions but the wider creative community too”.
Adam Millbank, Co-Founder of Nine Tree Studios and JonesMillbank, added that “the continued growth in productions across our region is wonderful. I’ve been blown away by the diverse talent here. It feels fantastic to know we’ll be part of such a dynamic industry, celebrating all the region has to offer.”
The expansion will allow for the creation of numerous jobs, including technicians, crew, studio managers and marketeers, whilst allowing for the provision of work experience and placements.
Phase one has launched, with phase two aiming for 2023 Q3, pending existing bookings.
For booking and press enquiries please visit www.ninetreestudios.co.uk, call 0117 3706 372, or email [email protected].
JonesMillbank, Bristol-based video production company, has successfully won a contract with foodora, who are part of Delivery Hero, the world’s leading local delivery platform.
The project is focused on the foodora brand, promoting their culture, history and future through the stories of over a dozen long standing employees.
Filming is taking place across eight European countries including Finland, Norway, Slovakia and Austria.
“International travel was off the cards for so long and it’s fantastic to be given the opportunity to get back in the air again with a new client, exposing our productions and our team to other cultures” said Adam Millbank, Director at JonesMillbank.
“The project is benefiting from us doing what we do best; telling the individual stories of people from different walks of life, heritages and backgrounds with authenticity.”
Russell Jones, Director at JonesMillbank added: “We’re conscious of the environmental impact of all our productions, let alone ones that require multiple flights and cross-border trains. The nature of this project needed a travelling crew and we’ll be offsetting our impact via our friends at Ecologi.”
Delivery Hero operates its service in over 70 countries across Asia, Europe, Latin America, the Middle East and Africa.
The company started as a food delivery service in 2011 and today runs its own delivery platform on four continents. Additionally, Delivery Hero is pioneering quick commerce, the next generation of e-commerce, aiming to bring groceries and household goods to customers in under one hour and often in 20 to 30 minutes.
Headquartered in Berlin, Germany, Delivery Hero has been listed on the Frankfurt Stock Exchange since 2017 and is now part of the MDAX stock market index.
For more information, please visit www.deliveryhero.com.
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JonesMillbank are a full-service video production company.
They work in-house with a talented team of multi-disciplined creatives, telling authentic stories for a range of clients such as University of Bristol, IDLES, NHS England, The Royal Mint and Battersea.
jonesmillbank.com
01173706372
[email protected]
JonesMillbank, Bristol-based video production company, has successfully won a contract with University of Southampton to produce their flagship undergraduate campaign video.
The multi-channel campaign will launch ahead of the University’s 2024 recruitment campaign, bolstering and highlighting their existing reputation and global rankings.
JonesMillbank were invited to a competitive pitch for the opportunity, reflecting their growing experience, insight and reputation in the higher education sector. They join existing clients including the University’s of Bristol, Exeter, Winchester and Central Lancashire.
“We’ve worked in the education sector since day one and we absolutely love working with universities; the challenge of engaging and communicating with an ever-changing, dynamic audience is one our strategists and creatives relish” said Russell Jones, Director at JonesMillbank.
“University of Southampton chose us for our bold, creative and impactful concept, and we’re incredibly excited to be given the opportunity to bring it to life.”
University of Southampton is one of the world’s leading universities, placed in the top 100 universities globally in QS World rankings. They are also a founding member of the Russell Group, an organisation of 24 top UK universities committed to maintaining the highest research and teaching standards.
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JonesMillbank are a full-service video production company.
They work in-house with a talented team of multi-disciplined creatives, telling authentic stories for a range of clients such as University of Bristol, IDLES, NHS England, The Royal Mint and Battersea.
jonesmillbank.com
01173706372
[email protected]
Video production company Octopus Films has teamed up with the creators of Sooty, the much loved yellow TV bear, to produce a special Christmas music video. The video accompanies Sooty’s new single, a modern reworking of the Christmas classic ‘The Most Magical Time Of The Year’. All proceeds from the single will go to Childline, the NSPCC’s counselling service for children.
The video, featuring Sooty and pals Sweep and Soo, set against a snowy forest and festive funfair – marks the bear’s 75th birthday in 2023.
The video also marks Octopus Films’ first music video production. Giles Edwards, owner of Octopus Films, said:
“Producing a music video presented a unique set of challenges but it was great fun to be part of. We used lots of movement to create a cinematic feel and give the video a glossy edge. The team are honoured to be involved in a project which supports such a great cause”.
This Christmas, Childline’s dedicated volunteer counsellors will provide an essential role helping children and young people who may have nowhere else to turn.
Sooty’s Christmas single is available for download (£4) at magicaltime.co.uk and to stream on music platforms such as Spotify and Apple Music, with all download and streaming proceeds donated to Childline.
Octopus Films creates impactful video content for businesses, organisations and charities across the South West.
ITV
Good Morning Britain ads cost around £3,000 – £4,000. Daytime slots on ITV are between £3,500 to £4,500 and peak time slots can cost from £10,000 to £33,000.
ITV is a great place to show your adverts. Shows such as Good Morning Britain offer one of the best commercial opportunities in the UK. Whether you’re planning a massive TV nationwide advertising campaign or trying to target a region, ITV advert slots can be purchased flexibly. ITV also has a range of family of channels which help campaigns hit specific demographics.
Channel 4
A typical 30-second slot on daytime Channel 4 can cost between £1,000 to £2,000 peak. Rates for a popular show such as Hollyoaks is around £10,000 to £20,000.
Channel 5
Channel 5 is a less expensive option with a slot in the daytime usually costing around £800 to £1,600. Peak time ad breaks can be had for £2,500 to £4,500 for shows like Big Brother.
Sky
The cost for advertising on Sky is lower than ITV. An ad slot in daytime shows on Sky costs around £150 to £250. Advertising during the peak time costs about £600 to £1,200. Sky Adsmart allows advertisers to target their ads to a select group of viewers.
Other digital channels outside of the Sky family can also be a great place to advertise your brand: Rates for smaller digital channels can be as little as £50 to £150 for day time up to £150 to £300 for peak time. If you know your audience is watching those channels then it’s a good option for a small budget.
You find our more at our TV advertising agency and discuss how to go about advertising on TV.