Emmelie Forsyth

I recently had to brief in the editor of a major news publication for a panel discussion He only asked 3 questions; 1 - Who are the people in the room? 2 - What common thread unites them? 3 - Whats the one thing we want them to walk away thinking? ☝️ With just that; he absolutely smashed it Does anyone have a pre presentation framework like this? #medoasalesmasterypodcast

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Celebrating Innovation in Radio Apps: As we witness the largest audience migration in radio history — with record numbers of listeners moving from broadcast to online — this shift presents us a huge opportunity: to think bigger, innovate boldly, and create features that truly serve our listeners as the number one priority. One company that stands out is iHeartRadio. Sure, they’re the biggest, and they’ve got the resources to push boundaries, but having a bold idea is one thing — delivering on it is a whole different thing. With this latest app update, they’ve shown what’s possible when you truly put the listener first. Here are just a few standout features worth noting: Live Radio Dial: A new take on the car radio experience, allowing listeners to explore live stations organized by genre and location. Scan Button: A way for users to sample stations nationwide or filter by city and genre to discover the perfect fit. What’s Trending Rankers: A feature that surfaces real-time trends so listeners can tap into what podcasts, playlists, or artist stations are resonating right now. Lyrics: The most requested listener feature, iHeartRadio is now the only digital radio app to offer karaoke-style lyrics for live radio, artist stations, and playlists. These features highlight what innovation really means in this space: Knowing your audience and delivering tools that make their experience enjoyable, accessible, and engaging. Sure, none of those features are "groundbreaking" but the point here isn't are they new, it's understanding the audience and delivering for them. So as we enter 2025: How could your brand rethink its feature set to better serve your audience? What could you add to build deeper engagement and loyalty?

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Transparency, impartiality and measurement comparability are three of the seven principles underpinning the approach to regulating audience measurement in the EU. With the process underway the industry has established a collaborative body, The Coalition for Audience Measurement, to liaise with stakeholders and the regulatory authorities to contribute to a positive outcome for the industry. This significant development was outlined to those attending this year’s asi International Radio & Audio and Television & Video Conferences in Venice by Stuart Wilkinson of Kantar Media. Whilst these developments clearly have implications for currency measurement across Europe, they are also significant for public service broadcasters like the BBC which don’t rely on advertising revenue. Some of the non-advertising related issues that are of concern were highlighted by the BBC’s Director of Audiences Nick North. YANNICK CARRIOU, Director General of Mediametrie then introduced an expert panel to discuss some of the more important challenges to be faced, not least the possibility of agreeing a set of international standards for audience measurement. See each of these below. Lucia A. Koenraad Deridder Valerie Morrisson Justin Sampson Jon Watts European Broadcasting Union (EBU) egta

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As our smart TV home screens gravitate to global viewing, it stands to reason that expanding the Geo-Block ban on the audio-visual sector must include expiration of regional licences and introduce one single content licence. Not just for Europe, but for every streaming territory as a whole. Although much can be said about content quotas, they are in fact near-sighted to the fact that technology and consumers are driving this demand because of the content choices audiences are making. Netflix features content in over 60 languages, with 80% of the platform’s users claiming to use subtitles at least once a week. This implies that content providers would be compelled to make movies and TV shows unlicensed in one country but sold in a neighbour available on the same streaming service on the same device in Amsterdam or Sydney. For those interested, 'Streaming Without Borders' is a panel topic at this year's Ad Forum event in Sydney. #CTV 🌏

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Industry consolidation is a natural progression as sectors mature and face competition from alternative technologies. Learn more about this potential merger of US satellite heavyweights here https://lnkd.in/et6yXDAx IPTV is now the way to deliver channels and hence why we established United TV

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I speak to so many professionals who seem to see media in terms of "traditional" and "digital" - just the two piles where one is sort of quaint, and the is super-rad and cool and the future. The truth is that humans are complicated and consume what they like, and more choice gives more options, but not necessarily replacement behaviours. Radio is the original social medium, has been a digital medium for 25 years now, and the personalities and brands that drive commercial radio are still amongst the most trusted in their respective markets. Wonder why? Jason Brownlee will explain

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In the world of Free Ad-Supported Television (FAST) channels, a seamless and dynamic viewing experience is crucial. As viewers' expectations align more with traditional TV experiences, the need for sophisticated channel playout solutions becomes undeniable. Check out this article on the importance of advanced channel playout selection for FAST channels: https://lnkd.in/d5S7xnGd #FAST #television #viewingexperience

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Some great YouTube tips here from Graham Swallow in 10 bite sized chunks!

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Channel 4 is the only major UK broadcaster to have grown TOTAL minutes of viewing across streaming and linear in 2024. This year our streaming audience has grown faster than any of the major streaming-only platforms, with a 32% year on year rise in viewer minutes. You might find that hard to believe as it is not always what we think from the media but it is true. Our long-term strategy of prioritising digital viewing and investing in distinctive, British streaming-first content is bearing fruit. This data shows that we can successfully grow our overall audience by attracting new digital natives and migrating existing viewers to digital platforms. https://lnkd.in/e45vKCPT

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Some interesting stats on the end of year Comscore report show that cinema revenues are on par with 2023 and 8% higher than 2022. Inside Out 2 took the top spot at the box office, with Paddington in Peru leading the way for British/Irish made films and looks set to leapfrog the numbers set by its 2014 predecessor. It was great to see major new sites launched by Everyman, ODEON Cinemas Group, Picturehouse and Vue - all helping to accommodate the impressive 1,114 new releases that hit the screens in 2024! We always talk about the FOMO appeal of cultural moments within cinema and these peaked across social media with the releases of Deadpool & Wolverine and, of course, Wicked. We even saw Beetlejuice come out of retirement to entertain new audiences! Momentum is everything and Q4 was an amazing success for cinema, driving our ad revenues up 20% year on year, with the final six weeks of 2025 delivering 18% of the year’s box office compared to 12% the previous year. And there’s lots to get excited about with the slate for 2025 looking equally impressive with highlights including Bridget Jones: Mad About The Boy and the 35th film in the Marvel Cinematic Universe Captain America: Brave New World both releasing on Valentine’s Day. Amongst so many other big hitters we can also look forward to James Gunn’s Superman, Avator: Fire and Ash, Jurassic World Rebirth, Mission Impossible - the Final Reckoning, The Running Man, and of course Wicked: For Good. For the Disney fans amongst us we can also get our nostalgia fix from Freakier Friday reuniting Jamie Lee Curtis and Lindsay Lohan more than two decades after their 2003 hit! We’re looking forward to another terrific year and working with you all again. Digital Cinema Media | #startwithcinema

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Quality Over Quantity in FAST Channels Users may have been initially drawn to free streaming services, but they're staying for the high-quality content. Analyst Gavin Bridge notes a slight slowdown in new FAST channel creation, yet growth continues with over 5,000 channels across 18 platforms in the U.S., up by 1,129 from last year. This shift towards prioritizing quality ensures ongoing user engagement and satisfaction. #Streaming #ContentQuality #FASTChannels #MediaTrends #DigitalGrowth

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The millenials and boomers are the biggest viewers for #streaming platforms in the USA with higher average daily watch time across platforms. Though the division is marked by age, we live in the age of #personas. This means that a person's behaviour and preferences can be of a different age group than his actual age, so they are grouped according to their behaviour patterns not their real age. Social media targeted advertising uses persona mapping very well to acquire #customers, increase #engagement and #traction . Streaming still follows grouping by the traditional #TV ratings methodology of age groups in a household. This will change soon as the the #advertising tier in streaming is going to grow bigger and #FAST channels also growing faster.

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Check out the latest podcast from The Flint with Elodie Levrel from Broadpeak

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Talpa Studios' The Floor secures major international renewals Following the recent announcement of a second and third season in the USA, Talpa Studios hit show The Floor continues its global success with recommissions in three major territories: Italy, France and Germany. Blu Yazmine will produce the show for RAI2 in Italy, and Satisfaction Group will handle production for France Télévisions. In Germany, Cheerio Entertainment will oversee production, and the show will air on SAT.1. As with the first season, the second German season will be recorded at Talpa Studios' local production hub in the Netherlands. The Floor's ongoing success is attributed to its innovative structure, high play-along factor and continuous format revisions that keep it fresh and exciting. Its flexible structure has allowed it to thrive in both daily and weekly schedules, catering to diverse viewing habits. Sebastian van Barneveld, Director of Global Distribution at Talpa Studios: “The outstanding success and enthusiastic reception of The Floor across various territories highlight the format's remarkable adaptability and the strength of its straightforward, thrilling gameplay, where survival is at stake in every duel.” Since its initial launch in the Netherlands in 2023, The Floor has captivated audiences worldwide, leading to its sale in 15 diverse markets. These include prominent television territories such as the USA, France, Spain, Germany and Italy, as well as emerging markets like Ukraine, Romania, Hungary and Argentina. About #TheFloor In The Floor, 100 quiz fanatics face off in quiz duels on a giant LED floor divided into one hundred equal squares, each representing its own field of knowledge. The goal is to conquer the entire floor and take home a huge cash prize. The rules are simple. A random contestant challenges an adjoining opponent in a quiz duel. They play against each other in the category of the opponent's square. Categories range from 'famous athletes' to 'Hollywood actors' and from ‘iconic buildings’ to 'mammals'. Some questions are visually supported by photographs, others by sound, while other duels focus on open questions, multiple choice, association: the possibilities are endless. The winner of a duel conquers his opponent's square, gaining more ground - the loser leaves the game. The further the game progresses, the more exciting the duels become and the higher the stakes. After eight episodes, who will be the last person standing on The Floor, winning a huge cash prize? The Floor is a format created and distributed by Talpa Studios.

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The next-generation CV What I am trying to create for the members of OTTRED in the streaming sector is a next-generation CV. By joining the OTTRED Talent Bench ➡️ The Candidate gets an asset with a deeper, richer profile that they can use elsewhere ➡️ The candidate gets a magic link to their micro-page that displays their CV, Ai-Generated psychometric profile, structured videos of themself, and a professional write-up ➡️ By sharing the magic link on their profile, their CV and directly in applications, we can advise the candidate if their profile was accessed, who by, where the person accessing it was in the world, how long they spent on the profile and how many times it was accessed. I have thought for a long time that CVs are a thing of the past. So flat So lacking the kind of value that a candidate wants to offer. So poor in terms of the intelligence the tech can, and should, now offer the owner of the IP (the candidate) Well, this could be the game-changer To participate in this beta trial, join the OTTRED Community and access all of the links, including my example profile on this link http://bit.ly/joinOTTRED and see the pinned post on the home page with my example profile

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#TheFutureOfTV remains TV, but with innovative delivery and monetization methods. It's not about cheapening the experience or earning less due to poor technology. #FAST and #FASTChannels need a new format to manage losses, but audiences demand quality. The future lies in maintaining traditional TV routes while leveraging PMP #AdTech to boost advertising and revenue, reaching 10x more devices. Let's stop reinventing TV to fix programmatic issues that harm content studios and broadcasters. Instead, let's uphold the #GoldStandard and keep it simple. #futureoftv #contentisking #broadcasting #streamingmedia #streamingtv #ctv

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The Magic Formula for Fair Streaming Creator Payments - Former BBC Studios executives Simon Brown and Adrian Wills aim to revolutionise how streamers compensate creators through their Content Valuation Report. Using a simple formula — streaming revenue multiplied by a show’s viewership share — they determine fair payouts for IP owners. Highlighting underpaid successes like Peaky Blinders, they advocate for creators to leverage data-driven negotiations and bridge the gap in equitable payments for streaming hits.

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Here’s one way to really get to know the industry you’re in (if you’re in Streaming) Get to know the people The thought leaders The business leaders The people who were there are the beginning The content creators The strategy makers The entrepreneurs The corporate giants They are all there, and more, in 3 years of Podcasts in the OTTRED Podcast Spotify Account and out YouTube Channel Personally, I prefer to listen to podcasts, do you? 🎧 So, here’s the link to Spotify if you're more audio than visual: https://lnkd.in/d-S7pr8s But if you prefer to watch, here’s the link to YouTube: https://lnkd.in/dXiMnPGt Join the community for minute by minute updates from hundreds of colleagues all over the world 🌍 http://bit.ly/joinOTTRED

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I have good news.. It has been a very rough time for TV production in the UK and across Europe these past few months. I have witnessed first-hand the struggles of production companies, with the lack of commissions, uncertainty in the industry and cost-cutting across the board. This isn’t just about programmes not coming back - it's about the talented and hard-working freelancers and production staff at the heart of TV production not being re-engaged through no fault of their own. But back to that good news. In discussions with production company and studio clients in the last few weeks, I’m seeing definite signs of positivity and optimism, as more commissions start to come through and the networks find new innovative ways to fund programmes. I am not saying we’re fully on the road to recovery, but there are definite green shoots there. I am proud to work on a casting product that helps productions save money, meaning more of the budget can be spent on other parts of the show. Those clients who have worked with Cast It Reach, and dealt with me over the last two years will hopefully agree that we aim to be as flexible on price as possible, and always look to provide a cost-effective solution. We can’t commission shows, but we can help productions get more out of their budgets. Let us help you make great TV. Let's give my dog something to watch.

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