Grant Taylor-Hill

The UK’s TV production industry is facing an unprecedented challenge this year. With budgets shrinking and a £400 million financial gap across the sector, hundreds of small production companies are in a fight to stay afloat. As the industry saying goes, “survive until 2025”. Despite these market pressures, there’s one thing that’s still in high demand: memorable, unique filming locations. This need creates a golden opportunity for property owners and location providers to support the industry while generating new income streams. Here’s how you can take advantage of this unique moment by either booking a location with Silverstein Locations or listing your space to become a potential filming site: https://lnkd.in/eHfDYzMd #silversteinlocations #film #filmlocation #locationbroker #locationagency

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Broadcast TV is under so much threat that reports of a merger between one or more of the UK’s public service broadcasters are being floated, yet sport is keeping the linear flame alive for FTA and Pay-TV alike. In the UK alone, broadcast TV figures have sunk by over 25% in less than a decade – yet sport is the bubble that refuses to burst. Sport continues to attract large audiences keen to share the national/international experience and contrary to broader consumption trends, this includes a healthy swathe of young people too. Fears that young people are no longer interested in sport are overblown. As analysts at Enders point out, sport is now a growing proportion of all under-35s’ live TV set viewing: 17% in 2023, actually up from 7% in 2015. How can we explain this? I agree with the author that in a world of content driven by algorithms and subcultures, sport is a glue that bind us together. It helps, too, that it has to be watched live. But Enders also credits broadcasters and leagues “for maintaining sport’s appeal in a changing media landscape”. That I feel is critical. Sports broadcasters are successfully innovating the product on screen. Gamification modes, innovative camera angles and point-of-view shots are all adding to the drama and resonating with the young. Long may that continue! https://lnkd.in/eV7VDpCd #sportsbroadcasting #netinsightnimbra #remoteproduction #livecloudproduction

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I know everyone in the industry has been feeling the pain of the last year or so, and this report shows how bad it's actually has been. TV producers’ body, Pact, has revealed it latest annual census of the UK television production sector that shows revenues fell by £392 million (8.4 per cent) to £3.61 billion in 2023. #pact #adobe #premierepro #adobepremierpro #videoeditig #video #videoeditor #postproduction #creativeediting #HETV #dramaediting #film #frreelance #videotutorial #tutorials #learnathome #training #traininganddevelopment #media #videoproduction #filmproduction #premiere101 #premierepro101 #trainingcourse #cpd #color #colour #grading #audiomixing #titles #sohoeditors #jobs

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Struggling to land interviews or feeling stuck with your CV?   It's time to level up your career!   Join my exclusive CV Masterclass designed specifically for TV professionals!   I'll show you how to create a standout CV that gets noticed by the right people in the industry. Ready to take that next step? Click the link in comments or DM me for more info! Let’s get you interview-ready and closer to your dream role! #TVMasterclass #CVTips #CareerBoost #TVJobs #CreativeCareers #TVIndustry #JobHunting #CreativeEntrepreneur #MediaCareerCoach #LevelUpYourCareer #GetThatJob #TVProduction #FilmCareers #JobOpportunities

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Channel 4 boosts YouTube viewing As per the warning last week about broadcasters, particularly in the UK being lulled into a false sense of security of the prominence of public broadcaster channels in the media sphere, both in terms of #traditionaltv and #svod #streamingplatforms it appears one broadcaster has heeded this a while ago. "Channel 4 has trebled the number of full episode views by UK audiences in 2024....So far this year, social output from Channel 4 has amassed 1.8 billion UK views, a growth of 309% year on year. Channel 4 documentaries have been a key to growth, including 24 Hours in Police Custody drawing in record YouTube audiences." The really interesting thing here is that the increase in viewing is coming from #socialmedia (Tik-Tok & Instagram) and the biggest video platform in the world. This tells of a strategy to get content out there and boost relevance, rather than hoard it and put it all on its platform. "Elsewhere across social, Channel 4’s coverage of the Paris 2024 Paralympic Games generated 41 million views across YouTube, TikTok and Instagram. More than 2.4 million livestreams and 2.1 million non-live streams were recorded on Channel 4’s YouTube streaming platform." This is an interesting move by a #publicservicebroadcaster to embrace this platform. On Youtube but even on the social platforms, its going to where the audiences are. It seems that it's going on a blend of releasing some content on public platforms, while also maintaining the credibility of its own More 4 SVOD platform. As they've done with the Paralympics, it'll be interesting to see what focus news has in Channel 4's plans going forward for #newsmedia. Will they put their news bulletins online? More long-form news content instead of the small clips. They already have some, especially the video podcasts, but it would be interesting to see if #newsbulletins get released to move more into that space. "Matt Risley, Managing Director, 4Studio, said: “Channel 4’s UK views across all social platforms and content have amassed a huge 1.8 billion this year, putting us firmly on track to double our social viewing by 2030. Our latest audience growth underlines how Channel 4 and 4Studio are leading the way in embracing social audiences at scale.”" The saying is go where your audience goes, and Channel 4 are doing that, going online. #television #tvindustry #tvcontent #mediaindustry #media #future #digitalmedia #psb #broadcasting https://lnkd.in/eK7pVMeP

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🚀 The Upgrade Yellow Brick Road: Embracing the Future of Broadcast Workflows 🚀 Having been in the television industry for a long time, I’ve seen it all. I started editing audio with a chinagraph pencil and splicing by hand. My first video edits were on VHS at university (anyone remember the frustration of losing 15 frames on every cut?). From vision mixing to graphics, then Betacam (the "latest and greatest" at the time), I’ve experienced the full evolution of broadcast technology. Fast forward to my work at BBC, ITV Newsgroup, Avid, and Al Jazeera, I’ve been a part of projects that transitioned entire linear workflows into the digital realm. Producer, journalist, editor, media manager—you name it, I’ve lived it. Here’s the core truth: at some point, there’s always an upgrade. On-premises hardware in the broadcast CAR, edit suites, and newsrooms is costly, and it eventually becomes obsolete. The typical lifecycle is around 4 to 8 years before hardware hits end-of-life. Replacing it often brings downtime—a nightmare no head of news wants, especially when taking a channel off-air isn’t an option. Now, let’s talk about 2024 and beyond. Cloud-native and AI-powered solutions are no longer optional for broadcasters that want to stay relevant. The era of maintaining expensive hardware, physical space, and on-site support personnel is ending. Thin clients in the newsroom, AI-driven tools for transcription, phonetic search, and smart asset recommendations are all part of today’s workflow. Media is now moving around systems seamlessly, triggered by metadata and automated processes. The real magic? Zero downtime, with incremental upgrades happening in real time. For a head of news, this is a dream come true. Telling more stories, faster, and across multiple platforms with digital-first workflows is the current standard. With every screen becoming competition, broadcasters must stay agile, adaptive, and story-centric. So, as we follow this yellow brick road of innovation—past the old ways and toward a future that’s bold, efficient, and transformative—broadcasters will finally reach the Wizard of Oz, pull back the curtain, and discover the bright future that lies ahead. ✨ #Broadcasting #DigitalTransformation #CloudNative #AIinMedia #ZeroDowntime #FutureOfTV #MediaTech

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The key to revolutionising live content…. know where to aim 🎯 At Dizplai, we’re delighted to have been appointed by World Archery to bring a new dimension to their live content. When taking on a project like this, there are 3 key factors your need to bear in mind: 1) It must be simple to operate; 2) In 2024, you have to optimised for both social and linear; 3) Fan expectation is high - no second chances, we had to get it right straight away. So here’s what we did: - We created a brand new graphics suite ready on day 1 - signalling a step change in production quality with fans; - Interoperable framing, which worked at 16:9 ratio but also contained all the key information when clipped to 4:5; - Versatile ‘edit suite’ graphics for their highlights - ensuring a seamless experience from live to non-live content; - Innovative ‘L-bar design’ that incorporates live scoring data, social, and promotional elements; - Real-Time Scoreboard Updates integrated directly within Dizplai, a feature that ensured that every point scored was immediately reflected on screen, keeping the excitement levels high. And there are some really exciting plans in the pipeline which will revolutionise the experience for Archery fans, such as audience participation tools and more interactive watch-alongs. A successful 4 week turnaround from start to finish - that comes from knowing where to aim 🏹 #sportsindustry #sportsbiz #broadcast

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#ITVX record month - the value of localisation "ITV’s Euro 2024 coverage, along with a new season of Love Island and a selection of new dramas drove record streaming numbers in June for ITVX, with 375.8 million streams across the month, making it ITVX’s best ever month in streaming, up 54 per cent year on year." It's hard to remember almost 2 years when ITVX was about to launch, there were big questions about its viability in an increasing competitive space, dominated by #global #svods #avods However, ITV has taken the #streaming world in the #UK by storm, and keeps going from strength to strength. It had huge success with the Post Office drama Mr Bates vs The Post Office. Now, with the #euro2024 tournament, viewing was always likely to go up, but it's hardly an anomaly, its on the back of consistent strong performance for ITV. "The 19 Euro 2024 matches on ITV in June were streamed just under 84 million times, with the current season of Love Island up to 76 million streams after 28 episodes, which is up 10 million on the comparable point in the season last year. Including streams to previous seasons which are also available on ITVX, Love Island has delivered over 80 million streams across June. New dramas pulled strong audiences in June including The Flash, the DC superhero series and Arrow spinoff, darkly comedic crime thriller Bay of Fires, and the UK premiere of Orphan Black: Echoes starring Krysten Ritter and Keeley Hawes. Commissioned dramas including Red Eye and Douglas Is Cancelled continue to grow and were also top performers in the period." Yesterday, I posted about Tubi's entrance into the UK, and the huge name they bring. However, ITV has a real mix for UK audiences. They have the big films from Hollywood that will always have an audience. They also have UK commissioned series, reality TV, as well as benefitting from years of presence in the market, with its series and shows having ingrained following in the UK, as any local service would. While the #streamingmedia space seems to get crowded, and competition is intense, its easy to think those with the deepest pockets will eventually triumph. That's not the case. Apple TV is maybe the best example, with cash to burn, but has not threatened #Netflix's domination of the SVOD market. Just because big US global streamers set their eyes on the UK, it doesn't mean that they will be successful. #Localisation is the key driver of growth and success across the world, Netflix has invested heavily in local production, and this has helped them maintain their top spot around the world. I predict there will be no global model, Netflix may lead worldwide, but after that, local players will dominate in their markets, beating out some of the global streamers, because they have their ear to the ground, and target their audience, rather than relying solely on mass appeal. https://lnkd.in/efSc6rqh #tvindustry #mediaindustry #creativeindustries #streamingplaforms

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Great entry level opportunity here

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Perhaps the most significant word in this report about the state of 8K video production is “optimistic”. Whilst I applaud any innovation that drives the live visual experience forward and am keen to see the live 8K streams produced during the Paris Olympics, the industry as a whole has taken a reality check on delivering resolution for resolution’s sake. UEFA ⚽ has decided to produce the Champions League Final and then the Euro Championship from Germany in a host feed of HD 1080p HDR where it is the high dynamic range which carries greater visual impact with viewers. There are similar discussions in the US, where Amazon Prime is producing Thursday Night Football, (NFL) 🏈 in 1080p HDR. Could it be that Higher Frame Rates (HFR), included within the UHD specifications, becomes the next goal for sports? An increased frame rate, up to 120fps displayed at 120Hz, would give greater picture clarity for fast moving sports action and deliver an enhanced feeling of being at the game than a simple 4K image. I’d be keen to hear your opinion. Should the industry accelerate a shift to HFR (with HD WGC HDR) for OTA and OTT? 📺 Or have solutions that deliver video quality enhancements, in any form now reached their limit given the budgetary restrictions on technology upgrades? https://lnkd.in/es3bfSz7 #uhd #hfr #hdr #ott #outsidebroadcast #livevideoproduction

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At Measure Protocol, we focus on outcomes. This is why we are so excited to be part of this initiative, Project Lantern. "The tool aims to demonstrate TV’s impact on short-term performance metrics such as search queries, web traffic, social media engagement and conversion as TV’s impact on short-term behaviours is not often given credit” https://lnkd.in/enicrGDX

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I want to help streaming and broadcast companies make the best products they can Most companies in the space are SME companies. Smaller organisations of 200 people or less trying to utilise the expertise of their team and vision to make the best product possible But in such a competitive marketplace, is that enough? Is that ALL you have at your disposal to craft the best product you can? What if there was one more consideration, or piece of input, that could make the difference that makes the difference to the success of the product The functionality The UX The price point The right target geography The launch date The list  Goes On What if OTTRED could offer you the virtual team you could never afford, to review and provide advice before you go to market? The experience The external view The local knowledge of every region Commercial insight Well, now we can help you with this service from OTTRED with our Product Review Board We have product experts from around the world to be your Product Review Board (PRB) You might be small. Or you might be well established. Or you might be geographically specific and want to be more global Book a sitting with The PRB to benefit from insight and advice to help you maximise the market impact you want to make with the launch or re-launch of your product Click here for more information - https://lnkd.in/dBvqcbZn

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Only 26% of UK TV production companies are female-owned or female-led!! That means a huge majority are owned and run by men. WTF. This shocking stat shows that we still have such a long way to go when it comes to gender disparity in the TV industry. It’s troubling and crazy to me that female founders and leaders are consistently underrepresented - even still in 2024!! As an industry, there has been a slight ripple of change. 10 years ago for example it was more like 10-15%… So, there is some slight progress with thanks to incredible organisations like Women in Film and Television UK But, it’s just not good enough! And more importantly, what are we going to do about it? This isn't just about fairness—it's about recognising and nurturing the full spectrum of talent in our industry - not just on International Women’s Day on the 8th March! We need more initiatives, more funding, and more opportunities dedicated to women-led companies….. It's time to close that gap. FFS. At Nest, we are passionate about supporting women founders / leaders in TV, and I urge everyone to raise your voice too! Share this post, start a convo! Take direct action! Namaste! 🙏 #WomenInTV #GenderEquality #SupportFemaleFounders Sources: Ofcom/WFTV

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🎥 THE DECATHLON OF BROADCASTING 🏃‍♂️🎯 As a younger man, I was heavily into athletics. I took part in many track and field events around the UK and specialised in the pole vault, cross country and the 400 meters. As media workflow consultants, we often feel like decathletes, navigating a wide range of challenges and skill sets. Each phase of our work can mirror one of the events in the classic decathlon. Here’s a fun comparison for those of us in the world of broadcast and post-production: 100 meters sprint 🏃‍♂️ – Rushing to go live with a breaking news story. It’s all about speed and precision, with no room for error. Timing is everything. Long jump 🏃‍♂️🦅 – Extending your technical and creative reach to new platforms. You need to take off from a solid base and soar while keeping your landing controlled. Shot put 🥇 – Implementing a complex workflow solution. It’s all about strength and power, getting that heavy project moving while maintaining precision in execution. High jump 🚀 – Elevating production standards with innovation. Every jump represents pushing the boundaries of what’s possible with new tools or tech, but you need to clear the bar. 400 meters 💨 – A sprint, but with more stamina, just like delivering on a week-long live event broadcast. You need to pace yourself while maintaining top quality and attention to detail. 110 meters hurdles 💻 – Navigating hurdles in post-production. Whether it’s a tech failure, tight deadlines, or last-minute client changes, it's about overcoming obstacles swiftly while staying focused on the finish line. Discus throw 🎯 – Planning and executing a long-term strategy. You need precision in technique and the strength to carry your strategy far, ensuring it lands exactly where it needs to. Pole vault ⏫ – Scaling new heights in media infrastructure. Like implementing a major system overhaul or cloud migration, the pole is your tech stack, and you need to leap over any roadblocks. Javelin throw 📡 – The accuracy of delivering a well-researched, reliable news story. It's about focusing on precision, ensuring the information hits its target with the utmost credibility. 1500 meters 🏁 – The endurance of managing a major multi-platform project. It’s the final test of stamina, requiring you to pull everything together and finish strong, even when you’re exhausted. In broadcasting, like in the decathlon, success requires versatility, determination, and the ability to switch gears quickly. What event resonates with your daily work? 💪🎬 #BroadcastDecathlon #MediaWorkflow #BroadcastConsultant #PostProduction #BroadcastTechnology #WorkflowManagement #EnduranceAndPrecision #BroadcastLife

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From briefing to live event in under a month When the England & Wales Cricket Board (ECB) & Little Dot Studios approached us at Dizplai to help with The Hundred draft, it was an opportunity to which we couldn't say no. Our mission? Deliver a digital-first broadcast that not only looked stunning but also fostered a two-way conversation with new and existing fans. The goal was clear: engagement drives the narrative. And no biggy, but there were a few variables involved: 75 picks 885 players 8 teams 16 squads Here's what we did: - Custom graphics:  Bold, responsive, easily digestible on any device whilst capturing the vibrant essence of The Hundred. - ⁠Interactive Elements: Creating an inclusive, interactive space for fans, with real-time updates from YouTube live chat and social media platforms integrated directly into the broadcast. - Customised Dizplai Platform: We adapted our platform to handle real-time bespoke data from the draft efficiently. This meant rapid updates for "pick alerts," "team snapshots," and "full squad overviews" could be executed with minimal input from the production team. - ⁠Automation and Ease of Use: We build simple, one-click actions for updates during the live draft, significantly reducing the risk of errors and delays. - ⁠Leveraging Existing Infrastructure: By integrating with the existing digital infrastructure of The Hundred and ECB, we maximised resources without the need for extensive new hardware investments. - ⁠Sponsor Integration: We smartly wove sponsor branding (Sage) and ticket promotions into the graphics, adding commercial value without compromising the user experience. The result was a sleek, engaging live show that not only met the tight deadline but also provided a platform for dynamic fan interaction with over 100,000 tuning in. Not bad for just over 3 weeks! #sportsbiz #sportsindustry #broadcast

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YouTube Is a $455 Billion Media Giant Hiding in Plain Sight * Potential value may eclipse streaming peers such as Netflix * Separating part of YouTube could boost Google shares: Needham YouTube has a dominant and growing share in streaming, as consumers shift away from broadcast and cable Investors attach a $2.3 trillion valuation to Alphabet Inc. for its status as an internet search behemoth and AI innovator. Yet even that massive figure underplays YouTube’s true worth, according to analysts at Needham & Co. The streaming unit is one of the world’s most valuable media companies and worth at least $455 billion on its own, Needham’s Laura Martin and Dan Medina wrote in a July 3 note. That’s more than 50% above Netflix Inc.’s market cap. https://lnkd.in/eesPngKJ

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A Powerful Update!!! Blackmagic Design has just released a significant update to the Blackmagic Camera app for iOS. Version 2.1 brings a host of new features and improvements that enhance the app's functionality and ease of use. Key Highlights: Enhanced Camera Control: Enjoy seamless integration with the iPhone 16's camera control, allowing for quick access and intuitive adjustments. Flexible Launch Options: Launch Blackmagic Camera directly from the control center, lock screen, or action button for instant recording. Gimbals and Stands Compatibility: Easily track objects and people with Apple DockKit support for motorized gimbals and stands. Improved Performance: Experience faster recording speeds for high-quality ProRes 4K clips on iPhone 16 Pro models. Cloud Integration: Seamlessly manage and sync footage across multiple organizations using Blackmagic Cloud. Customization Options: Fine-tune your recordings with new bit rate options for H.264 and H.265 codecs. Enhanced Audio and Monitoring: Enjoy audio playback during off-speed recordings and experience improved remote monitoring performance. #BlackmagicCamera #iOSUpdate #VideoProduction #MobileFilming

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