Julia Silverton

An interesting perspective from Simon Kilby on the evolving role of audio in the media mix. It is clear that as the industry moves through 2026, the focus is shifting toward how we can collectively support and scale the trusted, innovative environments that audiences now inhabit across every digital touchpoint. Simon highlights that audio is no longer a standalone channel but a sophisticated 360-degree digital product. With nearly a third of traditional radio listening now happening on connected platforms, the industry has reached an inflection point. This shift allows us to transform "trusted environments" from a qualitative concept into a measurable standard, providing the accountability advertisers expect and the value listeners deserve. The industry has a massive opportunity to prove that audio can lead the way in responsible, effective spending, provided we continue to lean into a connected ecosystem that extends far beyond the bounds of audio alone. By integrating audio insights with the wider digital landscape, we can ensure that smarter measurement and outcome-based advertising, whether across smart speakers, podcasts, or live streaming, allow audio to secure its rightful share of the media mix. Ultimately, the future of this medium depends on a shared commitment to quality and transparency. It is encouraging to see the industry aligning on a vision that prioritises the integrity of the listening experience alongside measurable brand growth. Read the full interview with Simon Kilby here 👉 https://lnkd.in/ejuFcwJh #FutureOfAudio #MediaStrategy #DigitalAudio #Innovation #ConnectedEcosystem #AdTech

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Video doesn't need to change what a podcast is... but it does need to change some things. Audience behaviour and differences in what platforms reward mean that what works in audio only podcasting won't always work in video podcasting. Not only that, but some norms in audio podcasting are actually hindering your content's ability to see success on YouTube. The intro is a big one. I made a video explaining why and outlining a framework for how to write intros that will lead to growth rather than killing your channel. If you want to skip the video I also made a scorecard for you to check if your intro is ready before you record. Linking both in the comments

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Very insightful discussion on Episode 4 of the Sound Matters Podcast around production sound and post editing with Simon Hayes AMPS CAS, Chris Munro and Angus Munro. Simon makes an early interesting observation about the potential of production audio suffering in a spot that may create a snowball effect of post editors seeking more ADR even if the audio can be cleaned up and there are great tracks throughout the rest of the mix. https://lnkd.in/eNQdTiDa

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Really great to have this opportunity to share what partnership in the full productionchain can do to extend life cycles of success formats through rethinking workflows and creating efficiencies in our dynamic market.

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Grass Valley Helps Scale and Centralise BMG’s Cloud Network Operations Centre BMG is adopting Grass Valley AMPP, Kayenne K-Frame Switcher and LDX 135 cameras to scale and control live remote workflows and manage assets from its new NOC in Washington, DC read more  https://lnkd.in/gZuTq5hg

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This isn’t just consolidation. It’s a structural shift. Streaming is no longer competing with theatres, it is redefining their purpose. Theatrical viewing will increasingly be reserved for large-scale spectacle: event films, franchises, cultural moments. Everything else - dramas, mid-budget films, experimental formats will live where audiences already are: on the screen that fits in our palms. The Netflix-Warner talks simply validate what the market has been signaling: • Distribution is consolidating • IP ownership is central • Scale and data will decide what reaches the big screen Theatres won’t disappear. They will become destination experiences, not default ones. #EntertainmentIndustry #FilmBusiness #MediaAndEntertainment #StreamingWars #Futureofcinema

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This isn’t a comeback, it’s a proven model expanding as the spotlight shifts… Lots to agree with and cheer in this FT article today (and it’s not behind the paywall, so you can tuck in for free). Thanks to Daniel Thomas for inviting me to contribute and for such a balanced article which properly looks at how TV advertising is evolving and expanding. It also resists the digital vs. TV narrative that has done so much damage in recent years. With techlash momentum building, TV – and other forms of trusted advertising – are being reassessed, their qualities and impact standing out in stark relief. There’s lots in the piece to take on board from Rory Sutherland, Greg Peters, Andrew Georgiou and James Denton-Clark about how TV advertising is innovating and what it does for brands. Broadcasters have become streamers and streamers have become commercial TV companies. It’s all TV, and TV advertising is reinvigorated and flourishing. It’s becoming even broader and more flexible, which is great news for marketers of brands of all shapes and sizes.

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There is no single pathway to delivering large scale video display environments. The biggest permanent screen installations, the most complex video scenery for audiences, and everything in between - all rely on a range of experts specialized in a variety of roles that make, deliver and show pixels on a screen. The most important action anyone can take to lead a project to success is to make sure that expertise is fully represented and communicating effectively. In this article, I take a look at a pipeline for permanent video installation and open the floor to further refinement. Where do you sit in this process ecosystem? https://lnkd.in/gS3yMTDR

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I'll be on a panel tomorrow at #MPTS2026 talking about Kalel Productions' various commissions that have included significant amounts of AI-generated content, including the first British TV AI host. I'll be talking about how and why. The session is Wednesday 13th May at 12:50pm and is called AI In Action: Real-World Creative Case Studies. I'd be honoured if you wanted to come along to the AI Media Zone, in the Grand Hall, Olympia.

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British communications regulator Ofcom is recommending to the United Kingdom’s government that 15 connected TV platforms, known as television selection services, should be designated by officials as it is critical viewers can easily find and discover the diverse range of high-quality content that public service broadcasters (PSBs) offer for UK audiences, including trusted and accurate news... Read More At:- https://lnkd.in/gNC9NbvQ Ofcom #connectedtv #Platforms #television #services #criticalviewers #highquality #content #audience #broadcaster #news #NewsUpdate #newsfeed #dailynews

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Bringing internet speeds and reliability you have become accustomed to in the office on location brings opportunities to redefine how you work. Have a read below at how Mission Digital optimised the workflow for a production shooting in the most remote parts of the UK.

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From Tom Webster at Sounds Profitable Radio has spent the better part of fifteen years shedding its 18–34 audience. This isn’t a content failure. It’s the predictable consequence of consolidation-era decisions: format standardization, cost reduction, safe-playlist programming calibrated to hold the audiences radio already had. Anyone who watches radio ratings knows this. The result is that radio’s most engaged listeners skew older, and radio’s most compelling advertising story increasingly lives in the 55+ market. I also live in this market, so it’s not a bad place to live, but we still have some work to do with agencies and brands on that score. Podcasting has the mirror problem. The medium over-indexes on younger, educated, urban consumers. It has, thus far, underperformed with the 55+ demographic, a cohort that is growing as a share of the U.S. population and represents an increasingly wealthy consumer segment. Podcast publishers have been circling this market for years without fully cracking it. Thoughts? That Great Business Show with Conall Ó Móráin

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When I worked in a newsroom, if an article was performing well people would often say “it’s flying.” Well now, with Arc & Foundry I have work that’s 𝘭𝘪𝘵𝘦𝘳𝘢𝘭𝘭𝘺 𝘧𝘭𝘺𝘪𝘯𝘨 ✈️ Proud to have produced this 30-second advert for Meridian Audio Ltd, which will be shown on all United Airlines flights for the next year. That's millions of air miles and countless eyeballs. In 30 seconds we managed to capture the brand's history, ethos, diverse partnerships and also the brand-new headsets, which will feature in Polaris cabins. So if you're ever on a United flight, keep your eyes peeled. (You can watch it on your own screen here: https://lnkd.in/e2qDeCMh)

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We're proud to announce the first Jump Climate Report, marking our official commitment to achieving net zero by 2030. As a boutique communications agency serving the broadcast media technology sector, we recognise our responsibility to lead by example. Our baseline measurement shows a current footprint of 4.1 tonnes CO2e across all scopes, and we've set an ambitious near-term target of 20% absolute emission reduction by August 2026. Key highlights from our 2025 report: 🌎 Net zero commitment by 2030 🌍 20% emissions reduction target by 2026 (from 4.1 to 3.28 tonnes CO2e) 🌏 Focus on Scope 3 emissions (80% of our footprint) 🌎 Comprehensive action plan including equipment lifecycle extension, travel optimisation and strategic spending reductions This is just the beginning of our sustainability journey. We're committed to transparency, continuous improvement and supporting ethical and verified offset projects for any residual emissions. Read our full report 👉 snip.ly/1t9d3y SME Climate Hub Cambridge Institute for Sustainability Leadership (CISL) Media Tech Sustainability Series #ClimateReport #NetZero #NetZero2030 #Sustainability #ClimateAction #SMEClimateHub #BroadcastTech #CorporateResponsibility #BusinessActivist #TripleBottomLine #ClimateCommitment

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“The market feels tough right now.” I hear this almost daily from people, globally, across the Broadcast, M&E, and Sports Media industries, whether they be from vendors, broadcasters, rights holders, service providers, or system integrators, often in response to the headlines and ongoing uncertainty in our industry. And to be clear, that feeling is valid. M&A activity, restructurings, changing ad models, and evolving business priorities have impacted a lot of very talented people. Traditional broadcasters and networks are under real pressure to adapt, and that uncertainty inevitably flows through the wider technology and vendor ecosystem. So yes, parts of the market are challenging. But I don’t believe the full story is one of decline. From my perspective, working closely with startups and scale-ups, I’m also seeing resilience, innovation, and opportunity. While some larger organisations are navigating legacy challenges, more agile businesses are building, hiring selectively, and rethinking how and where their technology adds value. Video technology hasn’t become less important; it’s become more universal. As a result, technology and skills that were once seen as “broadcast-specific” are finding relevance in new verticals, new use cases, and new business models. That shift creates different opportunities, even if they don’t always look familiar at first. AI is another area that understandably raises concern. But in a people-centric, relationship-driven industry like ours, AI is far more likely to support how we work than replace what we do. Trust, experience, judgement, and human connection still matter, and I don’t see that changing. If you’re feeling uncertain about your role or the direction of the industry, my advice is simple: stay open, talk to people, and take time to understand how your skills can translate into what’s emerging next. This is a period of significant change, and change is rarely easy. But it isn’t inherently negative either. I remain optimistic about where this industry is heading, even if the path there feels uncomfortable right now. #MediaAndEntertainment #BroadcastIndustry #SportsMedia #MediaTechnology #LeadershipThroughChange #CareersInMedia #FutureOfWork #808Talent P.S. Picture is of Ruby, the 808 Talent Cockapoo, reflecting while on the lunchtime walk!

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My article on Broadcast responding to the call from Freely for digital terrestrial TV to be switched off as early as 2034. Switching off DTT would be a very different process to DSO, which itself took 13 years from announcement to completion. Even if you access streaming services on your TV today, you may have to junk your set-top box and buy a new one. Your PVR will have to be replaced, if that is possible. Don't forget about those second and third sets: more cost and hassle there. You may also need to upgrade your broadband to remove data limits or improve download speeds. You may need a new fixed-line contract alongside mobile broadband. All of this new kit, time, effort and money will get you nothing extra, just the services you have today. Well, I suppose you may get extra buffering, more signal drops and less PVR functionality. (And remember: after switch-off, if you have to cancel your broadband - e.g. if you lose your job - you will lose streaming access and linear TV. 'Free' TV will overnight become dependent on a subscription.) That is actually the easy part. As many as 1 million homes will need to get connected to broadband for the first time. They will disproportionately be old and poor - and amongst the heaviest watchers of live TV in the UK. For 20 years these homes have resisted signing up to broadband: maybe they don't want it; very possibly, they can't afford it. But now, like it or not, broadband will become a prerequisite for watching TV. The additional expense will take the entry cost of 'free' TV - a broadband contract, plus the licence fee - to over £500 per home per annum. 'Free-ly'? Not really. In reality, much of that cost will fall to the public purse: the price of the broadcasters saving on transmission will be a much larger rise in cost via public subsidy. (BTW this all assumes that high-speed broadband reaches universal coverage by 2034. Good luck Scotland, in particular, if coverage falls short and DTT has already been switched off!) In short, a rushed switch-off will deprive millions of broadcast services they enjoy - and which the most vulnerable in our society rely upon . It risks turning the digital divide into a chasm. It could cost a fortune. And the benefits to viewers are minimal. Thankfully, there is another way: extending the DTT network currently used by around 14 million homes on primary and second TV sets. The even better news is that this can be done for lower cost and with much greater efficiency, using DVB-T2 technology. That will also allow spectrum to be cleared and auctioned, actually raising money for the Treasury. Nor does this mean turning back the clock: Most UK homes already have access to streaming and that will continue to grow. It just means UK viewers enjoying the best of both worlds - linear TV, plus online services - well into the 2040s. https://lnkd.in/exnuiJ4D

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Global TV & film industry shifts: Nordic commissioning slump, Banijay slate, Netflix-Warner deal, Roku ads tech, Disney’s Moana, Series Mania trends and microdrama growth. https://lnkd.in/geQ-aiUk

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Ofcom has enforced a draconian step backwards for UK commercial radio. Ofcom’s new local news requirements for analogue stations might be well-intentioned, but they fundamentally misunderstand how audiences consume news in 2026. Let’s break it down: • Mandatory hourly local news 6am–7pm weekdays • Minimum three peak bulletins at weekends • News must include stories gathered by journalists physically present in the licensed area • Tiered compliance depending on turnover • Full rollout by 2027/28 On paper? Sounds pro-local. In reality? It’s a heavy regulatory throwback. Here’s the uncomfortable truth: Listeners absorb news on their mobile phones. That’s where breaking stories land. That’s where updates evolve. That’s where depth happens. Do audiences care where a story is collated? No. They care that it is: • Relevant to their community • Trustworthy • Clear • Tells them what they need to know That’s it. Radio has done something remarkable over the past decade. As a so-called “legacy” medium, it has stayed culturally and commercially relevant. It adapted. It streamlined. It centralised intelligently where appropriate. It protected quality journalism while managing brutal economic realities. Now we’re layering on: • More mandatory bulletins • Physical presence rules • Fixed scheduling requirements All in an environment where commercial revenues are under sustained pressure. This will not magically improve journalism. It will stretch already thin newsrooms. It will divert money from digital development and talent investment. It will increase compliance cost at the worst possible time. And the “physically present journalist” requirement? In a hybrid, connected, cloud-based media world — that feels especially outdated. Journalism is about verification, contacts, judgement and trust. Not postcodes. Local news absolutely matters. It's been very much part of my career. But relevance is not created by regulation. It’s created by editorial judgement and sustainable business models. If we overload stations with compliance cost, we weaken the very thing we claim to protect. Radio has fought hard to remain relevant alongside TikTok, YouTube, Spotify. and Podcasts. This feels less like protection — and more like hampering on progress. Curious to hear how others in commercial radio are viewing this. Is this safeguarding local journalism — or financially squeezing it? #CommercialRadio #UKRadio #Ofcom #LocalJournalism #FutureOfRadio #MediaRegulation

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