Robert Simpson, PGCE’s Post

Film festivals aren't just events; they're experiences. And now, they're changing. Attendance at virtual events is up by 40%—a clear signal that digital is here to stay. From a professional standpoint, this shift is monumental. It broadens access and tears down geographic and financial barriers. Festival organizers, think hybrid: mix live with digital to create a year-round festival vibe and keep your audience engaged from anywhere in the world.

Some of the most practical tips I've ever received about evaluating my video-format work with an accessibility lens were this: 1. Play your video with your eyes closed - do you still understand what's going on? 2. Next, play the video with your ears covered - do you still understand what's going on? This was part of my mental checklist before I approved anything in post-production and once things were uploaded in the digital space. Small actions we can take that make a big difference for a lot of people. This is something I feel would be relevant for live theatre and makes me wonder how many theatres have closed captioning and audio description devices available for their audience.

Betevé: ‘Plaça Tísner’, another cultural death to television | Cinema and Television There are some cultural programs in the history of Betevé that continue to live on record. Reading room (2001-2006) i Arctic (2013-2022) in series of two examples. In the case ofArcticthe test is the posthumous tribute to the Teatre Lliure, which a few weeks ago the world of culture will pay tribute to its director, Anna Pérez Pagès. They will be unanimously regretted cancellations and, in certain cases, made without elegance by the middle management. The goodbye of Marina Espasa of Reading room will be censored in the rebroadcast of the program by the station, the people of The billboardan excellent film program, will not be left alone even to win over the audience, according to its director. Now, this June 27th, another shutter is coming down on the meager audiovisual map dedicated to culture. It is about Tísner Square, who has been at Betevé for two years and was presented by Laura Sangrà, a contributor to Àrtic. Sangrà carried with knowledge of the cause and associated mistakes with the guests, and faced with the fact that the trio of specialized collaborators gave uneven results, particularly in their expository capacity, it was a good program, with its own agenda, attentive to calls and works. that they are not the dominant calendar, therefore, should ignore it. In addition, from Monday to Friday he occupied the prime time from the radio station. A real bummer, apart from not billing the programs on and with culture in residual hours. The location of the graella gives it its significance and its consequences. This will be explained in the Lliure event by Tània Sarrias. The RTVE Culturas2 programme had gone from 190,000 viewers to 30,000 with the time change from late afternoon to midday (in September it will return to the afternoons). More information Betevé workers, critical of the uncertainty surrounding the changes, have explained that the closure is in response to a plan by management to give the leadership a dominant role from September. It is already true that I will say everything again, but if we are in the case of the Catalan word… with every mistake we lose a lot. And that there were not two or three. The audience data of a cultural programme can never be a single argument. BETVE will be organized in French and culture will be encouraged in the late afternoon, but the existence of a program provides guarantees of occupation of a territory, television, which has a minimum quota for culture (for example to TV3), li cal, he needs. Betevé has been very often, with more or less intensity than ever, the place to find music, films, books… ignored by the big broadcasters. Sangrà, the last day, will emphasize that this last program was “the last hour of culture in prime time to Bethlehem.” We will continue to maintain “as we strive,” she will say, “that a public body must defend culture.” Clara Segura, a guest on the programme, wil...

I'm looking forward to attending this deep-dive free offering from The Film Collaborative next week -- a two-day virtual event with 8 sessions to help you demystify distribution. Topics include: What are “all rights” buyers looking for? Is a hybrid/bifurcated distribution strategy that includes the EU possible, and for which films? Which Educational distributors are out there, for what types of films, and how do you find the one that is the best fit? How should you incorporate an Educational window into your overall distribution strategy? What steps can you take to make exhibitions of your film more accessible and inclusive? What does it mean when festival “hits” are not receiving correspondingly “meaningful” distribution sales offers? Can clinging to the potentially unrealistic dream of a big streaming or all rights deal risk your film’s ability to secure other meaningful distribution? What should you look out for when signing a distribution agreement? Plus, we will be presenting Case Studies on Event Theatrical and Grassroots/Impact Distribution. There’s something for everyone…and it’s free. Register here: https://lnkd.in/dXBEKPfH

🔊🎪 Managing Noise at Live Events: A Comprehensive Guide! 🌟✨ In this informative CircusTalk article, dive into the complexities of noise regulation and management at live events, including circus performances. This feature truly has it all, from understanding noise ordinances to implementing sound mitigation strategies, learn how to ensure compliance while maintaining the integrity of your event. Don't miss out! This guide offers valuable insights and practical tips for navigating the world of noise regulation in the entertainment industry. 🔉🦻👂 🔗 Hear it all on circusTalk News and equip yourself with the knowledge to create memorable and compliant events! 📰🔇 . #NoiseRegulation #LiveEvents #CircusTalk #SoundManagement #EventPlanning #Compliance #NoiseOrdinances #EventProduction #SoundMitigation

I cannot understand why this is even being discussed. If we are being serious about growing theatre audiences, it's not just about ticket prices, it's about providing access. And just like ramps, hearing loops & relaxed performances, content warnings are all about access. If you don't need a ramp, a hearing loop or a relaxed performance, you simply ignore them. Same applies to trigger warnings. We should not be talking about removing access. Ever.

The holiday season is approaching. Here’s a peek at what a holiday party looks like with the bb Team 🎸 From audio visual to entertainment, we have it covered. Elevate your corporate holiday party today! #bbBlanc #corporateevents #events #holidayseason #holidayevents #audiovisual #production #entertainment #theexperienceiseverything #audiovisual

Are immersive shows under-represented when it comes to professional coverage? Interesting article from The Stage Media Company Ltd got us thinking about whether this is true and why that might be... When it comes to what constitutes a "show", the lines have dramatically blurred in recent years, and many go under the radar. Some immersive shows would describe themselves as 'experiences', some 'games', others are 'escape rooms', many more 'theatre' but this all begs the wider question; how do you define theatre? And honestly, we don't have an answer! It can't be ignored that there is an occasional air of snobbishness surrounding immersive shows, and whether publications deem them 'worthy' of traditional reviewing. But witnessing the evolution of live entertainment is exciting! And we've seen first-hand how non-traditional theatre can attract a brand new audience - and what's better than that? The breadth and scope of immersive is wide and as theatre makers, we believe it's our job to welcome as many people as possible to see 'theatre' in all its forms, and we'd encourage more reviewers to take the leap. https://t.co/rXyCBjMgzt

Ever wondered what it takes to turn an empty space into a buzzing event venue? It's 8am and the uRequest Live team gears up for a performance that's hours away. We're here, orchestrating every detail, ensuring the harmony of lights, sound, and ambiance. Why? Because excellence in entertainment is crafted long before the spotlight turns on. Dedication means a 12-hour day for a 2-hour performance. Precision isn't just a goal; it's our standard, from setup to the final note. Harmony behind the scenes creates the magic on stage Behind the scenes, our work is the foundation of the performance, essential yet invisible. Transforming an ordinary room into a concert hall, where every second counts. P.S. Can you share some of the invisible tasks you perform that are vital to the success of your projects?

Happy World Emoji Day! 😎 Whether it's powering concerts 🎤, sporting events 🏆, or film productions 🎥, CES Power ensures your events run smoothly. What's your favorite emoji to describe our services? #WorldEmojiDay #poweringyourvision #connectingyourvision #CESPOWER #CESTECHNOLOGIES #CESGLOBAL