Framing Immersion / Italy

As detailed below the Framing Immersion report I recently authored – a collection of personal testimonies exploring the challenges and opportunities in creating immersive experiences in an emerging market – is now published.

Download here: SWCTN Framing Immersion report

And planning forward travel before disappearing into an Italian summer break, Sept to Dec will see Frankfurt, Los Angeles / Las Vegas, maybe Porto, definitely Helsinki.

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Framing Immersion / Madrid

Over the past couple of months I have been putting together a report capturing the current developments in immersive tech based on the insight of the producers who are the architects of this new form.

Framing Immersion is a collection of personal testimonies on the evolution of an emerging market – an exploration of the challenges and opportunities in creating immersive experiences in a landscape where all parts of the value chain are still evolving at speed, whether production, distribution, audience engagement, business models or even the fundamental grammar of the form.

I’ve grouped the stories under three headings which represent emergent forms of value, the underlying animating context for this exploration of immersive technologies:

Visual – the capacity for immersive technologies to reveal things you could not see previously, and the implications of that function
Commercial – the viability of generating an underpinning business model, and the challenges of balancing growth, scale and innovation
Impact – the opportunity for immersion to achieve affective impact, how relationships with audiences are being changed by new modes of interaction

The report will be published to coincide with the SW Creative Technology Network Showcase, 12th July in Bristol.

Last week I travelled to Madrid to present at the XR Festival, created by Telefonica and British Council, and talk to some of the key Spanish companies in immersive tech.

What was striking were the similarities in conversations in Madrid when compared to the UK research. There is a consistent struggle with current commercial realities and tech limitations, but also matched with a clear vision of positive future potential and an openness to share and collaborate in order to move the development of the whole market forward faster for everyone.

(Haven’t added too many views from my hotel room like the above recently, but just passed 150…)

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Bristol / Cardiff / Porto

Channel 4 has now announced the location for its Bristol Creative Hub in the centre of the city ( It will be interesting to see how this accelerates an already shifting geographic focal point for the media industries in Bristol.

The announcement coincided with the Creative Cities Conference in Cardiff, an event focused on the growth of the television industry outside of London. What was interesting is how the dialogue has changed in recent years, from a dynamic of moving production to the “Nations & Regions” to fulfil quotas, to a much more positive position of the realisation that a diversity of voices and views creates much better television; reflecting an authenticity of people and place on screen drives audience engagement and uncovers previously ignored talent.

Alex Mahon, Channel 4’s CEO, reflected this eloquently in her speech at the event, presenting the C4 restructure as not an obligation or economic engineering, but as a strategic necessity for a forward thinking media business.

And a meeting in Porto echoed this dynamic from a Portuguese perspective, with Porto as the location with integrity and potential challenging Lisbon’s dominant narrative.

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Cold in Stockholm, so retreating to the Pickled Herring pub within the British Embassy as the venue for a presentation on UK creativity / technology seemed like a good option.

Whilst not a big city there is a clear sense that a full ecosystem from start up to major corporate is well established in Stockholm, attracting VC funding and creating a tangible energy and growth.

I met a range of companies, from content production services to B2C marketplaces to immersive tech, with a strong thread of online / social marketing. All very serious businesses with clear forward strategies and investment secured.

By definition their growth requires international expansion at an early stage to find a scale market, so the businesses feel very highly networked and expansive – with London previously the first location of choice due to its multinational global hub profile (c.f. Spotify).

And here the opportunity cost of Brexit becomes clear (as opposed to the actual jobs and legal foundations which are actively being moved out of UK). No matter how I articulate the underlying economic fundamentals, confidence in the UK political infrastructure has evaporated, and decisions to use the UK as a global base are now not being taken.

And whilst these stories may have been told to me in a pub, they were articulated by credible people with high growth potential – now looking elsewhere…

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To the British Embassy in Paris, for a collaboration between Department for International Trade and French TV industry event Série Series (

The day event highlighted British excellence in television production – with a focus on drama series – and attracted an audience of 150+ French producers, distributors, broadcasters and other industry representatives.

I chaired a panel taking the agenda on a slightly forward looking tangent focusing on storytelling within immersive environments, and the significant R&D support invested in innovation under the Creative Sector deal.

Limina Immersive installed their VR Theatre in the truly spectacular Salon Pauline showing Immersive City Bristol, a curated programme of work by Bristol creatives.

The headline speaker was Jed Mercurio, writer of Bodyguard and Line of Duty. In discussing Bodyguard he made a fascinating distinction between plausibility, possibility and probability and how he balances the three when planning plot elements.

Everyone was too polite to dwell on Brexit, but where discussed it was in the now usual perplexed and slightly mournful tone. Europeans are used to consensus politics and so find the catastrophic failure of our entire political class, stuck in adversity whilst we threaten to crash our own economy, baffling. Possible? Probable? Plausible? Discuss.

A panel on UK / Franco collaboration made a slightly tongue in cheek comparison of British as “passive aggressive”, and French, “aggressive aggressive”. Not entirely true but the lines of bristling riot police at the end of the street where I was staying ahead of another gilets jaunes march resonated….

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To a dark, cold Helsinki and Slush, still a show like no other and always valuable.

Slightly less VIP / political presence on stage this year but a high quality attendance across European tech – with AI and healthcare standing out as hot sectors.

In keeping with previous Slush’s the show tends to display more “humanity” than other tech driven events – evident in two themes:

Margrethe Verstager, the European Commissioner for Competition, delivered a strong keynote picking up the erosion of trust between users and the major tech companies – as their data trails have been mined for profit, the privacy of the individual has been quietly but substantial eroded and the platforms have potentially skewed our communications flows to our social detriment. And interlinked, have the companies also used their dominance to drive positions on competition and taxation which are unprecedented – her refusal to excuse as a new digital paradigm, relating back to desired generic corporate standard practice, was interesting.

She made a case for new businesses trading on a “trust value” and to some extent this was reflected across the show, with the start-ups at pains to show transparency on data policy.

Atomico published its annual State of European Tech report and this year highlighted the lack of diversity in the industry – predictably it focused on male / female disparity by highlighting numbers of “female founders” and VC distribution. This feels like a rather top down view of industry change but it’s a start. More positively their side publication of a Diversity & Inclusion in Tech toolkit took a broader view of diversity and inclusion and signaled active engagement.

And at an evening event with the British Ambassador I spoke with the CEO of Supercell. I’d met him previously 7 years ago when he handed me a T shirt and talked about his mobile game. He still wears the same company branded T shirt, but Supercell is now valued at over €10Bn and had €2Bn revenues in 2016…

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Channel 4 Creative Hub – Bristol

After a process which started in Spring 2017, amazing news last week from C4. Having authored the submissions from Bristol, working with IBB and the industry steering group led by Mayor Marvin Rees, this was the decision we’d hoped for from the very beginning (we were realistic that we probably weren’t “northern” enough to be the HQ…).

To quote the C4 press release: “In Bristol there is the opportunity to build on a thriving television production sector in the City, which has world-renowned factual producers and also has strengths in areas such as animation and digital production.

Bristol put forward exciting proposals to establish new social mobility initiatives to work with diverse communities across the city and bring through new talent into the industry.”

For Bristol the positive implications for the creative industries ecosystem in the city, opportunities for new diverse talent and catalyst for secondary inward investment will have a transformative impact.

Now the hard work to deliver the Bristol C4 Creative Hub, a nice problem to have…

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Sao Paulo / Santiago / Buenos Aires (London)

This blog could be subtitled: the failure of politics (with an exception)

A fact-finding / relationship building visit across LatAm was in some ways an object lesson in a seemingly global failure or polarization of politics.

The rise of Bolsonaro in Brazil was greeted by those who I met as terrifying, where the rejection of a previous corrupt administration has somehow opened the door to an ideology which is disturbingly far to the right. Maybe its because I tend to meet liberal creatives, but the scale of his support and seemingly likely success in the run off appears extraordinary given the extreme positions and toxic pronouncements of his campaign – or so you’d hope.

In Argentina, a comment on their cultural “pessimism” was borne out in an argument on which was the worst crisis in their living memory – and despite the rapid devaluation of the peso it wasn’t this one… Businesses in Buenos Aires ascribed an agility and flexibility to this factor, always expecting that things could go wrong.

And our own failure of politics still resonates in South America. Sao Paulo and Buenos Aires are particularly European cities, with strong cultural links to Portugal, Spain, Italy and Germany. Brexit is raised consistently and whilst they understand the strengths of UK creativity and marketplace that I was presenting, the tone of the negotiations and existing alternative EU links immediately raise a barrier. This negative perception, regardless of final granular detail, is already embedded – the view of chaotic positioning, compromised leadership and empty posturing has already delivered an international message of an isolated and conflicted country.

But a bright spot (and matching my Raindance experience). Despite its own challenging political history, well targeted Government policy in Chile aimed at developing an entrepreneurial tech economy is succeeding in accelerating business growth, and attracting new businesses to the country to help build out a new ecosystem.

The picture above is the noize chair by a designer I’d worked with previously, Guto Requena – a classic chair design altered in response to the sound of a Sao Paulo neighborhood and 3D printed. Guto saw his most recent public artwork systematically vandalized by Bolsonaro supporters due to its explicit inclusion of a gay perspective. Whilst horrified, his response was “I will fight them with love”.

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Sao Paulo

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Raindance – Chile

I had the great pleasure of chairing a morning of sessions at the fantastic Raindance Film Festival celebrating Chile as this years’ guest country and the emergence of a new wave of Chilean cinema – capped by the Best Foreign Language Film Oscar for A Fantastic Woman. Some fascinating insights emerged over the course of the sessions.

2005 was identified as year zero in this process, and in fact a specific train journey to a film festival where the current cohort of writers, directors and producers bonded together. Fast forward a decade or so and this group acts as a collaborative and supportive group driving international success and awards (Oscars, Berlinale, Golden Globes, Emmys). To me it felt like an object lesson in the fact that sometimes a small environment can deliver the enabling access, availability and shared sense of opportunity (a certain freedom and motivation) which gets lost in the major economic capitals..

Constanza Arena from Cinema Chile also opened up a very interesting line of thought in response to an audience question. As time has passed since the end of the Pinochet dictatorship there has been a trend away from documentary themes (to some extent evaluating or bearing witness) to more character driven plots – although still in her words with a “focus on uncomfortable subjects”. She identified this trend across other countries, as a major “scar” in their history was re-interpreted over time.

Next an entertaining conversation with Merced Productura regarding their VR film Hotel Zentai (above) – revolving around a lycra clad fetish club. Their response to questions on ethics and presence in VR were essentially that there weren’t any rules yet, they weren’t afraid that something was “too weird”. The fact that they were on skype in Santiago and had clearly just got out of bed added to the surreal undertow…

And finally the fabulous Gonzalo Maza, writer of Gloria and A Fantastic Woman, took us through the development of A Fantastic Woman – including the revelation that Daniela Vega was a consultant on transgender issues long before she was actually cast as the lead actress. He walked the audience through a key scene, ending on a shot of an empty locker with the assertion that “it’s a metaphor, so I don’t have to explain it”.

Next week to Chile proper, as part of a LatAm trip taking in Sao Paulo, Santiago and Buenos Aires.

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