24

Oct

5 licensing trends influencing growth for brands

The Fifa 2014 World Cup mascot visits Brand Licensing Europe 2012.

Brazilians will name the mascot through a nationwide poll in November 2012.

 

We’ve just completed this year’s campaign for Brand Licensing 2012 which has been the biggest ever licensing event of its kind anywhere in the world outside of the US. The world’s biggest brands were there in force at Olympia from the media, entertainment, sports and lifestyle sectors, with over 280 brand owners showcasing over 2,200 brands, characters and images available for license. Attendees totalled nearly 7,000 people, up 25% year-on-year.

So, why the growth in licensing? Well, our take is that it is a sector that is demonstrating a fantastic entrepreneurial spirit in all types of businesses, from global and world-famous names to the digital newcomers and one-person start-ups. Licensing represents new revenue streams for business under pressure from established business models as well as powerful opportunities to brand-build and there are clear trends which indicate further positive growth and focus on licensing for brand owners.

Here’s five trends that we’ve identified from this year’s show.

1. Licensing is increasing in importance as a revenue stream for global media, entertainment, sports and lifestyle businesses. As established revenue streams, such as DVD sales, TV advertising and paid-media are challenged, licensing offers up an exciting new way to bring in revenue from fans. The world’s biggest brands – World Cups, blockbuster films, hit TV shows, major sports teams and more – are investing in the development of powerful licensing campaigns to extend the reach and value of their brands. For example, FIFA set out its planned strategy for World Cup 2014 in Brazil and how licensing will play pivotal role in building the FIFA brand. FIFA’s revenue splits into two thirds TV and one third sponsorship. So licensing is not about revenue at all. It is all about brand building and how licensed products can develop the brand and fuel fan excitement for teams, players and the event itself on a global basis.

2. Licensing can turbo-charge the profile of new brands for entrepreneurs. One example is City of Friends – uniquely based on the adventures of real-life Norway state police officer Carl Christian Hamre. Hamre created bedtime stories for his young son based on his day job as a police officer and within four years, established CreaCon Group, one of Norway’s largest independent children’s entertainment production companies with businesses spanning television production, licensing, live events, music and digital operations. There are also new business models developing and being applied to the sector. Take, for example, a new launch at this year’s show (and a Braben client) – Shopping4fans which is the world’s first Internet Shopping Club for official products.

3. Licensing is at the heart of how new brands are hyped and extended to as broad a fan base as possible. Examples include Caroline Mickler Ltd showcasing lingerie, sleepwear, apparel, bedding, home furnishings, stationery, jewellery and adult products for Fifty Shades of Grey.

4. Licensing works brilliantly with archive content from much-loved brands, tapping into retro and releasing new revenue. There were multiple classic brands returning this year: Teenage Mutant Ninja Turtles are back as a highlight at this year’s show, on the back of a new TV series and celebrating over 25 years since the characters’ first appeared. They were joined by Roobarb & Custard, Batfink, Garfield, Where’s Wally (celebrating its 25th anniversary), Purple Ronnie (celebrating its 25th anniversary), My Little Pony, Transformers, Monopoly, Power Rangers (another 25th anniversary), R Whites lemonade and Rainbow which is 40 years old this year.

5. There is an exciting future for licensing in mobile gaming. People are interacting with gaming content in a different way on smartphones or tablets. With the forthcoming release of the Kindle Family Fire, this Christmas will see more tablets in UK households than ever before. For example, Disney Mobile boasts award-winning studios that consistently develop chart-topping, critically-acclaimed apps. Meanwhile, new gaming community Taymai is developing a business model where gamers can actually lobby for merchandise to be created and sold for their favourite mobile games.

We’re strong believers in the power of licensing. Our experiences at this year’s Brand Licensing Europe have served to reinforce the exciting possibilities the discipline offers to owners of any brand with fans who want more.

212 days ago Short URL Comments

Content/Digital/Events/Licensing

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19

Oct

Technology Helping Lucasfilm Take Star Wars™ To A Third Generation Of Fans

This is the next installment of our blog series from Brand Licensing Europe 2011 where Braben is the PR partner for this spectacular event showcasing many of the the world’s biggest and most exciting brands for licensing opportunities…

Howard Roffman, president of Lucas Licensing, speaking at Brand Licensing Europe 2011 today revealed that new technology, like animation and 3D, are crucial to keeping the brand fresh, helping Lucasfilm take Star Wars™ to a third generation of fans.

He also revealed more details about the hotly rumoured Star Wars™ animated TV comedy series with Seth Green which will premiere “within the next two years”, as he was grilled by EMPIRE magazine editor-in-chief Mark Dinning in The Big Interview. Roffman also hinted that a totally new Star Wars™ live action TV series was under consideration for the future.

Whilst careful not to give away too many details, Roffman said that Lucasfilm is working closely with US comedian Seth Green, of Family Guy and Austin Powers fame, to finalise the comedy TV series. He said that Lucas has always found Star Wars™ parodies extremely funny, citing a brutally frank French & Saunders parody as an example, and is thrilled to be exploring opportunities in a new area of the brand.

Roffman said: “Lucasfilm knows that to keep the brand fresh and exciting for both new and existing fans, we must always look for new ideas. For example the Clone Wars TV series has been an exciting new chapter for the Star Wars™ brand. The changing nature of technology has also opened many doors. In 2011 we launched blu-ray versions of all six films and in February 2012, we will launch a 3D version of Star Wars: The Phantom Menace in cinemas worldwide, as we aim to reach a third generation of fans.

The new animated Star Wars™ comedy series with Seth Green is a product of Lucasfilm’s focus on continued innovation. I remember showing George the French & Saunders parody of The Phantom Menace with trepidation in my heart, but I don’t think I have ever seen him laugh that hard! Lucasfilm has never been more prolific. We are in one of the most exciting phases of Star Wars™ 34-year history.”

Roffman has been a part of Lucas Licensing for 31 years and there are few people closer to the Star Wars™ brand and the secrets behind its success. The third-highest-grossing film series in history, Star Wars™ consumer products have sold a staggering $23bn worth of merchandise over the last three decades. The brand continues to thrill and engage its third generation of fans through the blu-ray releases, the upcoming 3D cinematic experience and now one, possibly two, new TV series’ on the way.

583 days ago Short URL Comments

Content/Digital/Licensing

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18

Oct

The five secrets of MOSHI MONSTERS™ success

Michael Acton Smith, CEO and founder of Mind Candy, the UK-based social online gaming company behind global children’s phenomenon, Moshi Monsters, delivered today’s keynote speech at Brand Licensing Europe 2011 to a packed hall. The following is a summary of his keynote and it includes the five secrets of the brand’s phenomenal success.

Smith is the driving force behind one of the biggest children’s licensing success stories of the past few years and as such, has become a very influential figure in the industry worldwide. In less than three years since its launch, Moshi Monsters – an online community of adoptable pet monsters for children – has attracted almost 50 million users globally. Currently half of all children in the UK aged 6-12 have one and in the US the figure is one in five children in that age group and growing rapidly.

Moshi Monsters brought its immense popularity to the licensing world in January 2010 with the launch of a range of merchandise, including trading cards, a Vivid Imaginations toy line, books from Penguin and a bestselling self-published magazine. Mind Candy expects gross retail sales of all Moshi Monsters related product to be over $100m this year alone, signalling an influential new licensing model for the first generation of ‘digital’ children, directly challenging traditional children’s media.

Key facts & stats:
Moshi Monsters has 50 million registered users globally; one new user signs up every second
• It is played in 150 countries worldwide; its biggest markets are (in order of size) the UK, USA, Australia, Canada, New Zealand and Ireland
• Moshi Monsters is the fourth most popular website amongst girls and boys aged 4-6 yo and fourth for boys in the 7-12yo age group. In girls aged 7-12yo it is beaten only by Facebook.
• Around 65% of users are female and 35% male
• Moshi Monsters is at the forefront of the new transmedia trend, with a focus on taking the brand across many different platforms in ways that benefit the audience as much as possible
• Mind Candy still holds 100% IP for Moshi Monsters, giving it total creative control
Smith said there are five main reasons why Moshi Monsters has become so successful –

1. “Moshi Monsters’ players drive development. We work hard to get the audience involved; we constantly ask for opinions, for ideas, for feedback. For example we recently had thousands of ideas submitted when we asked about trading cards. When we use a suggestion, we always do our best to give the kids the credit for their ideas, giving them social currency to show off in front of their friends.”

2. “We use many different channels to promote and grow Moshi Monsters, and we’ll always make brave choices if we think it’s best for the brand. For example, many people told us not to move into print, telling us we’d be better off sticking to our core digital offering. Despite this, we launched Moshi Monsters magazine, which is now the number one best selling children’s magazine in the UK.”

3. “We never rest, we are always evolving the Moshi Monsters world, adding new content to ensure the brand remains fresh and exciting. Being digitally based allows us the flexibility to iterate quickly and continuously introduce new characters in real time, something that is restricted by the production processes of film and TV. We have now built up to over 200 hugely popular characters. Our content can be easily tweaked depending on its popularity. This is the appeal for kids – they have control of this world in a way they just don’t in the real world, so rather than a media owner telling them what they will and won’t like, they make those choices.”

4. “Moshi Monsters has an exceptional marketing team, covering live events, PR and brand marketing. But even more importantly, we have the product right. Between 2007 and 2009 we had very little marketing, because we knew product was the key – in my experience marketing is often used to mask problems with a product. We knew we had it right in mid-2009 when it suddenly took off. The Eureka moment was realising the kids want social interaction online just as much as adults, so we overlaid the digital game with ways to connect, share and talk about it. Suddenly it was a hit. A tip from us – marketing should be an accelerant to the fire, not the spark that gets the fire going.”

5. “We make sure we are the best licensing partner we can possibly be, responding quickly and approving or suggesting ideas as proactively as we possibly can. Our partnerships are critical to the expansion of Moshi Monsters. For example, Moshlings, a sub-brand of creatures, has become one of our biggest areas of expansion, with opportunities in many sectors, even a Moshling fashion range.”

584 days ago Short URL Comments

Advertising/Content/Digital/Events/Licensing

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29

Sep

The inside track on the London 2012 commercial campaign

The London 2012 commercial team was the focus of ‘The Big Interview’ in the Licensing Academy at Brand Licensing Europe 2010 today. London 2012 Vision – Retail, Licensing and the Olympic and Paralympic Games – The Story So Far, created an opportunity for licensing industry professionals to hear, in detail, about the commercial campaigns surrounding the London 2012 Games.

The Big Interview featured three key members of the London 2012 team: Charlie Wijeratna, director of commercial negotiations, Simon Lilley, head of licensing and retail and Warren Traeger, licensing manager, toys, games and souvenirs. It was hosted by Kevin Roberts, the editorial director of SportBusiness Group, and was followed by a Q&A session from the floor.

1. There will be 205 nations taking part in the London 2012 Olympic Games, consisting of a combined 10,500 athletes, 70,000 volunteers, 20,000 accredited media, 8m tickets, a global audience of 4bn and 26 Olympic sports across 300 events in 17 days. This will be followed two weeks later by the Paralympic Games, the world’s 3rd largest sports event with an additional combined 4,500 athletes, 2m tickets, 20 Paralympic sports, across 12 days and a total of 471 events.

2. The Olympic Delivery Authority (ODA), the public body responsible for the regeneration of the east London site and developing and building the new venues and infrastructure for the Games, is investing £9bn. LOCOG, a privately funded company, will secure approximately £2bn of private investment to enable the Games to be staged. This will be raised from a combination of ticket, broadcast, sponsorship and licensing revenue.

3. More than £650m of domestic sponsorship revenue has already been raised nearly two years before the event. Licensing royalty revenues are anticipated to generate approximately £80m.

4. Around 50 licensees are projected to produce over 10,000 products for the Games, covering everything from clothing and headwear to toys and games, stamps and coins, souvenirs, jewellery, pins, stationery and publishing. The range will be diverse from pocket money items under £1 to highly valuable, collectable and limited edition products such as a £28,000 solid gold souvenir coin.

5. LOCOG will open a range of London 2012 shops to showcase official licensed products, including a 40,000ft megastore in the Olympic Park. However, the Olympic and Paralympic Games are an opportunity for all retailers in the UK to sell London 2012 products.
6. LOCOG anticipates retail sales to be in excess of £1bn and describe 2012 as “the year of two Christmases”, advising retailers to adjust planning and buying strategies to encompass two major sales seasons.

7. The iconic heritage of the Olympic Movement offers a new angle to licensees. Imagery from previous Games, including those hosted by London in 1908 and 1948, present a fantastic opportunity for higher end vintage ranges.

8. It is crucial that LOCOG protects its revenue by maximising legal rights, deterring infringers through education and action and pursuing infringement action thereby protecting the financial commitments made by sponsors and licensees.

9. It is not just the London 2012 logo that is protected from unofficial merchandise outlets. The words London 2012, Olympic, Paralympic, Olympian, Paralympian, Olympiad and Paralympiad are also to be protected along with the mascots and mascot wordmarks.

10. As well as the London 2012 ranges of merchandise, LOCOG will be launching a range of patriotic Team GB and Paralympics GB merchandise in 2011. An initial collection of adidas Team GB merchandise, designed by Stella McCartney, was launched last week in London 2012 online and St Pancras shops and selected sports retailers.

968 days ago Short URL Comments

Events/Licensing/London 2012/Sport

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28

Sep

10 things we learnt from Andrew Davenport today at Brand Licensing Europe 2010…

1. Davenport described rumours of the demise of In The Night Garden in the media this week as premature – 100 episodes were commissioned by the BBC and have been made. Davenport, his Production Company, Ragdoll, and CBeebies, are now jointly exploring exciting new ways to bring the adventures of Igglepiggle, Upsy Daisy and friends to life. While cagey as to what form this would take, Davenport hinted that music would be key.

2. 2010 was an exciting year for In The Night Garden, which extended its brand, taking to the road as a stage show. Hugely successful, 100,000 parents and kids experienced what Davenport, quoting a 1796 thinker, called an ‘unfatiguing exercise of the mind’.

3. The key to effective licensing is the strength of the central product and the emotional connection the audience makes with it. A commercial programme, such as the one managed by the BBC on behalf of In The Night Garden, must be tailored to be relevant.

4. Children’s programmes are often most successful when adults don’t understand the appeal. The adult furore initially caused by the release of Teletubbies was not reflected amongst the audience it was aimed at – proved by the success of the programme the world over. Initial fears that the simplified language would ‘take children’s speech backwards’ proved unfounded, as kids can distinguish between fantasy and real life. As an example for perspective, Davenport said a child living with a dog would not start barking a welcome at the door, or start binging like a microwave at the end of an activity!

5. Music brings back intense personal recollections. Davenport, 45, played a piece of music from the popular BBC radio show ‘Listen with Mother’ on air from 1950-1967, explaining that it took him right back to being a 2-year old in his grandmother’s kitchen, giving him a feeling of love and security. Davenport explained that it was his objective, through the power of TV, to give children the same kind of experience and memory.

6. Creating children’s television is an extremely personal thing in Davenport’s eyes, and very important given its educational value. Successful creators are able to put aside their adult focus and cynicism and develop programmes that connect with an audience that is still learning and enjoying the varied meanings of up/down, coming/going and near/far.

7. Davenport was exposed to licensing at a very young age, thanks to a very astute Aunt in the United States, which at the time, was well ahead of the UK. A Cookie Monster toy, a Charlie Brown pillow case and Snoopy accessories were all treasured gifts for a boy.

8. Successful children’s television programmes all tap into the universal children’s theme of ‘play’. ‘Play’ at a young age is physical, cogitative and social, as children start to move beyond a helpless infant stage and into the development of a ‘wilful personality’.

9. Both Teletubbies and In The Night Garden focus on an ‘explosion of physical activity’, but Davenport asserts that this must be done in a safe and reassuring manner – all of the characters falling down for example, in reality this would hurt, but the characters are made to laugh so that the children can identify and enjoy the silliness of the activity.

10. When describing his own inspiration, Davenport said a lightbulb moment came when he discovered, in his former role as a children’s speech therapist, that children uncomfortable in a new environment would respond to a puppet better than a real person. At a young age children have an overwhelming need to be right, so a puppet pointing at a table and saying ‘that’s a nice sausage, I might wear it on my head’ will generate a response far quicker and more effectively than almost any other technique.

969 days ago Short URL Comments

Events/Licensing/TV

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27

Sep

10 Useful Things To Know About Brand Licensing Europe 2010

Brand Licensing Europe 2010 is the definitive event for the European licensing industry. Over 230 exhibitors and 5,000 visitors are expected to descend on the Grand Hall at Olympia for the next three days to see what’s new and hot for 2011 in the lucrative, multimillion pound world of licensing and brand extension.

Here are 10 useful things to know about Brand Licensing Europe 2010:

1. Andrew Davenport, the award-winning creator, writer and composer of the children’s television phenomenon, In The Night Garden, and co-creator and writer of the global smash television hit, Teletubbies, will deliver the 2010 keynote speech on Tuesday 28th September at 13:00

2. The London 2012 Commercial team will feature in The Big Interview on Wednesday 29th September at 13:00 in the Licensing Academy – an exclusive opportunity to hear, in detail, about the commercial licensing campaign surrounding the London 2012 Olympic Games

3. This year’s inaugural License This! The Next Big Thing event will showcase new licensing concepts on Thursday September 30th at 13:00. The competition is hotting up between Bondiband, a boys’ action animation, starring a rock band with very special musical instruments; Animaru, a graphic design property from UK artist Sophie Hinton; Made in Me, a web-based concept for young children, centred on story telling and imaginative play; and Gombby, a Portuguese animated pre-school series about a boy baker

4. In total, 236 licensors and agents will exhibit, representing over 2000 fashion and lifestyle brands, children’s characters, celebrities, art and image libraries, sports clubs, movies and TV shows

5. Exhibitors including the NBA, Manchester United, Ultimate Fighting Championship (UFC) and many more will be present representing the world of sport, which is witnessing rapid growth in licensing opportunities

6. Licensing remains a huge revenue opportunity for TV, with exhibitors present including BBC Worldwide, ITV Global, FremantleMedia Enterprises & Zodiak Rights

7. Joining them will be exhibitors from the world of film and entertainment including Twentieth Century Fox, Lucasfilm, Aardman Rights and Hasbro Entertainment & Licensing

8. Another growth area for licensing is in the world of arts and culture, where exhibitors include The Natural History Museum, The Royal Opera House, the Royal Horticultural Society and The Royal Parks

9. Or if you’re intrigued by the new licensing opportunities in the digital and gaming space, exhibitors present include Sega Corporation, Sony, Ubisoft Entertainment and specialist digital licensing agency, AT New Media which specialises in licensed apps

10. And witness Europe’s biggest parade of costume characters, when 50 costume characters including Peppa Pig, Elmo, SpongeBob, Dennis The Menace and Cat In The Hat come together in a hugely exciting and colourful visual extravaganza

970 days ago Short URL Comments

Digital/Events/Licensing/Research/Sport/TV

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23

Sep

Why The Simpsons is the perfect example of a licensed media product

In these changing times for the media industry where traditional advertising revenues are under pressure, The Simpsons has been cited in a survey by our client, Brand Licensing Europe 2010, as the best global example of driving revenue in through licensing by a TV show.

Licensing is becoming an increasingly important factor in revenue-generation for media companies. Next week’s event at Olympia is the ultimate showcase in pan-European licensing as the industry comes together under one roof for three days.

Full details on the survey below. One thing to bear in mind is that its not just media that is benefiting from the growth in licensing; other vertical sectors are too as our research for the event is demonstrating, including sport and technology.

For more details on Brand Licensing Europe 2010, go to http://www.brandlicensing.eu.

THE SIMPSONS VOTED MOST SUCCESSFULLY LICENSED TELEVISION SHOW OF ALL TIME

- The Simpsons has over 400 official licensees and worldwide retail sales topping $8 billion, in a global industry worth $191 billion -

- Harry Potter edges out Luke Skywalker and Superman as the most powerful licensed film character of all time –

- Twilight’s Edward Cullen (Robert Pattinson) most profitable licensed film character of 2010 -

London, 23 September 2010: a global survey conducted by Brand Licensing Europe 2010, Europe’s premier licensing trade exhibition, has revealed that our fascination with the antics of Homer Simpson and his family remains as strong as ever despite more than twenty years on our screens and over 450 episodes.

The survey asked global licensing professionals to rate a range of film and television shows and characters in terms of licensing success – the ability to generate a successful revenue stream through the sale of licensed merchandise, from clothing to toys, games, books and films. The Simpsons took 31% of the vote, followed by Sesame Street on 26% and Looney Tunes on 10%.

Officially the longest running primetime comedy in TV history, The Simpsons has over 400 official licensees and worldwide retail sales topping $8 billion. The licensing industry itself is worth $191 billion globally.

Boy wizard Harry Potter, star of the upcoming and eagerly anticipated two-part film finale – Harry Potter & The Deathly Hallows – was voted the most powerful licensed film character of all time. With 20.8% of the vote, Potter narrowly edged out Star Wars hero Luke Skywalker on 20.6% and Superman on 20.1%.

Proving yet again the buying power of Twilight fans the world over, vampire Edward Cullen, played by British heartthrob Robert Pattinson in the films, took over 32% of the vote as the most profitable film character of 2010, followed by Toy Story 3 spaceman Buzz Lightyear on 27% and Harry Potter on 18%.

Perennial favourite, The Muppet Show, was also voted the TV show most likely to offer the best licensing opportunities should it be revived again, with nearly 35% of respondents putting it ahead of Star Trek on 24% and Friends on 7%.

The survey also helps answer the age old question of who is the ultimate superhero – with 33%, Spiderman netted the title of most valuable superhero of all time, ahead of Superman on 31% with the caped crusader, Batman, on 29%.

And finally, Lost, despite finishing in 2010 after six seasons, is not lost forever. The drama was voted the TV programme with the most potential for further licensing growth, taking nearly 30% of the vote, ahead of New Jersey-based mob drama The Sopranos on 16%, and Baywatch on 12%.

The survey boasts feedback from a diverse global panel of heavyweight licensing brands across many different sectors, from newspapers to film, digital and technology brands through to sportswear, retail and FMCG, gaming, automotive, toys and fashion, plus an interesting sample of global media organisations.

Jessica Blue, event director, Brand Licensing Europe 2010 said: “The licensing power of film and television is phenomenal, so it’s not surprising to see The Simpsons top the survey given the bold and clever nature of their licensing programme. Brand Licensing Europe attracts over 230 exhibitors and 5,000 attendees annually, making it the number one place for brands to explore opportunities and develop new avenues for extension and commercial revenue.”

Brand Licensing Europe will take place at Olympia from 28-30 September 2010, with film, TV and entertainment brands represented from across the globe. Exhibitors this year include: BBC Worldwide, ITV Studios, Paramount Studio, Nickelodeon, RDF Media, Sony Pictures Entertainment, Twentieth Century Fox and Turner CN Enterprises.

To register to visit Brand Licensing Europe 2010, go to http://www.brandlicensing.eu.

974 days ago Short URL Comments

Digital/Licensing/Research/TV

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12

Aug

Here Come The ABCs

Today’s ABC results is driving debate about the differing levels of performance of magazines in the UK.

A useful summary link to the top 100 titles is here:

http://www.brandrepublic.com/news/1021986/magazine-abcs-top-100-magazines-glance/

And the following is some useful analysis and perspective on the children’s market from Sam Vernon, Egmont’s Creative Solutions Group Sales Manager – magazines & online.

For pre-teen girls the industry is waiting to see what the next big craze will be giving publishers the opportunity to capitalise on that craze as High School Musical and Hannah Montana are seeing a decrease in their popularity.

While there is a lull in must-have brands for pre-teen girls, lifestyle titles are benefiting from pre-teen girl readership as shown by Egmont’s Go Girl and BBC’s Girl Talk increasing in circulation.

Children’s publishers have also been able to capitalise on the fast changing trends and interest of children by producing one off specials for popular brands, such as Egmont’s All About… and Latest series which see them focus on a ‘brand of the moment’ and answer consumer needs by capturing the mood of the moment. Other publishers are following suit with one-off specials as a growing revenue stream.

The children’s market as a whole saw a far smaller decrease in sales this period than last year, showing the market is in recovery.

There has also been less closures in the children’s market in this period giving confidence to the market that consumers are growing their spend for children’s magazines.

1016 days ago Short URL Comments

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01

Sep

Media Events This September

It’s a busy month for media events.

Here’s a selection from the ones on the media radar here at Braben this September. For further details, feel free to drop me a line…

  • 07 September 2009 – TV Quick & TV Choice Awards, London – Acknowledges most popular TV programmes and stars – http://www.tvchoiceawards.co.uk
  • 08 September 2009 – GQ Men Of The Year Awards - http://www.gq.com
  • 08 September 2009 –  The Guardian Children’s Fiction Prize – http://www.guardian.co.uk
  • 10 September 2009 to 15 September 2009, International Broadcasting Convention (IBC) – Aimed at electronic media professionals and those involved in the creation, management and delivery of entertainment content including the world’s key technology suppliers –  www.ibc.org
  • 11th September-  The Licensing Awards 2009-  http://www.thelicensingawards.co.uk/
  • 15th September 2009 – Westminster eForum Keynote Seminar – VoD, IPTV and Webcasting Television Services and the Internet with Jeremy Olivier Head of Convergent Media Ofcom-  http://www.westminsterforumprojects.co.uk/eforum/bookvod.html
  • 15 September 2009 to 17 September 2009 –  Print For Business Exhibition-  www.ipia.org.uk
  • 16 September 2009 –  Get More Bang For Your Online Buck –  Revolution magazine event looks at maximising online revenue streams through emerging web-based media channels –  www.haymarketevents.com
  • 16th – 18th September 2009 –  RTS Cambridge Convention 2009 – Gathering of high-level broadcasting executives –  http://www.rts.org.uk/Events.asp?sec_id=3179
  • 17 September 2009 –  Aerial Awards for Radio Advertising- http://www.radioadvertisingawards.co.uk
  • 18 September 2009 to 27 September 2009 –  Bath Festival Of Children’s Literature –  www.bathkidslitfest.co.uk   - Egmont attending, Braben organising media attendance
  • 18 Sept 2009 – Future of Radio-  http://seminars.mediatelgroup.co.uk/
  • 22-23 September 2009 –  Ad-Tech London 2009 – (B2C Content & Design Award, B2C – Awesome Little Bit of Wickedness Award  - http://www.ad-tech.com/london/
  • 28 September 2009 to 29 September 2009 –  Social TV Forum - Examining the current state of social TV, the challenges in developing and implementing social TV experiences and the future outlook of social TV. Features an exhibition and an evening networking reception. Part of a world series of events, also taking place in Singapore and California –  www.social-tv.net
  • 29 September 2009 – TV Advertising-  event focusing on the power of marketing and advertising across multiple TV platforms –  www.centaurconferences.com
  • 30 September 2009 to 01 October 2009 –  Brand Licensing Europe –  www.brandlicensingeurope.com

1361 days ago Short URL Comments

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