Tony Harmer

Simon & Schuster UK have announced that they are launching Solstice Books, a new SFF, Romantasy and Horror imprint, as Gemma Creffield is set to join as Editorial Director. Creffield, who is currently Associate Publisher at Datura Books & Angry Robot, will join Simon & Schuster UK on 1st September and will spearhead the new imprint, which will launch with titles in spring 2026, including Naomi Ishiguro’s The Rainshadow Orphans and A. F. Steadman’s first adult fantasy, TimeLess. Gemma Creffield said: "After commissioning stand-out sci-fi, award-winning fiction and bestselling fantasy at Angry Robot & Datura, I'm beyond delighted to be taking on a new venture at the prestigious powerhouse of publishing, Simon & Schuster. The company's perpetual drive for reinvention and growth is something I have long admired, and I'm so excited to be leading their latest innovation, Solstice, and making a new mark in the SFF space in the UK."  Link to coverage in The Bookseller in the comments.

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British Film Commission in conjunction with UK Screen Alliance are proud to sponsor the 2025 edition of the Visual Effects & Animation World Atlas, published today (29th July).   We’re looking forward to seeing the impacts of meaningful new interventions, including augmented rates for VFX tax credits, the lifting of the 80% cap, and the Enhanced AVEC for limited budget films that will offer a huge amount of options for productions. Together with globally-admired VFX and post talent and facilities, this will offer something for productions of all sizes.  To learn more about the World Atlas, click here: https://www.vfxatlas.com/

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Beyond funding the development of creative immersive work in the UK, the Immersive Arts UK programme is also working on valuable industry research. The first official report has been published on ‘The Early Days of the Immersive Exhibition Network’, authored by the fabulous Amy Densley, Tom Abba, and Verity McIntosh. Download it here: https://lnkd.in/e8avW4jk   Over the past 10–15 years, the appetite for immersive work both from artists and audiences has grown faster than the networks supporting it. This report brings together insights and recommendations from sector experts on the challenges and opportunities facing artists, venues, and audiences in the exhibition and distribution of immersive artworks. Immersive Arts is led by a consortium of producing and research partners: UWE Bristol, Watershed, Pervasive Media Studio, University of Bristol, Innovate UK Immersive Tech Network, Nerve Centre, Cryptic, Canolfan Mileniwm Cymru | Wales Millennium Centre, Crossover Labs, Unlimited, and XR Diversity Initiative .   Funding is provided by Arts Council England and Arts and Humanities Research Council (AHRC), Cyngor Celfyddydau Cymru | Arts Council of Wales, Creative Scotland, and Arts Council of Northern Ireland, with National Lottery support via ACW, ACNI, and Creative Scotland. #creativeindustries #innovation #immersivetech #spatialcomputing #XR #VR #AR

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🎶 If you’re a songwriter, composer, publisher or emerging music artist, how do you know you’re fully paid for your music? In this newly released, fifth episode of our Not Just a Number podcast SRLV Director Danny Fletcher sits down with Tony Barton, Director of Writer Relations at PRS for Music, the UK’s leading collection management organisation (CMO) for music creators, to discuss the royalties you might be missing out on. In this essential guide, Tony breaks down how PRS for Music operates and why it’s so important for creators to register their music, as well as covering everything from performance royalties and sync licensing, to streaming payouts, metadata management, and how to claim unmatched, unclaimed and unallocated income. Whether you’re playing open mics, topping Spotify playlists, or working with major publishers, this episode is packed with practical tips, insider advice, and stories from one of the most connected royalty experts in the industry. Plus, we also explore royalty splits, copyright disputes, catalogue valuations, asset-based lending, and why today’s creators need to think like entrepreneurs. To listen to the episode, find the links to our streaming platforms in the comments below. We will be releasing a new episode each week, so be sure to follow our page for podcast updates. The next episode will go live on 20 August. If you would like to be part of our podcast mailing list, please contact Victoria using the email address in the comments. #SRLVNotJustANumber #Podcast #SRLV #Accountancy #MusicRoyalties #PRSforMusic #CreativeIndustry #Music #Copyright #Catologues #Valuations #MusicRights

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Culture Minister Ian Murray carried out his first official visit since being appointed, opening Pinewood Studios’ new Independent  Indie Film Hub. The hub will provide sound stages, production offices and workshop spaces to support independent filmmakers, backed by the Government’s new Independent Film Tax Credit. Minister Ian Murray said: “Pinewood's Independent  Indie Film Hub is a striking example of the innovation and investment that the Government is championing across the creative industries. This world-class facility gives independent filmmakers the tools they need to bring their visions to life, and it was a pleasure to open it today.” This builds on the Government’s wider £380 million Creative Industries Sector Plan, which is boosting local jobs, driving economic growth and ensuring the UK remains a world leader in creativity and culture

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ℹ️ What is an audio-described performance and touch tour? Consultant and Trainer for VocalEyes Audio Description Vidya Nathan discusses her personal experience and takes us behind the scenes at Sadler's Wells’ Peacock Theatre to explore what this accessible performance entails. From getting to feel the costumes and meet dancers on our Touch Tour, picking up your headset and listening to the pre-show introduction, to how the full audio-description sounds, Vidya shows you her experience at one of our performances of My First Ballet: Swan Lake. Hear also from Audio-describers Jo Whitfield and Julia Grundy about the importance of audio-description and how they are involved in the process.  At English National Ballet, we want everyone to enjoy the magic of dance in a way that works for them.  Find out more about our upcoming accessible performances here: https://lnkd.in/eJPvC-XP Dancing by students from English National Ballet School. #Access #AccessiblePerformances #Dance #AudioDescription 

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Why does technology need artists? Because creativity drives innovation, shaping the tools and experiences of tomorrow. Hannah Andrews at the British Council explains how artists are influencing the future of tech, from immersive digital experiences to groundbreaking design. Discover the insights and explore the full potential of art in technology. Read the full report on our website: https://lnkd.in/eix3GmVk #BritishCouncil #Arts #Technology #Innovation

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Bringing 'Superman' back to the big screen meant crafting a visual style that could balance grounded emotion with epic scale. For cinematographer Henry Braham BSC, that meant a mostly handheld, fully stabilised approach—letting the story lead the frame. “I hope [the camera] is an intuitive conduit for the director’s voice to the screen,” Braham says. “The intent is for the visual style to be grounded while taking the audience through a huge visual journey.” #ShotonRED #VRAPTORX https://lnkd.in/gTdACrm6

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