The Cluster is Awarded the Bronze Label of the European Cluster Excellence Initiative Certification

El The European Secretariat for Cluster Analysis has awarded the Catalan Audio-visual Cluster with the  Bronze Label of the European Cluster Excellence Initiative

The certification, awarded after research undertaken by the European institution, evaluates the Cluster according to the European models and confirms that it complies with European quality standards.

The Bronze Label gives the Cluster access to a network of international contacts. The award represents a great step for the Cluster project, as its principle aim is to form connections between companies and institutions from the audio-visual sector both nationally and internationally.

Collaboration Agreement with Mobile World Capital

The Catalan Audio-visual Cluster signed a collaboration agreement with Mobile World Capital, a foundation working on the digitalization and development of mobile technology in Catalonia. This agreement seeks to create synergies and new business opportunities between the Audio-visual sector and the digital world, as well as to work together to turn Barcelona into an international digital and creative hub.

The agreement was signed by Jordi Mendieta, chairman of the Cluster, and Aleix Valls, CEO of  Mobile World Capital.

Final Cut vs Premiere. Trends in Post-Production

The changes applied to both main video editors (Final Cut and Adobe Premiere), plus the latest developments in storage systems are, on the whole, a reflection of the trends affecting the field of post-production globally: new forms of collaboration, the pace of work, team organisation and new technical requirements.

Therefore, the Cluster organised for the first time at the headquarters of SGAE a technical session on post-production: “Final Cut vs Premiere. New Workflows with a Collaborative System of Data Storage”, together with partner company Microgestió, specialising in implementation of new technology and training.

The US Audio-Visual Model. Catalan Experiences in the United States

Last February, the Cluster organised together with the PAC a session on the French audio-visual model, which set off a series of activities aimed at analysing the audio-visual industry in other countries. This time it was the turn of the United States. The session “The US Audio-Visual Model. Catalan Experiences in the United States”, in coordination with the Americana Film Festival and held at the headquarters of SGAE-Catalonia, saw the participation of a group of Catalan audio-visual companies from various fields with the shared experience of having carried out projects on the other side of the Atlantic.


The session, moderated by Noemí Cuní (Grup Broadcaster), was based on the experiences and perceptions of the audio-visual sector in the United States by film producers Sergi Moreno (Lastor Media) and David Matamoros (Zentropa Spain), TV producer Albert Grau (Reset TV), 3D modeller and animator Fèlix Balbas (Minimo VFX),and US producer Kyle Martin.

Kyle Martin

The French Audio-Visual Model with Xavier Lardoux

At a time when audio-visual policies in Catalonia are being redefined with regards to their strategy, it seems appropriate to learn about the models in neighbouring countries which have become an example internationally. For this reason, Productors Audiovisuals de Catalunya (PAC) organised, with the collaboration of the Cluster, the session “The French Audio-Visual Model”, with the participation of Xavier Lardoux, director of the Centre National du Cinéma et de l’Image Animée (CNC), in dialogue with Albert Serra, filmmaker and current president of PAC, held in the auditorium of La Pedrera.

X Lardoux

Online Distribution. New Strategies, New Content, New Users

It can be said that the last decade was marked by the emergence of online audio-visual distribution platforms. In a short period of time, we saw a growing number of more diverse companies embracing this business model. It was and, in a way, still is booming sector. Currently, it includes enterprises which range from pioneering local platforms specialising in online independent cinema to multinationals with mass consumer products.

És per això, per entendre el moment actual d’aquest sector i analitzar les tendències que l’afecten, que el Clúster ha organitzat, en el marc del Saló del Cinema i de les Sèries, la sessió “La Distribució Online. Noves estratègies, nous continguts, nous usuaris”, aplegant una representació significativa i diversa d’aquells projectes dedicats a la distribució online: Movistar+, Filmin, Flooxer, Tviso i Wuaki. Una sessió moderada per Alex Bas, responsable de continguts i nous formats de Diagonal TV.

That’s why, to be able to understand the current situation in this sector and analyse trends affecting it, the Cluster has organised the session “Online Distribution. New Strategies, New Content, New Users” at the Saló del Cinema i de les Sèries (Film and Series Fair). This session, moderated by the Head of Content and New Formats at Diagonal TV, Alex Bas, brought together representatives of online distributors involved in diverse and significant projects, such as Movistar+, Filmin, Flooxer, Tviso and Wuaki.

Jordi Mendieta, New Chairman of the Cluster

Jordi Mendieta has been appointed Chairman of the Catalan Audio-Visual Cluster, replacing Xavier Guitart who held the position since July 2013, when Cluster activities began.

Jordi Mendieta is managing partner of the film and television production company Dream Team Concept, creada l’any 2006. founded in 2006. Previously, he worked in the advertising industry, in the field of production and account management. He is a founding member of the Catalan Audio-Visual Cluster and he was the treasurer during 2016. Noemí Cuní, CEO of Grup Broadcaster, will become the new treasurer of the Cluster, replacing the new chairman.

The appointments were approved by the board of directors unanimously and have been ratified by the members meeting.

Excellent response to the 2016 Audio-Visual Pitching

The second edition of the University-Industry Audio-Visual Pitching, held on the 1st and 2nd December, had an excellent response from both universities and companies in the audio-visual industry.

Seventy companies and institutions in the whole of the industry participated.


A total of 34 students from 15 universities presented 17 film projects of fiction, non-fiction, new formats and TV formats.


There were 640 people in attendance and more than 100 meetings between emerging talent and the audio-visual industry were held.


Youth and TV, the Central Theme of World Television Day

The relationship between young people and television was the central theme in the celebration of World Television Day, held in Mataró. This was the third edition of a conference that promotes  debate on the present and future of television, organized jointly by Tecnocampus, Graustic, and the Catalan Audiovisual Cluster.

The first discussion session, coordinated by the Audiovisual Cluster in the framework of its Digital & Media Forum (#digitalmediaCAT), was a panal made up of Sonia Duque, consultant for Atrevia, the company that authored a study on the Z Generation; Cristina Muñoz,Cristina Muñoz, until recently the head of Antenna and TV Programming of TV3; Rosalba Roig, head of strategy and innovation at BTV; and Elena Neira, expert in digital communication and author of the book, The Other Screen.

Participants agreed that the youth audiences, contrary to popular belief, are still interested in television, but prefer on-demand consumption over scheduled programming, often through other devices, rather than the television.

2016-11-18-Dia Mundial TV 02

“New mobile devices allow the youth audience to replay content, beyond broadcast television, just as the Internet channels the creative capacities of a generation that grew up with digital technologies,” was among the conclusions shared by the panel.

Participants also agreed that television still faces the challenge of finding the profitability of  new channels. And, as well, that the first challenge is to be able to accurately measure the aggregate audience of all channels through which television content is distributed.

“A virtual reality experience is worth more than a thousand images.”

“A virtual reality experience is worth more than a thousand images,” claims Carlos Fernández, of Iberdrola. But what is the future of VR? How can it be useful for brands? What are its limits? And its reach?

To answer these questions, the Catalan Audiovisual Cluster, together with Foment del Treball, organized a session framed within the program Digital & Media Forum (#digitalmediaCAT), called “Zoom Brands VR. Virtual Reality success stories in branding.” This was the third in a series of activities that annually brings producers, agencies and brands together to explore new forms of collaboration. It was moderated by Quino Fernandez, an expert in advertising and interactive media.


Eva Dominguez, an expert in immersive narratives and CEO of Minushu, opened the session, introducing and defining the types of virtual or augmented reality experiences that make up a very diverse umbrella: from video 360, experiencied through VR glasses, to virtual images that interact with reality (eg, Pokémon Go). “However, the trend is that these different areas are becoming more and more hybridized. In fact, this is already becoming a reality.”

Some companies have long applied VR to brand communication. Visyon 360 is one of them. Their client service director, Xavi Conesa, presented a series of cases in which they worked with 360 video, 4D installations, etc. He emphasized projects that reported a clear profit for the brands, attributed to VR technology.


One brand that Visyon 360 often works with is Iberdrola, a company that strongly favors using VR in its campaigns. Its digital & social media director, Carlos Fernández (author of this article’s headline) stated that “these days it is very difficult to make an impact on people, but it is possible using VR.” In addition, added Fernandez, the use of virtual reality  makes the brand seem more innovative, or “cutting edge”, in the eyes of the customers. But what continuity will it have? How long will people be so impacted by VR? “Now I want to take it  further: to move from a shocking experience to a useful experience,” concluded  Fernández.

Bernat Aragonès, of Antaviana Films, a company that has also been producing VR for some time, presented its latest 360 video project with Massimo Dutti. They presented a model that managed to attract many users and generate a high level of interest. He  stated that “one of the added values ​​of  VR, in terms of marketing, has to do with the enormous possibilities it offers for analyzing the behavior of users. This allows you to observe where the costumers look more, which images  attract their attention the most…”


he possibilities of VR in relation to big data were commented on by Nico Roig i Mario Tarradas of Metropolitana. The speakers referred to their latest work in augmented reality and branded content based on the insertion of images and virtual games into branded objects (VR packaging, signage). “In augmented reality advertising becomes much less aggressive and, in addition, it allows the brand to have a more precise knowledge of its customers.” Finally, they concluded that “now we have to improve the devices. We are hoping that, instead of  phones, which are too bulky,  new glasses will be available, which would expand the possibilities of the use of augmented reality.”

Finally, Josep Maria Quintana, director of Createl, presented an innovative proposal that combines conventional TV formats with immersive reality. This project is endorsed by the Catalan Tourism Agency and the Catalan Heritage Agency with the aim of reactivating internal tourism in Catalonia. How does it work? On the one hand, TV programs broadcast on TV3 expose “mystery” programs about unknown places in Catalonia. On the other hand, it offers spectators the chance visit those places and experience the programs immersively. “A hub was created, bringing together these companies from very different fields that worked together on the project, in order to continue exploring the field of hybrid formats.”

“The Audiovisual Sector is not a Risk”

“The audiovisual sector is not a risk. We have seen this for some time” . This was one of the key points of the Financing and Business Management session held at the headquarters of Foment del Treball. Organised by the Catalan Audiovisual Cluster, the session was part of a new line of exclusive activities designed to inform its members about the latest developments in the legal and financing fields affecting corporate governance.

The point was made by the representative of Triodos Bank, one of the few banks with specific funding opportunities for the audiovisual sector, especially in the field of production, distribution and exhibition. This bank currently serves about three hundred audiovisual projects in Catalonia alone. “The traditional idea that the audiovisual sector is unstable is still too widespread. Triodos Bank takes the opposite position. Of course, it is important to have a true understanding of the sector. We have seen projects that failed – not because they weren’t good projects, or viable ones, but because they were badly financed.”

Aside from traditional banks, recent years have marked the appearence of alternative financing tools. Such is the case of Novicap, a recent but well-established fintech company specializing in funding the working capital of companies and which functions exclusively online. “Unfortunately, Spain is one of the European countries with the longest payment periods. So we created this tool. Basically, what we do is anticipate the payment of bills in a very agile way, simply by uploading them on the Internet. Therefore, the ultimate goal is to provide a very rapid response system to the cashflow tensions arising from payments that are delayed sixty, ninety or even one hundred and twenty days. It’s something not often offered by traditional banks, which are mostly too rigid.”

The session was intitiated by Riba-Vidal, a law firm associated with the Cluster and specialized in legal assistance to entrepreneurs and managers. Its lawyers have closely followed the lastest reform of the penal code, considered an “absolute tsunami” in regard to its effect on businesses. “The new law requires companies to implement a policy of crime prevention. From now on, criminal responsibility no longer lies with the individual committing the crime, but with the company as a whole. This can be a big problem for managers and executives, especially since crimes can be committed unconsciously, out of ignorance.” Riba-Vidal detailed the principle measures that companies should implement to adapt to the new legal reform.

Movie Theaters, Business Trends and Audience Management

“Movie theaters, business trends and audience management” was the title of a session organized by the Cluster at the headquarters of the SGAE Catalonia, with the aim of reflecting on the present and the future of commercial film screening, its new business models, and its relationship with viewers, distribution and production.

Led by Pio Vernis, director of marketing at DeAPlaneta, the session brought together examples of already consolidated screening models such as commercial multiplex, represented in a local business model by Pere Sallent of Full HD Cinemas in Cornellà, and in a multinational company model by Lucas Albanell of Cinesa. Both are large-format models based on the mass public appeal that hold a large share of the market.

The session also included the presentation of other screening models. For example, Alberto Tognazzi of Screenly, a company dedicated to the organization of on-demand screenings, and Nacho Cerdà, of Phenomena Experience, a company committed to recovering classic films in a single-screen movie theater, presented their different models. They are examples of proximity film models with a selection aimed at segmented audiences.

Additionally, Carlos Fernandez from Filmax provided the point of view of a company engaged in the three areas of production, distribution and exhibition. He initiated the debate warning about the need to promote a greater integration of these areas in order to provide quality products tailored to the characteristics of the cinema rooms and the expectations of viewers.

Together, the speakers agreed on the urgency to attract audiences to theaters: “the common goal is to mobilize the viewer, to get them off the sofa.”. But they disagreed on how to achieve this. The multiplex commits to improving the technical sophistication of the rooms (large screens, enveloping screens, immersion experiences …) and to the marketing with an eye towards a greater understanding of the viewer. Screenly and Phenomena, meanwhile, operate with the philosophy that the value of cinema attendance resides in the collective experience and therefore they base their strategy on conceiving cinema screenings  as public events and their audience as a community.

Audiovisual Production, an Investment Opportunity

An audiovisual production can be seen as a financial product and, therefore, as an investment opportunity. This is an idea that is still seen as strange in the eyes of many investors, and even producers, but that is being gradually accepted both nationally and internationally, with increasingly abundant cases of success. This was the issue addressed in the session, “Audiovisual production, an investment opportunity”, organized by the Cluster with PROA, Talenta, and Ecija, in the Cercle d’Economia, and opened by Raimon Masllorens, president of PROA.

Adrian Guerra of Nostromo Pictures is a good example of a producer (in this case, from the film sector) that integrates private investment as part of the financing of his projects. During his speech he explained the way he relates to investors and at what stages of the production of the film he engages with them. “Be serious, plan the project well, provide security to the investor. Investors tend to be very loyal, and if you work well, they will surely continue to invest in your projects.”

At the same time, more and more consultants are advising their clients to invest in the audiovisual sector, such as Talenta, an investment service company. One of its partners, Roger Miralles, presented the process and the legal and financial structures normally used to secure investments in an audiovisual project. He also referred to the risks related to fiscal security, which in Spain can be a problem, given the arbitrary ways that tax inspectors can interpret the law. “In general, it is profitable to invest in the audiovisual sector, but must be done under certain conditions. First of all, the investor should be considered a producer. If it’s done well, and the projects become solid, the investor could receive returns of over 50% .”

Private investment is used to finance not only movies, but also series, documentaries and animation. Carmen Pascual, Juan Salmerón and Emilio Prieto, lawyers for Ecija, have extensive experience in advising on a wide variety of projects related to the audiovisual field. “Up until now, the field was dominated by films , but lately we also get series. In fact, with the arrival of Netflix and HBO in Spain and what is being offered by Telefónica, private investment in series is growing. Until now this was impossible because of the monopoly of TV´s with regard to rights and tax deductions.” Additionally, the lawyers highlighted that investors tend to prioritize audiovisual projects with an international character, since they guarantee safer returns.

In general, the speakers were optimistic. Tax deductions, they said, although still too low in Spain (except for better conditions offered in the Canary Islands and the Basque Country), provide favorable investment opportunities. It is expected that this will change as the situation in the country improves. In addition, the legal architecture is improving and, from the fiscal point of view, it is becoming increasingly safer to invest in the audiovisual field in Spain.

Music and Audiovisual, New Narratives for New Windows

Even if it is difficult to generate commercial success, the intersection between audiovisual and music has been an area of interest for large production and distribution companies for some time now. Notable examples to this are the National Film Board of Canada -NFBC- and Academy Films (England), companies focused on consolidated audiovisual content video clip production, among other projects.

Small, independent companies have also shown an interest in this intersection, entering the music scene in the area of audiovisual production, such as Snoop Barcelona,a young advertising agency. In the same vein, some innovative projects have recently emerged such as Genero.TV (Australia, United States, England), an online platform that connects brands with musical artists and filmmakers to create music videos and other video content, and Rotor Videos,  online app based on personalized and quick creation of music videos.

These five companies, role models of the successful intersection of music and the audiovisual, participated in the session “Music and audiovisual, new narratives for new windows”, co-organized by the Cluster and framed in the PrimaveraPro On-Screen program, a new section of  Primavera Sound, which took place at the Center of Contemporary Culture of Barcelona (CCCB).

The Present and Future of Connected TV

The impact of connected television, which fuses television and the Internet, is the focus of an intense debate which has been discussed in the meeting “The present and future of connected television”, organized by the Cluster in the Audiovisual Market of Catalonia (MAC), in the city of Granollers.

The session, which is part of the Digital & Media Forum program, was moderated by Quino Fernández, new media consultant, with the participation of Geni de Vilar, product manager in the area of digital media of CCMA; Samuel Fabra, project manager of Sony; Xavier Redón, product manager of Cellnex Telecom; and Oriol Solé, CEO of

It is not easy to assess the impact of connected television. It is still not a single, consolidated device, although some experts predict that in a few years it will play a central role in content distribution and viewing practices. In fact, according to data presented by Quino Fernandez and Samuel Fabra, the acquisition rate of connected TV´s is rising (34% of the Spainish population have one). Even though it still does not represent a significant level of popularity (in France up to 60% of the population have one) and despite the fact that few device users connect it to the Internet (only 44% use connectivity, which results in only 17% of the population using fully connected TV), it is predicted that its use will reach broader European levels.

Data from TV3 is also revealing: According to Geni Vilar, 48% of the consumption of TV3 digital products is through mobile and tablet use (this proportion is constantly growing), while 44% is on computers, and 8% is on connected TV.

Given this situation, Quino Fernandez said that the situation of connected television is still unclear. “There is an overflow of devices that baffle the user. Just as we saw six years ago with mobiles or twenty years ago in the case of television, people do not know what to buy.” Furthermore, Geni de Vilar (CCMA) stated that, from the perspective of television stations such as TV3, a lack of standards hinders the development of applications and services. “Suppliers are not making it easy,” he said. Samuel Fabra then alluded that Sony has for some time been promising to manufacture a type of device that fully integrates HbbTV (Hybrid broadcast broadband TV), a European technological standard that allows for the sychronization of all devices and that, according to the speakers, should be the primary method of accessing online content through the TV.

In this vein, Xavier Redón (Cellnex Telecom) focussed on the evolution of HbbTV in recent years, in which it included increasingly more features and entered into more European countries. He also presented, some examples of the varied uses of HbbTV in Europe, where applications for children, TV shows, sports scores, weather data, games, etc. are featured Finally, Redón warned that one of the reasons that HbbTV is still not widely known in Spain is among other things, the absence of advertising.

From the perspective of a firm based strictly on Internet activity, Oriol Solé, CEO of a firm specialized in the cataloguing and personalized managing of audio-visual content (, warned that it is still too early to be sure about the user behaviour related to connected television and its interaction with other devices, especially given that the more traditional use of TV is not likely to disappear.

Accordingly, Geni de Vilar indicated that TV3´s best bet for the future is based on the full adaptation of content to the user’s needs through a multi-deviced and personalized experience. That is, it is committed to a range of content that always considers each type of device in relation to the specific situation of the user (such as being in the subway on the way of work, or at home at night, etc.) The product manager in the area of digital media CCMA also concluded that, in any case, one of the biggest challenges of this model of user experience is, and will be, to monetize the content itself.

Youtube, business opportunity for brands

Youtube is a business opportunity for brands and a creative opportunity for producers and agencies. It offers a large volume of spectators, a lot of freedom in terms of content creation, and provides a more efficient way to identify, measure and segment the audience (and a target market) than traditional channels. In short, it opens up a whole new range of opportunities for brand positioning.

Carlos Ortet from Zoopa, and Xavier Alabart from UpVideo, both member-companies of the Catalan Audio-visual Cluster, defended this idea in the session, “Youtube, business opportunity for brands”, held at the Foment del Treball headquarters as part of the series Reinventa’t.

During the session,  part of the Digital & Media Forum program (#digitalmediaCAT), the speakers presented various cases studies and strategies illustrating how the new ingredients that Youtube offers, and the new ways of forging relationships with audiences and new content creations, allowed brands, producers, and agencies to successfully position their products and expand their loyalty and sales quotas.

They also warned that there is still a long way to go in exploring the business opportunities offered on Youtube. They stated that, above all, brands need to change their concept of advertising, which is still too rooted in the standard models of the traditional advertising spot.

However, both Carlos Ortet and Xavier Alabart were confident that this transformation would take place, since it is already happening in other countries.

Youtube as seen by ‘Youtubers’

Are there business opportunities on YouTube for those not part of the the major channels? What are the challenges faced by ‘youtubers’? What attracts audiences? These were some of the questions posed by Xavier Alabart, driver and co-founder of Up Video, to a few young Catalans who manage successful Youtube channels.

The dynamic session was held in the old Estrella Damm factory as part of the Digital & Media Forum 2016 (#digitalmediaCAT), whose program has been created by the Cluster with the aim of stimulating ideas and connecting the digital world with the media.

The participants were Valenti Sanjuan, specialized in the sports world with a long history in the audiovisual sector; Eduard Esteller (pro Android), qwho focusses on mobile phones and apps; Mel Dominguez (Focusing) and Belena Gaynor,monologuists on various topics; Neus Viciana (Fetsquins), specializing in fashion; Jordi Cor, ‘youtubers’ advisor; Ester Molina (Shinya Murata), focused on the Japanese context and Sandra Pedrosa, a newcomer to Youtube.

Together, the speakers agreed that Youtube is a new ecosystem that is expanding, it rivals television, as it continues to accumulate audiences, and offers many business opportunities.

Presentation of the Economic X-ray of the Audio-visual Industry

The Audio-visual Cluster presented the “Economic X-ray of the Audio-visual Industry in Catalonia”, a report that shows the main features of the audio-visual sector in Catalonia, in relation to Spain and some other European countries.

According to the study, the Catalan audio-visual industry is beginning to recover after losing 40% of its economic value during the crisis period of 2008-2013, one of the most severe economic downturns in Catalonia.

Among the indicators of recovery: the increase in television advertising investment in 2015, the implementation of the audio-visual tax for telecommunications operators, and the improved economic climate experienced by members of the Catalan Audio-visual Cluster.

The event was held at the Cercle d’Economia de Barcelona and enjoyed the participation of Marta Llatcha, of the Technical Office of the Culture Department, Xavier Cubeles, a researcher at Eurecat and professor of the economics of the creative industries, and Manel Pérez, deputy director of La Vanguardia.

The study and the speakers´ presentations can be downloaded HERE



The Cluster in the Cineposium 2015

The Catalan Audio-visual Cluster participated actively in Cineposium 2015, the International Film Comission Summit held in Barcelona from 24 to 26 September, which brought together worldwide audio-visual professionals.

This year, the focus was on the relationship between audio-visual production and tourism. Therefore, different speakers analyzed instances in which the audio-visual and tourisism industries successfully worked together in the production and promotion of films and series.

This is a relevant issue, given that Catalonia is a very populartourist destination as well as an increasingly frequent location for film shoots. According to the 2014 report presented by Barcelona Film Comission, the number of film shoots in Barcelona continues to grow (increasing by 23% in 2013 and 61% in 2011).

The Cluster collaborated with Cineposium 2015 in the organization of the closing ceremony, which included a brief presentation on the talent of the Catalan audio-visual industry, and different projects and impressions of industry topics were shared with various international delegates and speakers.

(Gallery: closing party at the Palau de la Música. Xavier Guitart, president of the Cluster, with MaryAnn Hughes, vice president of Disney / X. Guitart with George David, president of the International Association of Film Comissioners.)


Second Cluster Member Breakfast Meeting Held

A group of Cluster member-companies, met once again in the second session of the Breakfast Meetings, an event that aims to allow members to exchange ideas and projects alongside coffee, croissants and pastries.

This second meeting counted on the participation of Carles Rams of Ebantic, Felix Balbas of Minimo VFX, and Sergi Vicente of Barcelona Television (BTV).

Carles Rams described the projects and solutions that are currently carried out by Ebantic, a company specialized in organizational systems of digital and multimedia content. For example, he spoke of the BPM4Media, a solution oriented towards managing audio-visual content, as well as the M4Media, a digital asset management solution for digital files.

Next, Felix Balbas presented Minimo VFX, which, though a newly established company, is made up of professionals with long careers. It is specialized in creating animation characters and having an international range of film and publicity customers. Balbas also lannounced a proposal for a future project: the organization of a core of companies and senior professionals working together in order to be able to manage the entire production chain of creating special effects.

Sergi Vicente pointed out that BTV is currently committed to increase not only innovation, but also audience participation. For this reason, BTV opened up a new line of demand for transmedia projects. Furthermore, together with Barcelona Activa, they have created the BTV Lab, a collaborative space that integrates the acceleration of projects, experimentation with data journalism and knowledge sharing.