Multi-platform remains a key focus for Channel 4 with steps constantly being made to reinforce areas that attract audiences, according to Channel 4's chief creative officer Jay Hunt.

Speaking at the Edinburgh International TV Festival today Hunt said the broadcaster's young audience drives it to constantly develop new ways to change its viewers from "passive watchers to active consumers".

One of Channel 4's newest launches in the multi-platform space is 4Now, something which Jay describes as a "social media bubble" aimed toward those looking to interact with the content produced by Channel 4.

She cited shows such as last week's documentary 'Crazy About One Direction', a documentary focusing on the boy band's obsessive legion of fans, as an example of the kind of content well-suited for multi-platform as it was the "most tweeted about show Channel 4 has had".

As well as multi-platform another breakthrough area high on the broadcaster's agenda is 'live programming',having aired shows including 'Easter Eggs Live' and 'Bedtime Live' in the last year.

Of the live format Hunt said: "We don't just do live for the sake of it, there has to be a reason for it to be live and it has to enhance the experience".

In discussing both shows - 'Easter Eggs Live' and 'Bedtime Live' - Hunt describes them as "confident" things for the broadcaster to do. Particularly in response to 'Easter Eggs Live' a natural history type show, traditionally the domain of the BBC.

"Natural history programming on Channel 4 needs to be innovative as we don't want it to feel like an 'also-ran' from the BBC. It needs to be confident and it needs to take risks. We take punts on our programming, sometimes it pays off, sometimes it doesn't."

Addressing the fact that not all programmes have engaged audiences over the last year Hunt admitted for broadcasters like Channel 4, trying to continuously "reinvent" themselves, there will be "ups and downs".

Asked about the week in which Channel 5 outperformed Channel 4 Hunt said the figures were not as clear as Channel 5 had made out, and admitted: "if I were a PR for Channel 5 and saw a way to look at the figures and take out all the hours between midnight and 6am and cock my head to look at them I'd have done the same thing".

Moving onto the year ahead, Hunt discussed new additions to the schedule including a Danny Boyle drama, adding "great drama on Channel 4 is the dividends of Big Brother beginning to pay off".

Disney Infinity launched in the UK with a 262ft (80m) high projection of Buzz Lightyear, Jack Sparrow, The Incredibles, and Monsters Inc.’s Mike and Sulley, onto the White Cliffs of Dover.

The iconic characters marked the arrival of Disney’s new gaming universe where players can create their own adventures with characters from across Disney.

In addition to the 500m wide image on the cliffs, the characters were digitally projected on buildings around London.

“Disney Infinity creates a virtual toy box where fans can play with all their favourite characters together and design their own adventures. What better way to celebrate the launch of the game in the UK than with the first Digital Disney Parade, showing the characters making their own fun in London,” said Joss Hastings from Disney UK.

Disney has already launched an AR app as part of the activity surrounding the launch of the game, which is released 23 August.

My-wardrobe.com has appointed Steak to handle its digital marketing activity, tasking the agency with running its PPC and optimising the online fashion retailer’s paid search across UK and global territories.

The appointment comes following a competitive pitch process, with Joanna Stephenson, trading director at my-wardrobe.com saying: “We are pleased to announce the appointment of Steak as our digital marketing agency, we look forward to working together and increasing our online visibility in key territories.”

Ollie Bishop, CEO, Steak, added: “We're excited to work with my-wardrobe.com in the next stage of their growth in the UK and globally as they focus on emerging designers in Autumn 2013.”

Synergist, a project management specialist for agencies and brands, will be the headline sponsor of The Drum’s Dadi Awards for the next three years.

Synergist gives creative organisations visibility and control of their jobs, ensuring they have real-time access to information to help them track and manage their businesses effectively.

Synergist’s sales & marketing director Nick Lane said: “Having attended The DADIs in its early days and watched it grow into the go-to national event it is today, we’re delighted to be the headline sponsor. Seeing so many of our clients being recognised for both the excellence and effectiveness of their work is a great buzz, and we look forward to celebrating with all the winners on the night."

The Drum’s managing director of Events Lynn Lester said: “We're delighted to welcome Synergist on board as the headline partner of the Dadis. With their support we can continue to build on what is already a very prestigious awards programme.”

The Dadi Awards will be held on 10 October at the Marriot Grosvenor Square.

Dadi Awards finalists have already been revealed, with Starcom MediaVest Group and Greenlight both leading with the way with seven nominations on the biggest year for entries yet.

Restaurant bookings website TablePouncer is set to launch a six figure marketing campaign, including bespoke in-carriage tube promotion, to promote its new app.

The campaign, worth over £250,000, will see a cross-media ad campaign spanning tube, online, social media, above the line print, as well as targeted direct marketing, to drive downloads of the TablePouncer app.

Patrick Knight, CEO and founder of TablePouncer.com, said: “We’ve had a phenomenal response from customers and restaurants since our launch in London last month. It’s a tough market – Londoners know what they want to eat and when. They have extremely high culinary standards, so it was important for us to sign-up the right restaurants and offer the very best deals on desirable restaurants.”

The marketing campaign for the TablePouncer app will see 4,000 tube car promotions running for two weeks across the entire London Underground network; as well as targeted SMS marketing campaign through Weve, and a Facebook campaign.

The tube ad campaign, which offers an exclusive £5 credit to commuters, launches on Monday 26 August to coincide with the app release on iOS and Android.

Sky’s £2.3 billion spend on the Barclays Premier League rights has not affected commissions, according to its director of entertainment channels Stuart Murphy.

Speaking with journalist Daisy McAndrew at the Edinburgh International TV Festival Murphy stressed that when it comes to the Premier League and big financial investments Sky "does not get caught out".

He said: “Sky wouldn't be caught on the hop when buying its biggest product," addressing the rumours that Sky has had to take money from other budgets to pay the monumental bill for Premier League rights.

Murphy admitted the number of commissions has fallen this year but said that was mainly to do with 11 returning comedies.

“At the end of the day the BBC is the only broadcaster with a guaranteed income and as a commercial broadcaster there are times when money needs to be moved from pushing broadband to content or factual to drama. But when it comes to Sky's biggest product - the Premier League - we're prepared.”

Famously Murphy has set out a mission statement to make Sky's entertainment offering as synonymous as its sports in terms of brand and image and admits that the product is now getting there.

“I'd say we're around an eight and a half or nine out of 10 at the moment. But I love the fact that lots of people have said it's crazy to try and create a tent pole entertainment show without the BBC or ITV and we've done that with 'Got to Dance',” he said.

With a piggy bank of £600m to spend on entertainment by the end of 2014 Murphy reveals the broadcaster is "on track to spend it" and it's his job to "make sure the commissioning team and channel team are inspired and well resourced to do so."

In response to BBC controller of comedy commissioning Shane Allen's comments that liken him to a dictator with “a lot of money but not a lot of taste" Murphy takes it on the chin and says the comedy on Sky is meant to be uplifting and he's "not in the business of making the world seem like a grimmer place than it is.”

Discussing ratings Murphy claims that for a subscription business like Sky they're not the be all and end all, adding “Sky Go, mobile and Now TV are making the bigger picture more complicated”.

“For Sky we want to be viewed as less of an ITV and more of an HBO. We have channels that need to be watched and loved - Sky1 and Sky Living, channels that need to be loved - Sky Atlantic. And the channels that just need to be watched and not necessarily loved - PickTv," he said.

Over two thirds (69 per cent) of the UK population dislike ads in Facebook’s mobile app, while 66 per cent do not like ads in their Facebook news feed, research from Adblock Plus has found.

Censuswide interviewed 2,244 people in the UK, and discovered that half, 51 per cent, think that tailored advertising online invaded their privacy.

Till Faida, founder of Adblock Plus, said: “While shareholders have shown strong support for Facebook’s advertising strategy, it is important to realise the amount of control that users have to manage what ads they see through the use of simple downloads such as adblockers.”

While current awareness of adblocking is low in the UK, market research has shown that 74 per cent of users would appreciate using software that blocks any unwanted ads.

“It is easy to forget quite how much control end users have over social media and how untested their customer loyalty is. Even if it may seem intuitive that people will stick with a platform where their friends are, they may choose to either alter their experience or move to a new platform altogether. This user control should not be underestimated.”

“There is another way – and other forms of advertising have been able to achieve acceptance. For example, our research also shows that 63 per cent of people are not bothered at all by advertising in print magazines. Social media seems to have a few things to learn from more traditional advertising mediums.”

The BBC is the only channel that could have taken the Doctor Who reveal and make it into a real "live event, bringing everyone together and creating a buzz," said Charlotte Moore, BBC One controller at the Edinburgh International TV Festival.

According to Moore the post-Olympic BBC is "in a really good space" and live events like the Doctor Who reveal only build on the BBC's reputation as the "nation's favourite broadcaster".

Speaking of Peter Capaldi's reveal as the 12th Doctor, Moore said: "I was talking with Peter Davison and he told me when he was revealed as the Doctor it was on the nine o'clock news. When you think about it, it's only James Bond and Doctor Who that command that attention, making it into a live TV event was special as most of the people there didn't know what they were coming too, they thought it was a super-fan event."

Taking over from Danny Cohen, Moore was officially announced as the new controller of BBC One in June of this year. Having worked as commissioning editor of documentaries her appointment as controller of BBC One has been viewed as a bit 'left field' with many, including session chair and former BBC One controller Lorraine Heggessey, believing Moore was a shoe-in to be named controller of BBC Two.

Addressing the range of genres on BBC One and the focus on entertainment Moore commented: "For me, I think, it's about great storytelling across all genres. And great storytelling skills translate to every genre.

"What I want to do is to tell stories in new ways, keep people on the edge of their seats and bring that emotional connection. The best entertainment shows are the ones that make you laugh and cry and feel the emotion. "

In discussing storytelling Moore uses the phrase "warm-hearted" but explains it's not about "a nice, lovely warm bath feeling, warmth means we go at stories with a sense of integrity and humanity. We want the audience to feel so much a part of that world that they're commenting on it the next day."

One of BBC One's flagships, if not the flagship, is soap opera Eastenders which has suffered a significant dip in audience falling to between five and six million. With Heggessey commenting that the "health of Eastenders is critically important to health of BBC."

Moore adds: "Eastenders is important to us, it's on four times a week and some viewers come to the BBC for Eastenders and nothing else.

"We want to make sure it's water cooler TV - a mix of gritty real life that still has humour as part of its rich mix. All soaps have their peaks and troughs, but we have big returning characters this autumn including Ronnie Mitchell, Peggy Mitchell and David Wicks."

Ending the discussion on entertainment Moore reveals she is not concerned about Saturday might entertainment show The Voice despite judges Jessie J and Danny O'Donoghue leaving the show, "these shows take time to bed in and develop, The Voice is about a journey and we're committed to the journey we're on with it."

"Things are changing and changing fast," remarked Hollywood actor Kevin Spacey in his MacTaggart Memorial Lecture, addressing the changing nature of the television industry and audiences' desire and hunger for great content and storytelling across the board.

Netflix series 'House of Cards', in which Spacey starred, was made available online in one go, and marked a shift in traditional television broadcasting, no longer at the mercy of scheduling and audience ratings. The two-season Netflix deal has paved the way for a number of online-only shows with many still to come.

In his address at the Edinburgh International TV Festival, Spacey said: "I've come here today with no ideology - and I'm not viewing today's event as a television event. It seems to me since audiences are no longer making those kinds of distinctions, why should we?"

Discussing working with Netflix Spacey said its model proved one thing - "the audience wants control...if they want to binge then we should let them binge."

He added: "I think we have demonstrated that we have learned the lesson that the music industry didn't learn: give the people what they want, when they want it, in the form they want it in, at a reasonable price, and they'll be more likely to pay for it rather than steal it; well, some will still steal it, but I believe this new model can take a bite out of piracy."

Innovation is a key theme running through Spacey's speech, innovation in both storytelling and broadcasting. "We might not change the status quo overnight, but we can mould structures at the centre of our businesses," he said.

Of course in discussing Netflix Spacey touched upon the monumental success of Breaking Bad - "a slow starter ratings wise" but for which the "biggest gains came after the series debuted on Netflix in 2011."

According to Spacey Breaking Bad is a prime example that "shows need to be treated as assets, to be nurtured, protected from the quick network trigger that can bail on a show before it has the chance to find its feet".

He continued: "If an audience is bonding to a show, however small that audience is to begin with, isn't it worth investing time to help it find its true potential? And if that means ripping up the rulebook and scheduling in a different way, or playing with windows to build excitement and availability, then we should be prepared to try anything."

Spacey's lecture furthered that the success of "Netflix and other similar services" is due to the fact they have managed to "marry good content with a forward-thinking approach to viewing habits and appetites".

"For kids growing up now there's no difference watching Avatar on an iPad or watching YouTube on a TV and watching Game of Thrones on their computers. It's all content. It's all story...The audience has spoken: they want stories. They're dying for them," he said.

In summary Spacey concluded: "We are no longer operating in a world where someone has to decide if they are an actor, director, producer or writer - these days kids growing up on YouTube can be all these things; we have to persuade them that there is a home for them in the mainstream."

Finishing with the words of Orson Wells: "I hate television. I hate it as much as peanuts. But I just can't keep eating peanuts."

SFX Magazine has moved to close down its blogging platform with immediate effect as part of efforts to ‘streamline’ its web operations in favour of its print and iPad editions.

Explaining the move to their bloggers Dave Golder, SFX site editor, said: “Regarding the website, we’re refocusing on the print and iPad publications, which are still the core part of what we do, and the website will be streamlined to enable the team to look after it.”

One blogger, Alasdair Stuart, was less than happy at this turn of events, taking to his personal blog to bemoan the short sightedness of the cutbacks.

Responding to Golder’s message Stuart wrote: “Yes, you read that right. And yes, it is 2013. And yes, one of the largest genre fiction publications in Europe is functionally shuttering it’s web presence.

“Let’s just say I view this as an impressively counter-intuitive strategy.

“Incidentally, we’ve been told there will be no official announcement on the site because the company not only ‘doesn’t view this as an ending’ but also ‘doesn’t want to send out a negative message’.”

The Office of Fair Trading has ordered six unnamed High Street furniture and carpet retailers to end the ‘endemic’ practice of using fake prices on which to advertise dramatic sounding price cuts.

Stores involved in the scam would advertise false price cuts on the basis of these inflated prices, deceiving consumers into believing that they were snapping up a bargain.

Known as ‘reference pricing’ the OFT found examples where the retailer claimed a price ‘was’ £500 and was ‘now’ £300, but in some cases the stores involved hadn’t managed to shift a single item at the higher price.

Overall the investigation found that 95 per cent of sales came in at the lower ‘now’ price suggesting that the practice is widespread.

Gaucho Rasmussen of the OFT said: "Reference pricing can mislead consumers into thinking the item they have bought is of higher value and quality..

"Buying an item immediately means they do not get the chance to search the market for the real best deals.”

Thus far none of the six guilty retailers has been publicly named but if they fail to comply they could be fined up to 30 per cent of turnover.

The BBC’s digital catch-up service, iPlayer, went from strength to strength last month after the number of viewers hit a new record of 242m, a 38 per cent increase on the year before.

Audiences jumped as 2m people logged in to watch shows shows such as Top Gear and live events such as Murray’s Wimbledon win.

Fears have been raised however that this apparent success could hit the BBC’s coffers hard as a legal loophole allows people to avoid paying the £145.50 annual license fee, so long as they do not watch live broadcasts.

It is thought that thousands of people now do just that, although the BBC has refused to release figures on the trend.

Nevertheless the BBC is keen to expand its digital services by premiering content, such as an upcoming Peter Kay sitcom, on iPlayer first.

DC Thomson is a "cautious" rather than "reckless" pioneer when it comes to digital, according to its CEO Ellis Watson. He speaks to The Drum about the company's digital transformation in the last few years, warning that newspaper publishers should not approach digital “as a default of the print business being broken”.

What changes have you seen as DC Thomson in your time at the company?

The company has undergone a fairly dramatic transformation in the last two years. We've installed the largest new printing press that the UK has seen in years, closed down two smaller plants, moved all newspaper titles to compact, launched a digital offering, acquired companies and brands, and come a long way along a cultural transformation journey. We have, however, only really just started…

How do you expect to see the Dandy evolve as an online-only product? What are the commercial opportunities it offers online?

It's a fine place to start to experiment with our archive and to learn how to unlock the latent heritage and affection that people have for our brands and characters.

How is the evolution of mobile and tablet developing a publisher such as DC Thomson? How is this evolving your offer to advertisers?

We're a careful pioneer in digital. I was a pioneer in the race to move analogue audiences to digital 15 years ago with initiatives like Currantbun.com and I've seen how cautiously brave is better than recklessly so. I like learning from the mistakes and successes of others and creating a hybrid strategy from what others have shown me. We've a fine print business with good margins and popular brands; yes – digital can stretch the appeal further, but I don’t want to accelerate the print losses as quickly as some competitors have done, to their regret.

We're half way through a two-year digital transformation and I'm fairly optimistic that we're going to deliver a nice fillip to our business without damaging what is a fairly successful 'old media' business. The best thing we've done so far is not to have migrated audiences in a way we regret - once it's out the bottle, that genie can’t get back in. We'll bring advertisers with us because, when your business is as local as ours, you must stay in tune with readers and advertisers - it is their business as much as it is our shareholders.

Trinity Mirror's Simon Fox has claimed that digital ad revenue will offset print – how far away do you think that is for it to become reality? Do you agree with him?

It may well for him and it could be within five years. We really need to be cautious that it isn’t the case that the print revenue has crashed so much that digital is bigger as a default of the print business being broken. Digital may become bigger for some, but it needs to be viewed in context.

What is your view of the ambition set out by Local World? How do you view the strength of local news media generally?

I think Local World is GREAT. They've good management, supportive shareholders, a fine vision and brands that are all needing the sort of invigoration that only people with massive energy and resource can deliver. They need the regulators to allow them to get on with saving the brands.

Was is your major ambition for the rest of the year?

To try my best, be nice to people and have fun.

Ellis Watson is CEO of DC Thomson Publishing. Ellis will present the inaugural Ogilvy Lecture as part of the Marketing Festival “Amplify – a day at the festival to shout about marketing” in Edinburgh. The lecture will take place at University of Edinburgh Business School, George Square, from 4pm – 5pm.

To book tickets or for more information on Amplify visit: www.marketingsociety.co.uk/amplify2013

BMW has employed artificial intelligence to promote its new electric cars through an automated information service, i Genius.

Working with tech start-up London Brand Management – in a partnership facilitated by The Bakery and media agency, Vizeum – BMW developed i Genius to interact with potential customers in a live question and answer format that works on a mobile platform.

Instead of phoning or visiting a dealership, the free service allows users to text in a question relating to the BMW i3. The BMW i Genius system will then instantly respond with a detailed answer.

The system is capable of interpreting words, the context of those words and the sentiment behind each question in order to respond, allowing for a real-time conversation.

BMW Group UK marketing director, Chris Brownridge, said: “Customers are increasingly sophisticated in how they wish to interact with us and this latest initiative allows us to exceed their expectations.”

He explained: “The system operates around the clock allowing the consumer to ask any question relating to the i cars but without the hassle of having to pick up the phone or go into a dealership.”

The product is the first innovation to come from The Bakery, described as a “digital incubator” for the advertising and marketing industries.

Tetley’s on-pack promotion to find ‘missing’ tea folk member Sydney has ramped up a notch with a £1.7m media campaign set to include TV, VoD, radio airtime, OOH and social media.

The MediaVest campaign will consist of 10 and 20 second adverts, which will run until November, with Liquid Thread creating an integral partnership with Smooth Radio UK.

The Tetley Tea Folk’s Facebook page and Twitter feed will host weekly competitions to extend brand engagement beyond TV into social media.

Steve Parker, MD at MediaVest, said: “We are delighted to extend our long-standing relationship with Tetley for another fun campaign. It is great to work with such iconic characters as the Tetley Tea Folk and this cross-platform campaign provides an exciting way for consumers to remain engaged with the brand.”

Michelle Jee, senior brand manager for Tetley, said: “We are very excited about the launch of the Find Sydney campaign and can’t wait for Sydney to be reunited with the rest of the Tetley Tea Folk. This is our largest on-pack campaign for many years and we feel that together with MediaVest we have created an exciting and truly integrated marketing support campaign to drive the Tetley brand.”

Professor of journalism and Guardian media blogger Roy Greenslade has accused the Scottish mainstream media of “turning a blind eye” to leaked material relating to the financial crisis at Rangers through the @CharlotteFakes Twitter account.

Professor Greenslade said he believed there was a clear public interest in reporting the information, which appears to reveal the depth of the relationship and influence of PR company Media House on the Scottish press, and questioned the failure to go after the story.

“If this involved any other big business which wasn’t football the press would be all over it asking questions,” he told The Drum.

“Even if they weren’t able to reveal the intimate details of the material, they’d have a formula for dealing with it – ‘Although we can’t reveal the content… the revelations are explosive… there are deep questions about what was going on at this company…’ and so on. Yet they’ve just turned a blind eye to it.”

Police confirmed last month that an investigation was underway into the Charlotte Fakes leaks but have revealed no further information into the progress of the investigation.

The mysterious Twitter account has for months been releasing streams of correspondence between some of the main figures involved in the crisis at Rangers, including former owner Craig Whyte and founder of the club’s former PR agency Media House, Jack Irvine.

It’s unclear how the Charlotte Fakes material was obtained but the documents are widely considered genuine within the media community. Some of the documents have even been removed from hosting sites at the request of legal firm Levy & McRae.

In one of the emails, from Media House founder Jack Irvine to "Craig" - thought to be former Rangers owner Craig Whyte - Irvine apparently detailed his plans to take charge of the PR situation at Ibrox – and beyond.

“Equally the morons in the media need to know they dealing with somebody who takes no shit from them and knows every one of their editors and their little secrets,” the email read.

Irvine has declined to comment on the leaks and the Scottish media has so far refused to give the information much attention. Media House recently lost the PR contract with Rangers and the club emphasised in a public statement last week that Irvine no longer spoke for the club.

Professor Greenslade said the media must be held to account and the information in the Charlotte Fakes documents pointed towards a serious problem with the influence of PR over the Scottish media during the course of the Rangers story.

“I think it’s in the public interest to reveal that PRs acting for a company were influencing what newspapers were saying and were influencing the debate about something that is in the public interest, namely the liquidation of a company.

“There is a public interest in the doings of the mainstream media. If we are holding power to account – and that is what we say we do – then we ought to hold ourselves to account as well, we need to be transparent. And these emails touch on whether journalists were doing their jobs impartially and therefore they are in the public interest.

“I’m not being overly critical of Jack Irvine because we know what he was doing, he was acting on behalf of the company that hired him, but it’s the tame acceptance of what Jack Irvine was giving to journalists that is more worrying.”

However, sportswriter at broadsheet title The Scotsman, Tom English, defended the Scottish media's reluctance to touch the material.

“Some of the documents have been very interesting, but I think accompanying that there has been a level of hysteria,” he said.

“As journalists we have to separate what is interesting and what is relevant. There has been stuff on Charlotte Fakes that has made me think but has not yet made me act.”

Limited Space has announced the appointment of Romain Greze as managing director, following the company’s recent merger with Integrated Signage Solutions.

Greze will be responsible for driving the out-of-home specialist’s development, with Matt Gordon and Samantha Sida, co-founders of Limited Space, continuing to drive the business forward within their new roles as COO and strategy director respectively, for the Group.

Matt Gordon, COO of Limited Space Media Group and co-founder of Limited Space, comments: “Romain has been a tremendous asset for Limited Space throughout its development and we’re thrilled to confirm his role as managing director.

“Romain has been responsible for the implementation of the organisation’s UK sales strategy and driving significant growth year on year. Following the merger with ISS, Limited Space will continue to thrive and be successful under Romain’s leadership.”

3D printing enthusiasts now have a new toy to play with following the launch of the Makerbot Digitiser, a desktop scanner now on general sale.

Retailing at £900 the gizmo allows its owners to scan small objects in minute detail using lasers, allowing exact reproductions to be fabricated on a 3D printer without the need to use complex 3D modelling software.

Demand for the device has already overloaded the firm’s website since its release on Thursday evening with backers saying it has the potential to revolutionise industry.

Others are more sceptical however, believing that the technology is massively overhyped and isn’t capable of accurately copying anything which is shiny, reflective or fuzzy.

Early adopters will begin receiving their machines in October whereupon they will have the ability to upload their scans to a custom website to be shared with other users.

In a statement the firm said: “The MakerBot Digitizer is for early adopters, experimenters, and visionaries who want to be pioneers in Desktop 3D Scanning.

"This includes, but is not limited to, architects, designers, creative hobbyists, educators, and artists."

The Sun is promoting its tie-up with Jamie Oliver’s latest cookbook, Save with Jamie, in a five day campaign.

Created by Grey London, the campaign is set to promote the fact that affordable cooking starts with smart shopping, and will see five collectable glossy recipe cards from Save with Jamie available in The Sun from Saturday 24 August.

Dave Monk, deputy executive creative director at Grey London, said: “Jamie’s the perfect ambassador for frugal cooking, but we all know he’s completely minted in real life; a pretty funny contradiction we couldn’t resist. He’s also a bloody good sport and great at not taking himself too seriously.”

The campaign will also see exclusive video content for Sun+ members via thesun.co.uk and smartphone.

Dacia, the Renault-owned car marque, has today unveiled a social media campaign, created by Publicis UK, which aims to attract football fans by plugging into the transfer window gossip.

The Twitter page for Dacia, managed by Manning Gottlieb OMD, will use the tag #youdothemaths to promote the affordability of the car, while posting real time tweets about daily news items and gossip around the football transfer window.

Jason Cobbold, Publicis London deputy managing director, said: “Few brands can claim to own the conversation around value for money in the way that Dacia, with its ultra low price point, can. We want to spread the word in an amusing and conversational way, encouraging debate and discussion around what is ‘good value’. The football transfer window is the beginning of this journey.”

Activity will run for three weeks.