Platforms, websites and AI for media and entertainment

In media and entertainment, the audience doesn't arrive evenly. It comes when something is announced, when ticket sales open or when a campaign goes live. That is exactly when a site can't afford to stall, so we design back from the busiest day.

For RUMAG that meant migrating the online store from WooCommerce to Shopify, keeping products, customer data and the URL structure. Shopify absorbs peak load as part of the platform, so a campaign day needs no server work in advance. For Toppers in Concert we have looked after the digital online presence for five years, from reach to conversion into ticket sales.

A platform for creators always has two sides that need each other: the people who make something and the people looking for it. Artists and labels, fans and Dutch celebrities, talent and brands. Each side expects something different from the same environment. So we design both routes separately first, then bring them together on the same data.

For VIRPP we built the music platform where more than 250,000 users release music to Spotify, Apple Music and more than 40 other streaming platforms. We also built the label dashboard, where labels search demos in a targeted way. Several labels have discovered and signed talent through it. For ShoutOut VIP, which connects fans with Dutch celebrities, we designed the relaunch of the platform, with a brand identity that is recognisable beyond the Netherlands.

With an open call, a competition or a demo submission, the work sits on two sides. The person submitting wants to be done in a few minutes, on any device. The jury wants to listen and choose quickly, without personal data or loose files. And on the day itself, the selection has to be ready.

For ADE and VIRPP we built the platform for the ADE 2026 demo submissions. Producers upload a track of up to 190 MB and choose the 60-second clip the jury hears. They receive a confirmation with a submission number and a fingerprint of the file. The jury logs in at a separate address, sees no personal data, and the chosen tracks are ready as MP3s. For Bar-le-Duc's Bar-4-Bar we went for links instead of uploads: artists share their music via Spotify, YouTube, SoundCloud or Dropbox.

A reality production generates more video and audio than a team can watch back. The moments an editor builds around are in there somewhere, and someone has to find them. And unreleased material doesn't belong in a public AI tool.

With Signal.Stream we built Spectre, an AI platform for unscripted television. Signal.Stream brought the production and editorial expertise. We did the AI engineering, the design and architecture of the platform, the processing of video and audio at scale, and the website. Scene detection, conversation intelligence, emotion and tension detection, daily reports and the AI Spotter are live.

AI doesn't replace the editor's judgement here. It takes away the searching, so the team spends its time on the story.

For a media brand, content is the product. Articles, sections, talent profiles and campaign pages need to go live as soon as they are ready. So we separate content from presentation: editors work in a headless CMS, and the site around it can be set up separately for busy moments.

For RUMAG we built the blog on Strapi, where the editorial team publishes on its own, with advertising tools that fit the content and analytics that measure clicks and interactions. For talent agency Bombers & Lemonade we built a custom website where the team adds talent and collaborations themselves. With a new website we also deliver a dedicated MCP server, so your team can create and edit pages through Claude or ChatGPT using the building blocks of your own design system. Every change is saved as a draft with a preview first.