In doing this, I had to consider the technologies we'd used in the past, the type of phones that Radio 1 audiences use, and what new technologies were available to us. So we devised a three-pronged plan to dissipate content in an interesting and effective way.

SMS Club

I recently gave a talk at the Audio & Music Interactive and Mobile departmental in which I talked about 'rethinking deadness'. Inspired by a great talk from the programmer and game developer Kathy Sierra, the idea of rethinking deadness asks us to look at ideas that we may think have had their time and think about ways of breathing life back into them.

The last time I ran an SMS club for Radio 1 was way back in 2001 and as someone with a forward-thinking role, SMS clubs were way behind me, dead and buried. Could or should they be brought back to life for a Radio 1 audience? Of course! Okay, so it doesn't have the sexiness of an iPhone app, but SMS is still a brilliant and simple way of getting content onto the phones of our audiences. SMS is pretty much the only mobile technology that every one understands - we shouldn't dismiss it - it's powerful! It's a way of easing people into mobile stuff; deadness awaiting a rethink.

So an SMS club was set up to deliver video, wallpapers and audio downloads, not forgetting show reminders pushing people to BBC Radio, Red Button and BBC Three coverage. The challenge was to make SMS clubs a bit more sexy for our audiences. I had an idea for a secret dress code. We spread the word that there would be a secret dress code for the weekend that would be announced via the SMS club on the Friday night. It was a way of tapping into the excitement of flashmobs without actually creating a flashmob.

Bluetooth Loo

I've been doing Bluetooth at events for four years and it's one of the most frustrating technologies out there. Bluetooth is free, relatively easy to distribute, our audience use it regularly and it's on almost every handset. So if we have 40,000 people gathered in one place waiting to receive Bluetooth, then it has to be a winner right? Wrong. Here are the problems I've faced year after years of trying:

• the music is too loud to hear the Bluetooth arrive
• when you are watching your favourite band you won't be checking your phone
• audience are wary of what is being sent
• Bluetooth doesn't really like huge crowds. Small groups, yes. But big crowds, no

So, late last year I put a nail in the coffin of Bluetooth at Radio 1 events consigning it to the bin of things I would never waste my time on again... forever. Then in March I had a Eureka moment, quite literally whilst jumping into a hot bath. If we could provide a place that audiences would hear Bluetooth arrive, where we could prepare them to engage with their phone, let them know what they were about to receive and do this in a place that the transmitters could handle, then perhaps Bluetooth might be worth another try.

The Bluetooth Loo was the answer to all these problems. Everyone knows toilets are a low point at festival, so the idea was to offer a nice clean toilet for festival-goers to use on the condition that you switched on your Bluetooth. It was a really silly idea... but great. It was branded really well and being blue stood out from all the green toilets. It really caught people's attention and the huge queues allowed us the time to engage with the audience about our mobile offering.

Designer QR Codes

An important part of what I do is introducing new technologies to our audiences. So in 2008, I added QR codes to the Big Weekend mobile offering. QR codes are two-dimensional barcodes that can take you directly to a website - the barcode is decoded by taking a photo with specific software on your mobile .

This year, we added a design element to the QR codes. There is a small percentage for error permitted within each code, this allows us to add a design element without interfering with the coded message. The idea was to produce individual codes incorporating images of headliners such as Lily Allen and Dizzee Rascal. 'Get Lily on your mobile' posters were spread around the site with instructions on how to use the technology. I'm not sure if it's the true geek inside of me, but I find them fascinating and adding the design element opened them up to non-geeks who wanted to find out more.

A key target for the 2009 Big Weekend was to make Radio 1 content shareable. Our three-pronged mobile strategy not only served this purpose but added an extra fun element to the weekend. It also gave us a mobile package well worth marketing via radio and TV trails.

The mobile site benefited hugely from this strategy. We saw a 361% increase in UK page impressions to the mobile site on the previous year's festival. More videos were watched on mobile than at any previous music event. The SMS Club had nearly 4000 members helping to push audiences to content across all platforms - that's the most of any SMS Club we've ever run. Over 800 videos, audio clips and wallpapers were distributed via the Bluetooth Loo that we hope will have been passed on by the user again and again and again.

Radio 1's Big Weekend mobile projects were produced by Hugh Garry, Senior Content Producer, Radio 1 Interactive and Jo Bellingham, Interactive Platform Producer, Mobile.

Games have become such a huge part of our audiences' lives and I've been looking at how they can fit into what we do in Audio & Music Interactive. A key thing I found is we need to know more about how to talk about gaming on-air.

I'll be honest, it's not been easy - there are concerns about isolating the non-gaming audience. But the UK gaming community is huge and hugely popular amongst Radio 1's target audience. For me, not talking about games is like not talking about what was on TV last night or what films are on in the cinema. It's a no brainer for Radio 1.

Thankfully recent changes in gaming have allowed DJs to engage the audience in ways that wouldn't have been possible a few years ago. There's been a dramatic changes in the demographics of gamers due to the rise in casual gaming. The growth in online gaming, UGC and the rise of 'self improvement' games offer lots of opportunities.

The Big Gaming Weekend was packed with great moments. Edith Bowman challenged Steve Coogan to a few verses of 'Knowing Me Knowing You' on SingStar. Vernon got on the Xbox in the Games Lounge and played what seemed like half his listeners online. Annie Mac and Nick Grimshaw encouraged their audience to download the assets pack from the website and make a 'Switch' level in LittleBIGPlanet. And to finish off the weekend, Fearne Cotton brought the nation together for an online version of 'Knights of Cydonia' by Muse on Guitar Hero (listeners without Guitar Hero we invited to join in on air guitar).

We ran an online poll to find the Greatest Game Ever; Radio 1 listeners voted Call Of Duty 4: Modern Warfare their number one. You could check the leaderboard to see how all our DJs and guests were doing in the Games Challenge, then check out the BBC's first ever games blog 'Get Your Game On' written by 1Xtra's Rampage.

The long tail of our Big Gaming Weekend has excited me most. The weekend was a great opportunity for us to make our mark in the gaming world and reach out to non-listening game players. The ideas were fairly small scale but did allow us to drop bits of Radio 1 into the online world for players to stumble across via their consoles. We did this by introducing our DJs into the homes of many online gameplayers, creating a Radio 1 round in the game Buzz and encouraging our audience to download assets to create their own levels in LittleBIGPlanet or create machinima. All great stuff.

So what next for games? Well, when I first joined the BBC in 1996 I had to convince our DJs to talk about the first ever Radio 1 website. There were similar concerns then about isolating the non web audience. Rather than look ahead to the next Big Gaming Weekend, I hope the success of this weekend means that productions teams will be inspired to introduce games into the everyday language of their shows.

Hugh Garry is Senior Content Producer, Radio 1 Interactive

It received a great reception when screened at the Electric Proms on Wednesday night. Jo Bellingham (co-producer), Pete Roach (director) and I are exceptionally pleased with how it all worked out. You can watch the whole film online now here.

It was an incredible project to work on and, even though I don't really need reminding, it hammered home how good it is to work for the BBC. It was an adventurous project that required support from all networks and a large helping of trust and vision from John Ousby (Head of Distribution Technology, Audio & Music Interactive) who backed it from day one.

Thanks to this project, my summer has been littered with surreal moments, glorious memories and chaffing (from where my wellies rubbed the hairs off my legs). I won't forget watching the excellent Robert Ziegler encourage a Proms crowd to do a Mexican wave for my phone whilst also conducting the Scottish Symphony Orchestra.

Other musical highlights include seeing the likes of Rage Against The Machine, Nile Rodgers and Chic and Dame Evelyn Glennie. Strapping a phone to Stephen Merchant's head was fun too.

I recently watched a documentary on photography. Because old cameras had such slow shutter speeds, photographs of moving people had to be posed - otherwise they would blur. One photographer (whose name escapes me) was criticised for not getting people to pose. He shot moving people and featured the blurred pictures in his collection. The purists thought it insane to include blurred pictures in a collection. But he felt that capturing this movement was part of the language of photography at the time - it said something important about the tools of their trade.

In many respects, Shoot The Summer speaks to the audience in the language of film-making today. One of the earlier shots in the film is a guy going to huge efforts to prop up his camera with a packet of bacon. Only for his head to be out of frame and for the phone to fall over once he begins to speak.

There are several shots where the film-maker is holding the camera in portrait rather than landscape because it feels more natural to do it that way. These are the clips I left in. They aren't perfect, but that's how the audience filmed them and how the majority of clips you'll find on YouTube look.

User-generated content (UGC) is a phrase that makes me shudder sometimes, but it shouldn't.

There's more than one way to make a UGC film. Spike Lee and Nokia chose to go for the "send us all your clips and we'll try to find something interesting from them" method. I chose to spend some time with people who I thought might capture something of interest. I'm not saying my way is better than Spike Lee's. All I know is that I'm glad that when September came, I didn't have to go through thousands of random shots that had no narrative.

I gave the phone to people at festivals in the hope they would deliver. In most cases they were spot on.

Hugh Garry is Content Producer, Radio 1 and producer of Shoot The Summer.

I'm sat here in "The Shed", editing the final part of Shoot The Summer and arguing with editor Pete Roach about which bits to leave in.

Shoot The Summer is a film shot entirely on mobile phones by the bands and fans of BBC Radio. Jo Bellingham and I have worked tirelessly through the summer going to events such as the Cambridge Folk Festival, Summer Sundae, Proms In The Park, Creamfields, the Notting Hill Carnival, the London Mela and Bestival.

The thing with the editing is that I want to leave the mistakes in and Pete would rather they were taken out. Pete has had the daunting task of gluing together all the clips in a way that tells some kind of meaningful story. Poor Pete.

Fortunately for Pete, I made a massive editorial decision the day I came up with the idea for a full-length user-generated movie. Rather than asking the audience to send in their clips all summer while I was tanning myself in Ibiza, I wanted to get out there and meet the people first, get to know them a little and then give them a phone to capture their festival experience.

I had to be confident that they could film something of value before I'd part with the phone. It's not easy making that judgment having known someone for such a short time, but it seemed to make a lot more sense than wading through thousands of random clips, emailed anonymously by people that I'd never met.

We are so used to thinking of user-generated content as "cats on skateboards" - we often can't see beyond the YouTube experience. I'm pretty happy with the results and my method seems to have produced some nicely shot, well thought out pieces from both the audience and the bands. I'll be honest: part of me really did think I was going to go through the summer trying to make sense of bored bands on tour buses and people off their faces in tents - but that certainly isn't the case.

As I said, I'm still editing, so I've not yet watched the film in full. How will it piece together...? I'll know in the next few days, as it's being screened on Wednesday at the Electric Proms. I'll blog again next week with more about what I've learned and the people that I've met.

Hugh Garry is a Content Producer, Radio 1 Interactive.