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October 2017
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In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 30th exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 52 pages of analysis of the sector
  • Interview: Grant Mansfield
    Hiring top talent and investing heavily in development have been key to growing his Bristol indie Plimsoll Productions, says founder Grant Mansfield
  • The clear view: lenses
    What ever genre you work in, you need to be lens savvy. Here three DoPs guide us through the lens market, picking out the models they like to use in drama and factual
  • Over the top
    The growth of Netflix and Amazon is proving a boon for UK indies, but broadcasters are starting to panic. Tim Dams reports
From the magazine
Available to read online
  • Blue Planet II
    The producers of Blue Planet II tell Tim Dams how tech advances and military planning helped them capture the secrets of the deep
Read >>

Blog: BBC Studioworks on producing tonight’s election...

In 1950 the first ever televised UK General Elections took place and a compelling broadcast genre...

In defence of presenters

Presenting talent can often be seen by the production community as ‘difficult’,...

How C4's Friday Night Feast was made on the Amira

Olly Wiggins, DP and founder of hire company S+O, describes how he shot Jamie and Jimmy’s...

The power of modern TV sponsorships

I have yet to meet a client that isn’t excited by the prospect of being associated with TV...

Shooting 4K the first time

Woodcut Media joint creative director Derren Lawford on the dos and don'ts of shooting and posting...

A local approach to raising a global budget

Being prepared to localise content for international co-productions can often mean the difference...

How video production can survive in a digital marketplace

A few weeks back I was contacted by an advertising agency that was in the market to acquire a video...

How remote editing is changing the business of post...

When we set up Timeline North in 2012 in Salford, we knew that offline editing would be well...

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