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November 2018
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In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 31st exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • The Commercials 30
    Jon Creamer introduces Televisual’s exclusive Commercial 30 survey, reporting on a year of highs and lows for commercials producers.
  • The Drama Genre Report
    With competition from streamers intensifying, UK broadcasters are exploring new drama strategies. Tim Dams reports
  • Primary Colours
    Five leading movie colourists tell Michael Burns the secrets of their craft, and explain the techniques they use to grade movies like The Danish Girl, Peterloo and Baby Driver
  • Up, up and away!
    Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Pippa Considine reports on some of the year’s standout aerial projects
  • OB: Which Way Now
    The OB industry is embracing major change as it adapts to the worlds of UHD, HDR and IP. Michael Burns reports
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Reports&
surveys

Facilities 50 2011 Back to Reports & survey Listing

1 The Mill
“A successful business that retains talent and is both diverse and cohesive” (Absolute); “Continued great work across all areas” (Unit); “Successful management of growth” (MPC); “Their incredible talent for publicity keeps their brand strong” (Smoke & Mirrors); “Professional and innovative” (Envy); “Work on Doctor Who, Merlin and Demons” (Richmond Studios Productions); “For their creativity and some of our favourite ads of the year“(Air Post)

2 MPC
“A very solid brand proposition” (Absolute); “Fabulous work and continued excellence in their animation arena” (Unit)’ “Consistently high quality of work” (Prime Focus); “They are still the leaders in films and commercials” (Splice); “The establishment of the post industry” (Platform)

3 The Farm Group
“They make money” (Lipsync); “Great moves to LA and Manchester” (Clear Cut); “A boutique post house on a grand scale” (Splice); “Continue to be key players in UK market whilst increased profile with US base” (Films at 59); “Well run and commercially sound” (Pinewood Studios Group); “Reputation, credit list, longevity” (Sequence)

4 Framestore
“They are way ahead of the field in cutting edge vfx especially for film” (Smoke & Mirrors); “Great leadership, industry shapers” (Hogarth); “Old fashioned, trustworthy, boutique feel” (uFX); “Consistently good work” (Crow TV); “Innovative work” (Air Post); “Staff, diversity of work, culture” (Rushes); “Still at the top of their game” (Locomotion)

5 Envy
“Lovely edit suites and working environment” (Doghouse); “Continued growth in tough market” (Films at 59); “Confident, stylish” (Fitzrovia)

6= molinare
“Reputation for delivering excellence in both film and TV” (Films at 59); “Excellent recovery” (M8media); “Quietly tenacious, constant” (Fitzrovia)

6= Evolutions
“Clever technical approach to complex projects” (Prime Focus); “Good business strategy” (Doghouse)

8 Double Negative
“The only brand the US really rates” (Crow TV); “International reputation” (The Farm Group)

9= Rushes
“They invest in the Soho Shorts Film Festival” (Splice); “Always been cool” (Suite)

9= Films at 59
“Strong broadcast work” (The Mill); “Well run, friendly, loyal clients” (Envy)

9= Glassworks
“Quality of creative product” (MPC); Great people…quality output” (Time Based Arts); “Great creative work in the last 12 months” (Finish)

9= Absolute
“Diverse and growing creative work” (The Mill); “Lovely work coupled with good client services” (Unit); “High quality adverts” (Molinare); “Creative, boutique, specialist and meticulous” (Factory)

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