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June 2018

In the magazine
Only available in print
  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
Available to read online
  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
Read >>


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)

“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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