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December 2017

In the magazine
Only available in print
  • The Televisual Commercials 30
    Jon Creamer introduces Televisual's exclusive annual report, the Commercials 30, and finds that while budgets are down and production companies are under threat from agency in-house units, commercials producers are finding new horizons beyond ads too.
  • Commercials 30: Best in Show
    Commercials producers also get to vote for their favourite directors, stand out ads and top rated agencies along with their favourite post houses, editors and vfx ops. We reveal the results
  • Commercials 30: The Top 30
    Televisual reveals the Commercials 30 itself, the 30 top rated commercials production companies in the UK
  • Music in Motion
    So what’s next for the music behind the commercials? Will it be another year in the ascendant for London Grime perhaps? Portugese house? Afro beats or the Angolan kuduro sound?
  • Televisual Factual Festival report
    Last month saw Televisual's annual Factual Festival return to Bafta. How to stand out in a world of ever increasing viewer choice was the big theme this time. Tim Dams reports
  • Alison Kirkham in interview
    At the Televisual Factual Festival, the BBC's controller of factual Alison Kirkham outlined the shows the corporation is looking for in the year ahead
From the magazine
Available to read online
  • 2017: the year in review
    Two very different stories – the rise of SVOD players and the Harvey Weinstein abuse allegations – defined TV’s year. Tim Dams reports
Read >>


Commercials 30 2011 Back to Reports & survey Listing


Unit 22/23 Archer Street Studios,10-11 Archer Street, London W1D 7AZ
t 020 7292 7950

mds Matthew Brown, Tim Katz new business Claire Leaver directors number 31st commissions 17th 
peer 5th awards 15th top ads/directors -  credits Bringing Colour to Life by Chris Hewitt for Dentsu/Canon; Humming Bird by Daniel Barber for BBH/Audi

“Good for volume” but “definitely less good creative work around.” That’s joint md Tim Katz’s take on the past year. The strains have come from “agencies being unable to control clients” leading to “decreasing lead times” and “ever more involved pitch processes.” But it’s busy and the work is ever more diverse, he says.

1 Book Mews, Flitcroft St, London WC2H 8DJ
t 020 7240 2414

md Thomas Benski head of prod Marisa Clifford ep’s Roz Houchin, Candice Chubb dir number 17th commissions 20th peer 11th awards 22nd top ads/directors - credits Slow the Pace by thirtytwo for BBH/Kronenbourg 1664; Yes by Ben Newman for Grey London/Lucozade

Roz Houchin, EP of the multi dimensional Pulse, says “the squeeze on budgets is ever the challenge” but “there seems to have been a steadier workflow available” over the past year. Houchin says the big opportunity for Pulse is “to take advantage of the increasing convergence of media in the digital sphere and the willingness of clients to explore these opportunities.”

nexus Productions
113-114 Shoreditch High Street, London, E1 6JN
t 020 7749 7500

key management Christopher O’Reilly, Charlotte Bavasso, Cedric Gairard directors number 15th commissions 10th peer 16th awards 18th top ads/directors - credits Siege by FX and Mat for Wieden and Kennedy Portland/Coca Cola; Chase by Smith and Foulkes for Venables Bell and Partners/Intel

Nexus has been dipping its toes in ponds outside the TV spot in recent years with work for artists and galleries a particular feature – director Woof Wan Bau’s work with Tacita Dean and Quayola’s video installation at the Palais des Beaux Arts in Lille are two recent examples.

1-2 Herbal Hill, London EC1R 5EF t 020 7239 4550

key management Matt Buels, Kevin Byrne, Bryan Buckley directors number 10th commissions - peer 16th awards 26th top ads/directors - credits Face by James Haworth for Grey/F.A.C.E; VW by Steve Hudson for Iris/ VW

Known for its comedy work, Hungry Man is now only 75% focused on commercials production with the rest centred on “documentaries, web films, music video and longform”. It says the opportunities in the year ahead will be in the “diversity of briefs” that it’s now being offered and the “range of projects additionally to the core commercial business.”

14-17 Wells Mews, London, W1T 3HF
t 020 7307 7750

Partner Tim Marshall md Nicky Flemming head of new business Athene Parker directors number 19th
commissions 3rd peer 13th
awards 42nd top ads/directors -
credits Who’s Messier by Nick Jones for Mother/Ikea; Shuttled by Jeff Stark for Specsavers/Specsavers

In a typical take on the last year, Another Film Co’s md Tim Mein points to “real fluctuations in script flow from month to month and lots of competition as directors jostle for fewer scripts.” On top of that, “the really exciting creative scripts are few and far between” and while “budgets are lower” the “requirements are the same, if not more.”

60-66 Wardour Street, London W1F 0TA
t 020 7292 9600

mds Amanda Martin, Nick Crabb directors number 15th commissions 8th peer 16th awards 30th top ads/directors - credits Out Dance Kylie by Becky Martin for McCann Erickson/Xbox; Fashion Photography by John Dower for BBH London/Vodafone

2AM Films’ joint md Nick Crabb reckons the business climate in commercials production has been “much improved on the previous year. We have seen a significant increase in digital work but also an increase in digital budgets too.” Crabb says the focus for the company will be on “continuing to build our roster and also the creative output of the company whilst simultaneously remaining profitable.”

MOXIE Pictures

12 Percy Street, London, W1T 1DW t 020 7291 1100

md Dawn Laren deputy md/head of sales and marketing Siobhan Murphy directors number 28th
commissions 29th peer 16th awards 25th top ads/directors - credits Happy Box by Neil Gorringe for Leo Burnett, London/McDonald’s; Angel II by Frank Todaro for BBH/Axe

It’s an upbeat view from Moxie’s md Dawn Laren: “Creatively and financially, business seems to be improving and we feel really optimistic about the future. The new avenues and opportunities opening up in media in all forms are incredibly exciting and the advertising world feels like it is an ever evolving landscape.”

75 Amberley Road, London, W9 2JL
t 020 7289 0001

exec producer Pete Chambers ep and head of sales Elise Bennet directors representative Chris Baker dir number 22nd commissions 33rd peer 17th awards 12th top ads/directors - credits Who Killed Deon by Simon Ellis for AMV BBDO/Met Police; Flora by Fredrik Callinggard for DDB/Unilever

Along with its traditional commercials work Mad Cow scored a big hit on the awards circuit with its Who Killed Deon? cinema spot for the Met Police’s anti knife crime campaign that started life as an interactive Facebook drama.

43/45 Camden Road, London, NW1 9LR
t 020 7692 4444

Founder/exec producer Laura Gregory partner/senior producer Sheridan Thomas Head of Global Partnerships Jeremy McWilliams
directors number 19th commissions 22nd peer 17th awards 16th top ads/directors - credits Baby by Olly Blackburn for AMV/Red Bee Media/TV Licensing; Peace Talks by Shearer for HMDG/International Alert

Great Guns says its highlights of the year include director Calum Macdiarmid’s wins for his short Worship as well as the signing of Adam Cameron and Danny Trachtenberg and Olly Blackburn’s Yellow Pencil for his BBC Local Radio spot. It says challenges for the coming year are to “balance our evolving roster of talent to deliver great content and to manage our global offices to provide interesting solutions for our agency partners and their clients.”

tomboy films
Studio 018@Westbourne Studios, 242 Acklam Road, London W10 5JJ t 020 8962 3456

key management Barnaby Spurrier and Glynis Murray directors number 6th
commissions 21st peer 17th
awards 30th top ads/directors -
credits Early by Kirk Jones for BBH/Vodafone; Too Late Now by Simon Cheek for COI/COI

Tomboy Films’ Barnaby Spurrier says the past year has been “very competitive,” with “budgets under pressure.” And that “producers need to be increasingly resourceful to deliver the creative standards their directors and agencies strive for.” However, he adds that there is a definite upside with opportunities now presenting themselves. In particular “the opportunities in the digital world however continue to grow and offer some very creative work.”

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