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November 2018

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  • 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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Facilities 50 2012 Back to Reports & survey Listing

The post houses most admired by their competitors and a selection of the reasons why:

1. The Mill
“It just keeps going and growing” and is “the standard bearer, the pinnacle of the business.” Other rivals say The Mill is “amazingly creative and highly business minded,” citing its “amazing brand, image, scale of work and quality of vfx.” One adds: “Whatever problems they may have they always get their PR right.”

2. MPC
“Its work is some of the best in the world,” says one rival, while another points to its “expertise and creativity across all visual media.” MPC has “global respect and recognition”, “good management” and “has worked on some iconic vfx movies in the past year, most noticeably Prometheus.” It’s a “good competitor, helping to drive the industry forward.”

3. Framestore
Framestore is a “fantastically run facility which manages to maintain a ‘boutique’ feel.” They “always do the best creatures” and “continue to push the boundaries and create great work.” Rivals respect Framestore’s “staff, diversity of work, culture, excellence of work and involvement in the creative community.”

4. Envy
Envy is “expanding when others are failing” and “seems to grow exponentially whatever the financial climate.” Rivals admire its “size, image, location, aggressiveness and client base”, describing it as “loud and proud but well run and unique.” Envy has “produced some really exciting TV work as well as some strong commercials this year”, and is rated for the “quality of its service and post experience.”

5. The Farm
The Farm is a “boutique post house on a grand scale” and “knows the producers’ needs inside out.” Rivals call it a “class act” that “just gets on with it, quietly and solidly.” The Farm “consistently delivers high profile projects” and boasts “great management of reality TV projects.” It’s described as “well organised and run” and “ruthless.”

6. Double Negative
Double Negative has grown into “the London power house of vfx. They won an Oscar. Enough said.” Rivals cite its “global respect and recognition.” Double Negative “works on the biggest movies in the world and produces exceptional work. It’s grown to be one of the biggest vfx facilities in the world.”

7. Rushes
Rushes “still has some of the nicest people in the business.” It  “very capably retains its clients”, and is picked out because it “ invests in the Soho Short Film Festival.”

8=. Films at 59
Films at 59 is a “friendly facility with loyal clients that enjoys a strong local reputation.” It also has “expertise in key genres” and an “efficient team.”

8=. Molinare
“The strength of the brand enables it to survive yet another change of ownership,” says one rival, while another cites “its perseverance, the people, and exceptional production team.” It is “still going strong even after all the takeovers.”

10. Glassworks
Glassworks has “high quality work and loyalty from clients” and boasts “innovation in creative projects.”

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