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November 2018

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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Commercials 30 2012 Back to Reports & survey Listing

somesuch & co
Unit 4E, 4th Floor Zetland House, 
5 – 25 Scrutton Street, EC2A 4HJ
t 020 3487 1270
Founding partners Sally Campbell, Tim Nash 
Exec producer Paul Weston
credits World Trade Fair by Nick Gordon for Mother/Stella Artois; Paint the Town by Daniel Wolfe for Saatchi and Saatchi/Guinness

2-3 Bourlet Close, London, W1W 7BQ t 020 7907 1000
Partner David Van Der Gaag Partner Charlie Crompton  
credits The Answer’s Plain by Finn McGough for AMV/Cancer Research; Do What Light Does by Sam Brown for 180/Adidas

Agencies and clients expecting too much for the budgets they’re offering is the issue most occupying Rogue this year, and so seeking out new areas of business is key, says Rogue. Production companies have to become “more proactive in seeking out a broader base of production commissions. Content is on the rise and opportunities abound for directors/production companies who stop waiting for the next script to arrive.”


7/8 Bourlet Close, London, W1W 7BW t 020 7927 9400
Md Jani Guest head of production Verity White
ep Matt Minor
credits The World Is In Play by Cary Fukunaga for 180 Amsterdam/Sony Playstation Vita; DesertRun by Philippe Andre for Fallon/Orange

Independent says the sector’s been “more consistent this year in terms of volume work than in previous years. There have been only a couple of quiet patches and this was in relation to the Jubilee and Olympics.” But budgets are still too low “based on the creative ideas that agencies are conceiving.” So the challenge will be “growing the company with reduced profit margins normally required to grow a business. And, on a more creative slant, delivering outstanding creative work with reduced budgets and supporting our directors and clients in that process.”

passion pictures
33-34 Rathbone Place, London W1T 1JN t 020 7323 9933
Executive producer, CEO Andrew Ruhemann
credits Stadium UK by Pete Candeland for RKCR Y&R, Red Bee/BBC Sport; Hum by Sam Mason (Strange Beast) for Saatchi & Saatchi LA/Toyota

Newlands House, 40 Berners Street, 
London, W1T 3NA t 020 7637 3377
Md Nicola Doring Exec producers Jeremy Goold, Simon Monhemius credits Dilemma by Declan Lowney for AMV BBDO/Aviva; Extraordinary Bar by Chino Moya for Sell Sell Sell/Drambuie

HSI sees the main opportunities for the coming year as “the continuation of repeat business and the continuation of direct to client work. Our ability to be fluid seems to suit these challenging times,” and also to “develop new talent such as Ben Reed and This is It.”

moxie pictures
74 Gloucester Place, London W1U 6HH t 020 7935 4930
Md Dawn Laren 
Deputy md/head of sales Siobhan Murphy
credits The Race by Neil Gorringe for BBH/British Airways; Dad’s Big Day by Frank Todaro for BBH/Weetabix

The trick for the next year will be “remaining relevant within the ever-changing landscape of the business,” says Moxie, as well as “developing and growing our younger directors.”

Level 3, NCP Building, 32 Brewer Street, 
London W1F 0ST t 020 7434 2282
Managing partners John Doris, Matt Hichens 
Head of production Lucy Hayes
credits Vending Machine by Dom Bridges for Mother/Coca Cola; Flat 6 (campaign) by Jonny Campbell for AMV BBDO/BT

“The business climate has been good,” says Mustard of the past year. “Very hectic but fruitful. Commercial and in particular digital commissions are really thriving. Competition is fierce, but we seem to have established a very healthy client base with many large agencies. We currently have ongoing campaigns with BT, Morrison’s and Just Eat.”

aardman animation
Gas Ferry Road, Bristol, BS1 6UN
t 0117 984 8485 Executive producer Heather Wright Senior producer Jason Bartholomew Senior producer Helen Argo  credits Iniesta by Patrick Bolvin for W+K/Nike; Bullring by Daniel Cohen for Isobel/Bullring

TV, features and ads producer Aardman, says “intellectual property developed for a multi-platform world is the most valuable thing any company can create.  We do this on our own properties but also support agencies and clients in developing theirs.”

Unit 22/23 Archer Street Studios,10-11 Archer Street, London W1D 7AZ t 020 7292 7950
mds Matthew Brown, Tim Katz Head of sales Annabel Kennedy credits Audi brand film by Chris Hewitt for Kempertrautmann/Audi; TK Maxx Autumn by Joe Roman for TK Maxx

The UK industry has “shrinking budgets” and “expanding expectations” in terms of production value, says Knucklehead. The big growth has been the “increase in the creative standard and scale of work from new overseas markets” the company has seen.

3rd Floor, 52-53 Margaret Street, 
London W1W 8SQ t 020 7636 6648
Joint mds Phil Dupee, Jane Glover Exec producer Jane Lloyd credits Holidays by Daniel Garcia for UDOX/Adidas/Footlocker; Beauty Has An Address by Phil  Dupee for BBC Advertising/Oman Tourism

Love says there’s a lot of “content work coming through the doors at the moment which we can only see getting bigger. The budgets are smaller but creatively they are more more rewarding.”

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