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November 2018

In the magazine
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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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Commercials 30 2012 Back to Reports & survey Listing

Welcome to Televisual’s Commercials 30, our annual survey of the UK’s commercials production sector.

So how has the past year been for commercials producers? Well, certainly better than the year before at any rate.

Our 2011 survey was all about the tough, challenging and very difficult environment producers were finding themselves in as the worst of the recession made itself felt.

This year, there’s no brave new dawn. After all it was only last month that the government was able to announce a modicum of general economic growth. But the mood amongst ad makers is certainly brighter. There’s been more work out there, boosted at least partly at the beginning of the year by the Jubilee and the Olympics. And they’ve been busy making other kinds of content alongside ads. Budgets haven’t boomed of course but producers are at least finding themselves busy once again after a rough couple of years. 

How the commercials 30 works
Every year, we send survey forms out to the UK’s commercials production companies and ask them a series of questions both about their own businesses and the state of the sector in general. Their answers go on to help form the rankings you see in the top 30 list on the following pages. Their answers also allow us to chart the highs and lows of the sector as a whole. The figures provided allow us to map the financial fortunes of the business, from the rise and fall of the average turnover to whether, or rather how much, budgets are falling. As well as finding the big numbers, the survey also allows us to track how commercials production companies are thinking and feeling about the business, and what they see as the main issues affecting the sector now and what will be the issues in the years to come. It also gives commercials producers the chance to celebrate creativity and excellence in their industry by voting for the rival production companies, directors, agencies, post houses, editors and vfx stars they see as deserving of the recognition.

For a place in the Top 30, a commercials production outfit is ranked across five criteria – its showing at eight award shows (Cannes Lions, Clios, Kinsale Sharks, D&ADs, British Arrows, Creative Circle Awards, New York Festivals and the APA Collection); its standing among its peers; the number of directors on its roster; the number of ads it’s made and whether it houses one of the survey’s most voted for directors or whether it made one of the survey’s most voted for ads. Each company’s best three scores then go forward to create its final total.

Jon Creamer 

Deputy editor

The COMMERCIALS 30 in numbers

The average turnover of a commercials production company

The average budget for a 30-second ad

The average number of ads a production 
company made in the last year

The average number of directors on a production company roster

of the average production company’s work was made for UK agencies

of production companies’ work came direct from a client rather than an agency

of production companies said budgets fell this year. Only 10% said they’d risen. 

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