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November 2018
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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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Reports&
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Film 40, 2012 Back to Reports & survey Listing

The British film industry is currently enjoying the best of times and the worst of times. 



Home grown hits such as The King’s Speech and The Inbetweeners have delivered awards and huge box office.

The UK is also a magnet for big budget Hollywood shoots, with features such as Prometheus, Snow White and the Huntsman and John Carter employing thousands of crew.



But it’s still an industry that remains as tough as ever in which to do business. In particular, financing and getting films made has not become any easier.

Former UK Film Council chairman and ex-Polygram boss Stuart Till summed up the situation neatly last month at a Bafta debate on the future of independent production.

Citing the box office rewards of The Inbetweeners and The King’s Speech, he said: “It’s like a one arm bandit. The jackpot pays out more, but the chances of hitting it are getting less.”

The UK does have, however, several factors in its favour that increase its chances of hitting this global jackpot.

In particular, the UK has benefited from the existence of a stable and easily understood film tax credit system that can deliver up to 20% of budgets.

Most importantly – and as the following pages demonstrate – the UK boasts a wealth of world class filmmaking talent and a respected film heritage.

The UK’s talent pool – so evident as you scan the lists of top directors, producers, DoPs, vfx houses and studios in this film special – provides a solid base to make acclaimed UK films and reassures Hollywood that its big budget shoots are in good hands here. 



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