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September 2018

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  • The Production 100
    Tim Dams introduces Televisual’s exclusive Production 100 survey of the indie television sector, now in its 26th year, and finds the rise of the streamers is creating opportunity –but also plenty of anxiety. The report includes the top 100 indies, the
  • The Genre report: Factual TV
    Demand for factual is growing as channels fight ever harder for audiences. Televisual Factual Festival producer Pippa Considine reports
  • All the Fun of the Fair
    ITV and Amazon’s new Vanity Fair adaptation demanded a period drama with a modern sensibility. But how was that balancing act achieved? Jon Creamer reports
  • The Art of the Vfx Super
    Creativity, tech know-how and a cool head are essential attributes for a vfx supervisor. Three top supers tell Jon Creamer how they help create screen magic
  • Channel 4's big move
    Three cities are still in the running for the new out-of-London Channel 4 HQ and three for the two creative hubs. The indies in those cities say the potential prize is immense. Jon Creamer reports
  • IBC preview
    IBC is a great place to check out both new launches and to get your hands on something already announced at NAB. Here’s a small taste of what’s likely to be on offer
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Facilities 50, 2013 Back to Reports & survey Listing

Looking at the 50 post production houses in this year’s Facilities 50 list, you could be forgiven for concluding it’s been a year of few changes, with many of the same companies ending up in very similar positions to where they were in last year’s Facilities 50.
What this masks, though, is an industry that’s constantly changing. Post never rests, and the incredibly high speed of technological change affecting post production means no post facility can afford to rest on its laurels. Not even just to catch its breath.

Over the last year, 4K has come to the fore, with post houses having to get ready for an expected ramping up in the number of clients wanting to post in such a high resolution.

Even if the move to 4K production doesn’t happen as fast as some predict, post houses don’t have the luxury to put off for very long investing in all the additional storage and infrastructure as well as the required software updates that are necessary to cater for 4K when it arrives.

Similarly, with cloud-based editing now a viable option, post houses quickly need to find ways to best accommodate clients who want to take advantage of the geographical flexibility cloud-based editing offers. Post facilities always need to stay at least one or two steps ahead in anticipating their clients’ needs.

And it’s those companies that have stayed those few steps ahead that remain at the top of the Facilities 50 once more. They are big, globally-focussed post houses such as The Mill, MPC, Framestore and The Farm Group whose reputation for high quality, creative output and enviable levels of client service spans not only the UK but, more often than not, the East and West coasts of the USA, Canada, Asia and elsewhere.

Throughout the list are companies who’ve not only survived but thrived during some pretty tough years when production budgets have been further squeezed, while clients have continued to expect ever more from the facilities sector.

Many post houses have expanded dramatically both in the UK and abroad over the last year or so, and many more, including Evolutions, Envy, Smoke & Mirrors, Clear Cut Pictures, Gorilla TV and Splice TV have sizable expansion plans on the cards for the coming year.

After three or four years of generally fairly challenging trading conditions, many top 50 post production facilities now report things are finally starting to look up. The setting up of a number of new post start-ups over the last year is perhaps also indicative of slightly more favourable trading conditions. Only time will tell if the companies dominating the post market now will continue to dominate tomorrow, but it seems the sector is in better health than it’s been for some time.

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