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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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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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