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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

Post production is a malleable industry, which rarely stands still for long. Established facilities with the burden of large amounts of legacy kit are under continual pressure to ensure they are as flexible in their setup as fresh new startups that are built around ensuring they can adapt at the drop of a hat to the changing demands and expectations of their client base.

To try to establish what a typical post house in 2014 might offer, we’ve analysed information about the setups of more than 70 existing UK post houses, looking at the services they provide, the staff they employ, their finances and so on.

The end result is a fictional post house sitting in the middle of the list. The scale and range of the fictional post house’s different services is detailed below. It’s a full-service facility and in reality probably wouldn’t stand a high chance of long term survival in the current marketplace as it’s neither a boutique with relatively small overheads or a huge, global post brand.

What should you expect from your average post house?
We received more than 70 survey forms from post houses for this year’s Facilities 50. As part of the extensive analysis of information provided, we’ve formulated the setup of a typical post production house in 2014.

A typical post production house in 2014 would be kitted out with a broad mixture of technology to ensure it’s able to provide as full a post service as possible to accommodate the comprehensive needs of its client base.

For editing, it would have 15 suites, which are likely to be a mixture of Avid Media Composer and Avid Symphony suites, with one or two being Final Cut Pro rooms.

The post house would have at least one 5.1 audio mixing room, and possibly as many as three, to try to ensure its clients don’t look elsewhere for their audio post work and provide the opportunity to quote for a more cost effective all-in post deal.

The post house would definitely offer HD grading services and might even be able to grade 4K work, although equally it might not have kitted itself up for full 4K post production as yet. It will have three suites that are capable of doing grading work, although only one is likely to be a dedicated, calibrated grading room with dedicated colour grading kit and control surface, exclusively used for grading. The others are editing suites that have the capability of being used for basic colour grading tweaks.

The post house would have 10 vfx workstations and be able to offer 2D and 3D visual effects and may also offer animation work.

The post house is able to author DVDs and possibly Blu-Ray discs, but this is no longer a significant part of the business.

Around 25 people would be employed by the post house, with at least half and possibly as many as 15 or 16 working in creative roles. The rest would be management, sales and admin staff. Of the creative staff, there would be five or six editors and a similar number of vfx/graphics artists. There’s likely to be a dedicated colourist and two or three dubbing mixers/audio post specialists.

The turnover of the post house wouldn’t be massive – between £3m and £5m, and any profits would be minimal and unlikely to amount to more than around £300k. Turnover is very unlikely to be up on last year, but then again it’s also unlikely to be down on last year too.

The post house would have spent around £250k on new kit over the last year, and have budgeted for a similar amount for the coming year.

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