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November 2018

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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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Facilities 50, 2013 Back to Reports & survey Listing

Post houses are suprisingly generous when it comes to heaping praise on their competition. For an industry that has to put up with seasonal workloads where work can be hard fought for and undercutting rife, it’s good to see such widespread recognition of the talents of others, no matter the circumstances. Interestingly, the top five post houses in this year’s peer poll mirror the top five of the overall Facilities 50 list.

1. The Mill
The Mill is “an incredibly strong brand and continually pushing boundaries with a high standard of output,” says Air Post Production.

It’s “still iconic,” adds Berwick Post, while Big Buoy says it “continues to kick out great work.” Similarly, Editworks Scotland says The Mill is “continually at the top of their game year in, year out,” and “they’ve managed to retain their exclusivity, while being forward thinking in areas of expansion,” says Hogarth. Many other post houses single out The Mill’s creative work, professionalism and consistency, as well as their reputation in the States.

2=. MPC
MPC “creates great work in film, TV and commercials,” sums up Big Buoy, while Splice TV agrees it’s “always been the leader in commercials/film effects”. Many more of its post admirers single out MPC for its consistently high-quality work.

2=. Framestore
Framestore is a “well run facility which manages to maintain a boutique feel,” says Technicolor. Preditors admires its “outstanding use of new technologies,” Rushes praises its “staff, excellent work, culture and involvement in the creative community.”

4. The Farm Group
The Farm Group has the “scale, customers and huge LE shows,” says Sequence Post. Splice TV says it’s “still the best TV post production facility” and Dock 10 admires The Farm’s ability to “expand wisely without trying to kill the market.” Likewise, Air Post Production says “they cover such a variety of work and they have continued to grow in very hard times, setting up in Manchester and LA.”

5. Envy
“Envy have worked on some very bold work this year,” says The Mill, while IMG Studios admires Envy’s “ever-growing dominant position” in the post market. Filmsat59 says it “provides a high level of post to high profile productions,” while Berwick Post believes Envy is the “best overall facility.” It offers “stylish post in stylish surroundings,” says Big Bang.

6=. Rushes
Commercials visual effects-focused Rushes is “a company that very capably retains its clients,” says Absolute Post. “We work with them and they are a friendly and efficient team,” says Deluxe 142. Splice TV says Rushes produces “superb cgi” and Framestore singles out Rushes’ “nice people”. Meanwhile, Envy says Rushes is “well run”.

6=. Double Negative
Double Negative has a global reputation for its top-end film visual effects, which helps it pick up many admirers in Soho. Rushes is impressed by its “scale, expansion, professionalism, business acumen and great work. It’s a grown up company often lobbying on behalf of the rest of the industry.” Milk simply says: “Look at their reel” to explain its admiration of the company, while Glassworks says it’s the “biggest UK post production company employing many Brits.” LipSync admires Double Negative’s ability to be “successful in a tough market”. Meanwhile, Framestore says it produces “great work”.

8. Filmsat59
IMG Studios singles out Filmsat59’s “excellence in the regions”, while Platform agrees “they remind people that great post production is not exclusive to Soho”. Envy says it’s a “friendly facility with loyal clients,” and Halo says it produces “high quality, great work.”

9. Molinare
Filmsat59 admires Molinare’s “ability to go through another re-structure and continue to deliver to high standard”. IBF points to the company’s “reputation”, while Coach House Studios is impressed by Molinare’s “complete service and high standards.” 

10=. Glassworks/Halo/Finish/De Lane Lea
Finish admires Glassworks’ “consistently good work and loyalty from clients”. Editworks Scotland says Halo “seems to be establishing themselves amongst some of the giants of post houses, while retaining a boutique feel.” Absolute Post admires Finish for being “a boutique that’s growing despite a challenging market”. Hackenbacker admires De Lane Lea for the “good work they’re doing.”

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