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  • The Facilities 50
    Jon Creamer launches Televisual's 32nd exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • Aim High
    10 page special report on production at the high end. We take a look at what’s new in colour management, pre visualisation, aerial filming, full frame shooting, the role of the DIT, working with Dolby Atmos, choosing the right codec, booking studios and
  • Drama: Genre Report
    As the streaming revolution gathers pace, with Apple TV+ and Disney+ now entering the SVOD fray, Tim Dams reports on the drama strategies of traditional broadcasters in an increasingly competitive market
  • Live Sport: Technology
    Live sports and events coverage, always on the cutting edge of innovation, is being transformed by new technology from remote production to 5G and immersive sound. Michael Burns reports
  • The Art of the Grade
    The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts behind Paddington, Ad Astra, Bohemian Rhapsody, Fleabag and more how it’s done
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Film 40, 2014 Back to Reports & survey Listing

Welcome to the Film 40, Televisual’s third annual survey of the UK film industry. The Film 40 is our annual guide to the behind the scenes talent and facilities which contribute so much to the Britain’s growing film production industry, worth £1bn to the UK economy.

The survey includes a round up of the top 40 film production companies in the UK, and in subsequent pages we profile the UK’s leading DoPs, vfx and grading artists as well as the top studios.

How it works
The Film 40 survey of UK indie producers has been compiled with off the record guidance and input from leading film producers, agents, financiers and independent film PR consultants. But the choice of companies is Televisual’s alone.

Unlike Televisual’s other industry surveys – such as the Production 100 or Facilities 50 – the Film 40 does not rank companies by revenues, awards or size. Instead, they are ranked alphabetically. That’s because the film industry is very different from other creative sectors. Projects take years to develop, produce and release – meaning that a film producer’s revenues and output can vary tremendously from year to year. It’s very much a long-term game.

So we have chosen the companies based on their reputation within the industry. The companies selected are those that have a track record of making films that attract box office, critical acclaim and/or awards. They are not just producers for hire – rather they are producers who look for and develop scripts, attach talent to projects, raise finance and risk their own money in films that they believe in.

We’ve also tried to pick companies that are capable of making a broad slate of films rather than those that are best known simply as the production vehicles for particular directorial talent.

Missing from the list are companies that are owned by broadcasters (like Film4 and BBC Films) as well as outfits that are predominantly distributors (Lionsgate, Pathe) or financiers (Ingenious, Prescience).


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