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March 2018
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In the magazine
Only available in print
  • Genre report - Entertainment and comedy
    In a two-part special, Tim Dams reports on TV’s fresh focus on entertainment, and new directions in comedy
  • The art of cinematography
    Four leading DoPs tell Michael Burns the secrets of their craft, and explain the techniques they used to create hits like Jason Bourne, The King’s Speech, Lion and Sherlock
  • The Top Ten Cameras
    Televisual’s annual survey reveals the UK’s most hired cameras of the year and uncovers the models everyone will be shooting on in the year ahead
  • TV Studios
    The television studios sector is in flux, amid a spate of closures and re-developments. Pippa Considine reports on a changing studios landscape
  • Take it outside
    Major technical advances such as UHD, HDR and IP are driving big changes in the outside broadcast market. Michael Burns reports
  • And lots more
    This issue also features the Televisual Corporate 50, bright ideas for lighting, how post houses are dealing with the data bulge and pages showcasing the best creative work in UK post and vfx
From the magazine
Available to read online
  • Game On for C4 & Netflix drama
    Set in the world of computer gaming, C4 and Netflix’s Kiss Me First combines live action and impressive cg animation. Tim Dams reports
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Reports&
surveys

Production Technology Survey, 2014 Back to Reports & survey Listing

Editing


Avid Media Composer remains the most popular editing system in production by a considerable margin. It’s the primary editing system of 70% of our respondents, proving that it still rules the roost despite the challenge from Apple and Adobe.

Avid, say many, is the industry standard. It’s the most common editing system in post houses and within production companies. “It works very well, it is properly supported and the pool of good editors who use it is wider,” says one head of post production at an indie. “It’s reliable, my favourite editors insist on it and it’s the most widely available,” says a series producer. Avid scores highly in the survey in terms of feature set, support and ease of workflow.

Avid is rated too for being the best at dealing with the complex workflows of post, particularly TV series and multi-camera shoots. Indeed, it’s used by 77% of our TV respondents. “The creative toolset is similar across all the edit platforms but Avid wins hands down on project and media management.  We will run multiple suites editing with the same material and so this is vital for us,” says an indie head of post production.  A production manager says, ”Avid is generally better for series and not crashing when lots of footage needed across different episodes.” On the downside, there’s some grumbling about Avid’s price plans in the survey.

Apple has its fans in the survey too, and it’s cited for its affordability and for being good for one off projects or short films or cutting together tasters. It has a stronger base in budget filmmaking, corporate production and with self shooting directors.
However, it’s lost out since the FCPX upgrade which alienated many users. “We always edited FCP until Apple produced a useless upgrade version,” says one indie head of production.  Respondents score FCPX poorly in terms of workflow, support and feature set – but highly in terms of price.

Many disaffected Apple users now seem to be trying out Adobe, which has gained ground since last year’s survey – it’s now the first choice editing system of 17% compared to 11% in 2013. “I hated the FCPX upgrade so moved over to Premiere,” says one producer.

Adobe’s integration with Creative Suite and After Effects is important to many, and it’s seen as excellent value for money. Its workflow and  feature set are rated very good by the majority of its users.


Compositing
Avid is also the strongest brand in the compositing market, with the DS system being used by 34% – even though it has been discontinued by the manufacturer. Autodesk’s Flame and Smoke are each used by 17%, with Mistika and Hiero on 4%  and 1% respectively. 56% said they didn’t composit.

Grading

DaVinci’s Resolve and FilmLight’s Baselight emerge as the two most widely used grading systems.
The market is split evenly between Baselight and Resolve, each with a 31% score. However, a significant number of respondents (32%) use plug-ins or tools within their editing systems, reflecting the move by manufacturers to add more grading tools to their editing platforms.


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