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July 2018
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In the magazine
Only available in print
  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
Available to read online
  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
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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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