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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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Commercials 30 2014 Back to Reports & survey Listing

As well as telling us about their businesses in the Commercials 30 survey, ad producers also get to vote for their favourite directors, stand out ads and top rated agencies along with their favourite post houses, editors and vfx ops. Here are 
the results

The Best Commercials
The commercial most voted for by the UK’s commercials producers turns out to be one not produced in the UK this time.

Volvo’s death-defying and wince-inducing Epic Split was certainly spectacular though and brilliantly directed by Andreas Nilsson who shoots his UK work through Biscuit Filmworks. Its admirers voted for it because it was “an original way of communicating a product feature and brand values in an entertaining way” and also because, as one voter puts it, “I love Van Damme’s ass.”

In second place is Juan Cabral’s beautiful Beds spot for Ikea described by one voter as a “brave and stunning execution,” made possible with MPC’s vfx as well as a very brave actress.

Dougal Wilson of Blink took the Lurpak ads to new heights with our third most voted for ad as he turned the average kitchen into a sci fi spectacular in Adventure Awaits.

Outsider’s James Rouse had a stand out year with his comedic touch and has two spots voted into the top 10. The first, Rescue for Marmite took the form of a brilliantly observed spoof animal cruelty doc. The second, Sorry, I Spent it on Myself finally put paid to the myth that it’s better to give than to receive.

Alongside Outsider’s two fourth placed ads is the stylish Sapeurs, that documented the dandies of Brazzaville  for Guinness shot by Nicolai Fuglsig.

Others in the 10 include the heartwarming John Lewis Christmas spot from Blink that “makes production companies dream of the budgets we used to work with.”

The Best Directors
And it’s another year at the top of the Best Directors poll for Blink’s Dougal Wilson. “He continues to take us all on his directorial journey, wonderful to watch,” is one fan’s comment. He’s picked out for his “consistency and quality” and also described as “so diverse and so talented” and “able to bring something special to everything he does.” He’s recently made stand out spots including the John Lewis era-morphing Never Standing Still and the stop-frame Things Matter, the visually stunning Adventure Awaits for Lurpak, the dramatic Ban the Box for Second Chance and Save the Boy for St John’s Ambulance.

In second place once again is Rattling Stick’s Ringan Ledwidge, who’s had a relatively quiet year in commercials but is “still the boss” according to his many admirers.

 Outsider’s James Rouse rises a couple of places this year on the back of the “well crafted comedy” he’s conjured for brands like Marmite and Harvey Nicholls. His admirers are impressed at the way he gets “hilarious comedic performances out of the most mundane scenarios. Although he had good scripts to shoot, many directors would have fallen far short of the laughs he’s produced.”

Sharing fourth spot are Academy’s Si & Ad, lauded for the “fun, charm and personality” of their work, along with HLA’s Simon Ratigan (Landrover Hibernot and Eurostar Stories are Waiting), Rattling Stick’s Danny Kleinman (“the Swiss Army Knife of directors”) and Biscuit Filmworks Tim Godsall (“always brilliant” and “hugely talented”).

The Best Post Houses
It might not seem it at first but the poll of the most used post houses in the Commercials 30 Survey has undergone a seismic shift this year. Since dinosaurs walked the Earth, the same three post outfits have occupied the top three places, occasionally shifting position back and forth at a glacial pace. Now though, in a new dawn for the Commercials 30, Electric Theatre Collective has made it into the most used top three.

Apart from that, the same three post houses still occupy the top spots in both polls. Last time, MPC held the number one position of the most used and the highest rated post houses by commercials producers but this time it’s The Mill that takes the prize with its voters describing it as “always solid, often sensational.” Another of its clients comments: “They have brilliant creative operators and give us brilliant execution every time.”

MPC takes second place in both polls “because they always go the extra distance to make it perfect” according to one voter and to another because of the “level of staff and expertise yet it still offers attention to detail that doesn’t feel like a machine.”
Framestore’s third place in both polls comes from being “nice people who deliver every time.” Referencing its features work, one voter simply comments “see Gravity”.

ETC’s nudge into the top three comes down to its “boutique approach and extra level of creativity” as well as for “bringing creativity to post production” and “delivering excellent work for some of London’s best directors.”

Others in the 10 include Glassworks “independent and committed,” Finish: “a bespoke service” and Rushes: “good ethos, good work, nice people.”

The Best Agencies
There’s a shift at the top of the poll of commercials producers’ favourite customers this time. Last year’s second placed agency adam&eve DDB is this year’s first. They’re the “most exciting agency at the moment,” says one voter, another picks the agency out for being one that’s capable of “challenging clients to take exciting routes” while another says they have a “great relationship with their clients, showing that trust delivers great work.”

Last year’s most voted for agency BBH is this year’s second placed: “consistently great work, across all accounts, year on year.  And they collaborate with a production company.  There is never a feeling of ‘us and them’,” says one voter. Another says: “If you could pick an agency to work for, you would probably go there.”

In joint third this time is AMV BBDO: “They make big expensive campaigns interesting and successful,” “they make great creative, and great money” and Grey London: “Nils Leonard has turned that place around.”

The Best Editors
Work Post’s Rich Orrick reclaims his first place position in our poll of commercials producers’ favourite editors this year after taking joint second last time.

Last year’s first placed editor, The Quarry’s Paul Watts moves in to second this time with recent work including the star-studded Jaguar Rendez Vous directed by Tom Hooper at Smuggler and Jonathan Glazer’s The Ring for Audi.

Marshall Street’s Tim Thornton Allan takes a big leap up the list from last year’s tenth on the back of spots like Fredrik Bond of Sonny’s Simon the Ogre for Thomson and Stink director Martin Krejci’s Double Black for Smirnoff. Bill Smedley at Work Post takes this year’s fourth position after coming sixth last time having cut James Rouse directed ads like Harvey Nichols’ Sorry, I Spent It On Myself and Value Parachute for Volkswagen.

Paul Hardcastle at Trim and Work’s Neil Smith share fifth place.

The Best VFX Artists/Colourists
It’s now a spectacular five years in a row that MPC’s director of colour grading Jean-Clement Soret has been voted the best vfx operator by the commercials production industry. His work can be seen in some of the best ads of the year including Juan Cabral’s vertigo-inducing Beds for Ikea, Dougal Wilson’s stratospheric Adventure Awaits spot for Lurpak as well as the technical challenge of grading Wilson’s Never Standing Still for John Lewis.

Again in second place is Finish colourist Paul Harrison who’s graded spots including Megaforce’s One Room Paradise for Ikea and the recent Beckham-starring Together in the Club by Guy Ritchie for Haig.

Aubrey Woodiwiss at Electric Theatre Collective moves up a place this time having graded spots like Marcus Söderlund’s The Swell for Volvo, Jamie Rafn’s Robot Love Story for Vorwerk and Jonas & Francois’ Monday for Axe/Lynx.

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