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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

Welcome to the Televisual Commercials 30 Survey, our annual survey of the commercials production sector.

Every year, we send survey forms out to the UK’s commercials production companies and ask them about their own businesses and the sector in general. The figures they give us help us to map the highs and lows of the sector and the opinions they give allow us to track how commercials production companies are thinking and feeling and what they see as the main issues affecting the sector now and in the future.

This year, although the long cold winter of recession has faded, the weather’s not all that clement. Commercials production companies are reporting that the work is out there but there are more production companies vying for it and agencies and clients know it. All are reporting an increased pressure on margins. Securing the job often means little or no profit. Pitch inflation is also rising as is pitching on jobs that never materialise.

In response, ad producers are now breaking out of their traditional box and casting their eyes beyond the 30 second spot. ‘Content’ has taken on a new importance, not least because that’s where the money’s going. Longer form work for brands is now a siginificant chunk of most producers’ turnover
Others are moving beyond work for brands and are making movies, shooting kids TV shows, making apps or interactive books – using their skills as storytellers in the wider world. As commercials production shrinks, the companies that will survive are those that can diversify.

For a place in the Top 30, a commercials production outfit is ranked across five criteria – its showing at eight award shows (Cannes Lions, Clios, Kinsale Sharks, D&ADs, British Arrows, Creative Circle Awards, New York Festivals and the APA Collection); its standing among its peers and whether it houses one of the survey’s most voted for directors or whether it made one of the survey’s most voted for ads. The number of directors on its roster and the number of ads it’s made is also taken into account. Each company’s best three scores then go forward to create its final total.


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