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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

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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