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December 2017
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In the magazine
Only available in print
  • The Televisual Commercials 30
    Jon Creamer introduces Televisual's exclusive annual report, the Commercials 30, and finds that while budgets are down and production companies are under threat from agency in-house units, commercials producers are finding new horizons beyond ads too.
  • Commercials 30: Best in Show
    Commercials 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. We reveal the results
  • Commercials 30: The Top 30
    Televisual reveals the Commercials 30 itself, the 30 top rated commercials production companies in the UK
  • Music in Motion
    So what’s next for the music behind the commercials? Will it be another year in the ascendant for London Grime perhaps? Portugese house? Afro beats or the Angolan kuduro sound?
  • Televisual Factual Festival report
    Last month saw Televisual's annual Factual Festival return to Bafta. How to stand out in a world of ever increasing viewer choice was the big theme this time. Tim Dams reports
  • Alison Kirkham in interview
    At the Televisual Factual Festival, the BBC's controller of factual Alison Kirkham outlined the shows the corporation is looking for in the year ahead
From the magazine
Available to read online
  • 2017: the year in review
    Two very different stories – the rise of SVOD players and the Harvey Weinstein abuse allegations – defined TV’s year. 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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