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December 2017

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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Production Technology Survey, 2015 Back to Reports & survey Listing

Once again, Avid emerges as the most popular editing system in production. 48% of respondents say it is their primary editing system.

“The best editors know Avid inside out,” says one series producer. An editor comments: “I’m too old to learn anything else,” underlining the legacy the manufacturer still enjoys, particularly in the TV production sector. 

Indeed, many in the TV business view it as the industry standard, with one production manager commenting: “Avid is the universal language for most editors I hire.”

On the plus side, Avid is cited for its power, reliability, work flow, features and linking. Many flag up its ability to deal best with the complex workflows of post, particularly TV series and multi-camera shoots.

There are grumbles about the support offered by Avid and its price compared to other systems.

The rise of Adobe Premiere is particularly eye-catching this year, with 31% of respondents saying it is their primary editing system.

The editing software has developed a growing market in the corporate, digital and commercials world. Adobe Premiere’s integration with Creative Suite and After Effects is important to many, and it has now become standard at many production companies which has helped increase its user base. “Adobe is our corporate standard. It is used across all of brand and creative and we have more than 200 seats,” points out one executive producer in corporate production.

“It’s great value for money, is able to work seamlessly with Adobe software and is versatile with different formats,” adds an indie TV producer.

Apple FCP has its fans in the survey too, and is cited for its affordability and user interface. “I like that there is no monthly subscription so it represents good value for money,” says one exec producer. It has a stronger base in budget filmmaking, corporate production and with self shooting directors. Many use it at home, or for development sizzle tapes that they can shoot and edit.

Many say they prefer FCP7 to the FCPX upgrade, and there are still many detractors of the upgrade which has pushed some towards Adobe as an alternative.

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