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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

Production Technology Survey, 2015 Back to Reports & survey Listing

Compositing
Avid remains the strongest brand in the compositing market with the DS system being used by 20% of users - even though it has been discontinued by the manufacturer. Smoke and Flame are used by 8% and 7% of respondents respectively. Many also told us that they composited with Adobe After Effects. However, 75% said they didn’t composit.

Grading
The majority of respondents say they grade using plug-ins or tools within their editing systems, reflecting the move by manufacturers to add more grading tools to their editing systems.

DaVinci Resolve emerges as the most used standalone grading system with 34% saying they employed it, while FilmLight Baselight followed with 14%.

Remote editing
The ability to edit remotely is becoming ever more possible, yet very few programme makers have either done it or even plan to. Some 55% said they had no plans to edit remotely.

However, 31% said they had not opted for remote editing, yet planned to in the next 12 months.

Of the technologies available, the most popular to date is Avid Media Composer | Cloud, cited by 6% of respondents, followed by Avid Media Central | UX and Adobe Anywhere.




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