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March 2018

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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Production Technology Survey, 2015 Back to Reports & survey Listing

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.

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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