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November 2018

In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 31st exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • The Commercials 30
    Jon Creamer introduces Televisual’s exclusive Commercial 30 survey, reporting on a year of highs and lows for commercials producers.
  • The Drama Genre Report
    With competition from streamers intensifying, UK broadcasters are exploring new drama strategies. Tim Dams reports
  • Primary Colours
    Five leading movie colourists tell Michael Burns the secrets of their craft, and explain the techniques they use to grade movies like The Danish Girl, Peterloo and Baby Driver
  • Up, up and away!
    Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Pippa Considine reports on some of the year’s standout aerial projects
  • OB: Which Way Now
    The OB industry is embracing major change as it adapts to the worlds of UHD, HDR and IP. Michael Burns reports
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Facilities 50 2015 Back to Reports & survey Listing

The Mill
11-14 Windmill Street, 
London, W1F 2JG; New York; 
Los Angeles; Chicago
t 020 7287 4041
Managing director 
Darren O’Kelly
Head of production Ben Stallard
Genres ads, promos, corporate
Credits Sainsbury’s 1914, Honda Type R The Other Side, SSE Maya, Angry Birds 2 Launch Film, Audi Birth, Google ATAP Help,
Services audio (ADR), grading (4k), vfx (2d, 3d, animation), editing, telecine (4k), film recording, VR 

Turnover £109m
Producer 1st Turnover 1st Peer 2nd

It’s not long since The Mill moved into its brand new London headquarters on Windmill Street but last month saw another major move for the company.
It was announced that Technicolor had stumped up  £190m to buy the company, a deal which makes The Mill part of the same holding company as the post house placed second on our list of 50, MPC.
CEO Robin Shenfield explains that as technologies like virtual reality emerge, the deal was done to give The Mill access to the sort of R&D it needs to be ready for the technology trends of the future. “As we produce more diverse content – immersive, experiential – you need to lean on a heavy amount of research and technology beyond what you do creating visual effects for linear TV advertising,” says Shenfield. “The palette of work is expanding all the time and a lot of that is technology driven. That is at the heart of all this. How do we provide the business with a level of technology heft beyond what we have that will equip it to capture the most creative work in the world, not just the linear world of TV?”
But, he says, operationally it will be “business as usual.” and likens the group to the ad agency holding company model, with distinct brands under the same ownership competing directly. “We’re going to operate totally independently from any other brand Technicolor has. For businesses to succeed they have to be competitive.”

127 Wardour Street, London, W1F 0NL; Paris; Amsterdam; New York; Los Angeles; Vancouver; Montréal; Mexico City; Shanghai; Bangalore 
t 020 7434 3100 e Md Mark Benson Advertising Graham Bird Film Christian Roberton Head of production Rachel Matchett
Genres film, ads, promos
Credits Terminator Genisys, Guardians of the Galaxy, Ikea T-Shirts, John Lewis Monty’s Christmas, Call of Duty
Services grading (2k), vfx (2d, 3d, animation), editing, telecine (2k), VR
Turnover £90.6m
Producer 3rd Turnover 2nd Peer 3rd

And so MPC now also finds itself as part of the same group of companies as its rival The Mill (see above). Like The Mill, a big concern for MPC is looking to the future and the new forms of immersive filmmaking that are developing at an incredible speed.
It too will use its ownership by Technicolor to get ahead of the technology game. “We have seen a marked increase in VR related projects,” says MPC. “In response, we are developing various tools for VR and AR, which allows us to push the boundaries of immersive filmmaking.”
Back in August, MPC launched its own dedicated VR team, MPC VR, to respond to these new forms across advertising, feature film, architecture, entertainment and experiential event production.
There has been expansion internationally too. MPC New York recently announced the expansion of its SoHo offices, adding a third floor to its studio space with two extra colour grading suites, a large flame finishing room, 4k capabilities and HD mastering. MPC LA is also due to move to a new purpose built studio in Culver City.
MPC is also another post house playing the ad agencies and production companies that offer in-house post at their own game. MPC Creative is the company’s dedicated production company that works direct to client and uses in-house directors, designers, concept artists and creative technologists to produce the whole project.

9 Noel Street, London, W1F 8GH; 19-23 Wells Street, London, W1T 3PQ; Montréal; New York; LA t 020 7208 2600 Advertising Helen Stanley, Lottie Cooper Film Fiona Walkinshaw / Matt Fox Facility director Kirsty Cleminson
Genres film, ads, corporate,
Credits Bond Titles for Spectre, Paddington, Shell Shapeshifter, London Stock Exchange market opening direct to LSE
Services audio (5.1), grading (4k), vfx [2d, 3d, animation], editing, telecine (4k), film (restoration, recording), motion capture, pre-vis, VR
Turnover £90m
Producer 4th Turnover 3rd Peer 1st

Framestore’s international reputation rides high on the back of its award winning film work. It’s also a firm favourite back home (it places first in our peer poll).
There were Oscar and Bafta nominations for Guardians of the Galaxy in 2015 and Paddington garnered critical acclaim and awards.
So “a positive year,” is Framestore’s take on the last 12 months, picking out “increased film production in the UK which has resulted in a further increase in large scale vfx projects being produced in London” of which Framestore has worked on more than just a few.
Like many other post houses, the company has its eye on virtual reality and other associated technology and has been running its own VR Studio that it says “has hit the ground running with numerous ground breaking  projects including ones for Merrell (Sundance) and Marvel.”
It also has its own stand alone production arm, Framestore Pictures, which has launched with teams in Los Angeles, New York and London too and its Labs installations offshoot is “expanding globally and continues to work direct to blue chip clients.” including recent digital signage work for Morgan Stanley.
Framestore also points to a “steady increase in our core vfx work in advertising and also an increasing desire for our clients to work their stills campaigns with us alongside their TV spots.”

The Farm
13 Soho Square, London, W1D 3QF; Salford; Bristol; LA 
Md David Klafkowski Customer service Jason Elliott
Genres TV, corporate, ads, promos, film
Credits BGT, Indian Summers, This is England ‘90, World Cup 2014
Services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d), editing, telecine (4k)
Turnover £28m
Producer 5th Turnover 6th Peer 4th

Big changes for The Farm as it says goodbye to its original Soho Square home and opens a state of the art facility on Newman Street connected to all The Farm’s other outposts this year.

50a Rathbone Place, London, 
W1T 1JW and four more 
Md Dave Cadle Facility manager Natascha Cadle Customer Services Dominic Briere-Edney Genres TV, ads, promos Credits The Voice UK, Gogglebox, Quorn Mo Farah’s Sacrifice Services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d, animation), editing Turnover £17m Producer 2nd Turnover 8th Peer 5th

Envy says it’s “running out of space” despite its array of buildings and is operating a 17 room ‘pop up’ to cope. A potential new building is now on the cards.

2 Sheraton Street, W1F 8BH; 
4-7 Great Pulteney Street, W1F 9NA; 59 Berwick Street, London, W1F 8SR; 11-13 Whiteladies Road, Bristol 
Md Simon Kanjee Ops director Owen Tyler Customer services Darren Musgrove
Genres TV, ads, corporate
Credits The Apprentice, Educating Cardiff, The Graham Norton Show
Services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d, animation), editing
Turnover £18m
Producer 9th Turnover 7th Peer 12th=

Evolutions says the past year was “excellent” and that “increased business” meant it opened new buildings in both Bristol and London.

34 Fouberts Place, London, 
W1F 7PX Md Julie Parmenter 
Facility manager Alan Pritt 
TV sales Helen Phelps 
Film sales Justin Lanchbury
Genres TV, film, corporate, ads, promos
Credits The Outcast, Ex Machina, The Musketeers, The Wheelchair President
Services audio (5.1, ADR), grading (4k), vfx (2d, 3d), editing, telecine (2k)
Turnover £10.7m
Producer 8th Turnover 13th Peer 5th=

Molinare turned to acquisitions to increase its offer this year, buying audio facility Hackenbacker. Its tie up with Manchester’s Flix expanded its regional reach too

Rushes 66 Old Compton Street, London, W1D 4UH 
Md Joce Capper Head of production Jules Pye
Genres ads, film, TV, corporate, promos
Credits Nike, Bruno Banani, Spectre
Services grading (4k), vfx (2d, 3d, animation), editing, telecine (4k), motion control
Turnover £12.8m
Producer 16th= Turnover 10th Peer 7th

“It’s been another unpredictable year,” of ups and downs says Rushes. “It really is incredibly busy and then not so busy, then busy, then not so busy. It makes it very hard to predict reveune, let alone costs accurately.”

Smoke & Mirrors
1-5 Poland Street, London, W1F 8PR; New York; Shanghai
t 020 7468 1000
Mds Gary Szabo, Danny Whybrow Facility manager David Southwood Genres ads, corporate, TV, promos Credits Road Safety Authority Anatomy of a Split Second, Leftfield Head and Shoulders
Services audio (5.1), grading (4k), vfx (2d, 3d, animation), editing, telecine (2k), camera/crew hire
Turnover £29m
Producer 29th= 
Turnover 5th Peer 18th=

142 Wardour St, Soho, London, W1F 8DD t 020 7149 2000
Md Amanda Cupples Facility manager Johnny Whitehead Customer Services Becky Start
Genres TV, film Credits Humans, Fortitude, Thunderbirds, Have I Got News For You?, My Mad Fat Diary, Broadchurch
Services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d), editing, telecine (4k), film (restoration, recording, cutting) Turnover £11m
Producer 20th Turnover 12th Peer 18th=

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