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November 2018

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  • 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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Commercials 30 2015 Back to Reports & survey Listing

As well as telling us about their 
businesses in the Commercials 30 
survey, ad 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. Here are the results

The best commercials
Far and away the commercial production industry’s favourite ad this year has been Kim Gehrig’s This Girl Can for Sport England, a celebration of real women getting involved in sport set to a Missy Elliot sound track. The multi award-winning ad is described as “So, so good. Positivity, perfect message,” by one of its voters. Another describes it as “visceral and empowering. Brilliantly executed.”
Four ads take equal second. Daniel Wolfe’s online spot that served up two very similar but very different stories for Honda was a big favourite, not least because it showed that online spots could be made to the same exacting standards as TV work. Juan Cabral’s dreamlike and visually stunning Beds for Ikea, where a dreaming woman’s falls through the sky, was also a big hit.
The survey’s favourite director Dougal Wilson directed another equal second place ad. His Christmas spot for John Lewis featuring a boy’s friendship with a penguin is described by one of its voters as “great storytelling and lovely film making.” Another in second place is from our second placed director. Rattling Stick’s Ringan Ledwidge’s Christmas ad for Sainsburys was also a much-fancied film. Finally in second place was Jeff Low at Biscuit’s spot for Tena Men featuring Stirling Gravitas. An “exciting and fresh approach” is how one voter described it. “It’s a very funny ad and tackles a subject that would have previously been unmentionable in advertising,” says another.

The best directors
And it’s another year at the top of the best directors’ poll for Blink’s Dougal Wilson.
He’s described by his voters as “consistently good
.” Another says that it is “always a delight to watch his work. Beautifully crafted,” while another praises him for “still producing great innovative work.” Alongside his Monty’s Christmas John Lewis spot there’s been the joyous Tiny Dancer for the same brand and great work like The Messenger for Arla Skyr and The Joy of Storage for Ikea.
Rattling Stick’s Ringan Ledwidge holds his second place in the poll for another year with many picking out the scope and ambition of his Sainsburys 1914 Christmas spot. “Epic” is one comment. In third position is Somesuch’s Kim Gehrig, which represents something of a seismic shift for the poll of the industry’s favourite directors as it’s been pretty much exclusively a boy’s only club since the beginning of time. Her work on This Girl Can for Sport England is described as “epic and inspiring” with many praising the “natural performances she captures.” “I would love to see her get more opportunities to direct big campaigns,” is one voter’s opinion. Two directors share fourth position: Daniel Wolfe at Somesuch on the back of ads including The Other Side for Honda and When Stuff Sucks for Three. Rogue’s Sam Brown is also in fourth “Sam has reached senior status in the last two years and it’s
 good to see him shining,” says just one of his voters.

The best editors
Commercials producers have voted two editors into top position in this year’s poll. Last year’s second placed editor Paul Watts of The Quarry who’s helped craft spots including Chris Palmer’s See the Child for Kids Company moves to first. Also in number one is last year’s number five, Paul Hardcastle of Trim who cut spots including Nexus directors Smith & Foulkes’ Stand Up to Cancer for Channel 4. Two editors also occupy third place in this year’s poll. First up is Tom Lindsay, also of Trim, who wasn’t in the top ten last year but makes it this time on the back of work like Daniel Wolfe’s When Stuff Sucks for Three. Also in third is Final Cut’s Joe Guest, who came in seventh last time. The long time Dougal Wilson collaborator cut the director’s spots including The Messenger for Arla Skyr, The Joy of Storage for Ikea and Monty’s Christmas for John Lewis.

The best operators
There’s been a shift at the top of the commercials producers favourite operators this year. As before the list is dominated by the star colourists but the first two positions have shifted. Finish’s Paul Harrison received most votes this year. He’s worked on spots including James Rouse’s Memorable Guest for Maille Mustard and Thursday 25th for Kids Company. After five years in a row occupying the top spot in the poll, MPC colourist Jean-Clement Soret just slips to second. He’s graded spots including Dougal Wilson’s Tiny Dancer for Ikea, Henry-Alex Rubin’s Slide for Lexus and Juan Cabral’s Monkeys for Ikea. Electric Theatre Collective’s colourist Aubrey Woodiwiss holds on to his third position in the poll. He’s worked on spots including Rekorderlig’s Silver Surfers by Biscuit’s Andreas Nilsson and Knucklehead director Chris Hewitt’s Alfie the Astronaut for NSPCC.

The best post houses
For the post production poll, we ask commercials producers to tell us both the post houses they use the most and those they rate highest. Mega shops MPC and The Mill occupy the joint first position in the most used poll (The Mill was first last time with MPC in second). Electric Theatre Collective consolidates its position in the top three most used poll with Framestore now slipping down to fourth.
The poll of commercials producers highest rated post houses again sees The Mill in top spot. “They put commercials first above all else and they have a wealth of
experience,” says one of its voters. Others describe it as having a “huge breadth of talent, great creative partner, solid production
” and others say “they never let you down and put so much into the project.” Says another: “the number of good commercial operators is higher than anywhere else.”
Just in second spot is MPC, picked out by its customers for its “consistently good work” and for having “everything we need under one roof.” Others point to its “great colourists” and its “great ops.” Electric Theatre Collective has now made it into third position in the highest rated poll (it was fourth last time). Its fans point to it being “forward thinking” and for being “young and hot and keen.” Other voters say it has “the most talented and creative operators!” while others say it has “the best creative compass in the UK.”
In fourth amongst commercials producers is Framestore, “They can draw on their film and technical expertise for projects
that are more unusual and bespoke than other companies can,” says one fan.
In fifth is Glassworks: “a great independent and they still care
.” In sixth is Time Based Arts: “interesting and creative work.”

The best agencies
Adam and Eve DDB again comes in at number one in our poll of commercials producers’ favourite agencies. It gets its votes because “they do great work across the board – please send more scripts.” Others say that the agency “produces more high quality work than anyone else.” One voter points out that “they give their clients the confidence to allow them to tell the client what’s best for their brand,” a rare commodity.
AMV BBDO moves up from last year’s third place to second this time. It’s described by its admirers as the “last of the great traditional agencies that still produces top creativity” others also describe it as an “admired creative powerhouse” that is “creatively driven and great to work with.” Wieden and Kennedy moves up from fifth to third this time because “they still hold the creative above everything,” as one voter puts it while others point to its ability to “take creative risks.”

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