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June 2018

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  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
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  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
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Facilities 50 2009 Back to Reports & survey Listing

The opinions of clients

With so many post houses to choose from, it’s a daunting task selecting which one to take your production to. Jake Bickerton reveals the opinions of producers in different genres as to which post houses they believe are best

Post houses are pretty thick on the ground, particularly in central London, where there are dozens of post companies of all shapes and sizes to choose from. What makes one stand out from the next is a combination of quality, client servicing, the facility’s heritage and, perhaps most importantly, its reputation. Almost a third of the score making up the overall ranking of each post house in the Facilities 50 is down to how many production companies use and recommend it.
We ask producers and production managers across three main sectors – broadcast, commercials and corporate – for their favourite post houses. And in recent years we’ve also actively sought the opinions of feature film producers and post production supervisors, which also filter in to the rankings.

The broadcast vote
The Farm Group gains broadcast votes for being the “best all round” and for having “great grading facilities”. It is “reliable and quick”, “ensures quality” and is “consistent with attention to detail”. Envy “delivers a very high standard of quality”, has “top quality talent”, is “friendly and a great environment” and its “support and talent are fantastic.” One client says it is “definitely top of the list at the moment”.

Evolutions has a “very accomplished technical standard” and “excellent post producers”. It has the “capacity to deal with changing schedules”, “competitive quotes and deals” and an “excellent audio and qc team”. It’s “competitive, well run and opposite our office,” says another. Prime Focus (or more specifically, blue) receives votes for its “flexibility and ‘can do’ attitude” and “very good people.” Molinare offers “first class customer service and accurate billing”. It has “consistently good people and facilities”. Ascent 142 is “fast and efficient” with an “easy and efficient bookings service”. Crow TV is “local in Hammersmith and does a consistently great job”. It also “deals incredibly quickly and efficiently with any technical problems”. Sumners offers “flexibility” and “good value”, while Clear Cut can “work with smaller budgets” and has “excellent facilities” and Films@59 “are professional and know the answers” and will “bend over backwards to help”.

Commercials producers
MPC receives votes from ad producers through its “commitment to great work”, for having “great operators” and being “most helpful and polite”. The Mill is “always there to help” and provides a great “quality of service”. Framestore is a “big company that still manages to keep it personal” and has “the best staff” say its clients. Rushes has “great staff” and is admired for “the quality of its work”. “Ben Rogers is our favourite colourist”, says one commercials client of Glassworks, which another agrees has the “most creative operators”. Smoke & Mirrors “look after clients well”, Absolute is singled out for its quality personnel and Prime Focus has “excellent operators – now [colourist] Tareq [Kubaisi] has gone there they really do have a very strong team.” Finish is “on the verge on becoming great” says one of its clients, while Golden Square “will bend over backwards to accommodate and help out.”

Corporate producers
Envy is “The Manchester City of facilities, buying in as many of the best people as possible,” says a corporate producer. It is “friendly and supportive to production needs”. Evolutions is “good for last minute out-of-house projects, due to its number of facilities”. It provides a “friendly, fast service”. The now defunct Concrete had “highly experienced people” was “flexible”, “willing” and offered “great value for money.” Bravo Post is admired for its “quality of service and facilities” and its “small boutique style and knowledgeable, experienced staff”. Aquarium provides “value for money”, The Mews does “quality work” and Prime Focus has a “sensible approach to budgets” and “a fun approach to hard work.” Rushes is “talented and flexible” says a corporate client, Unit is “friendly” and “very technically competent” and Exposure has “nice finishing tools” and “great people”.

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