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October 2017
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In the magazine
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  • The Facilities 50
    Jon Creamer launches Televisual's 30th exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 52 pages of analysis of the sector
  • Interview: Grant Mansfield
    Hiring top talent and investing heavily in development have been key to growing his Bristol indie Plimsoll Productions, says founder Grant Mansfield
  • The clear view: lenses
    What ever genre you work in, you need to be lens savvy. Here three DoPs guide us through the lens market, picking out the models they like to use in drama and factual
  • Over the top
    The growth of Netflix and Amazon is proving a boon for UK indies, but broadcasters are starting to panic. Tim Dams reports
From the magazine
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  • Blue Planet II
    The producers of Blue Planet II tell Tim Dams how tech advances and military planning helped them capture the secrets of the deep
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Reports&
surveys

Facilities 50 2009 Back to Reports & survey Listing

11 Rushes
Md Joce Capper Director of production Carl Grinter
Customer service Dori Halliday
Genres ads, film
Credits Lucozade Sport Evolution, Amnesty International You Are Powerful, Slumdog Millionaire titles
Services grading (4k), telecine (4k), vfx (2d, 3d, animation), editing, motion control film studio Turnover £8.6m
KIT 26th PRODUCER 8th TURNOVER 13th

Rushes’ spots this year include the vfx-heavy Lucozade Sport Evolution and Amnesty International’s hard-hitting You Are Powerful. As a result of the tough market conditions, it cut eight mostly non creative roles earlier in the year. “Less projects are available and those that are available are at reduced rates. We’ve had to take steps to reduce our fixed costs whilst trying to maintain our levels of sales,” explains md Joce Capper.


12 Films@59
Md Gina Fucci Facility manager George Panayiotou
Customer service George Panayiotou
Genres TV, corporate
Credits Stockwell, Timmy, River Monsters, Darwin – Tree of Life
Services audio (5.1, foley, ADR), grading (4k), editing, DVD, camera/crew hire
Turnover £7.6m
KIT 16th= PRODUCER 17th TURNOVER 17th

Films@59 is the leading post outfit in Bristol, billing itself as offering a first class service at affordable rates. Neverthess, the downturn has had an impact. Post production manager George Panayiotou says: “We’ve seen up to a 25% drop in production budgets over the last year – we work very hard with our clients to identify where savings can be made.” Much of Films@59’s work comes from the strong Bristol production community, including the likes of the BBC’s Natural History Unit, as well as leading indies such as Icon, Tigress and Aardman Animation. Over the next year, Films@59 is looking at expanding its grading facilities to offer DI post, as well as mulling a possible geographical expansion to take advantage of Nations production quotas. Films@59 employs 102 full-time staff.


13 Glassworks
Md Hector MacLeod
Facility manager Misha Standford-Harris
Genres ads, TV, promos
Credits Talk Talk Brand, Mercedes Pleasure, Johnny Walker The Man Who Walked Around the World
Services grading (2k), telecine (2k), vfx (2d, 3d, animation), editing, DVD, Blu-ray, bespoke medical simulation devices
Turnover £7m
KIT 25th PRODUCER 10th TURNOVER 18th

Glassworks has, like many of its fellow post production peers, cut costs and made some redundancies during the economic downturn. “Drastically reduced budgets now under value post production,” reckons md Hector Macleod. Bespoke software development is at the core of Glassworks business, helping it to supply high-end digital animation and visual effects expertise. Glassworks employs 60 staff from its Great Pulteney Street HQ, and has worked on ads for brands including Talk Talk, Mercedes and Johnny Walker in the past year. Key Glassworks creatives include head of 3d Alastair Hearsum, head of 2d Duncan Malcolm, Flame artists Duncan Horn and Glyn Tebbut, Smoke artist Aleks Ugarow and colourist Ben Rogers.


14 Sumners
Mds Janet Sumner, Andy Sumner
Facility manager Nicola Spanou
Customer service Janet Sumner
Genres TV
Credits Dragon’s Den, Waterloo Road, The Royle Family
Services audio (5.1, foley, ADR), grading (2k), vfx (2d, 3d), editing, DVD
Turnover £5m
KIT 13th PRODUCER 15th= TURNOVER 20th


Manchester’s largest post house, Sumners has over 50 editing workstations, eight audio suites and a vfx wing. Its work is entirely focused on broadcast clients and its credit list includes stalwarts such as Dragon’s Den. It took steps to prepare itself for the recession this year by “trimming areas of unnecessary expense, including overtime,” says joint-md Andy Sumner. He’s optimistic for the future, as, he says, “MediaCity will increase TV content created in the region. We will embrace this development.”


15= Crow TV
Md Will O’Connor
Facility manager Marley Bryan
Customer service Sarah Whelan
Genres TV
Credits The Weakest Link, Supersize Vs. Superskinny, O2 Load & Go
Services audio (5.1, ADR), grading (2k), vfx (2d, 3d), editing, DVD, Blu-ray
Turnover £3.7m
KIT 15th PRODUCER 12th TURNOVER 25th


Shepherds Bush-based Crow TV is almost completely focused on broadcast TV work, working on factual entertainment and entertainment projects such as The Weakest Link and Supersize vs Superskinny. Managing director Will O’Connor says the outfit, which has 47 full time staff, is considering expanding into other locations over the next year. 


15= Lipsync

Mds Jon Diamond, Peter Hampden
Facility manager Kevin Phelan
Customer service Kevin Phelan, Lisa Jordan
Genres Films, TV, ads
Credits Red Riding trilogy, Mr Nice, Nowhere Boy
Services audio (5.1, Foley, ADR), grading (4k), telecine (4k), vfx (2d, 3d, animation), editing, film recording
Turnover £8.4m
KIT 10th= PRODUCER 32nd= TURNOVER 15th


Three quarters of Lipsync’s work is feature films, providing full post production services to an assortment of film clients through its eight audio suites, five grading suites, 28 vfx workstations and 11 editing workstations. It also invests in features and co-produced and completed full post on the likes of Toa Fraser’s comedy drama Dean Spanley and Sam Taylor-Wood’s biopic of John Lennon’s early life, Nowhere Boy. It has also worked on vfx for Wes Anderson’s Fantastic Mr Fox, Paul Greengrass’s The Green Zone, and it produced around 250 vfx shots for Matthew Vaughn’s Kick Ass.


17 Technicolor creative services
Md Simon Wilkinson
Facility manager Soho: Jethro Harris, Pinewood: Chris Smith
Customer service Matt Adams, kishor Ladwa
Genres Films, TV
Credits Into the Storm, The Imaginarium of Doctor Parnassus, Dorian Gray
Services audio (5.1), grading (4k), telecine (4k), vfx (2d), editing, DVD, film (lab, restoration, recording) Turnover £15.4m
KIT 14th PRODUCER 42nd= TURNOVER 8th

The last year or so has seen massive changes at Technicolor, with the wholesale relocation of its film lab from West Drayton to Pinewood and the setting up of a new DI-focused facility in Soho. Its Lexington Street facility offers extensive grading services, while its Pinewood base provides neg developing, printing and film recording. The timing of its move coincided with the global downturn, which, says operations director Jethro Harris, has resulted in  “less TV work due to a reduction on the number of programmes commissioned. Feature budgets have also reduced, with more productions looking for equity deals.”


18 Barcud Derwen
Md Bryn Roberts
Facility manager Steve Cowin
Genres TV, corporate, new media
Credits Rivers, Draining the Ocean, Rivers and Man
Services audio (5.1, foley, ADR), grading (2k), vfx (2d, 3d, animation), editing, DVD, Blu-ray, camera/crew hire, TV studios
Turnover £19m
KIT 8th PRODUCER 52nd= TURNOVER 5th

Leading Welsh facility Barcud Derwen bills itself as the “number one one-stop-shop for production working in all formats”. As well as its significant post business in Wales (and Scotland through post house Arc), Barcud Derwen also offers everything from OB truck hire through to studios and interactive media services via 14 separate divisions. Like other facilities, it’s had to “make some savings and streamlining” over the past year, says Derwen md Rhys Bevan. “Due to our experience we now offer a very slick service and have adjusted to new ways of working without losing standards.” Bevan adds that the current economic climate means that it’s not the time to grow the business over the next year.


19= The Mews
Md Gareth Mullaney
Director of digital operations Julian Day
Facility manager Frankie Jacobs
Customer service Andy Wright, Carle Duthoo
Genres TV, corporate
Credits Greatest Cities of the World, Christianity - A History, Traffic Cops
Services audio (5.1, ADR), grading (2k), vfx (2d, 3d, animation), editing, DVD, Blu-ray, film restoration
Turnover £4m
KIT 18th= PRODUCER 22nd TURNOVER 22nd=


Formed following the takeover and merger of long-standing post players DGP and Rainbow Post earlier this year, The Mews is a full-service post house with a solid presence in HD editing and DVD and Blu-ray production. Continuing in a similar vein, md Gareth Mullaney says, “We plan to continue to diversify through expansion – giving that the industry in general is consolidating, we will more than likely acquire.”


19= Pepper Post

Mds Jane Coombes, Shane Warden
Facility manager Kerry Franks
Customer service Jane Coombes
Genres TV, film, corporate
Credits Law and Order UK, Planet 51, I Am Because We Are
Services audio (5.1, foley, ADR), grading (4k), telecine  (2k), vfx (2d, 3d), editing, film restoration  Turnover £4.8m
KIT 15th= PRODUCER 24th TURNOVER 21st


20 Clear Cut Pictures
Md Horacio Queiro
Facility manager Jason Tomkins
Customer service Richard Hobbs, Nicky Burchett
Genres TV, corporate
Credits Occupation, Catastrophe, Richard Hammond’s Engineering Connections
Services audio (5.1, Foley, ADR), grading (2k), vfx (2d, 3d), editing, DVD, Blu-ray, talent agency Turnover £3.1m
KIT 20th= PRODUCER 13th= TURNOVER 27th

Shepherds Bush-based Clear Cut delivers end to end post production, largely for television. It’s worked on some high profile projects over the past year, including acclaimed BBC1 drama Occupation. Bafta winner A Boy Called Alex also went through Clear Cut. Over the past year, Clear Cut has “cut down hard on costs and implemented more efficient workflows to make things cheaper to do,” says md Horacio Queiro.

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