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December 2017

In the magazine
Only available in print
  • The Televisual Commercials 30
    Jon Creamer introduces Televisual's exclusive annual report, the Commercials 30, and finds that while budgets are down and production companies are under threat from agency in-house units, commercials producers are finding new horizons beyond ads too.
  • Commercials 30: Best in Show
    Commercials 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. We reveal the results
  • Commercials 30: The Top 30
    Televisual reveals the Commercials 30 itself, the 30 top rated commercials production companies in the UK
  • Music in Motion
    So what’s next for the music behind the commercials? Will it be another year in the ascendant for London Grime perhaps? Portugese house? Afro beats or the Angolan kuduro sound?
  • Televisual Factual Festival report
    Last month saw Televisual's annual Factual Festival return to Bafta. How to stand out in a world of ever increasing viewer choice was the big theme this time. Tim Dams reports
  • Alison Kirkham in interview
    At the Televisual Factual Festival, the BBC's controller of factual Alison Kirkham outlined the shows the corporation is looking for in the year ahead
From the magazine
Available to read online
  • 2017: the year in review
    Two very different stories – the rise of SVOD players and the Harvey Weinstein abuse allegations – defined TV’s year. Tim Dams reports
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Facilities 50 2009 Back to Reports & survey Listing

41= Finish
Md Jason Watts
Facility manager Justine White
Customer service Fi Kilroe
Genres Commercials, music promos
Credits O2 March Of The Ducks, Health Service Executive Change, Mentos Beat It
Services vfx (2d, 3d, animation), editing
Turnover £1.08m
KIT 64th= PRODUCER 27th= TURNOVER 46th

41= Platform Post
Mds David Tasker, Simon Cruse, John Cryer
Customer service Jaia Lloyd
Genres TV, commercials
Credits Horrible Histories, Waybulloo, Peugeot 308 Cabriolet launch film
Services audio (5.1, ADR), grading (HD), vfx (2d, 3d, animation), editing
Turnover £1.3m
KIT 34th= PRODUCER 57th= TURNOVER 40th=

43 Fifty Fifty
Md Sally Pacy, Tim Whitehead
Facilities director Cara Kotschy
Customer service Sally Pacy, Tim Whitehead, Cara Kotschy, Chris Johnson
Genres TV, corp, ads
Credits Isle of White T.T. Rally, Innocent Smoothie ads
Services grading (HD), vfx (2d, 3d), editing, DVD, Blu-ray
Turnover £1.2m
KIT 38th= PRODUCER 57th= TURNOVER 42nd=

44 Dubbs/ Eyeframe
Facility managers Julie Redmond, Bill Gamble, Clive D’Urban
Customer service James Greenwall
Genres Films, TV
Credits Son of Rambow DVD/Blu-ray, Man On Wire DVD, Monty Python: Almost The Truth DVD/Blu-ray
Services audio (5.1), vfx (2d, 3d, animation), editing, DVD, Blu-ray
Turnover £2.5m
KIT 55th= PRODUCER 66th= TURNOVER 30th

45 Big Buoy
Mds Jim Allen, Colin Sumsion
Facility manager Sawsan Farhan
Customer service Jon Hurst Genres
Commercials, TV, films
Credits The Hide, Women’s Aid commercial, Thomson holidays commercial
Services vfx (2d), editing, DVD
Turnover £1.7m
KIT 64th= PRODUCER 56th TURNOVER 34th=

Beak Street’s Big Buoy, which employs 20 full-time staff, describes itself as a “boutique Soho post house offering online and offline under one roof.” It concentrates on vfx work and editing of commercials and, says director Jon Hurst, “We have pretty much reached the scale of company we set out to achieve. All growth will be lead by work.”

Over the last year the focus for Big Buoy has been on expanding its client base in order to avoid the worst ravages of the recession. Recent work includes a series of films for Massive Attack’s latest album, commissioned by RSA and Virgin Records, and a vfx-heavy spot for Austrian national radio station OE3. Project highlights from the last 12 months include feature film The Hide and Joe Wright’s hard-hitting Women’s Aid Cut commercial for Grey, featuring Kiera Knightley.

46 Edit 123
Md Malcolm McCalister
Facility manager Colin Seeley
Customer service Jenny Matthews
Genres TV, commercials, corporate
Credits Kirstie’s Homemade Home, Whizz Whizz Bang Bang
Services editing, camera/crew hire Turnover £1.4m
KIT 64th= PRODUCER 50th= TURNOVER 39th

47 10th planet digital media
Md Jonathan Moore
Customer service Richard Lamb
Genres Corporate, new media, TV, film, music promos
Credits Dolby True HD Blu-ray, The Prodigy Invaders Must Die, Dom Joly Ministry of Truth
Services vfx(2d), editing, DVD, Blu-ray, camera/crew hire
Turnover £2m
KIT 62nd= PRODUCER 66th= TURNOVER 32nd

48 Doghouse
Md Mark Richard Adams, Jules Barton Hill
Facility manager Felicity Hirst
Customer service Felicity Hirst
Genres TV, corporate, new media
Credits Dallas DNA, 80 Days Around the World, Wanted Down Under
Services audio (5.1, Foley), grading (HD), vfx (2d, 3d), editing, DVD
Turnover £540k
KIT 38th= PRODUCER 42nd= TURNOVER 57th

49 The Station
Md Michael Peatfield
Facility manager Jenny Field
Customer service Suzanne Wright
Genres TV, corpate, films
Credits Rat Pack, Dispatches - Hardcash, Alice In Wonderland
Services audio (stereo), grading (HD), vfx (2d, 3d, animation), editing
Turnover £1m
KIT 53rd= PRODUCER 50th= TURNOVER 47th=

50 Outpost Facilities
Md Nigel Gourley
Facility manager Sharon Mason
Genres TV, corporate, films
Credits Beat the Star, My Almost Famous Family, Guinness World Records Smashed, Island 50 Services audio (5.1), editing, DVD, Blu-ray, film cutting
Turnover £1m
KIT 47th= PRODUCER 57th= TURNOVER 47th=

Pinewood-based Outpost facilities calls itself the “biggest regional facility that is closest to London – just 100 yards outside the M25. It has a small team of experienced post production staff (there are 12 full time employees), and says that 90% of its work comes from broadcast TV, including ITV’s Beat the Star, Sky’s Guinness World Records Smashed and CBBC’s My Almost Famous Family, while it also works on corporate projects and film. Outpost’s senior creatives include senior editors David Chisholm and Nigel Gourley, editor Jamie Munn as well as dubbing mixer David Taylor. Gourley says plans for the year ahead include “moving into more HD work and more tapeless workflows.” Investment in the next 12 months will be targeted at more high def equipment.

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