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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 2016 Back to Reports & survey Listing

31 Time Based Arts
The Caretaker’s Cottage, Shoreditch Town Hall, 380 Old Street, London EC1V 9LT 
mds James Allen, Mike Skrgatic genres ads, TV, films, promos credits Mercedes Time to Look Up, Three Dial, War and Peace services grading (2k), vfx (2d, 3d), editing turnover £2.5m Producer 19th Turnover 36th Peer 16th

Time Based Arts says “it’s been a great year consolidating the growth of the company.” Colourist Simone Grattarola now works out of TBA and that’s “introduced long form work into the building with War and Peace and Peaky Blinders” two examples.

32 Axis
7.1 Skypark 1, Elliot St, Glasgow, G3 8EP; Bristol
md Richard Scott 
facility manager Jill Wallace genres ads, TV, corporate, film credits Doctor Who Christmas Special, Assassins Creed Unity ad, League of Legends ad services vfx (2d, 3d, animation), VR turnover £5.6m Producer - Turnover 20th Peer -

“A year of growth and expansion,” says Axis  “Revenues are up and we have opened in London.” It has also expanded “into longer format work for clients such as Netflix and Amazon and we’re getting a great mix of vfx work for our visual effects studio.”

33 Storm HD 11-13 Neal’s Yard, Covent Garden, London WC2H 9DP t 020 7520 5000 
mds Tim Wheeler, Paul Ingvarsson facility manager Gail Roberts genres TV, corporate
credits Motorheads, 1000 Heart Beats, Kids Casting Agency services audio (5.1, foley, ADR), grading (4k) vfx (2d, 3d, animation), editing
turnover £1.7m Producer 11th Turnover 45th Peer 16th

Storm HD reckons that 2016 has so far been “a very strong year with lots of good quality work around. We’ve had to turn away multiple enquiries because we have been at capacity.”
The Facility, which focuses almost exclusively on broadcast (with some corporate) also reports that it has added Forscene editing to the mix “which has led to larger series work for us” and has also added “LTO 6 for back up of clients rushes.”
It also points out that clients “seem too have now embraced AS11 file delivery but there is still a bit of nervousness about it.”
Storm HD also identifies real opportunities in the growth of 4K. “4k post is really taking off and we are getting more and more enquiries for this,” it says.
On the downside, Storm HD, which has its premises in Covent Garden’s Neal’s Yard, is feeling the pinch of increasing rents in fashionable London districts calling landlords’ rental rates a “significant threat” to the industry in general. It also sees “bigger post houses becoming even bigger” and the growth of the super facility as a problem for smaller players.

34 Flix
7th Floor, White Tower, MediaCity UK, Salford M50 2NT t 0161 729 1072 md Leo Casserly facility manager Paul Hardman genres TV, film, corporate, ads credits Rip Off Britain, Starfish, So Awkward services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d, animation), editing turnover £3m Producer 43rd Turnover 33rd Peer 16th

35 Serious
FilmCity Glasgow, 11 Merryland Street, Glasgow, G51 2QF t 0141 440 6940
md Simon Cull facility manager Lesley Hannah genres TV credits Fifteen to One, Imagine series, Cities in the Sky services audio (5.1) grading (4k), vfx (2d, 3d), editing, VR turnover £2.5m
Producer 32nd Turnover 36th Peer –

36 GPS
25 Great Pulteney Street, London, W1F 9LT, NY md Richard Ireland facility manager Kit Lawson genres Ads, promos, corporate credits Nestle Butterfinger, Heinz, Formula 1 (Audio), Kit Kat services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d, animation), editing, 3d stereoscopic, VR 
turnover £4m Producer - Turnover 29th Peer –

37 Edit123 123 Blythswood Street, Glasgow, G2 4EN
md Colin Seeley facility manager Gill Mackinnon genres TV, corporate, ads credits Location, Location, Location, Countryside 999, 
Love It or List It services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d), editing, camera/crew hire turnover £1.9m Producer 19th Turnover 41st Peer -

=38 Bluebolt
15-16 Margaret Street, 
London, W1W 8RW 
t 020 7637 5575 md Lucy Ainsworth-Taylor facility manager Alison Arnott genres film, TV credits War Machine, The Night Manager, War and Peace, Morgan services vfx (2d, 3d) turnover £4.9m
Producer – Turnover - Peer –

Vfx specialist Blue Bolt says “it’s been a steady year so far,” with “no huge peaks or dips.” But that could soon change. “It’s been similar to 2015, the later part of 2015 went slightly crazy so we’re waiting to see what happens later this year.”
Blue Bolt has managed to secure work on some of the most high profile and high end TV dramas of the past 12 months. It’s continued its work on hit show Peaky Blinders, it conjured up Russian and Napoleonic armies for the battle scenes in th BBC’s adaptation of Tolstoy’s War and Peace and created scenes for The Night Manager including Richard Roper’s demonstration of his armaments for his crooked buyers.
There have been Bafta Craft Award nominations for its work on The Last Kingdom ands well as AEAF nominations for The Last Kingdom, The Night Manager and War and Peace.
In terms of growth, Blue Bolt says it plans on “staying the same size. It works for us and clients get the personal approach on every project that comes into BlueBolt, that is vital for us.” Blue Bolt complains that other vfx houses are “undercutting to a pointless cost so no-one wins” but is positive when it comes to the big OTT providers’ entrance into the market: “With Netflix and Amazon wanting more content, more exciting projects are appearing on the horizon.”

=38 Jellyfish
66-68 Margaret Street, London, W1W 8SR; Brixton t 020 7580 8154 md Philip Dobree facility manager Laura Morton genres TV, film, ads, corporate credits Outlander: Series 2, Wolfblood, Floogals services grading (2k), vfx (2d, 3d, animation, MG), editing
turnover £4m Producer - Turnover 29th Peer –

There has been an “increasing amount of work in all sectors,” says Jellyfish. It has developed the film and animation side of the business and will soon open a new building in Oval to complement its two existing homes in Soho and Brixton.

40 TVC Soho
34 Great Pulteney St, London, W1F 9NP plus St Annes Court, Wardour St, D’Arlbay St md Marc Collins facility manager Simon Ward genres TV, film credits Cutting Rooms: The Theory of Everything, Britain’s Ultimate Pirates: Inside the RAF services audio (5.1, Foley, ADR), grading (4k), vfx (2d, 3d), editing, film restoration turnover £1.7m Producer 19th Turnover 45th Peer -

TVC Soho says it’s been “producing a lot of multipart series for US broadcasters as well as UK” and that “the amount of work coming from US broadcasters seems to have increased hugely.”

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