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November 2019

In the magazine
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  • The Facilities 50
    Jon Creamer launches Televisual's 32nd exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • Aim High
    10 page special report on production at the high end. We take a look at what’s new in colour management, pre visualisation, aerial filming, full frame shooting, the role of the DIT, working with Dolby Atmos, choosing the right codec, booking studios and
  • Drama: Genre Report
    As the streaming revolution gathers pace, with Apple TV+ and Disney+ now entering the SVOD fray, Tim Dams reports on the drama strategies of traditional broadcasters in an increasingly competitive market
  • Live Sport: Technology
    Live sports and events coverage, always on the cutting edge of innovation, is being transformed by new technology from remote production to 5G and immersive sound. Michael Burns reports
  • The Art of the Grade
    The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts behind Paddington, Ad Astra, Bohemian Rhapsody, Fleabag and more how it’s done
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Corporate 50 2017 Back to Reports & survey Listing

Corporate production companies pick out the creative tends of the year

Not the corporate look

“There has been a real yearning to create more authentic, ‘non corporate’ communications. What clients really want is corporate films that don’t look or feel corporate at all.” Media Zoo

“We’re seeing clients deliberately move away from anything that feels like ‘traditional corporate video’.” Instinctif

“Companies that make B2B content that looks and feels like B2B content will be left behind. The look and feel of the corporate film is long gone. Clients are demanding the same high quality as their customers watch on the TV or social media.” A-Vision

‘Corporate film’ has almost become a dirty expression! One client representing a very sexy, global brand said the other day: ‘I’d like a corporate film, but I don’t want a corporate film, if you understand what I mean.’ We do. DRP


Animation, animation, animation.  Often thrusting corporate messages into people’s faces disguised as kinetic text, shapes and colours and bright music. Sequel

We’ve started to do some motion-capture work. Animation still grows and is something clients like to see. Pukka

Animation and motion graphics usage continues apace to deal with complex, abstract and technical messaging, to reach global audiences across cultural boundaries, and to deal with subjects that relate to reputational challenges. Radley Yeldar

keeping it real
We are seeing a trend away from the highly glossy films towards a more authentic, spontaneous and raw feel, which provides an opportunity to speak to audiences in a direct unpatronising way. Speakeasy

There’s a focus on reality, with trust at the core of everything we produce. Today’s digital world currently requires more content, made by real people, featuring real people, providing honest information. Sandstorm

Today, the production client is increasingly challenging their video provider to ‘find a real story,’ and turn it into compelling content.
ITN Productions

More and more clients are looking for authentic, entertaining content and we feel we are a great fit for that work. Buddy
There’s a more DIY feel both in user generated films and in a DIY lo-fi feel for live events too. Firehouse

There’s more authentic filmmaking that places story and truthfulness above style and fluff. Casual

vr and 360
Brands will continue to experiment with 360 videos and this may well provide a point of difference for some. Ark

360 and VR is hugely exciting for our industry. Traditional film grammar has the opportunity to completely reinvent itself for the first time since DW Griffith’s first close up. Armoury

360 is the area we expect to grow most quickly this year, and we are investing in technology to meet this anticipated demand. Big Button

With many 360 and VR productions there is a risk that audiences will shy away from this technology until brands and production companies provide truly immersive and valuable experiences. Jack Morton

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