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December 2017
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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
Read >>

Reports&
surveys

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, 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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