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November 2019
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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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Film 40 2017 Back to Reports & survey Listing

Televisual’s sixth annual survey of the UK film industry, the Film 40, comes at what seems to be a golden period for feature film production here, writes Tim Dams

Spend on feature production is at an all time high, according to the BFI, with a record £1.6bn spent in 2016. Crews and facilities are, arguably, busier than ever. However, most of the film production growth comes from big inward investment films: 48 features like Star Wars and Justice League accounted for £1.35bn of the £1.6bn total.

It’s getting harder, though, to finance the mid budget features that UK producers typically make. Spend on UK domestic films was down 8% to £206m. Spend on UK co-productions was also down.

Many producers have responded by pushing into the growth industry that is high end TV drama. Indeed, this is the biggest change in the Film 40 since it launched six years ago. All leading UK film producers – including 42, Blueprint, Big Talk, Heyday, Cuba, Number 9, Origin, Revolution, Scott Free and See-Saw and Working Title – have TV divisions making shows told with the production values of film.

How it works
The Film 40 is our annual guide to the behind the scenes talent and facilities of the UK’s film production industry. It kicks off with a round up of the top 40 film producers in the UK, and in subsequent pages we profile the UK’s leading DPs, studios and vfx houses.

The Film 40 survey of UK indie producers has been compiled with guidance and input from leading film producers, agents, financiers and PR consultants. But the choice of companies is Televisual’s alone.

The companies selected are those that have a track record of making films that attract box office, critical acclaim and/or awards. They are not just producers for hire – rather they are producers who look for and develop scripts, attach talent to projects, raise finance and risk their own money in films that they believe in.

Missing from the list are companies that are owned by broadcasters (like Film4 and BBC Films) as well as outfits that are predominantly distributors (StudioCanal, Lionsgate, Pathe, Altitude) or financiers (Ingenious, Hindsight).


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