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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
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Reports&
surveys

Production Technology Survey, 2017 Back to Reports & survey Listing


Avid retains its crown as the industry’s most popular editing system, with 54% of the vote.
However, this is down on last year’s score of 60% and comes as Adobe gains a growing share of the market. Adobe Premiere is now the primary editing system of 33% of our respondents, up from 27% last year.

Meanwhile, the popularity of Apple FCP 6, 7 or studio finally seems to be waning, down four percentage points to 9%. On the rise, though, is DaVinci Resolve’s editing software, which has snagged 5% of the vote this year.

It looks unlikely, however, that Avid will lose its crown anytime soon, particularly in TV. The system continues to have a strong legacy of support in post production. More than one respondent describes Avid as “the industry standard.” Others describe it as ‘robust’ as well as ‘reliable and stable’, and particularly good for large volumes of data. A drama producer comments: “Avid is what our editors like to use.” A factual series producer adds: “The best editors seem to prefer it.”

Adobe, meanwhile, has a strong presence in the corporate, commercials and, increasingly, factual TV market. Many say it is good for short form work in particular, and that it marries up well with all the other software in Adobe Creative Suite. “It replaced Apple as my editors’ choice a few years back,” notes one respondent. A production engineer comments: “Great cross app workflow, easy license management, works well with multi media codecs, frequent updates and takes advantage of new high-end PC hardware.”

Apple still has a sizeable presence in the market thanks to its legacy FCP as well as FCPX.

The survey also asked about the use of cloud-based editing/logging systems. Take up remains low, with 42% saying that hadn’t used a remote system and had no plans to. However, 34% plan to in the next 12 months. To date, Avid has the greatest use among our respondents.




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