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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

The Production Technology Survey asked a number of questions about kit to guage 
the most popular new and specialist tech. We also asked about kit that people would like manufacturers to invent to make their job easier.

In terms of new kit, the DJI Osmo camera/gimbal received the most mentions, with many citing it as cost effective and incredibly useful for handheld stabilised shots. “It’s very easy to use and portable,” said one.  Atomos’s Shogun Inferno monitor also earned plaudits from our respondents.

Asked about favourite kit, the one piece of technology that easily stands out is the drone. “Drone footage just keeps getting better,” says one. A respondent picks out the DJI Inspire Drone for “capturing scenery beautifully and adding an extra 10% to any production” says one. Others rate the DJI Phantom or Mavic drones. “Amazing footage - on a still day,” notes one.  Others cite sliders as their favourite kit: “It provides a dynamic to an otherwise often dull shot” and it “adds production value easily on a budget.”

In terms of specialist kit, the Arri Alexa Mini camera is cited by many. Others like “the amount of features provided by the free version of DaVinci Resolve” or the Sony AR7 as a low light camera. It’s a tongue in cheek suggestion, but iPhone deservedly gets votes too: “It gets you to location, it tells where the sun will appear, it runs your GoPros and Osmo, it’s a digital slate and myriad other things. You can even speak to people with it.”

Looking to the future, many of our respondents agree on what would most help them during production: improved data management. “A piece of kit to back up and label rushes easily, effectively and safely would be a major bonus!” says one. Many say tapeless production adds time on location rather than saves it. One calls for “instantly backed up media – no relying on an AP or runner to do multiple backups last thing at night.”


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