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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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Production Technology Survey, 2017 Back to Reports & survey Listing

Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their shows and what they think of it. Tim Dams reports

It can sometimes be very difficult to keep up. New cameras, editing kit and supporting technology are launched into the market each year, promising to enhance creative possibilities, bring down costs or boost productivity.

Televisual’s Production Technology Survey attempts to cut through this hype, asking our readers to tell us what they are using to make their shows – and which kit they rate.

We have focused on a number of key areas. On the following page, we take the temperature of the rapidly evolving camera market. The big change this year is that Sony’s FS7 has eclipsed Canon’s C300 as the most popular model, with a now dominant position in factual production.

Next we focus on the take up of 4K and HDR. For the first time, more than half of our respondents said they have shot in 4K over the past year. HDR, meanwhile, looks set for a slow pick up; only 8% have been asked to deliver content in HDR, up slightly from 7% last year. It’s a similar story for virtual reality; very few of our respondents producing VR content.

We also look at the editing market. Here Avid Media Composer remains the leading software platform, but Adobe Premiere is gaining in popularity. Finally, we profile new and specialist kit that programme makers are using to enhance their productions, such as handheld stabilisers and drones.

How It Works
Televisual asked over 100 senior programme makers – exec producers, series producers, producers, heads of production, line producers and directors – indepth questions about the technology they use to make their programmes.

All worked in senior roles in production companies, across TV, film, commercials or corporate production. Nearly 50% told us they had full control over choice of technology workflows and budgets.


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