Televisual Editorial Contents and Reader profile
On this page you can find out more about Televisual magazine editorial content and readers:
With an average pagination over 120 pages Televisual offers a rich and unique editorial mix that provides benchmark industry knowledge, champions creativity and provides inspiration while always being on the pulse for technology and workflow change within a fast-evolving industry.
Published every Quarter, Televisual is particularly well read by Indie production executives (typically Heads of Production, PEs and EPs) and the immediate supply chain management and senior operators (from OBs and camera rental through studios and post).
Televisual has a closely controlled circulation and subscription base. Our current print run is 4,500 with c. 4,150 mailed on publication in the UK (and c. 75 overseas copies on top) and c. 150 copies sold as back copies within the following three months. This is lower than in 2019 (average 6,000 print run) due to two factors: we are not currently distributing the magazine at live events (either our own or other major conferences and exhibitions); and from Spring 2020, we ran a series of campaigns to ensure our readers got the magazine at home, rather than the office, now accounting for over 85% of our distribution.
Televisual offers technology companies and facilities by far the strongest media platform to tell a deeper story to an influential and engaged audience of senior management with considerable budget spend.
Televisual was one of only two industry magazines (with British Cinematographer) that continued to publish during Lockdown over the Spring and Summer of 2020. Despite the obstacles, challenges and uncertainties, we believed it was important to maintain our voice – the voice of the independent UK production community. In 2021 Televisual is more relevant than ever with an editorial agenda shining a light on the medium to long term funding sources and prospects and future (HETV) production requirements and workflows as the sector continues to experience accelerated change.
TELEVISUAL EDITORIAL CONTENT
Televisual plays to the strength of the magazine format for longform, reflective (‘sit back’) content with an emphasis on benchmark industry surveys, reports and features alongside regular round-up columns (like the latest post work in In Post and the latest animation and design within Storyboard). Over the course of the year we serve our Televisual community a rich and varied mix to keep them on top of their fast evolving and changing always with a view to identifying what’s new and what’s changed and who’s who and what they’ve produced. And lead by Editor Jon Creamer (with almost two decades at Televisual under his young belt) we work with the very best editors in the business all of whom also have decades of experience, knowledge and contacts.
Televisual’s surveys form a core part of our Quarterly offer and are well respected and well-known sub-brands in themselves such as the Production 100 (Top UK Indies), Facilities 50 (post houses), Commercials 30 (the ad producers) and Corporate 50 (communications production companies).
Our every issue Genre Reports cover Entertainment & Comedy, Factual, Live Production (both Sport and Events) and Drama each deconstructing the television discipline with on the record comment from the main commissioners and leading producers
Over the year we have regular reports and tracking surveys covering all the main production disciplines (Outside Broadcast, TV and Film Studios, the Top 10 Rental Cameras, The Audio Report, The VFX Report…). And as the production requirements shift towards 4K, HDR and Atmos with cloud-based workflows and rapidly evolving VFX protocols, Televisual is the go-to magazine for the producer and operator alike.
And technical summary reports exploring changing workflows for the busy producer and resource manager (like HDR, cloud and hybrid production and post, or IP and remote live production workflows) and how they enhance or speed up production and save production expenditure
And within The Art of strand we interview key creative talent about their unique approach to their work (covering Cinematography, Grading and Editing every year)
And all within a generous average pagination running to over 100 pages with beautiful production values and a compelling design aesthetic
For a full list of Televisual surveys, special reports and features and when they happen, please see the TELEVISUAL TIMETABLE
Televisual is widely perceived to be the most potent advertising medium to reach the UK production community. Above all its about our passion for the business and our extraordinary network. In any one issue of Televisual there are over a hundred on-the-record interviews and comments from leading industry figures.
Your advertising works harder and longer within Televisual’s Quarterly frequency delivering quarterly frequency for the community’s magazine of record, we offer a longer shelf life and more advertising page views than any other magazine delivering the best possible value for money.
We enjoy an exceptional relationship with our advertisers and sponsors and I hope to discuss how we can make your advertising and sponsorship work harder.
Please email firstname.lastname@example.org
TELEVISUAL READER PROFILE & CIRCULATION
The Televisual community is the UK production community. All Televisual readers have content creation as their main focus.
Two-thirds (65%) of our magazine readers working in senior roles in UK television, film, commercials and corporate production companies and broadcasters. Typical job titles include CEOs, Managing Directors, Heads of Production, Directors of Resource, Creative Directors, Executive Producers, Producers and Directors. This includes many smaller businesses as well as near on universal engagement with all of the main production houses.
A further fifth (20%) have executive and management roles or are senior operators and senior technical staff within the immediate supply chain including film and television studios, outside broadcast, camera rental, post production, VFX and animation. Typical job titles include Managing Directors, Heads of Department, CTOs and a broad range of senior creative and operational roles. Almost all of these businesses contribute to Televisual content whether in print and online and engage with us on a very regular basis.
The remaining sixth (15%) represent a more diverse cross-section with the majority being leading production freelancers (without a company umbrella) – typically production executives, directors, DoPs and editors – or working in ad agency or in-house production.
TELEVISUAL: THE PERFECT COMBINATION OF PRINT, DIGITAL & EVENTS
Televisual Media UK believes that industry communities turn to magazines to set the trends and provide business overviews and detailed understanding within a longform agenda-setting context. Playing to this “sit back” approach in print means a more engaged and consequently informed readership. Our readers tell us they spend up to an hour reading Televisual magazine. This in turn allows our advertisers to ‘tell a product or brand story’ and where we additionally work with brands to help them tell their own story through advocacy marketing pieces.
We believe the same communities turn to online media for immediate news information, visual inspiration and to drill down for specific content and we play hard on what works online and what works in print. It is broadly the same Televisual community that we have engaged and inspired in print over the past three-and-a-half decades that comes back to televisual.com time and again.
The strength of the Televisual brand and audience engagement is further articulated by our Televisual events. The annual Televisual Factual Festival is the leading forum for factual programme makers with over 300 delegates (with 50 speakers) coming together over two days and with an exceptional 70+% returning delegate profile in 2019.
Likewise, our engagement with post is illustrated by our Future of Post events where over 50 UK post companies attended our last at MD or CTO level. This attendance is achieved with two emails from James’ personal account to a hardcore post database without any additional marketing. How many other events can boast this level of participation with so little marketing energy, leaving us room to work up the actual content and presentations? Our HDR in Productionevents similarly pull Heads of Production from the leading drama Indies that fill a room off the back of a single email.
And any mature industry media brand has its own awards and we are no different with our unique Televisual Bulldog Awards
Talk to us about how best to integrate print, online and events and you’ll be surprised what we can deliver.