The August issue of Televisual is out this week.
There is a strong craft focus in this summer issue, with several features picking out the best kit to use in production.
Our annual Production Technology Survey highlights the most popular cameras and editing software, as well as looking at the take up of 4K, HDR and virtual reality.
The big change this year is that Sony’s FS7 has eclipsed the Canon C300’s long held place as the most popular camera model, with a strong following in factual production. Meanwhile, Avid Media Composer remains the leading editing software platform, but Adobe Premiere is gaining in popularity.
We also showcase the specialist kit that can lend a new perspective to productions, from drones through to sliders and LED lights. One of the stand out pieces of tech that many of our readers flag up is the DJI Osmo camera and gimbal, which is lauded both for its cost effectiveness and for its beautifully smooth shots. Atomos’ Shogun Inferno monitor also earned plaudits.
Elsewhere on the craft side, we focus on production music. As with kit, the problem that many producers now face is how to cut through all the choice available. So, in this feature, Televisual has sought to make the search for production music that little bit easier. We’ve tried to identify the key music trends in specific genres, whether it is trip-hop for drama or vocal led tracks for promos.
Televisual also looks at two related sectors, children’s TV and animation. In both sectors, there is a cautious sense of optimism after a difficult period of contraction.
Kids TV was buoyed last month with news that the BBC is to invest an additional £34m over the next three years. More significantly, though, Ofcom is set to gain powers to impose quotas on public service broadcasters ITV, C4 and C5, following a massive fall in spending on kids TV since 2003.
The animation sector is also looking up, boosted by the introduction of the animation tax relief in 2013. Companies such as Jellyfish, Axis and Blue Zoo are expanding or have won significant investment. However, Brexit has caused uncertainty about future growth. Producers are particularly worried about problems they may face in hiring international talent, given that an estimated 30% of the animation workforce is currently from the EU.
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Tim Dams
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