The Spring edition of Televisual Magazine is out now, just as the clock spring forward and usher in British Summer Time, replacing the cold dark nights of winter with a bit of well-deserved light and warmth.
And light and warmth seem to be key steers from the commissioners and producers featured in this issue’s genre report on entertainment TV, with ‘niceness’ still the tone of choice for shiny floor shows in Brexit-battered Britain. We also find that although launching new entertainment properties on primetime TV is still as much of a high-stakes game as it’s ever been, all the major players are in the mood to place new bets.
All that entertainment TV has to be made somewhere, of course, and so we also turn our attention to the UK’s full-service TV studios sector. Many facilities in London have fallen victim to rising property prices in recent years, but we find new and rejuvenated studios are coming online and those outside the capital are offering welcome homes for shows.
This issue we also publish our annual survey of the most popular pro cameras for hire, showing the models most in favour across the sector from the industry workhorses to those used for high-end drama and movies.
Sticking with that high end, we’ve spoken to four of the most in-demand cinematographers behind movies and shows such as Dumbo, Three Billboards, Bohemian Rhapsody, Goodbye Christopher Robin and Peaky Blinders about how they make those productions shine.
When it comes to big budget and high end tv, the BBC and Amazon’s adaptation of Good Omens is a case in point. We go behind the scenes of the starry, vfx-heavy, globe-trotting series to find out how it was conjured up.
And as TV dramas like Good Omens become ever bigger and more complex, we have also brought a group of drama heads of production and producers together around the table to find out how their job is changing.
We head outside with this issue too. As summer approaches, TV turns its eyes towards sport and live events. We’ve picked a selection of the biggest outside broadcast productions of recent times to find out how they pushed the technological envelope. We also take a look at remote production as that technology comes of age.
And to round it all off, we’re also publishing the annual Corporate 50 survey this edition, our round up of the best in corporate production. Who’s made it to the top spot this time?
Staff Reporter
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