The Spring issue of Televisual is out now.
This issue of the magazine represents the first of Televisual’s brand new, much larger, quarterly print editions.
We kick off with a much extended in-production section, starting with a look at Bryan Elsley’s new Channel 4/Netflix drama followed by an expanded showcase of the best recent work in UK post production, vfx, graphics and animation.
Then we move on to an up-scaled genre report. This spring we focus on the TV entertainment and comedy sector. With many of entertainment TV’s biggest brands now looking fairly long in the tooth, it seems that the UK’s broadcasters are taking a fresh look at the genre, preparing to take some risks and grow the next generation of hits.
We follow that up with a companion report into the UK’s full service television studios. In contrast to movie and drama studios, shiny floor TV studios have shrunk in number in recent years. But now, with TV Centre back online and a host of regional studios in the mix, it seems there are fresh shoots there too.
The subject of growth is an issue the UK post sector is also facing. In this case it concerns data. As more and more productions shoot in 4K, post houses are working out how to deal with all the extra data generated. We find out how.
We also take a look at what production teams have been shooting all that content on in our twelfth annual survey of the top 10 most hired cameras. The users of those cameras are featured too as we ask some of the most sought-after cinematographers – Barry Ackroyd, Danny Cohen, Greig Fraser and Neville Kidd – about their approach to their craft.
Outside broadcast is another area facing big technical changes. As 4K UHD, HDR and IP connectivity become commonplace, we ask the OB experts how they’re gearing up for a summer of sport.
And there’s a similar state of revolution in corporate production as well. In our exclusive Corporate 50 report, we delve into another sector at the crossroads that is finding new ways to grow.
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