The Televisual Winter issue is out now, our biggest of the year.

This time we publish our exclusive annual Televisual Facilities 50 survey, our yearly round up of the UK post production scene. Within it you’ll find the top UK post houses operating in all genres ranked and profiled along with our poll of those considered to be the best in the business by their producer clients.

We also ask those post houses about the technology impacting their work now and what changes are on the horizon. The talk of HDR, VR, AI and 8K would have mystified those working in the business 30 years ago, and it’s now that long since we launched the inaugural Facilities 50. Unsurprisingly, a lot has changed since then (although there are a few facilities in this year’s 50 that made the grade back then – The Mill, Molinare, MPC, Framestore). Right now, the big positive change is the warm rush of inward investment cash flowing in from US movie studios and the FAANG streamers who increasingly look to the UK as the natural home of high-end post.

We showcase some of that high-end post in the Art of the Grade, with five of the top features colourists in the business, with credit lists taking in the biggest movies of the last few years, explaining their craft.

Netflix and their ilk are big customers for those talents, and we also detail the impact of the rise of international high-end TV on the UK drama scene in our Drama Genre Report. In the report, we find out how UK broadcasters are aiming to raise their drama game to keep pace with those big spenders.

This issue, we’re also publishing another of our annual landmark surveys with the Commercials 30. The survey has tracked the highs and lows of the UK’s commercials production houses since we launched it back in 1993. It’s safe to say the living was easier back then, and focused entirely on the 60 second commercial. Now ad producers, including companies like Partizan, Blink, HLA, Aardman, Academy, Passion, Tomboy and Rogue who made the grade back in our first survey, are increasingly looking beyond the classic commercial for other worlds in which to ply their trade.

We also take a view from above with a feature on aerial filming and find that thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before.

There’s also a focus on new technologies impacting the outside broadcast market and find it’s an industry embracing major change as it adapts to the worlds of UHD, HDR and IP.

And as it’s November, that must mean it’s time for our yearly Televisual Factual Festival at Bafta. The top commissioners and producers in factual TV will be speaking at the two day event. Head to for more details. See you there.

Jon Creamer

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