Magazines
Launched in 1982, Televisual is the voice of the UK Production community.
Subscribers can view the latest and back issues archive as digital magazines going back to Spring 2019.
However, for a better experience, you can read the individual surveys, reports, features and columns online as web pages or as downloadable PDFs.
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Latest Issue
Spring 25
In this issue...
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
A look behind the scenes of five new Televisual films that quiz the makers of Race Across the World, Drive to Survive, Vietnam: The War that Changed America and Devil in the Family on their secrets for success
Programme makers are facing a battle to patch together budgets that will allow them to bring stories of conflict to the screen. Pippa Considine reports
With domestic television drama in particular facing a funding crisis right now, Televisual asked five of the CEOs and founders of some of the biggest UK drama independents about the current state, and the future fortunes, of the genre. Pippa Considine reports
Charlie Brooker’s Black Mirror, is back for its seventh season with another six episodes and, for the first time, a sequel.
After years of boom time building in the film studios sector followed by the bust brought on by the strikes, Pippa Considine takes the temperature of a business that is feeling a little more hopeful, and just a little more settled
Televisual’s annual list of the UK’s most hired pro cameras is now in its 19th year. Jon Creamer counts down the most in-demand models
With the broadcast industry facing financial challenges, independent TV production companies are looking smarter ways of working to make tight budgets stretch further
Michael Burns discovers how picture and audio post and vfx houses are wowing audiences with ever more stunning immersive experiences
The top commercials houses in the UK and their thoughts on the year ahead.
The industry’s favourite directors, ads, agencies, post houses and more
Jon Creamer introduces Televisual’s 31st exclusive annual survey of the best ad makers in the business
Past Issues
Winter 24
In this supplement...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
True crime documentary has seen huge growth across broadcasters and streamers of all stripes. But producers must always look to new formats, new precincts and new perspectives
In a tough market, drama producers are being inventive to piece together funding models and production savings. Pippa Considine reports
Behind the scenes of Sister and Noisy Bear’s Netflix spy thriller, Black Doves
Screenwriting can look like a closed shop for those on the outside. Pippa Considine reports on efforts to uncover new scripted talent
Production Designers behind The Crown, Saltburn, The Long Shadow and It’s a Sin explain how they turn scripts into physical reality. Jon Creamer reports
The cinematographers responsible for lensing The Day of the Jackal, The Mirror and the Light, Magpie and Ludwig run Michael Burns through their creative decision making process
Televisual gathered together a host of leaders from across the post production industry to discuss the rise and rise of in-house post
Discover how Formosa Bateman brings together sound design, editorial and re-recording to Dolby Atmos Theatrical and Home Entertainment mastering within the one boutique creative space.
Jon Creamer introduces the 2024 Facilities 50 Survey
Which post houses do their producer clients rate most highly?
Post houses vote for the rivals they admire the most?
The technology that’s currently front of mind for post production
A snapshot of who’s been building what in 2024
Who’s up and who’s down in this year’s Facilities 50 survey?
Bulldogs Supplement 24
In this supplement...
Click on the headline to go straight to the content
All of the winners, with runners up, across two pages
Matt Jarvis, executive producer at Clerkenwell Films, describes how Baby Reindeer powerfully addresses sexual abuse, trauma and resilience
See-Saw Films’ Julian Stevens highlights Slow Horses’ blend of espionage, comedy, and universal appeal.
Jamie Campbell, Eleven Film co-founder, credits Sex Education’s evolution, writing, and casting for its lasting impact
How The Traitors’‘ gripping, high-stakes game of strategy and deceit once again captivated millions with its intense drama
Ron Chakraborty, Head of Major Events & General Sport at the BBC, explains how innovative BBC coverage and storytelling captured Andy Murray’s unforgettable Wimbledon farewell
Alison Howe, Executive Producer of Music at the BBC, on how innovative Glastonbury coverage, blended technology, storytelling and live performances
How Race Across the World showcases diverse challenges and compelling characters, overcoming logistical complexities for a captivating viewing experience
How careful investigative work helped Russell Brand: In Plain Sight uncover allegations against the presenter and expose the power imbalances in TV
Producer John Battsek describes how Beckham: The Beautiful Game offers an intimate look at his life, career and resilience, captivating both football fans and broader audiences
Mike Gunton, Creative Director at BBC NHU, on how Planet Earth III blended stunning wildlife stories with a fresh perspective on human impact
Matt Biffa, music supervisor for One Day, explains how the emotional, period-specific soundtrack, captured the essence of Em and Dex’s love
Executive Producer Rob Lidell on how Earth‘s immersive and scientifically accurate CGI brought the planet’s history to life
Peter Oliver explains how creative editing of Baby Reindeer helped balance the dark and light tones, blending humor and pathos
Mike Gunton, Executive Producer of Planet Earth III, on how innovative cinematography, blended cutting-edge technology with immersive storytelling
Best Indie Winner Studio Lambert thrived in 2024 with major successes in unscripted and scripted content
Autumn 24
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
The production juggernaut that is Prime Video’s Rings of Power moved to the UK for season two. The HoDs behind it explain the process
Factual TV has been hit hard by the downturn, but some green shoots do seem to be peeping through. Pippa Considine reports
Kevin Macdonald took a ‘magpie’ approach to filmmaking for his doc on John and Yoko’s New York life
Behind the scenes of Raw and Vogue Studios’ Disney+ fashionista documentary, In Vogue: The 90s
Times are tough in the UK VFX sector, but there’s hope that regrowth is on the way and much-needed tax breaks are looking likely. Jon Creamer reports
A report on the onward march of platforms that make editorial collaboration in the cloud a seamless experience
Pippa Considine introduces Televisual’s Production 100 survey of the indie TV sector and finds producers still searching for light at the end of the tunnel
Profiling the key superindie and studio groups
A look at the producers who really live up to the word independent
Production companies reveal the rival indie outfits they rate the highest
The distribution companies that indies most like to deal with and why
Indies on the best PSB and streamer customers to work for right now
Televisual’s annual showcase of the UK’s top 100 production companies. From A Productions to Zinc, who’s number one this year?
Summer 24
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Opening the doors to Factory Studios, the experts in the craft of sound and music to help tell a story
The TV industry has long been a sector where those from working class backgrounds face an uphill struggle. Pippa Considine asks how TV’s class barriers can be breached
True crime TV is a booming genre, but it’s a genre that requires a strong ethical backbone to ensure the safety of both subjects and producers. Pippa Considine reports
Behind the scenes of Moonage’s BBC and Netflix drama, A Good Girl’s Guide to Murder
Entertainment TV has seen some big new hits recently but, like other genres, it has felt the purse strings tightening. Pippa Considine reports
The specialist factual genres of science and history are serving up shows with global appeal and are driving innovation with new shapes and new formats to stay ahead
The last year has been tough for TV studios but they’re diversifying with new partners, tech and clients to keep the bright lights shining
The colourists of four recent standout TV and film productions explain what it took to create a grade that made the story shine through
Five top scripted directors behind shows and films including The Crown, I Care a Lot and Sex Education tell Jon Creamer about the art and craft of high-end television and film directing
The UK post and VFX sector has found itself on something of a rollercoaster ride over the past few years and, right now, it’s definitely experiencing a dip. Jon Creamer asks when and if ‘normality’ will return to the market
At Televisual’s recent Village Fete, we asked the gathered Chief Technology Officers and vendors to give their take on the present and future for workflow automation in production and post
Spring 24
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Exploring Azimuth’s new post production facility on Eagle Street in Holborn
How both the terrestrial broadcasters and the streamers have been making big bets recently on scaled up mega formats
Sports docs have been on an unstoppable rise. For producers, the trick now is to keep finding new angles, new precincts and new formats
Televisual’s annual list of the UK’s most hired pro cameras is now in its 18th year. Jon Creamer counts down the most in-demand models
While most genres have hit hard times of late, live TV sports and events are booming. And with a major summer of sport ahead, there’s more to come
The past few years saw an unprecedented boom in the building and extending of UK film studios, but the US actors’ and writers’ strikes served to dampen down the mood
How Mary And George’s D.C. Moore and Liza Marshall brought a big screen sensibility to a small screen period drama
How far and how fast has Dolby Atmos immersed itself in audio post across the genres and across the budgets
Televisual hosted a dinner to discuss the challenges for UK post and production around cyber security. The event followed three recent, though all thwarted, ransomware attacks on UK post houses
Jon Creamer introduces Televisual’s 30th exclusive annual survey of the best ad makers in the business
The industry’s favourite directors, ads, agencies, post houses and more
The top commercials houses in the UK and their thoughts on the year ahead.
How 20 Days in Mariupol editor and producer, Michelle Mizner, worked with Pulitzer Prize-winning video journalist Mstyslav Chernov to take 40 hours of rushes and find a way through
Winter 23
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
The making of Lupus Films’ Channel 4 special, Mog’s Christmas
Grierson roundtable: Guy Davies, Harjeet Chhokar, Lorraine Heggessey, Danny Horan, Maxine Watson, Ben Anthony, Andy Worboys and Eloise Millard on the future of the documentary
As Left Bank and Netflix’s The Crown comes to a close, Televisual talks to the producers and craftspeople responsible for its success
Yellowmoon’s commitment to the future of high-end television and film in Northern Ireland
The future of post production workflows in the high-end television sector
TV Drama has been hit by cutbacks at home and strikes abroad, but producers are now looking ahead to a new normal. Pippa Considine reports
Top Production Designers explain how they transform scripts into physical reality. Jon Creamer reports
What are the next steps for longform content production and distribution?
The cinematographers responsible for lensing The Lazarus Project, The Buccaneers, The Sixth Commandment and Bodies run Michael Burns through their creative decision making
Behind the scenes of ITVX and Bad Wolf’s Arthurian epic drama, The Winter King
Jon Creamer introduces the 2023 Facilities 50 Survey
Which post houses do their producer clients rate most highly?
Post houses vote for the rivals they admire the most?
The technology that’s currently front of mind for post production
A snapshot of who’s been building what in 2023?
Who’s up and who’s down in this year’s Facilities 50 survey?
Michael Harte, ACE, reveals his editing process and the decisions that helped make Beckham a huge hit for Netflix.
Bulldogs Supplement 23
In this supplement...
Click on the headline to go straight to the content
All of the winners, with runners up, across two pages
Merman’s head of drama Faye Dorn on why Apple TV+ comedy drama, Bad Sisters proved such a hit
Producer Jess Taylor on why Sally Wainwrights BBC thriller, Happy Valley, kept audiences gripped for a third time
Taskmaster’s creative force, comedian Alex Horne, on the show’s unique mix of absurdity, ingenuity and wit
The Traitors’ Sarah Fay and Mike Cotton on the production of a bona fide reality hit
Sunset + Vine’s Jamie Oakford on the delivery of a hugely important step in the women’s game
Claire Popplewell on producing the unprecedented coverage of the Queen’s Funeral
Executive producers Victoria Ray and Leon Campbell explain the enduring success of Gogglebox
Director Alison Millar explains the painful and personal process of making documentary film, Lyra
Director James Bluemel on the distinctive storytelling style behind Once Upon a Time in Northern Ireland
Frozen Planet II exec producer, Elizabeth White on making a landmark suffused with both beauty and a message
Composers Adam Lukas and James Everingham on producing a soundtrack fit for Frozen Planet II
Black Mirror VFX Producer Josie Henwood and VFX Super Abigail Scollay on the show’s varied and complex effects
The Crown, now drawing to a close, demands superlatives in all aspects of its craft. And for its editing too
Across its 2188 filming days, Frozen Planet II used a whole host of techniques to capture its stunning image
72 Films’ co founders Mark Raphael and David Glover explain what makes their company tick
Autumn 23
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
How the Molinare Creative Group provides an end-to-end solution from dailies, foley and live record to picture and audio editing and finishing, mastering and localisation
For time travelling Netflix drama, Bodies, Moonage Pictures found itself producing four shows in one
After the first year of Bafta albert’s new studio sustainability standard, Pippa Considine sees how studios and OB facilities are raising their game, for themselves and for producers
The commissioning freeze has sent a chill down factual producers’ spines. Pippa Considine reports on the shows leading the thaw
Silverback, Amblin Television and ILM teamed up to tackle possibly the most ambitious subject there is – The History of Life on Earth.
A special report and a roundtable discussion on the present, and the future, of media management – and where all that data should live
The brightest business and technical experts working in UK production and post discuss the future of media management
How Firebird’s Amazon Studios thriller, Wilderness, battled the elements on a non-stop run
Pippa Considine introduces Televisual’s Production 100 survey of the indie television sector and finds an industry experiencing trying times
Profiling the key superindie and studio groups
A look at the producers who really live up to the word independent
Production companies reveal the rival indie outfits they rate
The distribution companies that indies like to deal with
Indies on the best PSB and SVOD customers to work for
Televisual’s annual showcase of the UK’s top 100 production companies. From A Productions to Zinc, who’s number one this year?
Tony Kearns, the editor, elaborates on how he painstakingly refined the Black Mirror episode, Joan is Awful.
Summer 23
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
What can be done to improve mental health and wellbeing in television and film production? Pippa Considine reports
With the shape of Channel 4 uncertain and the BBC’s Charter Renewal due in 2025, taking stock of film and TV production across the UK has never been more important
Successful and long running fact ent formats are difficult to get just right but, when producers do, they’re the gift that keeps on giving.Pippa Considine reports
There have been big new successes in entertainment TV recently, and getting the tone right has been crucial. Pippa Considine reports
The shiny floor TV studios market has seen the end of the covid bounce, but interest in all things virtual is certainly on the rise
Michael Burns reports on how the modern TV newsroom is using ever more complex automation, graphics and augmented reality technology
The shiny floor TV studios market has seen the end of the covid bounce, but interest in all things virtual is certainly on the rise
Five top scripted directors behind shows including The Tourist, The Rings of Power and The Baby tell Jon Creamer about the art and craft of high-end television and film directing
Black Mirror creator Charlie Brooker and exec Jessica Rhoades on how the show’s latest season aims to confound viewers’ expectations
The colourists of four recent standout TV and film productions explain what it took to create a grade that made the story shine through. Jon Creamer reports
Sound design is a crucial but often overlooked element in film making. Jon Creamer asks the experts how they create a perfect harmony
An increasing number of commercials post and vfx houses have made the leap in to long form in recent years. Jon Creamer reports
A roundtable discussion focussing on how post will need to change to meet the demands of a new age
Iranian director Taghi Amirani and co-writer and editor Walter Murch discuss the follow-up to revelatory feature doc Coup 53
Editors Timothy Good ACE and Emily Mendez talk through some of the crucial scenes of The Last of Us
Spring 23
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
The long story of how Sister brought Prime Video’s sci fi thriller The Power to the screen
Behind the scenes of Merman’s new Margate-based seaside comedy drama
The Finish Line and Vaudeville Sound Group bring boutique picture and audio finishing all together where it should be, in the production office
There’s strong demand among broadcasters across the board for docs driven by directing talent with a passionate point of view. Pippa Considine reports
Live events are big audience draws, and the possibilities for engaging viewers further are endless. Pippa Considine reports
Televisual’s annual list of the UK’s most hired pro cameras is now in its 17th year. Jon Creamer counts down the most in-demand models
Pippa Considine reports on the UK’s still growing studios market and finds a sector where confidence remains high
While the London post market still finds a home in Soho and Noho, a large part of the sector has found fresh hunting grounds in east London
How the audio post sector is teaming with universities and colleges to create a sound future
How the television and film industry is attempting to get a greener data footprint
A roundtable discussion on how technology, including AI and machine learning, is transforming the business of post production
Visualisation, the problem-solving pre-production stage is more crucial, and varied, than ever in modern film and TV production workflows. Michael Burns reports
Jon Creamer introduces Televisual’s exclusive annual survey of the best ad makers in the business
The industry’s favourite directors, ads, agencies, post houses and more
The top commercials houses in the UK and their thoughts on the year ahead.
How the Oscar winning feature Everything, Everywhere, All at Once made the cut
Winter 22
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
As the SVODs opt for more unscripted TV and the traditional broadcasters take an increasingly ‘digital first’ approach, factual television is subtly shifting in shape to fit the non-linear age
Live sport is increasingly turning to cinematic cameras usually seen on a film set to add emotion and drama. But blending those shots with rest of the action is no easy feat. Michael Burns reports
TV drama production has been experiencing massive growth in recent years, but is the bubble about to burst? Pippa Considine reports
While TV drama production is still in the ascendant, sourcing the talent to make it is a major headache. Pippa Considine reports
A look behind the scenes of new ITVX drama, A Spy Among Friends, starring Damian Lewis
Production design has been transformed by the use of digital tools and the rise of vfx. Now, with virtual production on the horizon, more change is on its way. Andy Stout reports
Four leading cinematographers tell Michael Burns the secrets of their craft, and explain the techniques they used to create work like Your Honor, The Handmaid’s Tale, House of the Dragon and A Very British Scandal
The results of a recent roundtable discussion from those in the know about the future facing the audio post world
The Inside Track on London’s Newest Film and HETV Finishing House
Post houses are still seeing unprecedented levels of business. But talent is hard to find and tough times in the wider economy lie ahead. Jon Creamer introduces Televisual’s 35th annual survey of the UK post sector
Which post houses do their producer clients rate most highly?
Post houses vote for the rivals they admire the most?
HDR and Dolby Atmos delivery is becoming standard with AI and virtual production on the march
A round up of the last year’s new start-ups and expanding post houses
Who’s up and who’s down in this year’s Facilities 50 survey?
Shaping the story of an epic journey into the heart of the Ukraine invasion
Bulldogs Supplement 22
In this supplement...
Click on the headline to go straight to the content
All of the winners, with runners up, across two pages
This is Going to Hurt producer Holly Pullinger on the team effort needed to bring the serial into the world
No ordinary thriller, exec producer Chris Aird tells the epic of shooting The Tourist in the Outback
Creator, writer, show-runner Lisa McGee talks creative freedom and herding A-list cameos on Derry Girls
Strictly’s nineteenth outing proved as uplifting as it was challenging, says creative director Jason Gilkison
BBC Sport’s Ron Chakraborty on this year’s Wimbledon and saying goodbye to presenter Sue Barker
Glastonbury exec producer Alison Howe had a multi-channel, musical masterplan and the sun shone
Gogglebox exec producer Victoria Ray watches the passion and drive of the team behind the hit
Director Felicity Morris on creating a romance, horror and revenge thriller in one with The Tinder Swindler
Exec producer David Glover on the extraordinary story behind 9/11: One Day in America
Film-maker Adam Wishart persuaded George Bush to open up in 9/11: The President’s War Room
Composer Julian Oli describes how he has hit the high notes with the music for Sex Education
Prehistoric Planet, with landmark VFX by MPC, succeeded in taking us back in time, says exec producer Mike Gunton
David Webb on cutting S3 of Sex Education, keeping it funny, fresh and full of teenage spirit
Exec producer Mike Gunton on how advances in time-lapse underpin the magic of The Green Planet
72 Films has mastered the box set, next stop is taking the factual entertainment high ground, 007 style
Autumn 22
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Behind the scenes of Hugo Blick’s epic Western, The English
Streamer demand for factual TV is still on the rise, and the PSBs are upping their game too. Pippa Considine reports
The making of the BBC Natural History Unit’s awesome Frozen Planet II
Multi-camera and fixed-rig reality and factual have been around for a long time but the technology and workflows they use is moving on apace. Tim Dams reports
Artificial Intelligence and Machine Learning will have an increasing impact throughout the production process, and it’s vfx that’s first to the party. Andy Stout reports
Sound has always played a key role in creating screen atmosphere but, in the age of immersive technologies, it is more important than ever. Kevin Hilton talks to leading audio exponents about their craft
There has been an unprecedented boom in work for UK post houses, but there are big structural challenges too. Michael Burns asks what the solutions might be
Making work flow faster from set to screen
Universally admired for its rich filmmaking heritage and local creative talent, Poland is attracting increasing volumes of post work from studios like Netflix and Amazon
Tim Dams introduces Televisual’s Production 100 survey of the indie television sector and finds an industry experiencing an unprecedented boom
Production companies reveal the rival indie outfits they rate and respect
Profiling the key superindie and studio groups, and the labels they own
A look at the producers who really live up to the word independent
The distribution companies that indies like to deal with
Indies on the best PSB and SVOD customers to work for
Televisual’s annual showcase of the UK’s top 100 production companies. From A Productions to Zinc, who’s number one this year?
Editor Theo Cowen on the challenges of maintaining flow and staying true to themes on this Indie Comedy
Documentary editor Joanna Crickmay on what it takes to create an archive royal documentary like no other
Summer 22
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Dolly Alderton’s comedy drama on the trials and tribulations of navigating your twenties
Diversity and inclusivity have fought their way up the agenda in TV over recent years, and while solid work has been done, there’s a way to go yet. Pippa Considine reports
With the streamers’ subscriber numbers under pressure, are ads the future?
The climate for natural history programmes is currently very healthy with more and more buyers in the market. Pippa Considine reports
A look at the evolution of Apple TV+’s epic Prehistoric Planet
Entertainment TV has seen a wave of fresh formats, and the streamers are taking notice of the genre too. Tim Dams reports
Tim Dams takes a look at the UK’s shiny floor TV studios market, currently buzzing from the Covid bounce back and increasingly spreading out across the whole UK
Live events are becoming ever more complex to produce for TV. Jon Creamer reports on plans for some of the biggest UK events of the summer schedule
Five of the best directors in the industry right now tell Jon Creamer about the art and craft of high end TV and film directing
How House Productions returned to 80s era Nottingham for Sherwood
The fundamental rules to follow when designing an audio suite that can handle Dolby Atmos. Kevin Hilton reports
For the vfx industry, working almost entirely in the cloud with talent spread out across the globe has become more and more common in recent years. Andy Stout reports
A roundtable discussion with post houses across the board on how post is adopting changed workflows by design rather than necessity
Michael Burns asks the experts working at the thick end of virtual production right now for their advice on how to use it to its best effect
Spring 22
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Behind the scenes of Element’s new Sally Rooney adaptation Conversations With Friends
Leading post production house, Splice, open their doors to their new location
How the TV and film industry is forging a more sustainable future
Live TV producers are using the techniques learned during the pandemic to build back better. Tim Dams reports
Premium documentary is proving to be as defining for SVODs and PSBs as drama, but only docs that can take the form to another level. Pippa Considine reports
Televisual’s annual list of the UK’s most hired pro cameras is now in its 16th year. Jon Creamer counts down the most in-demand models
Tim Dams takes a look at the UK’s booming studios market where demand for space shows no signs of slowing down
As HETV production gathers pace, the UK post and vfx sector is quickly investing in new facilities, tech and workflows to keep up with demand. Michael Burns reports
The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts how it’s done
Jon Creamer introduces Televisual’s exclusive annual survey of the best ad makers in the business
The industry’s favourite directors, ads, agencies, post houses and more
An A-Z list of the top commercials houses in the UK and their thoughts on the year ahead.
Winter 21
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Aardman’s stop frame special aiming to be a Christmas classic
Production is flourishing in the UK, but the elephant in the room is the looming skills shortage. Pippa Considine reports on efforts to bridge the training gap
The live TV sports and events production sector has had as rough a couple of years as anyone in the television business but, as we climb slowly out of Covid, the onward march of new technology continues unabated. Andy Stout reports
TV drama production is well and truly booming but the challenge is sourcing the talent to make it. Tim Dams reports
Stay Close is the latest Harlan Coben adaptation for Netflix
Slim Film + TV’s epic adaptation of the Jules Verne classic
Michael Burns asks cinematographers and production designers who’ve been in the thick of virtual production for their tips on making it work
Virtual production is changing the way that high-end TV and films are made, but how will it evolve? Michael Burns reports
The boundaries are blurring, so is the concept of ‘post’ production dead?
Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Andy Stout reports on some of the year’s standout aerial projects
The post lockdown production surge and the general uptick in commissioning from streamers has led to a very busy, but very fraught, time in post. Jon Creamer introduces Televisual’s 34th annual survey of the UK post sector
Which post houses do their producer clients rate most highly? We take a look at the top ten
The Top Ten Companies, as voted by their rivals
Hybrid working is now standard. The demand for HDR and Dolby Atmos driven by the streamers, is gathering pace too
Who’s up and who’s down in this year’s Facilities survey? The full Facilities 50 in close up
Bulldog Supplement 21
In this supplement...
Click on the headline to go straight to the content
How Michaela Coel’s critically acclaimed I May Destroy You found its way to the screen
How the well oiled production machine behind The Crown dealt with Covid
Sex Education, where comedy is always the driving force of the show’s drama
How the Strictly team’s ‘the show must go on’ attitude was vital to its 2020 success
England vs Germany in the Euros was a moment relished by the BBC Sport team covering it
How the Springwatch team kept its ambitions high despite battling lockdown restrictions
Clarkson’s Farm: “a snapshot of a warm, dysfunctional farm knocking along on hard work”
How the American Murder team captured the unfolding narrative of a horrific crime
A focus on character driven narrative was the key to Once Upon a Time in Iraq
Attenborough’s first feature hit a nerve with a public waking up to the threat of climate change
How The Crown’s score made its audience lean in to the unfolding drama
VFX creative director Russell Dodgson on the evolution of His Dark Materials
How the editing team behind I May Destroy You was given creative licence to try new ideas
How the Perfect Planet team pushed technology to its limits
72 Films’ success in making documentary that feels like a drama box set
Find out which individual programme has been awarded the 2021 Best In Show Award
Autumn 21
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Factual TV demand is shifting to the big, the bold and the box set with plenty of new customers now coming online.
Inside Nutopia’s epic Netflix mafia documentary, Vendetta.
Vfx supers tell Jon Creamer about their craft and how they achieve the jaw-dropping sequences in projects like Tenet, Ex Machina, The Dark Knight and His Dark Materials
Post production companies have had to revolutionise the way they work during Covid. But what changes are here for good?
With the demand for HETV flooding post houses, in-house facilities are plugging the gaps.
As the sheer scale and complexity of HETV shows grows, the role of the post production supervisor is becoming more important. Michael Burns reports
Tim Dams introduces Televisual’s Production 100 survey of the indie television sector and finds an industry in resurgence after the hiatus of 2020
Production companies reveal the rival indie outfits they rate and respect
Televisual’s showcase of the UK’s top 100 production companies. From Aardman to Zinc, who’s number one this year?
A look at the producers who really live up to the word independent
Profiling the key superindie and studio groups, and the labels they own
Indies on the best PSB and SVOD customers to work for
The distribution companies that indies like to deal with
How robust is ad funded TV?
Summer 21
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Does TV have a structural and cultural problem with bullying and harassment?
When it comes to factual formats, broadcasters across the board are all actively on the hunt for the next big thing. Pippa Considine reports
Entertainment TV has found a new lease of life, with new big hits across the schedules and a feeling that there’s more to come
The pressures of COVID have supercharged the use of remote operations centres for live sport TV. Michael Burns reports
Big budget Sky series Domina has had a dramatic journey to the screen
Directors tell Tim Dams about the art and craft of setting out the creative ambition of a new TV series from scratch as lead director
Jon Creamer discovers how the UK’s studios operators are rushing to meet the insatiable demand for stage space
The possibilities of virtual production have moved on at a dizzying pace over the past year. Jon Creamer reports
How the VFX industry has embraced remote working and cloud rendering
As demand for Dolby Atmos Home Entertainment gathers pace, Michael Burns reports on how immersive audio is making its voice heard
With so much production coming into the UK, the race is on to widen the talent pool to keep pace with demand. Pippa Considine reports
Spring 21
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Experts get together for an RTS roundtable on the effects of inward investment
As streamer demand grows, so too does the need for docs with global appeal. And UK producers are well equipped to supply it. Pippa Considine reports
Behind the scenes of Wall to Wall’s epic Apple TV+ documentary
The UK’s post sector has taken some knocks during lockdown, but many are now expanding, building and starting up new enterprises. Tim Dams reports
The strictures of lockdown have released a wave of creativity and innovation in Live Event TV. Tim Dams reports
How Sky Sports is producing the global F1 season in the midst of COVID restrictions
Televisual’s annual list of the UK’s most hired cameras is now in its 15th year. Jon Creamer counts down the most in-demand models
Michael Burns finds out how production and post are navigating the very exacting workflow needs of the SVOD giants
Leading colour, audio and vfx artists tell Jon Creamer about dealing with the new demands of HETV post production and how to get the best creative outcome
Jon Creamer introduces Televisual’s exclusive annual survey of the best ad makers in the business
The industry’s favourite directors, ads, agencies, post houses and more
An A-Z list of the top commercials houses in the UK and their thoughts on the year ahead.
Winter 20
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Tim Dams quizzes Senna, Amy and Diego Maradona director, Asif Kapadia
The SVOD market has been a target for drama producers for a while. But now more and more factual opportunities are opening up for UK producers. Pippa Considine reports
Audiences are consuming more drama than ever and demand is high from streamers and PSBs, but producers are now facing a logjam as delayed productions attempt to deliver all at once. Tim Dams reports
As more producers aim at the streamers, the technical demands of high-end TV are filtering through the genres. We ask those in the know – DoPs, production designers, post supers and DITs how to prep for a shoot with HDR deliverables
Covid has proved to be a technological accelerant for the transformation of live sports coverage, with remote production fast becoming the established norm and innovation reaching ever greater levels. Michael Burns reports
The COVID crisis has, of course, created enormous disruption for post production this year. But has the post landscape now changed forever? Jon Creamer introduces Televisual’s 33rd annual survey of the UK post sector
Which post houses do their producer clients rate most highly? We take a look at the top ten
The top ten companies most voted by their peers and why they get the thumbs up
Moves into remote working, the cloud and virtual production have been accelerated. And 4K, HDR and Atmos are becoming standard practice
An A-Z list of the top post production houses in the UK and their thoughts on this year and the years ahead.
Bulldogs Supplement 20
In this supplement...
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Chernobyl creator and writer Craig Mazin on how his drama became the mini-series of 2019
Jed Mercurio explains the enduring appeal of his always tense and gripping police corruption thriller, Line of Duty
Fleabag’s executive producer, Sarah Hammond, explains how the show walks the “tightrope between comedy and pathos”
Strictly Come Dancing’s exec, Sarah James, on delivering the escapism. glamour and “pure joy” of the show
Lead exec for the BBC’s Wimbledon coverage, Ron Chakraborty, on serving up the perfect fortnight
Exec producer of the BBC’s coverage, Alison Howe, on bringing the magic of the Glastonbury Festival to the screen
Gone Fishing producer, Lisa Clark, on why the series feels like “balm for the soul”
Three Identical Strangers director, Tim Wardle, on finding the focus for the extraordinary story
Mark Lewis, director of Don’t Fuck With Cats, on building a documentary thriller
Alastair Fothergill on how Our Planet became a “powerful weapon” in explaining the climate crisis
Chernobyl’s composer Hildur Guðnadóttir built her score from the sounds of a nuclear power plant
VFX producer, Lindsay McFarlane, on creating the explosive action of Chernobyl
Cinematographer, Jakob Ihre, on creating the dark and foreboding look of Chernobyl
RAW founder, Dimitri Doganis on why “creative ambition” is the singular driving force for the indie
Chernobyl won the 2020 Televisual Bulldog Best In Show award after it swept the board across Best Drama Serial, Best Music, Best VFX and Best Cinematography
Autumn 20
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
In factual TV, feel-good large-scale shows are the order of the day from all. Pippa Considine reports
Ember Films’ Netflix ‘animal drama’ Tiny Creatures
Scripted productions are calling action once again, Jon Creamer discovers how they are managing with COVID restrictions
VFX is stepping in to help production as it grapples with shooting restrictions, and it’s the promise of virtual production that is really fuelling imaginations. Jon Creamer reports
In theory, the cloud could offer a pop-up studio, accessible anytime, anywhere but cost and data management remain roadblocks. Adrian Pennington reports
Remote posting from home is now a fact of life, but exactly what technology is required?
Tim Dams introduces Televisual’s Production 100 survey of the indie television sector and, unsurprisingly, finds it’s one that is dominated by one issue – the Covid-19 pandemic
Profiling the key superindie and studio groups, as well as the production labels they own
A look at the producers who really live up to the word independent
Production companies reveal the rival indie outfits they rate and respect
Indies on how they are treated by their commissioner clients
The distribution companies that indies like to work with
Televisual’s showcase of the UK’s top production companies. From Afro-Mic through to Zig Zag and every indie in between
Summer 20
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
With cash in short supply, could factual television be the genre to quickly fill empty content cupboards? Pippa Considine reports
There’s a growing optimism about a genre that is relatively affordable, simple to produce, and in demand. Tim Dams reports
COVID forced the shutdown of drama production, but producers are now looking to the next chapter. Jon Creamer reports
Michael Burns finds out how sports broadcasters and their production partners have coped with Covid-19.
Shooting is back on the cards, but it involves mind boggling complexity. So, for commercials and corporate outfits, production skills have come very much to the fore
Despite COVID-19, studios are high in confidence with new developments and new additions continuing. Jon Creamer reports
The post and vfx sector was quick on its feet when lockdown hit. Jon Creamer finds out what happens now
The industry will emerge from the current crisis with a stronger backbone built on remote distributed and hybrid facility-to-cloud workflows. Adrian Pennington reports
Audio post production found a new home as mixers and sound designers set up in bedrooms and garages. But not all processes have been perfectly balanced
Spring 20
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
Amid high demand for true crime content from both PSBs and streamers, Pippa Considine reports on the latest programming trends within the genre
The long term trend for entertainment TV is looking positive for a genre that’s right back in the spotlight. Tim Dams reports
When the COVID-19 crisis subsides, TV studios will still need to deal with the problem of finding enough skilled staff. Adrian Pennington reports
Televisual’s annual list of the UK’s most hired cameras is now in its 14th year. Jon Creamer counts down the most in-demand models
Even before the pandemic knocked the sports and events calendar for six, the OB sector was grappling with greater change than ever. Michael Burns reports
The high-end TV production boom has uncovered glaring skills gaps in the UK. Tim Dams reports on initiatives to bridge them
Four leading cinematographers tell Michael Burns the secrets of their craft, and explain the techniques they used to create work like Mulan, Ex Machina and Wolf Hall
Jon Creamer introduces Televisual’s exclusive annual survey of the best ad makers in the business
The industry’s favourite directors, ads, agencies, post houses and more
The countdown of the top 30 commercials producers in the UK
Winter 19
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
A panel of top factual TV commissioners explain what they want from UK producers
Ahead of the upcoming Televisual Factual Festival, where next for the non fiction market?
Live sports and events coverage, always on the cutting edge of innovation, is being transformed by new technology from remote production to 5G and immersive sound. Michael Burns reports
As the streaming revolution gathers pace, with Apple TV+ and Disney+ now entering the SVOD fray, Tim Dams reports on the drama strategies of traditional broadcasters in an increasingly competitive market
A special report on on the changing role of the DIT
A special report on the continual advances in revisualisation
A special report on the key decisions any production has to make when choosing a codec to use in its pipeline
A special report on on set grading
Special report on UK scripted productions struggles to find suitable and affordable studio space
Special Report on Aerial filming for drama
Special Report on Dolby Atmos sound for drama
Special report on full frame cameras
The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts behind Paddington, Ad Astra, Bohemian Rhapsody, Fleabag and more how it’s done
There’s an ever growing influx of high-end work from the SVODs and the movie studios, but there are worries about budget levels and talent shortages too. Jon Creamer introduces Televisual’s 32nd annual survey of the UK post sector
Which post houses do their producer clients rate most highly? We take a look at the top ten
The top ten companies most voted by their peers and why they get the thumbs up
From 4K to HDR to machine learning, what are the technology trends transforming the world of post?
Who’s up and who’s down in this year’s Facilities survey? The full Facilities 50 in close up
Autumn 19
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
The best way to create high-end drama using an HDR and Dolby Atmos workflow
Broadcasters are rethinking factual in light of streamer success in the genre. Pippa Considine reports
After a seven year absence, the revamped London studio is back
The UK’s vfx industry has become world-beating, but negotiating the post Brexit landscape will be crucial for keeping it on top. Jon Creamer reports
A fresh approach to making archive docs is helping to boost their popularity with viewers. Michael Burns reports
Tim Dams introduces Televisual’s Production 100 survey of the indie television sector, and reveals how producers are grappling to embrace new opportunities in a fast-changing TV landscape
Profiling the key superindie and studio groups, as well as the production labels they own
Production companies reveal the rival indie outfits they rate and respect
Indies on how they are treated by their commissioner clients
The distribution companies that indies like to work with
Televisual’s showcase of the UK’s top 100 production companies. From Alaska through to Zeppotron, who’s number one this year?
Summer 19
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
For the BBC’s The Planets, the team used a mix of location shooting, CG, SFX and immersive sound
Traditional broadcasters and global streamers are increasinly hungry for natural history fare
Live events are an increasingly important way for broadcasters to stand out in the streaming age, says Tim Dams
Televisual brought together the UK’s leading corporate producers for this roundtable to discuss how their role is changing at a time of growing demand for content
In advance of EditFest 2019, top editors tell Jon Creamer what it takes to create the perfect cut
Pippa Considine discovers how UK studios are coping with unprecedented demand for studio space from big budget TV and film productions
With HDR growing fast, Andy Stout canvasses advice from those at the forefront of working in the format
Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content and what they think of it. Jon Creamer reports
In the first of a three-part special focus on audio post, Jennifer Walden profiles some of the highest profile feature film projects to get the full mix treatment in the UK
The broadcast audio sector is thriving as demand for high-end content grows. Michael Burns rounds up the talent and tech at the heart of the audio boom
Audio post for ads remains a specialist field, with very different creative and client demands from broadcast TV. Ben Nemes on the secrets of short form sound
Spring 19
In this issue...
Click on the headline to go straight to the content
A creative showcase of the best post work from UK facilities
A round up of the best recent work in animation, graphics and vfx
A big name cast on a globe-trotting vfx-heavy shoot: A look behind the scenes of Good Omens
What do the SVODs want from factual producers? Pippa Considine reports
Tim Dams reports on broadcasters’ current focus on entertainment shows, and a growing demand for comedy
Demand for full service television studios is high and more facilities are coming online soon. Pippa Considine reports on the changing market for shiny floor studios
Four of the UK’s most highly-sought-after cinematographers give the low down on their approach to their craft
Televisual invited leading drama heads of production to discuss how their role is changing as more and more ambitious scripted projects are made
Televisual’s annual top 10 listing of the UK’s most hired cameras is now in its thirteenth year. Jon Creamer counts down the most rented models of the past year and reveals what everyone will be hiring in the year ahead
The transition to LED lighting is well underway, with productions drawn to its efficiency and flexibility. Tim Dams reports
In a two part special on live production, Michael Burns finds out how major events, from the Royal Wedding to the World Cup, were brought to screen and also looks into remote production as more live shows make use of the innovative technology
The tipping point for remote production is just around the corner
As post houses deal with a deluge of data, storage vendors set out their visions for how to cope
Winter 18
