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Winter 25
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
Autumn 25
The top commercials houses in the UKÂ and their thoughts on the year ahead.
Spring 25
The winners of this year’s Televisual Bulldogs picked up their awards at the winners’ dinner. See the pictures here
Winter 25
The best new finishing work in the UK from Company 3, Framestore, 1920, Envy, Harbor and many more
Winter 25
Getting a major brand on board to help fund TV shows is nothing new, but it is now an increasingly well worn route to making a budget work. Pippa Considine asks those with a head for business how it’s done.
Winter 25
The makers of Apple TV’s series on returning endangered animals to their habitats, explain how the show was parented to adulthood.
Winter 25
While the demand is still there for TV drama, budgets for scripted across the board are down. Producers are having to work smart to get their shows to screen. Pippa Considine reports
Winter 25
Top Production Designers who have been responsible for building the worlds of major films and TV series explain how they transform scripts into physical reality. Jon Creamer reports
Winter 25
Michael Burns asks the cinematographers behind movie Die My Love; Sky Atlantic’s Amadeus and long running spy thriller Slow Horses how they helped make their projects shine through
Winter 25
The editors behind The Ballad of Wallis Island; BBC police series Blue Lights and Sally Wainwright’s Riot Women tell Michael Burns how they created the perfect cut
Winter 25
Which post houses do their producer clients rate most highly?
Winter 25
Winter 25
The technology that’s currently front of mind for post production