TECHNOLOGY & FACILITIES
14 | Broadcast | 23 August 2019 broadcastnow.co.uk@jake_bickerton @Broadcast_TECHFind the latest technology
and facilities news at
broadcastnow.co.uk/techFacilities also said that demand
remains high, despite the possibility
of a no-deal Brexit in October.
“The infl ux of feature and TV
productions shows no sign of
abating,” said LipSync Post
director Peter Hampden. “The
most demanding work is being
placed in the UK, not only because
it is very competitive with the rest
of the world, but because we
have a mature infrastructure
and a world-class talent pool.”
The spectre of Brexit has had
one positive side effect for many
facilities: they have become more
cost-effective for US studios and
streamers to use as sterling has
weakened against the US dollar.
“Our fi lm business has been
very strong on the back
of the low pound and
great tax credits for
international
producers,” said
Halo chief executive
John Rogerson.
Coffee & TV chief
executive and co-founder
Derek Moore added: “With
everything you read in the media
about advertising budget cuts and
threats from the current political
situation, you would think the
post-production sector would be
in dire straits. But our industry
is booming. Even though many
budgets are being stretched, thereis still a healthy proportion of
clients in need of, and willing to pay
for, the best artists and creative.”
Growing demand for post
services has also led to several
start-ups. “The birth of various
VFX start-ups and changing ad
agency models has created healthy
competition and, more signifi -
cantly, motivated our industry to
work even harder at pushing the
boundaries of creativity within the
considerations of today’s budgets
and the expectations of delivering
content more quickly,” said
Moving Picture Company chief
executive Mark Benson.Regional boost
Many respondents said that
regional post houses are
thriving too as broadcasters
seek to commission more from
outside London and technology
makes remote working easier.
“In Brighton, we’ve seen a big
expansion in the number of pro-
duction companies and that’s
been great for us and our competi-
tors,” said The Edit managing
director Dave Austin.
Michael Illingworth, VFX
super visor and owner of Cam-
bridge-based Vine FX, added: “We
made a conscious decision to move
out of London in 2017... and we
have proved you can produce fi rst-
class work outside of Soho.”BY JAKE BICKERTON AND TIM DAMSThe UK post sector is enjoying one
of its busiest ever years, but falling
budgets and high costs are proving
a challenge for many facilities,
according to Broadcast TECH’s
annual post-production survey.
Many of the post houses taking
part said that business is being
buoyed by global streamers’
spending on production.
BBC Studioworks head of
studios and post-production John
O’Callaghan said: “Demand for
post services is at an all-time high,”
citing the globalisation of the TV
industry and an ever-growing
appetite for original content.
West Digital general manager
Paul Wilkes echoed this: “It feels
like a great time to be in post. It feels
very creative and vibrant; there’s
a lot of fantastic programming
being given the green light and
the market feels very buoyant.”
The Farm chief executive David
Klafkowski said: “If there ever was
a good time to be in the business of
creating content, then now is that
time. The global requirement for
quality content is huge.”Focus on quality
Many fi rms said the quality of
projects coming through their
doors has increased, with many
productions looking for high-end
services. Molinare commercial
director Nigel Bennett said: “There
has been an increase in
the adoption of high-
resolution picture
formats, Dolby Vision
HDR and UHD.
Dolby Atmos is also
a high priority.”
Envy chief execu-
tive and founder Dave
Cadle added: “This year
has defi nitely seen a positive
change in the number of projects
requiring UHD, HDR and Atmos
post-production. There is clear
enthusiasm from our creative and
technical teams to work with the
highest possible production
values. It does feel like the industry
is at the start of a new era.”On the downside, facilities said
that budgets are continuing to fall
for many TV shows being made for
traditional broadcasters. Clear Cut
Pictures managing director Rowan
Bray said: “The market is buoyant,
continuing from 2018, but chal-
lenged by hard-pressed budgets.”
Core Post technical director
Tony Greenwood said a key
issue is “managing reducing
budgets, while delivering higher-
quality content”.
There’s also concern about
traditional TV “losing more of its
dominance to digital platforms
and this affecting the amount of
commissions” that post houses
work on, according to Rapid
Pictures joint managing director
Elouise Carden.
As in previous years, the costs
of doing business are a major
concern, with many fi rms citing
rising rent and rates, particularly
in Soho, as well as holding on to
talent and attracting new talent
after Brexit. Platform managing
director Jo Beighton noted that a
key challenge is “rising costs
without clients being prepared to
pay higher prices that refl ect the
rise in rents and salaries”.
See this month’s Broadcast TECH
supplement for the full results of the
survey, including the top 10 post
houses – as voted for by UK
production companiesPost firms set out challenges
If there ever was a good
time to be in the business
of creating content, then
now is that time. The global
requirement is huge
DAVID KLAFKOWSKI
THE FARMSurvey reveals sector is set for one of its busiest years despite falling budgets and rising costs
Our industry is booming.
Even though budgets are
being stretched, clients are
still willing to pay for the
best artists and creative
DEREK MOORE
COFFEE & TVIn Brighton, we’ve seen
a big expansion in the
number of production fi rms
and that’s been great for
us and our competitors
DAVE AUSTIN
THE EDIT28
Number of VFX and
post houses that took
part in Broadcast
TECH’s post survey