BEST IN SHOW COMMERCIALS 30
SURVEY
BEST AGENCIES TOP 10
01 02 03 04 05
06= 06= 08= 08= 10=
Uncommon adam&eveDDB Mother Wieden + Kennedy Droga5 Lucky Generals VCCP BBH Neverland AMV BBDO; Anomaly; Leo Burnett; Pablo
U
ncommmon spends another year at the top of the commercials producers’
favourite agencies to work with. Uncommon is described as “an exciting breakaway agency with a conscience” that is “creative and original” and “disruptive, clever, interesting.” Other producer voters praise Uncommon’s “confident creative leadership across the board” and say the agency is “constantly innovative” and “only puts out bangers.” and “cares about the craft of work.” One producer says of Uncommon that its “level of creativity has been consistently high, falling more regularly than most into the ‘brave’ category of work.” Just in second place this time is
adam&eve DDB, praised by producers
for its “range of touching, warm and funny work” and its “consistently strong creative and standards.” Others say it produces “smart work with tremendous humanity.” Others call it a “solid agency with the nicest people at the heart of it” and that “some of the best agency producers in the industry are here.” In third place in the Commercials
30 poll of the best agencies is Mother, lauded as “fantastic collaborators. Honest, open and have great taste.” Others pick out Mother’s “interesting ideas, clever scripts” and “smart original creative” and say its “great ethos remains and it’s trying to champion diverse fresh talent.” W+K takes fourth with producers
saying it’s “always pushing creatively” and has “good creatives and ideas.”
BEST POST HOUSES W
e ask commercials producers two questions about post houses in our annual survey.
Who do you rate most highly and who do you use the most? This year, once again, Electric
Theatre Collective comes out top in both of those votes. Producer fans say of ETC that it
“always bring its ‘A’ game” and has a “boutique approach to solving big ideas with good people and energy.” Others praise ETC’s “epic output” and the “quality of talent” it houses.” It’s described as “small, independent and reliable. Very well resourced” and “true production partners, Incredibly creative and 100% reliable.” Black Kite again comes in at
second place in both the post production house polls. Black Kite, say producers, has “incredible artists, incredible production” and is “friendly and hard working.” The company is a “great collaborator, with post producers who become integral
creative partners.” and has “excellent leadership and top talent – A+ Shop. Our first choice always.” Time Based Arts is again the third
highest rated post house in the poll with producers saying it is “high end with high standards” and is “always thinking laterally and pushing for the best creative.” The fourth highest rated post
facility is again Framestore, lauded for its “great VFX and colour” and because “you’re working with an insane amount of pedigree and production value is very high.” Two companies share the fifth
highest rated spot in the poll this year. No.8, described as “collaborative and excited to work on non traditional projects” and “open and enthusiastic collaborators” who “always try to accommodate a project and go above and beyond.” Also in fifth is Untold Studios, picked out for its “excellent craft” and also for being a “classy joint.”
Spring 2023 C10
01 02 03 04
05= 05= 07= 07= 07= 07=
HIGHEST RATED POST HOUSE
Electric Theatre Collective Black Kite Studios Time Based Arts Framestore No.8 Untold Studios Rascal Selected Works The Mill Absolute
POST HOUSES USED MOST
01 02 03 04
05= 05= 07
08= 08= 10= 10=
Electric Theatre Collective Black Kite Studios The Mill Absolute Time Based Arts Untold Studios Nineteentwenty Selected Works No.8 Rascal Framestore
Commercials 30
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148
