SURVEY
COMMERCIALS 30 TOP 30 07 BLINK
blinkprods.com 181 Wardour Street, London, W1F 8WZ t 020 7494 0747 chairman James Studholme partner/ ep Blinkink Bart Yates ep/md Blink Paul Weston credits BBC Winter Olympics - Extreme By Nature by Balazs Simon for BBC Creative/BBC; FIFA 23 by Jungle for Wieden & Kennedy Portland/EA Games
Blink says that simply “getting people back into the office and studios” was a highlight of the past year, as was
09 STINK FILMS
stinkfilms.com 5-23 Old Street, London, EC1V 9HL t 020 7462 4000 global head of film Blake Powell md Stink Films London Andrew Levene managing EP Stink Films London Jon Chads credits I Came by Train by Golden Wolf for Mother/ Trainline; Hardcore Denim by Felix Brady for The Family/G-Star
Stink’s highlights this year include Felix Brady’s Green Tea Peng music video “showing what magic he can work with LED Volumes” along with Watts signing with London (and then
11 PRETTYBIRD
prettybird.co West Wing, Somerset House, London WC2R 1LA t 020 3701 7600 co-founder/ep UK Juliette Larthe HoP Fiona Bamford-Phillips ep Ted Thornton credits Amazon Books by Tom Noakes for Droga5/Amazon; WWF Race Back To Life by Salomon Ligthelm for Uncommon/WWF
Prettybird sums up the last year as a “busy first six months coming out of covid, productions feeling like they were pre-pandemic, however business became quieter for last six as clients were hesitant to
08 ICONOCLAST BBC Extreme by Nature
“the release of our first two long form TV series” - Dead End: Paranormal Park for Netflix and Don’t Hug Me I’m Scared for Channel 4. Blink says that “despite the current climate that shuns new talent, we managed to book some huge projects for first time directors.”
iconoclast.tv 25 Woodseer Street, London, E1 5HA t 020 3141 9107 md Jean Mougin ep Guy Rolfe HoP Kate Sharpe credits Rise Of The Kids by Alaska for W+K Amsterdam/Nike; Let Play Unwind Your Mind by Alaska for Mother/Ikea
There was a Ciclope Production Company of the Year award and a Cannes Lions No 2 Production Company award for Iconoclast along with gongs for Jonathan Alric’s Macmillan spot. Iconoclast says last year “saw a large
10 NEXUS STUDIOS G-Star Hardcore Denim
the US) “and us immediately getting some lovely work for them.” Golden Wolf winning awards for Weetabix and Trainline work was a boost as was winning Prod Co of the year at Shots. Stink also picks out work from Eoin Glaister, Judith Veenendaal and Tom Green as 2022 highlights.
nexusstudios.com 25 Chart St, London N1 6FA t 020 7749 7500 co- founder/chief creative officer Chris O’Reilly co founder/ceo Charlotte Bavasso md James Tomkinson credits The Monster by Johnny Kelly for Back Market; Gorillaz Presents by Jamie Hewlett & Fx Goby for Google
Nexus says 2022 was a “foundational year for a huge shift in production. Emerging technologies such as real- time engines, immersive platforms and machine learning began to have a significant impact on how and
12= ANONYMOUS Amazon That Reading Feeling Awaits
spend money on TVC budgets in the economy.” Prettybird reports a lot of “bidding activity, however budgets became more challenging” with jobs “pushed or put on hold” but “there currently feels to be a little more confidence from clients to invest in TVCs since the start of January 23.”
Spring 2023 C15
anonymouscontent.com 16 Southam Street, London, UK W10 5PH md/ep Tor Fitzwilliams ep Daisy Mellors HoP Shion Hayasaka credits Breakthrough by thirty two for Uncommon/ITV; The Encounter by Tim Godsall for B Reel Sweden/H&M
Anonymous Content says that over the last year “we’ve seen a more permanent integration of remote working. Our pre-production meetings are almost entirely VC based now, and directors and creatives seem to have adjusted
Commercials 30
Ikea Let Play Unwind Your Mind
volume of jobs and a large range of budgets. Being a World Cup year saw many sports talent led commercials that we were able to capitalise on.” There was also “an increased number of UK shoots” and “service jobs for our global network.”
Back Market The Monster
where we could create content for brands. These are changing not just production methods but also creative opportunities.” And, says Nexus. “more than ever, it needs the guiding hands of artists and storytellers, working with developers and engineers, to shape the future.”
ITV The Breakthrough
to large parts of post production taking place remotely.” Anonymous says this has “huge advantages for tapping into global talent,” but “does anything beat everyone sitting around one table and hashing it out in person with a plate of Hobnobs? There are advantages to both.”
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