POST


SHORT FORM TO LONG FORM POST


The Third Day with post work from Freefolk SLIM PICKINGS


The move of short form houses to long form has been driven by other factors alongside HETV demand. As Freefolk’s Wright points out: “The budgets on commercials projects have reduced and the volume of work as well” and at the same time, “there have been more commercials VFX companies setting up in the last few years, splintered from the bigger companies.


Jordan Andreopoulos, co-founder of JAMVFX, whose company has now worked on End of the F**king World, Black Mirror and Life After Life, says that “over the last four or five years, there’s been pressure from agencies to pull in a lot [of post work] in house and a lot of competition with more post houses setting up.” Long form is another revenue stream, says Adam Luckwell, owner and founder of Unit (Avenue 5, Britannia) “so if any one of those revenue streams ever takes a snooze, you’re a bit more robust.”


Netflix’s No One gets Out Alive with post work at Unit


Especially when it comes to planning ahead. “Commercials [post] is sometimes a bit of a white-knuckle ride,” says Luckwell. With jobs coming through the door at a late stage and super-fast turnaround and freelance hiring required, “Whereas the long form picture post team are booked out until March next year.”


1920VFX’s Hurst points out that “the commercials market can be unpredictable and High-End TV seems to offer a more stable environment with regards to budgeting and hiring staff.”


Although, the long form market seems to be getting closer short form in some respects. “Long form has a longer lead time, with projects often in discussion for months - with commercials potentially confirming only weeks before they start,” says Meg Guidon, VFX Executive Producer at Freefolk. However, “recently long form projects seem to be confirming later, closer to turnover.”


TALENT ATTRACTION


Another big driver for commercials houses to add a longform string to their bows has been staff retention and attraction. The competition among post houses for top creative artists is intense and many feel that offering them a variety of work can make the company a bigger draw.


“Some artists love the change and option to work in both disciplines,” says Freefolk’s Guidon, as they can “go from an eight- month project with quite strict protocols and an intense attention to detail to a fast turnaround one month commercials project with all the crew mucking-in to make something great in a short period of time.”


Coffee & TV’s Moreton similarly says that a big drive to long form has come in “answer to our artists wanting to be able to do both from one place. We’ve recently recruited people who have wanted to dip their toe into long form but didn’t want to give up commercial work.”


“The commercials market can be unpredictable and High-End TV seems to offer a more stable environment with regards to budgeting and hiring staff.” JON HURST, MD AT 1920VFX


106 televisual.com Summer 2023


“We’re always interested in things that are going to keep our artists on their toes and keep them interested and fresh,” says Unit’s Luckwell. “That was a much, much bigger driver for us initially.”


MAKING THE MOVE


The bridge for commercials post houses into long form has been a similar one for


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