INTRODUCTION FACILITIES 50


SURVEY


locations and time zones on all genres.” Rumble points out that “working


with a wide range of talent globally is now more accessible since the recent work from home revolution” and that has allowed “access to a global skill base with fluid connections to infrastructure,” says Glassworks. Coda says, “with remote working we’re working with more companies in Europe and America.” “Technology and remote working


has opened up the global market more than ever,” notes No.8. ITN Post says that virtualising facilities means “growth without long term Capex investments” and increases the “availability of staff all over the world in different time zones.”


POUND SIGNS But being UK based has had one particular advantage in recent years, and that’s the relative weakness of Sterling that offers an extra incentive for foreign producers and broadcasters to send the work our way. “The weak Pound drives work towards the UK,” says Framestore. Post houses including Company 3, Coffee & TV, Directors Cut, Splice, Rumble, Racoon and Halo make a similar point. It is an advantage, but it does depend on whether you’re buying or selling. As Clear Cut points out, the “weakness of Sterling makes kit more expensive.” The weakness of the pound has


been a fairly long-term factor, but the wider economy has now become very much a concern for everyone in the UK. “A looming recession is


1


WORKING WITH A WIDE RANGE OF TALENT


GLOBAL LY IS NOW MORE ACCESSIBLE SINCE THE RECENT WORK FROM HOME REVOLUTION


RUMBLE VFX


going to have its effect on the entire economy but will certainly affect the commercials industry more than the HETV and streaming workstreams,” says Absolute. Post’s clients will certainly feel the pressure of recession with Halo saying, “bankruptcy of clients and bad debts,” is a concern on the horizon. Post, with its high demand for energy, is already feeling the effects of soaring power costs. Edit 123 picks out “rising energy costs” as a concern. Dock10 also points to the “ongoing energy crisis” as a worry as do many others. Molinare also picks out “worldwide inflation and how that effects all parts of the TV and film supply chain.” Growth often requires investment and the future cost of borrowing is not looking good now. Added to that is the “uncertain


future of Channel 4 and the BBC under increasing government pressure,” says Directors Cut among others.


£ 4M The median average


turnover in the Facilities 50. The figure was £3.2m in 2021


Winter 2022 F06


BUDGET BUSTING It’s the UK broadcast market that is causing some concern in the post sector right now, particularly in terms of shrinking budgets that are pushed on to post houses to cope with. As Fitzrovia notes “the industry continues to squeeze the pounds in post production.” Arteus also mentions “budget pressure, especially from indies” as a challenge with Fifty Fifty also picking out “low budgets for broadcast television,” as a concern. Rascal points to “challenging budgets with increasingly vfx-heavy creatives. Vfx is so integral now it’s easy for clients to assume it’s also simple.”


1 Doghouse worked on Our.Changing Planet 2 Envy worked on The Diana Investigations


2


televisual.com


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