INTRODUCTION FACILITIES 50


SURVEY


Blazing Griffin says that UK


AGENCY SCHEDULES ARE GE T TING MORE COMPRESSED AS


PROJECTS TAKE LONGER TO REACH GREEN LIGHT


T IME BASED ARTS


broadcasters’ “budgets and remits are diminishing and they’re relying on co-productions and international sales more than ever. This leads to a cautious, non-risk-taking approach and a loss of commissioner confidence driving down budgets and schedules further. Ultimately this makes it more difficult for post houses to make a sustainable income from traditional broadcast programming.” Over in advertising, there are


AT FACIL ITIES 50 COMPANIES


TOTAL NUMBER OF EMPLOYEES


8,617


1 No.8 worked on Stella Artois’ Superbowl ad 2 SPS worked on Rosie Molloy Gives Up Everything


1


pressures too. “Agency schedules are getting more compressed as projects take longer to reach green light,” says Time Based Arts. Electric Theatre Collective says, “the decline in available time to do things properly has continued. Project schedules continue to be compressed, putting pressure on quality and the artist / client experience. Unfortunately, unless there is a collective will to push back against these unrealistic and sometimes precarious schedules, the likelihood is that they will continue to become the norm.” Freefolk also says that “there seems to have been further reductions in available post budgets for commercials. In addition, there have been many new post start-ups. This has helped to ‘break’ the monopoly of the ‘big corporates’ However, competition amongst the small to mid-level studios has become fierce.”


PEOPLE PROBLEMS Whatever sector of the post and vfx market companies are working in, there is a major issue for all. Brexit decreased the talent flow from outside


the UK and it hit just on the eve of the current massive inflow of post and vfx work into the UK. As a result, there are not enough skilled workers to go around. As Films at 59 says, “hiring talent


with the necessary skillset and experience is becoming increasingly more difficult due to the post sector being so busy.” Gorilla says there are “staff shortages across the board, particularly tech ops and assistants. The cost of staff and freelancers has risen dramatically through supply and demand.” ITN Post says the “availability of the right skills remains an issue in all areas, from Edit Assistants to Post Producers.” Run VT says “there seems to be shortage of creative staff on the market. Each time we advertise, we only have a short number of applicants.” Picture Shop says that “changes in


the availability and skillset shortages of creative and technical talent in the past 12 months have had a huge impact on every production and facility alike. This poses an interesting challenge to the sector as a whole, especially in genres that have seen increased demand from the growing array of streaming platforms looking for more and more original content.” Tag argues there’s a “real issue with available talent especially in London. The rise of the streaming content productions has taken away most of the freelance pool meaning we are having to look offshore to fill the skills gaps.” As The Look points out, “large


scale vfx dramas require experience. US streamers expect larger post


2


Winter 2022


F08


televisual.com


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