INTRODUCTION FACILITIES 50


SURVEY


production teams of supervisors but there is a lack of PPS’s.” The UK’s reputation as a centre


of excellence could be under threat. “The increase in demand for the highest standards of vfx has forced content providers to keep setting the bar higher, this puts a reliance upon them having the best artists available who are adequate enough to meet the expectations of the audience,” says Cinesite. “There is simply no room for a dip in performance in such a competitive market, and with this being the case, many feel studios may be in a position where they have to start declining work due to staffing capacity rather than proceeding with potentially reduced quality.” The lack of staff to meet demand


has led to wage inflation and also poaching - “It’s increasingly difficult to hold on to staff as poaching is bigger than ever,” says Envy. And that’s not just from other post houses. “Wage inflation and poaching are rife,” says Clear Cut. “The issue is more acute as post is not only supplying the needs of its own sector but also that of production and broadcasters too - a drain on capacity that cannot be met quickly enough and costs a huge amount in training budgets without benefit.”


TRAIN OF THOUGHT As a result, the rush to get more talent into the industry has become crucial. Training and staff retention are now front of mind. “There is a huge skills issue in the


industry,” says Fifty Fifty. “We have entered a big training drive this year as


we cannot find enough staff to keep up with the demand.” Molinare says, “the individual post


and vfx houses have had to invest time in building on their own talent pool with internal training.” Picture Shop, for example, has its “Post Operators Skills Training Scheme, to fast-track entry-level post-production technical operators and it’s not the only one. Sky Production Services says


“we have been working on our own training academy for nine years which has delivered talent year on year. Because of this we have diffused the impact of the skills shortage, however Senior Edit Assistants and Post Producers are proving difficult to find in the market where we have needs that cannot be met by our own development.” Dock 10 say it too has “invested


in our own internal creatives and post management teams by creating a number of internal staff positions over the past 12 months as well as drawing on the local freelance pool where needed.” But time is off the essence when


it comes to training “Whilst there are several independent schemes to nurture talent, the wider industry and arguably the government needs to do more. The rewards are great but there are risks that other territories will catch up and supersede the UK if it can’t fulfil the need for skilled creative artists,” says Time Based Arts. The need for more creative talent


in the sector also ties with another burning issue across the screen industry as a whole. Increasing the


1


IT’S INCREASINGLY


DIF ICULT TO HOLD ON TO STAFF AS POACHING IS BIGGER THAN EVER


ENV Y


GAVE US THE FIGURE. THE TOTAL WAS £670M IN 2021


TOTAL TURNOVER OF AL L RESPONDENT COMPANIES THAT


£871M


1 Absolute worked on this Meta Portal spot 2 BlueBolt worked on Becoming Elizabeth


2


Winter 2022


F10


televisual.com


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