AUTUMN 2020 LEADER


CONTACTS Editor


Jon Creamer


jon@televisual.com Contributing editor Tim Dams Contributors Pippa Considine Adrian Pennington Art direction (editorial) Nicola Hannan Art direction (advertising) Rick Rogers


rick@rickrogers.co.uk Cover


The Third Day © 2020 SKY UK LIMITED and Home Box Office, Inc


Managing director James Bennett james@televisual.com


Televisual is printed on paper stock from sustainable forests using environmentally friendly ink and distributed in a compostable polywrap


JON CREAMER EDITOR


CAMERAS ROLL, BUT THERE ARE TOUGH TIMES AHEAD At the time of writing at least, production is well and truly back in action. Studios are bursting at the seams and crews are back out shooting. To make it happen, everyone has had to learn a lot in a very short space of


time in order to comply with the myriad guidelines and restrictions, but it’s a note of positivity after months of the complete opposite. But no company has been left unscathed. As we note in our annual landmark


survey of the TV indie sector, The Production 100: “Coronavirus has caused the most profound business disruption to producers since the birth of the indie sector in the 1980s. Other issues have paled into insignificance by comparison.” Staff have been furloughed, productions have been put on hold or lost


altogether, the budgets of domestic broadcasters have dropped like a stone and news has started to come out of superindie owners shutting down or amalgamating labels. But despite all this, a sense of cautious optimism seeps through the survey.


Many feel the worst (barring a second lockdown) has already happened. And while the domestic ad funded broadcasters won’t be back to full commissioning strength soon, the streamers are very much in the market and are content hungry. Those that specialise in factual TV feel they may be in a good position to


thrive in a world of lower budgets and all the complications of shooting scripted TV. We take a look at the genre in our factual TV report and find that the clear steer right now from all commissioners is for fun, entertainment and escapism. Whatever the genre, producers will have to find a way to navigate the choppy


waters ahead. It’s in scripted production that the complexities of COVID shooting really come to the fore. This issue, we take a look at some of the first scripted projects to get back into production and find out how producers are managing to shoot content with so much stacked up against them. That innovative nature is also a theme in our feature on VFX this month. We


Subscriptions


facebook.com/ televisualmedia @televisualmedia


Annual subscription (four issues) £50 in the UK / £66 overseas Go online to televisual.com or email subs@televisual.com


take a look at how the VFX industry is using its skills to make the magic appear on screen where physical production becomes impossible and focus in on the emerging promise of virtual production techniques. With remote working now a major part of everyone’s lives, we also take


a look at the possibilities of using the cloud both in production and post production and also look at the ideal set up for keeping post production going from bedrooms, spare rooms and kitchens across the land. Finally don’t miss our regular In Post and Storyboard pages that show off the incredible creativity that still continues even in these strangest of times.


Televisual First Floor, 23 Golden Square, London, W1F 9JP Editorial jon@televisual.com Advertising advertising@televisual.com Subscriptions Beeline Data 12 months £50 (£66 o/s) Mailing House One Post onepost.co.uk Solicitors David Salamons Cubism Law 020 7831 0101 Printing Stephens & George 01685 388 888 stephensandgeorge.co.uk All rights reserved. No part of this publication may be reproduced without the prior consent of the publisher. Published by Televisual Media UK LTD © Televisual Magazine 2020 ISSN 0264-9845


THE BEST OF BRITISH TV: THE WINNERS TELEVISUAL.COM/BULLDOGS


Autumn 2020 televisual.com 05


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148