Post-production bosses stressed the need for facilities to work across an ever-broadening range of genres and shows at last week’s Production & Post Forum.


Speaking during the State of the Nation discussion, Envy managing director Dave Cadle hailed his company’s recent debut in the outside broadcast sector as a success, while Timeline TV North post-production director Eben Clancy highlighted drama as an area of growth for the previously sport-focused business.

“It’s almost a direct reversal [between Timeline and Envy] because we started out doing OBs, but we recently worked on The Mill,” said Clancy. “Although we started out in sport, there is a reasonable amount of drama work in Salford, and with drama you can adopt a traditional post model.”

Meanwhile, Cadle hinted that Envy could look to replicate the services it provided at the Invictus Games in London this year. “We added a different ingredient, editing at pace on site, which every body liked. [OB] is another area of growth for us.”

Edurne Bengoa, head of postproduction at Tinopolis’ internal facility MSV Post, said fi xed-rig programmes had been a particular feature of the past year.

“That means a greater emphasis on production technology as well as post. Finishing post is also a growing area for us,” she said.

“The lines are being blurred and we are right in the middle, and are expected to come up with solutions. It gives you huge scope but also means it is important to find technology that fits more than one purpose.”

However, Films at 59 managing director Gina Fucci sounded a note of caution. “There is an advantage to be as varied as you can, but you have to prove yourself. The moment you don’t deliver is the moment it’s no longer your genre. We have to strike the right balance of serving, innovating and delivering.”

Post-Production Growth Areas

Envy’s Dave Cadle (above) revealed that he was looking to add another site to service an “obscene” amount of bookings next year, with grading a particular area of growth for the London facility.

Timeline’s Eben Clancy agreed, pointing to the popularity of shooting Log C footage as helping to fuel the growth in grading.

Clancy said Timeline’s Media CityUK operation had grown year-on-year, but there wasn’t an enormous amount of work for post fi rms on and around the Salford site.

“The BBC and ITV have large in-house facilities and a lot of work is tied into contracts. As a post facility, we have to work around that. There is work, but not that much falling out of the big contracts.”