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Morphy Richards or Russell Hobbs or a drama/comedy series centred around a road trip using a BMW Mini or Range Rover. At that point you can remove advertising breaks, which audiences, especially younger ones, no longer want. All content making companies will continue to move costs in-house, with post and other services being ultimately done in the cloud, utilising the computer power available. The adage remains, if it can be done in the cloud, then it will all be done in the cloud. The movie industry is polarised around the world between low budget fi lmmaking, where budgets are so tight that pay is bad for all and suffer distribution diffi culties, and big budget tent pole Hollywood movies. Government funded fi lm councils do not tend to support commercial scripts and so investment does not recoup for the benefi t of the industry, the focus seems to be awards for worthy but non-commercial fi lms. Directors and Producers however can now distribute themselves directly to platforms and try to recoup without the help of distributors (who are often struggling themselves) or even a sales agent. The only area in the movie industry making profi ts is large Hollywood tent pole productions that cost $100 million + but can make sizeable profi ts. Sadly though being a VFX facility in this market is not as lucrative as it once was as you can’t quantify the cost of constant client changes and competition is high. The consolidation of VFX companies at the high end in to even bigger companies is a given, and movie studios will expand on their own in-house post services, wiping out many post production companies across the world. The budgets on content creation will continue to drop as competition will increase, access to near as free equipment will greatly reduce barrier to entry and revenue in hire and post production rates and pay rates for companies and freelancers will remain static and in real terms will fall against rising infl ation. Anyone in the industry who wishes to remain relevant will need to own their own content and work with companies to help them to produce work that audiences actually want to watch. This will not be adverts, fi ller programming or dull formats. Tax incentives from countries like Belgium and Canada are so high that movie and drama productions follow them around meaning pockets of companies relying on work in traditional areas are struggling, those that do win work have used upfront cash investment and infl ated quotes in the fi lms or dramas to increase the tax credit and cash fl ow production. This happens across the world and is acutely felt in Central London where regional spends outside the M25 motorway also greatly reduces inward investment in London services set up as a centre for creative excellence. My company’s focus is creative excellence and focused on non-biased advice. Genres include high-end drama and features, remote grading for companies with in-house post or helping those companies to build those services for content creation across any genre, and working with them as consultants on that move to total control and distribution and creatively engaging content. As agencies become production companies, and former post houses become major production companies going to brands directly, media buying companies will struggle as brands and agencies do it themselves. The media landscape is changing, along with capitalism in the main, and the casualties will be high for those slow to adapt, audiences now control what they watch, when they watch it, anyone can make anything if they have the talent – be sure whatever sector you work in that you make the right decision for yourself. KITPLUS - THE TV-BAY MAGAZINE: ISSUE 97 JANUARY 2015 | 39