Films at 59
In industry polls of post-production facilities, Films at 59 regularly comes out highly rated by both their clients and peers. Meeting development manager George Panayiotou it isn’t hard to see why – approachable, calm and dedicated, he sets the tone for a company known for technical leadership, attention to detail and an uncanny ability to adapt to the needs of their clients.
Offering the complete gamut of pre and post production services, from workflow design and equipment hire through to high end finishing, Films at 59 has a hand in thousands of hours of programming each year. Founded in 1990, with a staff of four, the company started out in sound post-production, with an emphasis on natural history programming.
Subsequently, however, Films at 59 has diversified into other areas, from children’s programmes, animation and daytime TV to documentary and drama.
In 1993, the company won a contract to supply camera equipment for the major BBC drama “Casualty”, which is based in Bristol. This relationship has now lasted twelve series, evolving into a major operation involving not only equipment but also crew and support.
With the pace of technological development increasing every year, equipment hire is a cornerstone of the business. “Offering location hire means we can become involved in a production very early on in the process, both with workflow design and training” he explains.
“With High Definition, in particular, it’s important to get involved early on, so that we’re part of pre-production as well as post-production. You need to know the frame rate and delivery format before you start filming – that way you save on hiccups and costly mistakes. We have a busy team of workflow specialists dedicated to tackling these issues.”
Panayiotou knows HD better than most. In 1999, Films at 59 became the first UK post-production company to invest in high definition facilities. “We’re always keen to invest in the latest and greatest,” he says, “but we also do the research to make sure the demand will be there and that it can deliver what it promises.”
The big noise in media production technology right now is the shift to tapeless acquisition, following the release of practical tapeless systems by Sony and Panasonic. However Films at 59 also continues to support workflows using existing tape based formats. Panayiotou notes that “our focus is on delivering on time and within budget – sometimes that just doesn’t fit in with the current state of tapeless technology. Our role is to advise, not to dictate.”
Workflows across all formats are constantly being tested so that systems can be up and running as soon as they’re required. But while technological innovation is undoubtedly central to the success of Films at 59, Panayiotou is adamant that people are also key. “We support Bristol as a creative media city,” he says with great conviction, and his actions reflect his words. As well as taking part in activities like the annual Media Employers Forum at UWE, sponsoring events like Brief Encounters and Wildscreen, and being a founder member of BMEX, the company does a great deal to encourage up-and-coming talent.
“We have a lot of runners coming through our door,” he explains. “We have a running team of ten, with a fairly high turnover. Most people stay nine to twelve months, then move on. They’re good, they’re ambitious and in that time they’re bound to meet a producer here in the building or become a permanent staff member.
“We invest a lot in training, whether we’re training our staff in the disciplines of post-production, or introducing runners to the world of work. We teach them the importance of client care, and give them a good grounding in technical and workflow skills, so they know what an XDCAM disc looks like and how to do things like label camera rushes properly. It’s an investment on our part, but the more knowledge we can impart in the early stages of someone’s career, the better for the industry as they move on – and the region.”
Bristol’s creative community is, as Panayiotou emphasizes, relatively small and highly collaborative. “It’s very important for us to collaborate,” he explains. “So if we’re unable to deliver part of a project we can get someone local on board. It’s a key focus for us when we pitch for work. Regional development needs regional investment, which is what it’s all about. If we all work together, we all grow together.”
Recently the company took another technological step forward, buying not one, but two Film Master colour grading systems from Swedish company Digital Vision. Panayiotou comments “Grading is a key part of the creative process – there is a growing demand for a reliable, high-end, high-speed system. Our award-winning team of colourists and online editors feel that having two Film Masters allows us to satisfy the demand for last minute creative and schedule changes.”
Recent Films at 59 grading credits include “The Natural World”, “Being Human”, “Tribal Wives”, and “Oz & James’s Big Wine Adventure”, and Panayiotou is hungry for more.
“With so many drama series shot in the South West we’ll be pushing hard to get the post-production work done here too. The talent is here, the equipment is here, the knowledge is here – the rest is all down to letting the right people know! If you wanted to shoot a major feature film in the South West, I have no doubt that local talent and facilities would be more than up to the mark.”
Little can be taken for granted in this constantly evolving market, but if any company can be relied on to adapt to change and keep delivering a client-focussed service of the highest quality, it is Films at 59.
Profile:
Business: Leading regional post-production house, offering a creative and cost-effective range of pre- and post-production services for film and TV programme makers. Services include production consultancy, crewing services, shooting equipment hire, picture editing, sound editing and dubbing.
Started: 1990
Staff Numbers: 98
Highlight: The company is proud to have been involved recently in Touchpaper Productions’ “Being Human” pilot, produced in the South West for the BBC, Mammouth Productions “Bonekickers” and Quickfire Productions “Barbara Cartland”.
