Rushes shows the evolution of war in a music video for Beta Band (left). On the right is a spot Rushes produced for European cellphone operator Oskar. Courtesy of Rushes.

The facility’s approach to the Post Office project reflects the way U.K. studios are now utilizing the same or similar pipelines and technologies as for movie jobs, and so delivering broadcast work with far higher production values. In this campaign’s case that includes the use of high dynamic range image-based lighting and custom cloth solutions. “We also used our Framestore CFC subdiv plug-in to take the models from both Maya and XSI, and then render from there,” adds 3D supervisor Dave Hulin. Tellingly, Hulin came to job after working on a number of the studio’s high profile longform broadcast and movie projects.

The Mill turns the Fiesta vehicle into a pinball wizard in this impressive ad for Ford. Courtesy of the Mill.

So where next? Undoubtedly there are some worries about the fallout from the current crisis in the music industry. As labels shave rosters and budgets, we’re certainly likely to see few videos combine live action and large amounts of CG. But fully digital promos look set to stay, particularly for higher profile acts. This is especially heartening as the all-CG video invariably provides a more freeform arena, one where UK artists and animators always excel. And countering any shrinkage in this sector is that upswing in commercials. All the studios with fresh output mentioned, along with other regulars such as Passion Pictures, Lola Post and Glassworks, are well placed to capitalize on this.

Ironically, a report commissioned by U.K. Film Council serves to reinforce the positive message. That it reveals postproduction now averages a quarter of overall project budget (up from 13% just two years ago) is interesting. But the real surprise is that the commercials sector is placed ahead of the U.K. movie vfx industry, with a 36.4% market share against 29.3%. As one anonymous source quoted in the report puts it: “There's kudos in films, money and creativity in commercials, and bulk and reliability in TV.”

Mark Ramshaw is a freelance writer. He has worked as a computer game programmer, producer and magazine editor, but now avoids grown-up office work by writing about the vfx, videogame and music industries. He is also contributing editor for 3D World.