World Screen helps set the tone of the conversation for our global television business. It combines interesting commentary, thoughtful analysis and a platform for media executives around the world to express their thoughts on the leading issues of the day. In an increasingly complex and fast-changing environment, World Screen remains an indispensable one-stop guide to the ideas and trends shaping our industry.
VideoAge
VideoAge International – The Business Journal of Film, TV Broadcasting
Founded in 1981, VideoAge is an international television trade publication. In addition to publishing seven Issues a year, VideoAge also introduced the concept of daily publications at the international TV trade shows and now publishes Daily editions at television markets such as MIPCOM, MIP-TV, the L.A. Screenings and NATPE.
VideoAge also has the distinction of being the only TV trade publication 100 percent devoted to the business of buying and selling content.
Each Issue and Daily features a My 2 Cents editorial from Dom Serafini, VideoAge’s editor.
To VideoAge, television is more than an industry; it is a universe of stars (vice-presidents) superstars (CEOs) and quasars (chairmen) from the world of politics, regulations, sociology, psychology, finances, production, distribution, ratings, broadcasting, cable-casting, satellite, piracy, new technology, etc. VideoAge makes complex new technological topics digestible to non-geeks and technophobes.
Televisual
The Televisual difference is that Televisual is uniquely only and all about production from commission to final master and Televisual’s audience the management, producers, production executives and lead creative and technical operators who make this happen.
Televisual has often been described as ‘the voice of the UK production community’ and ‘the industry bible’.
Televisual Audience – Senior management, heads of department and those with a leading business, creative, operational or technical role working in production and the immediate supply chain, whether in production companies, broadcasters, facilities or in senior freelance roles (please see below)
34% – Indies typically CEOs / Owners / MDs, HoPs, Creative Directors, Showrunners, EPs, PEs and resource management
12% – Broadcasters & SVoDs typically working in similar in-house production roles to their Indie counterparts and commissioning departments
18% – Senior Freelance Production Staff typically Showrunners, HoPs, Producers, Directors, PEs, PMs, Post and VFX Producers and PPSs
7% – Senior Production Operators typically DoPs and Film Editors
24% – Supply Chain including Post, VFX, Studios, Camera Rental and Live Production typically CEOs / Owners / MDs, CTOs, COOs, GMs, Heads of Department, Senior Engineers and Lead Operators, particularly Colourists, Recording Engineers and Compositors
5% – Other including Consultants, PRs, Ad agency, Commercials Production EPs and Brand Film Production management
