Robin Shenfield, managing director of one of Soho's leading commercial post-production facilities, The Mill, believes more of the client's budget is going into post-production, despite the prevailing view that the market has moved away from an over-reliance on special effects.

There are two reasons for this. The first is the increased emphasis on "getting the right look." This has led to increased use of telecine in the last two years, as more becomes possible in that environment. The second factor is the incredible flexibility post houses can offer right up to deadline.

Shenfield welcomes the shift away from unnecessary use of post-production effects. "As a company, we have always been quite understated in our use of effects," he says. "Some of most rewarding work is where the effects are seamless - almost anonymous."

The Mill has concentrated on work at the top end of commercials, using commensurably high-end edit suites.

The strategy seems to be paying off. In the last two months, the company has handled three major US jobs for Mercedes, Lincoln LS and Jeep Cherokee. This month, it will handle the most sought-after job of the moment - the new Guinness campaign from Abbott Mead Vickers BBDO.

Staying ahead of the market is expensive, says Shenfield, who reckons to be investing "a couple of million pounds a year in equipment" for The Mill and sister company Mill Film. Key growth areas, aside from telecine, are compositing and CGI. Alongside gear, talent is the other major investment. A good editor is almost as highly prized in London as a top director.