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March 2018

In the magazine
Only available in print
  • Genre report - Entertainment and comedy
    In a two-part special, Tim Dams reports on TV’s fresh focus on entertainment, and new directions in comedy
  • The art of cinematography
    Four leading DoPs tell Michael Burns the secrets of their craft, and explain the techniques they used to create hits like Jason Bourne, The King’s Speech, Lion and Sherlock
  • The Top Ten Cameras
    Televisual’s annual survey reveals the UK’s most hired cameras of the year and uncovers the models everyone will be shooting on in the year ahead
  • TV Studios
    The television studios sector is in flux, amid a spate of closures and re-developments. Pippa Considine reports on a changing studios landscape
  • Take it outside
    Major technical advances such as UHD, HDR and IP are driving big changes in the outside broadcast market. Michael Burns reports
  • And lots more
    This issue also features the Televisual Corporate 50, bright ideas for lighting, how post houses are dealing with the data bulge and pages showcasing the best creative work in UK post and vfx
From the magazine
Available to read online
  • Game On for C4 & Netflix drama
    Set in the world of computer gaming, C4 and Netflix’s Kiss Me First combines live action and impressive cg animation. Tim Dams reports
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Production 100 2011 Back to Reports & survey Listing

Challenges and concerns for 2012
A shapshot of Production 100 feedback from indies about the issues facing them in the year ahead

Falling budgets
Once again falling budgets top the list of indie concerns, the third year in a row. Indies big and small, from Endemol to DLT Entertainment, Back2Back and Fresh One cite falling or tight budgets as their biggest challenge. “The squeeze on budgets is very real and yet the best talent still commands top rates. Something’s got to give,” says Oxford Scientific. Blakeway says indies are having to upgrade technology “without any enhancement in budgets.” Many worry about the cuts in funding at the BBC.


It’s all about “commissions, commissions, commissions” says Thumbs Up. Like Lambent, many want “series that return”. Cicada Bellwether also would like to “continue getting series rather than one offs commissioned.”

Retaining rights

“Hanging onto rights in an increasingly aggressive, post terms of trade broadcast culture,” is a challenge cited by Nerd TV that’s shared by many indies. “We’re having to deficit fund content but the broadcasters are taking more rights and a higher share of the profit,” says TalkbackThames. Googlebox says it wants to “continue securing commissions with reasonable margins and the ability to retain rights and back end.”

“Containing company costs and managing cash flow as some broadcasters are paying late,” is a challenge for Off the Fence. Hardcash wants broadcasters to “speed up the period from green light to actually triggering the cash flow on a project.” Superindies “It’s tough to compete with the superindies and their deep pockets,” says Outline Productions. Likewise, Reef TV cites the “dominance and power within the independent production sector by the superindies” as a key challenge.

Managing growth
Nutopia worries about “managing growth and putting systems in place which still retain a fun, creative small company environment.” Magnum Media and Rival Media both say managing growth is a priority, as does Firecracker which also wants to grow while “retaining the Firecracker brand values.”

Deficit finance

It’s “getting harder to pull together co-productions”, says Atlantic with US broadcasters in particular wanting to fully own shows to play on their global channels. Twofour says finance models are “more complex”. Impossible Pictures says “the commercial effort and cost required to raise finance and maintain liquidity of productions only increases.”


“Finding and retaining key talent on and off screen,” is a big issue for Icon Films. Splash Media says it’s a challenge to be able to hire “the industry’s best.” Development Because of the minimal profit margins available from network tariffs, “it’s difficult to maintain sufficient funding for talent and idea development,” says Modern TV.

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