Subscribe Online  

July 2018

In the magazine
Only available in print
  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
Available to read online
  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
Read >>


Production 100 2012 Back to Reports & survey Listing

The peer poll is a very different kind of ranking from the main Production 100 list. Instead of being based on financial success, it is a measure of popularity.

The peer poll is compiled by totting up the responses from all indies taking part in the survey to the question: which rival indie do you most respect and why?

Dozens of indies are cited by their rivals, and the ranking is based on those with the most votes overall while the quotes throughout this article come directly from the anonymous feedback received to the question.

And the big news for 2012 is that, for the first time in four years, we have a new Peer Poll number one – or rather two of them.
The Garden and Keo Films take joint first place, ending Wall to Wall’s three year domination of the peer poll.

The Garden, which has only been in business since June 2010, is cited multiple times for its “pioneering rig shows” like 24 Hours in A&E and Seven Dwarves. Others mention The Garden’s “creative talent”, saying the indie is the “broadcasters’ indie of choice” and has “big ambition with a heart.” The Garden makes “high quality factual programming using innovative camera and production methods,” concludes another rival.

Keo, meanwhile, is voted for by rivals for the “quality and range” of its documentaries like Hugh’s Fish Fight and Terry Pratchett: Choosing to Die. Keo is “uncompromising in making idea-driven films” says one, with another indie praising its “mixture of entertainment and issue based programming.” Keo is also picked out for its “very interesting interactive content,” such as social media site Landshare.

Wall to Wall is close behind but slips back from first to a very respectable third place. The producer of The Voice, Who Do You Think You Are? and New Tricks, is credited with “dramatic growth, producing fascinating programmes and successful formats” and “high quality factual and entertainment.” Wall to Wall, part of the Shed Media Group, is “still making intelligent and popular TV,” says another indie.

In fourth place is Windfall Films, which consistently features high up in the peer poll. Windfall, the producer of Foxes Live: Wild in the City and Inside Nature’s Giants, is voted for by rivals because of its “high quality, diverse and international slate.” Others like its “high quality science” and describe the indie as “innovative.”

Next up is Kudos in fifth place. “They are terrific drama producers,” says one rival about the Shine Group-owned indie behind Spooks, The Hour and Law and Order UK. Others praise Kudos’ “quality and range of mainstream programming” and its “varied, large output.”

Raw Television takes sixth place, the same as last year. The producer of Gold Rush and Locked Up Abroad is credited for its “successful expansion into the US” as well as its “great aesthetic.”

Big Talk is a new entrant to the peer poll, debuting in seventh place thanks to “great work” such as Rev, Friday Night Dinner and Threesome. Big Talk, which made its name in film and has since grown its TV output, is cited for “developing good content and crossing genre barriers.”

Just behind, in eight place, is Left Bank Pictures, another new entrant this year. The producer of Wallander and Strike Back, wins votes for its “brilliant drama production.”

Ninth place is shared by four indies: Love Productions, Objective, Company Pictures and Blast! Films.

Love Productions, the indie behind BBC2 hit The Great British Bake Off and C4’s Make Bradford British, is re-enters the poll this year. Love is described as “commercial and edgy – a rare mix” and mentioned for “great issues, well told.”

Objective, part of the All3Media Group and producer of Fresh Meat and Peep Show, wins acclaim for “brilliantly managing to demonstrate that a company can grow organically in the TV sector” and its “diverse, award winning slate.”

Skins and Shameless producer Company Pictures wins plaudits for “continuing to deliver volume and production value” and “maintaining quality while producing an enormous slate.”

And Blast! Films is hailed for its “creative approach and landmark series”, like Coppers and The Tube. “They consistently make high quality programmes” and have “great variety and high standards”, say rivals.

Eight indies then go on to share 13th place. The Only Way is Essex producer, Lime Pictures, cited for “inventing a genre”; Neal Street, maker of Call the Midwife and the BBC’s acclaimed The Hollow Crown series of Shakespeare plays, for “making quality drama with a populist feel” and “massive hit series”; documentary indie Testimony Films, maker of 9/11 The Firemen’s Story, is “small but perfectly formed” and “makes brilliant history programmes and doesn’t sell out”; Blink Films, producer of Mummifying Alan: Egypt’s Last Secret,  is “properly innovative” and is praised for “the quality of its programmes”; My Big Fat Gypsy Wedding producer Firecracker “knows how to make docs that rate”; Twofour is voted for by one indie because “Educating Essex was absolutely brilliant”; Episodes producer Hat Trick wins plaudits for “its range and quality”; and One Born Every Minute and The Hotel producer Dragonfly is praised for “innovative fixed rig shows which are great creatively but also commercially.”

Televisual asked every indie taking part in the Production 100 to name the rivals they most respected. Below are the 20 most nominated companies, with last year’s position in brackets

1= The Garden (2=)
1= Keo Films (2=)
3 Wall to Wall (1)
4 Windfall Films (2=)
5 Kudos Film and Television (-)
6 Raw Television (6=)
7 Big Talk (-)
8 Left Bank (-)
9= Blast! Films (6=)
9= Company Pictures (11=)
9=  Love Productions (-)
9= Objective Productions ((8=)
13= Blink Films (-)
13= Dragonfly Productions (11=)
13= Firecracker (8=)
13= Hat Trick Productions (-)
13= Lime Pictures (-)
13= Neal Street Productions (-)
13= Testimony Films (-)
13= Twofour Productions (-)

More Chapters


Televisual Media UK Ltd 23 Golden Square, London, W1F 9JP
©2009 - 2017 Televisual. All rights reserved
Use of this website signifies your agreement to the Terms of Use | Disclaimer