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July 2018

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  • 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
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  • 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
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Production 100, 2013 Back to Reports & survey Listing

The top of the Production 100 looks very different this year, mainly because Televisual has changed the criteria for entry to the list. This is the first time that Televisual has allowed the production companies owned by the superindie groups to be included in the rankings. Previously we gave only one collective entry for the superindie groups and their indies.

The inclusion of so many superindie-owned companies makes the list more representative of the independent TV landscape – detailing the leading production companies and their competitors in the marketplace. But it means, unfortunately, that many of the smaller, truly independent companies have been squeezed out of the 100. (You can read more about them in our list of the top ‘true’ indies on P15.)

It means that sports producer IMG Media emerges as the UK’s largest single independent, with revenues of £136m. The X Factor and Britain’s Got Talent producer Thames, part of FremantleMedia UK, comes second on £89.6m. Endemol-owned Remarkable follows in third place, after a strong year that’s seen its revenues rise from £55.3m to £70.5m.

Within the Production 100, there are a number of indies that have enjoyed very strong years indeed. Raw TV, Baby Cow, The Garden, Mammoth Screen, Big Talk and True North are among a select group of indies who have doubled their turnover year on year. Meanwhile, Two Four has had a very good year thanks to a raft of series orders that have helped its revenues climb from £35.4m to £47.3m. Other risers include Red Production, which has seen its revenues leap from £13.3m to £22m thanks to a string of drama orders. Gypsy Wedding producer Firecracker is up from £13.4m to £17.8m, and Discovery-owned Betty has had an impressive year with orders up from £9m to £14m. Meanwhile, factual producer Reef has seen its turnover grow from £2.83m to £4m over the year, and documentary maker Wild Pictures’ revenue has increased from £2.3m to £3.5m. Hugh’s Fish Fight producer Keo Films’s turnover has risen by 20% to £9.8m.

New entrants this year include Ash Atalla’s comedy indie Roughcut which debuts with an impressive £12.5m turnover thanks to a strong order book from Sky. Glasgow-based Raise the Roof, producer of Phil Spencer Secret Agent, also makes its first appearance with an impressive turnover of £5.9m.

Companies which have seen their turnover fall year on year include Shine TV, Kudos, Left Bank, Zeppotron, Dragonfly, Darlow Smithson and Nutopia. Absent from the list this year are indies including Impossible Pictures, Aardman, Pulse, Fresh One, Ruby, Splash and DLT. Zodiak Media declined to provide financial breakdowns for its UK indies including RDF and IWC.

1 IMG Media  £136.2m
2 Thames £89.6m
3 Remarkable £70.5m
4 Lime Pictures £60m
5 Carnival £52.7m
6 TwoFour £47.3m
7 Wall to Wall £47m
8 Initial £45.8m
9 Tiger Aspect £45m
10 Shine TV £44m
11 Kudos  £43.5m
12 Studio Lambert  £41m
13 Company Pictures £39.9m
14 Hat Trick £36.4m
15 Left Bank £36m
16 Objective £35m
17 Raw TV £34m
18 Princess £32.8m
19 Lion £28m
20 Baby Cow £27.4m
21 Sunset + Vine £25m
22 Mammoth Screen £24.6m
23 Optomen £24.3m
24 Boundless £23.8m
25 Talkback £22.9m
26 Red Production £22m
27 Big Talk £21.3m
28 Bentley £20.4m
29 Mentorn Media £20m
30= North One £19.3m
30= Zeppotron £19.3m
32 Maverick £18.1m
33 Firecracker £17.8m
34 Dragonfly £16m
35 Zig Zag £15.2m
36 Neal Street £15m
37 Ricochet £14.2m
38 Boom Pictures Cymru £14.1m
39= Betty £14m
39= Pioneer £14m
39= Rondo Media £14m
39= So Television £14m
43 CPL £13.2m
44 Shed £13.1m
45 The Garden £13m
46 RoughCut £12.5m
47 Renegade £12.3m
48 Input Media £12.1m
49= Atlantic £12m
49= Darlow Smithson £12m
49= Love Productions £12m
49= Nutopia £12m
53 Off the Fence £10.8m
54 Twenty Twenty £10.5m
55 Keo Films £9.8m
56 Windfall Films £9.3m
57 Hartswood Films £9.2m
58 Somethin’ Else £8.7m
59 True North £8.4m
60 Wag TV £8.1m
61 Red Planet £7.7m
62 Monkey Kingdom £7.5m
63 Victory Television £7.4m
64 Icon Films £6.9m
65 Spun Gold £6.5m
66 Gogglebox £6.2m
67 Oxford Film & Television £6.1m
68 October Films £6m
69 Raise the Roof £5.9m
70 Silver River £5.6m
71 Blink Films £5.5m
72 Tern TV £5.4m
73 Plum Pictures £5.2m
74 Electric Sky £5.1m
75 Kindle Entertainment £4.7m
76= Oxford Scientific Films £4.5m
76= Blakeway £4.5m
76= Blue-Zoo £4.5m
79 Outline £4.3m
80 Attaboy TV £4.1m
81 Reef £4.06m
82 Remedy £4m
83 Green Inc. £3.96m
84 Power £3.92m
85 Pacific £3.86m
86 Boomerang £3.8m
87 Rollem £3.65m
88 Blast! Films £3.6m
89 Wild Pictures £3.55m
90 Tigress £3.3m
91= Thumbs Up £3m
91= Can Group £3m
91= Pilot £3m
94 Brook Lapping £2.9m
95= 3DD Productions £2.8m
95= Retort £2.8m
97 Saltbeef £2.6m
98= Rise USA £2.5m
98= Quicksilver Media £2.5m
100 Back2Back £2.47m

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