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September 2018

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  • The Production 100
    Tim Dams introduces Televisual’s exclusive Production 100 survey of the indie television sector, now in its 26th year, and finds the rise of the streamers is creating opportunity –but also plenty of anxiety. The report includes the top 100 indies, the
  • The Genre report: Factual TV
    Demand for factual is growing as channels fight ever harder for audiences. Televisual Factual Festival producer Pippa Considine reports
  • All the Fun of the Fair
    ITV and Amazon’s new Vanity Fair adaptation demanded a period drama with a modern sensibility. But how was that balancing act achieved? Jon Creamer reports
  • The Art of the Vfx Super
    Creativity, tech know-how and a cool head are essential attributes for a vfx supervisor. Three top supers tell Jon Creamer how they help create screen magic
  • Channel 4's big move
    Three cities are still in the running for the new out-of-London Channel 4 HQ and three for the two creative hubs. The indies in those cities say the potential prize is immense. Jon Creamer reports
  • IBC preview
    IBC is a great place to check out both new launches and to get your hands on something already announced at NAB. Here’s a small taste of what’s likely to be on offer
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Production 100, 2013 Back to Reports & survey Listing

Below is a list of ‘true’ indies. These are the companies that really live up to the word independent – they are not owned by a larger group, private equity company or US studio. Run by their owners, the true independents are dynamic, entrepreneurial in spirit and often highly creative. They include some of the fastest growing companies in the sector, such as the top true independent Two Four, as well as Hat Trick* (see below), Raw TV, Baby Cow, Red, Raise the Roof, Mammoth Screen, True North and Reef.

The list also includes some of the most highly regarded companies in the sector – certainly amongst their peers. Raw, Hat Trick, Red, Windfall, Two Four, Keo, Love, Blast!, True Vision, Minnow, Hartswood and Neal Street all scored highly in the Production 100 Peer Poll. Others, such as Atlantic Productions, have pioneered 3D production with Galapagos 3D and Micromonsters 3D with David Attenborough. Documentary indie True Vision, meanwhile, has won shelf loads of awards for its hard-hitting films, with highlights from the past year including The Hunt for Britain’s Sex Gangs and America’s Poor Kids.

Lupus Films made one of the most acclaimed pieces of television of the past year, Channel 4’s The Snowman and The Snowdog. It produced the update to the classic kids animation entirely by hand, in the UK, using traditional methods.
Highlights for Belfast-based Sixteen South included producing Pajaminals, a $6m project in partnership with the Jim Henson Company and Sprout. Head of production Julie Gardner reckons it has now been seen in over 350m homes across the world – and it’s coming to the UK this year too.

Elsewhere, Hardcash has built a reputation over many years for its documentary and current affairs output, while one of the smallest indies on the list – Bungalow Town – operates out of a thatched cottage in Suffolk, making hard hitting, agenda setting documentaries.

New entrants to the list include Midnight Oil, Sweet TV, Knickerbockerglory, Magic Light and Salt Beef. Magic Light, for example, has made a name for itself for producing the acclaimed series of animated films based on Julia Donaldson and Axel Scheffeler books, building The Gruffalo into a family brand on TV and via merchandising.

New indie Midnight Oil, which is based in Cardiff, has won factual entertainment commissions from BBC America. CEO Gillane Seaborne says: “Within the independent TV community the climate has been welcoming and encouraging for a new start up company.”

Last but not least, specialist factual producer ClearStory is in its second year, and seems to be building momentum. The indie won a Grierson for its doc Gypsy Blood, and has picked up a big BBC2 history commission for 2014, and orders with C4 and National Geographic.


1. TwoFour £47.3m
(2. Hat Trick £36.4m*)
2. Raw TV £34m
3. Baby Cow £27.4m
4. Mammoth Screen £24.6m
5. Red Production £22m
6. Zig Zag £15.2m
7. Neal Street  £15m
8. Rondo Media £14m
9. Rough Cut £12.5m
10. Input Media £12.1m
11=. Love £12m
11=. Nutopia £12m
11=. Atlantic £12m
14. Off the Fence £10.8m
15. Keo £9.8m
16. Windfall £9.3m
17. Hartswood £9.2m
18. Somethin’ Else £8.7m
19. True North £8.4m
20. Wag TV £8.1m
21. Red Planet £7.7m
22. Icon Films £6.9m
23. Spun Gold £6.5m
24. Oxford Film & Television £6.1m
25. October £6m
26. Raise the Roof £5.9m
27. Blink £5.5m
28. Tern TV £5.4m
29. Electric Sky £5.1m
30. Kindle Entertainment £4.7m
31. Blue-Zoo £4.5m
32. Outline £4.3m
33. Attaboy £4.1m
34. Reef £4.06m
35. Green Inc. £3.96m
36. Power £3.9m
37. Pacific £3.86m
38. Rollem £3.65m
39. Blast! £3.6m
40. Wild Pictures £3.55m
41=. Thumbs Up £3m
41=. Can Group £3m
41=. Pilot £3m
44. 3DD £2.8m
45. Saltbeef £2.6m
46. Quicksilver Media £2.5m
47. Back2Back £2.47m
48. Magic Light £2.36m
49. Minnow Films £2.35m
50. Rise Films £2.31m
51. Knickerbockerglory £2.26m
52=. True Vision £2.1m
52=. Lupus Films £2.1m
54. Sweet TV £1.65m
55. Testimony Films £1.6m
56. Wildfire £1.55m
57. CB Films £1.45m
58. Sixteen South £1.26m
59. Proudfoot £1.05m
60. Hardcash £1m
61. ClearStory £994k
62. Midnight Oil £941k
63. Lambent £834k
64. Illuminations £648k
65. Bungalow Town £236k
66. Bigger Picture £150k

* We omitted Hat Trick from the list of 'true' indies when we originally published the Production 100 in our September issue. With revenues of £36.4m, it would rank as the second largest 'true' indie. Even though Hat Trick owns a small stake in Plum Pictures, it can not really be viewed as a superindie. It is not owned by a larger group and neither is it a consolidator.

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