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November 2019

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  • The Facilities 50
    Jon Creamer launches Televisual's 32nd exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • Aim High
    10 page special report on production at the high end. We take a look at what’s new in colour management, pre visualisation, aerial filming, full frame shooting, the role of the DIT, working with Dolby Atmos, choosing the right codec, booking studios and
  • Drama: Genre Report
    As the streaming revolution gathers pace, with Apple TV+ and Disney+ now entering the SVOD fray, Tim Dams reports on the drama strategies of traditional broadcasters in an increasingly competitive market
  • Live Sport: Technology
    Live sports and events coverage, always on the cutting edge of innovation, is being transformed by new technology from remote production to 5G and immersive sound. Michael Burns reports
  • The Art of the Grade
    The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts behind Paddington, Ad Astra, Bohemian Rhapsody, Fleabag and more how it’s done
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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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