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July 2018
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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
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Reports&
surveys

Production 100, 2013 Back to Reports & survey Listing

Welcome to the Production 100, Televisual’s annual survey and showcase of the independent production sector which we have published every year since 1993.

The listing of the top 100 companies looks very different this year. For the first time, we’ve included the production companies owned by the superindie groups in the rankings. Previously we gave only one collective entry in the top 100 for the superindie groups and their indies. We think the inclusion of so many superindie-owned companies makes the list more representative of the independent TV landscape – detailing the leading companies and their competitors in the marketplace. It means, unfortunately, that many of the smaller, truly independent companies have been squeezed out of the 100. You can find more details about them in our list of ‘true’ indies.

Sport producer IMG Media emerges as the UK’s largest single independent, with revenues of £136m. The X Factor 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 to £70.5m. Within the Production 100, there’s 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.

How the survey works

Every year, we send survey forms to independent television production companies throughout the UK and ask them a series of questions – from their turnover, to the rival indies they respect and who they think are the best and worst broadcasters to deal with. We also ask how business has been over the past year, and about the outlook for the 12 months ahead. The facts provided, which relate to the period July 2012-June 2013, form the basis of the Production 100.

The top 100 of these indies are ranked over the following pages according to the turnover of their UK operations. Staff figures relate to full time staff only. Turnover and profit figures are for the period July 2012-June 2013 or the nearest equivalent. Profits are only published if provided.

A number of indies chose not to reply to the survey and are not included in the rankings. But we’re satisfied that the Production 100 covers the vast majority of companies operating in the UK.

Finally, thanks to all the companies who took part – particularly if you didn’t quite make it into the top 100.

Tim Dams, editor

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