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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

As a mid-size factual producer, a major issue for October is how we continue to grow into the next tier of companies. In the UK, budgets for factual are squeezed ever more and it can be a struggle to pull in the co-production financing needed to get programmes made.

Diversification is the answer, but companies with a strong reputation for a particular genre can be pigeonholed by UK broadcasters which makes it difficult to branch out into more genres. We need to look for more profitable genres but through a process of growth rather than a wholesale jump out of one type of output into another, which might risk our established client base.

Thankfully, for us, increasing our international clients has been the answer. We’ve found US broadcasters in particular rely less on existing perceptions of what particular producers are “known for” and are also willing to commission from companies they haven’t worked with if they fundamentally believe in the idea and the creative talent responsible for it. We’ve recently won a ten-part drama-doc commission from Discovery ID and are producing a reality pilot for another big US broadcaster.

I feel we might have struggled to get these commissioned from UK broadcasters because of assumptions of what October is “good at”. 

If these shows are successful, we think we’ll be able to use them as a base for diversification in the UK market as well. Sometimes you have to cross the Atlantic and back before you can successfully get across London!

Denman Rooke is the managing director of October Films

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