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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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Reports&
surveys

Production 100, 2014 Back to Reports & survey Listing

Below is a list of true indies. They are companies that are truly independent – they are not owned by a larger group, private equity company or US studio. Run by their owners, the true indies are entrepreneurial in spirit and often highly creative.

They’re also a dwindling bunch in an industry that has become even more consolidated in the past year.

The list is topped by Hat Trick, which was bought back by its management in 2009 after an unhappy spell under private equity ownership. The ‘true indie’ list includes some of the fastest growing companies in the sector, including Hartswood, Neal Street, Red Planet, Off the Fence, Keo, True North, Spun Gold, Blink, Icon Films, Arrow Media, Drama Republic, Raise the Roof, Blue Zoo and Outline.

The list also includes some of the most highly regarded companies in the sector – certainly amongst their peers. Outline, Keo, Baby Cow, Plum, Arrow, True Vision and Neal Street were all highly rated in the Production 100 Peer Poll. The credits of true indies is impressive too and include: Sherlock (Hartswood), Uncle (Baby Cow), David Attenborough’s First Life (Atlantic), The Honourable Woman (Drama Republic) and Live From Space Season (Arrow Media).

Many of them feel disadvantaged compared to producers that are part of deep pocketed superindie groups. They say that, by comparison, they lack ready access to capital to grow, particularly to invest in development.




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