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April 2019
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In the magazine
Only available in print
  • The Art of Cinematography
    Four of the UK’s most highly-sought-after cinematographers give the low down on their approach to their craft
  • Drama Production: Round Table
    Televisual invited leading drama heads of production to discuss how their role is changing as more and more ambitious scripted projects are made
  • TV Studios
    Demand for full service television studios is high and more facilities are coming online soon. Pippa Considine reports on the changing market for shiny floor studios
  • The Top 10 Cameras
    Televisual’s annual top 10 listing of the UK’s most hired cameras is now in its thirteenth year. Jon Creamer counts down the most rented models of the past year and reveals what everyone will be hiring in the year ahead
  • Going Live
    In a two part special on live production, Michael Burns finds out how major events, from the Royal Wedding to the World Cup, were brought to screen and also looks into remote production as more live shows make use of the innovative technology
  • The Corporate 50
    Televisual’s exclusive annual survey of the UK’s corporate communications business. How was 2018 for the sector?
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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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