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October 2017
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In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 30th exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 52 pages of analysis of the sector
  • Interview: Grant Mansfield
    Hiring top talent and investing heavily in development have been key to growing his Bristol indie Plimsoll Productions, says founder Grant Mansfield
  • The clear view: lenses
    What ever genre you work in, you need to be lens savvy. Here three DoPs guide us through the lens market, picking out the models they like to use in drama and factual
  • Over the top
    The growth of Netflix and Amazon is proving a boon for UK indies, but broadcasters are starting to panic. Tim Dams reports
From the magazine
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  • Blue Planet II
    The producers of Blue Planet II tell Tim Dams how tech advances and military planning helped them capture the secrets of the deep
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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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