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March 2018
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In the magazine
Only available in print
  • Genre report - Entertainment and comedy
    In a two-part special, Tim Dams reports on TV’s fresh focus on entertainment, and new directions in comedy
  • The art of cinematography
    Four leading DoPs tell Michael Burns the secrets of their craft, and explain the techniques they used to create hits like Jason Bourne, The King’s Speech, Lion and Sherlock
  • The Top Ten Cameras
    Televisual’s annual survey reveals the UK’s most hired cameras of the year and uncovers the models everyone will be shooting on in the year ahead
  • TV Studios
    The television studios sector is in flux, amid a spate of closures and re-developments. Pippa Considine reports on a changing studios landscape
  • Take it outside
    Major technical advances such as UHD, HDR and IP are driving big changes in the outside broadcast market. Michael Burns reports
  • And lots more
    This issue also features the Televisual Corporate 50, bright ideas for lighting, how post houses are dealing with the data bulge and pages showcasing the best creative work in UK post and vfx
From the magazine
Available to read online
  • Game On for C4 & Netflix drama
    Set in the world of computer gaming, C4 and Netflix’s Kiss Me First combines live action and impressive cg animation. Tim Dams reports
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Reports&
surveys

Production 100, 2014 Back to Reports & survey Listing

The choice of a good distribution partner is an important one for an independent production company. According to the Production 100, indies earned on average 13% of their revenues from exploiting their programme rights. The majority of the income, 10%, comes from overseas sales, while 3% comes from selling programmes to secondary UK broadcasters.

Distributors can also invest upfront in programming, helping indies to plug programme budget shortfalls. They are also a useful source of intelligence about commissioning, acquisition and programming trends at international broadcasters.

The superindie and studio-owned groups all have their own in-house sales operations (All3Media, Endemol, Shine, Zodiak, Fremantle, Warners, Sony,  NBC, Twofour, Tinopolis, Red Arrow and Argonon), which often act as distributors for other producers.

That leaves most true independents with a choice of distributor, and many according to our poll, use the commercial arms of the key broadcasters, BBC Worldwide, ITV Global Entertainment and Sky Vision, as well as a range of independent distributors such as DRG, TCB, Cineflix, Off the Fence and TVF.

We asked indies taking part in the Production 100 to tell us which distributors they used for their international sales, and the ‘most used’ table (top right) ranks the outfits that received the most mentions. We also asked indies to reveal which indies they most rated (below right).

The box below charts some of the comments and feedback, much of it positive, we’ve had about individual distributors.
Indies don’t always provide fully upbeat comments about distributors though. “No-one stands out,” says one indie. Another adds: “We have found it difficult across the board to get the kind of distribution attention we feel our programmes merit and that we are promised by the initial acquisitions meetings. “I’m waiting to be impressed,” says another.

Most used distributors
1 BBC Worldwide
2 DRG
3 Zodiak Rights
4= FremantleMedia
4= Endemol Worldwide Distribution
6 ITV Global Entertainment
7= Shine, Argonon
9 All3Media, Hat Trick, Passion, Sky Vision, TCB, TVF

The most rated distributors
1 BBC Worldwide
2 DRG
3 Shine
4 ITV Global Entertainment
5= All3, Off the Fence, Passion, Sky, TCB
10= FremantleMedia, Endemol, Twofour, Argonon, Hat Trick, Zodiak




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