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July 2018
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  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
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  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
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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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