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March 2018
£10.00


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 2009 Back to Reports & survey Listing

How the Production 100 works

This is Televisual’s 16th annual Production 100 survey. Every year, we send survey forms to independent television production companies throughout the UK and ask them a series of questions – from their turnover to the rival indies they respect and who they think are the best and worst broadcasters to deal with. The facts provided, which relate to July 2008-June 2009, form the basis of the Production 100.
The top 100 of these are ranked over the following pages according to their turnover. We accept this is a crude way of measuring companies. It’s a good indicator of size but not of creativity or profitability. But with many companies unwilling to reveal profit figures and no accepted way of objectively judging creativity, it remains our method of ranking the top 100 indies.
A quick word on the listings. The individual brands of superindies are not separately ranked; they are included within their parent company’s listing instead. Staff figures relate to full-time staff only. Turnover and profit figures are for the period July 2008-June 2009 or the nearest equivalent. Profits are only published if provided.
A small number of indies chose not to respond to the survey and are not included in the rankings. But we’re satisfied that the Production 100 covers the vast majority of companies operating in the UK. Finally, thanks to all the companies who took part – particularly if you didn’t quite make it.

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