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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, 2016 Back to Reports & survey Listing

The True Indies

Below is a list of 44 ‘true indies’ that form part of the the Production 100.

The true indies are companies that are run by their owners rather than as divisions or labels by a superindie group, US studio, UK broadcaster or private equity group.

Included in the list are indies that have minority investors, such as Red Planet (BBC Worldwide) and Arrow, True North and Voltage TV (Channel 4 Growth Fund).

Entrepreneurial in spirit, the true indies listed opposite are among the fastest growing in the Production 100. Between them, they account for £465m of turnover, or 24% of total Production 100 revenues.

Avalon heads the list once again, with revenues at the comedy and entertainment outfit rising from £87.1m to £93.2m thanks to strong business on both sides of the Atlantic.

Drama indies Red Planet, Sid Gentle, Hartswood, Eleventh Hour and Warp Films have done well, all benefiting from the growth in demand for scripted shows.

Turnover at Red Planet, whose credits include Dickensian, has risen from £16.7m to £23m. Sid Gentle (The Durrells) and Eleventh Hour (New Blood, Safe House) are new entrants to the Production 100, both posting strong revenues. Sherlock producer Hartswood had a turnover of £11.8m.

Standout performances include factual indie October Films (Walking the Himalayas), which has more than doubled turnover after expanding its US presence.

Comedy producer Rough Cut (Cuckoo, Trollied) has also had a strong year, posting revenues of £16.8m on the back of producing four series over the past year.

Keo Films (Hugh’s War on Waste, Eden) has seen its turnover climb from £10.1m to £14.2m.

Jane Root’s indie Nutopia (How We Got To Now) has also grown considerably, up from £8m to £12m this year.

Documentary maker Minnow Films (SAS: Who Dares Wins) has done well, with turnover up from £3.6m to £5.1m.

Meanwhile turnover has doubled at Jonathan Stadlen’s indie Knickerbockerglory (GPs Behind Closed Doors) to £6m.

Factual producer Plimsoll (Pets Who Hate Vets) makes an impressive debut in the Production 100, with revenues of £9.5m.

Other true indies making their Production 100 debut include Voltage TV, Sundog Pictures, Middlechild, Lemonade Money and Little Gem.


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