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July 2018
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In the magazine
Only available in print
  • 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
Available to read online
  • 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, 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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