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October 2017
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  • The Facilities 50
    Jon Creamer launches Televisual's 30th exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 52 pages of analysis of the sector
  • Interview: Grant Mansfield
    Hiring top talent and investing heavily in development have been key to growing his Bristol indie Plimsoll Productions, says founder Grant Mansfield
  • The clear view: lenses
    What ever genre you work in, you need to be lens savvy. Here three DoPs guide us through the lens market, picking out the models they like to use in drama and factual
  • Over the top
    The growth of Netflix and Amazon is proving a boon for UK indies, but broadcasters are starting to panic. Tim Dams reports
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  • Blue Planet II
    The producers of Blue Planet II tell Tim Dams how tech advances and military planning helped them capture the secrets of the deep
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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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