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December 2017
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In the magazine
Only available in print
  • The Televisual Commercials 30
    Jon Creamer introduces Televisual's exclusive annual report, the Commercials 30, and finds that while budgets are down and production companies are under threat from agency in-house units, commercials producers are finding new horizons beyond ads too.
  • Commercials 30: Best in Show
    Commercials producers also get to vote for their favourite directors, stand out ads and top rated agencies along with their favourite post houses, editors and vfx ops. We reveal the results
  • Commercials 30: The Top 30
    Televisual reveals the Commercials 30 itself, the 30 top rated commercials production companies in the UK
  • Music in Motion
    So what’s next for the music behind the commercials? Will it be another year in the ascendant for London Grime perhaps? Portugese house? Afro beats or the Angolan kuduro sound?
  • Televisual Factual Festival report
    Last month saw Televisual's annual Factual Festival return to Bafta. How to stand out in a world of ever increasing viewer choice was the big theme this time. Tim Dams reports
  • Alison Kirkham in interview
    At the Televisual Factual Festival, the BBC's controller of factual Alison Kirkham outlined the shows the corporation is looking for in the year ahead
From the magazine
Available to read online
  • 2017: the year in review
    Two very different stories – the rise of SVOD players and the Harvey Weinstein abuse allegations – defined TV’s year. 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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