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March 2018

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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Production 100, 2016 Back to Reports & survey Listing

Producer Peer Poll

Which are the most admired indies? The Peer Poll reveals the 10 production companies that are most respected by their rivals, based on votes and feedback to the Production 100.

1. Keo Films

Keo Films is voted the top indie for the first time in the Peer Poll, on the back of series like Hugh’s War on Waste, Skint and Eden. Rivals cite Keo for its ‘bold and high quality docs’, ‘purpose’, ‘campaigns’ and for its ‘ambition, scale and originality’.

2. Minnow

Minnow bounds up from ninth to second place, thanks to standout docs like The Detectives as well as hits like SAS: Who Dares Wins. Minnow has ‘impressive film makers delivering must see programming with great access and production values’, notes a rival. Another says Minnow is a ‘small company which is on the rise with good people in it’.

3. Kudos

Humans and Broadchurch producer Kudos rises from fifth to third. Rivals pick up on the drama indie’s strong production values, admiring its ‘sustained achievement over the years’ and for the ‘quality’ and ‘breadth of its programme making.’

4. The Garden

ITV-owned The Garden has long been a presence in the Peer Poll. Rivals cite its ‘good production values’ and its ‘clever ideas, brilliantly realised.’ It is the ‘master of the rig show’, and ‘attracts, nurtures and retains excellent creative talent.’

5. Red Production

Happy Valley producer Red moves up from eighth place following a year in which it has produced five drama series. The Manchester indie is rated for its ‘ambitious and diverse writer led ideas’ as well as its ‘range and quality’.

6. Studio Lambert

The maker of popular factual hits Gogglebox and Tatoo Fixers, Studio Lambert ‘continues to come up with simple, brilliant programmes’ and ‘knocked everyone out of the park by adding Tattoo Fixers to its already very impressive portfolio’.

7. Love

With Bake Off and Benefits Street in its portfolio, Love is rated for its ‘ambition, scale and originality.’ One indie says Love ‘keeps up a stream of big hits, is fresh-thinking and keeps development at the heart of its business.’

8. Baby Cow

As well as appearances from Alan Partridge, the  comedy indie has produced a raft of shows in the past year including the reboot of Red Dwarf and Julia Davies’ Camping. Baby Cow has ‘a great scripted comedy portfolio’ says one indie.

9. Tiger Aspect

The diversity of Tiger’s output – from Ripper Street to Benidorm to Mr Bean earns it admirers. ‘Efficiently run’, Tiger is ‘a class act’, creating ‘original, funny, well made TV’. It has a ‘spread of drama, comedy and factual with all broadcasters.’

10. Raw

Best known for Discovery hit Gold Rush, Raw has spread its wings to make dramas like Cyberbully and feature docs like The Imposter. Raw has a ‘superb business model’ and its productions are ‘stylish and filmic’, say rival indies. Raw is particularly admired for winning so much business from US broadcasters. Raw has ‘slayed the American beast’, says one competitor.

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