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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

Distributor Ratings

Producers reveal the distribution companies they like to work with when they sell their programmes into international markets


Rights income is a key source of revenues for most indies, contributing a flow of money to bolster production fees.

According to the Production 100, indies earned on average 11.3% of their total revenues from exploiting programme rights.  This is up slightly from last year’s total of 10.8%.

The majority of the income, 7.8%, comes from overseas sales, while 3.5% comes from selling programmes to secondary UK broadcasters.

The growth in rights income between 2015-2016 came entirely from secondary sales to local broadcasters, up from 2.9% in 2015.
Indies taking part in the Production 100 cited over 35 distributors that they worked with to handle their rights sales.

The superindie groups push their productions through their inhouse sales operations such as All3Media, Endemol Shine, Banijay, Fremantle, Warners, Sony, NBC and ITV Studios. True independents have a choice of distributor. Many use the commercial arms of key broadcasters, such as BBC Worldwide, ITV Global Entertainment and Sky Vision.

Others use superindie distribution arms, or work with independent distributors such as DRG, TCB and Silverlining.

BBC Worldwide consistently comes out number one in our ‘most used distributor’ rankings, and 2016 is no exception. It has a ‘great network of sales executives worldwide’, says one indie. Another likes its ‘reach, scope and ability to make large advances’.

Sky Vision and All3Media tie in second place. All3’s placing comes thanks to the many votes it receives from the production companies in its group, with one saying ‘they are simply the best’. Sky Vision, meanwhile, is described as ‘easy to deal with, always helpful and collaborative.

DRG regularly does well in the distributor rankings, and so it is again in 2016. DRG is ‘creative’, ‘flexible and dynamic’ and offer ‘bold advances’.

Other distributors picked out but which didn’t make the top 10 most used list include TVF, Silverlining, Raydar, StudioCanal, MagnifyMedia, Keshet, Hat Trick International, Factory Media, EOne, DCD and Content.



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