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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

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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