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March 2018
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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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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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