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July 2018
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In the magazine
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  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
Available to read online
  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
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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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