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November 2018
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  • The Facilities 50
    Jon Creamer launches Televisual's 31st exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • The Commercials 30
    Jon Creamer introduces Televisual’s exclusive Commercial 30 survey, reporting on a year of highs and lows for commercials producers.
  • The Drama Genre Report
    With competition from streamers intensifying, UK broadcasters are exploring new drama strategies. Tim Dams reports
  • Primary Colours
    Five leading movie colourists tell Michael Burns the secrets of their craft, and explain the techniques they use to grade movies like The Danish Girl, Peterloo and Baby Driver
  • Up, up and away!
    Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Pippa Considine reports on some of the year’s standout aerial projects
  • OB: Which Way Now
    The OB industry is embracing major change as it adapts to the worlds of UHD, HDR and IP. Michael Burns reports
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Production 100, 2017 Back to Reports & survey Listing

True indies have become a rare breed in the consolidated world of TV production. But they are some of the fastest growing companies in the Production 100

Below is a list of 44 ‘true indies’ that form part of the Production 100.

The true indies are companies that are run by their owners rather than as divisions or labels by a superindie group, US studio, UK broadcaster or private equity group.

Included in the list are indies that have minority investors, such as Red Planet (BBC Worldwide), Arrow, Eleven Film, Popkorn, Voltage TV and Whisper Films (Channel 4 Growth Fund) and Naked Entertainment (FremantleMedia).

Entrepreneurial in spirit, the true indies are among the fastest growing in the Production 100. Between them, they account for £553m of turnover, or 25.5% of total Production 100 revenues – up from 24% last year.

Avalon heads the list once again, with revenues at the comedy and entertainment outfit rising from £93.2m to £114.6m thanks to strong business on both sides of the Atlantic.

The Ink Factory makes its debut in second place, buoyed by drama like The Night Manager. Third place’s Hat Trick has also grown its revenues from £31m to £36m thanks to a diversified production slate across multiple genres, and expansion in the US.

Standout performances include Nutopia (America: Promised Land), which has nearly doubled turnover to £21.7m following a slew of big commissions from international broadcasters.

Keo Films’ (Eden, Exodus) turnover continues to rise too, up from £14.2m to £18.9m this year. Sports indie Whisper Films (Formula 1) has also had a good year, winning key contracts to take revenues to £15.7m, while Plimsoll (Puppy Secrets) has seen turnover jump from £9.5m to £14.5m.

Other big risers include Knickerbockerglory (GPs Behind Closed Doors), up from £6m to £10.1m, and Minnow Films (SAS: Who Dares Wins), which has seen turnover grow from £5.1m to £8.7m.

Voltage TV (Inside the Factory) made its debut last year, and its revenues have grown from £4m to £6.5m this year.

Factual producer Label1 (Hospital) makes an impressive debut in the Production 100 with revenues of £6m. So too does Primal Media (Release the Hounds), Naked Entertainment (100% Hotter), Brinkworth Films (Can’t Pay? We’ll Take It Away) and Popkorn (Rich Kids of Instagram).

HCA Entertainment has also had a good year after amassing series orders for shows like Find It, Fix It, Flog It. Its turnover stands at £2.8m, the same as Woodcut Media which has established a solid reputation with shows like The Ivy.



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