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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, 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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