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September 2018
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  • The Production 100
    Tim Dams introduces Televisual’s exclusive Production 100 survey of the indie television sector, now in its 26th year, and finds the rise of the streamers is creating opportunity –but also plenty of anxiety. The report includes the top 100 indies, the
  • The Genre report: Factual TV
    Demand for factual is growing as channels fight ever harder for audiences. Televisual Factual Festival producer Pippa Considine reports
  • All the Fun of the Fair
    ITV and Amazon’s new Vanity Fair adaptation demanded a period drama with a modern sensibility. But how was that balancing act achieved? Jon Creamer reports
  • The Art of the Vfx Super
    Creativity, tech know-how and a cool head are essential attributes for a vfx supervisor. Three top supers tell Jon Creamer how they help create screen magic
  • Channel 4's big move
    Three cities are still in the running for the new out-of-London Channel 4 HQ and three for the two creative hubs. The indies in those cities say the potential prize is immense. Jon Creamer reports
  • IBC preview
    IBC is a great place to check out both new launches and to get your hands on something already announced at NAB. Here’s a small taste of what’s likely to be on offer
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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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