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July 2018
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In the magazine
Only available in print
  • 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, 2017 Back to Reports & survey Listing

Which indies are the leading suppliers of shows in the key TV genres? Find out from our top suppliers tables, based on hours produced

The Holy Grail for many independent producers is to win volume commissions that can underpin their production business year in year out. Such long-runners provide a measure of financial stability and visability, leaving indies less dependent on an unpredictable smattering of one-off commissions.

The tables on the ‘genre king’ pages reveal some of the indies that have achieved this. In many cases, they are companies that have produced the same show for many years.

Tiger Aspect, for example, heads up the comedy table, having gone into production this year on the tenth series of Benidorm, following a two series order for the show. “It allows us to be bolder and more creative with the stories, and production-wise to plan the shows more efficiently,” says Tiger Aspect COO Helen Wright.  It’s followed by top comedy producers Avalon and Roughcut, the indies behind Not Going Out and Trollied respectively.

Lime Pictures, meanwhile, heads up the drama table, having produced C4’s long-running soap Hollyoaks for the past 22 years. In eighth place, Red Planet’s Death in Paradise has recently been commissioned for a seventh series.

Remedy Productions heads the entertainment table, producing a raft of programming for MTV. It’s followed by Initial and Thames, the producers of long-running entertainment shows Big Brother and The X Factor respectively.

The daytime table contains indies producing hundreds of hours of volume programming. It is led by Princess Productions, which makes live daytime shows most days of the week (The Wright Stuff, Saturday Kitchen). In second place is Tinopolis Cymru which makes S4C staple Prynhawn Da.

The Welsh indie also tops the popular actual table thanks to a slate of Welsh-language shows like Cymoedd Roy Noble. It’s followed by the prolific Studio Lambert, producer of hit formats Gogglebox and Tattoo Fixers.

The documentary table is led this year by Blast! Films, which has had a busy year with 63 hours of doc commissions including Reported Missing, The Supervet, Secret Life of the Zoo, Saving Lives at Sea and 999: What’s Your Emergency?. In second place is Knickerbockerglory, buoyed by producing 35 hours of GPs Behind Closed Doors for Channel 5.

Off the Fence tops the specialist factual table, with credits including Destination Wild for Nat Geo. In second place is 3DD Productions, which makes a raft of shows for Sky Arts including Discovering Music and Discovering Film.





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