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December 2017

In the magazine
Only available in print
  • The Televisual Commercials 30
    Jon Creamer introduces Televisual's exclusive annual report, the Commercials 30, and finds that while budgets are down and production companies are under threat from agency in-house units, commercials producers are finding new horizons beyond ads too.
  • Commercials 30: Best in Show
    Commercials producers also get to vote for their favourite directors, stand out ads and top rated agencies along with their favourite post houses, editors and vfx ops. We reveal the results
  • Commercials 30: The Top 30
    Televisual reveals the Commercials 30 itself, the 30 top rated commercials production companies in the UK
  • Music in Motion
    So what’s next for the music behind the commercials? Will it be another year in the ascendant for London Grime perhaps? Portugese house? Afro beats or the Angolan kuduro sound?
  • Televisual Factual Festival report
    Last month saw Televisual's annual Factual Festival return to Bafta. How to stand out in a world of ever increasing viewer choice was the big theme this time. Tim Dams reports
  • Alison Kirkham in interview
    At the Televisual Factual Festival, the BBC's controller of factual Alison Kirkham outlined the shows the corporation is looking for in the year ahead
From the magazine
Available to read online
  • 2017: the year in review
    Two very different stories – the rise of SVOD players and the Harvey Weinstein abuse allegations – defined TV’s year. Tim Dams reports
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Production 100, 2017 Back to Reports & survey Listing

Producers reveal the distribution companies they like to work with (and the ones they rate) when they sell their programmes into international markets

Rights income is an important source of revenue for many indies. According to the Production 100, indies earned on average 11% of their total revenues from exploiting their programme rights. This is down slightly from last year’s total of 11.3%.

The majority of the income, 8.5%, comes from overseas sales, while 2.5% comes from selling programmes to secondary UK broadcasters.

Indies taking part in the Production 100 cited 40 different distributors that they worked with to handle their rights sales.

These distributors have also become important funding sources for indies, not just to help finance shows directly but also for finding international co-production partners.

The superindie groups push their productions through their inhouse sales operations such as All3Media, Endemol Shine International, Banijay Rights, FremantleMedia, Warners, Red Arrow, Argonon, Sony, NBC and ITVS GE.

True indies 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 divisions, or work with independent distributors such as TCB, DRG or Silverlining.

BBC Worldwide once again tops our list of most used distributors, although this year it shares first place with Sky Vision which rises from second last year. One indie says of BBCWW: “They work very hard on our behalf and support us, providing industry insight and engaging with our development slate.“ Another adds: “BBCWW is slow but is the biggest and scale gets the sales made.”

Indies say Sky Vision “has the hunger of a new distributor with the resource to properly back projects.” Its boss Jane Millichip “is outstanding with a great network of contacts.”

Endemol Shine International is rated for being “great communicators and really hungry for good product.” DRG, meanwhile, “does a very good job for us” while boss Jeremy Fox is “very experienced.”

FremantleMedia “has good taste – it spots something interesting (often quite unusual, high risk) and then backs it furiously.” Passion has “a brilliant team, great communication and passion for what they do.” All3Media has a “terrific team and gets great results”, while ITVS GE is “a great partner” and “very proactive.”

Others like Banijay’s “friendly approach”, while TCB is picked out because its people “are hardworking and make you feel that they care personally for every title they represent.”

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