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November 2019
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  • The Facilities 50
    Jon Creamer launches Televisual's 32nd exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • Aim High
    10 page special report on production at the high end. We take a look at what’s new in colour management, pre visualisation, aerial filming, full frame shooting, the role of the DIT, working with Dolby Atmos, choosing the right codec, booking studios and
  • Drama: Genre Report
    As the streaming revolution gathers pace, with Apple TV+ and Disney+ now entering the SVOD fray, Tim Dams reports on the drama strategies of traditional broadcasters in an increasingly competitive market
  • Live Sport: Technology
    Live sports and events coverage, always on the cutting edge of innovation, is being transformed by new technology from remote production to 5G and immersive sound. Michael Burns reports
  • The Art of the Grade
    The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts behind Paddington, Ad Astra, Bohemian Rhapsody, Fleabag and more how it’s done
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Reports&
surveys

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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