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June 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

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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