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November 2019

In the magazine
Only available in print
  • 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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Production 100 2018 Back to Reports & survey Listing

True indies comprise just over one quarter of P100 companies - and are some of the fastest growing outfits in the survey

Below is the list of true indies – companies that  are not owned by a larger group, private equity company, UK broadcaster or US studio. Run by their owners, the true independents are dynamic, entrepreneurial in spirit and often highly creative.

They are also among the fastest growing companies in the Production 100.

Included in the list are indies that have minority investors, such as Red Planet and Expectation (BBC Studios), Voltage and Whisper Films (C4 Growth Fund), and Naked Entertainment (FremantleMedia).

Between them, they account for £571m of turnover, or 27.5% of total Production 100 revenues – up from 25.5% last year.

Avalon tops the list for the fourth year in a row. Revenues at the comedy and entertainment outfit have grown from £114.6m to £130.8m, underpinned by a large number of new and returning series in the UK and US.

In second place is Drama Republic (Doctor Foster), which has successfully tapped into demand for high quality, high budget shows.

October Films takes third place, jumping from sixth last year.  The factual producer has posted strong growth for several years now, on the back of expansion in the US and UK.

In fourth is indie stalwart Hat Trick with a turnover of £29.7m and new hits like Derry Girls adding to a slate that includes long runner Have I Got News for You?

Vertigo is a new entrant to the Production 100 this, making a top ten entrance thanks to big budget dramas Britannia and Bullet Proof.  So too is Fullwell 73, the producer of The Late Late Show with James Corden.

Plimsoll Productions, now in its fifth year, also breaks in to the top ten list of true indies on the back of an impressive £20.9m turnover.

Whisper Films’ (Formula 1) rise continues, with turnover at £17.7m from £15.7m last year. Other risers include Arrow Media (Animal Fight Club), up from £12.6m to £15.9m, and Spun Gold (The Real Full Monty – Live), which has seen turnover rise £9.7m to £15.5m.

Wag TV has also posted growth too, with turnover up from £7.9m to £11.5m. So too has Brinkworth Films; the indie behind Can’t Pay? We’ll Take It Away has seen revenues jump from £4.4m to £7.6m. Blue Zoo (Numberblocks) has also re-entered the Production 100 this year with a £7.5m turnover, as has Off the Fence on the back of revenues of £13m.

Meanwhile, indies Alaska and Chalkboard both debut with turnovers over the £4m mark.

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