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August 2019

In the magazine
Only available in print
  • The Production 100
    Tim Dams introduces Televisual’s Production 100 survey of the indie television sector, and reveals how producers are grappling to embrace new opportunities in a fast-changing TV landscape
  • The Genre Report: Factual TV
    Broadcasters are rethinking factual in light of streamer success in the genre. Pippa Considine reports
  • Bringing it Back
    A fresh approach to making archive docs is helping to boost their popularity with viewers. Michael Burns reports
  • IBC preview
    The Amsterdam show is a great place to check out new launches and the latest kit. Televisual offers a glimpse of what will be on offer this yea
  • HDR and Atmos
    The best way to create high-end drama using an HDR and Dolby Atmos workflow
  • Riverside returns
    A look inside the revamped London studio
From the magazine
Available to read online
  • UK VFX fights to stay on top
    The UK’s vfx industry has become a world beating business, but negotiating the post Brexit landscape will be crucial for keeping it on top. Jon Creamer reports
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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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