INTRODUCTION PRODUCTION 100
SURVEY
AFTER THE UNPRECENTED PRODUCTION HIATUS OF 2020, THERE’S A REAL SENSE OF RECOVERY ABOUT THE INDIE TV SECTOR. TIM DAMS REPORTS ON THE FINDINGS OF 2021’S PRODUCTION 100
production and distribution, Avalon’s turnover hit £223 million for the year. Gogglebox and The Circle
producer Studio Lambert has shot up to second place thanks to a £90.6 million turnover. Gangs of London indie Pulse
Films – which spans TV, film, music and commercials production – has also had a big rise to third place on the back of a £68.7 million turnover. Objective Media Group has
also climbed the rankings. Back in 2019 it was in 36th place, but this year it’s fourth thanks to series such as Netflix’s Feel Good and ITV’s The Million Pound Cube. Other indies to have done
well this year include His Dark Materials producer Bad Wolf which
has made the top 10 for the first time. Tiny World indie Plimsoll and Friends: The Reunion producer Fulwell 73 have also cracked the top 20, while risers include Normal People indie Element Pictures and The Masked Singer producer Bandicoot. Animation house Blue Zoo has also climbed the rankings, as has Wildseed Studios and Brinkworth.
STREAMER GROWTH As always, the UK market remains key to most indies. Some 53.7% of an average indie’s production revenues are derived from UK broadcaster clients. But this is down significantly since 2019, when the figure stood at 60.5%. The international market is increasingly important, now
HOW IT WORKS
Every year, we send survey forms to TV production companies and ask a series of questions. The facts provided, for the period July 2020-June 2021, form the basis of the P100. The top 100 indies are ranked according to turnover. Thank you to all who took part, especially to those who did not quite make it into the top 100.
accounting for 29.4% of an indie’s turnover. Streamers such as Netflix, Disney+, Apple TV+, Amazon, and Discovery+ have become ever more significant as a source of business. “Streamers are piling into the UK market,” says Raw. “The globalisation of TV
production is providing an opportunity for growth,” says Love Productions. Blink Films, meanwhile, says
the UK market is squeezed but “we have seen significant growth in the streamer market opportunities available to us and this is now forming quite a high proportion of our turnover.” Adds Dragonfly: “There are so
many new players in the market and all of them are interested in UK companies, and have deep pockets
Autumn 2021
P02
televisual.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140
