INTRODUCTION PRODUCTION 100


SURVEY


Pulse: Gangs of London


Sister: The Baby


broadcaster budgets


+3% rise in budgets over the last 12 months


Broadcaster budgets rose an average of 3% in the past year, according to producer feedback in the P100 survey. This follows a 4% fall in 2021


producer revenues


Percentage of revenues an average producer earns from different sources


UK TV 53% International TV 32%


International rights income 8.8% UK rights income 2.5% commercials 1.2% Digital 1% Film 0.7%


Corporate 0.3% Ad funded 0.2%


Television, A Productions, Collective Media Group and Curious Films. Each deserves congratulations. It’s no easy thing to make it into the Production 100; the cut off point for entry is £3m and the median turnover of a P100 indie is £16.4m. It’s important to note that the Production 100 doesn’t capture the full output of the UK indie sector. Several well-known production companies cannot take part because they now belong to publicly listed companies that don’t break out individual turnover figures; they include The Garden, Big Talk, Plimsoll and 12 Yard (all part of ITV Studios), Wall to Wall and Ricochet (part of Warner Bros. Television Studios UK) and IMG (part of Endeavor Group Holdings. However, we’re confident that the Production 100 represents the lion’s share of UK production.


UK and international As always, the UK market remains key to most indies. Some 52.9% of an average indie’s revenues are derived from UK broadcaster clients. Traditional UK broadcasters such as the BBC, Channel 4, ITV, Channel 5 and Sky remain cornerstone clients of most indies. Producers as varied as Douglas Road Productions, West Road Pictures, King of Sunshine, Stellify Media, CPL Productions and Cactus TV earn over 95% of their revenues from UK clients.


Autumn 2022 P04 televisual.com


But international streamers and


networks are increasingly important, now accounting for an average 32% of an indie’s turnover. Indies such as Endor, Keshet UK,


Wildstar Films, Nutopia, October Films, Hiddenlight and Pacific Productions now generate over 90% of their turnover from international clients.


“Demand is increasingly from outside the main UK broadcasters,” reports Impossible Factual. “The launch of numerous new


SVODs over the last year, with more on the horizon, means there is more opportunity in this space than ever before,” says Dragonfly. This is having a knock-on effect


as traditional broadcasters adapt to compete, both in terms of what the commission and how they schedule. “The emergence of ITVX has increased and diversified ITV’s appetite for new programming, iPlayer is increasingly the BBC’s priority and the same is true for All4/ Channel 4,” says Initial. Element Pictures, meanwhile,


says the majority of its growth has come from “a combination of deals funded by both UK broadcasters and streamers looking for compelling and distinctive stories to deliver to a global audience.”


Building relationships with both UK and international players is now the key strategy of most indies. Wonderhood Studios, for example, continues to “look at opportunities


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