Welcome to Transparent Television, set up in 2006 and based in London. We work with all major UK and international broadcasters to produce factual programming, documentaries, formats and features with wide global appeal.

2013 saw TTV expand into the Argonon group (Leopard Films, Leopard USA, Leopard Drama, Remedy Productions, BriteSparkfilms and Windfall Films), with a raft of new productions.

Here's a taste of what we do…

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A huge thank you to the wonderful Sally! You have been absolutely brilliant! Good luck with your next big adventure. We can’t to see your new arrival! Lots of love from all at TTV X
Great to share chocolates and ideas with the brilliant Kash and Shabs, the stars of our BBC3 show, Supercar, Superfam.
Transparent Televisions latest production explores the highs and lows of the Tory Party. Coming to Channel 5 soon. Watch this space...

Broadcast Magazine. 29th May 2019.

Diverse indies bet on digital.

BAME-led indies say they are getting more interest from new players than UK broadcasters.

Netflix, Amazon and other digital giants are providing new opportunities for diverse talent, according to more than a dozen BAME indies interviewed by Broadcast.

Big Deal Films managing director Dhanny Joshi said that SVoD platforms have been quick to see the benefits of working with BAME talent despite being relatively new to the UK market.

“There are not so many barriers because shows such as Orange Is The New Black and Dear White People have had such good numbers. It makes good business sense for them to work with BAME-led indies,” he said.

Joshi added that Netflix vice-president of content Anne Mensah has been very open to new ideas, easing the process for a BAME-led indie to pitch to Netflix.

TriForce Creative Network chief executive Fraser Ayres also claimed there is a lot more interest from the likes of Netflix and Amazon than UK broadcasters, and that they offer quicker decision-making.

Ayres said it can prove almost impossible to develop projects and keep the lights on when commissioners can take years, not months, to respond to pitches.

Gold Wala founder Faraz Osman said YouTube Originals and online platform Vevo are also providing opportunities for BAME indies because they want content for young global audiences that are craving more diversity.

“Our heritage and ethnic understanding puts us in a strong position to pitch ideas to territories such as India and the Asian subcontinent,” he added. “Netflix allows us to do that and we hope the SVoDs and online platforms will be the next step for our business.”

“It would make sense to have commissioners in the same age bracket as the market that they are working in”

Bentavision Studios head Samuell Benta said he has self-published on YouTube because commissioners do not always understand the firm’s voice or the demands of a younger generation.

“It would make sense to have commissioners in the same age bracket as the market that they are working in,” said Benta. “I have seen fear act as a motivating factor for decisions, and have seen commissioners stick to what they know, rather than take risks. The industry will be the same, the content will be the same, unless something different is done that requires a new way of thinking.”

One indie boss praised the support it received from Channel 4 but said it has been difficult to break through to commissioners from all broadcasters due to being pigeonholed as a diverse producer rather than as a creative equal to other indies.

Asked which changes would help diverse-led indies land more work, BAME bosses favoured the introduction of diversity production quotas and greater diversity among the commissioning community.

Transparent TV chief executive Jazz Gowans said the biggest changes would be governed by economics.

“Quite simply, people always go where the business is,” she said. “So diversity production quotas and tax breaks would be the biggest help for landing more work.”

Another indie exec also flagged the importance of money, suggesting that diversity can “sometimes be pushed to the edges of the schedule, with lower tariffs attached”.

A third added: “Ensuring diverse talent is working on shows will sometimes involve taking a risk. With tight budgets and schedules, we’re all reluctant to do that, as we know we producers will have to foot the bill if it doesn’t work out.”

Gold Wala’s Osman said he would like to see commissioners outline ‘tight’ briefs that have a guaranteed slot attached. “For example, if a broadcaster wants to give Christmas a fresh look, they could go to five indies from different backgrounds, to see what their take is,” said Osman.

“Broadcasters would get fresh ideas, and smaller indies would feel empowered as there’s a good chance they might get the work – rather than the free-for-all where we are competing against much bigger indies.”
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2 weeks ago

Broadcast Magazine. 29th May 2019.

Diverse indies bet on digital.

BAME-led indies say they are getting more interest from new players than UK broadcasters.

Netflix, Amazon and other digital giants are providing new opportunities for diverse talent, according to more than a dozen BAME indies interviewed by Broadcast.

Big Deal Films managing director Dhanny Joshi said that SVoD platforms have been quick to see the benefits of working with BAME talent despite being relatively new to the UK market.

“There are not so many barriers because shows such as Orange Is The New Black and Dear White People have had such good numbers. It makes good business sense for them to work with BAME-led indies,” he said.

Joshi added that Netflix vice-president of content Anne Mensah has been very open to new ideas, easing the process for a BAME-led indie to pitch to Netflix.

TriForce Creative Network chief executive Fraser Ayres also claimed there is a lot more interest from the likes of Netflix and Amazon than UK broadcasters, and that they offer quicker decision-making.

Ayres said it can prove almost impossible to develop projects and keep the lights on when commissioners can take years, not months, to respond to pitches.

Gold Wala founder Faraz Osman said YouTube Originals and online platform Vevo are also providing opportunities for BAME indies because they want content for young global audiences that are craving more diversity.

“Our heritage and ethnic understanding puts us in a strong position to pitch ideas to territories such as India and the Asian subcontinent,” he added. “Netflix allows us to do that and we hope the SVoDs and online platforms will be the next step for our business.”

“It would make sense to have commissioners in the same age bracket as the market that they are working in”

Bentavision Studios head Samuell Benta said he has self-published on YouTube because commissioners do not always understand the firm’s voice or the demands of a younger generation.

“It would make sense to have commissioners in the same age bracket as the market that they are working in,” said Benta. “I have seen fear act as a motivating factor for decisions, and have seen commissioners stick to what they know, rather than take risks. The industry will be the same, the content will be the same, unless something different is done that requires a new way of thinking.”

One indie boss praised the support it received from Channel 4 but said it has been difficult to break through to commissioners from all broadcasters due to being pigeonholed as a diverse producer rather than as a creative equal to other indies.

Asked which changes would help diverse-led indies land more work, BAME bosses favoured the introduction of diversity production quotas and greater diversity among the commissioning community.

Transparent TV chief executive Jazz Gowans said the biggest changes would be governed by economics. 

“Quite simply, people always go where the business is,” she said. “So diversity production quotas and tax breaks would be the biggest help for landing more work.”

Another indie exec also flagged the importance of money, suggesting that diversity can “sometimes be pushed to the edges of the schedule, with lower tariffs attached”.

A third added: “Ensuring diverse talent is working on shows will sometimes involve taking a risk. With tight budgets and schedules, we’re all reluctant to do that, as we know we producers will have to foot the bill if it doesn’t work out.”

Gold Wala’s Osman said he would like to see commissioners outline ‘tight’ briefs that have a guaranteed slot attached. “For example, if a broadcaster wants to give Christmas a fresh look, they could go to five indies from different backgrounds, to see what their take is,” said Osman.

“Broadcasters would get fresh ideas, and smaller indies would feel empowered as there’s a good chance they might get the work – rather than the free-for-all where we are competing against much bigger indies.”

Broadcast Magazine. 29th May 2019.

BAME-led indies locked out

Producers claim they are still not trusted to deliver diverse shows despite better credentials

The UK’s BAME-led production community say broadcasters have a greater appetite for diverse programming than ever before – but claim they are not trusted to deliver it.

Broadcast spoke to 14 indies including Roughcut TV, Douglas Road Productions and Transparent TV about their experiences. A major theme to emerge is that the group still struggle to land commissions despite often having the most authentic experience of diverse topics and narratives.

“We are starting to see more ‘diverse’ work being commissioned, but it is being made by predominantly white, privileged companies, which are then coming to us for talent,” said Fraser Ayres, chief executive and co-founder of Triforce Creative Network and subsidiary Triforce Productions.

“And the same commissioners are not responding to many companies that are already in a position to tell these stories authentically.”

Other issues raised in the interviews include a lack of access to commissioners and their preference for a stereotyped view of what constitutes a diverse narrative.

One indie boss said that a mainly white commissioner class is unconsciously failing to understand that BAME creatives see stories differently to them. “And if they do see that difference, they often don’t give it an equal value,” added the producer.

In February, the issue of authenticity was raised by a group of East Asian-British writers, who claimed it was “indefensible” that CBBC sitcom Living With The Lams had been initially developed and scripted with little input from writers and creatives from that community.

Josh Wilson, managing director of Chasing The Dream producer Wilson Worldwide Productions, told Broadcast he is increasingly concerned by the industry seeming to equate diverse people with a lack of qualifications.

“This is a narrow-minded way of thinking,” he said. “I consistently hear the term ‘training schemes’ when it comes to diverse individuals. Of course, training is important for everyone in the industry, but it shouldn’t be used as a reason to keep the door shut – as if what we do is rocket-science.”

Another common theme was a complaint about the informal culture of commissioning. One indie boss said: “Not everyone can be related to a high-profile newspaper columnist, MP or millionaire businessman. The informal ‘let’s get a coffee’ culture is very much alive, and locks out those who aren’t part of the same gang.”

The 14 interviews also revealed that the majority of BAME-led indies feel more progress has been made on screen than off, a notion backed up by results from the Broadcast Indie Survey in March.

The survey revealed that 66% of more than 100 production fi rms felt that ‘some progress’ was being made in diversity on screen, while this fell to 44% off screen. Only 7% of respondents said ‘great strides’ were being made off screen, compared with 16% on screen.
... See MoreSee Less

2 weeks ago

Broadcast Magazine. 29th May 2019.

BAME-led indies locked out

Producers claim they are still not trusted to deliver diverse shows despite better credentials

The UK’s BAME-led production community say broadcasters have a greater appetite for diverse programming than ever before – but claim they are not trusted to deliver it.

Broadcast spoke to 14 indies including Roughcut TV, Douglas Road Productions and Transparent TV about their experiences. A major theme to emerge is that the group still struggle to land commissions despite often having the most authentic experience of diverse topics and narratives.

“We are starting to see more ‘diverse’ work being commissioned, but it is being made by predominantly white, privileged companies, which are then coming to us for talent,” said Fraser Ayres, chief executive and co-founder of Triforce Creative Network and subsidiary Triforce Productions.

“And the same commissioners are not responding to many companies that are already in a position to tell these stories authentically.”

Other issues raised in the interviews include a lack of access to commissioners and their preference for a stereotyped view of what constitutes a diverse narrative.

One indie boss said that a mainly white commissioner class is unconsciously failing to understand that BAME creatives see stories differently to them. “And if they do see that difference, they often don’t give it an equal value,” added the producer.

In February, the issue of authenticity was raised by a group of East Asian-British writers, who claimed it was “indefensible” that CBBC sitcom Living With The Lams had been initially developed and scripted with little input from writers and creatives from that community.

Josh Wilson, managing director of Chasing The Dream producer Wilson Worldwide Productions, told Broadcast he is increasingly concerned by the industry seeming to equate diverse people with a lack of qualifications.

“This is a narrow-minded way of thinking,” he said. “I consistently hear the term ‘training schemes’ when it comes to diverse individuals. Of course, training is important for everyone in the industry, but it shouldn’t be used as a reason to keep the door shut – as if what we do is rocket-science.”

Another common theme was a complaint about the informal culture of commissioning. One indie boss said: “Not everyone can be related to a high-profile newspaper columnist, MP or millionaire businessman. The informal ‘let’s get a coffee’ culture is very much alive, and locks out those who aren’t part of the same gang.”

The 14 interviews also revealed that the majority of BAME-led indies feel more progress has been made on screen than off, a notion backed up by results from the Broadcast Indie Survey in March.

The survey revealed that 66% of more than 100 production fi rms felt that ‘some progress’ was being made in diversity on screen, while this fell to 44% off screen. Only 7% of respondents said ‘great strides’ were being made off screen, compared with 16% on screen.
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