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Film & TV Companies in Manchester: 800+ Active Firms (2026)
Film and TV production companies in Manchester develop, finance and deliver screen content for broadcasters, streamers and studios across a regional production hub.
Buying centres tend to sit with commissioners, heads of production, commercial finance teams and distribution partners rather than conventional software-style procurement. Work is shaped around development slates, single commissions and co-production packages, with buyer demand split across scripted, factual, children’s and animation teams. Manchester operators in this buyer profile usually keep a compact permanent staff base, then add freelance crews, post-production suppliers and legal or finance specialists for each project. Engagements are project-risk decisions: buyers care about delivery record, rights position, tax-credit handling and whether the production can satisfy regional and UK-activity requirements.
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Manchester has 881 actively trading Film & TV production companies in this list. The revenue profile is narrow at the upper end: 5 companies report turnover above £5M, leaving most operators in the small-company, project-vehicle or early-commercial layer. Reported employment totals 362 people, which is modest for a city production hub but consistent with screen businesses that hold a lean core payroll and expand through production-by-production crews. Recent incorporation activity also remains visible, with a cohort of newer firms sitting alongside longer-established production entities.
Licences are usually less central than eligibility rules in UK screen production. Fiscal support depends on the Audio-Visual Expenditure Credit regime, certification as British through the cultural test or an official co-production route, and evidence that production spending is tied to UK activity. For Manchester producers, that makes finance, business affairs and production accounting part of the commercial proposition, not just back-office administration. Commissioning structure matters too: Pact’s Terms of Trade shape how public service broadcasters contract with independent producers, while Ofcom regional production quotas influence where qualifying work is made and managed. The result is a market where rights, location and compliance often sit beside creative credentials.
Manchester’s production base appears broad at the bottom and narrow at the revenue-ranked end, so the near-term pattern is likely to be selective rather than uniform. Firms that can combine development capability with finance control, regional-qualification discipline and repeat commissioner relationships tend to have more room to move beyond ad hoc projects. Many others will remain deliberately small, using special-purpose entities and freelance networks to manage risk. Consolidation may come less through formal mergers than through recurring producer-supplier relationships, shared talent pools and distributors favouring teams that can handle rights, delivery and audit requirements without adding avoidable friction.
881
Active firms
2026
5
£5M+ firms
turnover threshold
210
Since 2022
new incorporations
Key facts
About 1% of the trading cohort reports turnover above £5M (5 of 881 firms) — the rest sits below that revenue band.
23% of the cohort was incorporated since 2022 (210 firms), so a sizeable share is in its first few filing cycles.
BFI official statistics put UK film and high-end TV production spend at £5.6 billion in 2024, up 31% on 2023, with high-end TV contributing £3.4 billion, or 62%.
Inward investment and co-production films and high-end TV delivered £4.8 billion, or 86% of combined UK production spend in 2024, tying the market to international commissioning cycles.
Audio-Visual Expenditure Credit applies to eligible expenditure incurred from 1 January 2024, with GOV.UK listing rates of 34% for most films and TV programmes, 39% for children’s TV and animation, and 53% for qualifying independent films.
Productions must be certified as British by the BFI through the cultural test or an official co-production treaty route, and films and TV programmes need at least 10% of core costs related to UK activities.
Pact identifies the Terms of Trade as regulations introduced after the Communications Act 2003, while the 25% independent production quota and Ofcom regional production quotas shape public-service broadcaster commissioning.
Top Manchester Film & TV companies
Saffron Cherry Productions Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces television programmes, films and digital short‑form content across scripted and non‑scripted genres including drama, factual, comedy and children’s programming. Develops and adapts…
Serves broadcasters, streaming platforms, distributors and production partners in the UK and internationally, across scripted and non-scripted TV, film, children’s, factual, comedy and digital…
Financial Health
StableStable · Hiring · 14% CAGR over 4y
Location
Headline Pictures Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces scripted television drama series for broadcasters and streaming platforms. Develops and produces original and adapted TV productions, including series such as Ten Percent and Man in the High…
Serves B2B entertainment buyers, including TV broadcasters, streaming platforms and studios commissioning high-end scripted drama.
Financial Health
WeakWeak · -16% CAGR over 4y
Location
Title Role Productions Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces television programmes and podcast content. Develops and produces TV series and branded media for broadcasters and commercial partners, and provides production facilities and related services…
Financial Health
WeakWeak · Hiring · 4% CAGR over 4y
Location
Mediapro Audiovisual UK Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProvides audiovisual production and broadcast media services, including creation of film and television content, management of sports and media rights, operation of TV channels and platforms, and…
Serves B2B customers in the audiovisual sector: broadcasters, streaming and digital platforms, content producers, rights holders and organisations commissioning audiovisual or multi-channel projects…
Financial Health
StableStable · -13% CAGR over 4y
Location
Trajectory
5y · 2022–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 3y
Location
NORTH BRIDGE MEDIA SERVICES LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsDevelops and produces content for television, audio, stage and live entertainment. Works with writers, producers and rights holders on idea development, scripting, pitching and production, and…
Serves writers, creators, IP holders, agents, producers and platforms developing screen, stage, audio and live projects, particularly in comedy, drama and entertainment.
Financial Health
StrongStrong · Profitable, Growing, Hiring · 30% CAGR over 4y
Location
Trajectory
2y · 2023–NowFinancial sub-scores
Computed from 2 filingsProduces CGI animation and visual effects for games, film and television. Creates cinematic trailers, virtual production assets, and interactive 2D/3D product configurators for automotive and other…
Targets B2B marketing and production teams in video games, film and episodic TV, and automotive/luxury mobility, including studios, publishers, broadcasters, streamers, car makers, performance brands…
Financial Health
StrongStrong · Growing · 0% CAGR over 1y
Location
Revolution Productions Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy
Location
FITZROVIA POST LONDON LIMITED
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
MOONCAT MEDIA LTD
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
StableStable · -90% CAGR over 2y
Location
Delaval Film Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · -16% CAGR over 4y
Location
PAPER FILMS LIMITED
Trajectory
5y · 2019–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable · -52% CAGR over 5y
Location
The Decoder Production Ltd
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
HealthyHealthy
Location
Doto Films Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable · 0% CAGR over 4y
Location
Delicious Review Ltd
Trajectory
2y · 2023–NowFinancial sub-scores
Computed from 2 filingsFinancial Health
DistressedDistressed · 0% CAGR over 1y
Location
Sitcom Soldiers Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · Growing · 0% CAGR over 4y
Location
NICHOLAS VISUALS LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 4y
Location
Charlie Watts Film Ltd
Trajectory
2y · 2024–NowFinancial sub-scores
Computed from 2 filingsFinancial Health
DistressedDistressed · 0% CAGR over 1y
Location
Koolstof Ltd
Trajectory
4y · 2022–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
HealthyHealthy · -31% CAGR over 3y
Location
STRAIGHT UP ENTERTAINMENT LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · 0% CAGR over 4y
Location
Postlight Productions Limited
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
WeakWeak · 0% CAGR over 2y
Location
LLH Films Limited
Trajectory
1y · 2024–NowFinancial Health
Insufficient historyInsufficient history
Location
ATIF & PARTNERS LTD
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
Renderkick Ltd
Trajectory
4y · 2022–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
HealthyHealthy · 0% CAGR over 3y
Location
Stream Motion Limited
Trajectory
4y · 2021–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
WeakWeak · 0% CAGR over 3y
Location
Nine Lives Media Limited
Trajectory
3y · 2022–NowFinancial sub-scores
Computed from 3 filingsProduces television programmes for UK broadcasters and international streaming platforms, including observational documentaries, current affairs, drama documentaries, children’s programming and other…
Serves B2B commissioners and content buyers at major UK broadcasters, global streaming platforms, and TV channels worldwide, particularly those seeking factual, current affairs, documentary,…
Financial Health
HealthyHealthy · -23% CAGR over 2y
Location
THREE ARROWS MEDIA LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsDevelops and produces children’s, family and factual television, audio and educational media. Creates programmes, podcasts and learning content for broadcasters and platforms, including preschool and…
Serves broadcasters, streaming platforms and education media commissioners seeking children’s, family, factual and learning content, including public-service media brands such as BBC and CBeebies.
Financial Health
StableStable · Hiring · 16% CAGR over 4y
Location
Trajectory
4y · 2022–NowFinancial sub-scores
Computed from 4 filingsProduces film and television content including dramas and comedies for cinema, broadcasters and streaming platforms. Develops and produces scripted projects such as Wild Rose, Rocks, Hullraisers and…
Serves broadcasters, streaming platforms, film distributors and theatre producers seeking prestige film, television and stage adaptations, with an audience focus on female-driven and working-class…
Financial Health
DistressedDistressed
Location
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces film and television content, including drama, comedy and musical projects for cinema, broadcasters and streaming platforms. Develops and produces scripted films and TV series, with a focus…
Serves broadcasters, streaming platforms, film distributors and theatre producers seeking scripted film, television and stage projects, particularly female-led, working-class and character-driven…
Financial Health
WeakWeak
Location
Red Planet Productions Ltd
Trajectory
2y · 2024–NowFinancial sub-scores
Computed from 2 filingsProduces television drama series for UK and international broadcasters, developing and producing scripted programmes including crime and period dramas. Credits include series such as Death in…
Serves major television broadcasters and media distributors commissioning or acquiring scripted drama, with programmes licensed to international TV markets and broadcast partners in more than 230…
Financial Health
StableStable · 0% CAGR over 1y
Location
MACKINNON & SAUNDERS LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces animated television programmes, pilots and commercials, and designs and builds puppets and character models for TV, feature films and advertising. Also creates 2D digital animation through…
Serves broadcasters, film and TV producers, media companies, and advertising agencies or brands commissioning animation, character puppets, pilots, series, feature films, and commercials.
Financial Health
HealthyHealthy · -62% CAGR over 4y
Location
Genesius Pictures Limited
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsDevelops and produces independent film and television projects for international audiences. Works with writers, directors and production partners to develop, finance and deliver scripted films and TV…
Targets international film and television audiences for independent productions, with industry activity involving established and emerging creative talent, co-producers and distribution partners.
Financial Health
StableStable · Hiring · 11% CAGR over 4y
Location
Salamanda Media Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces non‑scripted television programmes, specialising in talent‑led factual and factual entertainment formats. Develops and delivers TV content and programme formats for broadcasters and…
Serves TV commissioners, broadcasters and media platforms seeking non-scripted factual and factual entertainment formats for UK and international audiences.
Financial Health
StableStable · Hiring · 79% CAGR over 4y
Location
Moseley Road Productions Limited
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · 0% CAGR over 4y
Location
Trajectory
1y · 2024–NowFinancial Health
Insufficient historyInsufficient history
Location
ARTY BUCCO LIMITED
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
StrongStrong · Hiring · 41% CAGR over 2y
Location
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy
Location
INREPPRODUCTION LTD
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed · -86% CAGR over 2y
Location
SPILLED INK PRODUCTIONS LIMITED
Trajectory
2y · 2024–NowFinancial sub-scores
Computed from 2 filingsFinancial Health
DistressedDistressed · 0% CAGR over 1y
Location
KOPO GRIPS LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable · 0% CAGR over 4y
Location
AD ASTRA PRODUCTIONS LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsProduces animated and digital media content focused on STEAM education, including children's series, graphic novels and educational modules. Provides animation, illustration, storyboarding, character…
Serves media platforms, streaming services, educational and science institutions, and social-impact organisations seeking diverse STEAM content for children, students and under-represented…
Financial Health
WeakWeak · -68% CAGR over 4y
Location
WATTSENGLISH LTD.
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsOwns and manages commercial rights to children’s educational brands including Steve and Maggie and Maggie and Mishi. Produces and distributes educational videos, songs, English‑language teaching…
Sells to distributors and licensing partners by region or country, plus language schools, kindergartens and primary schools using children’s English-learning materials. Also serves parents, teachers…
Financial Health
StableStable
Location
WARDS SCENIC SERVICES LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · -68% CAGR over 4y
Location
LOREN MCLAUGHLAN LIMITED
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · 0% CAGR over 4y
Location
Lantern Post Production Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 4y
Location
POYSER PRODUCTIONS LIMITED
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
StableStable · -90% CAGR over 2y
Location
S L W PRODUCTION LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong
Location
OLD HALL FILMS LIMITED
Trajectory
4y · 2022–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
StableStable
Location
VIRGO MEDIA LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · -73% CAGR over 4y
Location
LUKE K. ALDRED LTD
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong
Location
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How Manchester Film & TV companies work and how to sell to them
What they do
Manchester Film & TV producers usually earn revenue through production commissions, development fees, co-production finance, distribution advances and later rights exploitation. A project may be a one-off film, a returning factual format, children’s programming, animation or high-end TV, with income and cost recognition tied to milestones rather than steady monthly usage. Some firms also provide production services for other rights owners, taking fees for local delivery, crew sourcing, location management and post-production coordination. Pricing is usually budget-led: the commercial discussion centres on the production schedule, rights position, delivery obligations, eligible UK activity and the margin left after cast, crew, facilities, insurance and finance costs.
Who they sell to
Most sell to broadcasters, streaming commissioners, distributors, public service broadcasters, overseas production partners and other rights owners. The day-to-day sponsor is often a commissioning editor, head of production, acquisitions lead or executive producer, while finance directors and business affairs teams influence payment terms, rights splits, recoupment, insurance and credit eligibility. Sales channels are relationship-led: treatments, sizzle reels, pitch meetings, production bibles, distributor introductions and formal commissioning portals all matter. Cycles tend to be uneven. A smaller factual idea can move from development to commission quickly, while scripted, animation and co-production work usually passes through longer optioning, packaging, finance and legal stages before greenlight.
What they buy
Production firms tend to buy tools and services that reduce project friction rather than general corporate overhead alone. Common spend areas include production accounting, freelance payroll, expenses, budgeting, rights and contract management, document storage, cyber security, insurance, legal clearance, tax-credit advisory, HR support, recruitment, casting support, locations, travel, kit hire, studio space, post-production, archive research and delivery-quality control. Firms with repeat commissions may also need CRM, pipeline tracking, marketing, audience analytics and finance reporting. Sellers should expect fragmented ownership: a producer may own the need, but the production accountant, line producer, post supervisor or business affairs lead often defines the specification.
Why and how to sell to them
Lumpy cashflow, delayed greenlights and audit-heavy funding rules create openings for suppliers that can make delivery less risky without slowing a production team down. Buyers tend to evaluate vendors around slate expansion, a first high-end TV commission, a new finance director, a move from ad hoc project vehicles to repeat trading, or the start of an Audio-Visual Expenditure Credit claim. Newer Manchester firms may still be building operating processes, while more established producers are often trying to remove friction from repeat delivery. Outbound tends to work better when it is tied to a production moment: pre-greenlight budgeting, crew onboarding, rights clearance, post handover, cost reporting or commissioner delivery packs.
How this list is built
Data sources
This list is built from UK Companies House filings, XBRL accounts data, and semantic analysis of each company's public website. Revenue and headcount figures come from the most recent filed accounts; where the company has not filed, values are estimated using a model trained on filed history and peer benchmarks and are labelled as estimates.
Classification
Rather than relying solely on SIC codes, Firmbase classifies each company semantically: the company's website is crawled, an AI model reads what the company actually sells, and the company is placed into the relevant industry and subsectors. SIC codes are used as one signal but not the only one. This means a company that registered under a generic SIC code but pivoted into (for example) fintech is correctly identified as fintech, not as its original SIC category.
Freshness
The underlying company data is refreshed from Companies House continuously; filings appear in the list within days of submission. The curated list ordering is regenerated when the underlying data moves meaningfully (company count changes by more than 5%, a new company enters the top-ranked segment, or the filed-revenue numbers for the top firms change). You can see the last-updated timestamp near the top of the page.
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