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Film & TV Companies in Middlesbrough: 53 Active Firms (2026)
Film and TV companies in and around Middlesbrough develop, finance and produce screen content for regional, UK and international commissioners.
Commissioning routes, not corporate scale, shape buying behaviour around Middlesbrough. The main buying centres are development and commissioning teams for factual, scripted, children’s and animation work, alongside commercial content buyers that need screen delivery without carrying in-house production capacity. Engagements tend to be project-led: a small permanent team develops an idea, secures finance or a brief, then builds a freelance crew around production and delivery. Buyers range from regional commissioners to UK and international channels, with public-service supply bringing added expectations around British certification and regional production delivery.
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Within Middlesbrough, the active cohort is modest: 53 Film & TV companies are actively trading around the town and its surrounding Tees Valley catchment. The reported employment footprint is 30 people, consistent with a local base of owner-managed producers, development vehicles and service companies that keep payrolls light until a commissioned project or commercial brief gives enough certainty to assemble freelance production teams.
Screen production in the UK is generally not a licence-based activity, but public support and broadcaster supply sit inside rule-bound processes. GOV.UK guidance links Audio-Visual Expenditure Credit to qualifying film, high-end TV, children’s TV and animation expenditure. BFI certification decides whether a production is British through the cultural test or an official co-production route, while eligibility also turns on UK activity within core costs. For public service broadcaster work, Pact’s Terms of Trade framework and Ofcom regional production quotas affect how independent producers structure rights, budgets and delivery commitments.
Middlesbrough’s screen-production base appears likely to remain skewed towards early-commercial and owner-managed firms, rather than revenue-ranked production groups. Demand tends to follow commissioner appetite, public-service regional commitments and the availability of qualifying projects, so company formation can outrun payroll expansion. The scarcity of larger turnover bands suggests that more durable local growth would come from repeatable commissioner relationships, IP retention and production-service specialisation. Consolidation may occur where small producers need shared finance, compliance and business-affairs capacity, but the sector still looks more project network than scale-up ladder.
53
Active firms
2026
16
Recent incorporations
since 2022
£5.6 billion
UK screen spend
film and high-end TV, 2024
Key facts
30% of the cohort was incorporated since 2022 (16 firms), so a sizeable share is in its first few filing cycles.
Audio-Visual Expenditure Credit applies to expenditure incurred from 1 January 2024, with 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 at least 10% of core costs must relate to UK activities.
Public service broadcaster commissioning is shaped by the 25% independent production quota, Terms of Trade rules introduced after the Communications Act 2003, and Ofcom regional production quotas.
UK film and high-end TV production spend reached £5.6 billion in 2024, up 31% on 2023; high-end TV accounted for £3.4 billion and feature film £2.1 billion.
Inward investment and co-production work delivered £4.8 billion, or 86% of combined UK film and high-end TV spend in 2024, tying the market closely to international commissioning.
Top Middlesbrough Film & TV companies
X-Cel Broadcast Limited
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong · Growing, Hiring · 19% CAGR over 4y
Location
MCNICE CREATIONS LTD
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
Whitecam Media Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong · Growing · 0% CAGR over 4y
Location
JOLLY FILMS LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · 0% CAGR over 4y
Location
Dull Not To Productions Limited
Trajectory
4y · 2021–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
StrongStrong · 0% CAGR over 2y
Location
CITYLIVE FILMS LTD
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
Phantom Lab Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 4y
Location
SILVER LINING ANIMATION LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · 0% CAGR over 4y
Location
Paul Frost Media Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable · 0% CAGR over 4y
Location
Nova Mundi Limited
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak
Location
Unified Media Films Ltd
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · -10% CAGR over 4y
Location
PHORESCENT FILMS LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable
Location
P. MAC ASSOCIATES LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 4y
Location
GTW Productions Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
Location
Video FX Productions Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · 0% CAGR over 4y
Location
Funeral Videos UK Limited
Trajectory
4y · 2022–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
WeakWeak · 0% CAGR over 3y
Location
Shoot on Site Films Ltd
Trajectory
4y · 2021–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
DistressedDistressed · 0% CAGR over 3y
Location
CREATION PICTURES LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · 0% CAGR over 4y
Location
Prime Lens Media Ltd
Trajectory
5y · 2019–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 5y
Location
NINE TEN FILMS LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · 0% CAGR over 4y
Location
ITHICA FILM AND MEDIA LTD
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
STUDIO AERO LTD
Trajectory
4y · 2022–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
StableStable
Location
Lookship Ltd
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed
Location
GAMERGUILDTV LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
Location
Studio Viral Limited
Trajectory
1y · 2024–NowFinancial Health
Insufficient historyInsufficient history
Location
RUDIMENTARY STUDIOS LTD
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed
Location
MINDER HEALTHCARE LTD
Trajectory
5y · 2022–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
Location
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How Middlesbrough Film & TV companies work and how to sell to them
What they do
Most Middlesbrough Film & TV firms earn through commissioned production fees, development payments, production-services margins and commercial-content work, with occasional upside from rights, format sales or reuse of intellectual property. Pricing is usually tied to a production budget, a fixed statement of work or milestone drawdowns, rather than a standing subscription. The product is a delivered screen asset: factual episode, short-form commercial film, animation sequence, scripted pilot, post-production package or production-management service. Cash flow tends to be uneven because costs arrive before final delivery, so suppliers that understand project finance, crew contracting and rights ownership are easier to position.
Who they sell to
Buyers are typically commissioners, marketing teams, agencies, cultural bodies and larger production groups that need capacity or regional delivery. The practical buyer may be a commissioning editor, head of content, producer, finance lead, procurement manager or founder-manager, depending on the route to market. Sales cycles tend to be brief for corporate content and much longer for broadcast or streamer-led work, where development, greenlight, legal review and delivery paperwork sit between first conversation and invoice. Procurement is often relationship-led, with repeat work and referrals carrying more weight than generic cold outreach; formal tenders matter more for public-sector and institutional briefs.
What they buy
Spending tends to follow the production calendar. Most firms buy production accounting, payroll administration, legal and business-affairs support, insurance, bookkeeping, screen-incentive advice, freelance recruitment, location services, health and safety, equipment hire and post-production capacity. Software demand is usually practical rather than enterprise-wide: project management, budgeting, call-sheet workflows, rights tracking, media asset management, file transfer, review-and-approval, cyber security and CRM for commissioner relationships. Smaller teams may prefer services that remove administration during a shoot, while more repeatable producers may invest in systems that standardise budgeting, compliance evidence and delivery paperwork across several projects.
Why and how to sell to them
Commission wins, development funding, new regional-delivery obligations, a larger freelance crew or a move from one-off commercial work into repeat commissioned output are common buying triggers. Film & TV buyers tend to evaluate suppliers when administrative load threatens delivery: delayed invoices, unclear rights paperwork, production insurance gaps, cash-flow pressure, remote edit review, or uncertainty over qualifying expenditure. Outbound works better when it links to a current production stage, not a generic growth claim. Useful angles include reducing producer admin, protecting delivery dates, improving audit trails for incentives and making it easier to evidence regional spend to commissioners.
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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Frequently asked questions
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