UK exports rise to £1.4bn

One of the biggest percentage increases was in overseas production of new commissions, which rose 292% to £11m, according to an annual TV exports survey, conducted by the Television Research Partnership on behalf of UKTI and Pact.

Overseas production of UK formats more than doubled in value, from £37m in 2009 to £81m in 2010, however sales of UK formats fell 1%.

But despite that, finished programmes remained the country’s largest source of export revenue, increasing 15% to £657m.

Sales from digital rights showed significant strength, nearly doubling to £10m, while new territories such as Russia accounted for £13m-worth of sales, up 54%.

However the US remained the largest export market for UK producers, growing in line with the global rate of 13% to total £526m, while sales into Canada climbed 20% to £73m.

Pact chief executive John McVay said: “Once again the UK Television Exports Survey shows strong year-on-year growth – but just as importantly – we’re seeing significant growth in new markets and territories too.  These results show that the world is still seeking great formats and programmes of the quality that UK producers are renowned for.”

Nick Baird, chief executive of UKTI, added: “These figures illustrate the world-class strengths and reputation of the UK television industry and reflects the ongoing support provided by UK Trade & Investment . Both our TV formats, like Dancing with the Stars and X Factor and finished programmes, such as Downton Abbey and Sherlock are increasingly enjoyed by audiences across the globe. The heightened demand for our programmes from emerging, high-growth economies such as Russia is particularly encouraging. ”

The survey also revealed what international buyers think of the UK market, with respondents describing the British industry as one which “the whole world looks to” as a trend setter.

Respondents also credited UK broadcasters and the growing budgets of some non-terrestrial channels as driving factors in the creation of more high quality programming with potential for international sales.

However, the perennial issues regarding low number of episodes per run and a lack of long-running series were viewed as the biggest obstacle to international sales, particularly when competing against US and Australian content.

Some also criticised “overly domestic content”, although noted that programme makers were starting to recognise the need for series to have international appeal.