Film & Video Production Businesses for Sale.

Building a client roster and a freelancer network from scratch takes years, which is exactly why buyers pursue production companies that already have corporate clients who book multiple times a year.

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A clay model of a video production company in Atlanta, with the owner looking over the operation.

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$600K

Median Asking Price

Rejigg lists 37 film & video production businesses for sale. The median asking price is $600K. 3 of them were listed in the last 30 days. The states with the most film & video production listings are California with 8 listings and New York with 5.

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What to know

What to know about buying a film & video production business

How film & video production businesses are valued

Asking prices are set as a multiple of earnings: 2x–7x annual profit, depending on repeat clients, team, and how much runs without you.

Where you land in that range depends on how many clients come back year after year, whether your team can produce content without you on set, and how organized your financials are.

Clients who come back year after year
A trusted network of freelancers
A production process that's written down
Different types of work across different clients

What buyers of film & video production businesses look for

Marketing agencies looking to bring video production in-house
Existing production companies expanding into new markets or service lines
First-time buyers with sales or operations backgrounds attracted to corporate client rosters
Investors building a group of regional media and production companies

The first questions buyers ask:

Rights & IP. Do you actually own what you’re selling the client?
Pass-Throughs. What portion of your revenue is pass-through, and what’s your actual fee?
Job Profitability. Which project types make money—and which ones are basically marketing?

Closed deals

Rejigg film & video production deals closed

Across 42 closed deals on Rejigg, the median time from first pitch to close is 177.5 days.

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Due diligence

What to Look For

Practical guidance from hundreds of real acquisition conversations.

Repeat client revenue

Ask for year-over-year spending from the same accounts so you can see which clients keep coming back and how much they spend each time.
Corporate clients who book multiple times a year create a pipeline you can count on from day one, without having to re-sell the relationship every quarter.
Look at what percentage of revenue comes from clients who have booked three or more times, because that's the most durable part of the business.
Consistent repeat business from even a handful of strong accounts is what separates a real production business from a freelancer with a reel.

Freelancer network depth

Ask about the bench of reliable camera operators, editors, and crew members the company uses regularly across different markets.
A deep freelancer network means the business can take on projects anywhere without the overhead of a full-time team.
Find out how often the company works with the same crews and whether those relationships are documented with rates and availability.
A reliable freelancer network that the new owner can inherit is much more valuable than one built entirely on the current owner's personal contacts.

Operations that run without the owner

Ask whether producers and post supervisors manage projects from kickoff through delivery without the owner on set or in the edit suite.
If creative work depends on the founder being directly involved in production, plan for a longer transition and build that into the deal structure.
Find out whether client relationships are held by the production team or by the owner personally — that shapes your first year significantly.
A delivery engine that runs without the owner is the setup that makes the acquisition straightforward.

Margin discipline

Ask how the company scopes projects, tracks costs, and manages revisions, because those processes are what drive consistent margins.
Look at project-level margin data, not just total gross margin, to understand whether some service types or client types are much more profitable than others.
Production companies with consistent margins above 35 to 40 percent have built real operational control into how they price and manage work.
Businesses that estimate loosely or let scope creep erode margins are much harder to run profitably after a transition.

Client and service mix

Ask for revenue broken out by service type: video, photography, motion graphics, post-production, and branded content.
A mix across formats and client categories reduces the risk of any single client or format shift hurting revenue.
No single client accounting for more than 20 percent of revenue is a healthy sign that the business isn't dependent on any one relationship.
Clients across corporate, events, and branded content create more stability than a heavy concentration in one category.

Valuation

What Should You Expect to Pay?

2x-3x

SDE

Project-based, owner-dependent work

3x-7x

EBITDA

Recurring clients and team-delivered production

The spread reflects how much repeat client revenue exists versus one-off project work, and whether the team can produce content at the same quality level without the founder directing.

What drives a premium

Corporate clients on ongoing agreements with multi-shoot quarterly bookings

Trusted freelancer network enabling national production without full-time overhead

Producers and editors who manage complete project lifecycles independently

Documented workflows for scoping, revisions, and delivery that ensure consistent quality

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For buyers

Make your next conversation count

A listing starts the conversation. These tools help you check the fit, understand the financials, and decide what to ask next.

Prepare for the first owner call

Clarify what is for sale, who runs the business, and what the owner wants from a transition.

Prepare your buyer introduction

Check the numbers behind the asking price

Explore financing scenarios, debt payments, and the cash a business needs to keep operating.

Try the SBA loan calculator

Turn interest into a clear next step

Use the diligence checklist and LOI templates to organize requests and prepare a proposal.

Explore the deal templates

Find a business worth a closer look

Keep your industry and location in focus. Explore matching businesses or get new listings as they arrive.

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Thinking About Selling?Read our owner's guide to selling a film & video production business, with valuation tips, buyer expectations, and step-by-step advice.

Read the Owner's Guide

Film & Video Production Business Acquisition

How do I contact the owner of a business I found on Rejigg?

Create a free Rejigg account; owners, and the brokers who run some sales, only hear from buyers through the platform. Open the listing to see the full profile: city, team size, financials, what is for sale, and the reason for selling. Sign Rejigg's standard Fee & Confidentiality Agreement for that business; it is the same form for every deal. Verify your phone, then send your pitch from the listing. Replies, meetings, and documents all run through Rejigg.

Can I email Rejigg to get introduced to an owner?

No. Rejigg does not forward emails to owners or brokers, so a note to support@ or hello@ with a listing link will not reach them. Create a free account, open the listing, sign the agreement for that business, verify your phone, and send your pitch; that reaches them in a few minutes.

Do you actually own what you’re selling the client?

Buyers are checking whether you can legally deliver what you promise, and whether they’re inheriting liability around footage ownership, project files, releases, and music or stock licensing. They also want to know if any “library value” is real. That only counts if you can prove a clean chain of rights on the specific assets that generate revenue. If this is messy, deals slow down, and the price usually moves because nobody wants a rights problem after close.

What portion of your revenue is pass-through, and what’s your actual fee?

Production companies can look larger on paper when crew, rentals, travel, locations, talent, and licensing run through the books. Buyers want to see what you actually earn for creative, production, and post versus what you collect and pay out on the client’s behalf. If you cannot separate fee from pass-through by project type, your margins feel squishy, and the buyer will discount them.

Which project types make money—and which ones are basically marketing?

Buyers want to see that you understand your economics by offering, not just in the year-end numbers. In video, the margin profile can swing a lot between event capture, animation-heavy work, post-only retainers, always-on social cutdowns, and brand films. If a big slice of revenue is “relationship work” that soaks producer and edit time, the buyer will price that reality in.

When a client says ‘one more round,’ who pays for it?

Revision creep is a quiet margin killer, especially in post where time is the product. Buyers want to see a scope process that protects profit without turning every client request into a showdown. They also want evidence your team can manage messy feedback, like multiple stakeholders and late approvals, in a consistent way.

Do you fund shoots with your own cash before you get paid?

Buyers want to know whether growth creates cash stress because you are fronting crew, rentals, travel, and talent weeks before payment. In production, a job can be profitable and still squeeze the business if deposits and milestones are loose. Lenders care too, because cash timing affects whether a loan-backed buyer can operate without constantly juggling payables.

Can the business deliver the same quality without the founder?

In video production, founder dependence usually shows up in taste and control points: who writes the treatment, who picks the DP (Director of Photography), who calms the client on set, and who makes the final cut call. Buyers want proof the quality bar and the process live in the company, with named people and repeatable steps. If it all routes through the founder, buyers will push for a longer transition or change the deal structure.

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