Our client is a visual effects supervision and production-management company that also executes the work. Its principal is engaged by major studios to supervise and administer entire productions, and the company he owns is the first vendor that work is awarded to. On one recent feature he supervised a visual effects budget in excess of twenty-five million dollars, the largest single line item in that production. On a recent streaming series he directed ten separate vendors while his own company performed some two and a half million dollars of the work inside that same show. This is a business that sits on the side of the table where budgets are allocated rather than bid for, which is a materially different position from that of a visual effects vendor competing for shots.

That position rests on a record stretching across more than two decades. The company has been nominated twice for a national Emmy award for its work, most recently in 2024, and has delivered effects for theatrical features, episodic television and streaming series for major studios and networks. The specific productions, and the nature of our client's involvement in each, are available following execution of an NDA. The principal has spent nearly forty years in the industry and is not retiring.

Current year work centers on visual effects supervision and creative direction for a major streaming studio series, together with full cyber scanning of every environment and cast member on the production. The show is in post-production with final delivery scheduled for January, and the studio has told our client it wants the company on a further production immediately afterwards. Revenue through July of the current year stands at $1,180,656 at a gross margin above seventy percent, with net income of $752,065 through the same seven months, and the business holds a substantial cash balance with no bank debt. The owner's own guidance for the full year is gross revenue a little above two million dollars.

The multi-year record is uneven and the reason is specific rather than general. The company recorded $1,645,039 of revenue in the year before last and $1,202,709 the year before that. The two intervening years were very quiet, because for that period the principal was personally engaged running the largest visual effects budget of his career on a production overseas, under a state incentive that required the spend to occur in that country. The company was not passed over. It was excluded by a tax rule on one production, during the same period in which the domestic industry contracted sharply after the industry strikes and a number of effects facilities closed. Our client came through that period debt free, with cash, with its state incentive qualification intact and its facility in place at a nominal storage rent. Prospective buyers are given the full multi-year record, with the reasons behind it, before any commitment is asked of them.

The company is qualified to perform work under its state's film production incentive program, and that qualification belongs to the entity and carries across a change of ownership so long as the work continues to be performed in state. Productions choose where to shoot and where to finish their effects work largely on the strength of what a jurisdiction will refund, and a facility that is not qualified in the right place is not invited to bid. Qualification and local operating history take years to build and cannot be bought.

The company owns real assets rather than renting its capability. It owns its in-house production management software, written by a member of staff and used to run shows day to day, which conveys with the business. It owns a complete working plant of rack-mount and desktop workstations, render hardware, multi-terabyte storage arrays, enterprise power protection

NDA is required to secure a comprehensive Confidential Information Memorandum (CIM) crafted by ProNova Partners.