Finance and HR for entertainment companies

Structure for unpredictable, project-based businesses

Entertainment and live events run on lumpy, project-based economics: big production budgets, event-driven cash flow, sponsorship and ticketing revenue, and seasons that swing hard. That volatility demands disciplined cash forecasting, production budgeting, and reporting that keeps leadership ahead of the swings rather than reacting to them. We bring exactly that structure to creative, people-driven businesses.

We have been in the production room

Our founder co-created and executive-produced NBC’s World of Dance, the #1 new summer series of 2017, and has served as its CFO; our partners bring event-production finance from live and experiential ventures. We understand the business of entertainment because we have helped build it.

One ecosystem, many business models

Entertainment is rarely one business anymore. A single brand can run live events in several countries, publish to a global social audience, sell sponsorships against both, and license its format abroad. Each of those revenue streams has its own timing, margins, and accounting rules, and they all land on one P&L. Our job is to make that ecosystem legible: which lines actually make money, how cash moves between them, and where the next dollar should go.

Consumer events and destination experiences

We have supported producers of experiences people travel for. Whet Travel and its flagship, Groove Cruise, run full-ship music festivals at sea, where a ship charter is committed long before the last cabin sells. Ondalinda produces an invitation-only festival in Careyes, Mexico, for guests who fly in from around the world.

The finance questions rhyme. Deposits and ticket revenue arrive months before the event. Charter, venue, and vendor commitments are large and early. Costs run in more than one currency, and a single weekend can decide the year. We build the event-level budgets, cash forecasts, and settlement discipline that let operators commit with confidence instead of hoping the on-sale covers it.

Media brands and content creators with global reach

World of Dance grew from a dance competition into a global brand: live events and qualifiers across many countries, a primetime NBC series, and a digital audience that follows dancers and creators worldwide. Foodbeast is a digital-first food media brand whose audience lives on social platforms and whose revenue comes from branded content, partnerships, and events.

In businesses like these, money arrives from platforms, sponsors, licensees, and ticket buyers on different schedules, while talent and creators are paid on terms of their own. We set up the revenue recognition, talent and creator payment structures, and channel-level profitability reporting that turn an audience into a business you can manage.

Finance that fits the model

Because these businesses mix models, we do not force them into a template. We start by mapping how money actually moves, then build the chart of accounts, entity structure, and reporting around it: event P&Ls for the festival, content and sponsorship margins for the media arm, and a consolidated view for the owners. The same team runs payroll and HR for crews, staff, and contractors who scale up for a season and back down after it, so the people side and the numbers side tell the same story.