Film & TV Companies in Cambridge: 130 Active Firms (2026)
Film and TV production companies in Cambridge develop, finance and deliver screen projects for commissioners and distributors in the UK production market.
Commissioning rather than consumer marketing tends to set the shape of the Cambridge cohort. The main buying centres are broadcaster and platform commissioning teams, distributor-side film finance, production-services buyers and rights or business-affairs functions managing exploitation windows. Most selling is business-to-business, with occasional public-sector or cultural-commission work where screen activity crosses education, tourism or place marketing. Engagements tend to be production-by-production rather than retained accounts: a lean core team carries development, finance, budgeting and rights work, then adds freelance crew capacity once a commission, service contract or financed slate is ready to move.
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Cambridge has 130 actively trading Film and TV production companies, so the local picture is better read as a specialist production cluster than a volume market. Reported employment totals 74 people, which fits the project-led operating model: permanent teams tend to hold producer, finance, development and production-management functions, while crew, post-production and location capacity is drawn in around each project. The employment footprint therefore understates the labour involved in active productions, but it does capture the small-company base that sits behind commissioning and rights work.
Access to public support is rules-based rather than licence-led. GOV.UK positions the Audio-Visual Expenditure Credit around eligible screen categories, with BFI certification used to test British status through a cultural route or an official co-production route; qualifying activity also has to be tied to UK core costs. Commissioning structure matters as much as tax treatment. Pact's Terms of Trade frame how public service broadcasters commission independent producers, while Ofcom's regional production quotas affect where qualifying work is made and accounted for.
Project-led production appears likely to keep the Cambridge cohort relatively fragmented. Lean permanent teams are well suited to development, rights packaging and service work, but scale-up paths tend to depend on repeat commissioner relationships, access to specialist crew and the ability to manage fiscal certification without adding much fixed cost. Consolidation may come through informal producer networks, shared services and repeat co-production relationships rather than conventional mergers. The scarcity of larger reported companies also suggests that many operators will remain closer to specialist production boutiques than broad studio groups.
What’s in the file
One row per company, 50+ columns — everything below plus each company’s verified directors, from Companies House filings.
Company data
Verified directors — included
130
Active firms
2026
17
Incorporated since 2022
Cambridge cohort
0
Over £5M turnover
Cambridge cohort
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Key facts
13% of the cohort was incorporated since 2022 (17 firms), so a sizeable share is in its first few filing cycles.
UK film and high-end TV production is not generally licence-based, but access to fiscal support depends on certification through the BFI cultural test or an official co-production route.
GOV.UK says Audio-Visual Expenditure Credit applies to expenditure incurred from 1 January 2024, with listed credit rates of 34%, 39% and 53% depending on production type and eligibility.
BFI official statistics put UK film and high-end TV production spend at £5.6 billion in 2024, up 31% on 2023.
High-end TV accounted for £3.4 billion, or 62% of total spend, while feature film production contributed £2.1 billion, or 38%.
Inward investment and co-production films and HETV delivered £4.8 billion, or 86% of combined UK production spend in 2024, so international commissioning remains central to the market.
Top Cambridge Film & TV companies
Financial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 4y
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Financial sub-scores
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StrongStrong
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Financial Health
N/AN/A
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Financial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak
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Financial sub-scores
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WeakWeak · 0% CAGR over 4y
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N/AN/A
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Financial sub-scores
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DistressedDistressed · 0% CAGR over 4y
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
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Financial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed
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Computed from 3 filingsFinancial Health
HealthyHealthy
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Financial sub-scores
Computed from 3 filingsFinancial Health
HealthyHealthy · 0% CAGR over 2y
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Financial Health
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Computed from 5 filingsFinancial Health
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Financial sub-scores
Computed from 2 filingsFinancial Health
DistressedDistressed
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Financial sub-scores
Computed from 4 filingsFinancial Health
HealthyHealthy · 0% CAGR over 3y
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Computed from 5 filingsFinancial Health
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Financial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong
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Financial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · Hiring · 19% CAGR over 4y
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Computed from 2 filingsFinancial Health
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Financial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · -68% CAGR over 4y
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Financial sub-scores
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Financial sub-scores
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Financial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed · 0% CAGR over 2y
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Financial sub-scores
Computed from 5 filingsFinancial Health
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Financial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong · Hiring · 19% CAGR over 4y
Location
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Financial sub-scores
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Financial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
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Financial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
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Financial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · Growing · 0% CAGR over 4y
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Financial sub-scores
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Financial sub-scores
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Financial sub-scores
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Financial Health
N/AN/A
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Financial sub-scores
Computed from 5 filingsFinancial Health
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Financial sub-scores
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Computed from 2 filingsFinancial Health
StableStable · 0% CAGR over 1y
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Financial sub-scores
Computed from 5 filingsProduces advertising campaigns, TV commercials, brand films and social media content for brands, agencies and broadcasters. Provides creative development, directing and production of live‑action and…
Sells to brands, agencies and broadcasters globally. Targets marketing and brand teams across sectors including food and drink, health and pharma, travel, gaming, consumer goods and recruitment,…
Financial Health
StableStable · Hiring · 4% CAGR over 5y
Location
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Financial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed · 0% CAGR over 2y
Location
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How Cambridge Film & TV companies work and how to sell to them
What they do
Revenue usually comes from commissioned production fees, production-service contracts, rights exploitation and, for some firms, development funding that is later recouped against a greenlit programme or film. Pricing is normally budget-led rather than seat-based: the producer agrees a schedule, deliverables, rights position and production fee, then manages spend through stage payments. Some work resembles professional services, especially line production, location support and production management; other income is closer to intellectual-property ownership, where the upside sits in licence periods, distribution recoveries and secondary exploitation. The product is still a finished screen asset, but the commercial engine is budgeting, delivery confidence and rights control.
Who they sell to
Most Cambridge producers sell to commissioning editors, production executives, distributor-side acquisition teams, content-finance contacts and public-sector buyers commissioning screen work for education, culture or place promotion. The practical decision group often includes a head of production, business-affairs lead, finance controller and legal adviser, because the buyer is taking delivery risk as well as creative risk. Sales is relationship-led: development conversations, pitch materials, treatments, sizzles and budget packs come before formal contract paperwork. Publicly funded or institutional work is more likely to involve a tender, while broadcaster and platform work tends to move through known producers, agents, commissioners and production partners.
What they buy
Film and TV firms tend to spend on services that reduce delivery risk without adding permanent overhead. Common purchases include production accounting, payroll and freelancer onboarding support, legal and business-affairs advice, insurance broking, location management, health and safety, equipment hire, casting support, post-production, archive clearance and publicity. Software needs are usually practical: budgeting and scheduling, document storage, call-sheet workflows, cost reporting, CRM for commissioner relationships, contract management and secure file transfer. Cloud storage, backup, cyber controls and permissions management matter when rushes, scripts, contributor information and unreleased material are moving between small teams, freelancers and post houses.
Why and how to sell to them
Film and TV buyers tend to evaluate vendors when a commission lands, a slate moves from development into finance, a co-production partner appears, or a new production manager starts imposing process on a previously informal setup. The recurring pains are cash-flow timing, cost overruns, freelancer admin, rights clearance, certification evidence, audit trails and protecting unreleased material. Outbound works better when it is tied to those moments rather than to generic growth language. A credible angle is usually fewer production-office delays, cleaner evidence for funders and commissioners, faster onboarding of crew, or lower risk around security, insurance and legal delivery.
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.
Also in Cambridge
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Frequently asked questions
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