Welcome to your film distribution! You may be feeling a little overwhelmed at the thought of how you'll get your film to your audience, but don't worry we (and many other professionals and resources) are here to help.
What you'll likely discover with distribution is that knowledge is power. It seems like a huge undertaking to distribute your film until you begin to know your options, speak to - and possibly employ - people with more experience than you, who can assist you and begin to form a strategy with which to move forward.
You've done so much of the groundwork already by getting this far into the Academy (unless you jumped straight here!), so you're ready to consider your distribution options and how you will share your documentary film with the world!
What is film distribution?
Distribution is defined as “The action of sharing something out among a number of recipients.”
You may consider this a pretty basic definition, given the complexities we associate with distribution, but the reality is this is what you are really trying to achieve when you talk about distributing your film. This definition exemplifies your goal and intention to share your film with an audience.
Now I’m not saying that this will be your only consideration when putting your film out there into the world. After all, there can be many hopes, aims and objectives tied to it’s release, for example, you may wish to make a significant financial return, gain recognition from other filmmakers or organizations or establish your film career, to name a few, but getting your film out to your audience is your fundamental and first priority objective.
Not being clear on this basic principle, we believe, is why many of us filmmakers over-complicate or become overwhelmed with this phase of filmmaking. That, and not knowing just how much power we actually have in making the success of our film a reality.
What we will cover on film distribution?
Over the course of the distribution tutorials cover some of the primary options of film distribution, offer tips and considerations to help you form the best and most effective strategy for you and your project, and provide you with resources and contacts that you may wish to use or connect with to help execute your launch and distribution plan of attack.
These are the tutorials that follow:
9.1: Empowered Filmmaker - You are very fortunate. You have decided to make a documentary film at one of the best times in history. Affordable and high-quality equipment is abundant, documentary film has steadily grown in popularity and further into mainstream viewing, there are now many multiples of ways to get your film in front of an audience and documentary filmmakers have never been so empowered to take control of every aspect of their filmmaking journey - including distribution. Embrace your power!
9.2: Distribution Strategy and Options - As we just said, there are so many more options available now to us documentary filmmakers to get our films seen by an audience. You are able to, and should, form a hybrid distribution strategy of your choosing and execute it effectively with an overview of achieving your goals and objectives. We'll discuss why your distribution strategy is so important and what your options are.
9.3: Theatrical, Community and Educational Screenings - Group screenings of your film - whether in a theater, a community hall or a library - all play to the idea of having your film distributed to a number of people for their enjoyment or education. And the bonus is: you can make money from these screenings. We'll show you how.
9.4: Broadcast and Cable Television and VOD - Have you hopes of seeing your film on Independent Lens or Channel 4? Are you confident your film would be perfect for Netflix or Hulu? If these are options that are inspiring to you then you will want to know how you can get your film in front of the right people at the right time. We'll give you guidance on how to do just that, plus we'll give you some advice on working with a sales agent.
9.5: DVD and Digital Download | Freemium Screenings - Can you imagine never having a version of your film on DVD to share and sell? No, nor can we. Although the world seems to be moving away from hard copy DVD's there is still life in that market yet. We'll give you advice on your DVD creation and digital download options, as well as, discuss which distribution rights you'll want to keep and which ones you may want to give away to the benefit of your film (and profit margins). We'll also give you some advice about working with a distributor.
9.6: Film Festivals - Love 'em or hate 'em they can serve a purpose for your film if your film's goals and intentions are in alignment with what they have to offer. We'll discuss the potential benefits of screening at a festival, how to apply and what you need to be cautious of as you do.
9.7: Additional Tips and Considerations - You know we like to give you extra things to consider and remind you of certain things that are especially important and bare repeating. Just when you think you're done, we've got a few extra points to through your way.
The Empowered Filmmaker
You have the ability and the resources you need to get your film out to those people who need and want to see it most. Believe us when we say it is in your hands. Never before has a documentary filmmaker had the resources and opportunities that you do now. Learn what they are, how they can be support you and then run with them, in whichever manner serves you and your film best.
We 21st century documentary filmmakers have the ability to achieve so much with our films, but sometimes we don't realize it.
We want YOU to know the potential you have for yourself and your film.
We urge you not to be restricted by the limitations imposed on the filmmaking model of yesteryear. The one that took away the power from the filmmaker and into the hands of others (Think: studios, distributors, etc).
So how do you find and maintain this empowerment?
Your responsibility, as an independent documentary filmmaker, is to align the goals and intentions you have for yourself and for your film project with the structure of the business aspects of filmmaking, as well as the creative ones.
The long held connotation of the independent documentary filmmaker as one who struggles to garner funding or distribution for their film, is based on a perceived lack of resources, but we do not believe this need ever be necessary.
You have everything you need at your disposal to make your best, most creative, well-funded and well-received documentary film.
But, you need to fully realize and accept it.
Every film, no matter how niche or abstract, mainstream or controversial, can garner the funding, support and audience it needs to be successful. And that includes YOURS!
There are no guarantees of a smooth journey with any film (even if you've previously had a box office smash), but we hope that within the Academy you have seen just how many opportunities you have to improve your chances of success (however that looks to you) and have more control over the shaping, making and outcomes of your film project.
But is wasn't always like that...
The Old Way
Before we really talk about the current state of play for the independent documentary filmmaker let’s take a look at the more traditional, familiar model of film distribution. The model that really did often leave us documentary filmmakers feeling frustrated, overwhelmed and dis-empowered.
The old model of distribution took the power and ability of getting a documentary film out to its audience away from the filmmaker and placed it firmly in the hands of others. It often involved the filmmaker getting their film in front of a distributor, preferably at a prestigious film festival, who would then pick it up, hopefully, although not likely, write them a big fat check and get their film out to an audience. However, the problems with this old model are many. There are so many variables that must align for this to work out for you, and very few are truly within your control. As a filmmaker you would therefore be left to do your best to get in on this cycle, hoping that you would be one of the few films to actually be picked up and experience ‘success’ in this way.
Now, even today, we’re not saying that you won’t arrange and negotiate with a distributor to work with you on your film or that as an independent filmmaker you wont build a team of supportive and skilled professionals around you. What we’re saying is don’t be solely reliant upon them. Don’t give them your power, your film and your intention and ask them to make your distribution dreams come true. Don’t find yourself at the mercy of a distributor or a sales agent, find professionals and companies you can truly collaborate with or else be your own distributor and your own sales agent, and get your film in front of your audience directly.
Which brings us to the new way…
The New Way
The new way of film distribution for the independent documentary filmmaker’s journey is the way of hybrid self-distribution. More than ever documentary filmmakers are taking on the role of distributor for their films (aswell as bringing on distribution collaborators and partners), but still all to often, they do so not as a strategic choice, but as a reaction to an inability to receive a reasonable offer of distribution from a third party or perhaps any offer at all. This does not have to be the case, in fact, it should not be the case.
You have the ability to create a well-considered, empowering and lucrative hybrid film distribution strategy, which is based on your goals, your resources and what you deem as success. It will not be formed by some cookie cutter or generic distribution plan, but tailor made and unique to your film.
You can customize your distribution and marketing strategies based on your film's topics and themes and your niche audience, making your more effective and your budget stretch further. You can see what's work and what isn't and adjust accordingly, you are in control of this and much more. You have the ability to form partnership and exploit free promotional opportunities to your advantage. You can find money for your film without ever having to write a grant proposal, if you choose not to. You can sell your film to almost anyone, almost anywhere in the world with just the click of a button.
Thanks to the creation of modern, next generation sales channels and platforms, options for screening documentary film and the ability for filmmakers to connect, communicate and engage with their audiences, the opportunities that are open to independent documentary filmmakers have broadened significantly. In the realm of film distribution there has never been a better time to be a conscious, empowered, independent documentary filmmaker.
Our unprecedented ability to grow and create revenue streams via multiple sources, whilst keeping control of our branding, our creativity and our financial means has developed an exciting new way of getting our films out into the world and assisting us to building lasting, sustained filmmaking careers!
Which distribution options will you decide work best for your documentary film?
Are you keen to arrange a distribution deal or are you determined to distribute your film yourself?
Perhaps you will opt for a combination of the two as we begin to look at all the various options that are open to you.
What is a distribution strategy?
Your film distribution strategy is a plan that you develop of how you intend to get your film out into the world and in front of its audience. Within your distribution strategy you will include the platforms and film screening options that you will be electing to implement, so your audience can obtain or view your film once it is complete.
These decisions will be influenced by the goals and intentions you have for your project and the knowledge you will garner and evaluate, about your audience and yourself, from the inception of your film and throughout it’s production. It may also be adapted by what offers come knocking at your door.
As part of your distribution strategy you will also wish to construct a release sequence based on the distribution options that your film will exploit.
When to form your distribution strategy?
Although distribution is often one of the last things documentary filmmakers consider as they navigate the filmmaking process, it is actually something that should be examined and strategized from the outset of our initial concepts.
What often happens, and understandably so, is that filmmakers put all their time, effort and resources into getting their film made, which means that by the time they come to distribute it they can be lacking in resources, and feel unsupported, in their ability to get it out to an audience.
It is a worthy endeavor early on in your film project to form a well-considered distribution strategy.
However, if you are at that stage where your film is almost complete and you have not begun to consider your distribution strategy do not feel disheartened. You will still form a viable strategy that works for you and your project. Next time, however, we recommend you start earlier, you’ll be grateful that you did.
Advantages of forming a distribution strategy early
- If you form a conscious, purposeful and considered distribution strategy early on in the formation of your film you will be giving yourself a great foundation on which to base your marketing, outreach and ultimately, the extensive viewing potential of your film.
- You will take away some of the fear you may have about how you will get your film out into the world. So that your film not only gets made, but is seen by an eager and engaged audience on completion. And in addition, it may help to inform some other aspects in the filmmaking process, such as, your film funding and your film’s content.
Don’t be misled though. We are not suggesting that you will form your distribution strategy at the outset of your film’s inception and there it will be set in stone. Your distribution strategy will not be complete at the first time of forming it!
However, developing your initial concepts and intentions early on, and just as importantly, knowing why you have chosen what you have. Then allowing your strategy to evolve as your film does and as your opportunities and your insights develop, will offer you the greatest chance of success for your film. Whatever you deem that success to be.
Where you will use it
Not unlike your fundraising strategy, and indeed all of your planning documents, you will use your film distribution strategy many times over the course of the making of your film. The main way you will use it is as a guide for you and your team to form a hybrid approach of the best and most relevant distribution options and avenues at your disposal.
After careful consideration you will decide which of the many potential avenues of distribution will work best for your film and yourself as a filmmaker.
Your film distribution strategy should be seen as a blueprint to which you will be referring, be further developing, evolving and keeping up-to-date so you are working with, and making decisions based on, the most thoughtful, useful and relevant information you can.
Other key places you will utilize your film distribution strategy are:
- Within your documentary film proposal
- In grant-funding applications
- When attempting to elicit other support or resources for your film
Any potential source of assistance you may generate to become involved in your film, or that you are in communication with about supporting your film, will potentially ask you to provide a well-constructed and seemingly viable distribution strategy.
Also, before you form your distribution team you will want to have well-considered concepts and some level of clarity over what you intend your distribution strategy to look like. You will, of course, be open and flexible to the opportunities, concepts, experience and insights of others, but having your own informed ideas and intentions will help set the tone and direction for your team.
As you can see your distribution strategy is an important document for you to consider and construct to ensure your film gets the support, attention and distribution that it deserves.
What you need to do or consider when forming your distribution strategy
1. Know who your niche audience are
As you will hear many times throughout our discussions on film distribution, having a tested theory (which we show you how to do in the niche audience tutorial) of who your niche audience are, provides you with a wealth of information which you can utilize throughout the life cycle of your film, and most certainly, in the formation of your distribution strategy.
We would actually go so far as to say that the key to the ‘new model’, hybrid or self-distribution strategy of independent film distribution is the understanding of who the audience for your film will be.
If you haven't already, please take a look at Tutorial 4.1: Niche Audience.
2. Partner relevant parties for mutually beneficial relationships
Forming partnerships and relationships with relevant parties and by which we mean, businesses, companies, organizations, influencers, celebrities and media and other outlets, who are supporting, connecting with or providing content to your niche audience, can assist your film in multiple ways.
You can gain publicity for your film opening you up to additional consumers or supporters, you can increase your revenue – directly through sponsorships or DVD, merchandise or screening sales or indirectly through increased consumer awareness, you could be personally introduced and validated to other potential partners or supporters and you can gain credibility for your project through association with certain organizations, individuals or outlets.
It is, of course, imperative that you first know who your niche audience are as you determine which connections and partnerships to establish and nurture. We have delved into this much more deeply in both Tutorial 4.1: Niche Audience and Tutorial 8.1: Partnerships.
But what we will say, with regard your distribution strategy, is that your ability to market and promote your film will hugely affect your intended distribution strategy and the experiences and opportunities that follow once you begin to implement it.
3. Attend events and talk to people
When considering which avenues you should navigate with the distribution of your film it is highly advantageous to speak to professionals in the industry, sales agents, distributors and, of course, your niche audience and partners.
Knowledge is power and connecting with those in the industry will give you some of that power and clarity that you'rel looking for. You will either inadvertently or directly be receiving valuable and empowering information when you instigate these conversations.
You will not form such a competent, realistic and reliable distribution strategy in isolation or through assumption.
We recommend you attend events, conferences, groups and meet ups.
You will certainly find information and insight, but you may also find additional resources or a path to those you can and should be liaising and dialoging with.
You can also garner a wealth of information, which could greatly help inform your distribution strategy by talking to other filmmakers.
• Who have they worked with and would recommend to you?
• What deals have they negotiated and with whom?
• What pitfalls have they encountered that they can share so you can avoid?
Distribution professionals may be able to inform you if someone in a particular role would be a beneficial addition to your distribution strategy, or indeed, give you further clarity on distribution options that would be wise for you to utilize.
Talk to sales agents, reps, distributors, television stations, channels and networks, theater owners, film festival organizers and more.
We would highly recommend you gain knowledge and advice from both professionals in the world of distribution and filmmakers alike, those who have gone before you in getting a film out to an audience.
4. Your personality and your films subject matter
Your consideration of both these aspects – your personality and your film’s subject matter – may have, and quite possibly should have, a significant impact on which distribution options you pursue in your distribution strategy.
Considering what you will feel comfortable and able to pursue - and here we’re not talking about skill or resources, but rather who you are and how you feel in certain circumstances and about certain things.
- If you are not someone who is comfortable speaking in front of a live audience then you may not wish to do a live Q&A tour with your film.
- If you are unable to fly or travel far from home, then you will want to make provisions for that in your distribution strategy, perhaps allocating a representative to travel for you.
- If on the other hand, you are a natural with an audience or certainly confident enough to give it a go, then a speaking tour of your film may be appropriate and beneficial.
We can grow and evolve and situations that may seem foreign or daunting to us can become known and enjoyable once we experience them for ourselves.
So we’re not saying that you should not venture out of your comfort zone, but what we would suggest is that you honestly and consciously take into account the kind of person you are and what you would be comfortable being a part of.
And with your film’s subject matter consider which distribution options will best convey and showcase the essence of your film in the most appropriate and effective way.
After all, it is your film’s subject matter that has likely guided you to, and drawn to you, your niche audience and helped you to garner partnerships and other supportive areas of merit.
Understanding exactly what your film’s subject matter is, who it speaks to and the people whose messaging it will resonate with, will go a long way in helping you decide upon your film distribution options and ultimately in constructing your overall distribution strategy.
5. How are your budget, time and resources supporting your distribution strategy?
Some forms of film distribution require more commitment –both financial and time - than others, as they take longer to plan and execute and are more costly to implement.
Carefully consider your own distribution budget and the time and resources that you can allocate to the distribution and promotion of your film.
If you are, or are becoming, a career filmmaker then you will need to prioritize the distribution of your film above many other responsibilities you have.
However, if your project is something that you have created as a hobby or weekend project then you may not be able or willing to devote a lot of time to the distribution of it.
• How much travel are you willing or able to do?
• How much time are you willing or able to give?
• Where on your list of priorities does getting your film out to an audience fall?
Being honest in answer to these questions will help greatly in ruling in or out some of the distribution options we'll discuss.
By developing an informed distribution strategy early on in the life of your film you will be giving yourself the best opportunity to know what resources you will need to be garnering and relationships you need to be nurturing - as well as utilizing the information, advice and guidelines you have sourced - to make the most of what you have to offer.
In addition, knowing where you will need to and where you can, outsource tasks to others will be an important consideration ahead of time as they can significantly affect your film budget.
• Will you take on a full-time or part-time assistant to help you?
• What industry professionals will you need or want to work with?
• Will you require additional funding toward the end of your project to assist with executing your distribution strategy?
The more informed, honest, realistic and organized you can be with regard to the money, resources, time and energy you have to give, and want to devote to the distribution and marketing of your film, the more competent and effective you will be making your distribution strategy.
6. Don't forget your goals and intentions
And just a quick reminded to keep in mind the goals and intentions you considered from the outset. Keeping your goals, intentions and objectives at the forefront of your mind, will help to give direction and clarity to your strategy and the ‘bigger’ picture of what you’re hoping to achieve.
Utilize what you have deduced as your main priorities to help answer questions when they arise and guide you through challenges, difficulties or triumphs when they happen. It’s much easier to form a plan of action, and actually execute it, when you have conscious clarity over what truly matters to you and where you intend yourself headed.
Your Distribution Options
All of the following distribution options can be part of your distribution strategy if you so choose. The challenge is creating a hybrid approach to your distribution which supports you in implementing and exploiting each one to the fullest. You can do this by bringing on the right people to help you achieve your goals, balancing what you are open to giving - in time, money and other resources - and being focused on your projects goals and intentions.
- Theatrical screenings
Theatrical screenings have long been held in the highest of esteem for filmmakers. They give credibility to a film and excitement to the experience of watching it. Whether you work with a distributor or not, theatrical screenings are an option for your film.
- Community screenings
Also referred to as non-conventional theatrical screenings or semi-theatrical screenings, your community screenings involve your film being shown outside of a conventional movie theater and instead in less orthodox venues. You can get creative with this type of screening, as long as you organize, market and execute it effectively. And you can also be paid by others to hold them for you!
- Educational screenings
There is a whole world out there focused on education and practitioners are looking for resources to support them with that. Could your film be one of those resources? If so, this could be a highly lucrative avenue of distribution for your film to navigate.
- DVD and digital download
Hard copy DVD and digital downloads of your film are two sales channels that YOU will want to exploit yourself as you share your film with the world. You may wish to through fulfillment agencies and online screening platforms
- VOD
The newer kid on the block, and the one that many documentary filmmakers want to learn how to play, are video on demand platforms. This is a medium that is evolving as the technology improves and the demand increases. We'll take a look at the different platforms and options open to you for your film.
- Freemium Screenings
Have you ever considered sharing your film online for free? Say what!? We know it may sound somewhat crazy, but it is possible to make a good return on your film screening by offering it for free. We'll talk about how to make that work in Tutorial 9.5.
- Broadcast and Cable Television
Whether you plan to have your film feature on local, national or international television you will need to determine the right path to your desires. Does the channel or network accept direct submission so you can apply yourself or will you need to hire a sales agent to do the deal for you? We'll take a look at some of your options in this tutorial.
- Film Festivals
You may wish film festivals to be part of your distribution strategy, although as opposed to the old model of documentary distribution, you won't want them to be THE distribution strategy. They can play their part, if you want them too, but you must know what you will be gaining in return.
Takeaways
Your film distribution strategy is a plan that you develop of how you intend to get your film out into the world and in front of its audience.
It includes the platforms and screening options you plan to make your film available on.
What you choose will be based, at least in part, on what your goals and intentions are. Both for your film and for yourself as a filmmaker.
You will want to construct a release sequence based on the distribution options that your film will exploit and in the most opportune order.
Your distribution strategy is something that should be examined and strategized from the outset of your initial concepts.
If you leave it late to consider your options you may end up with limited resources to make your distribution plans a reality.
By forming your distribution plan early: You will have a great foundation on which to base your marketing, outreach and ultimately, the extensive viewing potential of your film. You will take away some of the fear you may have about how you will get your film out into the world. Allow your strategy to evolve as your film does and as your opportunities and your insights develop.
You will use your distribution strategy in your documentary film proposal, in grant funding applications and when eliciting other forms of support for your film.
Considerations/advice before forming your strategy: Know who your niche audience are, partner relevant parties for mutually beneficial relationships, attend events and talk to people, consider your personality and your films subject matter, how effectively your budget, resources and time supporting (or hindering) your distribution options and, importantly, what are your core goals and intentions.
Some of your distribution options include: Theatrical screenings, community screenings, educational screenings, DVD and digital download, VOD, freemium screenings, broadcast and cable tv and film festivals. These are the options we will look deeper into in the next lessons.
Theatrical, Community and Educational Screenings
When we think of screening our films we've traditionally think of the conventional theater setting. After all, isn't this is what many filmmakers hope to achieve with their film? Do you?
What's really cool is that the opportunities for having our films be screened to a collective group of people has expanded as we see more and more films be screened to community groups outside of the conventional theater. Sometimes in the most random and inventive of places!
We'll take a look at both of those options in the tutorial, as well as, the educational screenings market and how your film might fit in there.
Theatrical Screenings
How important are theatrical screenings to you?
Showing your documentary film in a theater is something that many filmmakers aspire to and there is no reason why your film should not be presented to an audience in this way. However, what you need to discern are the details that surround it.
• What we mean by that is how extensively do you want your film to show in theaters?
• Would you be happy to premiere it at your local theater and then move on to other distribution options or would you like to have an extensive theatrical release as a key part of your distribution strategy?
These are obviously two very different things.
If you would like theatrical screenings to be a part of your distribution strategy then there are options open to you, outside of the conventional distribution deal.
However, unlike with a distribution deal, where much of the work will be done for you and your contribution is not required to be so great, if you are to proceed with theatrical screenings as a self-distributor your workload could become extensive.
That's not to say you shouldn't do it, but you must bare this in mind as you form your distribution strategy.
Theatrical screenings without a distributor
As a self-distributor you will need to make the booking and negotiate the deal with the theater.
Also you will be responsible for:
• Marketing, advertising, publicity and promotion of your film
• Your key art, log line and trailer
• Delivering the film, prints, promotional materials and other assets to the theater
• Collecting and possibly chasing, the revenue owed to you.
Although you can, of course, hire personnel or professionals to assist you with these requirements, such as:
• A publicist
• A graphic designer
• Marketing and advertising consultants
• Administrative assistant
It is you that will be at the seat of responsibility for coordinating your team and ensuring everything runs smoothly if you plan a screening tour without an official distributor.
If you are planning to make this a part of your distribution strategy then we recommend you are conservative with your initial release. Consider putting together a small tour with you film, perhaps initially 5 to 10 venues.
If you’ve been building your audience throughout the formation of your project, which is integral, then you should have some clarity on where these screenings should take place. You will hopefully have an engaged and anxious audience ready to fill those seats!
Once you have shown success at those venues you will be able to prove an interest and provide an incentive to other theaters to get onboard with screening your film, which will allow you to extend your reach.
You can then expand your tour and move from city to city or be screening in multiple cities at one time.
Depending on your commitment, availability and interest in doing so, you can take some time to tour with your film, which will allow you to form even stronger connections with your audience and if you’re willing and able to do so, you can present live Q&A’s which will encourage larger numbers and more engaged viewers.
Booking the theater
When booking your film into theaters you can either hire a booker to do it for you or you can make the booking yourself.
If you’re doing it yourself then you will want to do something like this:
• Find an independent theater in the area you wish to screen your film. To begin with this may be where you know your niche audience will want to view it (this is where your niche audience research will support you). As you expand your tour you can look at other criteria, such as, theaters that have shown films similar to yours with success.
• Once you have found their information call the theater directly. Ask to speak to the booker or the person in charge of programming.
• When speaking with the relevant person have a brief pitch ready for them about your film, any success or awards it has generated and any other supporting information, which will give them the indication that screening your film will be a good idea for their theater.
• Once they show interest or agree to show your film then you’ll need to determine the terms of your screening. The theater may screen your film based on the deal you negotiate, which could be:
A percentage split - Giving you somewhere between 30 to 50% of the door
Four wall - You effectively rent the theater for screenings over a period of time, be that one night or a week. If you are in a location abundant with your niche audience, then ‘four-walling’ may be a great and lucrative option for you.
For more information on theatrical four wall distribution check out this wiki page and Videomaker article.
Minimum guarantee against a percentage - If the theater don’t make a certain amount, you will have to make up the difference. (This shouldn’t be more than if you where paying their four-wall fee).
• Get clear about any additional terms or requirements, such as, minimum paid advertising to promote your film. You may want to negotiate and will certainly want to fulfill all the requirements set forth before you and agreed upon.
• Also, remember regardless of whether it’s mandatory or not, you and your team are going to have to promote this screening yourselves and this is important to plan for. You will need to tailor your campaign to each city you screen in and connect with relevant media, influencers and organizations who can help you.
• Ensure you have your deliverables in order. Be clear about what the theater is expecting from you and by when, from the film print and format to the promotional materials, such as, trailer and poster for your film.
Independent Theaters Worldwide
We have curated a list of independent film cinemas and smaller arts theaters throughout the world. This list is far from extensive, but could be used as a start to begin to reach out to cinemas that would screen your film.
>>> Access the Database here <<<
Please feel free to contact us to add theaters to this list so we can continue to share this information with the community.
Promotions and marketing
When money is not made - but actually eventually lost - from a theatrical screening run, it is often not the fact that screenings do not have enough attendees and therefore are not generating income at the door. It is often, in fact, due to the amount that the filmmaker had to pay to promote and market the screening in the first place that takes the event into the negative.
That is why you must be very savvy with your promotion and marketing strategy and why we dedicate a whole section on promotion and marketing know-how in this Academy. Take a look there to go over the promotions and marketing strategies we suggest, but in essence you will be...
Building a grassroots connection with individuals, groups and associations, being active and engaged with your followers on social media, having press materials and contacts with local and national press, being connected to influencers within you niche audience and touring regions and having multiple beneficial partnerships, all play a part in the successful and relatively lower cost enactment of your promotions and marketing strategy.
You will want to have some paid marketing and promotions too, but this can be minimal if you are engaging with the free resources we have listed above. Just remember whichever paid resources you decide to engage keep yourself within a budget and keep an eye on the analytics of how effective each resource is being. What we're saying is, only pay when it's bringing you a return that's worth the investment amount. You will decipher this through trial and error initially, but you won't learn or make the most of your paid marketing and promotions if you don't know your ROI (return on investment).
You can, and perhaps should, look into how much it would cost to hire a PR or marketing consultant to work for you in promoting your film and tour. Whether those costs will be justified and align with your goals and objectives is for you to determine, but knowledge is power so make the call and an informed decision for your film.
We provide information on how to find and work with a sales agents in tutorial 9.4. and a distributor in tutorial 9.5.
Our World Screening Tour w/ Elvis of Cambodia When we embark on our theatrical tour we will be booking all the theatrical screening venues ourselves based on where our niche audience resides. We are fortunate that our niche audience - Cambodians and Cambodian refugees - are located worldwide and that there is data to show exactly where they are. Some cities within the USA were known to us as having a high concentration of Cambodian-American refugees, such as, Long Beach, CA and Lowell, MA. This information was gathered through the course of making our film and building our social media. But there are several other towns and cities in the USA and other countries with high numbers of Cambodian refugees also. Fortunately for us a simple google search brought up information in Australia, New Zealand, France and more. We tell you this because one way or another, if you are planning a theatrical release of your film (be that independently arranged, with the help of a booker or through a distributor) you will want to know where there is a high concentration of your target, niche audience. Now you may not be able to find them in the same way as we did, through a simple google search focusing on race, ethnicity or country of origin. You may need to focus on and connect with associations related to your given topic and determine from there where there are high concentrations of your niche audience. Also, where is there local events or press that cater to your niche audience? Of course, you can and should be talking with individuals from your niche audience who can give you insight into the community and locations you may consider. We would recommend you utilize this information to do further research into the area and make connections with community members on the ground. Regardless of how you gather this information, you will want to zero in on finding out where there are higher concentrations of your niche audience and begin your screening tour in these places. Soliciting some successful screenings and events, some great press and reviews and meeting and making new connections can only improve your chances of success at extending the tour further into your niche community, and outside of it too. |
Important considerations for viability
Some important considerations when it comes to theatrical distribution include:
Financial return
• If making money is a primary goal and intention for your film then you need to carefully consider if theatrical screenings are the road for you.
Unless you are very careful, cautious and considered with where you are screening your film and how you go about doing so, then there is the real possibility that you may actually lose money.
However, it is often not the cost of screening or the split with the theater that instigates this, but the cost of marketing and promoting your film.
That is why, as we've said, we advocate for forming a tight connection to your niche audience and advise on multiple ways to develop low cost or free publicity for your film throughout the Academy.
Keeping your costs low and getting bottoms on seats is what makes this a viable model of distribution if making money is your aim.
Other returns
• If money is not your primary goal, then you could consider allowing theaters to screen your film for free.
Consider how having theatrical screenings be a part of your distribution strategy assists your film in other ways than financial. If your intention is to build a strong connection with your niche audience, then being accessible to them, if you travel with your film on its tour, can be advantageous.
As can the inevitable promotion for the screening of your film help to increase awareness and sales of your other ancillaries, merchandise and packages of your film.
Screening Event
• You can (and perhaps should) consider turning your screenings into an event.
You can mobilize your grassroots community to become directly involved in creating an exciting event rather than just a viewing of your film.
Ideas include:
- holding a raffle or auction
- inviting special guests or celebrities to say a few words
- hosting a live performance, possibly including a live band, singers or dancers
- having a prominent display of DVD’s and other merchandise available for purchase and some other relevant literature or resources available to generate conversation and support
Note: Request that someone from the theater, someone that you hire or have a member of your grassroots team outside of your theater screening selling your film and merchandise so that you don't have to worry about rushing out to be facilitating sales. Ideally it will be someone connected or educated on the film so they can engage in conversation, as well as facilitate sales. The important point is that you can not be responsible for this role on the night of your screenings, ensure you appoint someone else (trustworthy) to the role.
And speaking of events...
Partner Sponsorships
• You can utilize your connections with partners to put together special screenings that not only show your film, but promote and educate on the partners mission and objectives.
This can be a win-win for your film and your partners.
You may be able to use this model to offset some of the costs of screening your film if they sponsor your event, or if you negotiate a campaign with your partners, they may cover all the costs for certain phases or places on your tour.
Corporate Sponsorships
• Also, outside of your official partners you can garner local, national or international business or corporate sponsors to pay per screening or for part or your whole screening tour in exchange for promoting them through your screening promotions and marketing materials and perhaps a brief introduction at the event.
Your commitment and resources
Something important to consider when developing and executing theatrical screenings of your film is that it will take considerable amounts of time, meaning both in how far in advance you will need to be making bookings and negotiating with theaters and in the amount of time required for you to coordinate and execute everything involved in it. It’s important you don’t underestimate the commitment you will be making in order to make your vision a reality.
Another thing to consider, and budget for, is that if you four-wall your screenings you will be paying for the theater ahead of time, before you have made any money. This is achievable if you strategize effectively, but is worth noting as to not catch you off guard.
If you decide that independently held theatrical screenings will be a part of your distribution strategy then you are going to have to be very clear on your objectives, your niche audience and your partner involvement. You will also need to be patient, organized and strategize effectively, or hire some professionals that can help you.
Takeaways
Consider how important theatrical screenings are to you and how extensively you would like your film to run.
Consider whether your would like to work with a distributor or self-distribute (but be aware that the work load could be extensive).
If you choose to self-distribute your film at theaters then you will be responsible for: Marketing, advertising, publicity and promotion of your film, your key art, log line and trailer, delivering the film, prints, promotional materials and other assets to the theater and collecting and possibly chasing, the revenue owed to you.
Although you can, of course, hire personnel or professionals to assist you with these requirements, such as: A publicist, a graphic designer, marketing and advertising consultants and administrative assistants.
If you are going to self distribute then you may wish to put a small tour of 5 to 10 venues at first before extending your run once you can prove out the interest in your film.
Leverage your email list and other audience connection to fill those seats and choose appropriate venues based on where your niche audience can attend.
To book theaters: You can either hire a booker or do it yourself (or someone from your team), find an independent theater you'd like to screen at, contact them directly asking for the book or the person in charge of programming, give that person a brief pitch and information on successful runs, awards, press, etc and once successful, determine the deals of the deal.
Will you decide on a percentage split, a four wall or a minimum guarantee against a percentage?
Be clear about: Any additional terms or requirements, the promotional work you (and your team) are going to have to organize and what the theater is expecting from you and when.
Promotions and marketing will be greatly helped by forming a grassroots foundation, but you will want to have paid promotions and marketing too. Be careful to strategically get the best ROI (return on investment) for the money that you spend.
Consider if your primary goal and intention is to make money with your film or if other considerations take precedence.
Perhaps consider turning some of your screenings into events, possibly with sponsors or paid partnerships.
Be honest with yourself about your commitment, resources, time and energy that you are willing to give to your film distribution. And consider your skillset and who you would need to bring onboard to assist you if theatrical screenings are to a part of your distribution strategy.
Community Screenings
What are community screenings and where are they held?
Community screenings are live events, which involve organizations, groups or community members screening your film to an audience or you yourself, organizing a screening of your film outside of the conventional theater setting. In fact, they are often referred to as non-conventional theatrical screenings or semi-theatrical screenings.
They can be held in non-conventional venues such as:
• Churches
• Universities and colleges
• Museums
• Community centers and halls
• Outdoor events
• Houses or backyards
• Or anywhere the imagination of the organizer allows
If being held by an external organizer then these screenings are organized, promoted, and all screening preparations made by those organizers of the event. In this case, your responsibility as the filmmaker is to ensure all deliverables are provided and some ideas, guides and supportive materials on how the event can unfold are shared.
You want the community screening to be every bit as successful as the organizer does, so having content prepared to support them in their endeavor will not go amiss. This is where your screening kit will come into play.
Your Screening Kit
The screening kit contains everything the organizer of the event will need to put the event together. Along with a DVD copy of the film, ideas for screening kit content include:
- information, insight and behind-the-scenes knowledge into your film
- discussion guides to encourage conversation about the content of your film
- information on your impact campaign or movement and links to resources
- a customizable rundown of how the event period may play out
- advice on how to garner sponsorships for the event
- recommendations on how to promote and publicize the event to their community
The Screening License
There is a fee payable to you from the organizer, which will be significantly higher than that of a personal use DVD. You will want to tier the licenses you offer in accordance with the facility utilizing them.
You will likely want to differentiate between:
- colleges and universities
- businesses and corporations
- non-profits and community groups
- schools and public libraries
How much you charge is up to you, but prices can range from $100 to $300.
It may be a case of trial and error until you find the right price point, so keep an open mind what will work for your film and those interested in it.
You must also determine if the license is good for one event, several or an unlimited amount, and at one or more facilities.
The fee gives them a license to screen your film, the screening kit that accompanies it and other optional promotional materials at your discretion, which could include:
- postcards
- film posters
- t-shirts
- bracelets
- bands
- canvas bags
Getting your screenings mobilized
To get your community screenings mobilized you will want to have a connection with your niche audience and encourage them to hold screenings for others within their community. Your niche partnerships can come into play here with organizations, influencers and media publications promoting the opportunity.
If you will hold the community screening yourself then much of what we discussed in the theatrical screening tutorial applies here too. (Of course, this includes the promotional and marketing aspects as well). The difference will be that instead of dealing with an established theater you will be arranging with a facility organizer of a different kind. Having said that, there are some considerations you'll need to take into account dependent on the locations you choose and we'll go over those in a moment.
Your community screening event
We've primarily discussed someone else organizing a community screening of your film, but you can also organize your own community screening events to coincide or replace your conventional theater screenings if you choose to.
• Facilities - One thing you will need to consider carefully when choosing where to screen your film is if it has all the facilities your audience will require. This could be even more important dependent on the topic of your film. If you film addresses stories and issues related to disability then you will have to accommodate those with restrictive physical needs. It is important that we all do this to an extent, as we do not wish to alienate or exclude people due to a lack of facilities and forethought, however, those with specific issues at the heart of their film need to consider their audience members and their needs on a different level. At a minimum every venue you screen at should have wheelchair access (unless there is a very good reason for it not being possible).
• Recce the location - You'll want to recce the location to check on the facilities offered (as mentioned above) and to determine the following: The equipment they have available, the seating they have available, the layout and set up of the space, the lighting set up at venue, if it has what you need to accommodate your singers, performers or other event additions, if you can serve drinks and refreshments, if you can control the temperature, where there is a space to sell merchandise, if there are any interruptions due to excessive noise or loud sound. Is it under a flight path? Is there a bar or club nearby that has a band? Visiting the location is the best way to determine the answers to these questions, however, if this is not possible then you will need to have a comprehensive and detailed list of important questions to ask.
• Accessibility - You could have the best venue or location in the world to screen your film but if your audience can't get there you're not going to have a successful event. So you need to consider, how will people get to your screening? Is there public transport nearby? Is there adequate parking available at the venue or do you need to inform attendees of another local parking space?
• Licensing - You will need to check with the venue as to whether they hold the correct licenses to hold events in their facility. Also, you may need to contact the local authorities to determine if you need to apply for an event notice or other form of documentation. This will be dependent on where you are choosing to hold the screening, but it's important to be aware of what is required of you so you don't get shut down, or worse, sued.
• Technical requirements
You'll be needing a screen, to screen your film. And a projector. Will you be renting or buying these items? How will you play sound? You must ensure that it's synced with your film. You need to make sure you have carefully considered the technical aspects of screening your film as these will not necessarily be immediately available to you dependent on the location and what they have to offer.
Note: If the venue has some of the equipment you need, then ensure that you do a check and run through well ahead of time of the screening AND always have back-ups in place whether you are supplying your own equipment or using others. Equipment can fail at any time, be prepared!
• Watch the weather - Ask with any event, whether indoor or outdoor, the weather can impede your plans. If you're outdoor, what will you do if it starts to rain? If you're screening in winter, what if there's a snow storm? We had this happen to us once with a screening of a short film. We wanted to cancel the event (due to safety and liability) and the family of the subject didn't, we didn't have a protocol in place and so we went along with the families wishes. It's good to consider ahead of time you stance on these situations so you are prepared and able to act effectively should they arise. In the end, the screening went off without a hitch, but there could have been an issue and some level of responsibility would have been accountable to us, even if just in our own minds.
• Make sure it is dark - Another small note (and slight pet peeve) Before you start the film the room or the night sky needs to be dark/pitch black. There's nothing worse than trying to watch a film when you can't see it clearly on the screen. If you're outside it's worth the wait, just be clear ahead of time when to expect sunset. And to that end, also consider street lighting, buildings, etc for interfering with your viewing pleasure.
• Screening Schedule - You will want to have a plan for how the night will play out. What time will the entertainment come on? Have you practiced your introduction speech? Who will be on the panel (if there is one)? What questions have you planned in advance to start proceedings? How long do you anticipate your post-screening discussion/Q&A to be? You are basically a filmmaker that has morphed into an event planner. This could be really fun if you love organizing and gathering people in this way. If not, bring on someone who does. Things will go more smoothly is you do.
Speaking engagements
Another additional revenue source generated through community screenings, which are being organized by other parties, is the ability to be paid to attend and speak at them.
If this is something you are comfortable doing then it can be a great additional revenue stream and once again, an opportunity to meet with your niche audience and network.
Again what you charge is up to you and dependent on what you hope to achieve with your film - fiscal success, eliciting movement or change or developing a strong relationship with your niche audience for future endeavors. Your motivations, your ability to share your time and resources and the financial resources available to those making the request, will ultimately determine how much your speaking fee will be.
Takeaways
Community screenings are live events, which involve organizations, groups or community members screening your film to an audience or you yourself, organizing a screening of your film outside of the conventional theater setting.
These screenings are often referred to as non-conventional theatrical screenings or semi-theatrical screenings.
They are sometimes held in non-conventional venues, such as, churches, universities and colleges, museums, community centers and halls, outdoor events, houses or backyards or anywhere the imagination of the organizer allows.
You should provide a screening kit to organizers which, along with the film DVD, can include: information, insight and behind-the-scenes knowledge into your film, discussions guides, impact campaign information, customizable rundown of event, advice on garnering sponsorships and how to promote event in community.
Also, optionally, could include: T-shirts, postcards, film posters, bracelets, bands and canvas bags.
There is a fee payable for the screening kit, which can range from $100 to $300.
Connecting with your niche audience members can help to get your screening mobilized.
If you are arranging your own community screening, then consider these aspects: the facilities of where you are screening, ensuring you recce the location, accessibility of the location, licensing, technical requirements, the weather, what time the sun goes down (if applicable) and the screening schedule.
Consider adding the option of speaking engagements as a string to your bow as a way to generate more revenue and to engage further with your audience!
Educational Screenings
You can, of course, form a distribution deal with specialist in the educational film market if that is a form of licensing you would like to push.
Whether it is or not will likely depend on the topic, tone and quality of your film and, therefore, it’s appeal to that market.
If you feel your film is viable to the education market and you’re going it alone, without a distributor, then you will want to reach out to colleges, universities and schools who may wish to license your film for screening with students.
This kind of licensing can be incredibly lucrative. For colleges and universities it can be in the realm of $250 to $350 per facility. Which if you aren’t incurring the costs of a distribution partner could add up nicely, although of course, it will take up your time.
You will wish to retain your educational market rights when negotiating with distirbutors and only give these rights away to a specialized educational film distributor. If you allow them to become part of a deal with a generic distributor or one that specializes in other areas, you can almost guarantee that your educational market will not reach it's full potential.
Note: You may find that educational distributors will not wish to take your film if it has been released on consumer DVD. In fact, they may require that your film not be released for several years so as to exploit the educational option to the fullest. This is because educational distributors are afraid that once a consumer DVD is available at a lower price point the need and demand for a educational version at perhaps 10 times the cost with not be there.
Broadcast and Cable Television | Video on Demand
There are now a plethora of video on demand (VOD) platforms available to the documentary filmmaker, but that doesn't mean you should necessarily rule out broadcast or cable television options either. Deciding with platform is right for your documentary film will depend on you getting your film in front of the decision makers who can offer you a deal, which you can choose to decline, negotiate or accept. Let's take a look at how you can do just that!
Broadcast and Cable Television
Having their film be shown on television can be a real aspiration for documentary filmmakers.
Whether that be shown on one of their local public television stations, or perhaps one of the larger, national channels, which in the U.S. may be a PBS’ program like Independent Lens or POV and in the UK may be for channels, such as, Channel 4, ITV, or the BBC.
Will broadcast or cable television be an integral part of your own hybrid distribution strategy?
Direct Submission
Unlike with VOD platforms, some television channels and stations permit you to submit your film directly to them yourself and it will be your responsibility to check that you meet their eligibility requirements before doing so.
Make sure you do your research and your due diligence before you reach out or submit your project. You should look up these requirements and application guidelines online, which will be relatively easy to source.
Here are links to some television channels and stations that you may wish to submit to:
Independent Lens - Submit your project | Production Guidelines
POV - Submission Guidelines | About
Channel 4 - Documentaries Commission | Proposals
BBC - BBC Pitch | Pitching Documentaries | Pitch Guide
ITV - Factual Programming | Current Affairs
If you are unable to determine from their website if a channel, station or network does permit direct submission then you should try emailing them with a description of your project and a request for more information on how to submit your project to them.
You should research and exploit to the fullest your broadcast and cable television screening opportunities if you wish them to feature in your distribution strategy.
Resource: How to get your documentary on public television by No Film School
If you have a questions - ask! And this goes for all aspects of your distribution strategy, but certainly not least for broadcast television, which can sometimes seem complex and somewhat unattainable. Do not be afraid to reach out to channels, stations and networks to find out how to get your film seen, to try to connect with relevant departments or to get clarify on any information. If you are unsure how to proceed with them, send an email or pick up the phone to connect. Just make sure you do whatever research you can first before making the call. Advocate for your film by increasing your knowledge and connections in the world of broadcast television. |
Sales agents
As I’m sure you will have observed by now we are advocates for the self-distribution model, but we are also advocates for hiring the right person for the right job where we see fit. Therefore, we would propose, as a way of getting your film on broadcast television, you consider working with an experienced and competent television sales agent.
Working with this sales professional, the opportunities and scope for your film to be sold, to a potentially worldwide audience, will open up considerably. And in a way that you would not, realistically, be able to achieve on your own.
Sales agents have extensive connections with international buyers and experience in segmenting and selling rights to individual territories. They also travel to and attend specific television sales markets all over the world. Making them a potentially excellent addition to your distribution team.
You should expect to pay a sales agent around 25% of the sales fee and possibly some additional expenses, which you should cap in your agreement.
Ensure you keep copies of all the signed agreements you have made will sales agents and all the deals made by them for your film. Also, you need to ensure that anyone selling your film knows about all your other deals and restrictions.
Ensure you hire someone with experience and credibility. Get recommendations and do some research before taking them on. After all, they are going to be out there representing you and your film to the world and handling funds related to and rights belonging to your project, you want to know that those things are being processed and distributed honestly, considerately and legally.
As we’ve discussed, it is worth taking time to research, and if necessary contact, the channels, stations and networks available for direct submissions. Doing this early on in your project, will help inform your distribution strategy.
And additionally, will allow you to tailor your content to fit the requirements set forth. Once you feel that you’ve exhausted these options, or you want broadcast television taken off your plate, then plan on hiring a television sales agent who will do the work for you.
Josh Braun | Submarine | info@submarine.com
TIFF 2018 | What do sales agents and film representatives want?
Networking and pitching
Networking and having your film known by influential partners is to have your film play at top tier film festivals and to attend industry events. Sales agents and distribution deals are built on, not only having a great documentary film, but also forming and cultivating successful and collaborative relationships.
Meeting, and potentially pitching, your idea to those with the experience and knowledge of the documentary distribution industry who may come on board with your film or be able to point you in the direction you need to go, would be highly beneficial for you project.
American film Market - The most efficient film acquisition, development and networking event in the world. Unlike a festival, AFM is a marketplace where production and distribution deals are closed. More than US$1 billion in deals are sealed every year — on both completed films and those in every stage of development and production.
International Filmmaker Project - IFP Week | A week of meetings, screenings, panels, meet ups, and exhibitions centered on connecting compelling independent big screen, small screen and new content formats to Industry that can propel it forward and get it to the marketplace. IFP Labs | Provides filmmakers with the technical, creative and strategic tools necessary to launch their films – and their careers. All labs are open to first-time feature documentary and narrative directors with films in post-production.
Hot Docs / Toronto - Submit your film project to Hot Docs’ market programs and pitch to the industry’s leading decision makers who can finance, acquire, distribute and program your work.
IDFA Forum / Amsterdam - Influential meeting place for filmmakers, creators, and producers working on ground-breaking creative documentaries and new media projects. A compact four-day program of public presentations and one-on-one meetings. Decision makers, producers, and other documentary stakeholders discover a wide variety of outstanding documentary projects that includes theatrical releases, series, and interactive new media projects from around the world.
Good Pitch - Bringing the world's best documentary filmmakers together with leading changemakers around urgent social and environmental issues. It forges new coalitions and campaigns that are good for the films and good for society.
Takeaways
You can submit your film for consideration directly and it is up to you to check the eligibility requirements.
If you are unsure if they accept direct submissions then you should reach out directly and, giving a brief overview of your film, asking how you can submit it to them.
Broadcast television can seem complex and unattainable as a distribution option, but we want to encourage you to reach out to any platform that you are interested in pursuing if you unable to find clarity online.
Note: Ensure you do your homework and garner all the information you can before reaching out so you are as informed as you can be and can pertinent questions when contact is made.
You can consider working with an experienced sales agent to sell your film. Just ensure they are reputable and credible. Try to get a referable from someone who has worked with them and you trust.
Consider pitching your project to those who could be potential agents for it's distribution or at least offer you advice and potentially other resources or contacts. Work case it is a great way to network with industry professionals and possibly other filmmakers too.
Video On Demand (VOD)
Video on demand is a form of digital distribution that has risen in popularity over the past decade. It is a viable option and will likely have its place within your distribution strategy, but it probably shouldn’t be the first port of call when constructing it.
It could be that VOD platforms could be best utilized later in your films life cycle and may not be something you will want to do initially, but you will need to make this decision for yourself.
We might recommend that you exhaust or certainly focus on the first two options we discussed – theatrical screenings and community screenings – if you plan to incorporate them in your distribution strategy, before placing your film into the VOD world. That is unless, as with certain distribution deals, you receive an amazing offer you just cannot refuse.
So let’s look at the options open to you with video on demand.
Transactional Video on Demand
You could opt for transactional video on demand or TVOD, which involves a platform where the consumer makes a direct financial transaction to watch your film, either by renting or purchasing it. Platforms where this is utilized include cable television, on Amazon and in Itunes.
You, the filmmaker, will receive between 50 to 70% of the revenue generated depending on the platform and whether it is a rental or outright purchase of your film. Which could provide a lucrative return.
The benefits to utilizing TVOD is that the fulfillment of the order is done for you, also the consumers card information is kept on file so they can purchase your film with just a few clicks, making it extremely easy for them to buy and, in theory at least, you get to sell your film will little effort on your side. (The reality, of course, being that no matter what platform you utilize it will still always be your responsibility to let people know about your films existence).
Subscription Video on Demand
You could opt for subscription video on demand or SVOD, which is where the consumer signs up for a service which provides unlimited access to its programming for a monthly or annual fee. Platforms where this is utilized include Netflix and Amazon prime video.
On the subscription services you may be paid a license fee for access to your film and not paid per view. So regardless of how your film performs you will be paid that one-off amount, which will last for the one or two year term deal. If this amount is acceptable to you, then this could be a great option. Or you could be paid per viewing, but the rate will be very low and you’ll need a substantial amount of viewings to make significant money.
Either way, you should educate yourself as to the requirements and parameters you are expected to adhere to in utilizing these services.
What does the platform require from you?
What rights are they demanding?
Will they hold worldwide subscription rights for the life of the deal?
Get clear on the expectations and small print.
If VOD is a road you would like to navigate then you may need to work with an aggregator service. That service, for a fee, will prepare your film, correctly formatting it, encoding it and delivering it to the relevant platform. They will then, for an additional fee, pitch it to platforms such as Amazon, Netflix, Hulu, Google Play and Direct TV on your behalf.
You will often pay an upfront flat fee and then a small-to-no profit share to the aggregator. This gives you transparency of the costs involved so you can budget accordingly should if this is an option you will utilize in your multi-faceted distribution strategy.
One word of caution: We would urge you to be careful about who you choose as your aggregator.
Takeaways
Video on demand is a viable distribution option for filmmakers to find a platform for their film to screen and may be considered as an option for at some part of the film's distribution scheduling. When this will be may be dependent on the deal that is offered to you.
DVD and Digital Download | Freemium
Following on from the new school of Video On Demand we are going to talk about the what some would consider the old school of hard copy DVDs and popular school of the digital download. You will most likely wish to optimize some or all of these opportunities to sell your film, so we'll be taking a closer look at how this could work.
We will also be talking about a newer way of getting your film out to an audience, by screening it online for free. The Freemium model of film distribution is a somewhat lessen known and utilize system but is it one that could work for your film?
Hard copy DVD and digital download sales
Hard copy DVDs have reduced in popularity as the demand for digital download and streaming options have become more abundant, but that doesn't mean they are obsolete. Far from it.
The trick to DVD sales success is knowing when and where to utilize those sales and being clear on retaining your rights in order to be able to do so.
Where can we sell DVDs?
The most prominent places for you, the filmmaker, to sell your DVD's are in places where you or your film are giving a live, public appearance or screening. When an audience connects with you and your film they will want to take a copy home, share it with their friends and watch it again at a later date (this stands for other types of merchandise too).
This can include:
- Film Festivals- Events and conferences- Screening tours- Live appearances and speaking engagements
As well as selling your film yourself directly to your audience, and from your online store, you may wish to negotiate a deal to work with a DVD distribution company who can exponentially increase your potential sales market and reach (which we'll discuss further in a moment).
When to start selling DVDs?
You can start selling DVDs as soon as you begin your festival run (if you're having one) or your screening tour. Basically as soon as you're ready for your film to be seen. This counts for the digital version of your film, as well as the hard copy DVD.
A word of caution: Do not release your film on DVD or make it available online before your premiere - whether that is a top tier film festival premiere or the theatrical worldwide premiere. And we would recommend you get approval first from festivals or event organizers before selling your film on location, where relevant.
As well as selling your DVD in person you should also have it available on your website. As you begin promoting your film - through your festival run or screening tour - some people will be able to attend and some won't, give them an opportunity to purchase either way.
Advantages to selling your film yourself
You will definitely sell more copies of your DVD by having it distributed by a DVD distribution company (unless they are useless), but selling your film directly to your niche audience and other consumers can be advantageous to you too, in many ways.
- Higher price point: You will be able to place your film at a higher price point than that of a third party platform such as Amazon or Itunes. They may already be fans of yours and aquainted with the film, so will be more likely to pay for it at a higher/non-discounted price point.
- More Profit: You will make more money on every sale, because you will not be splitting the income with a distributor.
- Faster Payment - You will be paid immediately when selling your film yourself, which can help with cashflow for further promotion and screenings. When you work with a distributor there will be a period of waiting before recieving a payout.
- Upselling: You will have the opportunity to up-sell any potential consumers with additional content or merchandise, perhaps creating bundle offers and promotions. And in addition, you can guide consumers to your licensing packages, where they may be open to holding a community screening of their own.
- Valuable Data: You will capture valuable information of every buyer of your film, and other products you sell via your website. This data (i.e. email address) is extremely valuable as you can continue to develop a relationship with the purchaser long after that initial sale is made.
Producing your own DVD's
When we say you're producing DVD's we don't mean literally you at home in your bedroom making copies. We mean outsourcing to professionals, of course. This will be part of the process when producing hard copy DVD’s:
DVD Authoring - The creation process your film will go through that enables it to be viewed as a DVD video or on an online streaming device.
Your DVD Encoding - In order that your film fit within the storage capacity of a DVD you will need to utilize a compression format via the process of encoding.
Your DVD Replication - Which involves the creation of a ‘glass master’ of your film, which becomes a negative of it, to press and essentially ‘stamp’ your film onto the DVD. This method of replication is recommended for higher volume requirements of at least 500 discs, and preferably over 1,000.
Your DVD Duplication - Which is an alternative to DVD replication and involves taking a blank, recordable disc and copying the film on to it. DVD duplication is a quicker and more cost effective option for smaller runs of 500 discs or less. You could hire a DVD duplication company to do this or do it yourself.
Your PAL & NTSC Formats - Take into account when creating your DVD’s the differing formats supported in certain regions. NTSC format being supported in the USA and Canada and PAL format being supported in most other countries, including, Europe, South Africa and Australia.
Your Film Subtitles - If a non-English language is spoken within your film you will certainly wish to have the availability of English subtitles for the audience. And in addition to that, you may also want to have the option of multiple foreign language subtitles for your worldwide audience.
Options: Auvi Translator Pro | Visual Subtitling | JBI Studios
When outsourcing we recommend you get quotes from a few different places and recommendations/reviews from those who have used the service before making your final decision.
Our DVD and CD Soundtrack Experiences w/ J2K When Journey to Kathmandu was finished and we were ready to create DVD's for sale we decided to create them ourselves. We had covers and liners created through a commercial printing house called Stumptown Printers (in Portland, Oregon - where we lived at the time). Our order looked like this: • 250, 6 panel, 3 pocket, chipboard DVD jackets = $900 • 250 DVD inserts = $67.50 Total DVD jackets and inserts costs = $967.50 Turn around time was about 3 weeks. We had the DVD's and CD soundtrack discs duplicated by Bullseye Disc (again, based in Portland, Oregon). Our order looked like this: • 250 duplicated DVD-Rs with one color thermal print on silver media $335.00 • 250 duplicated CD-Rs with one colour thermal print on silver media $237.50 Total DVD and CD soundtrack duplication costs = $503.80 (discount of $68.70) Turn around time was just a few days. This is what the final product looked like: Artist W. Ryan Hatch So each DVD and CD soundtrack (they were sold together as a package) cost us $5.89. Could we have done it cheaper? Definitely. But we had run a successful Kickstarter campaign in order to cover the costs of creating these DVD's (and some additional distribution), so we felt it right to put the money into supporting some local businesses. And so that's just what we did. When it comes to YOUR film you may choose to create DVDs through a fulfillment company or distributor (which we'll talk about in a moment) or you may wish to create and distribute your film DVD yourself. There is no right or wrong answer, other than what aligns with your goals and intentions and the experiences you wish to have with your project. |
Fulfillment Company
You have the option to replicate, package and distribute your film yourself or you can engage the services of a fulfillment company to do that for you.
Depending on which company you use they can also handle customer service, process payments and handle billing queries.
Some questions you may wish to ask a fulfillment company
- Do you have specific deals or strategic partnerships with any shipping services?
- Do you have other media products that you are working with right now?
- Where can I find your terms and conditions?
- How much do you charge per order, product listing and wholesale item?
- How do you process returns and exchanges?
- Do you provide phone or email customer support?
- How do you track the inventory, orders, sales reports and store consumers personal data?
- What is the monthly fee? If there is one.
- What is your fee for credit card billing?
- Are you able to provide marketing programs, such as, affiliate programs or coupons?
Companies to consider
We have provided below some possible options for fulfillment companies for your film. (We have not used any of these companies at this time and so can not vouch for them personally).
• Amazon Media on Demand - A content publishing and distribution service making selling physical media easier. They handle customer orders, manufacturing, and shipping processes. Your film remains in-stock and made on-demand when Amazon customers place an order.
• Other options:
4thWayFulfillment - They offer a free consultation, so perhaps send an inquiry to determine if they could be a good fit for your film.
Netflix Preferred Fulfillment Partners - The companies on this list are Netflix preferred partners for generating content to their platform, however, these companies offer a range of services outside of VOD. Take a look and reach out to any that seem as if they may be a great fit for your project.
Digital download and streaming options
With regard to digital download or streaming options you can easily take this into your own hands utilizing the following platforms:
Reelhouse - Features | 10% plus $0.50 per transaction | How to guides
Vimeo on Demand - Start selling | Keep 90% of revenue | Try risk free for 30 days
Pivotshare - How it works | Take 70% of revenue for own content | Collaborate
Takeaway
Making your film available via hard copy DVD, digital download or streaming can be as straightforward or complex as you wish it to be depending on how much of the work you outsource to professionals, fulfillment houses and automated platforms.
We certainly believe it is a worthy component and potentially lucrative revenue source to incorporate in your distribution strategy, but how effective it is will be is dependent on how you negotiate with your distributors (which we'll be talking about next) and how well you market and promote your film and connect with your niche or grassroots audience.
Working with a distribution company
Why use a distribution company?
Why use (and pay) an outside company when you can simply sell the film yourself and keep all the profits? Answer: Because you will be limiting the amount of sales you can generate, because you don't have the contacts or resources that a reputable distribution company has.
A distribution company has relationships with stores and retailers, organizations and networks that have been built over many years. They have an in that you don't have and that would take you a significant amount of time to cultivate.
Which deal?
You may be given several options for your deal with a DVD distribution company and it will be up to you to predict which will be the better long term option for you and your film.
You may be offered more of an advance for less of a cut of the sales price or certain expenses or fees emanating from the DVD distribution company could be capped dependent on the % deal you negotiate. Is it better to go for a 50/50 deal with other financial parameters or give them 25% with the chance of more expenses or fees on top? You'll need to take a look at it from all angles and make the best decision with the information you have.
Managing your distribution rights is a complex web that must be carefully negotiated with distribution professionals, unless you wish to truly only self-distribute your films. If, however, you wish to have distribution support in some capacity then you will have to carefully negotiate and consider your options.
One of the most important things to consider when making your deal is
• What rights are you giving away?
• What do you need to give away and what can you retain?
• Will the distributor fully exploit all the rights they are requesting?
• Are they the best person/organization to expolit those particular rights?
Distributors will often try to obtain as many rights as they can, regardless of whether they intend to, or have the capacity and ability to, expolit them fully. This is really important to remember when negotiating. Only give a distributor what you know they can
Types of rights
By forming a hybrid distribution strategy you will be splitting up your distribution rights with a strategic overview as to where they will be best placed for maximum effect and revenue gains. This will provide you with the potential for multiple revenue streams, which should all have their own strategies and be working as effectively as possible.
Whereas in the past (and some filmmakers still try to do this to this day) you would have tried to (and perhaps not succeeded) sign a distribution deal that would have given all your distribution rights to one company, it is a widely held belief that this is in fact a limiting scenario and you would do much better to retain some rights and split up the remaining rights to specialist distributors and agents effective in making deals in these arenas.
The different kinds of rights associated with the sale and distribution of your film, and that you will have to negotiate on, included:
- DVD rights: A hard copy version of your film, with or without extras
- Digital rights: A way to watch your film on a home screen without a physical product
- Video on demand: Having your film on an online screening platform
- Retail DVD rights: Selling your a hard copy of your film in stores
- Television rights: Your film appearing on public or cable television
- Theatrical rights: Your film being screened in cinemas and movie theaters
- Semi-theatrical or non-theatrical rights: Your film screened outside of the conventional theater setting. (i.e. community screenings).
- Foreign rights: Selling your film abroad
- Educational market rights: The ability to sell your film to educational institutions, such as, libraries, schools, colleges and universities.
Which rights to keep?
You will need to be careful about which rights you give away, and to whom, and which rights you hold on to. At the very least the rights that you will want to keep are:
- The ability to sell a DVD of your film on your website and in-person
- The ability to sell a digital download of your film on your website
You want to retain the ability to be able to sell your film DVD directly to your audience - both online, on your film website, and in-person. No matter what, keeping these rights should not be an issues for any distributor. It can actually compliment the efforts of your distributor as you will continue to market and promote your film and do outreach to your niche audience.
You will also likely want to keep your theatrical and semi-theatrical or non-theatrical rights since the chances of these being exploited are slim and you can do much with this form of distribution yourself, i.e. a multi-city or screening tour of your film. Why give them away for them to sit by the wayside if you can be using them?
You may choose to keep your television and educational market rights so that you can submit and negotiate for sales in these areas.
Which rights to give to distribution partners?
You may wish to give these rights to specific distribution partners who will exploit them as their area of expertise.
- Retail DVD
- Video On Demand
- Television rights
- Educational market rights
The benefit of having these rights exploited to the fullest by professionals with contacts and expertise, all the while maintaining overall control of your film distribution, is a very appealing concept.
Be aware though that it can be time consuming and somewhat complicated negotiating and managing a multitude of rights and distribution relationships. We say that not to dissuade you but just to reinforce the requirements of time, energy and consideration it will take from you (and possibly other members of your team).
You will need to be careful about negotaiting deals that complement each other and do not conflict. If you can, try to make your deals at the same time so that any red flags can be discovered and amended asap.
Some questions to ask
You will also wish to determine:
- Which territories the distribution will be for?
- If the DVD they create will be regional or region-free?
- How much they will charge you to purchase a copy of a DVD of your film? (You will likely have to buy the film from them and it should be no more than $5).
- How long will it take to be paid?
- For DVD distribution, how much will they keep for returns?
- Is your DVD distributor an aggregator for digital rights too?
- Can you negotiate non-exclusive rights for your digital rights?
- What are you being offered to take certain rights off the table?
- Does the potential distributor have previous experience of selling a film like yours? Or, specifically, a film to your niche audience?
- Can you find other filmmakers who have worked with this distributor and have had a positive experience?
Regardless of the distribution options or distribution deals that you negotiate for your film you will want to retain the direct digital and DVD rights. This means that regardless of where else your film is being screened or is for sale, you can sell a download of your film, stream it directly from your website and allow your audience to buy a DVD hard copy.
Support with your deals
When it comes to working with distributors there is no one-size-fits-all approach. Each deal, and each hybrid distribution strategy, requires it's own nuances and considerations. We have put together a few tips though for helping you to make the best distribution deals you can. So here goes...
• Consult with professionals - Consult with professionals whose job it is to help you make the best choices for you and your film (not those out for themselves). These can be consultants who work specifically in the distribution market and, of course, lawyers who specifically deal with these kinds of deals and negotiations.
• Speak to other filmmakers - As we like to say, this may be your first time, but there are plenty who have walked before you. Talking to other filmmakers and getting their recommendations can be key to finding reputable and credible distributors with whom you can form beneficial relationships. It will also help you steer clear of the dodgy ones.
• Start early - The earlier you begin to form relationships with distributors the earlier you can vet them, have them give you advice on the market and begin to build a trust so they know that they can believe in you to deliver an excellent product with which they can get to work.
• Keep in contact - Following on from the last point.. Ensure that you are keeping in contact with distributors as your film progresses. Keeping them abreast of progress as your project nears completion and is being prepared for delivery is key to being a good client and helps emphasize your level of professionalism and keeps you in their minds.
• Limit the rights terms - If possible, and especially if these are your first negotiations and experiences with film distribution, try to limit the scope of the rights you give to distributors. We mean this in terms of the term and exclusivity that you agree to.
• Remember it's a partnership - The idea behind any deals you make is that they are a win-win for both you and the distribution company. You are meant to be on the same page, with the same goal.. to get your film out into the world and make money doing it. Having said that...
• Build in guarantees - You can ask for guarantees, approvals and safeguards from your distributor so that they don't just take your film on and then do nothing with it. For example, you could request they commit to a minimum marketing spend, provide escape clauses and bankruptcy protection, and give you final approval on deals.
• Be part of the community - Attend events, festivals and, yes, network(!). By being part of the community you're going to know who the players are and those that can have the best impact on your film. You will also have a sense of who can work best for your particular project, based on themes, topics and potential impact, once you begin to research through word-of-mouth and online. Get out there and meet people!
Freemium Screenings
What is a freemium screening?
You may consider utilizing one of the newer digital distribution methods for screening your film, which is to allow viewers to watch it online for free.
This is something that has grown in popularity as successful campaigns have been launched and shared and a proven model for generating awareness and revenue for films has been born.
The title of ‘Freemium screening’ belies the infrastructure and strategy that encompasses such as concept. It is all that accompanies your film screening that allows this to be a lucrative and auspicious distribution option.
How can freemium screenings benefit my film?
You will not merely be giving away your film for ‘free’, you will be creating an event and an environment which supports the attainment of your goals and objectives.
• Want to create a movement with your film? Then having potentially thousands of people show up to your website to watch your film where you have relevant and engaging information, numerous resources and clear calls-to-action could help build that momentum for change. You could have the power to reach many people that otherwise would not have seen your film.
• Want to build a sustainable filmmaking career? Then capturing the email addresses of potentially thousands of additional viewers in return for an opportunity to watch your well-produced, valuable and informative film could be a great way to start a very beneficial relationship with potential fans and provide an opportunity to nurture them into your community. You are not only introducing yourself to them, but are providing an offering to earn their trust as well.
• Want to make money with your film? Sure you’re allowing them to watch your film for free but you have every opportunity to subtly upsell viewers on all manner of paid items.
- They may buy your DVD or a digital download of your film so they can watch it again later, and you can offer additional bonuses to go along with that.
- They may decide to organize a community screening of your film to share with their colleagues or community members and you could consider offering a limited time discount only available to viewers as an incentive.
- You could provide a paid program or course that helps resolve an issue or pain point they are experiencing and is in keeping with your film topic.
- And you will, of course, provide an assortment of relevant merchandise and bundle packages.
What should I take into consideration?
If you do decide that a freemium screening is an option for your film then:
• You will need to decide how long to give access to your film for.
- Will it be one night?
- Will it take place over a weekend?
- Or be available over a whole week? (You probably won’t want to make it much longer than that at one time).
• You will need to decide if your film will screen on a certain date relevant to your film topic, such as earth day or national pet day, which will allow you to join the consciousness and momentum already generated.
It is also a great way for viewers to remember when the screening will take place.
You should note, however, that certain ‘days’ can be on different dates around the world, something you may need to check.
• You will need to ensure your screening platform, most likely your website, has been customized and presented to maximize meeting the goals and intentions you have set for yourself. Whether that be community building, pushing a movement forward or making sales.
• You will need to consider how you will promote your screening, developing a strategy and allocating a budget to do this. You will need to create a buzz and momentum which leads your audience to not only sign up to attend the screening, but show up to watch your film too.
• You will want to build an automated launch email campaign, which builds up to the event and continues the conversation after it. This will be another resource to help push your agenda and assist you in reaching your goals.
A word of caution
This screening option can enhance your distribution strategy, but it is certainly not compatible to all films. For example, you will want the numbers of people joining your ‘free’ screening to be considerable in order to have an impressive impact.
If you have an extremely niche film topic, you may not generate those numbers and you would instead be better spending your time connecting with your niche audience and allowing them to purchase your film for its true value.
Where we have seen this concept do especially well is for films in the area of health and wellness, which generate lots of interested participants, but it is certainly not limited to that genre.
Free digital screenings can take some time to construct and strategize, but for the right film can be advantageous and effective at helping filmmakers reach their goals.