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Unfortunately, a great number of key digital platforms must be accessed through the use of an aggregator. Of course there are always exceptions, but the general rule is that to get your films onto Cable VOD, iTunes, Netflix, Hulu, Sony Playstation and other device oriented options and retailer digital platforms , you will have to go through an aggregator or a distributor. We either directly or via partners offer both a commission or a flat fee option (range depends on platforms).

However, you can get onto Amazon directly. Also, you can access DIY oriented ones such as Mubi, Fans of Film and other platforms like them. To the best of our knowledge, more money is made on the key high trafficked platforms, if one can get on them.

Once again we remind you, MARKETING, MARKETING, MARKETING is key to your film’s success no matter what distribution outlet you use.

This concludes our series of tidbits for the time being. As always, if you have questions or need guidance to figure out your film’s distribution path, we would love to hear from you. No rights taken.

August 27th, 2010

Posted In: Amazon VOD & CreateSpace, Digital Distribution, DIY, Hulu, iTunes, Marketing, Netflix

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For as long as it lasts, DVD is a key example of where a hybrid approach (mixture of self and distributor distribution) can be critical.  Sometimes the filmmaker’s traffic on his/her own site is significant (and that is the goal after all). At times, direct sales can match sales to retailers via a distributor so reserve the right to sell direct off your site or at least have a good AFFILIATE FEE (where you get an extra commission for referring your direct customers to your distributor or Amazon).  Certain films may get into WalMart or Blockbuster (while it’s still around) and that level of sale needs to happen via a distributor, but the direct sales can be very significant.

TFC negotiates contracts for clients through DVD distributors, we don’t distribute DVD’s ourselves. We have facilitated hybrid deals for clients and know of other filmmakers employing this strategy. We will get numbers for our forthcoming case-studies. One negotiation deal we did was for “Prodigal Sons” with First Run Features. That film is a perfect example of a film that employed hybrid distribution(some DIY & and some licensing)… and Kim Reed got on Oprah!

August 26th, 2010

Posted In: DIY, Marketing, Theatrical

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TFC books film festivals for filmmakers when that work is too time consuming for the filmmakers themselves to handle.  Bookings can be done by yourself and you can charge fees for an in demand film. However, there is something to be said for the ability of a distributor to command more in fees and know of more fests to get the film placed more broadly.

Know your film and yourself to determine how your festival run is best handled. Especially with niche films, make sure you are working with someone who has the knowledge of all the appropriate fests and can command decent fees, or make sure that person is you. More to consider if working with an outside company: make sure they are not too glutted with so many films that cannibalize each other both attention wise and content wise and ask what they do to work the film at the festival level.

August 24th, 2010

Posted In: DIY, Film Festivals, Marketing, Theatrical

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Revisit every place you’ve played your film in advance of release (all film festivals, community screenings, etc.) and consider how you can bring them aboard as a partner to blast or otherwise promote your release. Most film festivals have a vested interest in promoting the success of their alumni films and their careers, so you can likely get inclusion in their newsletter etc that includes a link to purchase your film.

If you are working through an established distributor, find out if they have “affiliate programs” in place  (meaning your promotional partner can share in a percentage,usually 5 -15%, of the revenue generated by the link from their website), and  find out if you can extend those affiliate programs to your promotional partners. You can also set up DIY affiliate programs yourself through services like Amazon Payments, but the set-up charges are not cheap and probably won’t work for a one-off film. However, if you are building yourself as a BRAND, and expect a slate of films that you can promote, affiliate programs are a must.

August 12th, 2010

Posted In: DIY, Marketing

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Nothing is more disconcerting than filmmakers who spend $100K (or whatever) to make their film, but now have nothing left to make screeners, exhibition masters, hire publicists, set up buyer screenings, hire a team to oversee their web presence, etc. A film in the can is only a tree toppling in the forest, and if you have nothing left in the bank then your tree will certainly fall silently on deaf ears.

Remember that everything AFTER you complete your film will still cost some money, even if it is only Festival submission fees; the postage and assistance to get the film out there; a few key trips to important Festivals and markets where you can promote your film; and distribution deliverables (including MUSIC CLEARANCES). A good guideline minimum is 10% – 20% of your production budget to help you start the distribution process…so if you are thinking your film will cost $100K to make, then make the budget 110 or 120K at least.

Don’t get caught in the ultimate trap that so many filmmakers find themselves in; a film in the can with nothing more they can do with it. You didn’t max your credit cards to end up in this dilemma! Think about distribution expenses IN CONJUNCTION with production expenses. Please!

August 6th, 2010

Posted In: DIY, Film Festivals, Marketing, Uncategorized

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If you need to qualify your film for Academy consideration, or your SAG contract stipulates you need to play theatrically for a week or so, you can often cut your cost in half by sharing those screens with another filmmaker in the same position.

For example, Academy qualifications require a film to screen 2 times a day for one week in NYC and LA, but that means there are at least two other screening times a day that another film can take. That way you can share theater rental, equipment rentals, and union projectionist fees. Make sure each of you get at least one prime screening time each day and drive your audiences to those times (in other words, don’t take 12 noon and 2 p.m…..but 12 noon and 7 p.m. is ok!). Obviously you can’t maximize your grosses by sharing screens,  but at least you can  meet your qualification requirements at a reduced price.

August 5th, 2010

Posted In: Distribution Platforms, DIY, Theatrical

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Chances are that whatever your subject matter/theme/niche audience for your film, there have been other films in recent years that targeted the same audiences. Most filmmakers feel some camaraderie with each other and many may offer you advice on how they reached their audiences.

Connect to fellow filmmakers and don’t be shy about asking them to at least mention your film on FB to their folks, or tweet about your film. We can’t emphasize enough how many filmmakers find themselves building lists of organizations and emails from scratch when someone else probably has already created a similar list. Consider the community spirit of DIY filmmaking and ask for a little help, or offer to compensate a filmmaker for their efforts on your behalf.

This is the idea behind TFC’s The Film Collaborators site, a place where filmmakers can share resources.

August 3rd, 2010

Posted In: DIY, Facebook, Marketing, Social Network Marketing, Uncategorized

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Viral tools such as WIDGETS, and iFliers (which we design and are like mini combinations of a website &  HTML E-blast) are cheap and simple ways to get the message out about films.   We did iFLIERS for END OF THE LINE and EYES WIDE OPEN for example and GASLAND used widgets. The key is to have a viral tool that can be forwarded on to a friend.  Perhaps offer fan or sponsor (if you have one) benefits to people who forward to 100 or more.

Regarding Phone Apps (iPhone, Droid, Blackberry…) we don’t believe these are necessary for every film, but films that are issue based or that have a strong niche appeal or name cast can benefit from having an App that can keep adding new content and new information to engage audiences and fans and they can sell the film! TFC works with two iPhone App developers for this kind of engagement.

July 29th, 2010

Posted In: DIY, Marketing, Mobile / Wireless, Social Network Marketing

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Internet marketing is critical, but nothing beats a face to face interaction with real human beings. One you’ve identified who your audience (or niche) is, show up regularly at all the places where those people congregate and talk to them! Nearly every time we run across a small film performing above expectations at Festivals or at the Box Office, we later learn that the filmmaker was a charismatic, self-promotional dynamo, and drove the audiences to the theaters themselves.

For example, if your film has spiritual themes…ask if you can speak about it and show a trailer at the local church/temple/synagogue/mosque. If you’re making a stoner comedy… well we know how well those films do when their community is aware of the work . Get out there and be a self-promotional whore….modesty may be sexy, but it doesn’t get an audience to the theater. Its up to you to rally the troops!

July 26th, 2010

Posted In: DIY, Film Festivals, Marketing, Social Network Marketing, Uncategorized

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Fathom is a great known service doing event screenings in key theater chains across the country. Their key chains are: Regal, AMC, Cinemark, and some Loews and Pacific Theatres too but they’re fewer in number.

Films such as I.O.U.U.S.A have made great money and had a great release with Fathom. Other services such as Cinedigm and Screenvision are also offering similar programs at the same top chains. AMCi announced it’s reserving screens for indie films too, but details have not been released on this program yet.  Stay tuned.

Are you a filmmaker who has worked with a distributor or service company for theatrical exhibition? Tell us about them in our Distributor Report Card.

July 22nd, 2010

Posted In: Distribution Platforms, DIY, Uncategorized

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