2. WHAT IS A DISTRIBUTOR?
WHAT IS A PLATFORM?
WHAT IS AN AGGREGATOR?
WHO ARE THE BROADCASTERS?
WHAT IS A SALES AGENT?
3. Distribute in a territory or region
Theatrical (Cinema)
DVD or Home Video
VOD – SVOD, TVOD, AVOD, NVOD
TV – Pay TV, Free to Air
Ancillary : Airlines, Ships, Hotels
Pay Minimum Guarantee (MG) or buy out
territory
Usually don’t deal with producers directly –
prefer to deal with sales agents and other
distributors
DISTRIBUTORS
4. TVOD : iTunes, Google Play, Amazon
SVOD : Netflix, Hulu, Vudu, Amazon
AVOD : Hulu, Amazon, YouTube
NVOD : Airline, Hotels, Ships
Local : Showmax, iFlix, VIU, iRoko, DSTV Now
Most big platforms will only buy from distributors or
aggregators
PLATFORMS
5. Aggregators acquire and supply to one or several of
the major platforms in TVOD, SVOD and AVOD
Aggregators can also be distributors
Aggregators manage the encoding of movie and trailer
files for the specific platforms, in house or through
licensed encoding facilities
Aggregators do a revenue share whereby +- 50% of
the retail rental or purchase price comes to the rights
holder or take an aggregation fee (10-15%)
Example of an all purpose aggregator is FilmBuff
AGGREGATORS
6. International Major Networks : NBC, ABC, Starz, HBO
International Pay TV : Sky, Sundance Channel, AMC
International Major Public Broadcasters : BBC, PBS,
NHK
International Free to Air : Sat1, CCTV, GlobCast, Al
Jazeera
International IPTV : Africa Channel, MoviestarTV
African Pay TV : DSTV, StarSat, Zuko, Canal Plus
African Free to Air : SABC, ETV, Ebony TV, ENTV,
KTN
Broadcaster pay either an acquisition license fee or
pre-sale
BROADCASTERS
7. Sells to distributors, aggregators, platforms and
broadcasters
Don’t pay up front, but act like and estate agent and take
a commission on the sales. Also charge costs of selling
the film against sales e.g. market attendance costs
Take film to markets and festivals around the world and
sell to buyers at these events
Usually sign exclusive world wide rights for 5-10 years
Repackage films for international markets
Manage festival strategy and PR for festival and market
run
Manage legal contracts and accounting reports for sales
Give letters of interest (LOI) to projects
SALES AGENTS
8. Very few selected sales agents can give revenue guarantees and
projections that are “bankable” i.e. banks will fund against
Most of them are specialized on foreign sales i.e. outside US
Most of them are based in the UK in London
These are very hard to get to read a script and needs the right director
and other key HOD involved to consider
1.FilmNation Entertainment http://www.filmnation.com/
2.Mr. Smith Entertainment https://mistersmithent.com/
3.Rocket Sciencehttps://www.rocket-science.net/
4.Sierra / Affinity http://sierra-affinity.com/
5.Embankment Films http://www.embankmentfilms.com/
6. The Exchange https://www.theexchange.ws/
7. Voltage Pictures http://www.voltagepictures.com/
8. Bankside Films https://www.bankside-films.com/home/
9. Protagonist Pictures http://protagonistpictures.com/
10.Hanway Films https://www.hanwayfilms.com/
BANKABLE SALES AGENTS
9. CASTING
Affect on sales (ONLY INTERNATIONAL CAST ATTRACT PRE-SALES)
Determine the value of cast for territory
Pay and Play Contracts
Escrow accounts and casting fees
Casting agents
Cast managers
Casting director : advisory vs. actual casting
11. DELIVERABLES
Movie Deliverables : ProRes File, DCP, BluRay, Encodes for iTunes and other
NTSC conversion for US
Music Cue Sheet and Music License Materials
Subtitles (.stl .srt) and Closed Captioned Files
M&E for Dubs and transcript
E&O Insurance
Artwork
Legals/Contracts : Key crew & cast, script and film clearance, chain of title (incl writers agreement),
music clearance – cost3% of budget max approx. R250k
13. SELLING A DEVELOPMENT PROJECT
Sales projections
Pre-Sales to distributors, platforms and broadcasters
Determine the value of cast and assist in casting
Get coverage on the script
Packaging and proof of concept
Benchmark salability of a film up front
Assist with key crew and suppliers
Plan and execute out sales roll out while film is in post
14. SELLING A FINISHED FILM
Sales agents are more reluctant to sign on completed films
Finished film are more difficult to re package as the post is already done
Deliverables for distribution are often omitted from the budget and become an extra cost
Completed films can no longer be benchmarked in the market so the sales agent has to take it on risk
By the time a sales agent gets the film, it has already aged and festival submissions are a problem
Films generally have a two year life cycle to sell as a new title
Sales roll out not as effective once film is completed
16. WHO BUYS AFRICAN FILMS
African buyers i.e. from the continent
Diaspora buyers e.g. Africa Channel
African American and “Urban” content buyers e.g. BET
World cinema niche buyers e.g. diverstity cinema
Genre buyers for specific genre where African element is just a flavour
17. WHAT FILM GENRES ARE IN DEMAND
Action
Horror
Sci-Fi
Thriller
Fantasy
The above genres will require proof of concept for first time film makers in development to get pre-sales
Faith Based and Family
NOT DRAMA
25. PRESS KIT
Production stills
Frame grabs
Detailed cast and director info
Press release
Any press coverage
Social media presence
Website
IMDB listing
Key Art
The story/angle you want the press to pick up on must be fed to them
26. PR AND PRESS
Publications
Variety
Hollywood Reporter
Screen International
Screen Africa (local)
The Call Sheet (Local)
Blogs
The Business of Film
Sydney’s Buzz
Twitch.com
Publicists
Journalists
Bloggers
Influencers
Media Liaisons
Editors
Reviewers
Critics
27. FESTIVAL STRATEGY
North America
A
TIFF
Sundance
B
Tribeca
SXSW
Telluride
LA Film Festival
AFI
Asia
A
Pusan
B
Tokyo
Hong Kong
Melbourne
Europe
A
Cannes
Berlin
Venice
B
Locarno
St Sebastian
Goethenberg
28. BLACK AND AFRICAN FESTIVALS
Pan African Film Festival
Black International Cinema Berlin
Black Harvest Film Festival
AFI New African Films Festival
Africa In The Picture
Afrykamera
Montreal Int. Black Film Festival
Langston Hughes African American Film
Festival
San Francisco Black Film Festival
American Black Film Festival
Zanzibar Film Festival
Africa In Motion Film Africa
London African Diaspora Film
Festival
Africala Film Festival
Africa International Film Festival
London African Film Festival
29. MARKETS
Film
Marche du Film – Cannes Film Festival
European Film Market (EFM) – Berlinale
American Film Market (AFM) - IFTA
Hong Kong Film Market (HKFM)
Toronto International Film Festival - Hybrid
Ventana Sur – Argentina (Spanish Language)
Television
NATPE – Miami
MIPTV (MIPDOC&MIPFORMATS)– Cannes
DISCOP – Istanbul and Johannesburg
MIPCOM (MIPJNR) – Cannes
BANFF (Development) – Canada
TIFFCOM - Japan
MIP Cancun, MIP China
A distributor is an entity that distributes films in either their home territory or in multiple territories worldwide, across multiple windows and platforms (Theatrical, DVD, TV, VOD)
Theatrical - Cinema release
DVD – Physical disc for rental or retail
TV – Cable, Satellite, Free to Air etc
VOD – Video on demand, either subscription based (Netflix, Veedee, Hulu, BuniTV), transactional (iTunes, Google Play, Vimeo, iBiskop) or advertiser funded (YouTube, Hulu Free Account)
A distributor will either pay an MG (Minimum Guarantee) whereby an upfront payment is made for the right to distribute the film in one or more territories. Once the MG amount has been recouped as well as any costs to distribute the film, the revenue derived thereafter is shared with the film rights holders (producer or sales agent) after the distributor takes a commission. Usually the MG is the end of the deal as it is impossible to determine the costs to distribute.
The other distribution deal is a straight revenue share whereby the distributor does not pay an amount up front and takes a commission on distribution revenue and passes on the net profits.
Some US distributors want all rights including broadcast (DVD, VOD, Theatrical). Be ready for long lists of deliverables if that’s the case. (Important: set money aside for close captioning, E & O insurance (mostly U.S.), broadcast quality transfer, NTSC conversion).
Some distributors only deal with sales agents and may refuse to meet with producers directly.
Platforms buy directly from producer although the bigger ones buy via aggregators or distributors e.g. Netflix US only buy from distributors and dales agents that pick up more than 50 new titles pre annum
Platforms either pay a license fee, MG or do a revenue share deal
Most popular VOD platforms (non traditional) right now internationally:
ITunes
Sony
Google Play
Amazon
Netflix
Hulu
Vudu
Local : Showmax, VU, Veedee, iBiskop, OnTap, BuniTV, iRoko
There are no licensed encoding facilities in Africa for iTunes
Script coverage between $50-$150
www.slated.com
How sales projections work : high, low, average. Best when tested with buyers or following pre-sales
A sales agent is like an estate agent that represents a producer’s film to distributors, broadcasters and other buyers for the premise of earning a commission on any sales, and thereby maximising the sales potential of the film. A sales agent does all the contracts and reporting associated with the rights exploitation of a film and attend several markets and festivals throughout the year to represent the films they have signed. Sales agents also have relationships with certain festivals and use these to ensure the films they represent get selected and promote the films at these festivals in order to get the buyers’ attention for the film.
A sales agent will typically broker the deals on behalf of the producers with the buyers and distributors, who often prefer to deal with the sales agent as opposed to having to educate the producers on licensing and distribution procedures and deliverables. Also distributors often feel that producers are too emotional about their films and can have a more candid discussion about a film with the sales agent.
Script coverage between $50-$150
www.slated.com
How sales projections work : high, low, average. Best when tested with buyers or following pre-sales
A sales agent is like an estate agent that represents a producer’s film to distributors, broadcasters and other buyers for the premise of earning a commission on any sales, and thereby maximising the sales potential of the film. A sales agent does all the contracts and reporting associated with the rights exploitation of a film and attend several markets and festivals throughout the year to represent the films they have signed. Sales agents also have relationships with certain festivals and use these to ensure the films they represent get selected and promote the films at these festivals in order to get the buyers’ attention for the film.
A sales agent will typically broker the deals on behalf of the producers with the buyers and distributors, who often prefer to deal with the sales agent as opposed to having to educate the producers on licensing and distribution procedures and deliverables. Also distributors often feel that producers are too emotional about their films and can have a more candid discussion about a film with the sales agent.
Clean ProRes file – export and drive (R5,000)
Subtitles file – create – (R1,500)
Festivals DCP – no KDM (R15,000)
iTunes and all other TVOD encodes – ($1,500)
International SVOD encodes – ($1,200)
Blu Ray (R1,500)
DVD (R500)
Conversion to NTSC (R25,000)
Engaging a sales agent early on in development has the following advantages :
Sales agents can assist with the raising of finances fore the film through sales projections and pre-sales to distributors, broadcasters or platforms
Sales agent can help assess the value of cast targeted and help with the casting process
Assist package the development project to be attractive to investors e.g. proof of concept, artwork and one pager
Bench mark the salability of the film in key territories by showing it to buyers there
Assist with attaching of key crew ands suppliers e.g. direcotr, HODs, VFX
Sales companies are often more reluctant to come on to films once they are complete, as they can no longer influence the project to work for specific markets or genres
Finished films need to packaged which can be complicated if the post is already done
Deliverables are often not budgeted for in development and become an issue once the film is signed
Completed films can no longer be benchmarked in the market so the sales agent has to take it on risk
By the time a sales agent gets the film, it has already aged and festival submissions are a problem. It takes time to ramp up a festival and market strategy and sell a film while it is fresh
Films generally have a two year life cycle to sell as a new title
. If you looking for a sales agent after the film is completed and it takes 6 months to find a sign one, you have already lost 25% of the life cycle
African buyers i.e. from the continent DSTV, Cana; Plus
Diaspora buyers e.g. Africa Channel Nigerians etc abroad
Black content buyers e.g. BET African American, carribean
World cinema niche buyers
Talk about Hard to Get example and XYZ and the Raid 1 & 2
In US trailers cut by specific trailer companies
Title adapted to territory or at least international
Packaging done with marketing agencies or ad agencies who even decide the title
e.g. wedding in title increases attendance by at least 10%
Sales company will package according to what will sell the film the most. Not attached to certain images, actors, scenes etc like the filmmakers. Your favourite image, scene or actor may not sell the film best
What does iNumber number mean to anyone overseas?
Annecdote of Slumdog millionaire that took the film to festivals for one year screning it and inviting press and critcs
SXSW (hesitant buyers because they waiting for Cannes)