Retrouvez ce film consacré à «production company» en streaming sur youtube.

Découvrez une production de StudioBinder consacrée à « production company ».

StudioBinder a partagé cette vidéo sur Youtube.
à propos de « production company »:

Lors de notre découverte récente de cette vidéo, elle captivait les spectateurs. Le compteur de Likes indiquait: 4560.

La vidéo a une durée de 00:23:06 secondes, un titre de How Distribution in Film Works — Film Distributors Explained [Stages of Filmmaking, Ep 6] et est présentée par [vid_author_name]. Voici la description correspondante :« Les stratégies de marketing cinématographique ont expliqué – une ventilation du marketing cinématographique, y compris des types de marketing, des éléments dans une campagne, des budgets, etc. Qu’est-ce que la distribution de films? ►► https://bit.ly/wi-fd Abonnez-vous à la Studiobinder Academy ►► https://bit.ly/sb-ad avec Melissa Dagodag ►► https://bit.ly/it-md interview avec Susanne Jacobson ►► https://bit.ly/in-sj interview avec Jake Asgar ►rap https://bit.ly/in-ji Blog Studiobinder ►► http://bit.ly/sb-l aque spécial grâce à: conçu par Kirk ►► https://bit.ly/3xickqk technologétique ►► https://bit.ly/4aj2tee dormoté https://bit.ly/4ahhop0 ─ograpon Uilto-raison De l’écriture à la recherche de financement à la prise de vue en passant par l’édition, chaque étape en cours de route a ses propres difficultés et des pièges potentiels. Dites que vous parvenez à passer à travers chacune de ces étapes et que vous vous retrouvez avec un produit final dont vous êtes fier. Premièrement: félicitations. Deuxièmement: préparez-vous – il y a beaucoup plus de travail à venir. Bienvenue à la distribution. Qu’est-ce que le film de distribution? Dans cette vidéo, nous jetons un coup d’œil au dernier obstacle dans le processus de réalisation du cinéma, distribution. De nombreux cinéastes comprennent une grande partie de ce qui se passe dans la pré-production, la production et la post-production, mais en ce qui concerne la distribution, ils sont laissés confondus et dépassés. Pour le dire simplement, la distribution est le processus dans lequel un film se met devant un public. La distribution de films indépendantes a expliqué que l’obtention de la distribution n’est jamais une garantie. C’est le processus appelé Acquisition, où un film passe des mains d’un cinéaste à celle d’un distributeur. Les distributeurs se présentent sous de nombreuses formes et tailles, et nous examinons comment décider quel type d’entreprise de distribution vous convient. Il n’y a pas de réponse unique, et il n’y a aucun moyen d’attirer une entreprise de distribution. Mais une chose est toujours vraie: il n’est jamais trop tôt pour commencer à penser au processus. Même en développement, un cinéaste peut considérer ce que peut être son public et comment il les atteindra. Modèles de licence de distribution de film Une fois que vous avez trouvé un distributeur, il est temps pour l’avocat de s’impliquer (s’ils ne le sont pas déjà). La distribution est livrée avec une forme de licence, où le distributeur a les droits du film qui leur sont transférés. Il s’agit d’un échange complexe, et un cinéaste doit s’assurer qu’ils ont tous leurs droits d’auteur et chaînes de titre dans l’ordre avant qu’ils ne se lancent. Encore une fois, il est préférable de faire avocat. L’exposition d’exposition prend de nombreuses formes, de montrer un film à un groupe d’amis sur une télévision, à une large version théâtrale. Il s’agit d’un domaine de l’industrie qui change constamment, et aujourd’hui, il change rapidement. Le streaming, le théâtral et plus encore trouvent tous leur chemin dans un paysage des nouveaux médias. Pour un cinéaste, cela signifie garder l’esprit ouvert et aller là où il pense que les meilleures opportunités sont. La distribution peut ressembler à un rodéo sauvage, où vous êtes bousculé de cette façon et cela avant de vous installer dans la selle. Gardez simplement votre objectif à l’esprit: pour montrer le projet sur lequel vous avez travaillé si dur. Et si vous en gagnez de l’argent, c’est super aussi. #Filmtheory #videoessay #filmmaking ─ographes « In Love With Emi » – Fabien Fustinoni « Le voyage de la vie commence » – Idokay « 1986 » – Angel Salazar « All Star » – ANBR « Curiosity » – Kevin Graham « à distance (thème from Hit TV) » – Makeup and Vanity Set « Inquisitions » – Kevin Graham « A Battle of the East » – Rhythme Scott « No Regrets » – Makep and Vanity Set « Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the Well of the East » Tony Anderson « The Wolf, The Chase et The Victor » – Dexter Britain « Neon Sun » – Jacob Montague « J’ai un plan » – Borrtex « New World » – Ian Post « Wistful (Instrumental) » – Falls « Dojo Tradition (instrumental) » – dans ce monde « Openter » – Magiksolo « Work B **** » – Britney Spars de Spars par Artlistolo « Work B **** » « – https://utm.io/umjx Music by musicbed ► http://bit.ly/2fnz9zq ​​──── Son ►► http://bit.ly/2hksyo0 Vous cherchez une plate-forme de gestion de projet pour votre cinéma? Studiobinder est une solution de gestion de projet intuitive pour les créatifs vidéo; Créez des horaires de prise de vue, des pannes, des calendriers de production, des listes de tir, des storyboards, des feuilles d’appel et plus encore. Essayez GRATUITEMENT Studiobinder aujourd’hui: https://studiobinder.com/pricing – Rejoignez-nous sur les réseaux sociaux! – Instagram ►► https://www.instagram.com/studiobinder Facebook ►► https://www.facebook.com/studiobinderapp Twitter ►► https://www.twitter ».

youtube est une plateforme populaire où les utilisateurs peuvent partager et explorer une multitude de contenus vidéo, allant des idées créatives aux perspectives uniques.

Les Fondements de la Production de Médias Audiovisuels

Dans le secteur de la production audiovisuelle, la complexité et le dynamisme se manifestent à travers la création, le financement, la réalisation et la diffusion de contenus multimédia. Des projets de cinéma, de télévision, ainsi que des vidéos institutionnelles sont pris en compte. Les entreprises doivent considérer ces productions comme essentielles à leur stratégie de communication, car elles permettent de diffuser des messages marquants, émotionnels et percutants.

Les producteurs, réalisateurs et coordinateurs constituent des acteurs essentiels

Dans le secteur audiovisuel, de nombreux professionnels collaborent pour assurer le bon déroulement du projet tout en préservant les droits des auteurs. Le producteur, qui gère le financement et la gestion du projet, le réalisateur, chargé de la direction artistique, ainsi que le coordinateur de production, qui s’assure du bon déroulement des différentes étapes, sont présents. En travaillant ensemble, ils parviennent à créer un produit audiovisuel de qualité à partir d’une idée.

Profitez de notre savoir-faire ?? pour vos créations ???. ??N’hésitez pas à nous joindre pour toute question technique, devis ou tarifs :

Les Avancées Récentes dans la Création de Contenus Audiovisuels et de Films

La richesse de la diversité et l’importance de l’inclusion dans les projets audiovisuels

Il est désormais essentiel d’intégrer l’inclusion et la diversité dans la production audiovisuelle. Les studios de production mettent en avant des valeurs d’équité et de diversité, tant dans le choix des acteurs que dans les histoires qu’ils racontent.

Nous sommes là pour vos projets ??? avec notre savoir-faire ??. ??Pour des questions techniques, devis ou tarifs, n’hésitez pas à nous contacter :

Les technologies récentes transforment le processus créatif

Les avancées technologiques, telles que la réalité augmentée, l’animation 3D, et l’IA, transforment le domaine de la production audiovisuelle. En offrant des opportunités d’exploration créative, elles contribuent à la qualité des contenus réalisés.

Les ressources accessibles via les plateformes en ligne

De nouvelles opportunités se présentent aux producteurs grâce aux plateformes de streaming et de diffusion vidéo, surtout en matière de visibilité et d’accessibilité à des audiences diversifiées à travers le monde. Ces nouveaux formats de diffusion redéfinissent la création et la présentation des projets.

Production Audiovisuelle : Étudier les Phases de la Production Vidéo

Approches pour Optimiser le Succès d’un Projet Audiovisuel

Examiner la faisabilité et le marché potentiel

Avant de se lancer dans la production, il est primordial de vérifier la faisabilité du projet selon les ressources disponibles. Pour assurer la pertinence du projet et son accueil favorable par le public, il est essentiel d’analyser les tendances du secteur et le marché cible. Des producteurs et des directeurs de production mènent souvent ce travail d’analyse et de recherche.

Ressources à mobiliser et calendrier à gérer

Assurer une gestion rigoureuse des ressources (humaines, matérielles, financières) et du calendrier est fondamental pour que le projet soit réalisé dans les temps et respecte le budget établi. Un directeur de production expérimenté sait comment gérer les imprévus et garantir une organisation sans faille du tournage et de la postproduction.

Attirer l’audience désirée en mettant en avant le contenu

Après l’achèvement du projet, il est vital de promouvoir le contenu pour garantir sa diffusion et maximiser son impact. Utiliser des agences de communication et des stratégies numériques permet d’atteindre l’audience visée et d’assurer la réussite du projet.

Les segments de production européenne : œuvre cinématographique, télévision, corporate

La production audiovisuelle se décline de multiples manières : Le cinéma : la création de films implique un processus minutieux, allant de l’écriture du scénario à la diffusion du produit final dans les salles de cinéma. La télévision : produire des séries, des émissions ou des documentaires implique des stratégies adaptées à l’audience et à la diffusion. La production corporate : pour les entreprises, la vidéo constitue un levier important de communication, souvent mise en œuvre dans des publicités, des films de marque ou des contenus institutionnels.

En définitive

La production audiovisuelle, en pleine évolution, offre aux entreprises de nombreuses possibilités d’investir dans la création de contenu vidéo. En suivant les étapes de production et en appliquant des stratégies efficaces, les responsables marketing peuvent garantir le succès de leurs projets audiovisuels en choisissant le bon studio. Pour une vidéo virale, un film, ou une production en direct, faire appel à des sociétés de production spécialisées assure un travail de qualité, en adéquation avec les attentes du client et les normes du marché.

Besoin de conseils pour votre projet de production audiovisuelle? Découvrez notre guide pratique sur e-mediaprod.

Les Étapes Déterminantes du Processus de Production

Finalisation et montage : le processus de postproduction

La dernière phase, à savoir la postproduction, inclut le montage, l’ajout des effets spéciaux, la correction des couleurs et l’intégration de la bande-son. Il est fondamental de compléter cette étape, car elle donne au projet sa forme définitive. Souvent, un studio dédié à la post-production audiovisuelle est le lieu où la postproduction est réalisée, assurant ainsi la meilleure qualité visuelle et sonore pour le contenu.

La mise en œuvre : capture et supervision artistique

La production proprement dite intervient après la conclusion de la pré-production. Pendant cette phase, la captation vidéo a lieu, que ce soit en studio ou en extérieur. Ici, la direction artistique se montre cruciale : choix des décors, des costumes, et administration des acteurs et de l’équipe technique. Le directeur de production doit s’assurer que le tournage se déroule dans des conditions optimales et selon les contraintes de temps.

La pré-production exige une planification stricte et un budget respecté dans son intégralité.

La première phase de la production audiovisuelle, à savoir la pré-production, est celle où les bases du projet sont mises en place. L’écriture du scénario, la gestion des ressources (humaines et matérielles) et la planification budgétaire sont des aspects à considérer. Un directeur de production doit jouer un rôle clé à ce stade pour garantir que tout est en adéquation avec les attentes du client, tant en qualité qu’en coût. Nous avons aussi l’opportunité de définir le budget du projet et de demander un financement si besoin.

Pour voir cette vidéo sur Youtube, suivez ce lien :
la source: Cliquer ici

#Distribution #Film #Works #Film #Distributors #Explained #Stages #Filmmaking

Retranscription des paroles de la vidéo: Making a film can feel like a miracle. This series demystifies the entire filmmaking process. In our previous episode, we looked at marketing. Today, we look at filmmaking’s final stage. These are the Stages of Filmmaking. Distribution. Before we begin our theatrical release, subscribe to StudioBinder and enable notifications to stay up to date on all our filmmaking videos. Today, we’re joined by entertainment lawyer Melissa Dagodag, theatrical booker Susanne Jacobson, and Alamo Draft House programmer Jake Isgar. Let’s begin. Getting a film in front of an audience involves two stages. Distribution. And Exhibition. A film distributor gets a film into different exhibition settings whether it be a theater, TV, streaming service, or DVD. An exhibitor, meanwhile, owns these platforms where the film can be shown. As such, distribution does not just pertain to getting a movie into theaters. It includes ancillary markets where a movie can make money for years after the initial theatrical release. Since the Paramount decision in 1948, studios could not own the means of production, distribution, and exhibition. For most studios, this meant selling off their theaters. But that decision has recently expired so some studios are once more getting involved in exhibition. – We are back, baby. – We are back. – We’re back. – For many films and filmmakers, landing a distributor is by no means a given. They must navigate the challenging process of finding distribution. Distribution begins with acquisition. This is where a film ends up in a distributor’s hands. In other words, the distributor obtains the rights to a film from its copyright holder, which is typically a producer or studio. These deals outline what territories the distributor can operate in and for how long. Without any distribution, it isn’t possible to make any of a film’s budget back. So it’s a good idea to have distribution in mind early on. As Susanne Jacobson notes… – You really have to have a plan from the outset. Just telling a story that you’ve always wanted to tell. Yes, that’s wonderful. Does that mean that it needs to play in theaters, especially since the pandemic? Probably not. Because an empty theater is a sad place. – A film can secure a distributor when it’s still in development or pre-production. This is referred to as pre-sale distribution, a guarantee from a distributor that they will acquire a film upon completion. This typically happens for movies that have big stars or are sequels to big hits. For more on pre-sales, check out our episode on development. For big studios, distribution is typically done in-house. Disney, for example, has the Walt Disney Studios Motion Picture Distribution Company. – If a studio makes a film, they’re going to distribute it themselves, or they already have a deal in place to co-distribute it with another studio, another big production company. – Indie studios, meanwhile, will have to shop their film around to multiple different firms. Independent filmmakers have a few different options to try to get distribution. Festivals, film markets, sales agents, and self-distribution. Indie filmmakers will typically utilize a combination of these strategies. Most distributors are only present at highly prestigious festivals, such as the Big Five, Venice, Cannes, Berlin, Toronto, and Sundance. There, buzzy films that get audience or critical attention will be approached by distribution companies. Film markets have the primary purpose of selling a film to distributors. Sometimes, these markets occur within a larger festival, such as Cannes Marché du Film. But there are others that stand on their own, like the American film market and Hot Dogs. A film can be a good route if your film can’t get into the highly selective, prestigious festivals. Many films bought at markets are not finished, often only in the development stage. Distribution reps at markets are called acquisition executives, and getting their attention requires a strong, brief pitch along with enticing materials like a trailer, scene, or collection of stills. Often filmmakers at festivals and markets will be partnered with sales agents who specialize in selling films to distribution companies. They will usually represent films at markets and festivals as well as use their own well-established connections. Filmmakers who are not established typically have to wait until their movie is finished to land a sales agent. It is possible to reach out to potential distributors cold using IMDb Pro, though few distributors accept unsolicited submissions. Different distributors have different areas of expertise. Some specialize in certain audiences or genres. Therefore, it is a good idea to have a target audience in mind when meeting with distribution companies. If a filmmaker doesn’t need a theatrical release for their movie and is content with a straight-to-streaming release, they can target aggregators. Aggregators are companies that will approach streamers on a film’s behalf. And they do not require distributors or sales agents. They do, however, typically require either an upfront fee or a percentage of sales. The final option is self-distribution. With self-distribution, all avenues of exhibition are still open. But they will be at the financial risk of the filmmaker. A theatrical release is possible, for example, but it will cost a lot of money since the filmmaker will have to cover ads, posters, certification, and more. A filmmaker typically needs a sales agent to get a deal with a TV network. These deals can result in a lot of profit but are typically lengthy. Self-distribution also includes posting work onto platforms like YouTube Movies or Vimeo On Demand. These services allow filmmakers to sell their films directly to consumers at little to no cost. Once a method of distribution is procured, a filmmaker must then decide on licensing. Nearly all independent distribution requires some form of licensing. This is an agreement between the creator or rights owner of a film and a distributor with set terms for compensation and duration. To best navigate this process, using an entertainment lawyer is a good idea. Melissa Dagodag explains a role. – I handle production contracts for independent films, and I form the business entity that usually owns the film and enters into all the contracts on behalf of the filmmaker. So that and registering trademarks, brand names are huge parts of what I do. I also register copyrights once the film is in the can. And for screenplays, of course, I also register the scripts with the copyright office. And I work with a lot of creative people across the board. – For major studios with their own in house distribution licensing can be more straightforward since the rights stay within the parent company. However, distribution licensing can take many forms for independent filmmakers and smaller production companies. Before entering into any kind of distribution agreement the producers of a film need to ensure that they have all of the clearing rights for the project. Dagodag explains that process. – What that work involves is reviewing the screenplay and reviewing the film to make sure that there’s nothing in it that could trigger a copyright infringement lawsuit. So what could that be? Strangely enough, I’ll give you an example. It could be like you have a building. A lot of people don’t realize that buildings like the Disney Concert Hall can be subject to copyright protection. Moreover, there’s trademark issues that could trigger infringement lawsuits as well. And that could be like. Oh, you have the brand name of a store appearing in the background, you know, and that could be something where you have to get a license to have that name appearing. So there’s lots of intellectual property issues that need to be spotted. – Clearing rights also means having a firm grasp on the chain of title for all the IPs involved in your project. – Chain of title is really the way that you prove that you own all the rights that you’re representing and warranting that you do own in and to the film. So that comes down to contracts with all the talent, all the above-the-line, below the line people in your film, making sure that those rights track completely with the contracts that you have. – If there are co producers or investors involved, the filmmaker will likely have to clear their distribution plan with them before a licensing deal is signed. There are two main types of distribution agreements, leasing and profit-sharing. When a distributor enters a leasing agreement, they will pay a fixed price for the rights to a film. – A leasing agreement is for circumstances in which the distributor is distributing the film, usually on a reduced fee basis. And then the production company will pay for distribution expenses like prints of the film and advertising. And what’s key in that type of distribution agreement is you want to make sure that you limit what can be counted as expenses. And if you don’t limit that, there could be very little left for the filmmaker. – Profit sharing agreements, meanwhile, are where a distributor gets a percentage of profits accrued by a film. This is typically anywhere between 10 to 50 percent. And while it might take more money from the filmmaker, it may also incentivize a distributor to maximize a film’s distribution and profits. – With the profit sharing contracts, you know, that’s, that also is going to be a percentage of something and it all matters how it’s defined. So it really doesn’t matter what you call it. Defined terms and contracts will be in capitalized letters. And what always matters is what are the details of that definition? Like what expenses does this person get to take out before they pay me? And how do I limit those expenses? So I get more money. That’s what’s crucial. – Licensing agreements may also differ based on the type of distribution being offered. Primary rights refer to theatrical releases, whereas secondary rights refer to everything else. A licensing deal may give primary rights to a distributor, but not secondary rights or vice versa. Distributors typically want all of the rights but sometimes it can be strategic to withhold certain distribution rights so you can renegotiate down the line. Distributors usually also want their license to be exclusive. Meaning they will have the sole right to distribute a film in a specific territory for a given period of time. A distributor will pay more for this, but it may also limit your film’s exposure. Nonexclusive rights means multiple different distributors can release in the same territory. For example, a film may be licensed to multiple TV networks. This kind of deal, however, can be trickier to negotiate. A licensing agreement will also dictate a term length. In other words, how long the distributor will have the rights to the film? These terms are often lengthy, up to 15 years. Before signing a licensing deal, it is important to do your own research. Make sure the distributor is willing and able to market your film. But at the same time, won’t overspend and hurt the film’s profit margins. This means looking at a distributor’s track record with prior films. International distributors will try to get a film into markets around the world. National distributors, meanwhile, will take the rights for a film in their specific country. Second-run licenses will then be negotiated to reach a global audience. With the licensing deal complete, it’s time to deliver your film to exhibitors. An exhibitor needs the necessary data to show a film. Typically, this comes in the form of a Digital Cinema Package, or DCP. DCPs are high-resolution files that allow an exhibitor to show a film at its highest quality. They include audio, video, and metadata files that are tailored for exhibition. These files are formatted in accordance with Society of Motion Picture and Television Engineer standards for consistent playback from theater to theater. Usually, creating a DCP is outsourced to a company which specializes in the process. If a movie is going to be shown on actual celluloid, its reels will need to be hand-delivered to the exhibitors. Exhibitors are the retail aspect of the film industry. In other words, they handle showing a film to the public and this can take many forms. Jake Isgar explains. – Exhibition can mean plenty of different things. I mean, when you see, like, think of, like, those FBI labels in front of, like, old VHS tapes about, like, a public exhibition is not allowed unless you have that. It could just be, you know, somebody getting a projector out at a bar and putting on a movie. That is, that is literally exhibition. You’re, you’re putting something out there for other people to watch. As far as theatrical exhibition, it’s just how do you get movies and play them on screen for audiences. – Distributors typically will work closely with theatrical bookers, negotiating when and where their film will be shown. Jacobson explains the role. – I have to determine when it’s going to happen, set the open date, and figure out the theatrical strategy. How wide is it going to go? Where is it going to play? Coordinate Q& A, negotiate the terms, send all the marketing materials to the theaters, make sure they got them, that the film is properly listed on their website, make sure that the distributor is doing what they said they’re going to do, that they’re working to promote the film on their end and then do the collections at the end. – They will also decide on the split, which refers to how much each party will make from the profits. Some exhibitor-distributor relationships have standing contracts with fixed percentages. The split is negotiated on the outset, often, or in some cases, you know, for major distributors, our chain has ongoing deals with them. – And some splits change after a film has earned a specific amount. – Scale is when a film makes X amount in its first week or second week, then that percentage is set. And then as the film continues to play on screen, the percentage can decrease. When it decreases, it means there’s more favorables in the theater. So generally speaking, first-run percentages can run between, let’s say on average, 50 to 60%, where that 50 to 60 percent would go back to the distributor. Generally, on the alternative side or indie side, you’ll see 35 to 40 percent split where that 35 and 40 percent is what’s going back to the distributor. That also could be why you see, you know, certain films play at certain theaters. Hey, I know this can gross in this city, but specifically on this screen in this city so distributors might want to key in. – A film’s window will also be decided. This is the amount of time a film is available on a specific media technology. For example, Disney’s « Frozen » was released theatrically in November 2013, on DVD in March 2014, and debuted on ABC in December 2016. – How long is this on screen before it’s available by other means? Other means being digital rental, digital download, and then there’s also, you know, when can this be available on streaming, which is another secondary window, where I’m paying a passive amount of an X amount of dollars, to subscribe to the streaming service. The streaming service has this thing that I would like. And I’m going to press play on it and maybe watch it while I’m doing laundry. I don’t know. And kind of go from there. – More rarely, films may also utilize a day and date release, where it premieres on streaming the same day it premieres theatrically. Occasionally, a film will come back for a second run to celebrate anniversaries or big award wins. « Oppenheimer », for example, did a limited re-release after its numerous Academy Award wins. Theatrical windows have been shrinking, especially for mid and low-budget films. This is largely thanks to the proliferation of streaming services. Jacobson explains. – Especially now, since the pandemic, people don’t go to the movies as much. So for a film now, toward a theatrical release, it really has to be up to snuff. – There are a few different kinds of theatrical releases. Bigger movies will typically have a wide release meaning, playing at over 600 theaters. If a film plays under that number, it is considered a limited release. Films may begin with a smaller release before it expands. This is referred to as a platform release. Platform releases will typically play only in New York and Los Angeles. This builds word of mouth and can create anticipation for a wider release. But if a film doesn’t perform well during a platform release, it may just continue as a limited theatrical run. Exhibitors must be strategic about their screenings. If a film opens too wide, meaning in too many theaters, then the audience may be spread too thin. Exhibitors will often pressure distributors as they decide on a release date. For example, theaters will typically not want multiple highly anticipated films to be released on the same weekend. If a theater does not want to screen a film on its own dime, a distributor or filmmaker may four-wall, meaning they will underwrite a certain number of screens to ensure a film gets released. This removes any financial risk for the theater. – If you want to just buy out the screen and the financial onus is on them. If you’re intrepid enough, if you’re a huckster, if you know what you’re doing, then like four-wall, why not? Like hustle, get people in. And there’s plenty of films that have succeeded that way or started that way. – Before a film can be exhibited in many U. S. forums, it must be rated by the MPA. A film’s rating can affect how wide of a reach it will have. Most blockbusters will try to avoid an R rating because it will limit family audiences. Instead, they will aim for a PG 13 rating, indicating that almost all audiences are welcome. G and PG ratings typically indicate a movie is made for families and children. An NC 17 rating, meanwhile, can severely cut down the number of theaters a film is shown in. As happened with « Showgirls », a big-budget blockbuster film that ended up with a relatively limited theatrical release. – Where do you dance at, darling? – Um, at the Cheetah. – I don’t know how good you are, darling. And I don’t know what it is you’re good at. But if it’s at the Cheetah, it’s not dancing, I know that much. – Today, exhibition is evolving rapidly due to shifts in the industry as well as audience viewing patterns. – What is Netflix? – Distribution may be the last step in the filmmaking process, but it is certainly not the least. Keeping distribution in mind from the beginning will help ensure your film gets seen by as many people as possible. Distribution requires a lot of planning, and you can start that planning with StudioBinder’s production software. Subscribe and click the bell to see all our filmmaking videos, and head over to the StudioBinder Academy channel for in-depth filmmaker interviews and step-by-step tutorials. That’s all for our series on the stages of filmmaking. Now you have all the tools to take your masterpiece from script to screen. .

Déroulement de la vidéo:

1.76 Making a film can
feel like a miracle.
1.76 This series demystifies the
entire filmmaking process.
1.76 In our previous episode,
we looked at marketing.
1.76 Today, we look at
filmmaking&;s final stage.
1.76 These are the
Stages of Filmmaking.
1.76 Distribution.
1.76 Before we begin our theatrical
release, subscribe to StudioBinder
1.76 and enable notifications to stay up
to date on all our filmmaking videos.
1.76 Today, we&;re joined by
entertainment lawyer Melissa Dagodag,
1.76 theatrical booker
Susanne Jacobson,
1.76 and Alamo Draft House
programmer Jake Isgar.
1.76 Let&;s begin.
1.76 Getting a film in front of an
audience involves two stages.
1.76 Distribution.
1.76 And Exhibition.
1.76 A film distributor gets a film
into different exhibition settings
1.76 whether it be a theater, TV,
streaming service, or DVD.
1.76 An exhibitor, meanwhile, owns these
platforms where the film can be shown.
1.76 As such, distribution does not just
pertain to getting a movie into theaters.
1.76 It includes ancillary markets where
a movie can make money for years
1.76 after the initial
theatrical release.
1.76 Since the Paramount decision in
1948, studios could not own the means of
1.76 production, distribution,
and exhibition.
1.76 For most studios, this
meant selling off their theaters.
1.76 But that decision
has recently expired
1.76 so some studios are once more
getting involved in exhibition.
1.76 – We are back, baby.
1.76 – We are back.
– We&;re back.
1.76 – For many films and filmmakers, landing
a distributor is by no means a given.
1.76 They must navigate the challenging
process of finding distribution.
1.76 Distribution begins
with acquisition.
1.76 This is where a film ends
up in a distributor&;s hands.
1.76 In other words, the distributor
obtains the rights to a film from
1.76 its copyright holder, which is
typically a producer or studio.
1.76 These deals outline what territories the
distributor can operate in and for how long.
1.76 Without any distribution,
it isn&;t possible to make
1.76 any of a film&;s budget back.
1.76 So it&;s a good idea to have
distribution in mind early on.
1.76 As Susanne Jacobson notes…
1.76 – You really have to have
a plan from the outset.
1.76 Just telling a story that
you&;ve always wanted to tell.
1.76 Yes, that&;s wonderful.
1.76 Does that mean that it needs to play in
theaters, especially since the pandemic?
1.76 Probably not.
1.76 Because an empty
theater is a sad place.
1.76 – A film can secure a distributor when it&;s
still in development or pre-production.
1.76 This is referred to as pre-sale
distribution, a guarantee from
1.76 a distributor that they will
acquire a film upon completion.
1.76 This typically
happens for movies
1.76 that have big stars or
are sequels to big hits.
1.76 For more on pre-sales, check
out our episode on development.
1.76 For big studios, distribution
is typically done in-house.
1.76 Disney, for example, has
the Walt Disney Studios Motion
1.76 Picture Distribution Company.
1.76 – If a studio makes a film, they&;re
going to distribute it themselves, or
1.76 they already have a deal in place
to co-distribute it with another studio,
1.76 another big production company.
1.76 – Indie studios, meanwhile,
will have to shop their film around
1.76 to multiple different firms.
1.76 Independent filmmakers
have a few different options to
1.76 try to get distribution.
1.76 Festivals, film markets, sales
agents, and self-distribution.
1.76 Indie filmmakers will typically utilize
a combination of these strategies.
1.76 Most distributors are only present
at highly prestigious festivals,
1.76 such as the Big Five, Venice,
Cannes, Berlin, Toronto, and Sundance.
1.76 There, buzzy films that get
audience or critical attention will be
1.76 approached by
distribution companies.
1.76 Film markets have the primary
purpose of selling a film to distributors.
1.76 Sometimes, these markets
occur within a larger festival,
1.76 such as Cannes Marché du Film.
1.76 But there are others that stand
on their own, like the American
1.76 film market and Hot Dogs.
1.76 A film can be a good route if
your film can&;t get into the highly
1.76 selective,
prestigious festivals.
1.76 Many films bought at markets
are not finished, often only
1.76 in the development stage.
1.76 Distribution reps at markets are
called acquisition executives, and
1.76 getting their attention
requires a strong, brief pitch
1.76 along with enticing materials like a
trailer, scene, or collection of stills.
1.76 Often filmmakers at festivals and
markets will be partnered with sales
1.76 agents who specialize in selling
films to distribution companies.
1.76 They will usually represent films at
markets and festivals as well as use
1.76 their own well-established
connections.
1.76 Filmmakers who are not established
typically have to wait until their
1.76 movie is finished to
land a sales agent.
1.76 It is possible to reach out to
potential distributors cold using
1.76 IMDb Pro, though few distributors
accept unsolicited submissions.
1.76 Different distributors have
different areas of expertise.
1.76 Some specialize in
certain audiences or genres.
1.76 Therefore, it is a good idea to
have a target audience in mind when
1.76 meeting with
distribution companies.
1.76 If a filmmaker doesn&;t need a
theatrical release for their movie and is
1.76 content with a straight-to-streaming
release, they can target aggregators.
1.76 Aggregators are companies that will
approach streamers on a film&;s behalf.
1.76 And they do not require
distributors or sales agents.
1.76 They do, however, typically require either
an upfront fee or a percentage of sales.
1.76 The final option
is self-distribution.
1.76 With self-distribution, all
avenues of exhibition are still open.
1.76 But they will be at the
financial risk of the filmmaker.
1.76 A theatrical release is possible, for
example, but it will cost a lot of money
1.76 since the filmmaker will have to cover
ads, posters, certification, and more.
1.76 A filmmaker typically needs a sales
agent to get a deal with a TV network.
1.76 These deals can result in a lot
of profit but are typically lengthy.
1.76 Self-distribution also includes
posting work onto platforms like
1.76 YouTube Movies or
Vimeo On Demand.
1.76 These services allow filmmakers
to sell their films directly
1.76 to consumers
at little to no cost.
1.76 Once a method of distribution is procured,
a filmmaker must then decide on licensing.
1.76 Nearly all independent distribution
requires some form of licensing.
1.76 This is an agreement between
the creator or rights owner of a film
1.76 and a distributor with set terms
for compensation and duration.
1.76 To best navigate this process, using
an entertainment lawyer is a good idea.
1.76 Melissa Dagodag explains a role.
1.76 – I handle production contracts
for independent films, and I form the
1.76 business entity that usually
owns the film and enters into all the
1.76 contracts on behalf
of the filmmaker.
1.76 So that and registering trademarks,
brand names are huge parts of what I do.
1.76 I also register copyrights
once the film is in the can.
1.76 And for screenplays, of course, I also
register the scripts with the copyright office.
1.76 And I work with a lot of
creative people across the board.
1.76 – For major studios with
their own in house distribution
1.76 licensing can be
more straightforward
1.76 since the rights stay
within the parent company.
1.76 However, distribution
licensing can take many forms
1.76 for independent filmmakers and
smaller production companies.
1.76 Before entering into any kind of
distribution agreement the producers
1.76 of a film need to ensure that they have
all of the clearing rights for the project.
1.76 Dagodag explains that process.
1.76 – What that work involves is reviewing the
screenplay and reviewing the film to make
1.76 sure that there&;s nothing in it that could
trigger a copyright infringement lawsuit.
1.76 So what could that be?
1.76 Strangely enough, I&;ll
give you an example.
1.76 It could be like
you have a building.
1.76 A lot of people don&;t realize that
buildings like the Disney Concert Hall
1.76 can be subject to
copyright protection.
1.76 Moreover, there&;s trademark
issues that could trigger
1.76 infringement lawsuits as well.
1.76 And that could be like.
1.76 Oh, you have the brand name of a store
appearing in the background, you know, and
1.76 that could be something where you have to
get a license to have that name appearing.
1.76 So there&;s lots of intellectual
property issues that need to be spotted.
1.76 – Clearing rights also means having
a firm grasp on the chain of title for
1.76 all the IPs involved
in your project.
1.76 – Chain of title is really the way that
you prove that you own all the rights
1.76 that you&;re representing and warranting
that you do own in and to the film.
1.76 So that comes down to contracts with all
the talent, all the above-the-line, below
1.76 the line people in your film, making
sure that those rights track completely
1.76 with the contracts
that you have.
1.76 – If there are co producers or investors
involved, the filmmaker will likely have
1.76 to clear their distribution plan with
them before a licensing deal is signed.
1.76 There are two main types of distribution
agreements, leasing and profit-sharing.
1.76 When a distributor enters a leasing
agreement, they will pay a fixed
1.76 price for the rights to a film.
1.76 – A leasing agreement is for circumstances
in which the distributor is distributing
1.76 the film, usually on
a reduced fee basis.
1.76 And then the production company
will pay for distribution expenses like
1.76 prints of the film
and advertising.
1.76 And what&;s key in that type of
distribution agreement is you
1.76 want to make sure that you limit
what can be counted as expenses.
1.76 And if you don&;t limit that, there could
be very little left for the filmmaker.
1.76 – Profit sharing agreements,
meanwhile, are where a distributor gets a
1.76 percentage of profits
accrued by a film.
1.76 This is typically anywhere
between 10 to 50 percent.
1.76 And while it might take more
money from the filmmaker, it may also
1.76 incentivize a distributor to maximize
a film&;s distribution and profits.
1.76 – With the profit sharing contracts,
you know, that&;s, that also is going
1.76 to be a percentage of something
and it all matters how it&;s defined.
1.76 So it really doesn&;t
matter what you call it.
1.76 Defined terms and contracts
will be in capitalized letters.
1.76 And what always matters is what
are the details of that definition?
1.76 Like what expenses does this person
get to take out before they pay me?
1.76 And how do I limit
those expenses?
1.76 So I get more money.
1.76 That&;s what&;s crucial.
1.76 – Licensing agreements may also differ based
on the type of distribution being offered.
1.76 Primary rights refer to theatrical
releases, whereas secondary
1.76 rights refer to everything else.
1.76 A licensing deal may give
primary rights to a distributor, but not
1.76 secondary rights or vice versa.
1.76 Distributors typically
want all of the rights
1.76 but sometimes it can be strategic
to withhold certain distribution rights
1.76 so you can renegotiate
down the line.
1.76 Distributors usually also want
their license to be exclusive.
1.76 Meaning they will have the sole
right to distribute a film in a specific
1.76 territory for a
given period of time.
1.76 A distributor will pay more for this,
but it may also limit your film&;s exposure.
1.76 Nonexclusive rights means
multiple different distributors
1.76 can release in
the same territory.
1.76 For example, a film may be
licensed to multiple TV networks.
1.76 This kind of deal, however,
can be trickier to negotiate.
1.76 A licensing agreement will
also dictate a term length.
1.76 In other words, how long the distributor
will have the rights to the film?
1.76 These terms are often
lengthy, up to 15 years.
1.76 Before signing a licensing deal, it
is important to do your own research.
1.76 Make sure the distributor is
willing and able to market your film.
1.76 But at the same time, won&;t overspend
and hurt the film&;s profit margins.
1.76 This means looking at a distributor&;s
track record with prior films.
1.76 International distributors will try to
get a film into markets around the world.
1.76 National distributors,
meanwhile, will take the rights for a
1.76 film in their specific country.
1.76 Second-run licenses will then be
negotiated to reach a global audience.
1.76 With the licensing deal complete, it&;s
time to deliver your film to exhibitors.
1.76 An exhibitor needs the
necessary data to show a film.
1.76 Typically, this comes in the form of
a Digital Cinema Package, or DCP.
1.76 DCPs are high-resolution files
that allow an exhibitor to show
1.76 a film at its highest quality.
1.76 They include audio, video, and metadata
files that are tailored for exhibition.
1.76 These files are formatted in
accordance with Society of Motion Picture
1.76 and Television
Engineer standards
1.76 for consistent playback
from theater to theater.
1.76 Usually, creating a DCP is outsourced to a
company which specializes in the process.
1.76 If a movie is going to be shown
on actual celluloid, its reels will need
1.76 to be hand-delivered
to the exhibitors.
1.76 Exhibitors are the retail
aspect of the film industry.
1.76 In other words, they handle
showing a film to the public
1.76 and this can take many forms.
1.76 Jake Isgar explains.
1.76 – Exhibition can mean
plenty of different things.
1.76 I mean, when you see, like, think
of, like, those FBI labels in front
1.76 of, like, old VHS tapes about,
like, a public exhibition is not
1.76 allowed unless you have that.
1.76 It could just be, you know,
somebody getting a projector out
1.76 at a bar and putting on a movie.
1.76 That is, that is
literally exhibition.
1.76 You&;re, you&;re putting something
out there for other people to watch.
1.76 As far as theatrical exhibition,
it&;s just how do you get movies and
1.76 play them on
screen for audiences.
1.76 – Distributors typically will work closely
with theatrical bookers, negotiating
1.76 when and where
their film will be shown.
1.76 Jacobson explains the role.
1.76 – I have to determine when it&;s going
to happen, set the open date, and
1.76 figure out the
theatrical strategy.
1.76 How wide is it going to go?
1.76 Where is it going to play?
1.76 Coordinate Q& A, negotiate the
terms, send all the marketing materials to
1.76 the theaters, make sure they got
them, that the film is properly listed on
1.76 their website, make sure that the
distributor is doing what they said
1.76 they&;re going to do, that they&;re
working to promote the film on their end
1.76 and then do the
collections at the end.
1.76 – They will also decide on the
split, which refers to how much each
1.76 party will make
from the profits.
1.76 Some exhibitor-distributor
relationships have standing
1.76 contracts with
fixed percentages.
1.76 The split is negotiated on the outset,
often, or in some cases, you know,
1.76 for major distributors, our chain
has ongoing deals with them.
1.76 – And some splits change after a
film has earned a specific amount.
1.76 – Scale is when a film makes X
amount in its first week or second
1.76 week, then that
percentage is set.
1.76 And then as the film continues to play
on screen, the percentage can decrease.
1.76 When it decreases, it means
there&;s more favorables in the theater.
1.76 So generally speaking, first-run
percentages can run between, let&;s say on
1.76 average, 50 to 60%, where that 50 to 60
percent would go back to the distributor.
1.76 Generally, on the alternative side or indie
side, you&;ll see 35 to 40 percent split
1.76 where that 35 and 40 percent is
what&;s going back to the distributor.
1.76 That also could be why you see, you know,
certain films play at certain theaters.
1.76 Hey, I know this can gross
in this city, but specifically
1.76 on this screen in this city
1.76 so distributors
might want to key in.
1.76 – A film&;s window
will also be decided.
1.76 This is the amount of time a film is
available on a specific media technology.
1.76 For example, Disney&;s
"Frozen" was released
1.76 theatrically in November
2013, on DVD in March 2014,
1.76 and debuted on ABC
in December 2016.
1.76 – How long is this on screen
before it&;s available by other means?
1.76 Other means being digital rental,
digital download, and then there&;s also,
1.76 you know, when can this be available
on streaming, which is another secondary
1.76 window, where I&;m paying a passive
amount of an X amount of dollars, to
1.76 subscribe to the
streaming service.
1.76 The streaming service has
this thing that I would like.
1.76 And I&;m going to press play on it and
maybe watch it while I&;m doing laundry.
1.76 I don&;t know.
1.76 And kind of go from there.
1.76 – More rarely, films may also utilize
a day and date release, where it
1.76 premieres on streaming the
same day it premieres theatrically.
1.76 Occasionally, a film will come
back for a second run to celebrate
1.76 anniversaries or big award wins.
1.76 "Oppenheimer", for example,
did a limited re-release after its
1.76 numerous Academy Award wins.
1.76 Theatrical windows have been shrinking,
especially for mid and low-budget films.
1.76 This is largely thanks to the
proliferation of streaming services.
1.76 Jacobson explains.
1.76 – Especially now, since the pandemic,
people don&;t go to the movies as much.
1.76 So for a film now, toward a theatrical
release, it really has to be up to snuff.
1.76 – There are a few different
kinds of theatrical releases.
1.76 Bigger movies will
typically have a wide release
1.76 meaning, playing
at over 600 theaters.
1.76 If a film plays under that number,
it is considered a limited release.
1.76 Films may begin with a smaller
release before it expands.
1.76 This is referred to
as a platform release.
1.76 Platform releases will typically play
only in New York and Los Angeles.
1.76 This builds word of mouth
1.76 and can create anticipation
for a wider release.
1.76 But if a film doesn&;t perform well
during a platform release, it may just
1.76 continue as a
limited theatrical run.
1.76 Exhibitors must be strategic
about their screenings.
1.76 If a film opens too wide, meaning
in too many theaters, then the
1.76 audience may be spread too thin.
1.76 Exhibitors will often
pressure distributors as they
1.76 decide on a release date.
1.76 For example, theaters will typically
not want multiple highly anticipated films
1.76 to be released on
the same weekend.
1.76 If a theater does not want to screen
a film on its own dime, a distributor or
1.76 filmmaker may four-wall, meaning
they will underwrite a certain number of
1.76 screens to ensure
a film gets released.
1.76 This removes any
financial risk for the theater.
1.76 – If you want to just buy out the
screen and the financial onus is on them.
1.76 If you&;re intrepid enough, if you&;re
a huckster, if you know what you&;re
1.76 doing, then like
four-wall, why not?
1.76 Like hustle, get people in.
1.76 And there&;s plenty of films that have
succeeded that way or started that way.
1.76 – Before a film can be
exhibited in many U. S. forums,
1.76 it must be rated by the MPA.
1.76 A film&;s rating can affect how
wide of a reach it will have.
1.76 Most blockbusters will try to
avoid an R rating because it
1.76 will limit family audiences.
1.76 Instead, they will aim for a
PG 13 rating, indicating that
1.76 almost all audiences
are welcome.
1.76 G and PG ratings typically indicate a
movie is made for families and children.
1.76 An NC 17 rating, meanwhile,
can severely cut down the number
1.76 of theaters a film is shown in.
1.76 As happened with "Showgirls",
a big-budget blockbuster
1.76 film that ended up with a
relatively limited theatrical release.
1.76 – Where do you
dance at, darling?
1.76 – Um, at the Cheetah.
1.76 – I don&;t know how
good you are, darling.
1.76 And I don&;t know what
it is you&;re good at.
1.76 But if it&;s at the Cheetah, it&;s
not dancing, I know that much.
1.76 – Today, exhibition is
evolving rapidly due to shifts
1.76 in the industry as well as
audience viewing patterns.
1.76 – What is Netflix?
1.76 – Distribution may be the last
step in the filmmaking process, but
1.76 it is certainly not the least.
1.76 Keeping distribution in mind from
the beginning will help ensure your film
1.76 gets seen by as many
people as possible.
1.76 Distribution requires
a lot of planning,
1.76 and you can start that planning with
StudioBinder&;s production software.
1.76 Subscribe and click the bell to see
all our filmmaking videos, and head
1.76 over to the StudioBinder Academy
1.76 channel for in-depth filmmaker
interviews and step-by-step tutorials.
1.76 That&;s all for our series
on the stages of filmmaking.
1.76 Now you have all the tools to take
your masterpiece from script to screen.
.