Aggregators -- any advice?

It's been a LONG time coming, but I'm finally ready to release my debut feature, Antihero, to the world. The reason for the delay was a simple matter of money. I didn't have full clearance for a couple of songs, and I wasn't willing to replace those songs with something else.

Anyway, I figure I'd like to get it on iTunes, with the hope of also getting it on Netflix. Does anyone here have any experience with the six North American aggregators that iTunes approves of?

For what it's worth, I actually want it on Netflix more than anything else.
 
So you have full clearance for everything now?

I know a company that is looking to acquire features to distribute to DVD and VOD platforms such as iTunes, NetFlix, Hulu Plus, etc. and may be interested in distributing your film. You can PM me if you'd like.
 
Congratulations on getting clearance on those songs and being able to move forward with broader distribution of 'Antihero.'

I wish I had more to contribute, but my experience or homework have yet to get as far as you've gone.
All I can really provide is to know that the week 'Antihero' gets released some asshat is going to pirate and torrent it.
I hope you have another project to plug to be inserted in 'Antihero' to at least get some ameliorative benefit.

GL!
 
Just as a point of reference, I figured I'd post the direct links for folks looking for info:
iTunes: http://www.apple.com/itunes/working-itunes/sell-content/
Netflix: Seems to be running strictly through aggregators/distributors now. All of the linked pages I've found to submission info is gone.

The Film Collaborative: http://www.thefilmcollaborative.org

Aggregators mentioned in articles:
Indiegogo (purchased Distribber) http://www.indiegogo.com
TuneCore (mentioned, but I can't find the video portion of the site) http://www.tunecore.com
 
Yeah, I actually am attracted by distribber, and may go with them. In fact, I already discussed potential scenarios with them a while back. They're currently not accepting new films, though I imagine that's only because of the recent purchase?

The Film Collaborative is a great idea, but I'm a little turned off by the fact that when I clicked on the "testimonials" link on their website, I got nothing. How can I take them seriously if they can't even keep their website running smoothly?

Though any aggregator or individual can get their movie on iTunes, I'm leaning towards going with one of these -- https://itunesconnect.apple.com/WebObjects/iTunesConnect.woa/wa/displayAggregators?ccTypeId=7
 
It's so funny you posted this. I was just doing a bunch of googling on this very subject on a lark.

Apart from the ones mentioned I ran into a company called The Orchard. I don't believe they submit to as many platforms as Distribber, but the person I read recommending them was pushing the customer service and detailed sales stats angle.

I haven't gone far enough into the system since I don't have a feature film, but initial scans of createspace seem to indicate that you may be able to get on amazon instant video through them?
 
Hmm, the more I look into this, the more I'm starting to think this might not be the best route for me.

I don't actually give a crap about iTunes, I just wanted to get it on Netflix. But it seems like that's actually more difficult than I had hoped, and so it seems like a pretty big gamble to pay the hefty fees to an aggregator, with small chance of payoff. :(

I'm starting to think that self-distribution, perhaps even just on vimeo, might be best.

I might even just sit on it.
 
This is why you should be thinking and planning for marketing and distribution early in the process. Would you still have gone through the expense of the clearances if you had known about the costs of aggregators?
 
This is why you should be thinking and planning for marketing and distribution early in the process. Would you still have gone through the expense of the clearances if you had known about the costs of aggregators?

I haven't paid for the clearances yet, I just finally have the ability to. Prior to now, I've had other expenses (related to the movie or not) that were more pressing. Besides, it's always been the plan to get clearance, regardless. That's always just been an expense that I consider part of the budget.

Sweetie, moonshield -- thanks for the info; I'll look into that. :)
 
I haven't gone far enough into the system since I don't have a feature film, but initial scans of createspace seem to indicate that you may be able to get on amazon instant video through them?

For one thing, check into how much it will will cost to get your project listed in an industry categorizing database -- think ISBN -- you have to BUY a number for your film if you don't already own a block of numbers from earlier projects and they're not cheap. (And, no we're not talking about IMDb.) This is/was a createspace requirement.

Secondly, getting your project processed by Amazon is anything but instant.

Good luck.
 
I'm finally ready to release my debut feature, Antihero, to the world... Anyway, I figure I'd like to get it on iTunes, with the hope of also getting it on Netflix. Does anyone here have any experience with the six North American aggregators that iTunes approves of?

I don't wish to sound insulting, but this approach to film making, which appears to be quite common amongst filmmakers here on IT, completely baffles me! It's not just that it's unprofessional, it just doesn't make any logical sense. If you were a car enthusiast instead of a film enthusiast and you wanted to build your own car would you just start building the car or would you do some research first about safety and legal requirements? Without this research, not only are you likely to spend too much money on some aspects of the car and not enough on others but when it's finished there's only the tiniest of chances that it will be road legal. You're then faced with either a far higher cost to make the car road legal than would have been the case if you planned and designed it to meet the safety/legal requirements from the outset or, if you don't have the time/money to rip the car to pieces and remake it to comply with safety/legal specs, what you've actually made is not a car but simply a car shaped garden ornament! For example, I'm presuming you've made your film in HD resolution, my question is: Why?

If you wish to make a film with some prospect of getting it on iTunes and/or Netflix to get some ROI, is not the very first thing you should do is find out what iTunes' and Netflix's delivery requirements are? And then to cost out how much it will cost to meet those requirements and have your film hosted on iTunes and/or Netflix? I don't understand how you can set a budget for a film (or allocate what budget you have) if you have no idea what the requirements are or what it will cost to meet them.

How much time, money and effort have you put into your dream to make and "release my debut feature to the world"? But now you're saying: "I might even just sit on it". Maybe I'm missing something, maybe there's some fact/s I'm not aware of, but the whole thing seems such a waste and utterly crazy to me.

G
 
I don't wish to sound insulting, but this approach to film making, which appears to be quite common amongst filmmakers here on IT, completely baffles me! It's not just that it's unprofessional, it just doesn't make any logical sense. If you were a car enthusiast instead of a film enthusiast and you wanted to build your own car would you just start building the car or would you do some research first about safety and legal requirements? Without this research, not only are you likely to spend too much money on some aspects of the car and not enough on others but when it's finished there's only the tiniest of chances that it will be road legal. You're then faced with either a far higher cost to make the car road legal than would have been the case if you planned and designed it to meet the safety/legal requirements from the outset or, if you don't have the time/money to rip the car to pieces and remake it to comply with safety/legal specs, what you've actually made is not a car but simply a car shaped garden ornament! For example, I'm presuming you've made your film in HD resolution, my question is: Why?

If you wish to make a film with some prospect of getting it on iTunes and/or Netflix to get some ROI, is not the very first thing you should do is find out what iTunes' and Netflix's delivery requirements are? And then to cost out how much it will cost to meet those requirements and have your film hosted on iTunes and/or Netflix? I don't understand how you can set a budget for a film (or allocate what budget you have) if you have no idea what the requirements are or what it will cost to meet them.

How much time, money and effort have you put into your dream to make and "release my debut feature to the world"? But now you're saying: "I might even just sit on it". Maybe I'm missing something, maybe there's some fact/s I'm not aware of, but the whole thing seems such a waste and utterly crazy to me.

G

It's okay, APE, I wouldn't expect many to understand what motivated me to make Antihero. The thing you're missing is that there's a whole lot more than one reason to make a movie. It doesn't always have to be about distributing a movie for financial profit. I'll admit that I'm more than a little crazy, but making this movie has turned out to be far from a waste of time. If I could go back and do it all over again, I would.

Even during pre-production, I didn't plan or expect to make any money off this film. Marketing has never been a priority for me on this film, and it never will be. The only reason I want to release it "to the world" is because I want people to be able to see it, whereas right now they can't. I didn't make a movie for people not to watch.

I'd love to see it on Netflix because I think that would lead to the greatest number of people seeing it, not because I'd make any money off of it (I wouldn't). Simply having it listed along-side all of their other streaming titles would be a form of marketing far more powerful than I could ever pull off on my own. The same is not true of getting it listed on iTunes, or Amazon, or any other VOD website.

Why would I sit on it? Because there's no expiration date on me getting it out there. This isn't something that I feel any need to make happen RIGHT NOW, so I'm not afraid of waiting for a better opportunity to arise. I've already benefited GREATLY from this film, in so many ways, so from here on out my only motivation is that I don't want to keep it under wraps forever.

By the way, if anyone wants to see it, you can just PM me and we can make that happen. :)
 
APE, I'm kinda wondering why a smart guy like you would beat a dead horse after it was stolen from the unlocked barn. :D

CF done made the film.
What's he s'posed to do with it? Nothing?

Yeah, yeah, yeah, the "whole project" wasn't nailed down from point A to Z.
Whatever.
The point is "Where does he go from here?", bass ackwards or otherwise.
 
I used INDIEFLIX with my film. In addition to paid views on their own website, they were able to get my film onto Hulu. They do keep a small % of the earnings. Check them out.
 
The thing you're missing is that there's a whole lot more than one reason to make a movie. It doesn't always have to be about distributing a movie for financial profit.

My post doesn't necessarily apply just to making a profit but pretty much to any film or indeed to pretty much anything at all, not just film (building your own car for example). Almost whatever it is you want to end up with, you need to research and plan for it, otherwise you'll probably end up making something which is not fit for purpose. I realise that some make films just for the fun of it, just to see if they can, for the learning experience or for some combination of these reasons plus maybe some others, which is fine. But, you have said "I didn't make a movie for people not to watch". By deciding not to find out what was required to enable your film to be watched and by deciding not to plan or budget for those requirements, the reality is that you did in fact decide to make a movie for people not to watch! And, as it currently stands, your film is perfectly fulfilling that plan! Failing to plan is planning to fail.

I'd love to see it on Netflix because I think that would lead to the greatest number of people seeing it...

Maybe I'm doing you a disservice but as I read your posts, you don't really want your film to be on Netflix, you're just dreaming about what it would be like. If you were really serious, you would be deciding what definition you want to make your film available in, what the delivery and QC requirements are for that definition, how much it will cost to meet those requirements and any other costs (say the aggregator fees) and would be planning a way to raise those funds or, if the total cost turns out to be way too much, you would be planning on some other, cheaper definition and/or cheaper distribution outlet. It seems to me that at the moment you're just sitting on your film waiting for a distributor or distribution channel to open up which is tailored to your film, your only plan appears to be, just as when you started making your film, to just dream and trust to luck. By failing to research and plan, even at this stage, your plan is effectively unchanged and continues to be: "to make a movie for people not to watch"!

APE, I'm kinda wondering why a smart guy like you would beat a dead horse after it was stolen from the unlocked barn. :D

Because it might be possible for Cracker to recover his horse's corpse and give it another beating, and, I'm also posting for the benefit of others reading this thread, who may still have the opportunity to beat their dead horses before they're stolen! :) So it's partly a cautionary tale to other filmmakers regarding a golden rule: Making your film and hoping a distributor turns up who is perfectly tailored to it is, as rayw would say; "bass ackwards"!! You need to do the opposite; research, plan and tailor your film for the distributor/s!

To some here (presumably you rayw) what I'm saying might be a case of stating the blatantly obvious but it's patently not obvious to many here on IT because time and again I see posts about not being able to find a distributor, even though there are many thousands of distributors around the world, and/or quite a few who flame new and/or aspiring distributors who post on IT because their distribution service is not perfectly tailored to the flamer's film/expectations.

G
 
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To some here (presumably you rawy) what I'm saying might be a case of stating the blatantly obvious but it's patently not obvious to many here on IT because time and again I see posts about not being able to find a distributor, even though there are many thousands of distributors around the world, and/or quite a few who flame new and/or aspiring distributors who post on IT because their distribution service is not perfectly tailored to the flamer's film/expectations.

Who's rawy?
 
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