Modern Film Distribution Guide: How Indie Filmmakers Can Choose the Right Channel and Avoid Costly Mistakes

Posted on: Jul 24, 2025

Photo Credit: iStockphoto // bjones27

By Jessica Mathis

Filmmaking is an art founded in passion, and creating the artwork is what most filmmakers are most excited about. Distribution? Not so much. Distribution was once as limited as publishing. Obtaining approval and acceptance from a small group of gatekeepers was the only way to have your film seen by the masses. Today’s distribution models have changed a lot, with options from self-managed platforms to high-touch sales agencies. Each option has its own set of pros and cons for the indie filmmaker.

This list compares the features, plus critical considerations (such as hidden costs), that you might expect from today’s major distribution channels.

Key Insights:

There are four primary modern film distribution paths—FilmHub, aggregators, self-distribution, and sales agents—each with unique pros, cons, and pricing models.
Many distribution channels carry hidden fees and a lack of sales transparency, which can significantly reduce a filmmaker’s earnings.
Choosing the right distribution path depends on your goals, budget, marketing ability, and the current demand for your film.

Distribution Models

Based on recent data, filmmakers now primarily distribute through one of four paths:

FilmHub

FilmHub is like an aggregator — it puts the product out there in a way that’s accessible to hundreds of platforms. Those who are interested can then license the content from FilmHub. Placing your content with FilmHub does not mean it will automatically be picked up by any of the platforms. They have an online

Upfront fee: None.
Revenue share: FilmHub takes 20% of net revenue. That means after the platform (such as Tubi, Hulu, etc.) takes their percentage of advertising revenue, FilmHub takes 20% of what is sent from them as payout, and the filmmaker gets 80% of that payout.
Platform access: Strong AVOD/TVOD reach; FilmHub handles platform relationships.
Curation: Required — FilmHub must approve the title and platform fit.
Marketing: None provided — you’re responsible for promoting your film.
Revenue tracking: There is an online dashboard where you can see all revenue generated, displayed by platform.
Control over platforms licensed to: Limited. FilmHub does not ask your approval before granting license, but you can set some desirables when loading the project onto their site.

Best for: Filmmakers with a polished product who want to avoid upfront costs and are comfortable marketing their own work.

Traditional Aggregators (e.g., Bitmax, Quiver)

These services have connections to, and offer placement services on VOD (Video on Demand) platforms like iTunes, Amazon and Google Play. There are also some distributors who charge up front to get your item on different platforms, so we’ll include those in this category.

Upfront fee: Typically $500–$2,000+ per platform.
Revenue share: You retain 100% after the platform cut. “The platform cut” means their cut of the advertising before they pay you.
Platform access: You choose which platforms to distribute to.
Curation: No content curation — if you pay, your film gets delivered.
Marketing: None — promotional efforts are on you.

Best For: Filmmakers who want full control of where their film lands have a solid launch strategy, and can afford the initial investment.

Self-distribution

Some filmmakers or content creators decide to chart their own path and distribute their content via YouTube, social apps, or on pay-based VOD services like Vimeo OTT.

Upfront fee: Social apps and YouTube have zero upfront fee. VOD platforms where you can sell your work like Vimeo OTT have some fees based on the amount of footage being uploaded.
Revenue share: Fees vary.
Platform access: You have direct access to the platforms yourself, but that doesn’t mean their audience will see your work.
Transparency: You set the price. When sharing ad revenue on YouTube or socials, you’ll have limited transparency in your cut of revenue. With VOD services, you’ll have a dashboard where all payouts are detailed.
Marketing: You’ll need to market yourself. Social apps and YouTube have restrictions in place that determine if you can monetize your content, so you may need to build an audience before you could make money.
Control: Absolute control over most aspects.

Best For: Filmmakers with marketable and/or festival-proven films who want help navigating bigger platforms and territories.

Distributors or Sales Agents

These are more traditional partners who represent films, pitch them to networks and platforms, and sometimes handle PR. Sales agents act on behalf of producers to sell the rights to films and TV dramas to distributors, while distributors handle the release of the project and sometimes handle the marketing. It depends on the distributor. Sales agents will attend film markets, conferences, etc., to attempt to sell the film to the distributor on behalf of the producers.

Upfront fee: Typically none, but expenses are recoupable. That means they will charge the filmmaker for anything they spend money on related to the project.
Revenue share: Agents take 15-40% of gross revenue, plus marketing recoup.
Platform access: Can secure premium SVOD, international TV, and theatrical deals.
Curation: Yes — they decide what to represent and where to shop it.
Marketing: May offer PR support; terms vary.

Best For: Filmmakers with marketable and/or festival-proven films who want help navigating bigger platforms and territories.

Distribution Red Flags and Cautionary Tales

“Marketing Fees” That Drain Your Profit

One of the downsides to working with sales agents or distributors is that some may claim unclear or bloated marketing costs. These costs are recouped before any payout to the filmmaker, which could leave the filmmaker high and dry.

Examples include:

Vague charges like “festival travel” or “market prep.”
PR costs that you didn’t request or approve.
Platform advertising with no metrics or ROI (return on investment).

Tip: Always ask for a detailed marketing budget in writing before signing. Insist on caps and auditable expense reports.

Lack of Sales Transparency

Another issue with some sales agents is poor reporting. Payments can be late or irregular, and you’re often in the dark about how much money your film is actually making.

Watch for:

Vague revenue statements.
No real-time dashboard or tracking.
No obligation for quarterly (or even annual) reports.

Tip: Demand a contract that includes regular reporting intervals and the right to audit. FilmHub, for example, provides a transparent dashboard — a huge plus for DIY distributors.

Loss of Control Over Your Work

Once you sign with a distributor or sales agent, your ability to make decisions — from pricing to platform — can evaporate. Worse, some agreements are exclusive and can last for 7-15 years, effectively locking your film away from other opportunities.

Tip: Avoid exclusive deals unless there’s a guaranteed minimum payout or a clearly defined recoupment period. Retain as many rights as you can (especially for non-theatrical or educational use). You should understand clearly how long they hold the rights to your work, what kind of rights, and what you can or can not do with your work during that time.

Choosing the Right Channel for You

There’s no one-size-fits-all approach. Your ideal path depends on the following:

Budget: Can you afford to pay upfront, or do you need to avoid fees?
Goals: Is visibility more important than revenue? Do you want a niche audience or mainstream reach?
Skill Set: Are you comfortable handling your own promotion?
Leverage: Have you won awards or built buzz that could attract a reputable distributor?
Audience: Do you already have a sizable audience?

You Might Prefer…	If You…
FilmHub	Want a no-cost way to get your film on AVOD/TVOD and are good at self-promotion.
Traditional Aggregator Yourself	Have upfront cash and want full control over your film’s release. Already have a sizable audience and could generate income without splitting revenue.
Sales Agent/Distributor	Have a marketable film and want help navigating international or premium deals.

Final Thoughts

Distribution may seem complicated, but it’s a necessary monster to think about when creating content. Thinking about it from the beginning can help get your creation the attention it deserves. These tips should help you carefully consider the best path to your audience without being taken advantage of.

Remember: the deal you sign today could define your film’s future for years to come.

Final Takeaways:

Always request a detailed marketing and expense breakdown before signing any distribution deal.
Avoid long-term, exclusive agreements unless minimum payouts and reporting transparency are clearly defined.
There’s no one-size-fits-all solution—select the distribution path that matches your strengths, resources, and creative goals.

Jessica Mathis (AKA Divinity Rose) is an award winning screenwriter/performer/producer from Louisville, Kentucky. She is the CEO of She Dreams Content Development and Production, which focuses on female forward projects in comedy, docustyle and genre entertainment.

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