The New World Of Self-Distribution

With all the new tools available to film makers, musicians and authors, it is becoming easier and easier to distribute independent content.  In years past, distributing a film, a book or a CD required a major distributor, i.e., a label, a publisher or a studio.  But digital delivery and the internet has changed all that – forever!

Independent filmmakers can easily reach an audience via internet or even television, via services such as CreateSpace, Distrify, or Reelhouse.  Even Vimeo is getting into the action!

CreateSpace is Amazon’s DIY entry, providing self-distribution services for film, music and books.  The service allows content creators to distribute via Amazon directly to the public.  Filmmaker can sell DVD’s or allow customers to download titles via Amazon Instant Video.  The service is inexpensive, user friendly and has the advantage of being part of Amazon, the most popular shopping site on the internet!

Distrify also allows content creators to sell DVD’s or provide downloads of product.  Distrify offers basic services to filmmakers free of charge, but charges producers varying fees for additional services such as  marketing, promotion and consulting.

Distribber is an IndieGoGo company.  Technically, an aggregator (middleman), Distribber works more like a traditional distributor than the web-based services.  Unfortunately, Distribber charges major fees, $1,595 to deliver an HD video to iTunes, and full service runs around $10,000. However, the company does not take a cut of sales, or charge any back-end fees.  They do not distribute theatrically, but work with Netflix, iTunes, Hulu, Amazon and all the major cable services.  Lastly, they do not provide marketing or publicity, so promotion is another expense for the filmmaker.

Reelhouse is another direct to viewer service that features a social media approach, utilizing an online video community to build viewership.

  

Vimeo, a popular online video site, has taken advantage of their user base to launch its own self-distribution service for indie filmmakers. Their service is quite user-friendly, allowing producers to keep 90% of revenues generated.  The service distributes to many of the newest viewing outlets including Apple TV, Roku, Google TV, and Xbox Live. 

Tugg is a web-platform that assists filmmakers looking for theatrical screening of their projects.  Tugg has agreements with many theater chains, including Regal, AMC, Cinemark and Rave.  Producers can book screenings in one or more of these theaters, and use the site’s web tools to promote the screenings and sell tickets.   Filmmakers are not charged for any screenings, and will earn 35% of revenues generated.

Recording artists can also use Createspace and sell CD's DVD’s or mp3’s on Amazon.  For those who prefer iTunes, Tunecore is a very affordable service that distributes to iTunes, Spotify and Amazon.  It is a very popular service for indie artists with a high satisfaction rate. 

DistroKid, one of the newest music distributors, allows artists to upload unlimited  music to digital stores, including iTunes, Spotify, Google Play, Amazon, Beats, Rdio, and Deezer  for $19.99 a year.  Additionally, they do not take any percentage of sales income.

Lastly, Bandcamp uses a social media platform to distribute music and merchandise for artists, encouraging fans to support the artists that they enjoy.

With all of the new services, and inexpensive options, distribution is no longer an issue for the creative person with a story to tell or a song to sing. 

Cue Sheets – The Key to Your Royalty Payments

I recently received a frantic phone call from a composer, concerned about his BMI royalties last quarter.  He wanted to know why he hadn’t received his check, since he knew his project had aired on television and he had been eagerly awaiting that royalty check.

A quick call to BMI member services revealed the problem.  The PRO had not received the cue sheet for the project.  I contacted the production company, which eventually sent me a copy of the cue sheet, which revealed even more.  The cue sheet was in correct, missing much of the required information, including cue titles and publishing information.  So even if the paperwork had been submitted, the PRO would not have been able to pay based upon the information received.

Bottom line, in order for any PRO (ASCAP, BMI or SESAC) to distribute royalties for a television or film project, they must receive a cue sheet and that cue sheet must be properly filled out. Without properly prepared cue sheets, it would be nearly impossible for composers and publishers to be compensated for their work.

computermusicresource.com

A cue sheet lists the music that is contained in a project; the way the music was used, the duration of each piece of music and who should be paid.

The PRO’s have noted that newer, independent producers are not as meticulous or consistent in the filing of accurate cue sheets. These newcomers are sometimes unaware of the legal and professional responsibilities involved in using music in their productions and how important it is to ensure that composers and publishers are paid properly.

The aforementioned composer was working with an independent company when he encountered issues with his royalty payments.  It is recommended that composers and publishers request copies of cue sheets sent directly to them, so that they can be sure that the paperwork is submitted in a timely fashion.  Checking to make sure that the cue sheets have been prepared and filed is good insurance for receiving accurate compensation for your music.

For more info contact your performing rights organization

http://www.ascap.com/music-career/articles-advice/cue-sheets

http://www.bmi.com/creators/detail/what_is_a_cue_sheet

http://www.sesac.com/WritersPublishers/HowWePay/CueSheet.aspx