Know where you stand.

FilmTakeoff is a publishing, marketing and distribution partner for filmmakers. We help selected projects prepare for release, communicate their value and reach audiences through a plan agreed with their creators.

There is no upfront FilmTakeoff publishing or marketing fee. Our compensation is an agreed share of revenue from sold copies. The written agreement explains the revenue definition, share, any deductions and payment process before work begins.

There is no single published percentage. Scope, rights, markets and the work involved inform the proposal. You receive the revenue-sharing terms for review before you commit.

No. Audience demand, platform requirements and commercial decisions vary. A proposal explains the intended work and channels, but acceptance does not guarantee placement, revenue, reviews or audience size.

No production financing is promised. Our focus is publishing and taking films toward an audience. If a project is still in development, use the contact form to explain what you need.

We welcome narrative features, shorts, documentaries, animation and episodic projects. Tell us the format, running time, language, stage of completion and the audience you want to reach. Every submission is reviewed for fit.

Finished and near-release projects are the clearest fit. If your cut is not final, describe what remains and share the current version accurately. We will assess whether a conversation is useful; submission does not create a commitment to finish or finance the film.

Yes, first-time filmmakers are welcome to submit. A clear screener, credible rights position and thoughtful description of the intended audience matter more than a long list of previous credits.

Yes. Shorts may need a different release strategy from feature films. Include the running time, genre, intended audience and any existing festival or distribution commitments.

Yes. Explain the subject, contributor permissions, use of archive materials, music rights and any issues that could affect distribution. Do not send private or sensitive source materials through the initial form.

Yes, with clear disclosure. Identify the role of AI, relevant tools and any generated voices, likenesses, music or footage. You must be able to explain your rights and the permissions needed for commercial use.

Yes. State the original language and available subtitle or caption languages. Potential markets, translation requirements and delivery specifications are considered in the release plan.

Potentially. Tell us where it is available, which rights are committed, any exclusivity or windowing restrictions and what you hope a new partnership will achieve.

The model is designed around creators retaining their underlying rights. Any permission needed to publish, market or distribute is set out in a separate written agreement, including media, territories, duration and permitted uses.

No. Submitting grants permission to review your information and materials for evaluation and to contact you about the project. It does not grant a distribution license or transfer ownership.

Exclusivity is not assumed. Any exclusive or non-exclusive scope must be stated in the agreement. Existing commitments should be disclosed before a release plan is proposed.

Prepare an overview of ownership, collaborator agreements, music and footage licenses, contributor and performer releases, and any existing distribution commitments. Detailed documents can be requested later through an agreed process.

Disclose recognizable people, cloned or generated voices and synthetic likenesses. Explain the permissions you hold. AI tools do not remove the need to address consent, licensing or other rights requirements.

That depends on the agreed scope and any channel or territory restrictions. Discuss direct sales and existing availability during the proposal stage so the agreement can address them explicitly.

Duration, renewal, termination and treatment of existing sales or licenses belong in the written agreement. There is no universal term stated on this site.

It can include organizing release metadata, descriptions, artwork, viewing assets, pricing inputs and delivery materials for the agreed channels. The precise responsibilities and technical requirements are defined for each project.

The plan can address positioning, audience definition, release messaging, promotional assets, outreach and channel-specific activity. The scope is agreed for the project; a submission is not a promise of a particular campaign or advertising spend.

No particular streaming service or retailer is guaranteed. Platform access, eligibility, commercial terms and acceptance vary. We discuss realistic routes rather than promise logos on a pitch page.

The core offer is digital publishing and distribution. If theatrical, festival or event screenings matter to your plans, disclose them so potential rights and timing conflicts can be considered.

Tell us about submissions, selections, premiere requirements and existing windows. Public availability can affect some opportunities. Any release plan should account for the commitments you share.

Requirements depend on channels, but may include a final master, captions, subtitles, trailer, key art, stills, credits, metadata and rights documentation. A project-specific delivery checklist follows the agreed scope.

Responsibilities and approval rights should be agreed before release. Discuss pricing, key art, descriptions, trailers and any platform constraints while reviewing the proposal.

The agreement must define the revenue base and explain platform fees, taxes, refunds, chargebacks and any other permitted deductions. Read that definition alongside the percentage; neither tells the full story alone.

The offer has no upfront FilmTakeoff publishing or marketing fees. There is no separate FilmTakeoff service bill beyond the agreed share of sold copies. The agreement explains the revenue base and any transaction-level deductions, such as retailer fees, taxes or refunds.

Reporting periods, payment schedules, minimum thresholds if any, and treatment of adjustments are specified in the agreement. We do not publish a universal payout schedule before a project is agreed.

The reporting scope, frequency, available channel detail and payment reconciliation are agreed in writing. Ask how sold copies, refunds and deductions will be reflected before signing.

Start with the project form: a working screener link, a concise synopsis, stage of completion, basic rights information and your release goals. Please do not send original master files or sensitive contracts at this stage.

Yes. Use an HTTPS link and provide the viewing password in the designated field. Check access in a signed-out browser and keep the link available while the project is being considered.

The initial form accepts links, not file uploads. This keeps large master files out of a preliminary inquiry. Further material requests and transfer arrangements can be agreed after review.

Your inquiry is saved with a reference and routed to the team. We review the material, may ask follow-up questions and, if there is a fit, discuss a written proposal. Submitting does not mean acceptance.

Review timing depends on volume, project readiness and the information provided. We do not promise a fixed turnaround. Keep your reference so the team can find an earlier submission if you contact us.

Yes. Use a separate project submission for each film so rights, screeners and release needs remain clear. For a larger catalog, start with the contact form and describe its scope.

Use the contact form, include your reference and describe the correction or withdrawal request. The team can coordinate the next step; avoid sharing sensitive identity documents in that message.