Last week, I covered the basics that are required as deliverables for almost every U.S. Distribution or International Sales Contract. This week, I’m going through the servicing lists. Most of these servicing requirements are for internationalization of the film, be they subs or dubs. Some are more for marketing purposes, but in the end it’s what the sales agent need to effectively put together a package and the film to where it needs to go.
Again, this list though expansive may not cover every distribution deliverable from every contract you may encounter, although it should get most of them.
1. Final Timecoded Continuity Script/Spotting List:
This is different than a script. This is you watching the final cut of your movie, and going through and noting the timecode of every single line of dialogue. You’ll also have to write down exactly which words are spoken for this spotting list. This document is generally used for creating subtitles and dubbing scripts.
You may also be required to provide this for any trailers.
2. Final Shooting Script
Even though you will need to have the spotting list, turning over the final version of the shooting script can help provide a backup, in case parts of the spotting list are unclear, or do not translate well.
3. Music Cue Sheet
A Music Cue Sheet is similar to a spotting list, but instead of being for dialogue, it’s for music. While you will be required to provide music and effects tracks, the music queue sheet is required in case of edits made to the film for censorship or time reasons.
4. Music & Effects (M&E) Tracks
If the sales agent sells the right to dub the film, they’re going to need the Music and Effects tracks to do it well. These tracks are essentially all the audio in the film without any dialogue. Sometimes the tracks which each type of audio will be placed on are specified, however, that’s beyond the scope of this article.
5. Final Main Credit
This is a typed list of the opening credits as they appear on screen. Generally, these are more for subtitling purposes than straight up replacement purposes. Most of the time delivery of this item will be via word document.
6. Final End Credit
Similar to the final main credit entry above, this is a list of all credits in the back end of the film. Again this is something you can deliver to your international sales agent by a simple word document. Generally these are preferred to PDFs in case minor changes or copy pastes need to be made.
7. Press Kit
This deserves a longer entry than I can give it here, but a press kit is essential a list of all presworthy information about the film. What goes into it is subjective relative to space requirements and how you’re using it. In this instance, it’s best you talk to your sales agents to clarify what they really need in a physical press kit. Although generally speaking, you’ll want a review or two from festivals, any festivals you got into, any press coverage you’ve already gotten, some screenshots from the movie, the poster, and maybe a few quotes from the director/producers/lead talent.
You’ll need to deliver logos to the distributor for the production companies involved in making the film. If you’re using a producer’s rep, then you’ll need theirs too. Generally, the distributor will want the photoshop file, and they’ll probably have other tech specs for you as well.
9. Bonus Material
If the distributor is planning a DVD release, they may ask for bonus materials. Things like BTS Footage, deleted scenes, an alternate ending, a blooper reel, cast interviews, commentary tracks.
10. Electronic Press Kit (EPK)
This is an electronic version of the press kit. It will contain everything listed above, plus more links to reviews, broadcast quality interviews (if available) and more dynamic and updatable content than a paper press kit can provide.
Thanks so much for reading! Next week I’ll be back with part 3, covering the legal aspects of deliverables. It’s going to be a long one.
In the meantime, you might want to consider booking a strategy session with me. It’s completely free, and gives you a full hour to talk to a producer’s rep about your project! You can ask questions about financing your film, independent film marketing, traditional film distribution (Or Self Distributing your film), or even packaging your project. Book your call today through Clarity using the button below!
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My name is Ben, I'm an Entrepreneur, Producer's Rep, and Author. I'm the founder of Guerrilla Rep Media, Co-Founder/CMO of ProductionNext, and founder of Producer Foundry. Together, the organizations seek to help make filmmaking a more economically sustainable endeavor. I am dysic, I have capitalization issues, and the blogs are often unedited. opinions all my own.
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