{"id":11694,"date":"2017-06-22T13:29:20","date_gmt":"2017-06-22T11:29:20","guid":{"rendered":"https:\/\/ismaelmartin.com\/how-much-does-it-cost-to-submit-a-short-film-to-festivals\/"},"modified":"2017-06-22T13:29:20","modified_gmt":"2017-06-22T11:29:20","slug":"how-much-does-it-cost-to-submit-a-short-film-to-festivals","status":"publish","type":"post","link":"https:\/\/ismaelmartin.com\/en\/how-much-does-it-cost-to-submit-a-short-film-to-festivals\/","title":{"rendered":"How much does it cost to submit a short film to festivals?"},"content":{"rendered":"

The evolution of short film distribution<\/strong> has allowed for significant cost savings when submitting a film, such as eliminating mailing costs and copies on DVD, Betacam, or 35 mm. However, it has also generated new expenses that did not exist before, primarily derived from submission platforms and festival fees. <\/p>\n

Some time ago, I discussed the different pricing models of platforms<\/a> and how they have changed submission management. Now, I will analyze expenses from the perspective of a director or producer personally handling the distribution of their short film. <\/p>\n

One of the most significant changes in this revolution has been the conversion of most fixed costs into variable costs<\/strong>. For example, we can now start distributing solely through free platforms and online forms without paying fees, keeping expenses to a minimum. Conversely, if you wish to participate in many festivals based on a specific strategy and have the budget to pay submission fees, these same costs skyrocket and can double or triple the production expenses. <\/p>\n

To arrive at an average amount for distributing a short film to festivals, I will review the platforms, aiming for a reasonable number of submissions for the first year. These festivals can be national and international, and I will consider a small amount for the payment of fees. <\/p>\n

Two types of expenses <\/strong>to start submitting a short film<\/strong><\/h2>\n

Initially, I will divide expenses into fixed and variable<\/strong>. Fixed expenses<\/strong> include those essential for starting to submit a short film, such as a Vimeo Plus<\/a> subscription and the costs of at least three platforms<\/strong> (although, as mentioned before, these could be variable, it is advisable to consider platform costs for basic distribution). <\/p>\n

We could also add DCP copies and subtitles to fixed expenses, as it is necessary to have at least English subtitles, although these costs should be included in the production budget.<\/p>\n

On the other hand, the costs of copies for different screenings could be considered variable, as they depend on the screenings and selections the short film receives.<\/p>\n

Fixed and platform expenses
\n<\/strong><\/h2>\n

Let’s start building the budget<\/strong>. Most platforms are paid, following the reelport model<\/em><\/a>.<\/em> They have a fee per submission and cheaper packages. The system is designed for purchasing one of these packages, as making individual payments ends up being very expensive and does not make much sense. <\/p>\n

Here is a summary of the payment methods available on different platforms:<\/p>\n