Filmhub: Stream Your Films - Backed by a16z

The Evolving Landscape of Film Distribution

The expansion of the streaming market has simultaneously increased the demand for new content. Despite the increased accessibility of filmmaking tools, traditional distribution systems continue to exert control, often excluding filmmakers lacking established industry connections.

Filmhub: A New Approach to Content Delivery

Filmhub is addressing this challenge by leveraging technology to streamline and enhance the distribution process. The platform enables filmmakers to directly submit their work to over 100 streaming channels, encompassing prominent services such as Amazon Prime Video, Apple TV, IMDb TV, TCL, Tubi, and Plex.

Recent Funding and Key Investors

Filmhub recently announced the successful completion of a $6.8 million seed funding round, spearheaded by Andreessen Horowitz (a16z).

Additional investors participating in this round include 8VC, FundersClub, Eleven Prime, Tara Viswanathan, CEO of Rupa Health, Nick Greenfield, CEO of Candid, David Fraga, former COO of InVision, and Jerrod Engelberg, CEO of Codecov.

Origins and Founding Principles

The company’s beginnings trace back to 2016, originating as a side project initiated by Klaus Badelt, a Los Angeles-based film composer with a portfolio of over 100 titles. These include acclaimed films like “The Thin Red Line,” “Gladiator,” and “Pirates of the Caribbean: The Curse of the Black Pearl.”

Badelt recognized a growing opportunity as production costs decreased and the volume of films increased, yet effective distribution remained a significant hurdle. He subsequently partnered with Alan d’Escragnolle, a technology industry veteran with experience at Square, Mint.com, and Google, to dedicate themselves to the project full-time in 2020.

Growth and Expansion of the Platform

Since its inception, Filmhub has focused on expanding its network of streaming channel partners and onboarding filmmakers seeking a more accessible pathway to audience discovery, all while retaining their rights.

Filmhub’s process begins with a content review to ensure adherence to the technical requirements of its partner streamers. Utilizing automation and a dedicated sales team, the company then maximizes distribution across available services.

Content Diversity and Creator Empowerment

While the name suggests a focus on films, d’Escragnolle emphasizes that the platform accommodates various content formats, including TV shows, short films, and other professionally produced material. The core principle remains direct collaboration with filmmakers.

d’Escragnolle explains that the conventional studio model often doesn’t prioritize filmmakers’ long-term interests. Filmmakers typically receive upfront payment, but may not benefit from the subsequent revenue generated by their work. Filmhub aims to empower creators by enabling them to build and control their own content libraries.

A Parallel to the Music Industry

Filmhub’s approach mirrors the transformative impact of platforms like DistroKid on the music industry, allowing artists to directly upload their work to major streaming services, bypassing the traditional label system.

Strategic Partnerships and Exclusive Distribution

A recent partnership with Struum, a streaming service aggregating content from smaller providers, allowed filmmakers participating in a film festival to secure exclusive distribution for three months, retaining full earnings.

Revenue Model and Service Fees

Filmhub typically operates on a 20% revenue share of the royalties generated by distributed films. However, the specific rates paid by each streaming service to Filmhub can vary.

Clarification Regarding Slamdance Film Festival

It is important to note that a previous statement regarding a partnership with Slamdance Film Festival was inaccurate. Slamdance has clarified that they have no formal partnership or relationship with either Struum or Filmhub, and were not consulted prior to the inclusion of their name in press materials. While Slamdance supports Filmhub’s direct outreach to filmmakers, they do not endorse the implication of a collaborative partnership.

Performance Metrics and Content Variety

Although specific revenue figures remain undisclosed, d’Escragnolle reports a threefold increase in revenue year-over-year, alongside growth from distributing thousands to now 10,000 titles. The platform’s reach extends to over 100 streaming channels.

Furthermore, Filmhub leverages its data insights to assist streaming partners in identifying content likely to resonate with their audiences, facilitating successful deal negotiations.

Revitalizing Classic Content

Filmhub’s catalog isn’t limited to new releases. Films like Torsten Hoffmann’s 2020 documentary, “Cryptopia — Bitcoin, Blockchains, and The Future of the Internet,” are included, alongside older titles such as the 2014 documentary “An Honest Liar,” about magician James Randi.

d’Escragnolle notes that Filmhub also distributes “evergreen” content from the 1950s, 60s, and 70s, which may find new audiences on streaming platforms despite limited success on traditional television.

Future Plans and Expansion

Filmhub intends to launch its own direct-to-consumer streaming service, showcasing content from its network of filmmakers. The company envisions offering this service across various devices and potentially integrating it as an add-on within existing streaming platforms.

The recent funding will support expansion of the team, currently at 35 people, with new hires in engineering, technical operations, and sales.

Investor Perspective

“In the current market, it can be challenging for filmmakers without established reputations to gain visibility. This represents a missed opportunity for both streaming services and viewers, particularly considering the potential for more diverse and international content,” stated Andrew Chen, general partner at a16z, regarding his investment.

“By advancing the industry’s distribution model, Filmhub is creating a mutually beneficial outcome for creators, platforms, and audiences worldwide,” he concluded.

This article was updated on January 26, 2022, to include comments from Slamdance.