For producers and production companies
A production is the largest single act of network-building anybody in this business does, and it is over in twelve weeks. The unit scatters, the group chat dies, and the value of having assembled all those people goes to zero the day you wrap.
Free to join. It works at the company level, not just the individual.
01 What happens to a unit after wrap
- A hundred and forty people who worked for you for three months and are now unreachable inside a dead group chat.
- A vendor list rebuilt from scratch every picture because nobody owns it between productions.
- Development slates with no income attached to them at all, funded out of the last picture's fee.
- Crew who go on to raise their own money elsewhere, with nothing flowing back to the company that first put them in a room together.
02 How it works
- 01
Put the code on the call sheet
It is the one document every single person on a production reads, every day, without being asked. A line at the bottom and a QR is enough. Everyone who joins through it is attributed to the company for 30 days.
- 02
And in the wrap email
The one message a unit actually opens. Not a pitch — a reason to stay in touch, on a platform where the next job, the next raise and the next licensing deal all live.
- 03
Run the company's own work here too
Slate, releases, placements, licensing, brand deals. The recommendation carries more weight when the company is visibly using the thing it recommended, and the company earns on its own side of that separately.
- 04
Earn across the whole unit
30% of every plan subscription, on every renewal. 20% of the platform's fee when a crew member raises on the Film Fund, licenses their work or sells a placement.
- 05
Keep the list between pictures
Every referral becomes a client record in the company's own contact book, tagged and dated. The crew list stops evaporating at wrap.
03 What actually pays
- They subscribe to a plan30%of the subscription, on every renewalThe largest rate in the program, and the only one taken off the full price. If you read one row, read this one.
- Their household takes a MovieHop Pass20%of the platform's fee, on every renewalA share of what OpenFlix keeps, not of what the household pays.
- They buy a Station Pass20%of the platform's 20% share of the pass price, on every paymentEach day pass and each monthly payment is its own sale. The processing fee is never part of it.
- They raise money on the Film Fund20%of the platform's 5% feeRewards crowdfunding. Backers get perks and credits; nobody is buying a share of a film.
- They sell a placement inside their film20%of the platform's 10% feeBanked when the balance is collected, not when the slot is reserved.
- They buy credits, on the web or on a television5%of the purchaseIncludes top-ups bought inside the Google Play, Roku and Amazon apps.
- Somebody you brought in does this too3%of their sales, one level deepOne level, by design. This is not a pyramid and it does not pretend to be one.
Rentals, pay-per-view, channel subscriptions and riffs are bought with credits — and those credits already paid you a commission when they were bought. They appear in your dashboard as activity, so you can see your people are actually using the place, and they earn nothing a second time.
Commissions clear a 45-day window against refunds and chargebacks before they can be withdrawn. New affiliates start on Bronze — a 90-day hold and a $500 minimum — and the tier ladder shortens both as you build a payout record. Every payout is released by a person, never automatically. Identity verification is required to withdraw, never to earn.
04 One picture, afterwards
The unit, six months after wrap.
What a single production's crew list looks like once it stops being a dead group chat.
Editor
Twenty-three crew on plans
Composer
Forty-one others
A large attributed group that earns nothing yet is the normal shape of this. It is shown because hiding it would make the first month look like a failure.
05 The terms, briefly
On a plan subscription
30%
Of the full price, every renewal, per person.
On raises, licensing, placements
20%
Of the platform's fee on each.
Attribution
30 days
Long enough for a wrap email to work.
06 Questions
Can this sit with the company rather than a person?
Yes, and that is how most production companies run it — one account, one code, one payout destination, and the referred contacts land in the company's contact book rather than an individual's.
Is it appropriate to put this on a call sheet?
That is your call and it depends on your unit. It is a link to a free platform, not a solicitation, and nobody is asked to spend anything. Plenty of companies put it in the wrap email instead, which reads as an offer rather than an instruction.
What if our crew are already on OpenFlix?
Then they are not attributable to you, and that is the correct outcome — attribution goes to whoever brought somebody in, and it is not retroactive. The window opens on their first click on your link.
Does the crew lose anything?
No. Commissions are a share of what the platform keeps. Nobody's pledge is smaller, nobody's licence fee is lower, and nothing is deducted from what a crew member earns.
When can the company withdraw?
Commissions clear a 45-day window against refunds and chargebacks before they can be withdrawn. New affiliates start on Bronze — a 90-day hold and a $500 minimum — and the tier ladder shortens both as you build a payout record. Every payout is released by a person, never automatically. Identity verification is required to withdraw, never to earn.
07 Not you? Pick another
- You have been on other people's setsActors and performersEvery call sheet you were ever on is a list.
- You already represent the roomAgents, managers and castingA roster is the densest network in the business.
- You assemble filmmakers at scaleFilm schools, festivals and educatorsYou graduate a whole network every single year.
Go
Set up the company code
On the call sheet by your next prep day. You will be asked to make an account first.
