01
They arrive knowing what you need
The plan tells them to ask you for your DCP spec and your caption requirement in the first email, because that is what the first email is for.
For bookers, brokers and venues
You cannot book a room on a hunch.
A programmer needs three things before a date exists: proof the room fills, a DCP that will play, and a person who answers about the key. This gives a filmmaker all three before they contact you, and gives you a seat inside their plan afterwards.
Free for the person you are working with. You get a seat, not a subscription.
FOR BOOKERS AND EXHIBITORSMODULES 22REQUIREMENTS 104COST TO START 0
01 What wastes your week
- A filmmaker who has never heard of a KDM asking for a Friday in three weeks.
- A drive that arrives with no key, or a key that expires on the Wednesday of a seven-day run.
- No answer on capacity, caption format or aspect ratio without three emails.
- A room that does not fill, because nobody checked whether anybody in that city wanted it.
02 How it works
02
Audience evidence, per city
Test-screening scores, crowdfunding backers with cities attached, and which city the audience said they would actually see it in.
03
A seat in the plan, scoped to your job
Take a seat and you can work the city plan and the outreach pipeline directly. You will not see their money, and they cannot make you.
04
Logistics with a deadline attached
Every consignment carries a ship-by date derived from the play date, and a key is checked against the run it has to cover. A key that goes dark mid-run gets caught before it does.
05
A number when it is over
Tickets sold, gross and capacity per run, so the next city is an argument rather than a hope.
03 The materials board
The ship-by date is worked backwards, never typed.
Ask a filmmaker for a date and they will type the play date. The deadline is the play date minus the lead time of the most demanding thing in the box.
CONSIGNMENTS3 OUTSTANDING / 1 LATE
Chicago / The Music Box
Austin / Violet Crown
KDM / MUSICBOX-1
KDM / VC-PROJ-2
Press kits / 4 critics
A key that expires mid-run goes dark in front of an audience. That gets caught here.
04 Read a finished one
Four-walling it yourself
A narrative feature with no distributor. You rent the auditorium, keep the box office, and become the distributor: booking, advertising, the DCP and the keys are all yours. This one has a drive that should already have shipped and a key that expires two days before the run ends.
05 The same release, from another chair
06 Questions people actually ask
I do not want another login.
You do not need one to read a plan. A link is sent to you specifically, opens without a password, and you can accept or pass on the page. A seat is optional and only useful if you are doing the booking.
Who pays?
The filmmaker or the distributor. Your seat is part of their plan.
We are the venue, not a booker.
Same seat. What you care about is the drive, the key and the date, and those are the parts you get.
Storyline
Rather be pitched than read a page?
Three minutes, swipeable, and it makes the whole case for you rather than listing what the product has.
See every storylineSee a release plan.
The view a booker gets sent. You will be asked to make an account first.
