Navigating the Crossroads: Should Indie Filmmakers Dive Into the World of FAST and AVoD Platforms?

As the world spins madly on its axis, one thing is certain: consumers are tightening their belts while still craving cinematic escapes. Enter the heroic duo of AVoD (ad-supported Video-on-Demand) and FAST (Free Ad-Supported TV) platforms, swooping in like caped crusaders to save those cash-strapped cinephiles from the clutches of subscription fees that seem to balloon like a bad Michelin tire. But are these platforms the golden ticket for indie filmmakers seeking to monetize their precious cinematic creations, or do they simply nudge the film’s value into obscurity?

It’s not just a mere coincidence that indie filmmakers are finding solace in social media forums, twitching with anxiety over the labyrinthine world of film distribution. With a veritable tsunami of new content flooding streaming services daily, the question looms: how does a filmmaker, particularly one clutching a lower-budget gem starring the next unknown talent, capture the elusive audience and reclaim those production costs—perhaps even turn a profit? We stand at the precipice of a ‘Great Correction’ in streaming, where AVoD, FAST, and TVoD (Transactional Video on Demand) are no longer just buzzwords thrown around in hipster circles. They’ve morphed into essential components of a filmmaker's release strategy, especially as platforms like Tubi and Pluto TV gain traction.

Now, don’t just take my word for it. According to the wise folks at media consultancy 3Vision, there are over 450 unique movie channels gracing the major FAST platforms around the globe. Sure, the growth of these channels is hitting pause overall, but movie channels—those fabulous gems once thought to be fading—are flourishing! So, what’s the playbook here? When is the right moment for films to take the plunge into the AVoD and FAST pools? Do we, perhaps, risk drowning our movies in these waters, diluted in value by an unsympathetic marketplace?

Jonitha Keymoore of FilmRise isn’t holding back on her optimism about this brave new world. With their fingers dancing over 70 FAST channels, Keymoore asserts that the exposure these platforms provide is akin to that lush oxygen we desperately crave. After all, who’s waiting around for a leisurely couple of years to float content? “What are you waiting for?” she inquires, her question hanging in the air as if we’re all collectively pondering our life choices over an overpriced latte.

There’s a certain alchemy in ensuring films are released wide, giving audiences access while nipping in the bud any temptation to hunker down and say, “I’ll wait until it’s free.” Because—hint, hint—those viewers might just forget they ever wanted to watch it! And let's face it, folks, at a recent conference, Netflix co-CEO Ted Sarandos remarked, rather poignantly, that audiences don’t care about windows—those glitzy portals we industry pros obsess over. He’s right; over dinner, who’s discussing windows? Unless, of course, they’re part of a quaint Sunday crossword puzzle.

And here’s where it gets spicy: some distribution experts are clinging to the complexities of the traditional windowing system, believing it to be the very backbone of the film industry. “I’m a total believer in windows,” one distributor confesses, even as he contemplates the success of Netflix. Somehow, in this tale of enlightenment and traditionalism, we’re left wondering if FAST channels are indeed the magic Band-Aid we’ve all been searching for, but lo and behold, the math may not quite add up yet when we start talking ROI.

Mitch Mallon, a digital distribution guru, firmly suggests that recent films should steer clear of FAST. It’s a severe outlook, sure, but as he explains, “AVoD is wonderful, but there’s a place for it.” And let’s not ignore the elephant in the room: there’s a right way to offer consumers access to films without eroding their value. Meanwhile, the TVoD market in the U.S. is projected to generate nearly $4.36 billion in the coming year—oh la la, darling!

As if this landscape weren’t already fascinating, some savvy distributors are carving their own paths with their own FAST channels. Eduardo Escudero from A Contracorriente Films notes that selling catalog titles to various FAST outlets allows him to mitigate the costs tied to delivering film files and metadata to other platforms. It’s all about balance, folks! He’s wary of placing recent titles on FAST unless the economic return justifies it. Sensing a theme here?

David Piperni, a seasoned distributor, confesses that the landscape is shifting rapidly. Once upon a time, a new film landing on a FAST channel raised alarms. Now? Not so much. “I know there are so many good films that just don’t make it to big outlets, but are still fabulous films,” Piperni reflects, and you can almost see the wistful gazes toward all those hidden gems lost in the shuffle.

In the end, both FAST and AVoD services are rapidly gaining traction among budget-conscious viewers, presenting a sparklingly modern alternative to the all-too-ordinary subscription services we once adored. Are they the answer to our cultural cravings for cinema without breaking the bank, or will we soon discover that the price of easy access might just cost us more than we bargained for?