Film Distribution Consulting
The biggest problem in indie film isn't talent or budget. It's the wall between the people who make films and the people who sell them. We built Frank Media to tear that wall down.
The Problem
Filmmakers and distributors need each other. But by the time they're in the same room, it's almost always too late to fix what matters most. The script is locked. The cast is set. The budget is spent.
Most filmmakers raising money are asking investors to trust them without being able to explain how they'll see a return. Ignorance is expensive. And it's fixable.
"A fortified film is a sharper film. Commercial clarity doesn't constrain a filmmaker's vision. It sharpens it."
When you know what can work and you're genuinely passionate about it, quality and engagement grow. Revenue grows. Future investment grows. The cycle builds. The structure is the thing that sets you free.
Every film comes to us at a different stage with a different set of needs. There is no wrong moment to bring us in. Earlier is always better. But later still works.
Before a single dollar moves, you should know what your film can realistically earn and what it needs to get there. We build that picture from direct platform experience and comparable title data — not guesswork.
A deal that looks good is not the same as a deal that is good. The headline split is almost never the number that matters. What matters is the waterfall — who gets paid first, in what order, and what's left by the time it reaches you.
The film is only part of the product. The title, poster, trailer, synopsis, and metadata are the loudspeaker. Most indie films lose the audience before they watch a single frame because these assets work against the film.
Why carry a distribution producer on your payroll when you can have a seasoned team on call across every stage of your film's life, exactly when you need us?
A decade in distribution, including building a fledgling streaming operation into one worth more than ten million dollars. He has evaluated close to a thousand films and TV projects. He knows the difference between a film built to perform and one built on hope.
A marketing strategist with a decade of experience across consumer brands, social media, and indie film. Backed by a team of social media experts and data scientists. His ethos: marketing in its purest form is cinema — and when correctly applied, filmmakers get multiple angles to tell their story.
Over 20 years across every phase of the film business — projects at Paramount, distribution companies built from the ground up. He has seen every clause that quietly takes money out of a filmmaker's pocket and every waterfall that looks fair until you do the math. If there is a trap in the contract, Sheldon finds it before you sign.
Every film comes to us at a different stage. We customize the engagement to fit the project where it actually is. The most leverage we ever have is at the script stage — before a dollar is committed. But there's no wrong moment to bring us in.
A standalone projection built from comparable titles and direct platform data. Low, mid, and high across every release window. The right starting point if you need numbers before committing to anything larger — or something concrete to put in front of investors.
The earlier we are in, the more we can do. At the script stage, we evaluate market viability, build a forecast to inform your budget ceiling, develop a casting brief grounded in platform requirements, and identify the marketing assets before you shoot them.
One focused conversation with the full team around a specific problem. A deal that just landed. A release strategy to pressure-test. A script you want a market read on. You come with the question. We come prepared. You leave with a clear point of view.
A full review of any deal on the table. Red flag breakdown, waterfall analysis, offer comparison, and redline guidance. This is what distribution lawyers charge hundreds per hour for and still get wrong because they don't understand the platform economics. We do both.
Ongoing access as your film moves through the market. Platform submissions, asset rebuilds, performance monitoring, deal negotiations. We stay in the room at every decision point so you are never figuring it out alone.
For filmmakers going aggregator-direct, Miah leads the full marketing execution. We build the campaign, direct the asset rebuild, oversee the designers and editors, and manage the TVOD window strategy from launch through the tail.
No wrong moment to bring us in.
Make something extraordinary at a modest budget. Prove to your market and your investors that you understand the audience — that you built something that works, that you can account for every dollar.
Now they give you more for the next one. Succeed there and the ceiling keeps rising.
Budget limitations become creative limitations. And creative limitations are where great filmmaking lives.
Every director worth their credit has stories about how constraints pushed them toward something better than what they originally planned. A tight budget forces a smarter solution. A specific audience forces a sharper story.
The best filmmakers use structure the way a poet uses a sonnet. Fourteen lines. Infinite freedom inside them.
That's the cycle we're trying to build. For ourselves, and for every filmmaker who's tired of making great work that disappears.
Tell us where you are in the process and what you're working on. We'll figure out together what makes sense.