- Can I add my movie to the Tugg library?
Absolutely! We work with all kinds of content owners – from major Hollywood studios with wide theatrical releases to independent filmmakers on the festival circuit. As long as you have a film, we’d love to work with you!
- Would Tugg need to retain the theatrical rights to my film?
No, you own all theatrical rights. By signing our License Agreement you are allowing Tugg to program the film on your behalf.
- Can I choose when and where my film can be screened?
Yes! Usually when filmmakers choose to black out markets or dates it’s to work around their theatrical release. We operate within whatever parameters you see fit, but we advise leaving details such as exhibitor and date up to the Promoter when possible if there’s no interference with your theatrical campaign.
- What theaters are within Tugg’s exhibitor network?
Our exhibitor network covers a broad footprint of the screens in the United States, including nationwide chains such as AMC, Cinemark, and Carmike as well as hundreds of regional and independent cinemas around the country.
- Do you have a list of your exhibitor network on the Tugg site?
At this point, our exhibitor network is so large that we do not offer a list online. Instead, when a Promoter fills out the Event Request From, they can type in their zip code and a drop down of our partnered exhibitors in their area will appear for their selection.
- Can my film have Tugg screenings even if it is already in theaters?
For sure! Our goal is to give filmmakers an outlet for supplementing their traditional release strategies with an offering that further expands the theatrical footprint of the film.
- My film is going to be released on VOD and DVD, can I still get my film in the Tugg library?
Yes, however some exhibitors have VOD restrictions in place, which means they will not play films that have not had a theatrical run at least 90 days prior to their VOD/DVD release. So while your film can be programmed through Tugg, it cannot necessarily be screened with all of our exhibitor partners. If your VOD/DVD offering is TBD, we advise you to keep this window in mind when selecting your release dates.
- My film is unrated, can it still be added to the library?
Yes, but we’ll need access to a screener as some exhibitors may request to view the film prior to approving an event. In some cases a theater may choose not to program an unrated film.
- What kind of format does my film need to be in order to add it to the Tugg library?
We require films to be available on DCP, as the majority of our exhibitors prefer to program in DCP. Having both DCP and Blu-Ray is suggested, if possible. If you do not have DCP available, Tugg offers the ability to create one. You can find out more information on creation services by visiting DCP Creation
- Why do you require DCP to move forward?
The vast majority of our exhibitor network prefer to program in DCP, while only about 40% can facilitate Blu-Ray screenings. Having only Blu-Ray available can make things more difficult for the Promoter, as it can take more time to find a venue that accommodates Blu-Ray and in some cases, we won’t be able to proceed with a city because of these limitations. Because of this we have adjusted our requirements to provide for a better user experience for our Promoters.
- How many copies of my film should I provide?
For DCP you can just send us your master file. We’ll ingest that into our system and send it right back to you. For Blu-Ray, exhibitors require two discs per event, so we’ll need at least two, though if a higher volume of Blu-Ray screenings is anticipated, more will be required.
- What’s a typical content fee?
The minimum fee varies depending on the strategy set by the content owner. In general, we always encourage filmmakers to be less aggressive with their minimum fee, as this will help keep the threshold low. The average is usually $100-$150. Some content owners will even set their minimum at zero, since they know that they will never pay for any screenings, and will recoup 35% of all post-threshold revenue.
- How long does it take to get my film on the site?
This is largely up to you. We can launch your title page with the “Follow” feature as soon as we have a signed License Agreement and completed Title Info Sheet. Once the media is received we can start allowing requests!
- Can I launch my title page before my media is available?
Absolutely! With the “Follow Title” feature, we can launch your title page in advance of being able to program screenings.
- What is the “Follow Title” feature?
The “Follow Title” feature allows for folks to sign up and “follow” a title. This feature provides an immediate action for your fan base and/or interested parties and allows for you to build contacts and ultimately communicate with “followers” throughout your Tugg campaign using the messaging tool.
- Does Tugg promote individual films in its library?
Tugg provides the platform for facilitating events, but does not handle the promotion of individual titles or screenings. We have however, developed a number tools and documents detailing best practices that are available to filmmakers and Promoters for how to best get the word out!
- How am I notified about screenings of my film?
When your title page goes live, you’ll be given access to our Content Dashboard where you can track all active events. You will receive notifications when an event goes live, meets threshold, or is called off.
- Do I ship the media directly to the theater?
No, Tugg acts as a secure media repository, which means we house your media here and handle the fulfillment of shipping for all Tugg events. The only exception is if you have an encrypted DCP, in which case the media should be housed at and shipped from Technicolor or Deluxe.
- Can Tugg handle shipping for non-Tugg events?
Yes, for DCP! This can be useful when you have multiple non-Tugg events and don’t want to spend the extra time and money in securing additional hard drives and organizing shipping to multiple locations. Tugg will replicate your DCP, supply the media on a Tugg hard drive, and handle the fulfillment and return. See Fulfillment of Non-Tugg Events
for more information.
- Do you report box office grosses to Rentrak?
No, we leave that up to content owners. If you’d like to report the BO gross for your screenings, we’ll provide you with that information so you can report it.
- When are content owners paid?
Content owners will be paid on the 15th of each month, with the payment covering all events for the previous month. So a payment on October 15th would cover all screenings for September.
- Who is the Promoter?
The Promoter is the person who’s signed up to host the event. They are responsible for providing event details, promoting the screening, and in some cases collecting tickets at the theater.
- Can my fans outside of the US host events?
We currently only operate in the US, but we are actively preparing for our expansion into key international markets in the near future.
- I want to host a screening of my own film, can I do that?
Yep! If you want, you can promote your own events anywhere in the country. In fact, many filmmakers set up entire multi-city tours using Tugg. The only thing to note is that you will need to have someone present on the day of the screening, as many theaters request that a Promoter be in attendance to help greet guests and sometimes take tickets.
- How long does it take to create an event?
Depending on the response time of the Promoter and the theater, the process of creating an event can vary from a couple of days to a couple of weeks. We encourage Promoters to select dates 4-5 weeks in advance so that if a theater takes a while to approve a screening, there is still plenty of time for the event to meet its threshold.
- How far in advance are the deadlines for the events?
The deadline is set by either the content owner or the exhibitor. We ask what the preferred deadline is for both parties and go with whichever is longer. The standard deadline for most events is 5 business days, although a few exhibitors request 8-10 days.
- How are the thresholds established?
Thresholds are established by adding together all of the costs for the screening – Content Owner Fee, Theater Rental Fee, Hard costs (shipping, VPF, etc…), Tugg’s 20% Margin, Promoter 5% Margin – so that when an event meets threshold, all of the event costs are covered.
- How long does an event have to meet threshold?
An event can have up to 27 days to sell tickets and meet threshold, which is why we advise Promoters to begin setting up their event 4-5 weeks out. While Tugg can only sell tickets for 27 days, event pages can be live far in advance of that with what we call the “Follow Event” feature.
- Can people purchase tickets at the theater?
This varies by exhibitor. While independent theaters are more likely to accommodate, most major exhibitor chains do not support in-theater ticket sales. For this reason, tickets remain available through Tugg’s online box office up until 4 hours prior to the event.
- How do contributions work?
Sometimes groups and individuals will be inspired to rally around your film’s mission and host a a Tugg screening to help raise awareness and money for a cause that’s important to them. With Tugg’s Contribution Feature, your Promoters can do just that! When they utilize the Contributions Feature, attendees will be given the option of donating additional funds for a cause or organization when purchasing their ticket. Promoters can also choose to award their attendees with perks based on each level of contribution.
- Do Content Owners have access to Promoter contact info?
Yes. Once an event goes live, you’ll be able to access Promoter contact info through the Content Dashboard. In doing so, we encourage filmmakers to reach out to Promoters, whether it’s to offer additional promotional tools or just to say, “Thanks for hosting a screening!”
- Why use Tugg Community Screenings?
Tugg’s Community Screenings service provides filmmakers with the resources necessary to exploit their non-theatrical rights without having to relinquish ownership. Tugg handles all customer service and logistics for a campaign, and provides a sophisticated point-of-sale system to filmmakers.
- What qualifies as a “community” venue?
A community venue is any location that is not a traditional movie theater, i.e. a venue that sells tickets to movie screenings. Community venues include educational institutions, libraries, churches, community centers, correctional facilities, museums, and more!
- What different pricing options can I choose from?
You can choose different pricing options based several factors: 1) Screening Frequency – someone is purchasing a one-time use license or buying the film to be exhibited throughout the life of the media, 2) Type of Admission – someone is charging admission, the event is free of admission or free of admission with fundraising, and 3) Room Capacity or expected attendance (see below).
- What does “(Specify only one from ‘Room Capacity’ Or ‘Expected Attendance’)” mean in Exhibit B of the Non-Theatrical License Agreement?
This allows you to choose whether you’d like individuals to select a license based on the size of their screening room or their expected attendance for the screening. Some folks might be hosting a screening in a facility that can seat 200 but only expect 50 in attendance, this is something that should be considered when making your decision on pricing.
- Can you explain the financial break- down and the role Tugg plays?
Tugg receives a 35% margin of each rental fee. For example, if the rental fee is $100, you will receive $65 and Tugg will receive $35. Be sure to take this margin into account when creating the pricing structure for your film.
- Who pays for the shipping of the media?
The individual who pays for the screening license is also charged for the shipment of the media; you as the content owner do not incur any charge for shipping.
- What formats can I make available for community screenings?
Tugg can facilitate community screenings with DVDs and Blu-Rays.
- Will there be a link from my Tugg.com Title Page to my Community Screenings page?
Yes, if your film is available in the Tugg library on our theatrical platform as well, we’ll be sure to link to your community screenings page – which allows us to educate potential Promoters on how they can screen your film using either the theatrical or community screenings approach.
- Can I guarantee that the media is returned to Tugg after the screening?
Yes, you can select to have your media returned after each screening. Licensees will pay an additional $20 fee for return shipment and labor fees to process the return. Our logistics team will notify licensees they are required to return the media after the screening or they will be charged a late fee.
- Can I create promotional discounts for my licenses?
Yes, Tugg can create a discount code that can be shared with interested parties. Just tell your Tugg Point Person how much you’d like to discount and the amount of time you’d like to run the special.
- Can I add links to our film’s website, Facebook, etc to our Tugg Community Screenings page?
Yes, just be sure to include all of this information in your Non-Theatrical Title Info Sheet and we’ll use that information to populate your community screenings page.
- Can licensees use Tugg event pages to promote their screenings?
Absolutely! Once an individual purchases their screening license, they will be emailed instructions for how to create an event page. By creating an event page, individuals can manage RSVPs for free events, charge admission for ticketed events, and/or use our platform to fundraise for the charity or organization of their choosing.
- Can I embed my trailer on my Tugg Community Screenings Page?
Yes, just be sure to include a trailer link from YouTube or Vimeo in the Non-Theatrical Title Info Sheet and we’ll use that information to populate your Community Screenings page.
- Are Tugg DCPs Academy ready?
Yes, Tugg creates DCPs that are Academy specified 2K packages, as long as 6 channel audio is supplied.
- I would like an Academy standard DCP, but only have stereo audio available. Can Tugg handle the audio conversion?
Yes, if audio files for L/C/R are received, we can meet the Academy specifications by doing an audio conversion however an additional fee will apply. See additional info under DCP Creation Pricing
- Will the DCP play internationally?
Yes, the DCP standard is universal so our DCP will play worldwide.
- Is there a difference between providing a ProRes 422 vs. 444?
There’s no difference in our conversion process, it’s just a matter of dealing with a larger file from the beginning.
- Is there a difference between providing a regular ProRes file vs a ProRes HQ file?
Yes, but the differences are relatively minimal. HQ is less compressed than regular ProRes, which is an acceptable format for progressive frame video.
- If my film is currently 23.97 or 25 fps, will you have to convert it to 24 fps?
Yes. As 24 fps is the format needed to create the DCP, 23.976 and 25 frame rates will be adjusted to true 24fps. This is a fairly easy process; there is no extra charge in doing so.
- What is the conversion process for 25 fps to 24 fps?
With 25 fps, we slow down the playback by 4% and use the Protools to slow down the audio. This is the standard process of converting between US and Europe.
- What is the conversion process for 23.97 fps to 24 fps?
With 23.976 fps, we speed up the playback by 1/10th of 1% and resample the audio in Protools to speed it up.
- Can Tugg convert my film from 29.97 to 24 fps?
Tugg does not handle this conversion, but you can have it converted at another facility using a Terenex device. While the Terenex is the best way to convert, it does introduce artifacts that need to be cleaned up by a compositor/editor. This is a time-consuming process, so best to budget $3,000+ for this process.
- Why is 29.97 fps a common format when 24 fps is needed for DCPs?
Up until a few years ago many electronic and digital cameras were only 29.97 fps, as it’s the United States broadcast standard. In some cases, a project may have started several years ago when this was standard. Because of this, most archival footage is available only in 29.97, so documentaries in particular generally require a conversion.
- Why was the broadcast standard 29.97 and not 24 fps?
When television was first developed, early tests with Cathode Ray Tubes (CRT) showed an unpleasant flickering at 24fps and slower. Because of this, developers decided to raise the frame rate to 30 fps to keep the flickering to an unnoticeable amount. When color was introduced, there was interference between the audio and color signal in the picture and the solution was to slow the frame rate slightly to 29.97, which slightly lowered the frequency of the picture signal.
- Is HDCAM be an acceptable format for DCP creation?
HDCAM is considered an inferior format compared to contemporary digital files, so it is not suggested. We can move forward with HDCAM, although there is an additional fee associated with converting HDCAM to DCP as the process is more involved. See additional info under DCP Creation Pricing
- If I convert my film to DCP, do I have to start paying an additional VPF for events?
Yes, VPF is accounted for in all Tugg events, however the cost is minimal and is added into the threshold so you’re never paying out of pocket.
- What is VPF?
VPF stands for Virtual Print Fee, which is a cost associated with DCP playback on theatre projector systems. The VPF system was developed as a means for theaters to cover the cost of converting for DCP capability. It is a financing option provided for theaters, paid for by content owners per screening.