After working in the film industry since the 1990s, I’ve watched distribution evolve from physical reels and DVD deals to streaming dashboards and digital delivery portals. For independent filmmakers, one of the most misunderstood parts of the process is how films actually reach platforms like Amazon, Apple TV, or Roku. That’s where aggregators enter the conversation.
An aggregator acts as the technical middleman between filmmakers and streaming platforms. Instead of negotiating a direct deal with every outlet, filmmakers deliver their project to an aggregator, who ensures the film meets technical requirements and then places it across multiple digital platforms. It sounds simple. In reality, it’s a strategic decision that affects revenue, visibility, and long-term positioning.
Two commonly discussed players in this space are FilmHub and BitMax. Their models highlight two primary approaches to digital distribution. BitMax operates with upfront fees for encoding, quality control, and delivery. That structure can provide predictability, but it requires budget allocation before you earn a dollar. FilmHub, on the other hand, typically works on a revenue-share model, taking a percentage of earnings rather than charging large upfront costs. For many independent filmmakers, especially those producing their first feature, preserving cash flow early in the process can make a meaningful difference.
If you’d like a clear overview of how aggregators function within the larger ecosystem, this breakdown from Wrapbook explains it well:
https://www.wrapbook.com/blog/film-aggregators
What’s important to understand is that aggregators aren’t traditional distributors. They don’t market your film. They don’t build your audience. They provide access. The responsibility for promotion, audience building, and strategy still rests heavily on the filmmaker or producer.
In today’s marketplace, distribution isn’t a single decision. It’s a layered plan. It may include festivals, sales agents, transactional video on demand, subscription platforms, and international territories. An aggregator can be one piece of that strategy, but it shouldn’t be the only plan.
As someone actively developing feature projects and preparing for release strategies, I view aggregators as tools rather than solutions. The real leverage comes from pairing smart digital placement with a focused marketing campaign and a clear understanding of your audience.
The landscape has changed dramatically over the last three decades. What hasn’t changed is this: films don’t sell themselves. Whether you’re using an aggregator, working with a sales agent, or pursuing a traditional distributor, strategy and leadership remain the deciding factors.
If you’re navigating distribution for the first time, take the time to understand your options. The right choice isn’t about which platform is popular. It’s about which model aligns with your budget, your goals, and your long-term career vision.
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