When filmmakers talk distribution, they talk like it’s a badge of honor. I’m so sick of the not-so-humble brags: “We’re on Netflix.” “We licensed to Hulu.” “We landed with a premium SVOD partner.”
And yes, that can sound great on a press release. It’s the streaming version of being picked first. Congrats. Everyone else is jealous.
But if you’re serious about building a sustainable film career, you need to stop chasing the “cool” and start focusing on the correct.
It’s time people started telling the truth:
AVOD and SVOD serve different purposes. And if you choose the wrong one for your film, you might be killing your own momentum.
First, What’s the Difference?
| Distribution Type | Examples and How It Works |
|---|---|
| AVOD (Ad-Supported Video on Demand) | Free to viewers. Monetized through ads. Think Tubi, Freevee, Pluto, Crackle, and YouTube. |
| SVOD (Subscription Video on Demand) | Requires a paid subscription to access. Think Netflix, Hulu, Max, Apple TV+, and Disney+. |
Both are digital streaming models that can effectively distribute your film and make you some hard-earned revenue. But their economics, audience behavior, and career impact are completely different.
AVOD
Let’s start with AVOD. Despite its effective delivery, expansive audience, and real income for filmmakers, it’s somehow not looked at as the glamorous option. That’s because it doesn’t come with an instant payment, flashy acquisition headlines, or ego-stroking party invites. But it’s doing something SVOD rarely can: Driving long-tail, discoverable, monetizable engagement.
Perks to AVOD Distribution
Anyone can watch. That means your potential reach is massive.
Platforms like Tubi surface films based on viewer interest instead of internal or external buzz.
You get paid per view. A little at a time. But it stacks. Month after month.
Horror, thrillers, rom-coms, docs with hooks—AVOD audiences eat them up.
You don’t need an elite sales agent to get placed.
AVOD is the quiet success story of indie film. It doesn’t give you clout, but it gives you cash. We’ve tracked films on Garvescope pulling $25K to $75K over 2 to 3 years on AVOD platforms alone, with no paid marketing.
These aren’t viral films as much as they’re case studies. Examples of what happens when something was built right. Good posters, tight runtimes, clear titles, and audience-first thinking.
SVOD
SVOD platforms are the ones everyone brags about. And in some cases, for good reason.
Why SVOD Distribution Works
If your film gets picked up, you might get $15K, $50K, even $100K for a limited term.
Festival circuit darlings, talent-driven indies, and awards contenders gravitate toward SVOD.
Bigger platforms can put your film in front of international viewers.
Having your film on a top-tier platform looks good in a pitch deck.
SVOD Comes With Tradeoffs
Only a fraction of indie films make the cut.
You’re one of thousands buried behind a search bar.
Your film might only live there for 12 to 24 months, then vanish.
Good luck getting view counts or retention data from Netflix.
So yes, getting your film onto an SVOD platform might make you feel like you’ve “made it.”
But if the deal is small, the marketing support is weak, and your film isn’t searchable? You may never get the traction you need to build a career.
What Does Your Film Need?
Before you decide on a path, ask yourself these brutally honest questions:
- Do I need prestige or do I need revenue?
- Do I want my film to be free and easily shared?
- Do I have a marketing plan or am I relying on the platform’s visibility?
- Is this film a stepping stone or a statement piece?
- Do I want control over its rollout or am I okay with it vanishing after 18 months?
A strategic AVOD rollout often outperforms a quiet SVOD deal. Especially for first-time filmmakers, microbudget genre projects, audience-backed films, and films with no stars or sales reps.
At Garvescope, we see it all. Films that launched quietly on SVOD and were never heard from again. Others that built a strong base on AVOD and turned that into merch sales, newsletter subscribers, and even new investor attention.
We’re not anti-SVOD. For the right film, it’s a powerful tool.
But AVOD is the underrated powerhouse of the indie world. And ignoring it because it sounds less impressive is one of the biggest mistakes you can make.
Your Film Is a Product, So Treat It That Way
The best distributors chase performance, not industry prestige. They look at the audience fit, consider the budget, and they match the film to the platform where it will actually do something: attract views and generate money.
So stop asking, “How do I get on Netflix?” and start asking, “Where does this film belong?”
Then get to work.
Add your film to Garvescope’s film marketplace and get instant access to a global network of film investors, sponsors, and buyers.
Garvescope also offers world-class, personalized business and marketing services for filmmakers and indie film and TV projects. Learn more
Garvescope helps you answer questions like where the best place for your film will be. We track film performance across platforms, identify the windowing paths that generate the highest ROI, and we show you comps, trends, and what actually moves the needle.
Because the whole goal here should be to build something that lasts instead of being focused on what looks cool in the moment.
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