When we think of film distribution, we often think of theatrical and streaming first. Next comes educational distribution. Video Librarian readers might think of educational distribution first, but many of us overlook another important niche for film distribution: film distribution to museums, science centers, zoos, and aquariums, which is often dominated by large-screen format: IMAX, Dome, 3D, etc., typically expansive nature documentaries and evergreen content. Take a look at this guide for filmmakers and programmers looking to host a public screening of educational films in such venues.
What type of films should museums, science centers, zoos, and aquariums consider for a public screening event?
I had the opportunity to speak with Janine Baker, who has worked in film distribution for 20 years, with a focus on distribution specifically to these institutions. When asked what makes a film great for this particular market, Baker was quick to stress the importance of films that are great for the whole family (three generations) and films that get the family talking. "Any kind of film that starts a dialogue is a great film."
Even though nature films dominate, with animals, water, dinosaurs, and sharks being particularly popular, Baker stressed that, like any other film market, the story remains key. Beautiful images and scenes from nature are not enough. They must be accompanied by a story that compels and engages.
Beyond that, the visual landscape is the number two priority for these films. They must work on giant screens. This also means that it's important for filmmakers to know the various technologies popular at these venues and must make sure the film works in each of these formats, even as technology shifts rapidly.
What type of filmmaking techniques should creators use for movies shown in museums, science centers, zoos, and aquariums?
The selection of the format and technology is a priority that will vary from place to place. Theaters in these spaces often have 3D options and short films made with this in mind will perform better. “3D really looks well in this short film format," Baker asserts.“If you do it right, it’s visually compelling.”
The dome market is also important. “That is a whole other format and you have to know how to use that platform,” Baker stresses. Films for these institutions must consider immersion in a way that films for movie theaters or streaming platforms do not. Dome screens can be used to enhance the immersive qualities of storytelling.
Similarly, many of these spaces have VR and moving seats, and filmmakers that understand how to use those tools together (without making viewers sick) certainly have an advantage when it comes to distribution.
Adaptability to each of these marketplaces is important as well. Filmmakers should ask themselves: can this film work in a museum? What kind of museum? Can it also work in a science center? In a zoo setting? In an aquarium? The more of these boxes a project can tick, the more successful it will be.
A variety of running times can be beneficial as well. Some filmmakers create 20, 40, and 60-minute cuts for accessibility and adaptability to an institution's needs.
This adaptability helps when it comes to the bottom line, something filmmakers must consider. A distributor typically takes between 18% to 35% of box office and most box office sales come in the first 6 months. But, unlike many other films, that same "box office" boost may be available each season as a new class of school field trip viewers make their way to the museum, zoo, aquarium, and science center. If a film does well one year, it may be featured again during the next year and have another solid run.
Overall, Baker stressed that excitement is the key. That excitement must start with the filmmaker, then travel to the venue and from there to the audience, including the educators who bring their classes to these venues on field trips and build on that experience as they use the content in their classrooms.
Let's get excited and go from there!