The aggregator model refers to a distribution strategy where filmmakers hire a third-party company to act as a technical and logistical bridge to digital platforms. Unlike traditional sales agents who negotiate licenses in exchange for a percentage (often 15-30%) and territorial control, aggregators function as service providers. They possess the direct encoding pipelines required by major tech giants like Apple, Google, and Amazon.

This model is particularly valuable for independent films that may not fit the “theatrical-first” mandate of traditional agencies. It democratizes access, allowing a filmmaker in South Korea or Brazil to place their content on North American digital storefronts without needing a Hollywood-based representative. The primary focus is on volume and accessibility rather than exclusive, high-stakes negotiation.

The journey from a finished master file to a global streaming platform follows a rigorous technical workflow. First, the filmmaker selects an aggregator and provides a high-quality master (usually ProRes 422 HQ). The aggregator then performs a “Quality Control” (QC) check to ensure the file meets the strict frame rate, audio leveling, and subtitle standards of platforms like Netflix or Amazon.

Once the technical specs are cleared, the filmmaker submits “metadata”—the posters, trailers, synopsis, and cast lists that drive platform search algorithms. The aggregator packages this data and “delivers” it to the selected storefronts. Within 30 to 90 days, the title goes live globally, and the filmmaker begins receiving monthly or quarterly royalty reports directly from the aggregator’s dashboard.

Choosing between a sales agent and an aggregator is a decision about control versus connections. A sales agent is an active partner who travels to markets like Cannes or TIFF to secure “minimum guarantees” (advances) for your film. In exchange, they take a significant commission and often bundle your movie with other titles. For a blockbuster, this is often the best route to ensure high-value theatrical releases.

Conversely, an aggregator is a passive service. They won’t “sell” your film; they “place” it. This requires the filmmaker to handle their own marketing and PR. However, for indie projects with a niche audience or a strong social media following, bypassing the agent means keeping 100% of the revenue after the storefront’s cut. In a market where digital represents the lion’s share of long-tail revenue, this retention is often the difference between profit and loss.

The greatest challenge in the aggregator model is vetting partners. Without the “brand name” of a major sales agency, independent producers often struggle to distinguish between high-volume, authorized aggregators and low-tier distributors. This is where Vitrina AI transforms the search process.

By leveraging the Global Film+TV Projects Tracker, which monitors over 1.6 million titles, producers can see exactly which aggregators delivered similar films to specific platforms. Vitrina tracks 140,000+ companies, mapping their verified deal history and specialization. For a producer, this means you can identify an aggregator that has a proven track record of placing “Action Thrillers” on “Amazon Prime UK” in under five minutes using the VIQI AI Assistant.