We just received a lump sum payment via Filmhub for a license deal on our feature film Friends, Foes & Fireworks. The buyer was ReelShort, a new streaming network, which opted to purchase the film upfront rather than paying a percentage of sales or ad revenue, as most platforms do.

This marks the second buyout of Friends, Foes & Fireworks this year. A Belgian streamer also purchased the film for their network earlier.

Friends, Foes & Fireworks was originally released in 2018, six years ago. Back then, it performed poorly in terms of revenue — and, to be honest, it continued to underperform, with only brief spikes in revenue here and there.

But this year, out of nowhere like the RKO, we received two licensing deals that nearly doubled the revenue Friends, Foes & Fireworks had generated in the previous five years. This just goes to show the value of owning the rights to your film — feature films have long shelf lives, even those that didn’t initially succeed.

For the past six years, we have produced a feature film every year. In the same period, we have made 12 short films as part of our Life Improvised series. This high output is resource and wallet intensive. But a big reason why we can produce so many films and keep costs down: we own and use our own film gear.

I recommend all aspiring independent filmmakers consider this approach. I didn’t always think this way. Initially, I rented equipment or hired cinematographers with their own cameras for my first short films and even my first feature.

But gradually, I started investing in gear — a cheap boom pole, microphone, made in China redhead lights, and a secondhand JVC GY-HD101 camera.

I didn’t really know how to use any of this gear properly. I remember filming something at the Melbourne International Film Festival for a film producer and my footage being shaky and out of focus. But though I was inexperienced, owning gear allowed me to practice, learn, and slowly improve. It was an investment in myself and my craft and what I wanted to do as a career.

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