Filmhub vs Indie Rights vs Bitmax vs Quiver: Which Film Distribution Company Is Right for You?

Choosing a distribution partner is one of the most consequential decisions you will make as an independent filmmaker. The wrong choice can lock your film into a multi-year contract with poor revenue share, limited platform reach, and no marketing support. The right choice can get your film on Tubi, Amazon, and Apple TV while you keep 80% or more of the revenue.

In 2026, the indie distribution market has consolidated around a few key aggregators and distributors. Filmhub, Indie Rights, Bitmax, and Quiver Distribution are four of the most discussed options. Each operates on a different model, targets a different type of filmmaker, and offers different trade-offs between cost, control, and reach.

This guide breaks down what each company actually does, how they charge, what filmmakers say about working with them, and how to choose the right one for your film.

Quick Answer

• Filmhub is best for filmmakers who want maximum platform reach with no upfront cost. They deliver to 150+ platforms on a 80/20 revenue split. Their strength is volume distribution across AVOD and FAST channels.
• Indie Rights is best for first-time filmmakers who value transparency and personal relationships. They offer an 80/20 split with no upfront fees and focus on filmmaker education.
• Bitmax charges an upfront fee (starting around $2,000) but offers better revenue terms (90/10 on SVOD/AVOD, 100% on TVOD). Best for filmmakers who can afford upfront costs and want higher long-term revenue.
• Quiver Distribution operates as a hybrid distributor-aggregator, one of the few that handles both theatrical and digital. Best for films that want a theatrical component alongside digital distribution.

There is no single best choice. The right distributor depends on your film type, budget, genre, and career goals.

The Modern Distribution Market

Before comparing these four companies, it helps to understand how indie film distribution works in 2026.

The traditional model, where a filmmaker hoped for a festival acquisition followed by a theatrical release, has been largely replaced by a multi-pathway system. According to Tools for Film, the market has consolidated around six distinct distribution pathways, each with different economics.

Aggregators like Filmhub have lowered the technical barrier to streaming distribution, allowing filmmakers to place their films across 100+ platforms without a traditional distributor. Revenue from this pathway is modest. A well-marketed indie with no name recognition might generate $8,000 across 40 platforms over 18 months. But the filmmaker retains 80 to 90% of net revenue and maintains rights control.

FAST channels have become the highest-growth segment. Tubi alone reports over 80 million monthly active users, larger than many mid-tier SVOD services. Revenue per view is low, typically $0.002 to $0.008 per stream, but the audience volume for genre content is significant. A horror feature generating 500,000 streams on Tubi earns approximately $1,000 to $4,000 in revenue.

For a deeper understanding of these revenue models, read our AVOD vs TVOD vs SVOD vs FAST comparison.

Company Profiles

Filmhub: Maximum Platform Reach, No Upfront Cost

Filmhub has become the largest pure-play film aggregator by platform count, delivering to over 150 streaming services globally. The company was formerly known as Bitmax before rebranding and later absorbing Kinonation, as reported by Vitrina.

How Filmhub Works

Filmhub operates on a revenue-share model with zero upfront cost. Filmmakers keep 80% of all revenue, and Filmhub retains 20%. If your film earns nothing, you owe nothing. This is a meaningful structural advantage for filmmakers without cash to pay upfront aggregation fees.

The process works in six steps, according to Filmhub's documentation:

1. Submit your title for distribution
2. Filmhub's QC team reviews your deliverables
3. Their licensing team pitches your title to channel partners
4. When a channel licenses your title, Filmhub processes and delivers all assets
5. Channels release your title to viewers (typically 2 to 12 weeks)
6. Channels report performance data and pay Filmhub, which pays you

Filmhub Plans and Pricing

All plans maintain the 80/20 revenue split. Paid plans add features like channel blocking (preventing your film from appearing on specific platforms) and deeper analytics.

Filmhub Strengths

• No upfront cost, which removes the financial barrier to entry
• Massive platform reach (150+ channels including Tubi, Pluto TV, Peacock, Roku)
• Dashboard reporting with per-platform performance data
• Non-exclusive model allows simultaneous deals with other aggregators
• Open submission process (they do not gatekeep based on budget or name recognition)

Filmhub Limitations

• Platform relationships with premium SVOD (Netflix, Apple TV+) are more limited than their headline numbers suggest. Many of the 150+ platforms are smaller FAST channels and regional AVOD services.
• The free plan offers minimal support. Some filmmakers report spending months in QC review or waiting for platform placement, as noted in LinkedIn discussions.
• No marketing support. Filmhub distributes your film. You handle promotion.
• The 20% revenue share compounds over the long tail of your film's life.

Best for: Documentaries, shorts, niche genre content targeting AVOD and FAST channel revenue across many platforms simultaneously.

Indie Rights: Filmmaker-Friendly Transparency

Indie Rights has been in business since 2000, founded by Linda Nelson and Michael Madison. Based in Los Angeles, the company positions itself as a filmmaker-friendly alternative to traditional distributors.

How Indie Rights Works

Indie Rights operates on the same 80/20 revenue split as Filmhub, with no upfront fees or expenses. They are selective about which films they accept, only taking titles they believe their platform partners will want.

According to The Film Collaborative's distributor report card, Indie Rights provides transparent quarterly reporting and shares revenue data across all their titles with their filmmakers. This level of transparency is unusual in the industry.

Indie Rights Strengths

• 80% revenue share with no upfront fees or expenses
• Direct relationships with Amazon Prime, Google Play, Tubi, and other platforms
• Filmmaker education resources, including a marketing playbook for signed filmmakers
• Private filmmaker community for mutual support
• International sales presence at AFM and Cannes as an exhibitor
• IFTA membership (International Film and Television Alliance)
• Honest communication about expectations (no false promises about marketing results)

Indie Rights Limitations

• Smaller marketing budget compared to larger distributors
• Limited access to premium SVOD platforms like Netflix
• Reporting is quarterly, not monthly (though transparent)
• Some filmmakers report that the shared spreadsheet format for revenue reports feels impersonal
• Less sophisticated technology and analytics compared to Filmhub's dashboard

Best for: First-time filmmakers who need guidance, documentary filmmakers with niche audiences, and filmmakers who value transparency and personal relationships over technology.

Bitmax: Upfront Fee, Better Revenue Terms

Bitmax operates on a fundamentally different model from Filmhub and Indie Rights. Instead of a revenue share with no upfront cost, Bitmax charges an upfront fee for encoding, quality control, and delivery, then takes a smaller percentage of ongoing revenue.

How Bitmax Works

According to filmmaker discussions, Bitmax charges an upfront fee starting around $2,000 that includes 4K delivery, quality control, and closed captioning. After that upfront cost, they take no fees from TVOD revenue and operate on a 90/10 split for SVOD and AVOD.

This means if your film generates significant revenue, the 90/10 split can result in substantially more money in your pocket compared to the 80/20 split offered by Filmhub and Indie Rights.

Bitmax Strengths

• 90/10 revenue split on SVOD/AVOD (vs 80/20 at Filmhub/Indie Rights)
• 100% of TVOD revenue goes to the filmmaker
• Upfront fee includes comprehensive services (4K, QC, closed captioning)
• Relationships with Tubi and Amazon (starting as TVOD, then pitching to SVOD/AVOD)

Bitmax Limitations

• Upfront cost ($2,000+) creates a barrier to entry for low-budget filmmakers
• Fewer platform options than Filmhub (no YouTube Red or Plex at this time)
• Additional fees for re-QC if deliverables fail initial quality check
• Less brand recognition than Filmhub in the aggregator space

Best for: Filmmakers who can afford the upfront fee and expect their film to generate meaningful revenue, making the 90/10 split more advantageous than the 80/20 alternative over time.

Quiver Distribution: Theatrical Plus Digital

Quiver Distribution operates as a hybrid distributor-aggregator. Founded in 2019 and headquartered in Canada with US presence, Quiver is one of the few services that genuinely manages both limited theatrical releases and digital streaming distribution.

How Quiver Works

Quiver's model is a hybrid: a flat submission fee plus a revenue share that varies by deal type. Unlike the other three companies, Quiver actively pitches your film to platforms and negotiates placement rather than passively uploading and waiting. They are selective about which projects they accept.

According to Film Courage's interview with founder Erik Anderson, Quiver's original model was a flat fee starting at $1,395 for one retailer, with the filmmaker keeping 100% of revenue after the platform's share. The company has since evolved into a full distribution company with negotiated deals.

Quiver's recent releases include Cleaner, Irena's Vow, and Becky, indicating they work with commercially viable indie films that have theatrical ambitions.

Quiver Strengths

• One of the few aggregators that handles theatrical and digital together
• Theatrical release, even a limited 10-city run, improves SVOD placement and licensing terms
• Active pitching to platforms rather than passive pipeline distribution
• Direct relationships with all major digital retailers and streaming platforms
• Customizable distribution and marketing plans

Quiver Limitations

• More selective than Filmhub (they do not accept everything)
• Higher cost than Filmhub's free tier
• Less transparent about pricing on their website
• Fewer total platform relationships than Filmhub's 150+

Best for: Films that want a theatrical component to boost their digital performance, and filmmakers who want an active distribution partner rather than a passive pipeline.

Head-to-Head Comparison

Revenue and Financial Terms

Platform Reach

Marketing and Support

Decision Framework

Choose Filmhub If

• You have no budget for upfront distribution fees
• Your film is genre content (horror, thriller, action) that performs well on AVOD and FAST channels
• You want maximum platform reach across many smaller services
• You are comfortable handling your own marketing
• You want a non-exclusive deal that lets you pursue other opportunities simultaneously

Choose Indie Rights If

• You are a first-time filmmaker who values education and guidance
• You want transparent reporting and honest communication
• Your film is a documentary or niche content with a specific audience
• You want a personal relationship with your distributor
• You want international sales representation at AFM and Cannes

Choose Bitmax If

• You can afford the $2,000+ upfront fee
• You expect your film to generate meaningful revenue (making 90/10 better than 80/20)
• Your top platform priorities are Tubi and Amazon
• You want to keep 100% of TVOD revenue
• You do not need YouTube Red or Plex placement

Choose Quiver If

• Your film has theatrical potential and you want a limited theatrical run
• You want an active distribution partner who pitches your film to platforms
• You are willing to pay more for a full-service distribution experience
• Your film is commercially viable with broad audience appeal
• You want theatrical performance to boost your SVOD placement

Common Distribution Mistakes

Signing Without Reading the Contract

Every distribution contract is different. Some require exclusive rights for 7 to 10 years. Others are non-exclusive with 3-year terms. Some charge expenses that are recouped from your share. Others charge nothing upfront. Read every clause. If you do not understand something, ask. If the answers are vague, walk away.

Choosing Based on Platform Count Alone

Filmhub's 150+ platform number sounds impressive, but many of those platforms are small FAST channels with limited audiences. A distributor with 20 well-chosen platform relationships may generate more revenue than one with 150 passive placements. Match the aggregator to your revenue model, not just the headline number.

Expecting the Distributor to Market Your Film

Aggregators distribute. They do not market. Unless you are working with a full-service distributor like Quiver that includes marketing in their deal, you are responsible for promoting your film. Budget time and money for marketing. Read our film marketing cost guide to plan your budget.

Giving Away Too Many Rights for Too Long

A 10-year exclusive deal locks your film into one distributor's strategy for a decade. If that strategy fails, you cannot pivot. Prefer shorter terms (3 to 5 years) with non-exclusive arrangements when possible. You can always renew if the relationship works.

Not Preparing Marketing Materials

Distributors need artwork, trailers, synopses, and metadata to pitch your film to platforms. If these are not ready, your distribution timeline stretches by weeks or months. Prepare your deliverables and marketing assets before approaching any distributor. Our film deliverables guide covers what you need.

What Filmmakers Should Do Next

1. Research 2 to 3 distributors. Do not go with the first one that accepts your film. Compare terms, platform reach, and filmmaker experiences. Check The Film Collaborative's distributor report cards for independent reviews.

2. Prepare your deliverables. Every distributor requires technical assets. Have your ProRes master, 5.1 audio mix, closed captions, poster art, and metadata ready before you submit.

3. Set up your marketing infrastructure. Regardless of which distributor you choose, you need a smart link, tracking pixels, and an email list. Create a Filmcane smart link so you can direct audiences to your film across all platforms from a single URL.

4. Read the contract carefully. Pay attention to term length, exclusivity, expense recoupment, and termination clauses. If possible, have an entertainment attorney review the agreement.

5. Plan your marketing budget. Distribution gets your film on platforms. Marketing gets people to watch it. Allocate budget for paid social ads, press outreach, and content creation. Read our guide to running ads for your film to get started.

Frequently Asked Questions

How much does Filmhub charge?

Filmhub's free plan costs nothing upfront. They take a 20% revenue share on all earnings. Paid plans ($999/year for Plus, $1,999/year for Pro) add features like channel blocking and advanced analytics but maintain the same 80/20 split.

Is Indie Rights legitimate?

Yes. Indie Rights has been in business since 2000, is a member of IFTA, and maintains an office in Los Angeles. They exhibit at AFM and Cannes. The Film Collaborative has published an independent distributor report card with filmmaker testimonials confirming their legitimacy.

What happened to Bitmax?

Bitmax was rebranded as Filmhub, which later absorbed Kinonation. However, some filmmakers still refer to the original Bitmax service model (upfront fee, 90/10 split). If you are considering Bitmax, clarify whether you are working with the original service or the rebranded Filmhub entity.

Can I use multiple aggregators at the same time?

It depends on your contract. Filmhub offers non-exclusive deals, meaning you can pursue other distribution opportunities simultaneously. Indie Rights also typically uses non-exclusive terms. Quiver and Bitmax may require exclusivity for certain platforms or territories. Read your contract carefully.

How much can I expect to earn from indie film distribution?

Revenue varies significantly based on genre, territory, audience demand, and platform agreements. A realistic outcome for a well-marketed indie with no name recognition is approximately $8,000 across 40 platforms over 18 months, according to Tools for Film. Genre films on FAST channels can generate $1,000 to $4,000 per 500,000 streams.

Do I need a distributor if I use an aggregator?

Aggregators are a type of distributor. They handle the technical delivery and platform placement that a traditional distributor would manage. The difference is that aggregators typically do not provide marketing support, theatrical booking, or sales agent services. If you need those, look for a full-service distributor.

Should I self-distribute or use an aggregator?

For most indie filmmakers, using an aggregator is more practical than self-distribution. Aggregators have existing relationships with platforms that do not accept direct submissions. They handle technical delivery, which is complex and error-prone. The cost (10 to 20% of revenue) is usually worth the time and access you gain. Read our self-distribution guide for a full comparison.

Conclusion

There is no universal best distributor for indie films. Filmhub offers the lowest barrier to entry with its no-cost, 80/20 model and massive platform reach. Indie Rights provides transparency and education that first-time filmmakers need. Bitmax's 90/10 split rewards films that generate real revenue. Quiver's theatrical-plus-digital model serves films with commercial ambitions.

The right choice depends on your film, your budget, and your goals. A $10,000 horror feature targeting Tubi audiences has different needs than a $500,000 drama aiming for festival prestige and theatrical release. Match the distributor to your film, not the other way around.

Whatever you choose, remember that distribution is only half the equation. The other half is marketing. Once your film is available on streaming platforms, you need to direct audiences to it. Filmcane helps filmmakers create smart links that show every viewing option, track which campaigns drive clicks, and measure audience behavior across platforms. Create your first smart link and start understanding how audiences discover and watch your films.