Sponsor Spotlight: EggUp on the sunny side of DIY

Today’s spotlight is on one of our DIY service sponsors, EggUp a company providing secure downloads of independent films and the associated extra content usually found on DVDs. Orly asked a few questions via email of Chris Lucero, EggUp’s Marketing Director. So here’s a bit about them:

Eggup is a media distribution and piracy solution for online viewing of films

Eggup is a Do-It-Yourself distribution platform that allows filmmakers to sell their films securely online.

OR-What is an Egg?
CL-An Egg takes a .mov or .mp4 file and and encrypts it into a secured “shell.” Within that shell, material can be uploaded such as epk’s, added bonus materials such as mp3 movie soundtracks, jpg movie posters, information on live screenings, text files like ebooks or educational materials. Up to two advertisements can also be inserted and viewed if the filmmaker has sponsorship that they need to highlight. The Egg file can then be passed around to anyone interested in finding out more about the film. The film contained within it can only be viewed in full once it is purchased and a customized player must be downloaded in order for the Egg to be viewed. Our application (Fried Rice) that only the content owners have access to, enables them to create an Egg, update the Egg and they have ability to global pause, global resume and even global delete from a consumer’s computer. The creator can choose how long the film can be accessed (1-30 days) and on how many computers. So if the individual purchases the Egg for 2 days viewing and 2 computer transfers, they will have the ability to make a copy of that Egg and move it to another computer. By logging into the Egg, it will allow the individual to view it on that computer. However if the individual transfers the Egg to a 3rd computer, the Egg will prompt the individual that they would need to make another purchase,

OR-What do you think is special about it as a DIY platform?


• Provides top notch security for your film to prevent piracy.
• Secured film available to consumers by download, instant stream, iPhone, iPad, Android.
• Full control of your film. Add, edit, delete pricing, content and images in real time.
• Marketing tools for filmmakers such as embedding films securely into 3rd party websites.
• Affiliate feature: Allow filmmaker to add affiliates and build an army of salesmen to sell their film securely. Affiliates get paid by per transaction %.
• Country Restrictions Feature: Half of the films using Eggup’s platform got distribution deals before they signed up with us. However, the distribution rights are only for certain regions. The filmmakers simply uses our platform to do country restriction. So it’s available in other parts of the world. Not only that, some of the filmmakers received distribution deals after using our platform and they simply login to our platform and restrict the countries where the rights have sold in real time. This really compliments the distributors and filmmakers.

OR-What success stories do you want to share about films on EggUP?


• We’ve recently won the Living Labs Anti-Piracy Competition held in Stockholm, Sweden. We will now be partnering up with the government of Nigeria to utilize our platform with Nollywood films; the 3rd largest film industry in the world. They want to focus on distributing their content to the world securely.
• Major Bollywood distributors and film studios are signing up because they are frustrated with piracy and unable to distribute their content out of their country. They see our platform as a way to cut major expenses and obstacles to make it easier to profit and not worry about being pirated.

Here are a few of the many happy filmmakers using EggUp: Stu Dodge – Nerd of the Living Dead (Atlanta, Georgia); Marco – Squatter Town (Hong Kong); Edgy Lee – MMA808 Inside Hawaii’s Fight Game (Hawaii); Solomon Mac-Auley – Nollywood Hustlers (Nigeria)

OR-What are the best ways for films to use EggUp?

CL-Current filmmakers are embedding their secured Films into 3rd party websites such as blogs and online magazines that generate heavy traffic whenever they do reviews or interviews. They’re savvy enough to ride the momentum to convert viewers into sales.

OR-What are the fee structures and terms for filmmakers who use EggUp?


70% filmmaker | 30% EggUp  (per transaction)

• Pricing Options: $0.99 – $999.99

• Filmmaker and Eggup are paid instantly for every transaction

• transaction fee: 5% + $0.05 (paypal micro payment)


• Non exclusive

• filmmaker controls their content

Media Available for Consumer:

• iPhone

• iPad

• Android

• Stream on computers

• Download on computers


OR-What type of films work best via EggUp?


1. Filmmakers who want to profit from their passion (film) vs. giving it away for free or don’t care about being pirated.

2. Films that appeal to both domestic and international market.

3. Films that target consumers who have basic internet knowledge.
Currently, more than half of our signups are indie and foreign distributors because they themselves are frustrated with the traditional distribution model. They would hear about us from their filmmakers. Film Festivals are approaching us to team up and allow them to distribute their festival films online securely since many filmmakers are looking into other methods of distribution to generate multiple streams of income.

Big thanks to EggUp and all of our sponsors for believing in our book and being dedicated to helping independent filmmakers get the knowledge they need to make beneficial decisions. You can find more great information and real experiences in Selling Your Film Without Selling Your Soul Presented by Prescreen and Area23a Movie Events releasing in September 2011. Also like us on Facebook and follow our Twitter stream #syfnotsys.

Excerpt: Nina Paley and Free Culture

In the lead up to the book release, we will be posting all sorts of information on this blog site. Some directly related to film distribution, some related to audience building, some to crowdfunding, which is both an audience gathering and financial exercise and some to using the internet as a free distribution mechanism in order to accomplish your goals as an artist. Also, one full chapter from the book will be published in this month’s Filmmaker Magazine, both the print version and online. This is the only time that a full chapter will be available ahead of the book’s release.

In the chapter on using file sharing networks to distribute work, Sheri talked with Nina Paley who released her animated film Sita Sings the Blues for free on the internet. Releasing her film for free wasn’t Paley’s initial intention and it took about 9 months to go from believing that copyright was a good thing that protected artists to believing it was an extortionate racket designed to lock content away and rarely benefited the artists it was supposed to protect.

Here is more from her interview:

“Right now the sad truth seems to be that people don’t come to this [free culture idea] without having a really traumatic experience with copyright. And I did, I had the whole thing with trying to follow the rules, do everything by the book in trying to clear the songs I used in Sita Sings The Blues and then being confronted with this insane, Kafka-esque nightmare.  Basically I was told you have to get $220,000 together [to clear the rights] or nobody gets to see your film. Told this by a group of faceless corporations who don’t give a shit about me or anything really.  I was like ‘wow, I have to not let anybody see this film, even for free, unless I can get $220,000?’

The difficulty of resolving that, even the time it took, and all the while people saying ‘oh, but remember this system protects you,’ that’s what lead me to begin questioning the system.  Initially, I agreed. It’s the copyright system, it protects me. But as all of this was happening I thought ‘I wonder if it really does protect me?’ I looked at my whole career, all of my work and I am sitting on years of comic strips I made. Nobody knows about them, they were originally syndicated by Universal Press Syndicate and King Features Syndicate. The copyrights have reverted to me but nobody is seeing them. What good have these copyrights been to me? Nobody else can reproduce these comics I have done, therefore everyone has forgotten about them as soon as they stopped running in newspapers. How is this benefiting me? It’s not.

I thought about where my money comes from and how much came from copyright royalties? Not much, most of it comes from direct commissions, teaching, every once in a while a grant. This is the same for many artists, very few artists I know get significant income from copyright royalties. Then I just woke up one day and thought ‘wait a minute, I could free this movie and what would happen if I did?’ I didn’t know everything that was going to happen. But the thought that it was possible seemed like this exciting and subversive thing to do and I had nothing to lose. And then it worked so well, that I just went back to all my old copyrighted work and have been doing everything I can to rerelease it free, but it has been a lot of work.”

Find out why giving Sita Sings the Blues away for free turned out to be a successful strategy by reading Selling Your Film Without Selling Your Soul Presented by PreScreen, coming in September 2011. Also, like us on Facebook.