A release gets no second chance: the theatrical window is short, the budget is fixed. We build campaigns for ticket purchases and views, not for reach — including cases where sales happen on third-party platforms and “cannot be tracked”
30 minutes on your release: what counts as a conversion, where to find the viewer and how to spread the budget across the theatrical window. For projects with a budget from $3,000
Tickets are sold by the theater or an aggregator. We set up events at the checkout step and optimize for them, not for clicks.
Two weeks, and the result is locked in. We build up volume in advance and hold frequency on release days instead of ramping up toward the end.
We assemble the viewer by theme, cast, adjacent releases and behavior, not by a generic category.
Sometimes you need not thousands of viewers, but a few hundred of the right people. Such campaigns are measured differently and cost less.
Three task formats: a digital release, a theatrical run, a festival campaign
A TVOD release in the USA: three phases — creative testing, audience testing, scaling. Two creatives delivered 88% of results, cold traffic beat retargeting in every phase
The King of Color · a documentary about Pantone
Tickets were sold by theater platforms — we optimized for the purchase click. Micro-geo matched to the city’s culture: a mile around the theater in New York, a driving radius in Los Angeles
Indie film · US theatrical release
Precision, not mass: a base of 500 addresses of decision-makers plus the neighborhoods where Academy members live. The film made the shortlist at the 98th Academy Awards
Short film · a campaign aimed at Academy members
Tickets are sold by Fandango, AMC, Regal — there is never access to their systems. We place the event on the deepest available step — the purchase click — and optimize for it, not for clicks.
Cast, adjacent releases, festival communities, micro-geo around theaters: in walkable New York — a mile around the venue, in car-bound Los Angeles — a 5–7-mile driving radius.
Audience collection → warm-up → maximum pressure on release days. The budget is distributed around the release date, not spread evenly per day.
On the Pantone documentary two creatives delivered 88% of results — after every phase the budget moves to proven combos, the underperformers are switched off early.
Come with the date and the release platforms — leave with a plan: events, audiences, a spend schedule toward the release. Free, no obligations
The portfolio includes the USA and international digital releases. The mechanics transfer: what changes is the ticketing platforms and platform rules.
We set up what is available: events on booking pages, promo codes, dedicated landing pages. Without data there is nothing to optimize — that is the first step of the work.
Yes, we have: a precision campaign aimed at a professional audience with a budget of about $1,000 — the film made the Oscar shortlist.
3–4 weeks ahead: the first phase collects audiences by the trailer and theme, the second warms up, the third pushes on release days. Launching in the week of the premiere leaves the algorithm too little time.
Ad spend in our cases: $1,111 for a campaign aimed at Academy members, $17,268 for the digital release of a documentary, $38,869 for the US theatrical release of an indie film.
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The minimum ad budget to work with us is $3,000: below that threshold the campaign does not have time to go through the test and scaling phases inside the theatrical window. Message us when the budget grows — we will review it then.
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Egor Balandin
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