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It is not a comfortable conversation, but it is a real one. Mid-size distributors, the kind managing between 500 and 2,500 titles, are evaluating submissions constantly. The key art is not just decoration. It is a signal. When the poster looks like it was assembled from a stock photo and
This comes up constantly in conversations with indie filmmakers and smaller distributors, and the honest answer is that the range is enormous for a reason. At the low end, you are getting a template, overseas labor, or a fully automated AI output. It will look like exactly what it is.
Netflix’s own research puts it plainly: viewers decide whether to engage with a title in 1.8 seconds, and the poster is the single biggest factor in that decision. Not the description. Not the reviews. Not the trailer. The image. That number should be pinned to the wall of every distribution
On key art, first impressions, and why the film you made deserves
Dear world, Designers and Creatives, we are scrumbling. Many creators went to
One camp is chasing the lowest possible cost, using fully automated tools