International Co-Production Checklist: Selling to the Americas Market

Hook: Stop losing buyers at first glance — the checklist that closes international co-productions

If you’re a writer or producer tired of polite buyer pass-overs, unclear notes, or deals that fizzle at the contract stage, this article is for you. In 2026, international buyers like EO Media are more selective: they want clean rights, festival pedigree that signals marketability, and packaging that makes acquisition fast and low-risk. This practical checklist—tailored for the Americas market—breaks down the legal, technical, festival, and packaging items that move a project from “interesting” to “buyable.”

The short version — what buyers care about first (inverted pyramid)

Buyers at Content Americas and similar markets make quick go/no-go decisions. Prioritize these elements before everything else:

• Clear chain of title and secured underlying rights
• Festival pedigree or credible festival strategy
• Complete deliverables & technical compliance for theatrical and streaming windows
• Marketable packaging: cast & director attachments, sales agents, pre-sales
• Sales-ready legal & financial terms: co-pro agreements, financing status, tax credits

Why this matters in 2026

Late 2025 and early 2026 have shown two trends that directly affect what buyers like EO Media take home from markets: specialty slates are back in demand (see EO Media’s Content Americas 2026 slate of rom-coms, holiday movies, and specialty titles), and commissioning teams at global streamers (e.g., Disney+ EMEA promotions) are reorganizing to lock predictable, region-specific content pipelines.

That means buyers now favor projects that minimize risk: ready legal packaging, festival magnets, and standardized technical deliverables. If your project doesn’t present itself as a plug-and-play acquisition, it will be passed over—no matter how strong the script is.

How to use this article

Read the checklist top-to-bottom, then implement the prioritized items in this order: Legal & Rights, Deliverables & Technical, Packaging & Market Positioning, Festival Strategy, Business & Sales. At the end you’ll find a printable, action-first checklist you can use before market submissions and buyer meetings.

Section 1 — Rights & Legal: the non-negotiable foundation

Nothing sinks a sale faster than messy rights. Buyers won’t acquire projects that require lengthy legal clean-up.

1. Clear chain of title

• Provide a signed chain of title memo that documents all transfers, options, and assignments from the original writer/creator to the current production entity.
• Include certified copies of option agreements, purchase agreements, and releases for any underlying material (books, articles, life rights).

2. Underlying rights & third-party materials

Buyers will request certainty on music, archival footage, logos, and trademarks.

• Clear or pre-license all music rights (synchronization and master rights). If you can’t clear, provide a budget and plan.
• Document any archival footage and have an archival licensing timeline prepared.
• Secure subject releases and life-rights agreements where applicable.

3. Co-production & treaty considerations (for international co-productions)

• Identify applicable co-production treaties and certify your project’s qualifying status (e.g., qualifying spend, national personnel).
• Prepare a draft co-pro agreement that outlines producer contributions, creative control, and recoupment waterfall.

4. Distribution & rights windows

Buyers want clarity on exclusivity and future windows.

• Present a proposed rights schedule (theatrical, SVOD, AVOD, TVOD, free TV, airline) and any held-back ancillary rights.
• If you’ve sold rights already (territory or platform), include signed distribution agreements and clear geographic windows.

5. Insurance & legal protections

• Obtain or quote E&O insurance (Errors & Omissions) and supply the certificate at market-ready stage.
• Prepare a risk memo outlining any potential legal exposures—defamation, rights gaps, or pending claims.

Section 2 — Deliverables & Technical: meet buyer specifications fast

Technical deliverables are the checklist buyers check before releasing money. In 2026, streamers increasingly expect IMF packages for long-form content but still accept ProRes mezzanines and DCP for festivals and theatrical. Always start with the buyer spec—then overdeliver.

Essential deliverables checklist

• Screeners: watermarked password-protected H.264 or secure streaming link (e.g., Soshal, Vimeo with domain restriction).
• High-res masters: ProRes 422 HQ or ProRes 4444 (as requested).
• DCP for festival/theatrical runs.
• Closed captions and subtitles: English SDH plus Spanish/Portuguese for Americas buyers.
• Deliverable metadata: credits list, cast list, production company details, running time, aspect ratio, and color space.
• Music cue sheets and cue clearance documentation.
• E&O certificate and legal clearance memo.
• Marketing assets: poster, key art, 30–60 second trailer, 90-second sizzle reel, and bilingual press kits.

Pro tips for smooth delivery

• Create an online sales room with all assets clearly labeled and downloadable — buyers want to access everything without chasing emails.
• Provide an assets index (spreadsheet) listing file names, codecs, languages, and file sizes.
• For co-productions, prepare separate deliverable packages by territory if rights or language versions differ.

Section 3 — Packaging & Market Positioning: make your project scannable

Packaging is the shorthand buyers use to decide if a project fits their slate. Strong packaging reduces negotiation friction and increases per-territory offers.

Key packaging elements

• Talent attachments: a director and at least one above-the-line name (lead actor or writer) with signed LOIs where possible.
• Sales agent or distributor: reputable sales partner or evidence of market interest (EO Media often sources from known partners such as Nicely Entertainment and Gluon Media).
• Pre-sales or interest letters: territory pre-sales, broadcaster letters of interest, or festival selection commitments.
• Budget & financing plan: clear breakdown of sources (tax credits, pre-sales, equity) and remaining gap — see case studies on how small brands scale with packaging and operations for comparable budgeting lessons.
• Comparable titles: 2–3 comps (include festival or box office performance) that justify commercial potential.

Packaging examples that resonate with EO Media-style buyers

EO Media’s 2026 slate shows appetite for specialty titles, rom-coms, and holiday movies—projects with recognizable audience hooks and strong festival credentials. For example, a Cannes Critics’ Week winner attached to your project will open doors; similarly, dependable holiday rom-com formulas are attractive if packaged with a bankable lead and a festival-quality director.

Section 4 — Festival pedigree & strategy: why festivals still matter

Festival selections remain a primary signal of quality and marketability, especially at Cannes, Sundance, Toronto, Rotterdam, Berlinale, and Venice. In 2026, festivals also act as acquisition marketplaces and marketing accelerators.

Festival strategy checklist

• Decide early: festival-first vs. market-first—don’t submit to both without an embargo strategy.
• Target the right festivals: match project tone and language (e.g., an English-language rom-com with Latin American elements might aim for Toronto and Miami).
• Prepare festival-ready deliverables: promo reels, director statements, talent availability for press & markets.
• Leverage festival awards in your sales materials (e.g., “Cannes Critics’ Week Grand Prix winner” is a powerful badge).

“A festival award is not just prestige—it short-circuits buyer risk.”

How festival pedigree influences buyers like EO Media

EO Media’s Content Americas slate in early 2026 included festival-crowned titles alongside holiday fare—demonstrating buyers want both artistic validation and clear market appeal. A festival win can improve licensing terms and faster close rates; conversely, a commercial package without festival traction needs stronger pre-sales and talent to compete. Read analysis on future formats to understand how short-form and micro-documentary signals play in festival strategy.

Section 5 — Business & Sales: structure the deal so buyers can say yes

Buyers evaluate financial clarity first. Prepare these items to accelerate term-sheets and definitive agreements.

Financials & budgets

• Provide a locked budget and spend schedule; flag contingency and currency risk mitigation if dealing with multiple territories.
• Document tax credit eligibility and expected rebate timing; buyers want to know when the rebate flows and whether it’s assigned to financing.

Recoupment & revenue splits

• Provide a proposed recoupment waterfall for sales, specifying net vs. gross terms for buyers.
• Clarify exclusions (e.g., marketing expenses, festival costs) and who bears them pre-sale.

Pre-sales & minimum guarantees

Pre-sales demonstrate market appetite and reduce buyer risk. If you have pre-sales, provide signed pre-sale contracts and payment schedules. If not, present realistic minimum guarantee targets supported by comparable sales data — and consider strategies to turn buzz into consistent content and revenue when pitching buyers.

Section 6 — Tailoring for the Americas market

Americas buyers have diverse needs: North American SVODs care about exclusive windows and star attachments; Latin American buyers emphasize language versions and regional talent. Here’s how to adapt:

Localization & language

• Deliver subtitles and dubbed versions for Spanish and Portuguese where appropriate.
• Provide bilingual press kits and metadata (English + Spanish/Portuguese) and manage localization workflows like a marketplace using CRM tools such as CRM onboarding & asset tracking.

Territory strategy

• Identify which rights you’re selling per territory: exclusive vs. non-exclusive, SVOD vs. linear TV.
• Consider split deals: theatrical in the U.S. + SVOD in Latin America can increase total revenue.

Buyer segmentation

• For specialist buyers (like EO Media), emphasize festival pedigree, critical acclaim, and niche audience fit.
• For broadcasters/streamers, emphasize repeatable audience performance (e.g., rom-com holiday slots, bingeable limited series). See growth opportunities for creators in the shifting commissioning landscape.

Section 7 — Practical actions: 30-day playbook to market-ready

Use this timeline to get market-ready in one month. Prioritize items that remove buyer risk.

Days 1–7: Legal & Rights sprint

• Confirm chain of title and obtain all underlying rights documents.
• Draft or update co-pro and option agreements.
• Obtain E&O insurance quotes and prepare the risk memo.

Days 8–15: Deliverables & packaging

• Assemble screeners, posters, and trailer. Build online sales room.
• Get a color-graded master and generate DCP for festivals. Refer to technical checklists in studio capture essentials.
• Secure LOIs from key talent and obtain bilingual bios.

Days 16–23: Festival & sales outreach

• Submit to targeted festivals and prepare director statements.
• Contact potential sales agents with a one-sheet, budget summary, and screener link.

Days 24–30: Financial & negotiation readiness

• Finalize budget and recoupment waterfall; prepare term-sheet template.
• Assemble pre-sale comps and prepare a 2-page market pitch for buyers.

Section 8 — Real-world examples & lessons from 2026 buyers

EO Media’s 2026 Content Americas slate is instructive: the company mixes festival-winning indie films (e.g., a Cannes Critics’ Week Grand Prix title) with commercially reliable rom-coms and holiday movies. The takeaway: buyers want both prestige signals and audience certainty.

Meanwhile, streamer commissioning reshuffles (like promotions at Disney+ EMEA) indicate buyer side consolidation—teams are focused on region-first slates. That creates opportunities for co-productions that attach local talent and meet regional quotas under co-production treaties.

Final Checklist — The buyer-ready summary

1. Chain of Title: Certified documentation.
2. Underlying Rights: Music, archival, releases cleared or budgeted.
3. E&O Insurance: Quote or certificate.
4. Deliverables: Screener, ProRes master, DCP, subtitles, trailers, poster.
5. Packaging: Director, lead, sales agent LOIs; pre-sales or LOIs from broadcasters.
6. Festival Strategy: Target list, festival-ready assets, press plan.
7. Financials: Locked budget, tax credit plan, recoupment waterfall.
8. Sales Room: Centralized online folder with index and contact person.
9. Localization: Subtitles/dubs for Spanish & Portuguese; bilingual metadata.
10. Term-sheet Ready: Template with clear rights windows and payment milestones.

Actionable takeaways

• Before you pitch at Content Americas or similar markets, get your chain of title and at least one deliverable (screener) fully ready.
• Match your festival strategy to your buyer: prestige festivals for specialty buyers, calendar festivals (holiday markets) for commercial buyers.
• Localize early—buyers in the Americas will value Spanish/Portuguese assets as a sign you understand the market.
• Use the 30-day playbook to prioritize legal and deliverable tasks that reduce the buyer’s perceived risk.

Closing: Your next steps

Make these items non-negotiable in your next production timeline. Buyers like EO Media are buying certainty in 2026: a clean legal package, festival credibility, and plug-and-play deliverables. Implement the checklist above, assemble your sales room, and you’ll convert more introductions into term sheets.

Call to action: Ready to pitch? Download the printable buyer-ready checklist and the 30-day playbook from our Tools & Creator Resources hub, then join our next Q&A session where industry execs (including sales agents active in the Americas market) answer live questions about closing international co-productions.

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