The UK Film Tax Relief Explained — What Every Independent Producer Needs to Know
The UK's enhanced Film Tax Credit is one of the most powerful tools available to independent producers operating in the British market. Here is exactly how it works, what qualifies, and how to structure your production to maximise it.
What Cannes Actually Looks Like From the Inside — A Producer's Dispatch
Forget the red carpet mythology. The Marché du Film is one of the most business-focused environments on earth. Here is what twelve days at the world's most important film market actually looks like when you're there to work.
Packaging a Film From Scratch — The Step-by-Step Guide Producers Won't Share
A package is the single most important commercial document a producer puts together. Script, director, cast, budget, and sales strategy — here is exactly how we approach it at Markit and what every component actually means.
AFM Los Angeles — Everything You Need to Know Before Your First American Film Market
The American Film Market is the largest film market in the world by number of participants. It is also one of the most misunderstood. Here is a complete breakdown of what it is, who attends, what happens, and how to make the most of it.
Why We Built the Markit Community — and What It Means for Independent Film
The Markit Community was not built because it was a good business idea. It was built because the industry doesn't serve independent filmmakers the way it should. Here is the thinking behind it and where it's going.
Equity, Debt and Tax Credits — Building a Financing Stack for an Independent Feature
Most independent features are financed through a combination of sources — not a single investor writing a cheque. Understanding how to layer equity, debt, tax credits, and soft money is the skill that separates producers who get films made from those who don't.
The State of Independent Film in 2026 — What's Working, What Isn't
The theatrical landscape has shifted. Streaming has matured. The gap between films that get made and films that find audiences has never been wider. Here is an honest assessment of where independent film stands right now — and where the real opportunities are.
How to Approach a Sales Agent — What They Actually Want to See
Sales agents are among the most important relationships a producer can build — and among the most commonly approached in the wrong way. Here is what they actually evaluate, what makes them pass, and what makes them take the call.
EFM Berlin — The European Co-Production Market and How to Use It Properly
EFM Berlin runs alongside the Berlinale and is one of the most important markets for European co-production. It is different to Cannes in character and different again to AFM. Here is a guide to what it is and how to make it work for your project.
Pitching Investors in Film — What to Say, How to Say It, When to Close
The investor conversation is the most mishandled moment in independent film. Producers either undersell or over-explain. Here is the framework we use at Markit — built from dozens of real investor conversations — that actually gets deals done.
Why One Film Is Never Enough — The Case for Building a Slate, Not a Single Project
Every filmmaker wants to get their one film made. Every producer knows that is the wrong way to think about it. Here is why a slate gives you leverage, credibility, and the ability to survive the inevitable setbacks that kill single-project careers.
The Markit Inner Circle — What It Is, How It Works, What Members Say
A year into the Inner Circle membership programme, we wanted to share what it actually looks like from the inside — the calls, the projects, the connections that have been made, and what members say it has meant for their careers.
The Filmmaker's Blueprint — Six Things Nobody Teaches You at Film School
Film school teaches you how to make films. It rarely teaches you how to build a career making them. These are the six things I wish someone had told me in year one — the ones that actually determine whether you make it or not.
London Film Festival — A Guide for Producers and Independent Filmmakers
LFF is different to the major commercial markets — it is a festival first, with a serious industry programme running alongside it. Here is how producers use it, what opportunities it creates, and how to make the most of a week at BFI Southbank.
Irish Film Finance — Section 481, Co-Production and Funding in Ireland
Ireland offers one of the most competitive film incentive structures in Europe. Section 481 tax relief, Screen Ireland funding, and the country's growing co-production landscape make it a genuinely attractive base for international productions.
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