DEMO — illustrative figures. No real Channel 5 revenue data. Catalog metadata is public. Not affiliated with Channel 5.

How the math works

Methodology

The allocation is deterministic: the same inputs always produce the same payouts, and every split sums to the cent. Fraud rules are published in advance — legitimacy, not damage control.

Allocation, in plain English

  1. Every subscriber pays the same monthly fee. Add them up → gross pool.
  2. Take out payment-processing fees and platform operations. What remains is the filmmaker pool (80% in this demo — Channel 5 sets the real number).
  3. For the month, count each film's qualified watch-minutes. A film's share = its watch-minutes ÷ all films' watch-minutes.
  4. A film's allocation = its share × the filmmaker pool. Allocations sum exactly to the pool (leftover pennies go to the largest remainders — no money is lost or invented).
  5. Each film's allocation is split among its cast by pre-agreed percentages (summing to 100%). Those payouts sum exactly to the film's allocation.

Worked example — Finding Orson, July 2026 (illustrative)

Gross pool40,000 subs × $5.55$222,000.00
− Payment processing (5%)−$11,100.00
− Platform operations (15%)−$33,300.00
Filmmaker pool (80%)$177,600.00
Finding Orson watch share2,430,000 / 9,000,000 min27.00%
Finding Orson allocation$177,600 × 0.2700$47,952.00
  Director — Andrew Callaghan55%$26,373.60
  Producer (demo)20%$9,590.40
  Editor (demo)15%$7,192.80
  Composer (demo)10%$4,795.20
Cast total100%$47,952.00

These exact figures are re-derived by the engine and asserted to the cent by checks.mjs.

Fraud & counting rules (published in advance)

Settlement & payouts

A period closes at month end. Funds then age 60 days before they are payable (chargeback/refund window). State moves AGINGAGED. Payouts run through Stripe Connect Express, which handles KYC, W-9/W-8 tax forms, 1099 generation, and foreign-filmmaker withholding — so Channel 5 never touches per-payee tax handling. See the Payee view for the Connect object shape.

What's real vs illustrative