A press kit (EPK) is the folder that lets a journalist, festival programmer, or blogger cover your work without ever emailing you: story, faces, images, a way to watch, and someone to contact. The standard contents are well established in festival guidance (FestAgent's press-kit guide is the canonical checklist) - what working video teams need added is the delivery layer: a screener link that is watermarked, expiring, and password-protected instead of an MP4 loose in an attachment.
The checklist
| Asset | Format | Why it is there |
|---|---|---|
| Logline + synopsis | Short + long versions, plain text | The story a journalist can lift directly |
| Director bio + statement | Short bio, 1-paragraph statement | The author angle every profile piece needs |
| Cast & crew list | Named roles, correct spellings | Credits get printed; misspellings get printed too |
| Stills + key art | High-res JPEGs, captioned | Articles need images; captions tell them which frame is which |
| Trailer + screener | Trailer MP4 + protected streaming link | The trailer sells; the screener proves |
| Tech specs | Runtime, format, aspect, sound | Programmers schedule from these |
| Awards / festival list | Laurels with dates | Third-party proof, dated |
| Press contacts | Name + email that is checked | The one link back to a human |
That set matches the standard festival EPK; what follows is the video-specific delivery layer on top of it.
The screener link is the sensitive part
The screener is the only press-kit asset that can leak value - which is why it gets controls the stills do not. The working setup: a streaming link, not a file, so there is nothing to forward as an attachment; a password you can rotate per recipient; an expiry matched to the coverage window; and a visible watermark (your title or the outlet's name) so any leak is traceable. What a screener is and how the controls behave is in what is a screener; the leak-threat reasoning is in why watermark video reviews and review-link security. Keep the trailer unprotected - it exists to travel.
Stills and large files
Journalists will take the highest-resolution image you offer, so give real stills (not frames grabbed from the compressed cut) with a caption line each. Organize filenames so an editor can find "the two-shot at the bar" without a call - file-naming conventions earn their keep here. For any asset too heavy for email, share links rather than attachments: how to share large video files covers the mechanics.
Packaging and sharing the kit
Two working shapes: a single link to an organized folder structure (assets in named subfolders, the screener link on a one-page index), or a zipped EPK for outlets that want one download. You do not need a branded portal for either - the client-portal guide includes the honest DIY path (a tidy folder + an index page does the job). One habit from the review world transfers directly: treat the kit like a delivery round - the delivery checklist applies, with the screener controls substituting for the delivery master's.
FAQ
What is the difference between a screener and a trailer?
The trailer is a marketing cut meant to travel freely; the screener is the full work, shown privately for evaluation. Trailer unprotected, screener protected - that asymmetry is the whole design.
How long should a screener link stay live?
Match the decision window: a festival's programming period, or 2-4 weeks for press. Set an expiry rather than leaving the link open indefinitely - the screener guide covers the window logic.
Should press-kit assets be password-protected?
The screener, yes. Stills, trailer, and text assets generally stay open - journalists on deadline will not wait for credentials, and those assets cannot leak anything but your own publicity.
What resolution should press stills be?
High enough for print and retina screens - full-resolution frames exported from the master, JPEG, a few hundred KB to a few MB each, with captions. Offer the set; editors pick.
Do festivals want private links or uploads?
Check each festival's rules - many require uploads to their own secure screener system for programming, while press kits (the EPK assets) are for post-selection publicity. The private-link setup above is for press and industry contacts, not usually for festival submissions themselves.