Streaming distribution for films and series across global platforms
Finished films and series earn their budget when they reach screens people actually watch. Blazing Sand Studios offers streaming distribution — placing completed titles with streaming platforms and preparing the delivery packages those platforms expect. This page sits under our distribution hub and is distinct from broadcast distribution, which covers television, streaming and airline windows together. Here the focus is the platform path: metadata, versioning, artwork and a rights picture a streaming buyer can understand. We are registered with the Creative Media Authority in Abu Dhabi as GID Global Media Production, with operations at twofour54 Yas Creative Hub and at Upside Living 2507, Business Bay, Dubai. Paris Norriss, CEO and Executive Producer, built distribution into the company because adventure and destination titles need a route to viewers after picture lock.
What streaming distribution means here
Streaming is not simply "putting the file online." Platforms ingest titles against a specification: timed text, loudness, artwork ratios, episode order, synopses in the right length, and a rights summary that matches the window being discussed. A film that played well at a festival or on a linear channel can still fail a platform QC check if captions drift, if the episode metadata is incomplete, or if music clearances do not cover on-demand use.
We help producers and commissioners prepare for that conversation and, where the title fits, place it. Verified platforms that have carried our work include Amazon Prime, Apple TV and OSN. Our shows have been distributed in 123 countries. We will not invent other platform logos, claim a deal that did not happen, or imply that every title we review will be acquired. Placement is a service with honest feedback, not a press release.
Airline and linear television windows still matter for many of the same titles — Guy in Dubai aired as a commissioned local programme on Dubai Television across four seasons, and airline partners among our verified list include British Airways, Emirates, flydubai, Air Arabia, Etihad Airways, Aer Lingus, SpiceJet, Iberia and LEVEL. Those windows are covered in more detail on the broadcast distribution page. This page exists so a producer looking specifically for streaming placement is not asked to wade through a general hub.
Who uses a streaming-focused distribution partner
- Producers and production companies with a finished or near-finished film or series that needs a platform-ready package
- Destination and tourism commissioners whose films should live beyond a campaign microsite
- Brands funding branded entertainment that must clear real platform QC, not only an internal review
- International partners looking for a Middle East-based company that already delivers to streamers
- Internal BSS productions moving from our production and series production teams into platform windows
What we deliver for streaming titles
- A realistic read on whether the title is ready for the platforms it wants
- Delivery packages built to platform specifications rather than a generic export
- Metadata, captions, artwork, stills and synopses organised for ingest
- Versioning for language, timing and editorial standards a platform will actually check
- Coordination across the 123-country reach of our slate where the title fits
- Clear reporting on conversations and closed windows, without inflated claims
Why streaming prep belongs next to production
Many distributors never sat in the edit. Many producers never sat through a platform delivery checklist. We do both. Because the same company produces adventure television, documentaries and AI-assisted titles, we design masters with later windows in mind — safe areas, loudness, captions, episode structures and rights notes — instead of discovering problems after a rejection email.
That is why this page links to the case studies for Guy in Dubai, Guy in the Sky and the feature documentary 39 Days to Paradise, and to documentary production for long-form work. The editorial decisions that make a series bingeable or a documentary durable are the same decisions that make a streaming package coherent.
How a streaming distribution engagement typically runs
- Title review. Cut, rights, music, talent releases and any existing window history.
- Window plan. Which platform conversations are realistic for this genre, length and rights picture — and which are not.
- Delivery prep. Masters, proxies, captions, artwork and metadata brought to spec.
- Outreach and placement. Conversations with buyers who are a fit for the title, not a spray of unsolicited files.
- Reporting. Status on active conversations and closed windows.
- Version support. Additional cuts when a buyer needs a different length or language.
What we will and will not promise
We will not invent streamer logos. Amazon Prime, Apple TV and OSN are verified; we do not add names to look more impressive. We will not guarantee that an unplaced title will be acquired, given a homepage feature, or released on a particular date. We will tell you if a cut, a music cue or a rights gap needs work before it is worth pitching. That honesty protects relationships with platforms that have already carried work from our slate.
We also will not blur this service into something it is not. If a title still needs finishing, it should go through post first. If the real need is linear television or airline entertainment libraries, the broadcast distribution page is the better starting point. If the need is production rather than placement, start with production.
Pairing streaming placement with production and fixing
Producers filming in the UAE can combine film fixing, production and distribution under one CMA-registered partner. Eligible UAE shoots may access a rebate of up to 35% of UAE spend when they qualify. For titles that still need finishing, our post team handles edit, sound, colour and deliverables before any platform conversation begins. Paris Norriss remains accountable across that chain as CEO and Executive Producer — which is unusual in a market where those functions are often split across three vendors.
Materials to assemble before a streaming review
A useful title package is concise: logline, synopsis, genre, episode count, running times, original language and a viewing link. State whether the programme is complete and identify any outstanding finishing work. Include an accurate account of previous releases rather than describing every territory as available by default. Existing licences, exclusivity periods and online availability all affect which conversations are appropriate.
Prepare a rights grid that distinguishes territory, platform, language and licence period. A music track cleared for a festival screening may not be cleared for streaming. Archive and contributor permissions may also contain restrictions. Flag uncertain rights for review instead of treating missing paperwork as permission. This allows the title's options to be discussed against what can actually be licensed.
Delivery materials should follow a prospective platform's specification, not a universal checklist assumed to fit every outlet. Ask which masters, captions, artwork, metadata and supporting records are required, and who will cover any additional versioning. Keep a record of decisions and version numbers so a corrected file does not get confused with an earlier master. Preparation improves the quality of a distribution conversation. It does not guarantee acquisition, a release date or a particular audience result.
See also our distribution hub for the wider offer, and broadcast distribution when television and airline windows belong in the same plan.
FAQ
How is this different from the distribution hub and the broadcast distribution page?
The hub covers our full distribution offer. Broadcast distribution covers television, streaming and airline windows together. This page focuses on streaming platform placement and the delivery packages platforms expect.
Which streaming platforms have carried your content?
Verified names include Amazon Prime, Apple TV and OSN. We do not list other platforms unless a placement is verified.
Do you distribute only your own productions?
No. We review finished or near-finished titles from other producers as well as work from our own slate, including Guy in Dubai, Guy in the Sky and the feature documentary 39 Days to Paradise.
Can you guarantee a title will be picked up by a streamer?
No. Distribution is a placement service. We prepare materials, advise on readiness and open conversations where the title is a fit. We do not guarantee acquisition or a release date.
In how many countries have your shows been distributed?
Our shows have been distributed in 123 countries. That figure describes the reach of our slate, not a promise attached to every new title.
What should we send for an initial review?
A viewing link, logline, synopsis, running times, episode count if relevant, original language, and a clear note on rights and any previous releases.