| Point of reference | What they actually pay | How it converts | Why it matters to you |
|---|
| European shorts festivals (general) – Interfilm Berlin pays a flat €50 for each short in its non-competitive programmes (max 3 plays) | €50 ≈ 1 250 CZK | Hard floor most EU programmers recognise for shorts. citeturn11search3 | |
| Peer experience – filmmakers on r/FilmFestivals report €50–€100 typical screening fees for shorts in Europe | €50–100 ≈ 1 250–2 500 CZK | Gives a community-validated range (not fulldome-specific). citeturn8search0 | |
| Ethical-pay guidelines – W.A.G.E. minimum for a short-film screening is US $100 ≈ €92 | €92 ≈ 2 300 CZK | Widely cited benchmark for artist-centred negotiations. citeturn10search0 | |
| Fulldome licensing economics – typical 10-year licence averages US $5 000, assumed 500 plays ⇒ ≈ $10/€9 per play | €9/play ≈ 225 CZK | Shows that domes already budget more per play than flat-screen cinemas. citeturn0search2 | |
| Czech copyright tariff (OSA) for festivals without admission: 0.35 CZK per spectator | 200-seat dome = ≤ 70 CZK per show | Confirms that the festival’s mandatory royalties are tiny compared to any fair artist fee. citeturn1search2 | |
| Current exchange rate | 1 € ≈ 24.9 CZK (May 2025) | — | Use this to translate your ask. citeturn18search1 |
| Festival size / ticket policy | 1-off screening | Each extra screening (if any) | Flat “festival-pass” licence (unlimited plays during the event) |
|---|
| Small-to-mid dome festival (e.g. Fulldome Brno, <250 seats, modest ticket price or free entry) | €100–150 (≈ 2 500–3 800 CZK) | + €50–70 | €200–250 |
| Ticketed cultural festival / planetarium event (audience pays ≥ 150 CZK per seat) | €150–250 (≈ 3 800–6 300 CZK) | + €70–100 | €300–400 |
| Prestige / well-funded international festival (Cannes of domes, capacity > 300, sponsors) | €250–400+ (≈ 6 300–10 000 CZK) | + €100–150 | €500–600 |
How we arrived here:
- We start at the €92 ethical minimum and €50 real-world floor, then bump it 1.5–3× because fulldome content is niche, technically demanding and generally commands higher per-play rates than flat-screen shorts.
- The upper band still sits far below commercial licence packages (thousands of euros) but recognises that festivals buy only temporary, non-exclusive rights.
- Number of plays in the contract – specify whether the fee covers one screening, a set number (e.g. 3), or unlimited festival runs.
- Public Q&A / live appearance – treat this as paid labour. Add €50–100 honorarium plus travel & accommodation.
- Technical deliverables – if they need a special encode or re-warp, ask them to cover the post-production cost or provide specs early.
- VAT / withholding – Czech festivals usually quote fees net of VAT. If you invoice as an EU business, add 21 % Czech VAT or apply the reverse-charge rule.
- Payment schedule – half on contract, half on the day of screening is common; never rely on prize money as your fee.
- Credit & marketing – insist your name/title appears in the printed & online programme, and ask for high-res photos of the dome during the show for your portfolio.
“For a non-exclusive licence to screen [Film Title] (7′ fulldome, 4K) once during the festival, my standard artist fee is €150 + VAT.
This covers one public screening and use of stills for marketing. Additional plays are €70 each, or we can agree €250 for unlimited festival screenings.
The fee is separate from any travel costs should you wish me to attend for a Q&A.”
(Substitute numbers from the table that match their scale.)
- Don’t drop below €100 unless you have a compelling strategic reason (première, jury, networking).
- €150–250 is neither greedy nor naïve for a Czech fulldome festival in 2025; it mirrors what peers accept and what ethical-pay frameworks recommend.
- Be ready with a sliding-scale offer so smaller festivals can still book your work without you under-valuing it.
Good luck, and enjoy seeing your film on the dome!