UCM.ONE

The team of UCM.ONE with offices in Berlin, Hamburg, Mannheim and London stands for the successful combination of physical and digital sales of media ... morecontent of all kinds. At the end of 2017, UCM.ONE GmbH acquired a large number of brands, master rights and film rights from daredo media GmbH (from Mannheim), so today more than 17,500 music titles and 400 motion pictures are in the UCM.ONE catalog. In addition, UCM.ONE markets more than 25,000 image rights.
The team at UCM.ONE focused on the digital marketing of music from the beginning and was able to gather so much know-how, which is now also being used in the film marketing. The focus is on the worldwide “intermedial marketing”, the coordinated and interlinked marketing of films (festival, cinema, TV placement, non-commercial channels, Blu-Ray, DVD and VoD) or music (live, radio, CD, vinyl, mp3 and streaming). UCM.ONE also offers concepts and “Special Marketing” products together with third parties and operates its own theatrical distribution.
The abbreviation UCM.ONE stands for “United Content Management.ONE” and is also the web address of the company.
UCM.ONE runs established music labels like Plastic City, Mole Listening Pearls, Noble Demon, UCA Records, Eastchild Records, Noom Records or Harthouse and released tracks and songs from hundreds of artists from the likes of Terry Lee Brown Junior, Kool & The Gang, The Timewriter, Alphawezen, Hardfloor, Naomi or Boris Brejcha. Besides variable marketing and promotion strategies for different bands and artists, each label works on its own under the administration umbrella of UCM.ONE. Several A&Rs and Product Managers are responsible for the bands and artists with their releases on the fitting labels, depending on the style of the music.
In the movie department, UCM.ONE operates successful film labels such as Darling Berlin, M-Square Picture, Artkeim², B-Spree Pictures, U1 Films Berlin, Zeitlose Filmkunst and NONFY Documentaries and prosecute an own theatrical distribution incl. booking and billing to the German cinemas. Starting with the release concept of a movie, including detailed marketing plans via budgeting and coordinating all promotion activities up to checking all possibilities of distribution funding and organizing the delivery process to cinemas, the whole process of releasing a film lies in one hand, and thus guarantees perfectly coordinated timing and the best possible marketing within the many exploitation possibilities that the movie business offers. The main difference between this concept of “intermedial marketing” and the currently applied approaches to commercial exploitation of media is not only the closer linkage between the different marketing possibilities – it rather starts at the very beginning with a special approach to the movie itself, and it ends after a development process with individual strategies, which have no restrictions by predetermined priorities in marketing whatsoever. less