Film Investment Trust (FIT) by Darren Sumner in 2019. FIT™ is a trademarked investment strategy vehicle.

1. FILM INVESTMENT
TEAM
LOS ANGELES, USA LONDON, UK
FIT™ ©2019
FIT™
Development Funding &
Investment Model
Film / TV & Studio
properties
Strategic Partnerships
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2. ABOUT
Film Investment Team or FIT™, is a Corporation
created for the purpose of investing in motion
picture developments, productions and studio
properties globally. In this investment package,
our investors, management and filmmakers
can determine the best options for their
involvement. We offer this model as licensing
for studios and investment partners.
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INDEX
FIT OVERVIEW (3 -5)
REVENUES, (6)
PRODUCTION & ECONOMY
MOTION PICTURE
INDUSTRY & REVENUE (7)
POTENTIAL BUYER &
MANAGEMENT (8 )
OUR ROLE & FUTURE (9)
CONCLUSION (10)
FIT

3. CONFIDENTIAL
PRIVATE PLACEMENT MEMORANDUM
FI
Number of Units Offered Hereby: Price per Unit $100,000 Minimum Aggregate
Subscription of $100,000 - with Maximum Aggregate Subscription of $20,000,000
FILM INVESTMENT TEAM, LLC. (FIT™), is a Corporation created for the purpose of development,
production, and financing of commercial motion pictures.
FIT™ is an offering (“Offering”) for sale to individuals and entities (as “Investors”) a maximum of 50
shares each (hereinafter referred to as the “Units’’) until it matures or we have an IPO. See
“Description of Units and Terms of Offering.” Each Unit, considered as Unit Investment Trust (UIT)
will be offered at a price of One Hundred Thousand ($100,000) Dollars. This offering is subject to
negotiations dependent upon the timing and circumstances of the specific investment
situation. However, the first unit issued at one particular price shall remain the price of the
remaining units thereafter by operation of law and the corporate charter.
The Units are being offered by the corporation on a `best efforts’ basis. All subscription payments
will be deposited into a capital account established by the CEO of the Corporation. All
checks/wires shall be made payable to: FIT Capital Account.
After at least One (1) Unit (the “Minimum Subscription”) are subscribed for, a closing may be held
as soon as practicable thereafter and the funds held in the FIT Capital Account will be released to
the FIT™ Subsequent closings may be held after additional subscriptions are received, up to the
Maximum Subscription and at the same unit price as the first unit sold. Half (0.5%) and quarter
(0.25%) shares are also available.
THIS OFFERING INVOLVES A DEGREE OF RISK.
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4. EXECUTIVE SUMMARY
FI
MISSION STATEMENT
Our mission is to develop and produce a diversified slate of commercially viable, high quality film
& entertainment products with low production costs that will provide short-term return on capital
and long term residual income to our investors.
FIT™ | FILM INVESTMENT TEAM, LLC. is engaged in the financing, development and production of a
slate of motion picture films intended for domestic and foreign theatrical release, as well as other
non-theatrical venues. Theater chains, television outlets, online video distributors, and Video on
Demand require a pipeline of products available to supply their customers (the viewers). As such,
they need to continuously acquire new product to keep that pipeline filled, or go out of business. In
today’s world, with the traditional theaters vying with television, online channels, cable services,
mobile devices, satellite, and video rental & sales, there is a very strong market for such independent
films, as ours.
FIT™ will use the relationships of its principals to maintain a steady flow of material to consider.
F.I.T. constantly receives material and reserves the right to change its slate based on the viability of
these submissions.
FIT™ will be seeking the sum of up to $40 million in financing or investment to complete multiple
projects. The funds received will be collateralized by each of the films produced by us. Of the $40
million, if all is raised simultaneously, $10 million will be set aside as part of a revolving P&A fund
(prints and ads) that will help guarantee that each of FIT’s films will be theatrically distributed. If
only a portion of the funds are raised, between $3-12 million, then FIT™ will produce the first three
(3) films (that meet the requirements). In addition to allocating funds for P&A, FIT™ will also rollover
revenue streams into its future film productions. This is significant as theatrical distribution drives
all other ancillary revenue streams, including home video, pay/cable television, free television,
soundtrack albums and merchandising.
For all projects, FIT™ will seek to reduce risk by maximizing film tax credits and subsidies, foreign
pre-sales, product placement, and taking in financial partners when appropriate.
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5. FEASIBILITY
FI
The major asset of FIT will be its ownership of the films produced and the licensing rights thereof.
FIT™ and its Producers have created (and will create) specific business plans and conduct market
analyses for each feature film production venture. These film specific business plan presentations
will include script synopses, production and marketing strategies, cast and crew attachments and
proposals, comparable film performances, and distribution projections.
Company (FIT™) will utilize the expertise of its advisors, members, and hired production staff, to
maximize the potential performance of each film project. F.I.T. will also strategically purchase assets
that can be used repeatedly on its film productions to keep budgets low, and to add to company’s
overall equity.
(ADD GRAPH / CHART)
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FACTORS
The purchase of the Unit Investments (or UIT modeling)
involves a degree of risk and therefore should not be
purchased by anyone who cannot afford the loss of his or her
investment. Th
Prospective Investors should review and consider the
following risks as well as other information disclosed herein.
FIT™ is an investment entity with minimal operating
revenues and requires the net proceeds of this offering to
meet its commitment to fund portions of film, TV and media
properties for diversity. This fund will be active until fully
reaches maturity or an IPO is established. While the
Producers of each film may have substantial experience in
the industry, the past success is no indication of future
success of a project and vice versa. Furthermore, FIT™ has
not yet concluded the employment agreements with projects,
as this model is Slate-free for purposes of defining the
development and production funding model.

6. ABSENCE OF IMMEDIATE
REVENUES
FI
As revenues from the Films, if any, will not flow
into the FIT™ immediately. will most likely incur
operating losses in the first year of operations.
Each of the shareholders in FIT™ will be entitled
to all revenues due to the company, secondary to
any debt financing payments and less accounting
and operational expenses. However,
no assurance can be made that an Investor
will realize a substantial return on the
investment in year one, due to the risk factors
below.
The success of any distribution activities will
depend on a number of factors over which
company will have little or no control. Even if
all territories, both domestic and foreign, are
sold, there can still be no assurance that the
Films will succeed on an economic level. If the
total production costs exceed the total
worldwide minimum guarantees or minimum
advances, there may not be sufficient funds to
repay to the Investors the amount of their
investment into F.I.T. In addition, there may
be problems which could adversely affect the
FIT™ ultimate performance, including: public
taste, which is unpredictable and susceptible to
change; competition for theaters; competition
with other films and other leisure activities;
advertising costs; uncertainty with respect to
release dates; and the failure of other parties
to fulfill their contractual obligations and
other contingencies. Distribution agreements
generally give a distributor significant
flexibility in determining how a film will be
exhibited. There can be no assurance that a
distributor will not limit the Film’s run, limit the
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RISKS OF FILM PRODUCTION
territories in which the Film is exhibited, or
otherwise fail to actively promote the Film. Any such
action by the distributor could have a material adverse
effect on the economic success of the Film and
revenues received by FIT™. In the event that the Film
is distributed in foreign countries, some or all of the
revenues derived from such distribution may be
subject to currency controls and other restrictions,
which would restrict the available funds. The
production of any motion picture involves a substantial
degree of risk. The costs of producing a film may be
increased by reasons or factors beyond the control or
present knowledge of Company., or the persons
associated with the production of the Films, (such as
delays caused by labor disputes, illness, accidents,
strikes, faulty equipment, death or disability of key
personnel, or bad weather). However, FIT™ will obtain
customary production insurance for the Films and
Completion Bonds which will protect company against
some of these risks.
It is intended that the Films will be sold to foreign and
domes- tic distributors for exhibition in their
respective territories. Consequently, the value of the
Film’s rights as determined by such distributors
would be dependent upon many factors including the
economic conditions in such distributor’s territory.
Economic downturns, changes in the currency
exchange rates and changes in economic forecasts of
any or all of the individual territories may cause a
material adverse effect to FIT™. Even if distribution
agreements are obtained for certain territories,
economic changes in any territory could affect
complete any transaction
WORLDWIDE ECONOMIC
CONDITIONS

7. FILM INDUSTRY
OVERVIEW
FI
The film industry consists of companies in
three main areas:
1.) Production / Development – Inception of a
script and taking it through production.
Sometimes arranging and finding financing,
setting up distribution and editing to a final,
final cut of the movie for release;
2.) Studios/Distribution, middlemen who license
finished films from the production segment,
then cut deals with exhibitors (the third
industry segment), and drive the broad
marketing campaigns needed to spur audience
interest;
3.) Exhibition/Theaters, the physical places
where an audience can see a film (theater
chains, TV channels, DVD sales and rental,
Internet services). Sometimes both the first and
second classes are the same entity (the major
Studios), but typically the Studios employ
external production companies to handle the
complex activity of executing a film production.
SCENARIO:
FIT™ provides the Development Funding for 5-
10 films at $100k each;
RothStock Pictures and MPMG provide network
of Projects;
TRISTAR (SONY) provides the Production
Funding and worldwide distribution.
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While most media outlets that report and cover film
and the entertainment business focus on the U.S.
theatrical release (consider ‘weekend box office’
numbers in publications like the New York Times and
the Wall Street Journal or web-sites like
www.imdb.com or www.boxofficemojo.com), the
commercial life of a film encompasses a
diverse array of mediums, which make up a series of
successive sub-releases:
1. Domestic Theatrical Release
2. Home Video (DVD/Blu-Ray)
3. Television: Pay-Per-View, Premium Cable, Free
Broadcast/Network & Syndicated
4. Streaming Video includes Netflix, Amazon, Google,
YouTube, Yahoo, Hulu and others
5. International Release
6. Ancillary Markets
7. Music Sales, Ring Tones, Mobile Apps
Most films are first released in theaters throughout
the US. Yet, while such revenue is the most widely
reported, domestic theatrical release is by no means
the most lucrative source of a film’s profits.
Commonly,theatrical returns represent only about a
quarter of a studio film’s potential returns and in
recent analysis could even be a source of loss for
independent films. Box office gross is crucially
important, however, as the critical marketing force
that drives subsequent revenue streams.
REVENUE STREAMS

8. MAXIMIZING
POTENTIAL BUYER
FI
From as early as evaluating scripts, deciding
which projects to invest in, to editing the final
cut of the film and cutting the trailer, one must
always be focused on maximizing the number
of potential buyers. The goal is not to exclude
anybody from the potential buyer pool. From a
producer’s standpoint that means avoiding
first look deals (giving a company the first right
of refusal in relation to developing or
producing a particular project) with studios or
sales companies. While there is some security
in a first looks deal because you know you have
a probable buyer for your film, it may not be
the right buyer and you are probably better off
on the open market.
The subject matter is probably the most
limiting criteria and has the potential to
alienate large segments of the population.
Therefore, we try to avoid subject matter that
is too obscure. Generally, we try to stay
focused on main-stream content. Topics that
are too violent, too sexually charged, or too
discriminatory will often alienate large
percentages of your target audience.
There are 32 million total frequent moviegoers
– people who attend a movie once a month or
more. Frequent movie going peaks between the
ages of 18 and 24, with 6.3 million frequent
moviegoers in that age group, 20% of 21 the
total. Both the 12-17 and 25-39 age groups
also represent similar percentages and
numbers of the frequent movie going
population.
Our knowledge of our target audience and
genre appeal, ensure that we maximize the
number of potential buyers on every one of our
projects. For example horror, science fiction,
and action films often sell better than dramas.
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Hot topic or big concept / trend topic documentaries
or documentaries involving key niches or names often
sell more than more obscure or more personal
documentaries. Of course there are always rare
exceptions, but best not to bank on being one of those.
Films appealing to specific large- enough demographics
seem more “valuable” than those that do not seem to
have any specific appeal. Broad comedies can sell but
highly depend on notable cast. If they do not have the
cast, it is almost always the case that they need a big
festival to create the buzz that
gives them the commercial push.
MANAGEMENT TEAM
Mr. Darren Sumner - Creator/Founder, Executive
Producer, CEO of Reinvention Studio & Reinvention
Media, Ltd.; Located in Los Angeles, CA
305-814-6327 or 310-927-6893
darren@reinventure-ltd.com
Mr. Dwight Williams - Director, Compliance Officer
Former SEC Attorney practicing International Law;
Located in Salt Lake City, Utah
dbwilliamslaw@gmail.com
Mr. Moshe Raymond - Director, International VC
Platform broker and SFX artist for James Bond
movies; Located in London, UK
Togzhan Kenessarina - Advisor, Strategic
Partnerships. Former International Lawyer for
Corporate and Venture Capitalists. Located in Los
Angeles, CA.

9. OUR ROLE
FI
FIT™ plans to hold weekly meeting either over
the phone or Skype that include the principals,
(if in town), key staff, partners and investors.
The meeting will serve as an opportunity to
provide an update on each project, and its
status. Each key component will have an
opportunity to give their input on each film
that is considered. Mr. Sumner will lay out the
overall deal structure, the equity investment,
for each investor, the partner investments, and
the soft money component as well as give a
domestic estimate on each project, Sales Co.
will give an estimate of foreign value, excluding
US, Canada and Latin America. This will be an
overall estimate for their territory, then give
an estimate for level of pre-sales before
production. The creative elements of the
projects will be reviewed, discussed, and then
the financing opportunity will be evaluated.
The safety, coverage level, and potential
upside will all be forecast, and a decision on
the opportunity will be made. Any invited
participant in the meeting may present
projects to the group each week, as they deem
appropriate.
Investors who come in at the ground floor of
FIT™ will be part of something much bigger
than just 3-5 movies. These films will only set
the stage for additional projects to create
further down the road after this original
investment has run its course. We intend to
follow these movies with more films with
bigger budgets but that still follow our
structured model. So while the numbers are
bigger, our risk as a percentage will always
remain the same.
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In the future we also hope to have additional output
deals with distributors and FIT™ will arrange such
output deals through our relationships with major
distributors that make sense in key territories to
ensure the sale of each film at each territory is at a
price we need. We would look for partners who will
distribute in major territories like UK, Germany and
France. We can also look for distributors that can take
over multiple countries like Reliance, Fox Searchlight
who will distribute all of Latin America, which is a total
of 19 different countries in South America and the
Caribbean.
Lastly in the future there will also be push into the
television and internet based production for FIT™. We
would hire a dedicated television executive with vast
experience to develop projects from the ground floor
for network, cable and digital broadcast. We would
look to strike an overall deal with a particular studio
and find some key networks to work with. Also, there is
always the possibility of creating exclusive content for
new media companies like Netflix, Hulu and Amazon.
There would also be the opportunity to self-finance
projects with a series guarantee from a network and
also by obtaining similar commitments from networks
all over the world and employ a similar risk mitigation
model as the one that will be used in our films.
FIT's future is more quality films, better projects,
stronger partners and exploitation with other sources
of revenues worldwide.
THE FUTURE

10. CONCLUSION
FI
FIT™ is a diverse group of partners bringing
complimentary skills and relationships to a
unique venture. At FIT™ we will create and
bring the top creative talent, star power, global
reach, financially successful and multiple
potential and production experience. We will
begin with a modest number of movie projects
of a manageable size to provide the basis for
future investment. Investments which will be
protected and guided by experienced
economic and managerial principles from the
inception to development of each project to
their green-lighting, production, delivery and
subsequent collection of revenue. By
assembling this team and the structure we plan
to implement; we have made sure that the risk
is minimal and consistent in the group of films.
We will utilize every financial advantage
possible in the form of work in kind services,
deferrals, rebates and guarantees. So that
while we are protecting the investment we
have still managed to accumulate most of the
upside associated with a potential big winner.
FIT™ is acutely attuned to the changing market
forces both in the independent world and the
entertainment ecosystem at large. This venture
hopes to create films whose profits and
cultural impact will far exceed the financial
investment and talent of everyone involved.
Originally, FIT™ was initially seeking funding
for the development funds and production
financing of a slate of 3-5 films. However, FIT™
with its investors and venture capitalists, we
intend to seek out other methods of creating
revenue, including developing IP, for film and
TV. also intends to continue using its structure,
assuming it’s successful on the first 5 films.
The partners involved in the first slate will
have first opportunity to continue to partner in
FIT™. (continued)
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As the talent, and complementary skill sets of the
principals of FIT™ combine to gain great access to
economically viable projects, early investors will also
benefit from the growth and the growing network of
the new company. As the model is proven, it is likely
that more talent, and more investors will come
forward. With additional talent and money, the FIT™
approach can work on a project by project basis with
talent, making them real back end partners, while still
cross collateralizing the production financing risk
across a growing slate of projects. Additionally, as
sequels, prequels and spin-offs of the successful FIT™
films become clear, these are additional opportunities
to cash in on the success of a brand that’s been created.
FIT™ brings together principals, Mr. Darren Sumner
and Mr. Dwight Williams and Mr. Moshe Raymond, in a
unique positioning of FIT with skills and expertise.
FIT™ will be an artist friendly place for creative and
talents to make films as real back end participants. In
return, will keep the costs of production down, making
the lead talent partners instead of paying them huge
payoffs on the budget. This model allows FIT™ to make
films with only less than 27% of the budget as any type
of equity, and only 25% in cash equity. This structure
mitigates production risk, creates high values for
potential upside compared to potential risk. By getting
no less than 75% of the gross budget between soft
money, brand integration and bank financing, the
equity in only 25% of the budget. The domestic rights
are unencumbered, and there is significant value of
estimates, beyond the gap loan. Ultimately, FIT™ is
about providing great access to material and talent,
making movies for the right price to be advantageous
and safe for the investor, while providing upside for the
talent, so that everyone gets greater returns on their
investments and their passionate love amongst talents
and labor.