Thanks for sharing this! Honestly, not enough is said about the mindset needed for a successful crowdfunding campaign, and I won't spend any time saying it again, 'cause what you said, that's it! (And I'm sure it was a lot of work, but in the end, it paid off.)

John T. Trigonis exactly! And working hard is always worth it if its on something you are passionate about.

Glad to hear it!

igg.me/at/pOt-GJhKNW0/x/10904572 Can you help us?

Dude, I love you and miss you (in the digital bromance way guys...one way mostly...content creator vs viewer sort of thing). Are you song You Tube or elsewhere now??

I could search. Just wanted to demo a “conversation”

My pleasure, Richie. Thanks for giving this video a watch, and all the best with any campaigns you launch, my friend.

Many thanks for the kind words and the follow!

Many thanks for the support! Hope you enjoy the read.

Thanks, David!

Hey Natalie -- thanks for commenting. Hmm. Then my advice would be to make sure you follow my other bit of advice and set a goal that is a modest one so that you might be able to hit it by way of the generosity of others. As long as you're building up your audience for your film first, you should be able to raise some money to get your film made or at least partially funded. All the best to you!

You got it, Eliot! Feel free to tweet me the link and I'll see if I can check it out.

Thanks, what is your tweet name?

@Trigonis :-)

Thanks

Tweeted!

Thanks for watching my video! The solution is simple, but not: start building out your audience in a meaningful way via social media (personal FB page, Twitter, and Instagram), sharing some of the test footage you're shooting so that you can foster some engagements with them. Start by ingraining yourself in the indie film community, and work your way outward. (I mention some of this in this video, but I go deep on the "how to" aspect in my book, so I'd recommend picking up a copy and starting there. Hope that helps! 😎👍

Haha! I hope that's a good thing, my friend!

@@TrigsTimeVault its simple. I clicked on the video, 3 minutes in i went on amazon and bought the book. Im going to launch my campaign in a few month and i didnt have any ideas about which direction i should follow. Thank you

@@Meduse-jx5vx Dude, that's amazing!! Thank you so much -- so glad my book's helping out! Let me know when that campaign launches.

It depends on the distributor, actually. Most of them are starting to grasp the fact that crowdfunding is a part of financing a film in today's age. The smartest thing to do is if you're in talks with a distributor already, let them know you plan to offer a few digital copies (and maybe physical copies, too) of the film. Other than that, though, we live in a world where access is everything, and early access is the incentive to turn viewers into participants.

Hmm... I think that's a Film Courage question, brother.

Hi Michael, we have added timecodes in the information section of the video. Hope that helps, thanks for watching.

Maybe think digitally? Photos, audio, video, and written. Poems, blogs, vlogs, drawings, comics, e-cards, podcasts, live streams, behind the scenes, etc.

Hey Brad -- thanks for the comment here! I'm a huge believer in the multistage approach, since 90% of crowdfunding filmmakers aren't able to raise much more than $25K these days in a single campaign. But even with the multistage approach, there's a Right and a not-so-Right way to do it. Most backers won't "pay" a filmmaker to write a script or develop a film or series, but preproduction, so long as you can keep backers engaged throughout the process, is possible. That's why the most successful campaigns are for production and post, with marketing for film festivals trailing behind those a bit. Now, the thing about Patreon (and they will say otherwise, because it's their company and they need business, of course) is that it only really works well for individuals who have a pre-established audience, hence why it's really for podcasters, KZfaqrs (like, legit KZfaqrs who create weekly content and not so much folks who simply put their movies and stuff on KZfaq), and some, but not all, creators of web series. Again, the strength of a Patreon is directly correlated to the size of one's network, more so than any other type of crowdfunding. I think you're best bet would be to finish development on your own (and on your own dime), all the while building up your network with engaging content, then launch a modest first campaign for either preproduction (between $5,000 and $10,000 tops, depending on the level of engagement you have with your network near the time of launch) or production (between $5,000 and $20,000), all the while feeding your crowd more content and updates as you're making it. Then, for further crowdfunding, I'd recommend looking into Indiegogo's InDemand program, which would enable you to passively raise more funds as you need it. I hope that helps, Brad! And just an FYI: I"m doing a special right now where if a filmmaker buys a copy of my book directly from me (for $25 shipped in the U.S.), I'm giving them a complimentary 30-minute phone consultation (a $130 value). It's only for the remainder of this week, so if you're interested, hit me up on Twitter for details or to purchase a copy from me. All the best, my friend!

John T. Trigonis wow. Thanks for such a detailed reply!! I really appreciate it. I’m in Australia so that rules out the offer, but cheers anyway man

@@bradhouston4734 Ahhh! Yeah, I hear you. You'd literally pay more for shipping than the book itself! LOL! Well, if you're in the market for a consultant when you're closer to launch, feel free to hit me up & we'll talk. All the best, my friend!

Right now, we are afraid we won't be able to finance our 500€ medieval short. It's always a huge party of worries.

IMHO #crowdfunding is still viable, just more competitive. Plus so many indie artists have donated to other's campaigns and there is only so much $$$ many of us can spend. But if done right, absolutely crowdfunding is a great way to raise money. It's just a full-time job if you decide to launch the campaign. It's a lot of work plus you have to fulfill perks like you mention (which is work after the campaign is finished). But there are still so many super creative projects doing very well on all of the crowdfunding platforms.

@@filmcourage I appreciate your response and video. Gave me some ideas!

@@interstat2222 I couldn't agree more with Film Courage here. Crowdfunding has become the "go-to" method of raising funds, but what filmmakers fail to realize before they launch is that crowdfunding is hard work, hence the reason there are so few memorable film campaigns now. They all expect money to just come in. (Obviously those folks haven't watched this video or read my book!) But if we're willing to put in the work, get creative, and engage with our audiences in meaningful ways daily, then crowdfunding is still a viable option in 2019 and beyond.

Also less than a minute later when he says "3-dimensional perks". Am I going to survive this video? Good information though, so I'm going to press on.

Hehe! Well, gotta keep these kids entertained these days and not just informed (I'm a former professor, so I know the importance of doing both today.) But sorry 'bout the near coronary, Brian -- I blame my editor for that one LOL!

Hey, it was all worth it in the end. However, I'm about to watch your TEDx talk and I guarantee I will be on edge the entire time.

Ha! No need to fear -- I had to write and rehearse the TEDx talk, so there's no bleeps there!

Thanks, Cap! I'll let my DP know LOL!

CaptainSpork7 otþtt0tt is ff

I never actually watched that "Cracked" video, so I'll give it a watch and let you know my thoughts. I do think crowdfunding (not necessarily Kickstarter itself) is the future of filmmaking, but not for funding a movie in full -- that's still a ways down the line. Thanks for watching my video, though, and for the good words!

I don't usually watch them either, but I was involved with Harbinger Down's Kickstarter. The video's title is a bit misleading and the video is sensationalized, but it does drive home the reality. I'll be interested to know your thoughts. Harbinger Down is on Netflix now and believe the job of bringing it to public awareness is not done, even after the film is made. That holds true for all films. Veronica Mars came and went without being noticed by most of the public. An indie filmmaker's job is never done.

Because everyone's looking for the easy way out of good old-fashioned hard-but-smart work, my friend. They want the crowdfunding hack, but they're isn't any hack for crowdfunding. Do the work and don't make these six mistakes, and we'll all earn some funding to make our films reel.

South Africa is a bit of a creativity vacuum.

Will have to pay that 30% myself hahaha cos nobody I know will give me any moola

Now more than ever, fans want access to the process. If filmmakers won't be willing to share in that process, even as intimately as writing lines, then those filmmakers will undoubtedly fall behind the times.

We can share a lot of things but writing and acting, more than a background part, can't be shared. Beside, what writer would be open to a few lines from some guy who gave $500? Assuming it's not some token line that is due to be edited out, which would be dishonest. Writers, myself included, take a very long time to get a script to a place where it's ready to go into production and now some guy wants to write a few lines? This just isn't workable for a movie with serious festival or distribution goals. IMHO.

I totally get you. For me, the idea that those things "can't be shared" is a bit old school to me, especially considering that the Share Economy that we live in is evolving, not diminishing. Acting I would agree with 100% -- you wouldn't offer your starring role to someone who "paid to play" -- but then again, it would certainly make headlines and get more attention to the campaign (at least the first one that does this well.) As for writing (and I'm a writer myself, first and foremost), I'd totally have someone write some lines, which guidance, of course, which would be carefully expressed in that particular incentive level. At the end of the day, it's all about how comfortable we are offering things (I mean, some folks are still against offering AP and EP credits), and how much we want the funding, and more importantly, how much we want to engage with our audiences.

@@FiniteBoy Agree. You won't let somebody fly a plane if they're not a pilot

It was just a hypothetical my guy

I don't see why. What makes you ask this?