Crowdfunding, Producing, Social

Crowdfunding WITH Updates – Essential Yet Overlooked

11 Jul , 2015  

I seem to be on a crowdfunding mission recently based on my last few blog posts. There’ll be more variety I promise, but I’ve been hit with a lot of requests recently to contribute to crowdfunding campaigns for films. I love the crowdfunding concept, and I want to help as many filmmakers & producers out there run campaigns that really connect and resonate with people, and there so many simple opportunities to connect that I think are just being missed.

 

Updates On Your Projects

Where are they?! I think I can assume that you know that once you’ve completed your crowdfunding campaign (successful or not), you keep those contributors or those who have shown an interest in your project by giving them updates on the production and how things are coming along (I can assume that can’t I?). But what about during your campaign?! Are you missing an key opportunity to solidify the commitment from your audience?

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Crowdfunding, Filmmaking, Producing, Social

Crowdfunding Campaign Tips – Facebook ‘Friend’ Your Funders

5 Jul , 2015  

I came across a page for a short film currently crowdfunding their production funds today. A nicely thought out pitch video, easy to understand background about the project (even if you didn’t have a film background), and spoke directly to their audience. I had a look at their Facebook page, and at 200 likes, they were doing ok. A short film is not going to get tens of thousands of likes unless you have a seriously popular project, so I feel that they are tracking well.
The team were taking the step of publicly thanking their contributors with a post on their Facebook Page. What an awesome thing to do! To be appreciative of people taking an interest in your project, and actually thanking them in a public forum is something that I think is a lovely thing to do. Here’s where I think they could go one better, and grow the reach of their page and project more easily and organically:

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Producing, Social

#What’sYourHashtag? – Part 2

28 Jun , 2015  

In Part 1 I spoke about going through the difficult art of choosing the hashtag that is going to define your project (be it a film or event) and will be plastered all over social media. Now that you’ve put some thought into it and got the best hashtag in the world for your project, what do you do with it?

Probably not surprisingly, you now need to start using your hashtag. A lot. But there’s a difference in spamming people’s feeds and strategically placing content that draws people into the meaning of the hashtag itself.

via disneyparks.com

via disneyparks.com

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Filmmaking, Producing

You’ve Made A Film – Now Give Us More!

31 May , 2015  

Hello Film Dudes & Dudettes!

In a previous blog post I wrote that I was turning a short film project into a much bigger ‘universe’, with multiple characters and plot lines, told across multiple films and episodes. I think that if you are looking to become a filmmaker that can tell and sustain stories over a longer period, this is a great approach to hone your skills versus jumping into a feature outright (all though there are advantages to that too!)

It is also a great opportunity to present your audience with ‘more’. With releasing content online, you are competing against just about everyone else releasing content online. This means that to stand out you have to do just more than release that one short film after its festival run. Today’s post is looking at a specific example which I believe does very well at doing that.
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Producing, Short Film

A journey of my own journey from madness

28 Dec , 2011  

The last few weeks, maybe even last couple of months have been a crazy fast blur fest. It started with a simple notion, to begin to create bigger and better productions with a small budget. To help me produce narrative films with a budget, I ran a fundraising campaign via crowd funding website Pozible, which helps people raise much needed cash flow for a plethora of creative projects from feature films to filmmaking tools, to music EPs, comedy tours and much more.

I wanted to make a couple of posts outlining the story and my experiences so far, from the perspective of both Producer and Writer/Director of this short film, so that those of you who are interested, can maybe get a little bit of insight into what it’s like trying to make independent, very low budget (with high production value) narrative films.

Pozible is a great way to make your project/idea become a reality

Experience wearing the ‘Producer’ Hat

When wearing many hats in producing one’s own content, probably the first thing that you must allow for is the amount of time it may take for even one task to be completed. A perfect example is my crowd funding campaign for what began life as ‘My Roommate Is A Serial Killer’. I picked Pozible as our avenue for fundraising, as it is specifically for Australia based creators, and has a few nice tools in helping create a page for the project. My experience with Pozible was very positive. It was simple and easy to set up, and you basically ‘pitch’ the project to Pozible’s team and receive an invitation to start fund raising. I like this idea as it gives me, as Pozible’s customer, a sense of exclusivity. I even received a personalised message from the creator of Pozible and giving me his own take on my intro video and what he has seen work best when raising money.

And so, my first fundraising campaign began! I had a goal to raise $600. I came to this amount by knowing that I wished to create a 10 minute film (my longest to date), and wanted keep the message simple of what exactly people would be contributing to. So, I had the theme of $1 to create 1 second of my film. Donations could be any amount from $1 to $100. I created a intro video, to give people a sense & style of how the finished piece would look. Here it is below:

Was the campaign successful? Yes and No. We raised our $600, (btw, this was not the total amount I thought we would need, to make a realistic short film I estimated the budget to be approx $2000), but I felt that if I had planned for more time which as I mentioned above is reduced drastically when you also perform other roles in a production, I would have been able to maintain and gather hype/interest in the story itself. Lesson learned for next time!

Once the funding was raised, I took a long break as Producer as I had to switch to Writer to flesh out the story. Another lesson learned…whilst I had the premise and outline of the story, had I of been able to move ahead with a full script in tact, I may have been able to market the fundraising more toward getting other creatives/talent onboard, such as actors. It would have been great to get online auditions, video blogs and the like.

Anyhow, once the script was effectively written (it has changed form drastically from it’s original concept, and now called ‘Journey From Madness’), I moved ahead once again to tackle the next logistical issues. Locations. I wanted to secure locations that added production value (read interesting), to avoid something I feel that many short films (especially mine) fall into, and that is poor locations. You can have as dynamic and emotional scene that anyone has ever read, but an audience will get lost in that scene just that little bit extra if a location is chosen well. A piece on someone contemplating suicide is much more dramatic if filmed atop a cliff rather than against a plain bedroom wall.

The story was written to be set on a train journey, so naturally I wished to go down a few avenues to see if it was possible to film on one, but I also wanted to play it safe and pursued filming aboard another icon of public transport…the bus. Now, many low budget/gorilla shoots will forgo location permits, as there is just not the funds available, and I have shot many a scene with nay a permit secured. I’ve never hit a barrier personally, but this time I wanted all cast & crew to feel safe and secure, especially on board a potentially busy and crowded train/bus. The less stress we felt on the day, the better the shoot would go.

RailCorp were my first port of call, as they operate both train platforms and commuter trains in NSW. The process was actually very straightforward, and I was quickly put in contact with the special events team in RailCorp who were incredible in helping accommodate my needs and exceeded all expectations. My hats off to them. Once the location was secure, I made sure I put in place relevant insurances, booked out our production gear, and we were ready to go!

Our locations were simple. We film on board a train from Newcastle to Central, and then back again, and complete filming in Newcastle Train Station under the helpful eye of RailCorp OSM (Safety Manager) Bryn. Thanks again for your help Bryn. All went smoothly…well nearly. A couple of delays in the morning meant we didn’t start filming until approx 1030, and we were forced to alight at Hornsby rather than Central due to overcrowding, but things will always go wrong on the day, it’s how you adapt and problem solve as you go which will determine whether you overcome those barriers.

I now am waiting to put my producer hat back on for post-production, as soon as the rough cut is done (by myself). We have some great footage, and I will run through thoughts on the story and experiences in relation to directing on the day when I can soon. For now, I hope you enjoy a few pics I managed to have taken for us.

Cheers

Nick

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