Fundraising Through CrowdSourcing & CrowdFunding

Crowdsourcing (also known as crowdfunding) is a relatively new term made popular by new media sites that draw on the collective and voluntary knowledge, expertise or support of their visitors or users.  If you look up the term “crowdsourcing” via Google’s define function, only 4 definitions appear (“crowdfuning” only has one).  Yet, crowdsourcing is increasingly gaining in popularity as a way to raise funds for documentary and series productions. 

I have not used crowdsoursing myself but have been invited to donate through crowdsourcing sites such as Kickstarter.com , IndieGoGo.com and RocketHub.com.  These sites allow producers to present their ideas and projects then set a monetary fundraising goal (such as $5,000 in completion funds for a documentary) and a time frame.  If the target goal is not reached on some sites, the project does not receive the funds.  Other sites give the project owner whatever funds are collected.  Most sites charge a fee. 

Visitors to the project fundraising site are able to donate however much they like and are often offered thank you gifts for certain donated amounts.  For example, one project I saw offered the documentary soundtrack to anyone who donated at the $100 level.

I recently that the chance to ask some of my colleagues in the independent production business about their experiences raising money on crowdsourcing sites. 

• Anne Mathide Cobern exceeded her $5000 kickstarter goal for her thesis film “Pretty All the Time.” Her film was winner of DC Shorts 2009 Script DC and a semi-finalist for the Carole Fielding award through the University Film and Video Association.
• Mary Ratcliff is a writer and director who used crowdsourced for her film “Catching Up.”  You can find out more about Mary on her website.
• Ishu Krishna’s company is Citra Productions.  She is currently crowdsourcing her film “Arrange to Settle.”  Check out her kickstarter page here. 
• Emmett Williams is an independent producer is using crowdsourcing to raise funds for a short documentary about people living with Multiple Sclerosis called “If You Can Dream.” Check out his IndieGoGo site here for more about the his documentary.  Or visit his website.

 

Why did you choose to raise funds through a crowdsourcing site rather than ask family and friends?

Anne Mathilde Coburn: For me, it’s a mix. In many ways, I probably could have gotten cash straight up from family, which has accounted for a good bit of the total, but I like the artificial deadline of Kickstarter–it creates deadline pressure on the part of the donor and the person with the project, which (at least with me, my family and friends) is a real concern in an open-ended fundraising scenario. I would suggest making arrangements with large potential donors to hang back until the last minute in case you have difficulties reaching the end goal. Also, craft a personal letter to everyone you know that hopefully creates an emotional tie between you and your potential donors. The good thing about social media/Kickstarter/crowdsourcing et al, is that if your contacts are in wildly different cities (for me, they’re in New York, DC, and Cleveland), people like to come to a place where they can follow the progress of the film. A blog with a link to the Kickstarter page; the Kickstarter page itself; Twitter updates– all of these things take time, but create a deeper connection between you and your donors/friends.

I’m actually using Kickstarter right now for my thesis film, which is a short narrative piece. I’m trying to raise $5,000. We’re currently at $4,265 with 21 days to go. I should also mention, though, that I have been saving for my thesis film (for 8 months), and have gotten a couple of grants from my university in order to make this film as well.

How involved is the process?

Mary Ratliff: I raised $500 through Kickstarter and I fully believe I would have raised over $400 of that through direct donations without the campaign. If you want to get substantial results through Kickstarter you need to make fundraising almost a full time job with promotions and getting your link out there. Getting your project featured (on their site) is one of the best ways to actually get funding from strangers, which requires a lot links back and forth from your page to and from other websites, people tweeting, etc.  You have to work really hard to build your own press because they don’t do any of that for you unless you are already really popular and successful.  Also, I’ve been told repeatedly that projects with videos have much, much higher success rates.

Are there any fees involved?

Mary Ratliff: You have to account for the fees that you have to pay to both the crowdsourcing website and their payment processing system (IndieGoGo and Paypal, Kickstarter and Amazon).  Depending on the size of the donation, they can run over 10%, but that’s the average.

What are some benefits to fundraising through crowdsourcing sites?

Ishu Krishna: I put up a paypal link for my previous project, and asked people to donate.  I got some donations but not a lot.  With Kickstarter, it gives me a kick in the butt to be more aggressive with fundraising, and it puts the urgency behind it. I have also had two people contact me through kickstarter to invest large amounts, and not just donate through kickstarter.  I am currently in talks with them, and not sure if it will pan out.  But it’s two people I am talking to that I didn’t know before.

What types of thank you gifts are you offering?

Emmett Williams:

• For $1: You will be added to the IF YOU CAN DREAM email list to receive updates on the progress of the film throughout production.
• For $25: The above plus a DVD of the broadcast television version of the documentary and a Thank You in the film credits.
• For $100: The above plus the official “IF YOU CAN DREAM” t-shirt.
• For $250: The above plus the extended Directors Cut of the documentary available to film festivals.
• For $500: The above plus a Producers credit in the film.
• For $1000: The above plus you will play a role in the development of the film through special online screenings where your opinion of the Work In Progress will be sought.

 

For more information about crowdsource financing check out this blog post  from FilmContact.com.  It talks about some interesting crowdsourcing distribution concepts.

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Documenary & Series Proposal Check List

PROPOSAL/TREATMENT CHECK LIST

This is the basic format I use for writing a documentary or series proposal. I change it, add to it and rearrange it as needed. Please note that most places where you will submit your proposal, especially for grant funding (check out the Grants and Funding category), will ask for specific information.

• Title – think long and hard about your title. It should be short, sweet and to the point.
• Project description – what makes this idea special?
• Overview of story – step by step, how will the documentary or series unfold?  Include sample segments and/or episodes.
• Story-telling style – how will you convey the story (interviews, still photos, graphics and charts, music). Help the reader SEE your idea.
• Need or importance of project – why should this story or series be made?
• Target Audience – who are they and why will they watch?
• Project timeline – a brief calendar outlining the workflow from development to delivery.
• Distribution plan (including Website and New Media) – how and where will viewers be able to see your documentary or series?
• Budget with fundraising plan including any funds already raised (read the Sample Budget blog to see how a budget is laid out).
• Personnel bios or resumes
  • Key production staff involved
  • Key interviewees
  • Consultants

Note: Any pictures that can be inserted into the proposal or video that can be sent with the proposal always helps.

• Trailer or funding reel if you have it.  It should be polished.

B-roll Basics

Where would we be without B-roll – that supporting footage that helps visually demonstrates the theme or thought of a piece and bridges interview bites, ideas and cuts?  If you’ve watched the news, you’ve seen B-roll.  Here is a funny video called “We Got That B-Roll” that makes fun of B-roll that is often over used in commercials: http://www.youtube.com/watch?v=SItFvB0Upb8&feature=player_embedded.

In most non-fiction productions, good B-roll is crucial to building a visually exciting and meaningful video.  I have been in the unfortunate position of getting into the edit suite and not have enough B-roll footage to cover the cuts. Or, not having enough to cover long, visually uninteresting interviews.  I’ve long since learned that whatever B-roll you think you may need, get it and then some. 

Before any shoot, I like to think about B-roll possibilities and list them out on the taping itinerary.  Locations scout helps tremendously. But even when a scout is not possible, a nice B-roll options list can be created from talking to the interview subjects and other people at the location.  I like to list out B-roll possibilities that directly speak to the subject at hand and then list out general shots that will work with the overall theme.  For example, if I am taping an interview about creating a family budget, I’ll specifically get a member of the family working on a spread or paying bills.  General B-roll might include family interaction like cooking together or walking the dog.  Now I have both specific and general shots that will cover whatever is mentioned in the script.  For a short 5-minute piece, I’ll get a minimum of 3 topic-specific and 3 generic activities.

As a producer, it is my job to communicate my B-roll wants and needs to the camera operator.  Freelance cameraman Matt Martin (www.mattmartin.tv) likes producers to give him as much information as possible about the projects as well as share any specific ideas prior to shooting.  That way, he can use the shoot time shooting rather than standing around trying to figure things out.  He likes to know the type of project, the length, the style and even the audience.  “If the piece is for a younger audience, I may use a lot of snap zooms and whip pans.  If it is long form, I may hold the shots longer.”  Matt likes to create a visual sequence by starting with an establishing shot, moving in to follow the action and then getting tight, detailed shots.  He also likes to know how much time will be covered by the B-roll.  “Needing 30 seconds of B-roll is very different from needing 3 minutes.”

Martin adds “A 30-second edit or b-roll cover time may need as many as ten shots to fill the time and tell the story. As a Director of Photography you can capture footage at 7-second intervals and have your producer covered if you have at least twelve clips in the camera. I try to cover my clients by putting heads and tails on the ends of each clip. This is done by adding 5 seconds of static (not moving the camera) at the beginning and ending of each shoot.  It’s very important and the editors will love you for it.”

Getting a variety of types of shots is important. I like to get different angles from bird’s eye to worm’s eye views.  If I am covering Marine Corps training, following the troops then letting them march out of frame can create the feeling of orderly movement.  A nice low angle of boots marching through the mud or an extreme close up of the Sergeant’s mouth barking orders with spittle flying all over can bring the audience into the moment. 

Sound is also important.  Many times, visual don’t make as much sense without the corresponding audio.  What’s a police car tearing down the street without the sound of screeching wheels?  A couple of common mistakes are forgetting to turn on the camera mic or talking while the camera is rolling.  In some cases, you may want to use a more power microphone to make sure you get strong, clean audio.

Now that the footage, including B-roll is shot, it is time to edit.  Having enough varied B-roll will help any edit run smoother.  As an editor, Gemal Woods (www.parktriangle.com), feels that you can never have too much B-roll.  “Get all the B-roll you can.” He says.  “You never know what the creative process will call for in an edit suite.”  After that, what he looks for in B-roll is project specific.  “If it’s long form, longer shots are good.  If I’m working on a promo piece, I’m looking for options over length. In that case, short impactful visuals work well.”  Woods, who is also a cameraman, believes some of the best B-roll is spontaneous and urges producers to leave enough time in the schedule to get those unplanned moments.

When you can’t get the B-roll yourself, you can always purchase some from archival footage houses or news outlets.  This is particularly helpful in demonstrating things that have happened in the past.  But whatever your project, spend some time before going into the edit suite to determine what you need and the best way to get it.

For more b-roll sources and information, visit the B-roll category.

Writing Successful Grant Applications

Some of the most successful independent television and film producers are also the most successful at securing grant funding.  There are many types of grants out there including government agencies, non-profit organizations and private funding.  Once you have identified the grants that match your project, it is time to delve into the process of actually applying for the grants.  Here are a few pointers to help you make the most of your submissions.

• Carefully read the instructions and guidelines and then FOLLOW THEM to the letter.  This means filling out every section of the application in entirety.  If you talk to grant readers, one of the biggest mistakes they site is a non-complete application.  During my short stint as a grant reader, I found it helpful when the grant applicants mimicked the grant outline exactly as it was laid out.
• For any narrative answers, write clearly and concisely in jargon-free language.  This is not a time to impress people with your industry speak.  You want to plainly set out your intension so that anyone reading the application has a clear picture of you goals.
• Share your passion.  Just because you are writing clearly, doesn’t mean you have to be boring.  The best way to convince someone that your idea is worthy is to show some excitement about it.
• Give specifics.  A good idea or worthy cause do not speak for themselves.  Grant givers want to know that you have a plan to achieve your goals.  Do some research ahead of time and create an outline for yourself about what you are going to do and how you are going to do it.
• Don’t be afraid to ask questions.  Believe it or not, grant givers want complete, competitive applications.  If you don’t know how to answer a question, ask for clarification.  You can even ask about what the grant giver is looking for.  You never know what kind of response you’ll get.  Also ask previous successful grant recipients what they did to create a winning application.  They may have some insight that you never thought of.

Good luck.  For more information about fundraising in general, check out the recording of my teleseminar:  Funding Your Dream Documentary.

Navigating the HD Revolution

High Definition has arrived in full force.  Most major American networks and distributors (and many in countries around the world) require that projects be shot and delivered in HD.  Many production companies, crews and editors are racing to figure out what is the best way to make the change over to HD.  Amateur documentarians are facing the realities of up converting or adjusting their budgets.

It is a bold and exciting new world out there… but also confusing.  As an established television producer, I often have a hard time sorting through the maze of HD options.  Here are a couple of things to keep in mind when deciding what type of HD format to shoot on.

1. What type of editing intake system will you be using?  There are many types of HD record options (HDCam, HDV-HD, XDcam, etc.) and there are decks to go with each.  It is important to know how your edit system will acquire the footage.  You don’t want to show up to your edit session with tapes that don’t match the tape deck in use. This is a waste of time and money.  If you don’t know where you will edit or what type of system you are using, you can consider using a camera that records onto a disk.  Later, you can then transfer the footage onto a hard drive or straight into the appropriate editing program.  Or, you can choose one type of tape format and rent the appropriate type of deck when the time comes to digitize.  This will cost a little more but it happens a lot.
2. Super important – what type of footage does your network, client or distributor accept?  Some networks won’t accept some formats or minimal footage must come from it.  For example, they may allow a given HD project to have up to 15% standard definition footage.
3. Will you be required to deliver all of the raw footage and if so, in what format?  With many cable projects, producers are must hand over the raw footage… often in duplicate.  If the client wants that footage in a certain format like HDCam, it makes sense to go ahead and shoot with that format.  If you don’t have to turn over your raw footage, consider how you will archive the footage once your project is complete.
4. What are resolution and frame rate requirements.  Most of the projects that I work on are shot at  1080i or 720p.  Will your final project been show full screen?  Do you have to down convert to standard definition and if so, will it be center cut, anamorphic or letter boxed?  You’ll want to make sure that the camera being used has the proper settings available and that the tapes and edit system can accommodate your needs.
5. Will you buy or rent a camera?  This is a big question because a lot of money will be spent either way.  It will be helpful to have an idea of what types of HD needs you may have in the future.  If you rent a camera, or hire a cameraman with his own gear, ask to see a footage test to get clear understanding of what your footage will look like.

You’ll notice that I have not listed specific types of cameras or tapes.  I don’t want to make detailed suggestions when every situation is so different and there are so many options.  It is important to talk to as many people as possible about your project until you feel comfortable making choice.  Talk to shooters, editors and distributers/networks/clients.  Sometimes there may be more than one solution to your HD needs.  But armed with the right information, you can make the best decision for your project.  Good luck and let me know if you have any other helpful hints.