But it’s not necessarily so.

Published author and screenwriter, Erik V. Wolter, recently turned to Indiegogo to help him and his crew over the finish line, producing the feature film adaptation of one of his novels, Break The Stage. Spoiler alert: They didn’t reach their goal.

Now, Erik seems to be a very professional, analytical and talented man. Someone who would do his research – and then some. He consulted the experts. He did everything by the book. So why did his campaign fail? Below are his own reflections on the failed crowdfunding campaign, but first a few stats and thoughts on the current state of crowdfunding:

In the US, the two main crowdfunding platforms are Indiegogo and Kickstarter. Indiegogo is by far the biggest in terms of launched campaigns, perhaps because of their flexible funding option (allowing project creators to collect the pledged money even if the campaign goal is not reached), but Indiegogo is also far ahead in terms of failed campaigns; 277,776 unsuccessful campaigns compared to ‘just’ 101,127 on Kickstarter. In fact, even though Kickstarter has hosted far less campaigns overall than Indiegogo, it has the highest number of successful campaigns at 70,812. Looking specifically at the Film & Video category things get really interesting: 41% of the campaigns on Kickstarter reached their goal, whereas only 11% on Indiegogo made it to the finish line. And those numbers are not just so far apart because of the volume on Indiegogo vs Kickstarter. More than twice the number of Film & Video campaigns were successfully funded on Kickstarter vs Indiegogo.

From what I have gathered during my research on the subject, the filmmaker (and crowdfunding project creator) has a few choices to make when choosing which platform to use. If you can ONLY complete your project with the help of the crowdfunding community, Kickstarter seems to be the way to go. It’s the all or nothing approach. After all, it’s not just about collecting money, it’s also about fulfilling your commitment to your backers and the perks you promised them. If you go with Kickstarter’s all or nothing model, you are at least guaranteed that you will have the funds to finish and honor your commitments. If you go with Indiegogo’s flexible funding option, you may end up with a project that does not have the budget to be successfully completed, but you still have to make good on your promises to your backers. My conclusion is that the flexible funding option on Indiegogo is only a safe and suitable option for project creators who could use the help of the community, but are able to complete the project with other means, if need be. One might say that with Indiegogo’s flexible funding option (which you don’t have to use, by the way) you take a financial gamble. With Kickstarter (or Indiegogo’s fixed funding option) you take a creative gamble. It’s all or nothing.

And this is not even mentioning platforms like Rockethub, Tubestart or Pozible. And even beyond those, there are many ways to fund your project. Most of them have pitfalls you need to wary of. All of them offer an opportunity to create. Here’s Erik V. Wolter’s experience with Indiegogo’s flexible funding model:

Thirty days ago when we launched our crowd funding on Indiegogo expectations were high. After all, 80% of the film was done, and our goal was only $35,000. The concept of raising money without giving up equity, and the successes of present and past campaigns of films on Indiegogo made it so very enticing. We had a trailer to show our work and an extensive network of connections to give us that initial boost everyone says you need in the first week. Even the people at Indiegogo agreed that we followed their guidelines and suggestions on the wording for our email contacts, Facebook, and Twitter posts. We had a progressive set of attractive Perks for contributions ranging from $10 to $5,000. The feedback for our video pitch and trailer was extremely positive.

Books and blogs are available on crowd funding about what to do and not do. There is also an abundance of material out there that analyzes those funding campaigns that fail to meet their goal.  Allow me to put in my two cents and at the same time be as transparent as possible about the outcome. My brief analysis may be too simplistic and may or may not be meaningful for everyone, but I’m fairly confident that it was the primary factor in our inability to reach our goal, and is worth considering should anyone be thinking of taking the crowd funding plunge, be it Indiegogo or any other of the popular platforms out there.

“The best-laid schemes of mice and men…” – you probably know the rest.

At the end of our campaign, after 3300 visits to our campaign site and 220 referrals, we had 41 contributors and raised a grand total of $4200, meaning we achieved a mere 12% of our goal.

An interesting adventure, to be sure. A lesson learned, most definitely. A critique of human behavior, without a doubt.

Apparently, as the numbers seem to infer, sharing Facebook posts, tweets and re-tweets, emails, and follow up emails will bring the horse to water but not much else. Maybe people assumed if you let others know, others would contribute. But then those others let people know and then they assumed… Of course, some didn’t let others know at all, but assumed somebody else would.

Human nature is more often than not inexplicable, but perhaps there was something about our appeal that didn’t make it clear that asking for help to reach our goal didn’t mean just pass that message on. The link “click here to make a contribution” was intended for them, too. Of course, not contributing is a choice and that should be respected, but when friends, family, colleagues, and associates think enough of your efforts to promote your campaign, wish you the best, and say they can’t wait to see the movie, but won’t drop ten or twenty bucks in as a contribution, it is a definite head-shaker.

Some simple math: If 1200 of the 3172 who visited our site but didn’t contribute would have contributed $25, we would be at 98% of our goal. If 750 would have contributed $50, we would have exceeded our goal by $2500 (107% of goal). Interesting, indeed. However, as my father reminded me more than once, “If if’s and buts were candy and nuts, every day would be Christmas.”

Despite this setback, the team of Producers behind this project is committed for the long haul. To paraphrase, the late great film critic, Roger Ebert, we will see you at Break the Stage the Movie.

I went out and made a movie. An absolutely terrible movie. Nothing went the way I wanted, and I can’t even look at the finished product. Does this mean I’m a bad filmmaker? Should I give this up?

In a word, no. It’s good that you’re disappointed – if you didn’t think there’s anything wrong with your first dab at filmmaking, that would’ve been a red flag. A bad first experience in moviemaking does not mean a failed career. The first time you tackle anything, it’s bound to be a clumsy attempt, because you just don’t have a feel for it. Not yet.

I made my first movie, Mortal Coil: An Eric M. Blake Noir, for the 2013 Campus Movie Fest. I had this ambitious idea to take up Brian De Palma’s challenge to student filmmakers to make their first movie a silent movie. The story would be told without any dialogue – just acting and camera work.

You can look it up on YouTube, if you like. I already know it’s a mess.

There are many reasons for that. We didn’t have a good tripod at the time, so we had to hold the camera by hand. The way it looked forever alienated me to “shaky-cam”. And the last day of shooting, two key actors announced they’d be unavailable, so we had to improvise by “fudging” the story and experimenting with POV shots. As a result, the plot’s a bit muddled (“Doesn’t the guy have still have the money?”), and if you look carefully, you can see the tail end of the actress rushing out of a shot, because she’s not supposed to be in the scene. In short, “flawed” doesn’t even begin to describe this film. It was my first directorial effort. And it’s a mess.

I don’t regret making the film. It was my first real session of film school.

Arguably, in fact, a bad first movie is one of the best things to happen to you. It shakes you up, keeps you humble, and helps you self-critique, and learn. It’s better to get the “bugs” out of your system early on, while you’re still an amateur. You go out there, make the best film you can, and then look at what you made and ask yourself, “What do I like about this movie? What don’t I like?” Get constructive critiques. And then apply those lessons to your next project. If you truly love making movies – and if you’re honest about yourself – your work will get better.

Believe it or not, some of the great filmmakers of history have gone through this. Stanley Kubrick hated his first movie, Fear and Desire, so much that he apparently tried to gather up all the prints of the film, so no one would ever suffer from watching it again.

In 1996, Quentin Tarantino told Charlie Rose about his first movie, My Best Friend’s Birthday. As Quentin tells it, when he finally had the resources to process the footage, he ended up very disappointed, because “I did not have at all what I thought I had!”

You can see both Fear and Desire and My Best Friend’s Birthday on YouTube, by the way. I personally don’t think Quentin’s movie is that bad, which goes to show that sometimes, you really are your own worst critic.

Quentin went on to add that he did not regret making the movie, because “That was my film school.” He learned a lot about filmmaking by going out there with equipment and making a movie. In effect, he learned what to do and what not to do, in the best possible way.

After all, how do you get to Carnegie Hall?

Practice.

We did you a favor and found My Best Friend’s Birthday for you. If you don’t have 36 minutes to spare right now, at least skip to the 20 minute mark to see Quentin himself deliver the lines he later reused for the opening scene in True Romance. Classic.

As an actor, I’m fully aware that when I’m on set, I’m usually the least important person there. There’s the director, of course. Maybe a couple of producers in video village. There’s the 2nd AD. The set costumer. The DP. 1st AC. Gaffer. Best-Boy Electric. And my head just exploded. Not only did I forget everyone’s names, I also have no clue what it means when someone tells me he’s the gaffer.

All of these people – and many more – are essential in making your shoot go off without a glitch. But what does it all mean – and more importantly, what do they all do? Take a few minutes to learn this. It’ll be invaluable on set or whenever you’re with crew and don’t want to feel like a complete idiot. Trust me, I’ve been there.

The following list is courtesy The PCC Cinema Program:

PRODUCTION DEPARTMENT

Producer
A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as fundraising, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.

Casting Director
Works closely with the director to cast the film. Specific duties will include:
• Assist in the organization and administration of casting calls and auditions
• Assist in the recruitment and hiring of cast

Unit Production Manager
The UPM, under the supervision of the Exec Producer, coordinates, facilitates, and oversees the preparation of the production unit, including: all off-set logistics, day to day production decisions, locations, budget schedules and personnel. Specific duties will include:
• Prepare script breakdown and preliminary shooting schedule with the 1st AD
• Prepare and coordinate the budget
• Oversee search and survey of all locations and the completion of business arrangements for the same
• Assist in the preparation of the production with a mind towards efficiency collaboration
• Supervise completion of the production report for each day’s work, showing work covered and the status of the production, and arrange for distribution of that report to proper channels
• Coordinate arrangements for the transportation and housing of cast, crew, and staff
• Oversee the securing of releases and negotiations for locations and personnel
• Maintain a liaison with the local authorities regarding locations and the operation of the company

1st Assistant Director
During preproduction the 1st AD works in conjunction with the UPM in organizing the crew, securing equipment, script break down, stripboard (production board) prep, and shooting schedule. During production he/she assists the director with respect to on-set production details, coordinates and supervises crew and cast activities and facilitates an organized flow of production activity. Specific duties will include:
• Prepare script breakdown and preliminary shooting schedule with the UPM
• Aid in location business, as delegated by the UPM
• Check weather reports
• Prepare day-out-of-day schedules for talent employment and determine the cast and crew calls
• Supervise the preparation of the call sheet for cast and crew
• Direct background action and supervise crowd control
• Supervise the functioning of the shooting set and crew

2nd Assistant Director
The 2nd AD is the chief assistant to the 1st AD in conducting the business of the set or the location site. Specific duties will include:
• Prepare the call sheet, in conjunction with the 1st AD
• Prepare the daily production report, in conjunction with the UPM
• Distribute scripts, sides, changes, and call sheets to cast and crew
• Communicate advance scheduling to cast and crew
• Aid in location managing as required by the UPM, 1st AD, or Location Manager
• Facilitate transportation of equipment and personnel, under the supervision of the UPM
• Schedule food, lodging, and other facilities
• Supervise set and location wrap
• Maintain liaison between UPM and 1st AD
• Assist in the direction of background action and the supervision of crowd control

Script Supervisor
The script supervisor maintains a daily log of the shots covered and their relation to the script during the course of a production, acts as chief continuity person, and acts as an on-set liaison to the post-production staff. Specific duties will include:
• Maintain of log of all shots, including the following information: shot number(s) as seen on script, actual slated shot number(s), comments by director or DP, continuity information including digital stills references, tape/reel#, camera settings, date, time, production statistics, etc.
• Act as continuity person on set
• Daily cross-referencing with continuity stills photographer to ensure accessibility of continuity stills during production
• Maintain liaison with 2nd AD, provide information for daily production reports
• Provide editor, other postproduction staff with log of footage

Key Production Assistant
The key PA is the chief on-set/on-location assistant of the 1st AD in terms of set operations. Specific duties will include:
• Management of walkie-talkies, traffic cones, and other production staff equipment
• Management of other production assistants
• Assist in the direction of background action and the supervision of crowd control
• Assist in set lock-downs
• Assist in the functioning of the shooting set and crew

Production Accountant
The production accountant works closely with the UPM to maintain the production’s budget. Specific duties will include:
• Preparation of the budget, in conjunction with UPM
• Maintenance of production accounts
• Facilitate release of expenditures
• Accounting for costs, filling out cost reports

Location Manager
The location manager works with the UPM and the 2nd AD to manage the discovery and securing of locations. The locations manager maintains a liaison between the production and the local authorities, and obtains the necessary clearance and release for use of locations.

Publicist
Working closely with the executive producer, director, art director, and publicity designer, the publicist works to publicize and promote the film during all phases of production. Specific duties will include:
• Securing permission for and supervising placement of posters, flyers, and other promo ads
• Supervising the generation and distribution of press releases
• Maintaining a liaison with the press
• Assisting in fundraising activities

ART DEPARTMENT

Production Designer
Working under the supervision of the director and in coordination with the Art Director, the Production Designer develops, coordinates, facilitates, and oversees the overall design of the production, i.e. anything that will appear in front of the camera. The Production Designer acts as a supervisor to the makeup, hair, and wardrobe departments, and as a consultant to the camera, art director, special effects, and compositing departments. Specific duties will include:
• Early development of attitude boards for characters, locations, scenes, etc.
• Coordinate the work of the costume designer, production designer, and compositors with the DP and the director.
• Supervise the work of the publicity designer
• Supervise the creation of title sequences and credits

Art Director
Working under the supervision of the director and in coordination with the Production Designer, the Art Director develops, coordinates, facilitates, and oversees the design of the sets, whether on stage or practical locations. The Art Director supervises the work of the construction crew, set decorating crew, and property department in conjunction with the director and DP. Specific duties will include:
• Participation in location scouting recces
• Design of sets
• Supervision of set construction and dressing
• Coordination, via the art director, with the make up, wardrobe, camera, property, and compositing departments

Publicity Designer
Working under the supervision of the director and in coordination with the art director and the publicist, the publicity designer develops, coordinates, facilitates, and oversees the design of publicity materials including posters, promo shots, and the website. Specific duties will include:
• Design and implementation of production website
• Design of posters and other promotional materials
• Design of Electronic Press Kit materials
• Design of DVD

Key Makeup Person
The key makeup person applies and maintains the cast’s makeup. Specific duties will include:
• Applying makeup to cast members
• Maintaining actor’s makeup during shooting, in coordination with the script supervisor and the continuity stills photographer

Key Hairdresser
The key hairdresser dresses and maintains the cast’s hair. Specific duties will include:
• Dressing cast members hair
• Maintaining actor’s hair during shooting, in coordination with the script supervisor and the continuity stills photographer

Costumer Designer
The costume designer works under the supervision of the director and the art director to design, obtain, assemble, and maintain the costumes for a production. Specific duties will include:
• The development of costuming concepts and design of costumes
• Coordination with the art director, production designer, and DP
• The obtaining of all costume components
• The final assembly of all costumes
• The maintenance of all costumes

Set Costumer
The set costumer works as an assistant to the costume designer, helping to assemble and maintain the costumes, and also managing and facilitating the use of the costumes during production. Specific duties will include:
• Assist the costume design in design, obtaining, and assembly of costumes
• Organization, maintenance, and management of costumes
• Helping the actors change

Property Manager
The property manager works in coordination with the art director, production designer, and DP to gather, maintain, and manage all the props for a production. Specific duties will include:
• Seeking and obtaining props
• Maintenance and management of props

Set Decorator
The set decorator works closely with the art director, production designer, construction foreman, and DP to dress and decorate the sets. Specific duties will include:
• Painting, draping, arranging props
• Small-scale landscaping

CAMERA DEPARTMENT

Director of Photography
The DP, or Cinematographer, is the camera and lighting supervisor on the production. DP is in charge of the visual look and design of the entire movie. This means figuring out, with the Director during Preproduction, how to visually bring the script to life and how that should be photographed. DPs involvement is now pushing into postproduction as well to insure that the visual design is being executed or to help decide revisions to that design. Understanding the “workflow” of the imagery, and the creative and financial implications of that workflow from production through postproduction, is becoming increasingly crucial. Besides overseeing the work of the camera crew, the DP is also assisted by the grips and electricians in preparing the technical aspects of recording an image on film or CCD. Specific duties will include:
• Operation of cameras
• Coordination of lighting, angle, motion control, media, settings, etc.

Camera Operator
The camera operator assists the DP in camera operation. Specific duties will include:
• Operation of cameras
• Focus marking & pulling
• Maintenance and management of camera equipment

1st Assistant Cameraperson
The 1st AC assists the DP in camera operation and maintenance. Specific duties will include:
• Operation of cameras
• Slating & loading
• Focus marking and pulling
• Preparation, Maintenance and management of camera equipment

2nd Assistant Cameraperson
The 2nd AC assists the DP in camera operation and maintenance and works in coordination with the script supervisor in naming, slating, and logging shots and reels/tapes. Specific duties will include:
• Slating & loading
• Preparation, Maintenance and management of camera equipment
• Maintenance, labeling, logging, and safekeeping of reels/tapes

Continuity Stills Photographer
The continuity still photographer uses a digital still camera to establish continuity referents for each shot covered in a day of shooting. These shots are cross-referenced with the script supervisor’s log for accessibility on set. Specific duties will include:
• Taking pictures of each shot covered, with particular attention to in-point and out-point of a shot. This means a photograph should be taken before the director says “action,” and immediately after the director says “cut.” These photographs should not use a flash…
• Daily cross-referencing with script supervisor to ensure accessibility of continuity stills during production

Production Still Photographer
The still photographer documents the production by taking still photographs. These pictures are used for documentary and publicity purposes. Specific duties will include:
• Taking pictures of set operations, poster shots, portraits, etc

Documentary Videographer
The documentary videographer captures “behind the scenes” footage for the Electronic Press Kit and other documentary purposes. Specific duties will include:
• Filming set operations
• Filming interviews with cast and crew

ELECTRICAL

Gaffer
Also sometimes called the lighting designer, the gaffer is the chief electrician who supervises set lighting in accordance with the requirements of the DP. Specific duties will include:
• Lighting of sets and locations
• Maintenance and management of lights and lighting equipment
• Specialized electrical work such as generator operation

Best-Boy Electric
The best-boy electric is the chief assistant to the gaffer in the lighting of sets and the operation of electrical systems. Specific duties will include:
• Lighting of sets and locations
• Maintenance and management of lights and lighting equipment
• Specialized electrical work such as generator operation

Electrician
The electrician works under the direction of the Gaffer in the lighting of sets and the operation of electrical systems. Specific duties will include:
• Lighting of sets and locations
• Running electrical cabling and distributing all electrical power
• Maintenance and management of lights and lighting equipment
• Specialized electrical work such as generator operation

PRODUCTION SOUND

Mixer/Recordist
The mixer, aka recordist, is the on-set/on-location sound engineer responsible for the recording of production sound and any sync-related on-set sound mixing and playback. Specific duties will include:
• Supervising capture of audio onto various devices from various sources
• Maintenance and management of on-set sound equipment
• Assist in the recording of ADR, foley, & music during postproduction

Boom Operators
The boom operators work under the supervision of the mixer/recordist in the recording of production sound, holding mic booms, placing mics, holding cables, and operating various recording devices. Specific duties will include:
• Holding mic booms and cables
• Headphone monitoring of mics
• Mic placement, set-up, and tear-down
• Operation of recording devices

Sound Assistant
The sound assistant acts mainly as a liaison between the mixer/recordist and the script supervisor, managing and logging media assets. Specific duties include:
• Labeling, Maintenance and management of tapes and media.
• Report of tape/shot info to script supervisor for log
• Maintenance of tape logging forms

SET OPERATIONS

Key Grip
The key grip works with the gaffer in setting and cutting lights to creating shadow effects for the set lighting and supervises camera cranes, dollies, platforms, and “wild wall” movements according to the DP. Specific duties will include:
• Creating shadow, reflection, reduction, and diffusion effects
• Supervising dollie, crane, and other camera movement
• Maintenance and management of grip equipment

Best-Boy Grip
The best-boy grip is the chief assistant to the key grip, aiding him/her in rigging, cutting light, and carrying out camera movements. Specific duties will include:
• Assisting the key grip in light cutting, reflection, and diffusion
• Assisting in the various technical set operations required by the DP

Set Ops Grips
The set ops grips are assistants to the key grip, aiding him/her in rigging, cutting light, and carrying out camera movements. Specific duties will include:
• Assisting the key grip in light cutting
• Holding flags and bounces
• Laying dolly track
• Assisting in the various technical set operations required by the DP

Dolly Grip
The dolly grip is the chief grip responsible for operating the camera dolly, usually in conjunction with the best-boy grip. Specific duties will include:
• Operating the camera dolly

Construction Foreman
The construction foreman works in coordination with the art director, production designer, DP, and set dressers, overseeing the construction and demolition of sets, special equipment, car mounts and platforms. Specific duties will include:
• Coordination and collaboration with the production designer on the design of sets
• Supervision of the construction of sets
• The construction and implementation of special equipment such as camera jibs, dollies, or car-mounts
• The demolition of sets and equipment

Construction Grips
The construction grips aid the construction foreman in set construction and demolition. Specific duties will include:
• The construction of sets
• The demolition of sets

EDITORIAL

Editor
The editor works under the supervision of the director and executive producer to assemble the film. Specific duties will include:
• The assembly of the footage into successive cuts until a final cut is reached
• Assist the DP with color correction and other post-production effects
• The output of the final cut to several formats

Assistant Editor
The assistant editor works as an assistant to the editor, helping him/her with by logging and capturing footage, organizing and managing media in coordination with the script supervisor’s log. Specific duties will include:
• Logging and capture media
• Preparing offline edit timelines for the director
• Managing media in coordination with the script supervisor’s log
• Maintaining a system of backups
• Assisting with compression and multi-format output

COMPOSITING

Lead Compositor/Visual Effects Supervisor
The lead compositor works under the supervision of the director, DP, and art director and in coordination with the editor to design and implement compositing effects. Specific duties will include:
• Supervision of all compositing work
• Assist the art director and DP in the creative and technical design of composite shots
• Implementation of composite shots

Compositors
The compositors work under the supervision of the lead compositor and the art director to implement compositing effects. Specific duties will include:
• Digital scrubbing and cleaning
• Implementation of composite shots

POSTPRODUCTION SOUND & MUSIC

Sound Designer, a.k.a. Sound Editor
The sound designer, working in conjunction with the director, is responsible for the ideation and creation of the overall soundtrack of the film. The sound designer supervises the mix of music, dialogue, ADR, foley, and sound effects. Specific duties will include:
• Sonic mis-en-scene
• Realization of sound effects, textures, and landscapes
• Supervision of the mix for various output formats

Composer
The composer writes original music to be heard in the film, both diagetic and nondiagetic. Specific duties will include:
• Writing music as demanded in both pre and postproduction
• Supervising the recording of the music

Mixing Engineer
The mixing engineer, under the supervision of the sound designer, mixes the overall soundtrackinto its final mixes for a variety of output formats. Specific duties will include:
• Mixing sound in stereo and/or multi-channel formats, for home system and theatrical release
• Preparing final mixes for mastering
• Mastering audio

Foley Artist
The foley artist creates sound effects to accompany specific visual objects, movements, and sound sources, such as footsteps or punches. Specific duties will include:
• Generating and recording sounds to accompany specific on-screen sound sources