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Kickstarter Success: How We Did It

March 5, 2014

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Blog Written By Stephen Gibler

This blog entry is a long time coming. My passion for producing takes on many forms but the part of producing that gets the least amount of attention is the part where you go out and raise money. And that is the most important! Without your army of Benjamin Franklins to back you up, you don’t have a movie. Without Whenever I was in a conversation about Producing, I never mentioned the money raising part.

So when I realized a few months ago that I was a producer on 5 projects that were all fully funded on Kickstarter, two of them getting on the front page…I decided to make a blog about it. Now this blog won’t be a me bragging blog, as there were many people were involved in each of these Kickstarter campaigns. It takes a lot of people to run these campaigns. There were times I was directly involved and other times in close observation. And I was also on the funding side of the coin, giving money to dozens of other projects. And that variety of involvement and perspective informed those Kickstarter campaigns that I was a producer for. And each of those projects hit their mark. When Kickstarter only has a success rate of 43%. 5 for 5. And on top of that, two of those projects ended up on the front page. The odds of hitting every goal and doing that are astronomically low.

So here is a new goal. By the time this blog entry is done, I want you to feel like you have the tools to not only just run a Kickstarter campaign, but also to hit those goals and make the cash you need to fund your dreams. Why you ask? Because we should always be looking to make the people around us better. I hope this blog entry does just that for you in your journey to achieve your dreams.

Alright, so the five Kickstarter films that I was a producer on are “Volcano Girl”, “The Films of Avi Krum”, “Love Song”, “An Exchange” and “Bread and Butter”.

For those of you who don’t know what a Producer is, we’re the one’s who are with a film from beginning to end, from the creative conception to crew hiring, to raising funds, to actually making the film, then to finishing it and distribution. We’re with the director helping to bring the process along creatively and as a product and we manage every department. However this isn’t always true and can change from project to project and there isn’t a set code of what a producer is supposed to do on the project. Sometimes you get an Associate Producer credit for just being on set for a day. Welcome to the film industry.

Without further ado, here are the campaigns. The words FRONT PAGE mean they were chosen by Kickstarter to be featured on the front page.

Volcano Girl Kickstarter

The Films of Avi Krum Kickstarter Front Page

Venus in Furs Kickster (renamed An Exchange)

Love Song Kickstarter

Bread and Butter Kickstarter Front Page

Each of these campaigns had a different path to success. But they all have things in common to make them the way they are. For a point of reference, here is my corresponding producing credit for each. You can see me under the Producer section in IMDB.

Volcano Girl (2011)

An Exchange (2013)

Love Song (2013)

Bread and Butter (2014)

“The Films of Avi Krum” doesn’t show up on IMDB because shorts in post-production can’t be posted. But you can see the website page HERE. The 5th film that I was a “producer” for that had a successful Kickstarter campaign is the USC Thesis film Love Song. Remember that one day joke of mine? Well this was that film. I gave funding support to the campaign however in addition to my day of work on it. And there are a lot of important things we can learn from checking out that campaign as well.

1. Volcano Girl

Volcano Girl Kickstarter

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“Volcano Girl” was a USC 546 film, which is an advanced project class for the University of Southern California School of Cinematic Arts. “Volcano Girl” was Directed by Ashley Maria, Produced by myself and Emily Ferenbach.

I consider this campaign a “Post-Project” campaign. As in the project was entirely finished, and a Kickstarter campaign was created to raise money to get the film out to film festivals and to help with a few odds and ends.

The goal for “Volcano Girl” was $2500. Ashley is very social media involved had developed connections through her blog, her Facebook following and her work connections. One of the most important things you need to remember is that it’s not people from India and Alaska giving you money, but it’s people from you social circles.

I wan to get into the specifics of these circles and what they mean for you. And the only way we can do that is to take a brief detour from “Volcano Girl”. Trust me, it’s worth it.

The I am I filmmaking team, who raised $111,965 through Kickstarter, came to speak at USC. Ashley and I were talking about starting a campaign and when saw that they were coming, we jumped at the chance. We crowded into a small room that could barely fit 30 people. Everyone and their grandma wanted to know their secret. The director Joyce and her two producers Jennifer Durbin and Cora Olsen sat across from us, and fielded questions. We asked them how they made the magic happen.

Their major points of wisdom were that 80% of the campaign money comes from people you know, and 20% from people you don’t. HOWEVER, their project was the opposite. They got 20% of the funding from people they knew, and 80% from people they didn’t. One thing they focused on what making an eye opening and “wow” short for their Kickstarter campaign. You can watch it here. As you can see it’s pretty amazing. One long continuous shot with some incredible staging and great gags. It very much has viral video DNA. The video also has some recognizable names with guys like Jason Ritter starring in it. One thing that is very useful is that name actors can do two major things for you.

1. They can get regular people who don’t know much about you to all of a sudden pay attention to your campaign. Name actors are name actors because they’re naturally talented and because they appear on screen enough that people eventually relate to them. When people relate to the people in a film, they want to show up to see this talented person in action and to be with a friend. Why do you think celebrities are getting paid so much? A film with a no name actor and a film with Brad Pitt can mean an investment difference of 50 million bucks. So that is where a lot of money came in, from people who liked these name actors and gave money so they could get access.

2. Another reason why name actors can be helpful is that they have professional networks and their friends and friends of friends will also contribute money. So a great video and name actors were major reasons why I am I made their money. But that’s not all.

The filmmakers made THEMSELVES part of the story.People aren’t just donating to their project but they’re also donating to you as well! If someone is going to give you money, they’ll want to connect with you, trust in you and believe in you. Joyce put herself front and center and vola!, people connected and wanted to help.

There was also another reason the campaign succeeded and that reason was timing. This isn’t something they discussed but in my opinion it’s a major element to why their campaign worked. This campaign occurred back in 2011. At that time period people were putting out terrible campaigns in relation to what they’re producing now. The “I Am I” team’s video and their description of the film was a step way above everyone else when they released it. Now…the game is harder. Look at their campaign description body. It’s barren! Most projects these days pack the description area with details, goodies, stories about the people involved, extras and all sorts of other stuff. If they did this today people would gloss over the campaign because it wasn’t enough. As you’ll see later down in this blog entry, the campaign descriptions even a few months after I Am I are packed to the gills with information and stories. How do I know? I was part of one of them. So to wrap up this tangent, what were learned to make a great Kickstarter campaign was a great video, names, connections and timing.

So Ashley and I got to work with our other producer Emily Ferenbach. Ashley really spearheaded the process, putting the trailer together and guiding everything for the campaign. We also enlisted Josh Eiserike, a good friend of mine, to do some writing for the “Kickstarter script”. One thing you must do is have some sort of structure to your video. Treat it like a real film.

We had some objectives. The first was to show off the film. The plan was to show scenes from it and funny moments to get the audience excited. We also wanted to show us. When you pitch a Kickstarter campaign, as I have mentioned you are also showing off YOU. Make people invested in your personal journey and show how it is related to the video. Also you need to make sure you’re clear about what the campaign’s about. We had finished the film, but we needed to go out to film festivals and do other post things for it. Which all costs moola. The big three for us were to show off the project, show off us and show off why.

Josh wrote us all into the script and we ended up reading lines. Here’s a picture of me and Emily having a little dialogue with Josh and Ashley.

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As a note, we never actually had real dialogue with each other. Instead we filmed everything at different times and Ashley pieced them together. She did a great job as you can see. Our video hits all the major points and shows off the best parts of our film.

As for the body of our campaign, we didn’t put much. The amount we needed didn’t require a massive project pitch and such. Ashley put in the basics. She put in our social information so people can follow us and a few links to the project’s internet presence so people can see what’s been going on with the project.

We all then pushed the project out into social media (Facebook, Twitter, Emails) to get friends and friends of friends to give to the campaign. But it was Ashley’s drive and energy that helped the project meet it goal and get a little extra money on top. For your campaign, social media is the DNA for your fundraising. People who know you, like you and believe in you will want to help you. But you don’t also want to saturate people’s feeds with your projects or you’ll get blowback. It can be annoying to have people hounding you for money. You need to find the balance between making sure people know and not going overboard. We found that balance and things ultimately worked out. And like any campaign I’m a part of, I always make sure to put my money where my mouth is and I donate to it. If you are expecting other people to put some skin in to help you without you doing a little bit of it yourself, you’re cheap. That’s my personal philosophy anyways.

2. The Films of Avi Krum

The Films of Avi Krum Kickstarter Front Page

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So this project not only got on the front page but it made about 30% more then it’s original target. This is the story of “The Films of Avi Krum”.

“The Films of Avi Krum” is a USC Thesis film. The Thesis film is the final film for a director at USC Film School. The synopsis for our film is: “In the mid 2000s, a shlubby post-grad tries to escape reality to Thailand. But his plane is hijacked by the North Koreans and brought to Pyongyang. And to survive he has to make propaganda films for Kim Jong-il.”

This film is a great project and packed with producing challenges. When I first heard about the project, it was in a state of flux and constantly changing it’s shooting date. Josh Eiserike had been holding onto the project as producer and Drew McClellen was also tied in as a producer. While working on Volcano Girl, Josh talked to me about the project and I ended up coming aboard. Then 1 month later we went into production and shot the film. This project was the toughest project I ever worked on because it had an insane level of ambition to it, the most of any project I’ve worked on at USC.

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The Kickstarter campaign would be classified as a “mid-project” Kickstarter campaign. As in we finished principle photography but we still had more shooting to do. We knew this. The plan was we’d shoot for 10 days and then we’d take the material we had and make a Kickstarter campaign around it.

This project has great Kickstarter DNA and great festival DNA. For a number of reasons. Firstly the subject matter is interesting and won’t be dated for a while. North Korea is going to be a mess for a long time and multiple times a year they’ll do something nuts or threaten war and get back into the news. Secondly the project has star power. I can’t get into specifics but Dan Rather has been officially announced to be is in this. Adam Hershman is our lead and he’s been in a number of interesting projects and he was perfect for the role. The film also has a lot of insider industry names that that be a delight for the real hardcore film buffs and a few surprises as well. Also it’s a multi-format film in that it’s digital, DV-Tape, stock footage, 16mm, animated and so forth. It’s a real visual mix that will make it pop out on screen. The current cut we have is getting great responses from Nick’s test screenings. The project has action, slapstick, political commentary, inside jokes, you name it. It’s a film that is really ambitious in what it wants to do.

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And all the things I mentioned above are very helpful to a good Kickstarter campaign. People will see the film’s dynamic visual palette, it’s recognizable stars like Dan Rather and Adam Herscham, its funny subject matter in North Korean propaganda films and level of ambition.

Nick Musurca spearheaded this Kickstarter campaign and was the artistic force behind it. However Josh and I were heavily involved with project and Nick sent us multiple versions of the campaign for our critique, advice and notes. The biggest thing for us was making sure Nick featured himself. It’s not just the project people are giving money to, it’s Nick as well. He didn’t do this at first. But we worked with him to make sure that Nick was featured in a way that helped people connect to him without being obnoxious.

But what made the project work and I can’t stress this enough, is that Nick kicked ass at it. Nick’s first cut of the trailer was rough, but its core was good and it ended up becoming great. Also Nick really went nuts with the information section under it. Take a look. It’s pretty sharp, funny and packed with cool stuff. Nick created a fake North Korean video game, played up the whole North Korean angle, you name it. The visuals of shooting on film popped for us, the paragraphs are well designed, and it’s entertaining.

And we were very clear about exactly what we needed. We outline the specifics of where the money is going. Nick even goes into the detail of where specifically the VFX is going to be used by showing before and after shots of the Pyong-Bo scenes. It’s very easy to understand what we need. That is why all these people who didn’t know us gave so much. We outlined where every cent was going. It’s hard to get trust from people you don’t know. But explaining to those potential donors specifically what you are doing with the money is an excellent way to build trust.

Well we launched it and a few days later we got on the front page. No super secret connection helped us. We didn’t know anybody. What happened was the Kickstarter staff saw the project and loved it. Let this be a note. QUALITY WORKS! You don’t always need to know people. And you don’t need to appeal to the lowest common denominator. If you make something that is sharp and good, people appreciate it and will support you. The day we got on front page, we were immediately fully funded. Check out the Kickstarter Editors picks now. They don’t always get extra funding from being featured. But our entire project was funded immediately.

We’re still in post for “The Films of Avi Krum” and it will soon be coming to a theater or laptop near you.

3. An Exchange (Formerly titled “Venus in Furs”)

Venus in Furs Kickster (renamed An Exchange)

Screen Shot 2014-02-26 at 9.27.09 PM

So I’ve been talking quite a bit. Let’s hear about what some other people think of the process.

For this project, I actually followed their campaign from its launch as an outsider. I ended up donating to it and then I was brought aboard as a Producer. I spoke with the Director Bryce Woodworth about his time running the campaign and some of his conceptual thoughts behind it.

Kick.Still001.medium

Bryce Woodworth

Stephen – Why did you run a Kickstarter campaign?
Bryce -I ran a Kickstarter campaign to help fund my Master’s thesis film at USC. I’d seen it be a useful tool for many other filmmakers including fellow students and decided to give it a shot, there was little to lose. But I had had no experience raising funds at that point, so the it was quite the learning experience. My project wasn’t one that was conducive to going viral, but I figured at best I’d be able to expose my project to a much larger audience, and at least provide a simple platform for collecting funds from friends and family.
Stephen – What was your strategy going in? The game plan so to speak.
Bryce – I spent a lot of time thinking about how to present my project on Kickstarter. I asked around and perused others projects looking for what worked and what didn’t.
-First, I wanted to keep a short, to-the-point, and sleek video. Kickstarter makes it clear that projects with videos do better than ones without, but when it comes to film projects it seemed important to have a good looking video to help prove that not only do you have a good story to shoot, but that you might be actually have the talent to produce the project properly. Further, I found myself not wanting to watch most videos past about 2 minutes. So I made a good looking (I think) and short (60 second) video.

-Second, I took a similar approach to the written description of the project. Many projects I came across seemed like you had to scroll for miles to finished reading about the project. I decided to keep it as short as possible, and easy to read (lots of headlines, bolding or italicizing important information, using lists, etc.)

-Lastly I wanted to keep the number of reward levels to a minimum. Kickstarter allows users to pledge any amount, so I didn’t see the need, like many other projects, to have 20+ rewards. I put other people’s rewards into a spreadsheet and decided the best price points were at $10, $25, $50, $100, $250, $500, and $1,000. Obviously there is a clear pattern that I imagine you could continue if you had a project that required more funds. It also seemed important to offer your film at the $25 reward. At whatever price point you offer your film will likely be your most popular chosen reward, but you don’t want to insult your donors by having the price to high.

Deciding how much to ask for was difficult as well. I’d see a lot of friends ask for 100% of their budget and only get part of it. With Kickstarter you only get the money out if you raise your entire the entire amount. So these friend would have to kick in thousands of their own money to get the rest of the money out, but they would then end up losing around 7% of that money to transaction fees. So you don’t want to ask for too much, because you could lose money. But you don’t want to ask for too little, because if you hit your goal it may dissuade others from contributing to your project even if you have more time to raise money. I landed on about 50% of my budget for my goal, and hoped that I would get more. Meanwhile I would raise the rest of my money from larger donations from closer friends and family, as well as student loans.
An Exchange (Venus in Furs)

An Exchange (Venus in Furs)

Stephen – How long did it take you to make your video, why did you do that?
Bryce –  I put the whole Kickstarter project together in about a week, including time to get feedback from others and approval from the Kickstarter staff.
Stephen – You had all these cool things to offer, where did the inspiration come from?
Bryce – The lower price points were easier to come up with prizes for. But I struggled with the higher end ones. Lots of people were offering custom prizes that if I did, wouldn’t end up costing me much money, but would cost me a lot of time, which I simply wouldn’t have. So I tried to keep it easy for me, while still offering more to higher donors. So as you pay more, you might get an upgrade from DVD to BluRay, or to a signed copy. Then you might get a free download of the soundtrack (again, something I have to produce anyway). Then you might get a USC gear like a mug or a sweatshirt (which weren’t produced as part of my project, but would only take me a quick trip to campus to pick up and ship).
Stephen – Talk about how your producer(s) were involved in the process, directly and peripherally.
Bryce – John Nordlinger was originally interested in spearheading the funding campaign, but we eventually decided against that because the project was ultimately mine (in the sense that I wrote, directed and spent 3 years at USC culminating in this thesis), and I would be better at getting people interested at a personal level because of that. And you see that at the higher end films as well. It’s not Spike Lee’s or Zach Braff’s producer selling the project to donors, its the directors themselves. But my producers were there to help spread the word about the campaign as well as give feedback.
Stephen – If there is one thing you wished you could change about the process, what would it be?
Bryce – Although I reached my goal, it’s so easy to get the pledged money out if you don’t reach that goal by putting your own money in. I think Kickstarter might be well served to adopt Indiegogo’s options of taking the money out regardless of how much you raised, and simply charge an additional nominal fee if the goal wasn’t reached. It seems like it would be simple for non-monetary reward points to be issued as well. Say you want to support a project, but you have no money. Maybe if you share my project on your Facebook X number of times, or get Y number of people to donate to my project you could then get a copy of the movie, or another reward. Something like this would also help engagement in the Kickstarter community, which I think would be good.
Stephen – Ultimately, did it help you for the project?
Bryce – Kickstarter did help my project. Like I suspected, it didn’t go viral, but there were a few complete strangers that gave money, and a lot of people that were 2 or 3 degrees separated from me that would have otherwise not heard of the project. Further, I got a lot of old friends and co-workers from my past that I didn’t feel close enough to directly ask for money, but that would still send me money because they would see the project on Facebook, which I would update everyday and have my close friends and family advertise as well. The rest of the money came from directly asking people for money. I would probably send out 10 personal and individual emails/Facebook messages per day to people, asking for money (in a non-pushy way). That was the thing that had the biggest effect. You can’t be afraid to simply ask.
4. Bread and Butter
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So this project was a doozy. $35k is nothing to sneeze at. Looking back on what Bryce wrote, $35k might as well be asking for the moon.
I was also in the same position as Bryce’s project. They launched it, I spoke with Liz a few times personally offering support, I donated money and I supported them. And I too was also brought aboard soon after.
Liz Manashil
Liz was able to supply her how to guide for how she did it, let’s hear from her.
Stephen – Why did you run a Kickstarter campaign?
Liz – I ran a Kickstarter campaign because I had no idea how to get money. People were just starting to talk about crowdsourcing and crowdfunding and I actually got very nervous… almost two years ago…. that the trend would be over. We had our campaign even before we had our dates because I was so wary that donor fatigue would set in! Who knew that now…. two years later, people would still be passionate about Kickstarter. I did not have that keen foresight. So that fairly answers the timing in which we decided, and the idea that there was a trend around the corner for crowdfunded projects, but we mainly ran a campaign because we had no money and we didn’t think there was any other way to get money other than begging on the street. I kid you not, I looked into selling my eggs and I’m too short to do it.
Stephen – What was your strategy going in? The game plan so to speak.
Liz – I met with two people I deemed Kickstarter experts and asked them for advice. We had a calendar of things we would release throughout the campaign. I wrote up very silly mass emails…. constantly. Mainly I just was finding different ways to prove to people that we were desperate and that the money was very needed and for what I thought was a good cause. Our strategy was to beg and plead and beg and plead to as many people as possible. We did a 30 day campaign because that’s what the experts said to do. We launched on a weekday morning, because that’s what the experts said to do.
Stephen – How long did it take you to make your video, why did you do that?
Liz and her Kickstarter muppet!

Liz and her Kickstarter muppet!

Liz – Our video took quite a few weeks. We did a musical so we had to write the music (Robert Hill had to write the music and the lyrics), record to playback, get our location, actors, etc. We treated it like a short film. For us, we had heard a lot of backlash against people doing shoddy videos of just the director asking for money. We tried to turn it all into a fun video that people might share. We were lucky, they shared it! We ended up in a log of blogs and on Huffington Post.
Stephen – You had all these cool things to offer, where did the inspiration come from?
Liz – I think at the end of the day, you just don’t want your project to come off like you are a robot. I know that makes no sense but let me try to explain. We offered homemade cookies and mixtapes and Christopher Walken impressions as incentives because those things are fun and silly. They aren’t things that a robot would offer. A robot offers a typed up thank you letter. A robot offers only DVDs, streams and “thank you’s” in the credits. We wanted to offer things that were cheap but were things that we would want to get if we donated to a project. The cookies sold out in like the first hour. The mixtapes were incredibly popular.
Stephen – Talk about how your producer(s) were involved in the process, directly and peripherally.
Liz – At the time I only had one of my producers on board. She helped produce the shoot and she helped send the link out to friends and family. She is always invaluable, but I actually reached out and found some people who wanted to get into the Biz to help me post on forums, and reach out to the press. They were, in turn, given gigs on set, if they wanted them, when the movie shot.
Stephen – If there is one thing you wished you could change about the process, what would it be?
Liz – I wish I asked for more money! I say that now, but we probably raised the only amount we could. However, an indie film always needs more money…
Stephen – Ultimately, did it help you for the project?
Liz – We could not have made the movie without Kickstarter.
(Back to Stephen)
One of the things that ended up happening during the Bread and Butter campaign is that some of the rewards we’re designed to allow high levels donors to be in the film. Now, this is always a major risk on a few levels. First, there are certain legalities that must be handled. Two, there are union rules that must be respected. As in, if someone pays money to get speaking lines on a SAG Union shoot, then you might run into problems. Also, how do the payments work? If someone gives you money to be in the film, and they were in SAG, do you have to pay them to be on the film? The answer is yes to that last one by the way. Be very aware of who is giving money to be involved in the film, as there may be other elements that might hamstring that bond. And this applies to any sort of campaign. Whether you are raising money for special watches or giving money to the poor, you need to do some research for what your gifts ultimately tie you to. And whether there might be unintended consequences because of it.
For us, we ended up giving lines and roles to certain Kickstarter donors. One of the things we made sure to do was to protect ourselves. We signed a deal with these Kickstarter donors that would allow us to cut the scenes with them as we please. And in a worst case scenario, cut them out all together. But we had that option. Even professional actors get cut out of a film. Nothing will hurt your project more then getting tied to a Kickstarter donor who gets involved and ultimately hurts the project. For Bread and Butter, Liz made sure the campaign gifts were soundly designed to allow for people to be involved with the project but it also was written up were it allowed Liz to still make the best possible project. Remember your ABCs = Always Be Careful.
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Wrap Up
As you can see from the above, each of these Kickstarter campaigns revolved around a movie of some sort. All of them short films and the last one being a feature. What makes this unique is that short films are wedged into a special area. In that short films just don’t make money. It’s not like investing in the next great watch or the next great telephone. Also I would say .0001% of the time a short film will make some money by appearing on iTunes or something like that. But the vast majority of the time, it doesn’t make a single dollar. Also, short films have a terrible record of exposure. They end up mostly in small little film festival theaters and that’s if they’re lucky. The top 1% of all short films will get a few lucky breaks and end up in Sundance in a block with other short films or at some other film festival. Also almost all short films almost never have celebrities or “The Hollywood’ factor. There isn’t much that is sexy about them. They can be a struggle to put together. You have people who are just beginning as professionals or they’re a student. To raise money for a short film is one of the hardest things you can ever do.
Which is why the films that do the best have some sort of societal impact in what they try and do. For “Volcano Girl”, it was a woman who had super powers, directed by a woman. You rarely see that in the film industry. For “An Exchange”, it was about a gay politician who was destroying himself emotionally and physically. “Bread and Butter”, while a more commercially viable product as a feature, still touched on a lot of the same elements. It was a female driven story with a production that was dominated by women filmmakers. What I’m saying is people like to support progress. They like to be able to move things forward. Matt Damon is not a part of any of these projects. There isn’t a promise of some Hollywood party.
For the donors of these Kickstarter campaigns, it’s an opportunity for those who can’t to feel like they can. For those that are trapped at work, who don’t have time to contribute, who believe that they can make a positive impact. That is why people donate. And they believe in the filmmakers. Ashley, Bryce, Ian, Nick and Liz are all directors that have a passion for their vision and are real people at heart. They believe in what they’re doing, enough so to make the scary leap of asking people for their hard earned money.
So for you dreamers out there, who just need a few dollars to make your idea or cause come to life, it can be done.  The best Kickstarter campaigns have to come from a place of authenticity inside yourself, the skills to make your idea come to life and with a passion to do something different. No matter what’s it about, those core philosophies are what make your campaign a Kickstarter Success.
This blog entry was written by Stephen Gibler for informational purposes only, and does not constitute the entirety of the process for running a successful Kickstarter campaign. If you want to know the full details of the process you can email Stephen at Stephen@OriginCinematics.com for any additional questions.
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