Running An IndieGoGo


My IndieGoGo campaign has now been made and is currently underway. I have decided after doing a budget plan that a goal of $500 (£350) will cover the costs of what I need. This includes money needed to create the perks, the cost of using any and all the equipment I need, distributing the film to festivals and my travel costs to get to shoot locations.

Screen Shot 2016-04-17 at 11.33.54

(Reilly, 2016)

The first couple of days have been fairly slow. I have had contact with people who are claiming they will be donating in the near future, but no donations have been made yet. This is something I expect will change soon. When looking at a couple of popular campaigns that are that are currently going on and are popular; like Pair of Aces (Pair of Aces IndieGoGo, 2016) and Car to Farm, Italy tour documentary (Car to Farm Italy IndieGoGo, 2016). You can see they use various perks to incentivise people to donate. When looking at the types of perks they offer, I have created my own:

$2- Our Thanks

$7- A signed picture from all of the cast of the documentary poster

$15- Your name in the documentary credits

$20- Digital download of Modern Mobile Dating with behind the scenes footage

$50- DVD of Modern Mobile Dating with behind the scenes footage

When looking at a video on 3 tips of sourcing money for productions (, 2015), they claim that reducing costs for perks is a key idea to prevent yourself from channeling all your money back into the fundraising campaign. So, I have stuck to a lot of perks that require minimal costs and have digital deliveries or cheap postage and packaging. The picture will be very cheap to mail and the dvd will be cheap to produce compared to the $50 cost. As I am close to all members of the cast, it will be easy to get their involvement in the perks I offer that involve them.26


Car to Farm Italy IndieGoGo. (2016) CLICK HERE To Support Car To Farm Italy Tour: Documentary & Cookbook[online] available from <; [21 March 2016], (2015). Indiegogo CEO Offers 3 Pro Tips for a Successful Crowdfunding Campaign. [online] Available at: [Accessed 7 Apr. 2015].

Pair of Aces IndieGoGo. (2016) CLICK HERE To Support Pair Of Aces – Short Film [online] available from <; [17 April 2016]

Reilly, A. (2016) CLICK HERE To Support Modern Mobile Dating – A Tinder Documentary[online] available from <; [17 April 2016]



“Whereas a proposal presents its argument rationally via categorized information, the treatment evokes how an audience will experience the film on the screen. Write in the active-voice in present tense. Tell the reader what they will see and hear on the screen. Describe the story and introduce any characters.”  (, 2016)

The documentary follows four people through their adventures using the mobile dating app, Tinder. We get to experience their experiences, feel their feelings and peek into their lives as they try and navigate and traverse the world of mobile dating, some with more experience than others. Two of our participants have never used Tinder before, so they will be learning as they go! However, the other two use Tinder regularly. So, you get to see their antics on the platform, showing what it is like in the normal week of a user! It shows a more grounded view of dating apps, unlike the documentary The Secret World of Tinder, which shows the extremes. By showing the grounded view, it will show more of a raw documentary and get into the brass tax of the morality and meaning behind the prevalence of Tinder. In a paper named It’s a match! : Exploring dating apps and the self-presentation of users, it claims that “dating apps have become increasing common in the last few years. As the popularity of online dating increased, the associated level of negative stigma seemed to shrink“.(Ranzini and Lutz, 2016) This idea will be explored throughout this documentary and evidenced either positively or negatively through experiences that the chosen users encounter. This documentary will further explore old truths of dating and see if they still pertain. Is it just a superficial app? PhD Ms. Carbino discovered “that Tinder users decoded an array of subtle and not-so-subtle traits before deciding which way to swipe” (Bilton, 2014) The documentary shows closely just how the participants go through their matchmaking process. The same study also found that “While Tinder seems to have done a lot of things right, the company has also made plenty of mistakes. For example, some women have complained of being harassed on the service.” (Bilton, 2014) This documentary also explores the morality behind the application and whether it adds a platform for superficial behaviour and harassment.


Bilton, N. (2014) Tinder, The Fast-Growing Dating App, Taps An Age-Old Truth [online] available from <; [22 March 2016] (2016) How To Write A Documentary Treatment Or Proposal….. [online] available from <; [12 March 2016]

Ranzini, G. and Lutz, C. (2016) It’s A Match! : Exploring Dating Apps And The Self-Presentation Of Users – Alexandria [online] available from <; [22 March 2016]

Call Sheet

In terms of a call sheet for a documentary, I found a relevant example online and modified the template to suit my needs.


(Chapman, 2013)

Here is an example of a call sheet I gave to a cameraman I had working on one of the days with one of the participants:


I modified this template and sent it to each person involved a few days before they were required to help to ensure they had all the key information handy.


Chapman, M. (2013) Call Sheet For My Documentary [online] available from <; [4 May 2016]

Being a Documentary Producer.


Being a producer for film can entail a lot of similar responsibilities, but being a producer of a documentary means you have to capture truth. I have undertaken research into the key responsibilities it takes to be a filmmaker in the documentary format. I have then further analysed what I believe to be my strong and weak areas are and how I can work to these strengths/strengthen my weaknesses.

According to Creative Skill Set, these are some major points on how to be a producer: (, 2016):


Before production begins, the producer has a key role to play. “In pre-production, Producers bring together the key members of the creative team.“(, 2016). So, to be successful, I need to work very closely with all members of my team in order to ensure that everyone knows their role and how they will be contributing. This ensures that I know my production inside and out and gives my team the opportunity to produce to the best of their abilities.


Also during pre-production, another key element of my role is to help in the funding, producers “help the Executive Producers to raise money for the production“.(, 2016) As I am the only producer on the production, I will take on the entire responsibility for raising funds. Despite not using it before, I have heard numerous success stories using the fundraising site IndieGoGo (IndieGoGo, 2016) and will use it as the main source for funding. To be able to get people to part with their money, I will have to be creative with my marketing techniques in order to sell my idea to them. Whilst this puts a lot of creative pressure on myself, it allows me to have maximum creative control over the image I present of my project in marketing.


In terms of logistics, “Producers also approve locations, studio hire, the final shooting script, production schedule and budget.”(, 2016) So, I would be in charge of ensuring that all of these sections are being taken care of. Whilst a scripted film will deal with these sections in a certain way, you have to view it differently for documentary and take special account for each section and how it’s applicable for the documentary genre. For instance:

Shooting Script – Have a good treatment that I can work towards as a goal.

Locations – Scout the possible locations for interviews and areas the subject is often in terms of acoustics, possible camera locations and lightings.

Budget – Work out how much money you need for each aspect of the production and ways of funding it.

Production Schedule – Create a schedule in terms of when each aspect of your production will be undertaken.


Something that doesn’t change from scripted film and documentary film is the fact that “once the film is in production, Producers are responsible for the day-to-day smooth operation of the team.”(, 2016) So, throughout the production, I must either undertake the responsibility for a certain aspect running smoothly first hand or ensure it is second handedly.  The Nest offers further insight into producers, especially for documentaries, saying that ‘stories can evolve and take on new dimensions throughout the interview and shooting phase’. (The Nest, 2016)So in order to be successful, I must be able to constantly be able to adapt to new circumstances as they arise.


According to creative skill set, a producer in a typical situation would; “During post production, Producers are expected to liaise with the Director and post production department.” (, 2016) Sharing ideas with all of the post production team is a key part in creating a project in the producers eyes. However, as I am working on a very low budget, and fancy myself as a decent editor, I will be editing the documentary myself, whilst getting a second opinion on certain aspects when needed from other professionals. This will be a very lengthy process but also it ensures that everything is done to the creative vision I have, both stylistically and sending the same truth that I want to show, whilst cutting out any excess that is unnecessary information.

Distribution is also a category that falls into the realm of the producer’s responsibilities. (The Nest, 2016) I have done this on smaller levels before, this will be much larger due to the nature of the project. However, I feel I can definitely upscale my efforts, putting more importance into my promotion campaign in terms of time, resources and imagination.

References, (2016) available from <; [21 April 2015] (2016) Producer [online] available from <; [21 Apr 2016]

The Nest, (2016) Responsibilities Of Documentary Producers [online] available from <; [10 April 2016]




The logline is truly an art form of its own. It’s the one or two sentence summary of your film that not only conveys your premise, but also gives the reader emotional insight into the story as a whole.” it should “efficiently represent the story and get the potential reader interested.” (Kroll, N, 2016) So, I want to create a logline that shows all of these features.

When looking at the Raindance website, it gives 10 tips on creating a killer logline which I am going to try and follow:

1: A logline should have the following: the protagonist, their goal, the antagonist/antagonistic force

4 daters try to traverse the tough world of Tinder

2: Tell us something interesting about the character E.g. “a sous-chef”.

4 young daters.

3: Use an adjective to give character depth.

4 young, single daters.

4: Quickly present the protagonist’s goal.

…in order to find a partner.

5: Describe the antagonist very shortly.

… the mobile dating platform

6: Make the protagonist pro-active. They should drive the story.

in order to find a partner covers this.

7: If possible, include stakes and/or a ticking time bomb. E.g. To save his reputation a secretly gay frat-boy must sleep with 15 women by the end-of-semester party.


8: Setup. E.g. In a world where all children are grown in vats…

in an increasingly technological world…

9: About the ending. Do not reveal it.

10: Don’t tell the story, sell the story. Create a desire to see the script as well as telling them what’s in it. (, 2013)

Which comes up with this: In an increasingly technological world, 4 young, single daters attempt to traverse the the tough world of Tinder, a mobile dating platform, in order to find a partner.

Whilst this logline seems quite good, it perhaps might be following a fiction guideline too tightly. So, I must find loglines of documentaries and see if it fits well amongst them. When looking at the website, I found a bunch of loglines for very highly rated documentaries:

America: Imagine the World Without Her: A story that questions the shaming of the US through revisionist history, lies and omissions by educational institutions, political organizations, Alinsky, Barack Obama, Hillary Clinton and other progressives to destroy America.

Catfish: Young filmmakers document their colleague’s budding online friendship with a young woman and her family which leads to an unexpected series of discoveries.

The Act of Killing: A documentary which challenges former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers.

The Imposter: A documentary centered on a young Frenchman who claims to a grieving Texas family that he is their 16-year-old son who has been missing for 3 years. (, 2015)

My logline looks very similar to a lot of these. They show and describe who the protagonist(s) are and the context in which they are placed. However, they tell the form also. Which is something my logline doesn’t include. Here is my revised logline:

“In an increasingly technological world, this documentary follows 4 young, single daters as they attempt to find a partner as whilst traversing through the tough world of Tinder, the mobile dating application.”

References (2015) Top Box Office Documentary Loglines [online] available from <; [17 March 2016]

Kroll, N. (2016) How To Write The Perfect Logline: And Why It’s As Important As Your Screenplay [online] available from <; [17 March 2016] (2013) 10 Tips For Writing Loglines – Raindance [online] available from <; [17 March 2016]


Usually a proposal will contain the following information, shown in each heading (, 2016) :

Length of work, format.

The documentary will be a 30 minute long documentary that will follow four people’s adventures with Tinder, two of which will not have used it and two that use it regularly, it will also have filler segments with interviews on the street and facts etc.

Who is the intended audience?

The core audience for this documentary are 25-34 year olds. Almost half of the Tinder users fall under this age group at 45%. The secondary audience is 16-24 year olds, with 38% of Tinder’s userbase falling into this category. When focusing on these audiences, we hit 84% of Tinder userbase.

However, this is still quite a broad spectrum. So, we will further narrow this down to urban people, which make up 76% of Tinder users. We will apply this to both our primary and secondary audiences. Furthermore, we are going to also add the condition of them being male. This is due to the fact that the majority of Tinder users are male over female. Also, I feel aiming it towards men would be more interesting stylistically as I feel there would be more varying opinions on aspects of mobile dating.

Primary audience: Male, 25-34, urban.

Secondary audience: Male, 16-24, urban.


I will be catering the participants I choose to be on the documentary to fit the intended target audience.

Goal or intended purpose(s) of the film

“The pleasure and appeal of documentary film lies in its ability to make us see timely issues in need of attention, literally. We see views of the world, and what they put before us are social issues and cultural values, current problems and possible solutions, actual situations and specific ways of representing them” (Nichols, 1991). These are the general purposes of a documentary, all of which will be an intended purpose of my documentary in one sense or another:

Social Issues: I aim to convey current social issues that the application causes, such as promoting treating people as objects and becoming more separated from the individual you are talking to.

Cultural Values: I will be representing the cultural values that individuals who are informed on the subject and how they have developed through interview situations.

Current Problems and Possible Solutions: Through the participants experiences, it will unearth issues which they encounter with Tinder and thus they will go through possible solutions to these issues.

Actual Situations and Specific Ways of Representing Them: As the documentary will be focusing on the reality and the norm of Tinder users, rather than the extraordinary, it will represent actual situations and represent them in a homely manner so you feel genuine connection with the individual on screen.

Has any media work already been produced on this subject? If so, what is new, different, interesting, engaging about your approach?

The Secret World of Tinder  – The secret world of Tinder is a documentary that follows a few of Tinder’s more extravagant user base as they regale us with their stories of the experiences they have had on the app. – Whilst this is an entertaining concept, I am for my documentary to be different in the way that it will be be more informative of a typical user’s experiences, being a fly-on-the-wall perspective as they let you into their dating lifestyle.

Style (Any key stylistic elements in writing, shooting, audio, editing, etc.)

As it’s a documentary, the writing style will be fairly lax. I don’t wish to create it as a structured reality. So, I will ensure that I give them enough subjects to dive into should they lack inspiration and give them the correct direction in the technical side of it all, to ensure that the footage captured is of a high quality both in subject and technically.

When shooting, I want it to be appear informal, like the subject is talking to a friend, so the subject will always been engaging with an individual behind the camera so it helps in creating this atmosphere. Thus, the subject will have a better relationship with the camera and in turn the audience.

In terms of audio, there will be ambient music used for filler between subjects, during title sequences and when it is necessary to create more emotion out of a scene, to keep in line with the documentaries I researched and match the style.

When editing, I want to stick to a similar style throughout, making sure all the cuts stick to the same fashion in the same situation, the titles the same, the font the same and the soundtrack to be consistent. This is so I don’t draw the attention away from the subject matter whilst still appearing professional.

What about the soundtrack?

I will be sourcing all of the music through royalty free websites where I can find a sound that can suit my film for free, minimalising expenses.

Who is working on the project? What similar projects have they done in the past?

I will be spearheading the project whilst having a cameraman with me on certain shoots who has been with me on a few other projects before. Both of us have been involved in various documentary shoots before and are aware of the fly on the wall type angle we want to achieve.

How will this work be distributed?

It will be distributed through film festivals, online platforms such as Vimeo and YouTube and shared through social media. I aim to research much deeper into the subject before deciding completely on distribution methods.

References (2016) How To Write A Documentary Treatment Or Proposal….. [online] available from <; [12 March 2016]

Nichols, B. (1991) Representing Reality. Bloomington: Indiana University Press, p.4.

Production Schedule/Style Sheet

During my pre-production, I decided to create a style sheet/production schedule to give the contributors an idea of the work they will be undertaking. Furthermore, it will serve as a reminder to myself as to what type of events I wish to capture and what progression I will be showing.

I created one schedule for people that have used Tinder before and people who have not, as they will need to be recording different things. Obviously, these are just a rough idea and have to be adapted for events as they happen. Here are both of the filming schedules:

MMD(NT) Contributor Production Schedule-page0001 MMD(NT) Contributor Production Schedule-page0002 MMD(T) Contributor Production Schedule-page0001 MMD(T) Contributor Production Schedule-page0002

Contributor Release Forms/Copyright Forms

After assessing the nature of my project, I came to the decision that both contributor release forms and copyright forms were not a necessary route that I needed to take.

In reference to the contributor release form, it states on the BBC website that they aren’t necessary for “anyone who appears as part of a crowd scene or fleetingly in the background”(, 2016) A person is never the main subject of my photographs, a couple of people appear very fleetingly in the background, but are not even recognisable. Furthermore, I do not represent a company or institution. As I am not making a representation of a particular place, this agreement is not applicable for my production. You can see that from this example Location release form. (, 2016) Therefore, for all the reasons stated above, these forms will not be necessary for my production.

When looking at an example of a copyright form, the main benefit of doing so was for financial gain and protection against distribution without your consent. (, 2016) As my main aim of the project was to provide information about the areas, I want these images to be distributed freely, something I think a copyright may hold back and stop me from achieving these images reaching as many people as possible. Therefore, I do not think a copyright is necessary for my production.

References (2016) BBC – Film Network – Filmmaking – Guide – Legal Guide: Production Agreements [online] available from <; [12 March 2016] (2016) Location Release Form [online] available from <; [12 March 2016], (2016) Fact Sheet P-16: Photography And Copyright [online] available from <; [12 March 2016]

Online Production Portfolio

Branding Development

To market my film, I need to have a distinctive brand that is sleek, modern and says what I do. I had a look at a couple of logos and developed my design around that.


(, 2016)

  • Good spacing
  • Genre of work clearly defined through pictures and writing
  • Sleek font and design.



(Anon, 2016)

  • Very sleek design.
  • Good use of black and white
  • Obvious genre from pictures and words
  • Good, clear font

So, I have taken some of the best aspects of these designs that I have analysed and created my own logo in a similar design.

reilly productions logo

References, (2016) Bio [online] available from <; [10 March 2016]

Anon. (2016) Tagged: Video Editing [online] available from <; [10 March 2016]

Representation Development For Documentary

When thinking of my idea, as it is quite grounded and similar to everyday life, I want the audience to feel this. “In the making of Nanook, the real Nanook has a relationship with the camera that is part of his reality.” (Grant et al. 1998)  I want to convey this type of relationship in my film. I want the contributors to treat the camera as part of their reality. Like it is a friend they are speaking to about their experiences. When analysing Nanook of the North further, we can see that; “Nanook is not a mere “persona”; he is a human being of flesh and blood” (Grant et al. 1998) I want to avoid creating a structured reality esque documentary. I don’t want to create something fake. I want it to be real. So, whilst I will be creating a “persona” around them in order to make an entertaining and relatable character, I will be also taking Nanook’s approach and showing more about them. I will be showing how they are a real person, with real feelings that the audience can hopefully indulge themselves in.

Documentary has the ability to “open our eyes to worlds available to us but, for one reason or another, not perceived”. (Barnouw, 1993) Even though people are generally aware of the idea behind the app Tinder, they will have not had the experience of having such a fly on the wall, behind the scenes look at how an average user interacts with the app on a regular basis. Through the use of having my a week using tinder segment, I hope to show this viewpoint well. When creating my documentary, I should think carefully about what I wish to convey. Through my documentary, I want to show how a new and regular Tinder interacts with the application and their thoughts about the morality, security and dating potential of using Tinder. “We know already that documentary sources do not transparently describe or reveal state of affairs. They help construct them”.(Silverman, 2005) So, when I am showing these messages I should stray away from trying to transparently describe them and instead allow all these issues to arise naturally to help construct the state of affairs in a truthful and productive manner.


Barnouw, E. (1993) Documentary. New York: Oxford University Press. p.4.

Grant, B., Sloniowski, J. and Nichols, B. (1998) Documenting The Documentary. Wayne State University Press. p.25

Silverman, D. (2005) Doing Qualitative Research. London: Sage Publications. p.85.

First Draft of a Script.

I created a very rough first draft of a script. As I will be creating a documentary about people’s experiences that I cannot completely control, it is hard to create a completely nailed down script. Throughout the script, I mention certain topics I wish to cover with them. However, these might not be applicable or other things may take precedent at the time. This script does give a good structure to how the documentary will be edited, defining clear sections.

However, I have felt that using a script in this format has not necessarily been all that helpful, as I am producing in the documentary format. “Scripts are often not used in documentary films—because you cannot predict what will happen when the camera is rolling. In place of a script, filmmakers use treatments, proposals, or even outlines–to describe and help plan a documentary project.” (, 2016) From this information, it leads me to believe I should carry some of this information over to and focus on creating a good treatment/proposal  from my initial outline.


Modern%20Mobile%20Dating%20Script1 (2016) How To Write A Documentary Treatment Or Proposal….. [online] available from <; [12 March 2016]


To ensure that I will be able to viably create this documentary, I have researched into what would be a realistic overall cost for all the potential expenses. To do this, I looked into what it would cost in the industry to hire certain equipment and crew I would require. I have also taken into account other expenditures such as travel and catering.

Below there is the costing information I have retrieved from the Coventry University production rate card and broken down the expected costs for each individual item.

 Cast & Crew:

  • DoP (Cinematographer) -£674
  • Camera Operator  £468
  • Sound Mixer  £469
  • Editor  £674
  • Sound Editor  £674
  • Actor  £400
  • Boom Operator  £377

Equipment Hire:

  • Canon 60D  £60
  • Sennheiser ME66 Rifle Mic  £30
  • Sennheiser Radio Mics  £15
  • Headphones  £5
  • Boom Pole  £4
  • Cables  £4
  • Manfrotto 501HDV Tripod £15


  • Catering – £50
  • Distribution (Festival Entry Fees) – £100
  • Travel – £100
  • Total = £4119

If this equipment wasn’t already available to hire due to being a student at university, this is realistically how much this would cost to produce the documentary per day. This should help in reducing the cost largely having access to equipment and crew. This will be my new budget:

  • Travel – £100
  • Contributors – £400
  • Distribution (Festival Entry Fees) – £100
  • Catering – £50

Total = £650

This budget is a lot more viable, realistically I would not have been able to raise £4119+ in this small time period. However, the £650 should be a realistic target to achieve. To fund the money, I am going to set up a funding page through Indie GoGo. On this page I will outline the major details of the documentary I will be producing and tell the investors to what their money will be going towards specifically.  I will provide artefacts on the page to show potential suitors that the project is viable. Furthermore, I will offer rewards for certain levels of investment to encourage larger donations.