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It appears that the stars are aligning and twinkling once again for Disney. The Star Wars franchise Disney acquired from Lucasfilm in 2012 for $4 Billion is expected to pay big dividends as the Mouse House gets ready for the December release of the latest in the Star Wars series -- "Star Wars: The Force Awakens."
Star Wars is a forever franchise
Since the first Star Wars film came out in 1977, box office revenues have totaled roughly $4.35 billion. Even more exciting, total franchise revenue (including merchandise and licensing) is estimated to be $28 billion. Since Disney acquired the franchise, it plans to bring out a new Star Wars movie every year for as long as people will buy tickets. In most minds, this means forever. By applying its synergy marketing strategy to this forever franchise, Disney gets about as close as you can to a money-making machine.
Disney Synergy
Perhaps no company is better than Disney at taking a character, TV Show, or movie and turning into a money making franchise. In addition to creating a series of movies, episodic TV shows and online serials, Disney takes the characters and licenses them for toys, games, apparel and a wide variety other merchandise. There is even a Mickey Mouse watch face app for the new Apple Watch. In the case of Star Wars, Disney is embarking on a 14-acre expansion of its theme parks that will have Star-Wars themed, lands, rides, attractions, food and characters walking around the parks. If there is a way to monetize a property, Disney will figure it out, and create numerous channels through which to distribute it.
What makes this machine possible?
Of course, at the heart of its ability to make money, is Disney's ownership of content that uses its proprietary cast of characters. Starting with Mickey Mouse, Disney created (or acquired in the case of Marvel and Star Wars) a world of characters and animated actors that are unique to Disney. If you want a product associated with any of these creations, money flows into Disney's pockets. Once created, Disney has the ability to use these characters in television shows, movies, theme parks and just about anywhere and everywhere. They can also license them to others and make money from license fees.
Mickey Mouse Club
Dating back to the Mickey Mouse Club of the 1950's, Disney created a series of brand extensions. The kid actors on the TV Show were called Mouseketeers. The shows targeted young baby boomers that loved to watch them and couldn't wait for the next one. New characters, such as Davy Crockett were created with additional opportunities for merchandise that kids wanted to buy. The Mickey Mouse Club evolved with new young talent including Britney Spears, Justin Timberlake and Christina Aguilera.
Successive generations
After three successful runs of the Mickey Mouse Club, the Disney synergy machine created new characters, such as Lizzie McGuire, played by Hillary Duff and Hannah Montana played by Miley Cyrus. In addition to the TV show, Miley portrayed Hannah on record albums, Disney Radio, and the Disney channel and in "sold out" concert performances. Disney even launched a Hannah Montana clothing line in 2007.
ABC network
Disney-owned ABC network creates a TV and radio platform to promote everything Disney. While the network has not always fared well compared with its major rivals, it gives Disney the potential to spread the synergy to the small screen and radio.
Acquisitions give Disney more opportunities
With the acquisition of Marvel in 2007 and Lucasfilm in 2012, Disney has many more franchising opportunities to leverage the branded characters that already have relationships with many in their target audience. The parents that have a relationship with these characters can pass on, and share their experiences with, their kids. From the success of the movies, books, comics and related merchandise, this acquisition appears to be a windfall for Disney and its shareholders.
Cross-branded product placement deals
Disney's Marvel studios has struck a lot of cross-branding product placement deals with Dr. Pepper, Audi, Samsung, Kia, Acura and Southwest Airlines to name a few. Disney's Star Wars has cross-promotions with the NFL, Target, Kraft, Amazon and many others. In addition to the brand building potential of these deals, the revenue possibilities for both parties is also exciting.
Social media
In the case of Star Wars, the first trailer appeared just before halftime of the Giants and Eagles game. Viewership of the game peaked as the trailer aired. In just the first hour after the trailer appeared...

1.3 million people were engaged in 2.1 million interactions about it on Facebook,

Fans on Twitter tweeted about the trailer an average of 17,000 tweets per minute,

Movie ticket web sites crashed.

As of this writing, there have been nearly 69 million views of the official version of this trailer on YouTube, and a variety of free Star Wars apps are available to fans that want up to the minute news of just about everything Star Wars.
Trade shows
In mid-April of 2015, a Star Wars celebration was held in Anaheim near Disneyland that attracted 60,000. In July (2015), Star Wars director, J.J. Abrams and original Star Wars cast members Harrison Ford, Mark Hamill and Carrie Fisher were on hand at ComicCon in San Diego to unveil the 2nd trailer.
What businesses can learn
If you achieve uniqueness and desirability in your brand and products, you can augment your revenue model in many synergistic ways. You can...

1. Merchandise. Create additional products that promote your brand such as t-shirts, coffee mugs, mascots and other promotional items you can sell or give away.

2. Partnerships. Strike licensing and product placement deals with business partners that will promote and distribute your products via their channels.

3. E-commerce. Make electronic versions and themed apps of your products available on your Web site and via other online distributors.

What gives you control and enables you to expand your revenue model is the uniqueness and desirability of your brand and your various products. Uniqueness that provides clear benefits to your target audience is a wonderful thing to have because at some point in the purchase process somebody in the distribution channel has to pay you.

Star Wars and Marvel characters provided a whole cast of unique brands, and Disney's marketing machine is able to find more and more value in these brands from their movies, TV shows, radio stations, toys, theme parks and licensing. Moreover, they can distribute them through a variety of lucrative channels including their Web sites and Disney stores. It's amazing that this all started with one little animated mouse.

Hopefully the Disney synergy machine will give you some ideas as to how you can extend and better monetize your brand. Best of luck.

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The Disney Synergy Machine: What Businesses Can Learn

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It appears that the stars are aligning and twinkling once again for Disney. The Star Wars franchise Disney acquired from Lucasfilm in 2012 for $4 Billion is expected to pay big dividends as the Mouse House gets ready for the December release of the latest in the Star Wars series -- "Star Wars: The Force Awakens."

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It's not just the most successful film franchise in history - James Bond is also a shop window for the best of British manufacturing. To celebrate the release of Spectre, we reveal who's seeing the action when the lights are ready and the cameras roll
Bond means business. Not just the gritty determination with which he carries out his outlandish espionage missions, but the vast commercial impact this powerful cultural icon has on the country he serves so proudly.

We're talking about a franchise which, ever since Dr No hit cinemas in 1962, has featured products made in every corner of the UK industrial network: from the Isle of Skye (Talisker whisky) down to Poole, Dorset (Sunseeker yachts) via Hethel, Norfolk (Lotus), Castle Donington, Leicestershire (Norton Motorcycles) and Coventry (Jaguar Land Rover).

And it's not just the nation's manufacturing plants, but its creative hubs and tourist industry that bask in the massive trickle-down benefits of a decades-spanning movie series.

British films contribute more than £4.6bn to the country's GDP and more than £1.3bn to the exchequer, according to an independent report published last year by Oxford Economics.

"Demand from our customers to see the 24th Bond film has been huge, and highlights the incredible appeal and longevity of this franchise - how its popularity transcends generations and genders," says Tim Richards, Founder and CEO of Vue International, the largest cinema group outside of the US. "The sheer number of Bond fans out there is staggering, reaffirming that Bond is an important part of Britain's cultural landscape and cinematic experience."

The Bond effect is not lost on VisitBritain, whose campaign around Skyfall included promotion in 21 countries, with a chorus of cinema, press and outdoor advertising created around the slogan 'Bond is GREAT Britain'.

The tourist authority claims that international promotional coverage reached 653 million people, equivalent to £3.5m-worth of exposure, and that 16 per cent of those who recalled the campaign subsequently booked a trip to Britain (incidentally, visitor numbers to Glencoe, Scotland, a key location in the film, rose 41.7 per cent).

The revamped version of the 'Bond is GREAT Britain' campaign being launched for Spectre will pull the stops out even further, reaching out to more than 60 countries and adding digital and social media to the mix (including exclusive behind-the-scenes footage for streaming on its dedicated campaign page, which also features immersive 360-degrees images of locations in the new movie, including Blenheim Palace, Westminster Bridge and City Hall).

"The potential of 'set-jetting' in promoting destinations to international visitors is becoming an influential source of tourism," VisitBritain's chief executive Sally Balcombe tells Director.

"The launch of the latest Bond film and VisitBritain's tie-in provides a lucrative opportunity for us to inspire even more visitors to holiday in the home of Bond." No doubt previous filming locations such as The Four Seasons Canary Wharf, Stoke Park and Chalfont Park House in Buckinghamshire will be willing the new campaign's success.

What VisitBritain is seizing upon is the fact that a Bond release is like Christmas - much of the commercial potential lies in the buzz of the build-up. And at the focal point of that build-up is the Bond theme tune: something which occupies a vibrant commercial ecosystem all of its own.

Spectre's theme, Writing's on the Wall by Sam Smith, has received a mixed critical response (causing Shirley Bassey's Goldfinger to spike massively on Twitter), but landing the gig at all puts Smith and his label, Capitol Records, at the centre of the media maelstrom.

"While the film is always the ultimate star, the theme tune and artist are at the core of the advanced PR storm," says AEG Live's Colin Chapple. "The single shouldn't be the only measurement of success - awareness of the artist will be spread across the globe. People will be merrily humming along to it for many years to come."

The longevity of Bond-related commercial fallout is worth dwelling on. Consider the domestic collectors' market, which sees fans clamour to part with money for rare collectibles whenever a new release comes out.

The price of one first-edition copy of Casino Royale, sold four times over by the same Fulham bookshop, Peter Harrington, increased by almost 130 per cent over 11 years - from £22,000 in 2002 to £50,000 in 2013 - its value bolstered in 2006 when Daniel Craig's debut lit up Fleming's first Bond novel with a contemporary flare.

Meanwhile artwork for You Only Live Twice and Thunderball is expected to fetch up to £1,800 and £3,000 respectively in an online auction of original Bond film posters being held by Christie's London to coincide with Spectre 's world premiere.

Then, of course, there's the much-debated area of on-screen roles for luxury products - something producer Barbara Broccoli defends by pointing out that Fleming's Bond lived in the moment in response to his perilous circumstances.

But for every household-name luxury British brand appearing in the movies, there's a host of lesser-known ones - such as the purveyors of hand-blown, cut-crystal tableware Cumbria Crystal, whose Grasmere Double Old Fashioned glass has been Craig's whisky receptacle of choice throughout his tenure as 007.

"There's a direct correlation between a broadcast or release of a film and the sales of our glass," says the company's managing director, Chris Blade. "After a recent airing of Casino Royale on TV, 39 orders for that glass used by Daniel Craig were taken in only a few days. People aspire to the luxury, dramatic and carefree lifestyle portrayed by James Bond, and the product being portrayed in the films makes it possible for those of us not licensed to kill to indulge our fantasies and savour a little of the associated panache."

"We're a small British brand fighting to get recognition on the world stage - our major competitors have vast marketing budgets we cannot hope to match - so our Bond association gives us incredible exposure; to be operating alongside such brands as Omega, Bollinger, Aston Martin and so on is exactly where we wish to be."

Elliot Mason of Anthony Sinclair - the tailoring firm which dressed Sean Connery for the early movies - points to the powerful impact of online interaction when it comes to the Bond effect on menswear sales.

"There are several branded jackets he's wearing in the new film, including ones by [London brands] Matchless and John Varvatos, and the moment they go live on websites they sell out instantly," he says.

"There are forums of Bond fans online 24/7 trying to identify every single item of clothing he wears, and then trying to get hold of them. Even down to his underpants - he's wearing Sunspel in the new film, and they're all buying those now."

The chief executive and co-owner of Sunspel, which also designed the Riviera polo shirt worn by Craig in Casino Royale, describes the company's involvement as "an extension of our word-of-mouth approach to marketing".

Bond's commercial reach extends way beyond the box-office receipts, the hype-soaked theme tune and the on-screen luxury cars, champagnes and ultra-luxe accessories, though.

What of those who do the meticulous digital playback polishing provided by The Digital Orchard, the archivist which handles Bond material for Getty Images and the London Film Museum, or the operational support staff for Flying Pictures, the London aerial filming company founded by former US army helicopter pilot Marc Wolff which now has 13 Bond films on its CV? Or the boffins behind tiny Greater London firm Selectamark Security Systems' unique identity signature, which will be protecting the Jaguar XKR roadster used in Die Another Day, among other vehicles, at the world-renowned National Motor Museum in Hampshire?

How many people took part in either designing, manufacturing, packaging or delivering the night-vision goggles commissioned by UK cinemas to give staff as part of a crackdown on movie piracy being prepared in advance of Spectre 's cinematic release? Or facilitated the digital format releases of every movie, along with spin-off products such as Hornby's special Spectre Scalextric set? Or designed and coded websites for gamblers wanting a punt on whether John Hamm, Henry Cavill or Idris Elba will one day replace Daniel Craig as 007?

For anyone with a stake in Britain's economy, every new Bond release surely offers more than a quantum of solace.
Click here to see VisitBritain's exclusive behind-the-scenes footage from Spectre. The half-sibling co-producers behind a mammoth movie series
If you're convinced that no woman ever has a long-term relationship with the world's most famous gentleman spy, think again. "He's been with me since I was born," says New Yorker Barbara Broccoli, whose father was the original James Bond co-producer (with Harry Saltzman) Albert R 'Cubby' Broccoli and who is now vice president of production and development at Eon Productions and holding company Danjaq LLC.

"Until I was seven, I actually thought James Bond was a real person. My father would talk endlessly about him at the dinner table. I was fascinated by this man, and couldn't wait to meet him."

Since 1995, Broccoli has been co-producing the Bond films with her half-brother Michael G Wilson, who is Broccoli senior's stepson. But there was no silver spooning - the siblings were made to work their way up to the summit of the Bond hierarchy.

"I started as an assistant and worked through so many different departments, then as an assistant director on Octopussy," says Broccoli, who earned a film degree at the Loyola Marymount University, Los Angeles, before taking to the set. "Bond was my education, my evolution. And I got to work with Cubby closely. I was with him day and night."

"It was something that was going on for so long that when you resolve it, you think, 'Wow, that's all over,'" she says.

Agreeing to postpone production (at one point Spectre was due for release last summer), they slowly convinced the stage and film auteur to oblige. "Sam is the sort of person who takes a challenge," explains Broccoli. "If he doesn't think he can do any more, he won't come back, but we presented him with some ideas where he felt he could be challenged."

Respectful collaboration is key to the relationship, she says, as it is to the production dynamic. "If we want to [shoot a costly sequence], we may have to cut somewhere else and [Mendes] is very open to that. All of our departments are very collaborative - our art department is extraordinary that way. They're problem solvers and that's what it is in movies - how you spend the money. We want it all up there on the screen."

Also key to Broccoli and Wilson's management philosophy is creating a sense of camaraderie on set - which trickles down from the very top all the way to the 1,500 extras used in a Spectre action scene set at the Day of the Dead parade in Mexico City, which Wilson likens to "a military operation".

"[The extras] have been very good natured," adds Broccoli. "It's part of the cultural heritage of Mexico so they're really happy to be a part of it. We try to give them a good lunch and take care of them. The team - costume designers, make-up and hair - it's very exciting for them. It makes everybody step up to the plate."

So what about the rapport between this extraordinarily successful, half-brother-and-sister production duo? "It's very calm," she says, "not what you'd expect from siblings. There's no conflict - that's why it's successful. We're always on the same wavelength and much of that has to do with Cubby. We have good ideas and intuition, like him. It's travelled down the generations."
The world-famous Pinewood reaps the rewards of the British film industry's rude health
Th e James Bond of Ian Fleming's sharp prose resided on a trendy tree-lined square off London's King's Road. But the home of the movie juggernaut that arose from Fleming's 14 Bond novels is surely the 200-acre estate near Iver Heath, Buckinghamshire, that goes by the almost mythical name of Pinewood Studios.

Founded by flour mill magnate and fervent Methodist, J Arthur Rank, with a view to making movies to spread the Gospel, Pinewood was also behind musicals Bugsy Malone, Chitty Chitty Bang Bang, Les Misérables and Mamma Mia!, and all 31 Carry On films.

But, as Skyfall and Spectre director Sam Mendes once put it, "Pinewood is the spiritual home of James Bond." Apart from Moonraker, Licence to Kill and parts of GoldenEye, all the Bond movies, from 1962's Dr No onwards, have essentially used Pinewood as their production HQ. The site boasts the famous 007 stage, the M16 bunker and the site of the Tube disaster scene in Skyfall, as well as a Goldfinger Avenue and another road named after former Bond producer Cubby Broccoli.

Pinewood's year hasn't been entirely rosy. It recently emerged that its chairman since 2000, Lord [Michael] Grade, has sought re-election only once since 2010, which piqued the not altogether favourable interest of one activist investor. But, thanks in large part to income generated by the production of Spectre, the studio celebrated its 80th birthday in May having increased revenue by 17 per cent from £64.1m to £75m over the year to 31 March, with operating profit increasing from £4.9m to £5.8m in that time.

It's also recently won permission for a £200m expansion of its main site and, adding to the second Pinewood studio in Shepperton, Surrey, a new branch opened just outside Cardiff earlier this year (there are also facilities in Toronto, Atlanta, the Dominican Republic and Malaysia).

Recent rumours that Hollywood would start moving European operations to eastern Europe have proved unfounded, and now the European Union has approved film production companies claiming 25 per cent tax relief against the cost of production.

Meanwhile Star Wars: The Force Awakens promises to be another global smash hit, and the Bond juggernaut looks set to roll on indefinitely. It would seem that the future is bright for a commercial entity which doubles as the nearest thing James Bond - the movie iteration, that is - has to a home.

Watch: Spectre, the royal world premiere - live from the red carpet

Streamed via Sony Pictures Releasing UK

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It's not just the most successful film franchise in history - James Bond is also a shop window for the best of British manufacturing. To celebrate the release of Spectre, we reveal who's seeing the action when the lights are ready and the cameras roll Bond means business.

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http://www.econtentmag.com/Articles/Resources/Defining-EContent/What-is-Digital-Content-79501.htm

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These days, you can't go one mouse click without stumbling on digital content. Also known as digital media, digital content comes in many forms, from text and audio and videos files, to graphics, animations, and images. Typically, digital content refers to information available for download or distribution on electronic media such as an ebook or iTunes song, but many in the content industry argue that digital content is anything that can be published. Following this line of thinking, it is safe to say that if you are on the internet, most likely you are looking at, watching, or listening to a piece of digital content.

Who Creates Digital Content?

Everyone! If social media has taught us anything, it is that we are all content publishers, whether we like it or not. This includes media companies to SMBs to content entrepreneurs. If digital content is considered any piece of information that is published, that means with every tweet you share, every video you upload to Facebook, and every time you update your blog, you are taking on the role of a digital content creator.

Free vs. Paid Digital Content

Perhaps one of the biggest hot button topics surrounding digital content is the free vs. paid content debate. Should consumers pay for their digital content or should it be given to them for free? If it is provided for free, can a business still make money from their content? This debate is especially pertinent in the entertainment and media industry, which has come under fire in recent years regarding how digital content such as movies and music is handled online.

The rise of paywalls such as Netflix and Disney+ has created a new acceptance for paid digital content. This has led to the growth in companies like Substack, that provide paywalls for journalists and newsletter writers.

In summary, both the free and paid business models can exist simultaneously.

The Future of Digital Content

With so many different types of content available, the question plaguing information experts today isn't what kind of content to create, but how to deliver it. With the continued popularity of smartphones, tablets, and eReaders, the average consumer now has a variety of options to turn to besides their computer to get the latest piece of digital content. Therefore, to be successful in the digital content realm, content creators must determine the best way to present their digital content to consumers. Maybe it is an ebook. Maybe it is an app. Maybe it's an email newsletter (like The Tilt). The right choice depends on the needs of the audience and how much control you want or need over the content (for example, email gives the publisher more control, while social media gives the publisher less control).

The point is, when everyone creates content, the ones that survive are the ones that actually have a business strategy for their content. That's why we are strong proponents of the Content Inc. business model, which can be used by any-sized organization as a business model for content creators.

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These days, you can't go one mouse click without stumbling on digital content. Also known as digital media, digital content comes in many forms, from text and audio and videos files, to graphics, animations, and images.

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DOCUMENTARY TIP #7: Writing a Strong Treatment

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Documentary tip about getting an agent for your documentary ideas

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SWOT Analysis: Find Opportunities, Eliminate Threats

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SWOT Analysis is an effective business tool, and helps you to analyze your organization's strengths and weaknesses, find opportunities, and prepare for threats.

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Corporate finance examples- TV production 

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Corporate finance examples- TV production 

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New financing products designed to help UK businesses thrive in a changing global marketplace

Barclays has launched a £100m fund to provide UK TV production companies improved access to finance and enhance their ability to compete internationally. The fund, the first of its kind from a major UK bank, has been established with new, innovative financing products that have been designed to meet the evolving needs of the TV sector.

The rise in popularity of SVoD (streaming video on demand) services led the Barclays Media team to consider how it could improve the types of funding provided to better support its TV clients. Conventional TV production loans are repaid as the content is delivered with the broadcaster paying the production company and funder simultaneously. With SVoD, revenues are often spread over a much longer term, which can present funding challenges.

As a result, the Barclays Media team recognised that the nature of its loan structure had to change, so as part of the new £100m fund they developed Barclays SVoD Financing to more closely match the funding requirements of companies working with SVoD distributors. The product allows these companies to borrow money over a longer period, enabling them to use the funds to develop more ideas and programmes, which in turn supports more sustained employment and helps them to grow more quickly. It also means that broadcasters and SVoD distributors can manage their cashflow more efficiently.

Lorraine Ruckstuhl, Head of Media at Barclays Corporate Banking said: "The creative industries in the UK are world famous due to the range and quality of content they produce. The TV industry specifically is in a really exciting place and is evolving at pace, with more than 250,000 people in the UK employed in the sector. We've been supporting TV production with a dedicated Media team for over 30 years, and know that to meet the needs of our clients we have to adapt with them and with the viewing habits of the public. That's why we created this fund and developed Barclays SVoD Financing, to help UK SMEs continue to compete both in the UK and internationally, support increased employment, and create even more great programmes."

One of the first companies to benefit from the new fund is Roughcut Television, the UK's leading independent comedy production company responsible for bringing shows such as Trollied, Cuckoo and People Just do Nothing to our screens.

The new funding through Barclays SVoD Financing involved the bank purchasing Roughcut's Netflix receivable, giving the company the upfront cash benefit of the multi-year contract for the streaming of their BAFTA nominated comedy Cuckoo.

Roughcut's commercial director Tim Sealey said: "Netflix are notorious for paying over a long period, our arrangement with Barclays enabled us get access to the cash much earlier which meant that we could put it to work by investing in further development. Another side benefit is that it improves our relationship with the writers and artists as they get their royalties quicker too."

Barclays was the first UK bank to set up a dedicated Media team in 1986, and was also the first to develop the three-way lending structure that brings together the broadcaster, the production company and the bank to allow productions to be funded via a bank loan. The establishment of the £100m TV fund and innovative SVoD product are the latest examples of how the bank continues to adapt its propositions to meet the needs of the TV industry. In addition to Barclays SVoD Financing, the team has a range of lending options for TV companies of all sizes, from vanilla production based loans, to Revolving Credit Facilities for larger businesses.

The creation of the TV fund follows the success of Barclays' £200m venture debt fund, which continues to address the funding gap for scaling businesses as part of the bank's commitment to supporting high growth companies and entrepreneurs.

About Barclays

Barclays is a transatlantic consumer, corporate and investment bank offering products and services across personal, corporate and investment banking, credit cards and wealth management, with a strong presence in our two home markets of the UK and the US.

With over 325 years of history and expertise in banking, Barclays operates in over 40 countries and employs approximately 120,000 people. Barclays moves, lends, invests and protects money for customers and clients worldwide.

For further information about Barclays, please visit our website www.home.barclays .

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Barclays launches £100m fund to support UK TV production

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New financing products designed to help UK businesses thrive in a changing global marketplace Barclays has launched a £100m fund to provide UK TV production companies improved access to finance and enhance their ability to compete internationally.

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We are the best at what we do. One of the reasons for this is that we are experts in this industry and give people the advice and training they need to be successful (Not that everyone listens!). So, we thought we would put together a blog with some examples of successful crowdfunding and show why they were successful.
Athletes

When Sophie Rooney joined PledgeSports she immediately inspired us with her project - becoming the first women ever to run the E1 Trail through the entire length of Scandinavia (3,630km!).

Sophie had this great motto, "Dare Mighty Things", which she used to brand her project and spread her message through her social media profiles. Sophie produced great content and took great pictures, this really help us as we could then produce some great content about Sophie to sell her story.

The result of Sophie's hard work on social media was duly reflected in a very successful fundraiser - Click here and take a look for yourself!

Six months before Kasete Skeen teamed up with PledgeSports he smoked, drank too much, had a poor diet and didn't exercise at all. Yet, he arrived at the decision that he wanted to become Tonga's first ever Winter Olympic skier!

Kasete underwent a huge transformation - giving up the cigarettes, improving what he ate, sticking to a rigorous training regime and losing 25 kilograms in the process. He was fully determined to achieve his goal, so much so he quit his job as Operations Manager at Holland Park Opera in September.

Kasete had a great story and he was very good at telling it, he too produced great content and being this marketable he was sure to be a success! Check it out!

Teams

When Irish Mens Hockey team came to us they had a shortfall of €250,000 in funding. The team had just become the first Irish team to qualify for an Olympics since 1948, but if they were going to get to Rio they were going to need a huge amount of support from their fans.

The team created their project and each team member began sharing with their family and friends and fans. They played a blinder in fan engagement and the hockey community really rallied behind them.

Of course this engagement then drew the attention of the media and a much wider audience who wanted this team to succeed. From there, the message spread and 430 people ultimately supported the team's fundraiser. In the end, they raised over €50,000 and were the most successful team crowdfunding campaign at Rio 2016. Click here to see their fantastic project!

Organisation

Tennis Ireland is the official governing body over all tennis in Ireland. After their elite junior players excelled in the '13 and '14 seasons, Tennis Ireland joined PledgeSports to generate funding that would give their elite juniors the best shot at making the ATP and WATP orifepssional tours in the near future.

Having one fundraiser for 14 players instead of 14 individual fundraisers made life much easier for Tennis Ireland. It meant that all focus could be placed on one project.

Having a single project for a team is much more effective for social media marketing as it lets each person involved share the same project, rather than confusing people with multiple fundraisers. The money raised went towards covering some of the training and travel costs of an elite squad within Tennis Ireland. It certainly paid off for them - see for yourself here!

Films

Al Aire Films and British Paralympic gold medalist Karen Darke had a vision to create a documentary which would allow the viewer to see the Rio 2016 Paralympics through the eyes of an athlete. They had tried to crowd fund with Indiegogo but had little success with it.

In a testimonial following their fundraiser, Al Aire Films said, "After some research, we found the PledgeSports.org crowdfunding page; perfect for us as it's all about sport and personal athletes achievements."

We wrote a press release for this project and attracted some media attention which got the ball rolling in their fundraiser. We also did a sponsored Facebook post to spread raise awareness of the fundraiser and attract attention from Paralympic fans, Olympic fans and sports fans in general.

Those involved in the project did the same, posting quality photos and video clips on social media to engage their followers and create a buzz around their fundraiser.
Check out their incredibly successful project here! PledgeSports are a revolutionary platform for crowdfunding and sponsorship in sport. Are you or someone you know raising money for sport in 2017? If so, get in touch with us via info@pledgesports.org or visit our site and hit "Create A Campaign" to start today.

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Examples Of Successful Crowdfunding | Pledge Sports

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We are the best at what we do. One of the reasons for this is that we are experts in this industry and give people the advice and training they need to be successful (Not that everyone listens!). So, we thought we would put together a blog with some examples of successful crowdfunding and show why they were successful.