It is alleged that we are living in a Golden Age – to borrow a movie industry cliche – of independent cinema. UK independent production expenditure has risen by more than 67% in the past decade; in the last year  year we've seen titles such as T2 Trainspotting and Baby Driver rake in record box office revenues of £17 million and £13 million respectively. And if this is indeed the Golden Age, what better way to breathe it all in than at the Raindance Film Festival, one of the most iconic fixtures in the movie industry calendar, which returns to London until 7 October to once again champion British film and celebrate the power and spirit of the indie scene.

One major reason for the vibrancy of today's indie market is the reduced cost of filmmaking. Today, budding filmmakers need only a cell phone or a low cost digital camera to produce visually credible offerings, while production costs and those of post-production have also fallen.

Yet despite these pronounced benefits, there are many talented individuals within the industry finding the market to be increasingly crowded, confusing and demoralising.

To better understand the problem our team sat down with Raindance and British Independent Film awards founder Elliot Grove to ask about the impact he's seen from this lower cost barrier to entry within movie-making. Grove explained, "That's all good, but the bad side is that because it's so cheap to make movies, the marketplace is flooded with movies made by people learning. I'm trying to say politely they're not very good. And the problem with a lot of people I know that make movies that aren't very good is that they become discouraged and give up."

So, while the barriers to entering the film industry may have lowered, the quality of debutant output is hugely variable, with genuinely talented young moviemakers attempting to navigate their way into a market that's increasingly flooded with under-cooked content from people still learning their craft. Furthermore, the stage for competition looks increasingly global.

"The year I started Raindance, there were only something like eight British films made… They'd put them in the 'World Cinema' strand," said Grove. "On our programming deadline for the 2018 edition we had 13,500 submissions from 129 countries: shorts, features, documentaries, VR projects, and music videos. So you're competing with not just the best in Britain but the best all over the world. It's a very different kettle of fish."

Herein lies the challenge. The competition for recognition is tougher, while for individuals access to meaningful on-the-job experience is still hugely difficult to come by. Education, it seems, is the biggest barrier to the growth of new talent, while psychologically, the cost of repeated failure can take its toll and force people away before they've ever had a chance to come good.

Grove argues fervently in favour of perseverance. "You need to remember that the industry had created this mystique of how it's so difficult and it isn't. All you need is an idea for your film – a script, a camera and actors. Filmmaking is just exposing actors to your camera recorder; it's that simple. Be prepared to make mistakes. Start with very modest things that you can do in an afternoon. And you'll learn, real quick."

It's also worth remembering that as an organisation Raindance was founded as a thought experiment, so that Grove could give a platform to the swathes of British independent talent that had been ignored by mainstream film festivals, to see if he could challenge the 'snobbery' he'd encountered. It may be a far cry from the grandeur of this year's festival, but as Grove pointed out, "When someone said to Thomas Edison 'Oh, you invented the lightbulb,' he replied 'I failed at it 1,000 times before I made it'. I think it's a very good thing for us to remember, as we struggle with the day-to-day of our creative projects."

With more filmmakers taking their careers into their own hands, this is Grove's mantra: keep going, and recognise and appreciate the importance of constructive failure in the creative process. As for the Raindance visionary himself, Grove shows no sign of ceasing his fervent support for the 'outsiders' of cinema. "Often, the things we believe in – and the things that filmmakers with us believe in – fall outside of 'normal/socially acceptable' entertainment. Recently, we had over 40 people here for a class and I popped my head in – young and old, grey and blonde, brunette, from all different nations and religions, united by one common goal of how to get that damned film out of your head onto paper, onto a screen and, then, in front of an audience."

Philip Large is the CEO of world leading networking/recruitment platform for the entertainment industry, The Mandy Network, on Facebook here and Twitter here.