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Enter your budget, the share you are holding back for everything that is not a creator fee, then a share of the rest and a fee per creator for up to three groups. The calculator divides the money, counts the placements each group buys and shows what is left over. Every fee in the maths is one you typed. This page supplies none of its own.
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A budget on its own buys nothing until it meets a price. This calculator asks you for the price. It takes the fee you were actually quoted for each group of creators, divides the money you allocated to that group by that fee and counts what fits. Nothing in the page knows or guesses what a creator costs.
The money that reaches creators is the budget minus everything else the campaign has to pay for. Set that share once and the calculator works the split on what is genuinely left. Seeing the creator pot as a smaller number than the budget is usually the first useful thing the arithmetic tells you.
Divide an allocation by a fee and you almost never get a whole number. The calculator rounds every count down and shows the money the rounding stranded inside each slice. That stranded money is real. It is the most common reason a plan that looked exact on a spreadsheet comes in under budget.
A campaign budget is almost never a pot of creator fees. It is a pot that creator fees come out of, after several other things have taken their share. If you divide the headline number by a fee you will always overstate how many creators you can afford, and the gap only shows up when the invoices arrive.
So the first job is not division. It is subtraction. Decide what the budget has to pay for that is not a fee to a creator, take that off the top and only then start dividing. The calculator asks for that share as a single percentage because a single percentage is something you can actually estimate early, before any of the individual costs are known.
None of those need to be exact for the split to be useful. If you hold back too much you will see it in the unspent line and can put some back. The point of doing it as a share is that it forces the question early. A plan built on the full budget and then corrected later tends to be corrected by cutting creators, which is the part of the plan you were trying to protect.
If you genuinely have no costs outside creator fees, set the held-back share to zero and the calculator divides the whole budget. It makes no assumption either way.
There are two directions you can approach a campaign from. You can start from the plan and add up what it costs, or you can start from the money and ask what plan fits inside it. Both are arithmetic. They are not the same arithmetic and they answer different questions.
This calculator runs in the second direction. The budget is fixed, so the output is a count. That is the right direction when the number came from somewhere you cannot argue with, such as a quarterly allocation or a line already signed off. You are not asking what the campaign should cost. You are asking what shape of campaign the money will actually support.
When the budget is fixed, every decision becomes a trade against a count. Paying more per creator means fewer creators. Holding back more for production means fewer creators. Moving share towards an expensive group means fewer creators overall but a different kind of reach. The count is the thing that moves, so the count is what the tool reports.
That is also why the calculator gives you three groups rather than one. A single fee and a single budget is one division you can do in your head. The reason to use a tool at all is that real plans mix fees, and the mix is where the arithmetic stops being obvious.
If you want to run it the other direction, start from the plan and total it, the cost calculator does that instead. The two tools share no numbers and neither feeds the other. Use whichever matches the question you are actually being asked.
Type the budget, the holdback and three pairs of numbers. The split, the counts and the remainder appear at once.
Every line says which numbers were divided or added to produce it, so you can redo it by hand and get the same answer.
The calculator has no opinion on what a creator should cost. It only arranges the fees you were quoted.
Price a single deal with the rate estimator, total a whole programme with the cost calculator, then judge the result afterwards.
The maths runs in your browser. No budget, no fee and no creator name is sent anywhere.
The calculator calls them group A, group B and group C on purpose. It does not know what your groups are and it does not need to. A group is any set of creators you would pay roughly the same fee. What makes them a set is up to you.
Whatever the cut, the arithmetic is the same. Each group takes a share of the creator pot, that share is divided by the fee you typed for that group and the result is rounded down to a whole placement. The shares have to add up to 100 percent, because they are shares of one pot. If they do not, the calculator tells you what they currently add up to rather than quietly normalising them for you. A split that does not add up is usually a sign that a group was added and the others were never adjusted.
You do not have to use all three. Leave a group's share at zero and it drops out of the result entirely. Two groups is a common and perfectly good shape. One group turns the tool into a single division, which is fine if that is genuinely your plan.
Every slice of the pot gets divided by a fee, and almost no division comes out even. The calculator rounds the count down and reports the money that could not buy a whole placement. It does this per slice and then once more for the whole plan.
That stranded money is the difference between a plan that looks fully committed and a plan that actually is. It is also the easiest money in the campaign to use well, because it is already approved and not yet promised to anyone.
The last case is worth watching for. If a group's share of the pot is smaller than a single fee in that group, the count is zero and the entire allocation sits unspent. The calculator shows this as a zero count rather than rounding up to one, because rounding up would mean promising money the budget does not have. A zero against a group you care about is a clear instruction to change the split or renegotiate the fee.
Leftover money is not a mistake to hide. Decide what it does before the campaign starts. Common answers are an extra placement in the cheapest group, a contingency against a creator dropping out or a small amount of paid amplification on whichever post performs best.
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The calculator divides the money actually committed by the placements it actually bought and calls that the blended fee per creator. It is a different number from the average of your three fees, and the difference matters when you report the plan to someone else.
The average of three fees treats the groups as equally important. The blended fee weights each group by how many placements it bought. A group with a high fee buys few placements, so it pulls the blended figure up only a little. A group with a low fee buys many, so it dominates. The blended fee therefore describes the campaign you are actually running rather than the menu you chose from.
Use it as a single comparable number across plan versions, not as a rate. If you move share from an expensive group to a cheap one, the blended fee falls and the count rises. That is the whole trade, visible in two numbers. If you raise one fee and keep the shares fixed, the blended fee may barely move while that group's count drops. The blended fee is a summary, so always read it next to the counts it came from.
It is also the number to carry into any later calculation. Dividing the creator fees by the placements bought gives a figure you can multiply back up without the rounding drifting on you, which an average of the quoted fees will not do.
If the count is zero the blended fee has nothing to divide by and the calculator shows a dash rather than a number. A dash in that cell always means the split bought nothing, not that something went wrong.
It will not tell you what to pay. There is no rate band in this page, no suggested fee, no tier table and no comparison against anything. If you have not been quoted a fee yet, the calculator has nothing to work with and will say so by asking for the number.
That is a deliberate limit rather than a gap we intend to fill later. A fee depends on the creator, the deliverable, the usage rights, the exclusivity, the timing, the market and how much either side wants the deal. Any single number that claimed to cover that would be wrong for almost everybody who read it, and it would be wrong invisibly, inside a result that looks precise.
The last point catches people out. The calculator counts placements, and a placement is whatever one fee buys. If your quoted fee covers a post plus three stories, then every count on the page is in units of post plus three stories. The arithmetic is correct either way. The label is yours to keep straight.
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The figures that follow are made up purely to show the arithmetic. Not one of them is a rate, a band or a suggestion, and typing your own into the calculator reruns every step on those.
Say the budget is $50,000 and you hold back 30 percent for product, production and fees. The held-back share is $15,000, so the creator pot is $35,000. You split that pot 50 percent to group A at a fee of $1,200, 30 percent to group B at $450 and 20 percent to group C at $4,000.
The group C line is the interesting one. A fifth of the pot buys a single placement and strands $3,000, which is three quarters of another fee. On these made-up numbers the split is leaving real money on the table, and the fix is a choice rather than a calculation. You can move group C share into group A and buy two more placements there, raise group C share until it reaches a second fee or drop group C and rebalance across the other two.
That is what the calculator is for. It does not tell you which of those is right for your campaign. It tells you what each one costs in placements, immediately, in the units your own quotes are already in.
The calculator is free with no signup. When the split is settled and you need names against each slice, the full platform adds discovery, audience data and authenticity scoring.
Take the budget, subtract everything the campaign has to pay for that is not a creator fee, then divide what is left by the fee you were quoted and round down. The rounding matters because a fraction of a placement buys nothing. This calculator does those three steps across up to three groups of creators at once, using only fees you type in. It holds no rate data of its own, so if you have not been quoted a fee yet there is nothing for it to divide by.
Because a fee that would be right for you is not something a web page can know. What a creator charges depends on the creator, the deliverable, the usage rights, the exclusivity, the market and the timing. A single suggested number would be wrong for almost every reader, and it would be wrong invisibly inside a result that looks precise. Asking you for the quote keeps the output as reliable as the input and no more.
That depends on what your campaign pays for outside creator fees, so only you can set it. Product at your own cost, postage, separate content production, paid amplification, platform or agency fees and internal time all sit outside the creator pot. Set the share to zero if none of those apply and the whole budget gets divided. If the unspent line comes back larger than you expected, lower the holdback and run it again.
Rounding up would commit money the budget does not have. Take made-up figures. If a slice holds $17,500 and the fee is $1,200 then 14 placements cost $16,800 and 15 would cost $18,000, which is $500 more than the slice contains. The calculator rounds down and reports the $700 that is left, so the plan always fits inside the budget. The leftover is shown per slice and in total because it is usually the easiest money in the campaign to redeploy.
Its share of the creator pot is smaller than one fee in that group, so the money never reaches a whole placement. The calculator shows zero and leaves the whole allocation in the unspent line rather than rounding up to one. A zero is a useful signal rather than an error. It means that group needs a bigger share, a lower fee or no place in this plan at all.
Yes. It is free and there is no signup or card. The arithmetic runs entirely in your browser, so no budget or fee is sent anywhere. It pairs with the cost calculator if you want to total a plan from the bottom up instead, and with the UGC, gifting and whitelisting calculators for the specific cost shapes those deals have. When the split is settled and you need creators to put against each slice, the full platform covers verified profiles with audience and authenticity data.
10M+ verified creators across 4 platforms, 12 filters and a fake-follower score on every profile. No card.