T R A C K D O W N - AusFilm
T R A C K D O W N - AusFilm
T R A C K D O W N - AusFilm
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Ausfilm<br />
Annual Report 2008/09
Contents<br />
02 1.0 Chairman’s Foreword<br />
03 2.0 CEO’s Report<br />
04 3.0 Production Activity and Client Liaison<br />
05 3.1 Productions attracted<br />
06 3.2 New contacts/leads<br />
06 3.3 Meetings<br />
07 3.4 International Missions and Events<br />
07 3.5 Familiarisation tours/inbounds<br />
09 4.0 Membership<br />
10 4.1 Members during period and losses and gains<br />
11 4.1.1 Tailored Member Services<br />
13 4.1.2 Newsletters/reports<br />
14 5.0 Marketing<br />
15 5.1. Campaigns<br />
15 5.1.1 Australia – “Let Us Tempt You” Incentives campaign<br />
(USA) 23 June – 8 July 2008<br />
16 5.1.2 Australia – “Let Us Tempt You” Incentives campaign<br />
(UK) October 2008<br />
19 5.1.3 Make It In Australia – Talent Campaign<br />
(USA) January 2009<br />
21 5.1.4 Make it in Australia – Incentives Campaign<br />
(USA) April 2009<br />
22 5.2 Annual Online Impact Overview<br />
25 5.3 General Advertising<br />
25 5.4 Outlook<br />
26 5.5 Media and Publicity<br />
26 5.6 Website / Subscriber news<br />
27 6.0 Information Services<br />
28 6.1 Customer Relationship Management System (CRM)<br />
28 6.2 Content Management System (CMS)<br />
28 6.3 New Subscription Feature<br />
29 7.0 Collaboration and Advocacy<br />
30 7.1 Screen Australia<br />
30 7.2 Ministerial support and liaison<br />
30 7.3 DEWHA<br />
30 7.4 States meetings<br />
30 7.5 Outlook<br />
31 8.0 Governance<br />
32 8.1 Staff<br />
32 8.2 Accounting<br />
32 8.3 DEWHA: reports and deed<br />
33 8.4 Committees<br />
33 8.5 Board meetings<br />
35 9.0 Appendix 1 – Committees<br />
38 10.0 Appendix 2 – Website Visitors<br />
41 11.0 Ausfilm Audited Accounts<br />
01
1.0<br />
Chairman’s Report<br />
Ausfilm is a private/public<br />
partnership that strives to reinforce<br />
Australia’s standing as one of the<br />
world’s pre-eminent destinations<br />
for large-scale film and television<br />
production, post-production<br />
services and visual effects work.<br />
It is a partnership that succeeds because of<br />
a singular vision and a shared commitment to<br />
the collective benefits of attracting overseas<br />
productions to Australia.<br />
When international productions shoot in<br />
Australia they bring enormous benefit to the<br />
local economy, with foreign dollars spent<br />
in hotels, restaurants, on travel, real estate<br />
and in tax revenue for government. For the<br />
screen industry they provide employment<br />
opportunities for local creatives and crews.<br />
It also engages our service companies and<br />
utilises our equipment, recording facilities,<br />
stages, transport and expertise.<br />
Ensuring that there is a consistent supply<br />
of overseas-sourced production in Australia<br />
enables the entire industry to have predictability<br />
and stability; prerequisites for planning and<br />
investment in infrastructure and training.<br />
This financial year was a challenging one for<br />
the screen sector worldwide on a number of<br />
fronts. The global financial crisis put downward<br />
pressure on many productions and the wildly<br />
fluctuating Australian dollar made conditions<br />
somewhat difficult. It was unfortunate that at a<br />
time of transformative change for the Australian<br />
screen sector in the form of the Australian<br />
Government’s Australian Screen Production<br />
Incentive, the economy stuttered; Ausfilm<br />
responded, adapted and rose to this challenge.<br />
02<br />
During the year Ausfilm refined its message,<br />
finessed its marketing approach, built stronger<br />
links with existing partners and forged critical<br />
relationships with new ones. Ausfilm today<br />
stands for quality of outcomes and not quantity<br />
of output and the industry stands to benefit<br />
from that.<br />
Ausfilm produced the first edition of its annual<br />
Ausfilm magazine, providing information<br />
about Australia’s talented screen industry,<br />
diverse filming locations and Australia’s ability<br />
to service all types of international film and<br />
television production. It promises to become<br />
a key resource for the international production<br />
sector.<br />
In the next financial year Ausfilm will be<br />
focussing on a detailed Economic Impact<br />
Study to review and assess the effectiveness<br />
of the Location and Post, Digital and Visual<br />
Effects (PDV) Offsets. We want to know what<br />
is working and not working about the<br />
incentives so that Ausfilm is fully equipped<br />
to be a key contributor to the Federal<br />
Government review in 2010.<br />
Despite international production activity being<br />
down during the period, there is cause for<br />
optimism for the coming year. Looking ahead<br />
to 2009/10 Australia will host filming of the<br />
third episode in the hugely popular Narnia<br />
franchise in Queensland as well as the horror/<br />
thriller Don’t Be Afraid of the Dark filming in<br />
Melbourne from July 09. With several other<br />
projects looking closely at Australia, there is<br />
no reason to think that 09/10 won’t provide<br />
a boost for the industry. However, Ausfilm will<br />
continue to work harder than ever to build,<br />
grow and secure increasing numbers of<br />
footloose productions to Australia.<br />
It is an undertaking that requires indefatigable<br />
pursuit of production leads by Ausfilm, primarily<br />
in the US, as well as close co-operation<br />
between relevant government agencies and<br />
industry partners in Australia. For that I would<br />
like to extend my deepest thanks to CEO<br />
Caroline Pitcher and her team, whose energy<br />
and commitment are undoubtedly one of<br />
Ausfilm’s greatest assets.<br />
I must also thank the tireless Deputy Chairs,<br />
Alaric McAusland and Catherine McDonnell,<br />
between them chairing the Marketing and<br />
Policy committees, as well as Executive<br />
Committee member, Kate Meyer they have<br />
provided support and expertise I could not do<br />
without. Sandra Sdraulig of Film Victoria was<br />
the State’s representative on the Executive<br />
Committee and I thank Sandra for her<br />
commitment and valuable contribution.<br />
Finally I wish to acknowledge the ongoing<br />
critical support of the Australian Government<br />
and in particular the Minister for Environment,<br />
Heritage and the Arts, Peter Garrett, for the<br />
continued engagement with, and support<br />
of Ausfilm. Ausfilm works closely with the<br />
Department of the Environment, Water,<br />
Heritage and the Arts (DEWHA) and it is<br />
a relationship Ausfilm values most highly.<br />
Martin Cayzer<br />
Chairman
2.0<br />
CEO’s report<br />
Ausfilm is a critically important<br />
bridge between the Australian<br />
screen industry and the<br />
international production sector.<br />
Its operations are targeted to<br />
position Australia nationally<br />
and internationally as a leading<br />
destination for large-budget film<br />
and television production.<br />
Despite the tough economic climate,<br />
2008/09 saw Ausfilm build on its strengths<br />
and reputation and it is well placed to seize<br />
every advantage for its members in the<br />
coming year.<br />
Ausfilm embarked on a series of overseas<br />
missions on behalf of its membership, kicking<br />
off with the Singapore/UK mission in October<br />
2008. In Singapore and London the emphasis<br />
was on promoting Co-productions and the<br />
Producer Offset. These markets are more<br />
suited to these two products and Ausfilm<br />
accordingly tailored and targeted its marketing<br />
and advertising message to maximise<br />
opportunities in that arena.<br />
In January Ausfilm launched its inaugural<br />
magazine simultaneously with its major<br />
campaign for the year, Make it in Australia<br />
(MIIA), in its priority international market, the<br />
US. Taking Australian talent as its theme,<br />
Ausfilm magazine was distributed directly<br />
to more than 3,500 key players in the film,<br />
television and post-production market around<br />
the globe. The magazine also promoted the<br />
facilities and locations of Australia’s seven<br />
states and territories as well as Ausfilm’s<br />
member businesses. The response to the<br />
magazine was so strong that we are already<br />
looking forward to bringing you the second<br />
edition in October 2009.<br />
Ausfilm also continued to assume a major<br />
presence at the most critical international<br />
production industry events. The AFCI<br />
tradeshow is a one-stop-shop for the US<br />
film and television industry and Ausfilm’s<br />
booth provided a unique opportunity for<br />
its membership to connect with its target<br />
audience and participate in discussions on<br />
issues facing the industry. Visitors to Ausfilm’s<br />
booth included film, television, video and<br />
commercial industry studio executives,<br />
producers, directors, cinematographers and<br />
location scouts from all segments of the<br />
entertainment industry.<br />
Ausfilm demonstrated the versatility of<br />
its marketing approach when it hosted a<br />
reception honouring the Summit Entertainment<br />
executives behind the successful film<br />
Knowing. Instead of a traditional marketing<br />
approach, the guests at this event learnt<br />
about Summit’s experience filming in<br />
Australia during a casual evening and the<br />
industry response was fantastic.<br />
Ausfilm sponsored five international inbounds<br />
during the year with overwhelmingly<br />
positive feedback. Large-scale projects are<br />
currently budgeting for Australia as a result,<br />
underscoring the value of the program.<br />
I am delighted to report that Ausfilm conducted<br />
an independent assessment of its customer’s<br />
satisfaction with Ausfilm services and found<br />
that nearly 90 percent of its clients are “very<br />
satisfied”, the highest classification. Citing<br />
Ausfilm’s professionalism, knowledge and<br />
responsiveness in obtaining necessary<br />
information as the organisation’s primary<br />
benefits, this survey was confirmation that<br />
Ausfilm is fulfilling its brief, successfully<br />
engaging with the very best opportunities for<br />
its membership in key markets.<br />
Ausfilm continues to diligently plan ahead and<br />
is already in advanced planning for a marketing<br />
campaign to promote Australia’s post-digital<br />
and visual effects production capabilities.<br />
Advertising expenditure will be geared heavily<br />
to the US market with the campaign proposed<br />
to launch in the first half of the next financial<br />
year, capitalising on the Location and PDV<br />
Offsets.<br />
Ausfilm has carefully developed its business<br />
plan and budget for the coming year to<br />
respond to the current needs of its members<br />
and the wider industry. Ausfilm prides itself<br />
on being responsive and agile and the<br />
business plan reflects Ausfilm’s determination<br />
to remain relevant to its membership and<br />
consistently be innovative and resourceful<br />
in its marketing.<br />
Ausfilm is first and foremost a membership<br />
organisation and we are only as strong as<br />
our membership base. The generosity of the<br />
membership in providing time, expertise and<br />
market intelligence is essential to Ausfilm’s<br />
ongoing success. However, when Ausfilm<br />
succeeds, it benefits the entire industry,<br />
and to that end I would strongly encourage<br />
Ausfilm’s members to continue to promote<br />
the value of membership to potential<br />
industry partners.<br />
For their invaluable skill and enthusiasm<br />
I extend sincere thanks to the outstanding<br />
Ausfilm staff in Sydney and Los Angeles.<br />
Importantly I would like to thank the Australian<br />
Commonwealth Government for its recognition<br />
of the critical role Ausfilm plays through its<br />
ongoing financial support through DEWHA.<br />
Particular thanks must go to Stephen Arnott,<br />
Stephen Richards and Greg Jericho who are<br />
always a pleasure to work with.<br />
Finally, as this is my last annual report as CEO,<br />
I would like to extend my sincere gratitude<br />
to Martin Cayzer, the Deputy Chairs, the<br />
Executive Committee and the Ausfilm Board<br />
for their support, guidance and generosity<br />
to me during my time as CEO. The passion<br />
and commitment of Ausfilm’s members,<br />
committees and staff has made leading<br />
Ausfilm an immense privilege.<br />
Caroline Pitcher<br />
Chief Executive Officer<br />
03
3.0<br />
Production Activity and Client Liaison<br />
04
3.0<br />
Production Activity and Client Liaison<br />
3.1<br />
Productions attracted<br />
It was a challenging year for attracting<br />
international production activity to Australia,<br />
primarily explained by the global financial crisis,<br />
an erratic and strengthening Australian dollar<br />
and fierce competition from other territories<br />
offering incentives, particularly from non-<br />
Californian states in the US.<br />
There was also uncertainty caused by industrial<br />
activity at the Hollywood guilds, initially the<br />
Writers’ Guild of America, and subsequently<br />
the Screen Actors’ Guild, resulting in<br />
depressed levels of production. This translated<br />
into overall lower levels of production attracted<br />
to Australia.<br />
There were no projects (TV, Film & PDV)<br />
attracted from overseas and executed in<br />
Australia in 2008/09 which are eligible to<br />
apply for, or receive the Location or PDV<br />
Offsets. Post-production work on Knowing<br />
(which wrapped principal photography in<br />
Melbourne in June 2008) continued during<br />
the period, as did post-production work on<br />
Australia and Broken Hill.<br />
Productions attracted to Australia and<br />
intending to undertake production, post and/or<br />
VFX work in Australia in the next financial year<br />
which may be eligible for the Location or PDV<br />
Offsets are:<br />
/ / Invisible Army (Voyage of the Dawn Treader),<br />
Twentieth Century Fox<br />
/ / Don’t Be Afraid of the Dark, Miramax<br />
/ / Harry Potter and the Deathly Hallows<br />
Part 1 & 2, Warner Bros.<br />
/ / The Way Back, Scott Rudin Productions<br />
05
3.0<br />
Production Activity and Client Liaison<br />
Stephen Richards, DEWHA, Caroline Pitcher,<br />
Ausfilm, Stephen Arnott, DEWHA and<br />
Catherine McDonnell, Deputy Chair, Ausfilm,<br />
Parliamentary Screening of<br />
X-Men Origins: Wolverine,<br />
Canberra, June 2009.<br />
Kimberly Cooper, Twentieth Century Fox,<br />
Tennyson Cooper and Tania Chambers, NSW FTO,<br />
Pre-gala Cocktail Event,<br />
Los Angeles, January 2009.<br />
06<br />
3.2<br />
New contacts/leads<br />
The period was notable for the number of<br />
enquiries received on the newly-legislated<br />
Australian Screen Production Incentive scheme<br />
(ASPI).<br />
The Los Angeles office tracked 111 completely<br />
new productions and 192 projects in total,<br />
of which 16 would potentially qualify for the<br />
Producer Offset.<br />
The proportion of Ausfilm time spent on<br />
the Producer Offset continued the trend<br />
established last year and fell further as the<br />
features of this strand of the ASPI became<br />
well-understood.<br />
Since the introduction of the Producer Offset,<br />
an increasingly large number of international<br />
client enquiries relate to the requirements<br />
for accessing the 40 percent rebate and<br />
opportunities to forge creative partnerships<br />
with Australians.<br />
There were approximately 150 “unprompted”<br />
enquiries in the reporting period, received<br />
mostly through Ausfilm’s website.<br />
There has been a significant increase in<br />
Australian producers contacting Ausfilm in<br />
Los Angeles for advice and assistance on<br />
pitching or locking in their US deals. Australian<br />
creatives contacting Ausfilm’s Los Angeles<br />
office are looking to sell their concept and/or<br />
script and arrange meetings to set up deals<br />
with production financiers in the USA. They<br />
are reaching out to Ausfilm for assistance with<br />
contacts and advice on how to best achieve<br />
their desired outcome.<br />
Ausfilm continued to refine and update its<br />
electronic database which at the end of<br />
the period contained 5,887 contacts. The<br />
roll-out of Ausfilm’s Customer Relationship<br />
Management system (Sugar CRM) enables<br />
greater detail on the source and nature of<br />
enquiries to be collated and a more effective<br />
mechanism for executing sales strategy.<br />
Outlook<br />
Ausfilm will continue to promote all aspects of<br />
the ASPI scheme. It is of note that the market’s<br />
intense interest in the Producer Offset during<br />
the previous reporting period has levelled out<br />
and as a result Ausfilm intends to place a<br />
greater emphasis on the Location and PDV<br />
Offsets. In particular Ausfilm will focus on<br />
the attraction of post-production and visual<br />
effects work to Australia through a targeted<br />
international mission as well as an intensive<br />
marketing campaign.<br />
Ausfilm will continue to communicate details<br />
of the Producer Offset and promote it in<br />
conjunction with Screen Australia, with a<br />
particular emphasis on the UK market where<br />
co-production opportunities will be further<br />
explored for their potential to locate in<br />
Australia.<br />
3.3<br />
Meetings<br />
The three LA-based staff undertook 121<br />
meetings with 153 industry figures throughout<br />
the year as well as coordinating and attending<br />
numerous events, detailed in the regular<br />
LA monthly reports to members. Intensive<br />
relationship building is essential to gain<br />
project leads and intelligence early enough<br />
to effectively pursue them for Australia in an<br />
intensely competitive international market.<br />
Ausfilm also provides comprehensive project<br />
leads and briefs to State Screen Agencies for<br />
their consideration and action.
3.0<br />
Production Activity and Client Liaison<br />
3.4.<br />
International Missions and Events<br />
US Mission (September 2008)<br />
Ausfilm led a delegation of members and State<br />
Screen Agency partners to Los Angeles in the<br />
last week of September 2008. The focus was<br />
continuing promotion of the federal incentives<br />
and the fostering of closer links between<br />
Ausfilm members and producers looking at<br />
Australia for specific projects. Ausfilm also<br />
arranged group meetings for State Screen<br />
Agencies and collaboratively promoted the<br />
Australian industry.<br />
Singapore and UK Missions<br />
(October 2008)<br />
Ausfilm travelled to Singapore in October 2008,<br />
joined by Alex Sangston, Screen Australia’s<br />
Head of Co-productions and the Producer<br />
Offset. Meetings were held with Singapore’s<br />
Media Development Authority to discuss<br />
Singapore’s approach to co-production and<br />
with entertainment lawyers from the Samuel<br />
Seow Law Corporation, which hosted an<br />
afternoon tea and provided an opportunity to<br />
meet Singaporean producers.<br />
The London leg of the mission (4 – 10 October<br />
inclusive) comprised an Ausfilm delegation<br />
including Ausfilm’s CEO and PCSE, as well as<br />
Alex Sangston of Screen Australia, NSW FTO’s<br />
Tania Chambers, SAFC’s Richard Harris, Film<br />
Victoria’s Kate Marks, PFTC’s Jess Conoplia<br />
and Jane Corden from Moneypenny Services.<br />
Ausfilm hosted a breakfast seminar for 65 key<br />
industry contacts to raise awareness about<br />
the benefits and opportunities in partnering<br />
with Australian filmmakers. A panel comprising<br />
Alex Sangston, Richard Harris, Jane Corden,<br />
Julie Baines (producer of Triangle, a recent<br />
Australian co-production), and Jacqueline Hurt<br />
(partner at UK law firm Olswang) discussed<br />
the Producer Offset and co-production<br />
opportunities with Australia, focussing on the<br />
feature film Triangle as a case study. Julie<br />
Baines and Jacqueline Hurt also talked about<br />
their experiences making a co-production work<br />
with Australia.<br />
US Mission (January 2009)<br />
G’Day LA/NY – Australia Week<br />
Ausfilm undertook a major promotional event<br />
in the form of a breakfast seminar at the<br />
Renaissance Hotel during G’Day LA week in<br />
Los Angeles. The central feature of the seminar<br />
was a panel moderated by Alaric McAusland<br />
(Deputy Chair, Ausfilm) and including<br />
Stuart Beattie (writer), Adam Elliott (writer,<br />
producer, director), Greg McLean (writer,<br />
producer, director), Mandy Walker (director of<br />
photography), Chris Godfrey (VFX supervisor)<br />
and Alex Sangston (Screen Australia). The<br />
event attracted more than 170 guests including<br />
producers, directors, studio executives and<br />
key decision makers from the Hollywood<br />
entertainment industry.<br />
Ausfilm also hosted a cocktail reception at the<br />
Renaissance Hotel prior to the Black Tie Gala<br />
dinner, providing an opportunity for all Ausfilm<br />
members and their guests to network. Ausfilm<br />
hosted key contacts at the Black Tie Gala at<br />
the Hollywood and Highland Centre with over<br />
900 people in attendance.<br />
In addition, the LA Film Commissioner,<br />
Tracey Vieira, was asked to speak on the<br />
“globalization and incentives, Films without<br />
Borders” panel at Loyola Law School. Tracey<br />
joined Susan Ord from Film New Zealand and<br />
Ralph Winters, producer, to discuss X-Men<br />
Origins: Wolverine and the success of the<br />
film in using multiple jurisdictions.<br />
Ausfilm attended the Black Tie Gala dinner in<br />
New York, with NSW FTO and Fox Studios<br />
Australia, where Baz Luhrmann was honoured<br />
for his work on Australia. Approximately<br />
30 Ausfilm magazines were distributed at<br />
meetings in New York by the Ausfilm CEO<br />
and LA Film Commissioner in the week of<br />
19 January.<br />
US (April 2009)<br />
Ausfilm hosted a Hollywood reception on<br />
14 April honouring Summit entertainment<br />
executives behind the box office hit Knowing,<br />
which filmed and posted in Australia. The<br />
event, held at the Sunset Marquis Hotel and<br />
Villas, had over 100 guests who during the<br />
course of an informal event learnt about<br />
Summit’s experience filming in Australia.<br />
AFCI Locations Trade Show (April 2009)<br />
Ausfilm participated in the AFCI Locations<br />
Trade Show held in Santa Monica from<br />
16 – 18 April. Members in attendance<br />
included Pacific Film and Television<br />
Commission, Warner Roadshow Studios,<br />
Melbourne Central City Studios, Film Victoria,<br />
Trackdown and Lemac. The Trade Show<br />
attracted 4,000 people and gave Ausfilm and<br />
its members multiple opportunities to build<br />
new contacts and reconnect with existing<br />
clients. Ausfilm conducted a marketing<br />
campaign which ran from 13 – 17 April to<br />
coincide with the Trade Show (see Figure 6<br />
on page 21 of the report).<br />
Outlook<br />
Ausfilm will continue its focus on the US<br />
market, with a mission to Los Angeles in<br />
October 2009, followed immediately by an<br />
expansion of its activity in the UK with a<br />
mission to London.<br />
Tracey Vieira, Ausfilm and Lynne Benzie,<br />
Warner Roadshow Studios,<br />
Locations Trade Show,<br />
Santa Monica, April 2009<br />
07
3.0<br />
Production Activity and Client Liaison<br />
Ausfilm staff: Michelle Sandoval, Tracey Vieira,<br />
Caroline Pitcher and Vivien Flitton,<br />
Ausfilm’s Annual Breakfast Seminar,<br />
Los Angeles, January 2009.<br />
Over 180 guests attended<br />
Ausfilm’s Annual Breakfast Seminar<br />
in Los Angeles in January 2009.<br />
08<br />
3.5<br />
Familiarisation tours/inbounds<br />
Ausfilm sponsored five international inbounds<br />
to Australia during the period:<br />
/ /<br />
/ /<br />
/ /<br />
/ /<br />
/ /<br />
Betsy Megel, Associate Production<br />
Executive, Feature Production<br />
Management at Paramount Pictures<br />
(in September/October);<br />
Barry Rosenbush, Producer at T&C<br />
Pictures. Barry travelled to Tasmania,<br />
which was the first time that an Ausfilmsupported<br />
inbound had visited the state;<br />
Rod Brown and Andrew Boswell, The Mob<br />
Film Co (UK), visited New South Wales<br />
and Victoria;<br />
Bruce Hendricks, President of Physical<br />
Production at Walt Disney Studios (Buena<br />
Vista) visited New South Wales, Queensland,<br />
South Australia and Victoria; and<br />
Steve Chasman and Gary McKendry from<br />
Mosaic Media arrived in Australia at the<br />
very end of the period to visit locations<br />
on their feature film project The Killer Elite.
4.0<br />
Membership<br />
09
4.0<br />
Membership<br />
4.1<br />
Members during period and<br />
losses and gains<br />
Corporate membership at the beginning<br />
of the financial year stood at 37. Ernst<br />
& Young, PricewaterhouseCoopers and<br />
Beyond International joined during the period.<br />
Soundfirm did not renew its membership for<br />
the financial year.<br />
Figure 1. Membership Pitches<br />
Company Date Pitched Company Type STATE<br />
Beyond International 1/02/2009 TV Production NSW<br />
Blue Rocket Productions Animation TAS<br />
Chaotic Pictures 12/06/2009 Post/VFX NSW<br />
DLA Phillips Fox 17/04/2009 Law/Production Services NSW<br />
Eliza Films 29/09/2008 Producer NSW<br />
Entertainment Personnel 4/03/2009 Recruitment NSW<br />
Ernst & Young 16/10/2008 Accountants/Finance NSW<br />
Fin Design 22/06/2009 Post/VFX NSW<br />
Fragomen Lawyers 17/04/2009 Legal Services NSW<br />
FujiFilm/Hanimex 15/09/2008 Film Stock NSW<br />
Galaxy Transport 1/07/2008 Transport NSW<br />
Gold Coast City Council 18/09/2008 Government QLD<br />
JMB FX 23/09/2008 Special Effects QLD<br />
Lachlan River Studios 1/10/2008 Studio & Facilities NSW<br />
Marine Coordinator 19/06/2009 Marine Equipment QLD<br />
Phlimsound 26/05/2009 Sound Production NSW<br />
PricewaterhouseCoopers 31/07/2008 Accountants/Research NSW<br />
ScreenCorp Production Co NSW<br />
Smart Street Films 1/07/2009 Production Co NSW<br />
Spectrum 1/07/2008 Editing/Post-Production NSW<br />
Stacey Testro Management 13/01/2009 Casting VIC<br />
Strategic Aviation Group Pty Ltd 10/06/2009 Aviation QLD<br />
Superyachting 16/09/2008 Equipment NSW<br />
The Creature Technology Company 6/02/2009 Animatronics VIC<br />
The Post Lounge 1/07/2008 Post-Production QLD<br />
10
4.0<br />
Membership<br />
4.1.1<br />
Tailored Member Services<br />
Email Campaigns<br />
Ausfilm members receive a variety of annual<br />
benefits including the opportunity to<br />
promote their business via Ausfilm’s<br />
e-marketing service. Email “blasts” can<br />
be sent to a tailored database of clients on<br />
behalf of the members, further details of<br />
which can be found in Table 1 below, which<br />
lists Ausfilm’s entire e-communications to<br />
international clients for the period. This year<br />
the service was taken up by:<br />
// ARRI Australia<br />
An e-blast for ARRI Australia was sent to<br />
169 contacts in the Australian and US film<br />
industry with 65 unique opens and five click<br />
throughs to links in the email.<br />
// Stage and Screen<br />
An e-blast was sent to ten unit production<br />
manager contacts in the Australian<br />
film industry.<br />
// Trackdown Orchestral Scoring Stage<br />
An e-blast was sent to the email<br />
addresses of 167 contacts in the US<br />
post-production industry.<br />
// T P H<br />
E-blast invites were sent to the email<br />
addresses of 304 key contacts.<br />
This was followed by the distribution of<br />
the May client Newsletter to 4,253 email<br />
contacts globally.<br />
Table 1. Financial Year Overview E-Marketing Campaign Results<br />
Date Emails<br />
Sent<br />
During the reporting period Ausfilm<br />
implemented an e-newsletter subscription<br />
feature on its website to attract interest from<br />
filmmakers seeking information on Australia.<br />
Visitors can choose to receive quarterly email<br />
updates from Ausfilm on Australian screen<br />
production industry news. Despite the feature<br />
only being implemented in the final month of<br />
the reporting period, 21 subscriptions had<br />
been received by 30 June, 2009.<br />
Ausfilm Emarketing<br />
Communication<br />
Territory Audience Email<br />
Contacts<br />
Unsubscribe<br />
Requests<br />
Unique<br />
Opens<br />
Clicks<br />
on Email<br />
4/07/2008 1 TPH Client E-blast invite to event USA Client 304 0 n/a n/a<br />
27/08/2008 1 UK “Let Us Tempt You” UK Client 743 0 0 0<br />
10/09/2008 Stage and Screen Client E-blast AUST Client 10 0 0 0<br />
20/11/2008 Arri Australia Client E-blast US/AUST client 169 0 65 5<br />
7/12/2008 1 G’Day LA Breakfast Invite Reminder USA client 2218 0 575 4<br />
8/12/2008 1 G’Day LA Breakfast Invite USA client 2063 3 658 12<br />
10/12/2008 1 2008 Xmas Card - Global GLOBAL client 7129 5 1958 81<br />
15/01/2009 1 Make it in Australia<br />
Campaign Launch<br />
GLOBAL client 7123 0 1409 341<br />
23/03/2009 1 Knowing Event Invite USA client 1108 0 261 n/a<br />
1/04/2009 Trackdown E-blast USA Client 595 0 98<br />
8/04/2009 1 Knowing Event Reminder USA client 1108 0 265 n/a<br />
31/05/2009 1 May Australian News GLOBAL Client 4253 1 922 235<br />
1 July 2008 -<br />
30 June 2009<br />
24 Ausfilm Member Newsletters &<br />
Project Leads<br />
AUST member 180 n/a n/a n/a<br />
11
4.0<br />
Membership<br />
Meeting Scheduling for Members<br />
Fourteen Ausfilm member companies<br />
including four State Screen Agencies<br />
benefited from tailored client introductions<br />
in the past year.<br />
Ausfilm provided lists of potential partners,<br />
and contacted them on behalf of members<br />
to make an introduction and to set up<br />
meetings. Ausfilm staff also accompanied<br />
members to meetings, if requested, to<br />
assist with sales pitches.<br />
In total 38 different executives were<br />
confirmed for meetings with Ausfilm<br />
members. Many of these met with<br />
more than one member. The list of<br />
executives included:<br />
12<br />
Figure 2. Executives Met by Ausfilm Members<br />
Executive Title Company<br />
Bruce Hendricks President, Physical Production Walt Disney<br />
Paul Steinke Sr. VP, Production Finance Walt Disney<br />
Gary Hamilton Managing Director Arclight<br />
Steve Eddy Production Executive Summit Entertainment<br />
Gary Wordham VP, Physical Production Universal<br />
Simonne Overend Development Executive RGM Associates<br />
Betsy Megel Associate Production Executive Paramount Pictures<br />
Stephanie Ito Post-Production Executive Paramount Pictures<br />
Greg McRitchie Exec. VP, Post-Production Universal<br />
Hansa Adams Prasad Manager, Acquistions and Co-Productions The Weinstein Company<br />
Mark Indig Producer<br />
Mark Scoon Sr. VP, Physical Production Warner Bros.<br />
Bill Bowling Location Manager Warner Bros.<br />
Bill Draper Exec. VP, Physical Production Warner Bros.<br />
Steve Papazian President, Physical Production Warner Bros.<br />
Kelli Smith-Wait VP, Physical Production Warner Bros.<br />
Karen Fouts Executive Director Budgeting Warner Bros.<br />
Chris DeFaria Exec. VP, Digital Production Animation<br />
and Visual Effects<br />
Warner Bros.<br />
Doug Jones Exec. VP, Physical Production Walden Media<br />
Mylan Stepanovich VP Physical Production Walden Media<br />
Jonas Thaler VP Post-Production Walden Media<br />
Sean Santiago Director, Visual Effects Walden Media<br />
Liz Gutierrez Production/Post-Production Coordinator Walden Media<br />
Luke Homeres Production Coordinator Walden Media<br />
Barry Rosenbush Producer T & C Pictures<br />
Steve Chasman CEO Mosaic<br />
Greg Coote CEO/Chairman Dune Entertainment<br />
Jillian Longnecker Director, Physical Production Spitfire Pictures<br />
Jason Lust Sr. VP, Feature Films Henson Company<br />
Steven Spira President Worldwide Business Affairs Warner Bros.<br />
Todd Isroelit Sr. Production Supervisor, Visual Effects Twentieth Century Fox<br />
Marc Solomon, Exec. VP, Post-Production Warner Bros.<br />
Ruth Hauer VFX Associate Producer Walt Disney<br />
Andy Fowler VP, Visual Effects /Snr Visual Effects Producer Walt Disney<br />
MaryAnn Hughes VP, Film and Television Production Planning Walt Disney<br />
Fred Chandler VP, Post-Production Twentieth Century Fox<br />
Kim Cooper Sr. VP, Physical Production Twentieth Century Fox<br />
Alex Brunner Sr. VP Spitfire Pictures<br />
Eric Feig Entertainment Lawyer Rosen Feig Golland & Lunn
4.0<br />
Membership<br />
Group Meetings (State Screen Agencies)<br />
Group meeting schedules for State Screen<br />
Agency partners and studio members were<br />
arranged and executed on four separate<br />
occasions in Los Angeles during the period:<br />
/ / September Mission (Sept/October 2008)<br />
/ / G’Day LA (January 2009)<br />
/ / New York (January 2009)<br />
/ / Locations Trade Show (April 2009)<br />
Additionally, Ausfilm facilitated guest<br />
attendance at an event hosted by Threadgold<br />
Plummer Hood in July 2008 showcasing their<br />
Eclipse and EzyPo systems.<br />
4.1.2<br />
Newsletters/reports<br />
Over 30 e-newsletters were distributed to<br />
members in the reporting period including<br />
ten LA project lead reports and 26 general<br />
information or member e-invitation newsletters.<br />
See Table 1 on page 11 for a complete list.<br />
Top – Bottom<br />
Knowing E-Invite<br />
X-Men Origins: Wolverine E-Invite<br />
13
5.0<br />
Marketing<br />
14
5.0<br />
Marketing<br />
In 2008-09, Ausfilm undertook a number<br />
of significant marketing initiatives to attract<br />
productions to Australia.<br />
5.1<br />
Campaigns<br />
5.1.1<br />
Australia – “Let Us Tempt You” Incentives<br />
campaign (USA) 23 June – 8 July 2008<br />
Based on the previous success of this<br />
campaign in April 2008, this promotion was<br />
repeated and overlapped with the reporting<br />
period. A space was road-blocked on the<br />
Variety.com homepage for the periods of<br />
23 – 26 June and 30 June – 8 July (11 days<br />
in total) and in the daily e-newsletter for one<br />
week from 23 – 27 June (5 days).<br />
The aim of this campaign was to:<br />
/ /<br />
/ /<br />
/ /<br />
Continue to raise awareness of Australia’s<br />
new and enhanced ASPI scheme;<br />
Seize the attention of Ausfilm’s target<br />
market in the US; and<br />
Increase enquiries and interest in the<br />
scheme.<br />
Online Impact<br />
The June/July Campaign had a combined<br />
circulation of 891,227 viewers with 19 percent<br />
of viewers clicking through to the Ausfilm<br />
website. This is the largest quantity of online<br />
advertising impressions (total audience<br />
exposure) Ausfilm has ever achieved.<br />
The website analysis revealed a 32 percent<br />
increase in unique visitors to the Ausfilm<br />
website during this campaign compared to<br />
the previous month when no online advertising<br />
was conducted.<br />
Despite the larger audience exposure, there<br />
was a 15 percent reduction in unique visitors<br />
to the Ausfilm website in the July 2008<br />
campaign as well as a reduced click through<br />
rate compared to the US incentives campaign<br />
in April 2008. The reduction in click through<br />
rates and unique visitors to the Ausfilm website<br />
are attributed to the fact that, unlike in April,<br />
there was no direct mailout, direct email<br />
marketing or print advertising undertaken<br />
in July, nor complimentary “welcome mat”<br />
advertisement provided by the Hollywood<br />
Reporter which was valued at $10,000.<br />
Figure 3. Campaign Mix and Distribution<br />
Advertising // online advertising<br />
campaign on<br />
Variety.com’s<br />
homepage,<br />
23 – 26 June and<br />
30 June – 8 July<br />
(11 days); and<br />
// Variety daily e-newsletter,<br />
23 – 27 June (5 days).<br />
15
5.0<br />
Marketing<br />
5.1.2<br />
Australia – “Let Us Tempt You”<br />
Incentives Campaign (UK) October 2008<br />
Ausfilm produced revised marketing and<br />
advertising materials under the Australia – “Let<br />
Us Tempt You” theme for the UK and European<br />
market. These included an incentives “cherry”<br />
folder, a postal DL-size double-sided invitation,<br />
a revised campaign website, two e-marketing<br />
blasts and four online advertisements.<br />
Ausfilm also produced three new hardcopy<br />
and online factsheets and an Ausfilm Member<br />
Directory for the London event. These<br />
factsheets were enclosed within the incentives<br />
“cherry” folder and were contained in an<br />
Ausfilm branded give-away-bag for the London<br />
industry seminar. Member marketing materials<br />
were also included in these bags.<br />
The aim of this campaign was to:<br />
/ /<br />
/ /<br />
/ /<br />
/ /<br />
Introduce and raise awareness of Australia’s<br />
new and enhanced ASPI scheme to the UK<br />
and European market prior to and during<br />
Ausfilm’s London marketing mission;<br />
Promote the benefits of partnering<br />
with Australian producers on official<br />
UK/Australian co-productions;<br />
Seize the attention of Ausfilm’s target<br />
market in the UK and Europe; and<br />
Increase enquiries and interest in the<br />
scheme from this market.<br />
16<br />
Online Impact<br />
The online advertising for the Ausfilm<br />
‘Australia – “Let Us Tempt You” incentives<br />
campaign featured on the Screendaily.com<br />
homepage for the period of 29 September –<br />
14 October (11 days) to coincide with<br />
Ausfilm’s UK marketing mission.<br />
The online advertising campaign was<br />
bolstered by two e-marketing campaigns<br />
delivered to key contacts within the UK. This<br />
totalled 743 individual email addresses within<br />
Ausfilm’s database. The e-marketing blasts<br />
led audiences to the campaign website which<br />
linked back to the Ausfilm website. There<br />
were ten requests for postal information packs<br />
stemming from this e-marketing campaign.<br />
The campaign message for the UK/European<br />
market emphasised co-productions and the<br />
Producer Offset. This market is more suited for<br />
these two products. Therefore, the advertising<br />
message focused on the fact that official<br />
co-productions with Australia qualify for the<br />
Producer Offset. The four different sized digital<br />
adverts used throughout the campaign were<br />
as follows:<br />
/ / Screen Daily e-newsletter banner:<br />
6 – 12 October with 49,500 impressions<br />
/ / Screen Daily e-newsletter skyscraper:<br />
28 September – 15 October with<br />
141,903 impressions<br />
/ / Website homepage mini-skyscraper:<br />
6 – 14 October with 69,901 impressions<br />
/ / Website button: 26 September –<br />
15 October with 280,467 impressions
5.0<br />
Marketing<br />
Table 2 on page 22 shows impressions<br />
(audience exposure) and click through rates<br />
for unique visitors in all campaigns across the<br />
US and the UK/Europe for the past year.<br />
There were a total of 541,770 impressions<br />
over the length of the UK campaign with<br />
0.08 percent of viewers clicking through to<br />
the Ausfilm website compared with the US<br />
June/July campaign of 891,227 viewers with<br />
19 percent of viewers clicking through to the<br />
Ausfilm website.<br />
From 191,402 people who viewed the Ausfilm<br />
adverts in the Screen Daily e-newsletter, two<br />
hundred and sixty-three people clicked onto<br />
the Ausfilm advert which linked back to an<br />
incentives campaign web page on<br />
ausfilm.com/letustemptyou.<br />
Figure 4. Campaign Mix and Distribution<br />
Digital<br />
Campaign<br />
Direct mail<br />
electronic<br />
Dedicated campaign website<br />
with URL: ausfilm.com/<br />
letustemptyouUK providing<br />
PDF versions of the ASPI<br />
and PDV Factsheets and<br />
links to the Ausfilm and<br />
DEWHA websites.<br />
Two e-marketing blasts<br />
to 743 addresses (from<br />
European targets in<br />
Ausfilm’s database)<br />
Advertising Four different sized online<br />
adverts on Screendaily.com<br />
Australia – “Let Us Tempt You”<br />
Incentives Campaign<br />
Online Advertisement<br />
17
make it in australia<br />
SUBLIME<br />
LOCATIONS.<br />
FILMING THe WORLD IN ONe COuNTRY<br />
BEEN THERE.<br />
DONE THAT.<br />
HOLLYWOOD PRODuCeRs TALK GReAT AussIe LIFesTYLe<br />
makeitinaustralia.com<br />
© Ausfilm 2009. Featuring Cinematographer Mandy Walker + Lamington National Park Queensland.<br />
18<br />
THE TALENT ISSUE<br />
Issue #01 | January 2009<br />
Cinematographer MANdy WALkEr<br />
Writer/Director GrEG McLEAN<br />
Composer dAvId HIrScHfELdEr<br />
Production Designer OWEN PAT E rSON<br />
Make it In Australia –<br />
Ausfilm Magazine<br />
Talent Campaign (USA)<br />
January 2009<br />
Cinematographer<br />
Greg McLean, director/writer,<br />
Wolf Creek, Rogue
5.0<br />
Marketing<br />
5.1.3<br />
Make it in Australia – Talent Campaign<br />
(USA) January 2009<br />
Ausfilm launched its Talent Campaign to<br />
promote the capabilities of Australia’s offscreen<br />
talent. The campaign’s centrepiece<br />
was the launch of the new Ausfilm annual<br />
magazine. The magazine was distributed<br />
to 2,300 US-based contacts. 19 members<br />
purchased advertising in the magazine<br />
generating $26,450 towards the cost of<br />
producing the magazine.<br />
DVD Testimonial Presentation<br />
A four minute visual presentation was<br />
developed featuring four testimonials from<br />
clients who were working or had worked in<br />
Australia. The DVD screened at Ausfilm’s<br />
G’Day LA Breakfast Seminar in January.<br />
Testimonials included the following US<br />
executives:<br />
/ /<br />
/ /<br />
/ /<br />
/ /<br />
Todd Isroelit, Vice-President, VFX<br />
Production at Twentieth Century Fox<br />
John Palermo, producer,<br />
X-Men Origins: Wolverine<br />
Ralph Winter, producer,<br />
X-Men Origins: Wolverine<br />
Chris Wyatt, producer,<br />
Broken Hill<br />
Online Impact<br />
There were a total of 745,600 impressions<br />
over the length of this campaign with 0.09<br />
percent of viewers clicking through to the<br />
Ausfilm website compared with the US June/<br />
July campaign of 891,227 viewers with 0.19<br />
percent of viewers clicking through to the<br />
Ausfilm website.<br />
Of the 325,000 impressions of the Ausfilm<br />
adverts in the Variety.com daily e-newsletter,<br />
167 people clicked onto the Ausfilm advert<br />
which linked back to the Ausfilm website.<br />
This equates to a 0.05 percent click through<br />
rate, half the 0.10 percent achieved for the<br />
digital campaign conducted on Variety.com<br />
in June/July.<br />
However, there were a total of 12,387 unique<br />
visitors to the Ausfilm website in the month of<br />
January 2009. This is the largest amount of<br />
unique visitors to the Ausfilm website in the<br />
08/09 reporting period and can be attributed<br />
to the broader Make it in Australia marketing<br />
campaign and Los Angeles sales mission.<br />
Figure 5. Campaign Mix and Distribution<br />
Magazine Ausfilm magazine was<br />
/ / Direct mailed to 2,300 US film and television personnel.<br />
/ / Distributed to 190 studio and production executives<br />
in LA events and meetings.<br />
/ / Distributed to 30 production executives in<br />
New York meetings.<br />
/ / Distributed to 160 government stakeholders,<br />
domestic producers and members.<br />
Direct Mail / / A direct email advertisement launching Ausfilm magazine<br />
was sent to over 7,123 US film and television personnel<br />
via the Ausfilm customer relationship management<br />
system (Sugar).<br />
/ / 2 html invites for G’Day LA seminar to 2,100 US executives.<br />
/ / Hardcopy, 3D invite mailed to 2,000 executives.<br />
Online Advertising / / Two animated digital advertisements on the Variety.com<br />
homepage and in its daily newsletter. One horizontal banner<br />
(superbanner) and one square island (marqueee) were used<br />
from 12 – 16 January.<br />
Print Advertising / / One full page full colour advertisements placed in<br />
G’Day LA Black Tie Gala Program<br />
Campaign Website / / Dedicated campaign website: makeitinaustralia.com<br />
where the following factsheets were available:<br />
Screen Production Incentives, Screen Production<br />
Talent in Australia and Co-productions in Australia.<br />
Magazine Request button / / 234 Ausfilm magazines were requested.<br />
Signage / / Four banners were produced featuring each of the<br />
four talent profile subjects.<br />
Campaign website – makeitinaustralia.com<br />
A Make it in Australia website and domain<br />
name were created for this campaign<br />
showcasing the four Australian talents<br />
featured in Ausfilm magazine. The magazine<br />
is promoted on this site with a call to action<br />
“Click here to request the Talent Issue”.<br />
The site also contains the three key Ausfilm<br />
Factsheets on Screen Production Incentives,<br />
Screen Production Talent in Australia and<br />
Co-production with Australia which can be<br />
downloaded from the site.<br />
Ausfilm measured the performance results<br />
of the dedicated website created for the<br />
campaign via Ausfilm’s corporate website<br />
(see Table 3 on page 24).<br />
19
Make it in Australia –<br />
Incentives Campaign<br />
AFCI Locations magazine<br />
Print Advertisement<br />
owen<br />
paterson<br />
Speed Racer, V for Vendetta, The Matrix trilogy
5.0<br />
Marketing<br />
5.1.4<br />
Make it in Australia – Incentives Campaign<br />
(USA) April 2009<br />
Ausfilm repeated the Make it in Australia<br />
(MIIA) campaign, this time emphasising on<br />
the Australian Screen Production Incentives,<br />
to coincide with the Association of Film<br />
Commissioners International’s Locations Trade<br />
Show in Santa Monica from 16 – 18 April.<br />
The MIIA campaign communication included<br />
the four key messages of Australia’s screen<br />
incentives:<br />
/ / 15 percent Location Offset;<br />
/ / 15 percent Post/Digital/VFX Offset;<br />
/ / 40 percent Producer Offset – Australian<br />
Features; and<br />
/ / 20 percent Producer Offset – other<br />
Australian Productions.<br />
This campaign included print and online<br />
advertising, a direct mail campaign of Ausfilm’s<br />
new sales brochure, attendance at the AFCI<br />
Locations Trade Show, an Ausfilm promotional<br />
event in Los Angeles held in the week of the<br />
Locations Trade Show and an associated<br />
hardcopy and e-invitation to LA-based clients.<br />
The aim of the campaign was to:<br />
/ /<br />
/ /<br />
/ /<br />
/ /<br />
Continue to promote and build awareness<br />
of Australia’s Screen Production Incentive<br />
scheme in the US;<br />
Promote and build awareness of Australia<br />
as a leading destination for film, television<br />
and post, digital and visual effects<br />
production;<br />
Motivate Ausfilm’s target market to explore<br />
filming and or undertaking post-production<br />
work in Australia; and<br />
Generate and increase production enquiries<br />
and project leads for Australia.<br />
Online Impact<br />
As a result of Ausfilm’s print advertising<br />
booking, Variety provided a discounted online<br />
advertisement package which achieved a<br />
small rate of impressions (24, 236) for the<br />
week of 13 April. These online adverts were<br />
for “run of site”, meaning they were displayed<br />
across all pages on Variety.com and not<br />
solely placed on the homepage. Two digital<br />
advertisement sizes were submitted:<br />
a marquee (square) and a super-banner<br />
(thin rectangle) in which the four MIIA<br />
campaign messages were replicated<br />
(see page 23 for online artwork).<br />
Statistical analysis of unique visitors to<br />
Ausfilm’s website during this campaign<br />
period show a 17 percent decrease when<br />
compared to the previous Ausfilm campaign<br />
in January 2009. However, there was a 213<br />
percent increase in unique visitors compared<br />
to the July 2008 campaign.<br />
Figure 6. Campaign Mix and Distribution<br />
Print<br />
Advertising<br />
MIIA Sales<br />
Brochure<br />
Campaign<br />
Website<br />
/ /<br />
/ /<br />
Two full page colour advertisements using the<br />
MIIA campaign featuring Owen Paterson and the<br />
three offsets presented in Variety Weekly<br />
(13 – 17 April) and daily (13 April) magazines.<br />
One full page colour advertisement placed in<br />
the AFCI Locations magazine for April 2009.<br />
Distribution covered the US and Europe/UK.<br />
Direct mailed to:<br />
/ / 610 key clients in the US market;<br />
/ / 275 Ausfilm members and key stakeholders in<br />
state and federal government departments and<br />
agencies within Australia;<br />
/ / 100 distributed at the AFCI Locations Trade Show;<br />
/ / 80 distributed in Knowing event bags; and<br />
/ / 230 distributed at the Cannes Film Festival.<br />
Dedicated campaign website: makeitinaustralia.com<br />
where the following factsheets were available: Screen<br />
Production Incentives, Screen Production Talent in<br />
Australia and Co-productions in Australia.<br />
21
5.0<br />
Marketing<br />
5.2<br />
Annual Online Impact Overview<br />
Ausfilm measures the performance results of<br />
its marketing campaigns by measuring the<br />
number of times the relevant trade website<br />
carrying the Ausfilm advertisement is accessed<br />
(“Impressions”) against the number of times<br />
a user “clicks through” to Ausfilm’s website.<br />
The industry benchmark for what constitutes a<br />
positive click through rate (CTR) is 0.1 percent<br />
(1 click through for every 1,000 views) and as<br />
Table 2 demonstrates below, Ausfilm achieved<br />
or exceeded this target in all but one instance.<br />
Table 2. Financial year overview online advertising campaign results<br />
Online Advertising Days of<br />
Campaign<br />
June/July 2008<br />
US Digital campaign<br />
Variety.com Homepage<br />
June/July 2008<br />
US Digital campaign<br />
Variety.com Daily e-Newsletter<br />
29 September – 14 October 2008<br />
UK Campaign<br />
Screen Daily e-Newsletter<br />
29 September – 14 October 2008<br />
UK Campaign<br />
Screen Daily Homepage<br />
12-16 January 2009<br />
MIIA Talent Campaign<br />
Variety Homepage<br />
13-17 April 2009<br />
MIIA Incentives Campaign Variety Run<br />
of Site (ROS)<br />
22<br />
When compared with the preceding US<br />
campaigns, the results for the UK campaign<br />
demonstrate substantially less traffic to the<br />
Ausfilm website, with 4,559 fewer unique<br />
visitors than during the July 2008 campaign.<br />
However, while there were 65 percent more<br />
impressions (350,000 more) during the US July<br />
campaign compared to the UK campaign, the<br />
significantly higher cost of advertising in UK/<br />
European publications forced Ausfilm to limit<br />
the scale and scope of its online presence.<br />
Total<br />
Impressions<br />
Delivered<br />
Unique Users to<br />
website during the<br />
month<br />
Impressions<br />
per day<br />
Total Clicks<br />
Delivered<br />
Clicks<br />
per day<br />
CTR %<br />
(Click<br />
Through<br />
Rate)<br />
11 505,948 5,271 45,995 1284 117 0.25%<br />
7 385,279 5,271 55,040 367 52 0.10%<br />
25 191,402 6,188 7,656 263 11 0.14%<br />
29 350,368 6,188 12,082 460 16 0.13%<br />
5 420,600 12,387 84,120 518 104 0.12%<br />
5 24,236 10,232 4,847 36 7 0.15%
5.0<br />
Marketing<br />
Figure 7. Three-Year Trend of Unique<br />
Users to Ausfilm’s website<br />
(Number of impressions)<br />
16000<br />
14000<br />
12000<br />
10000<br />
8000<br />
6000<br />
4000<br />
2000<br />
0<br />
July<br />
August<br />
Make it in Australia –<br />
Incentives Campaign<br />
Online Marquee<br />
Advertisement Slides<br />
September<br />
October<br />
08 October UK Incentives Campaign<br />
November<br />
December<br />
January<br />
08 January MIAA Talent Campaign<br />
Feburary<br />
March<br />
April<br />
09 May Client e-Newsletter<br />
09 April MIAA Incentives Campaign<br />
08 April Incentives Campaign<br />
May<br />
June<br />
2006/07<br />
2007/08<br />
2008/09<br />
23
5.0<br />
Marketing<br />
Table 3. Campaign Website Downloads and Unique Visitors<br />
Campaign Websites Viewed Site Web Page Views Total Downloads<br />
Australia - “Let Us Tempt You” Campaign Website<br />
Unique Users to Homepage<br />
October 08 - June 09<br />
Downloads of Incentives & PDV<br />
Factsheets from Campaign Website<br />
October 08 - June 09<br />
makeitinaustralia.com Campaign Website<br />
Unique Users to Homepage<br />
January 09 - June 09<br />
Downloads of Incentives, Talent &<br />
Co-production Factsheets<br />
from Campaign Website<br />
January 09 - June 09<br />
Figure 8. Two Year Trend of Ausfilm Website<br />
Pageviews (Number of impressions)<br />
70000<br />
60000<br />
50000<br />
40000<br />
30000<br />
20000<br />
10000<br />
0<br />
24<br />
654 728<br />
1,501 1563<br />
July<br />
August<br />
September<br />
October<br />
November<br />
December<br />
January<br />
Feburary<br />
March<br />
April<br />
May<br />
463<br />
1,024<br />
2007/08<br />
2008/09<br />
June
5.0<br />
Marketing<br />
5.3<br />
General Advertising<br />
Factsheets<br />
In addition to specific campaigns, Ausfilm<br />
continued its marketing and promotion of<br />
Australia’s capabilities through the maintenance<br />
of its factsheet series, the most popular of<br />
which are regularly updated. In particular, the<br />
Screen Production Talent in Australia factsheet<br />
has proved very valuable when meeting US<br />
clients who are eager to engage Australian<br />
talent. Demand for Australian talent has<br />
been driven in part by the introduction of the<br />
Producer Offset. Factsheets are available in<br />
printed hardcopy and a downloadable format<br />
on the website.<br />
Ausfilm Make it in Australia brochure<br />
In March, Ausfilm produced a new brochure<br />
for international clients profiling the benefits of<br />
shooting and/or post-producing a production<br />
in Australia. The five key communication<br />
messages within this brochure are:<br />
/ / Australia’s screen production incentives;<br />
/ / The three major studio complexes in NSW,<br />
VIC and QLD;<br />
/ / Australia’s skilled and talented production<br />
and creative personnel;<br />
/ / Australia’s innovative visual effects, sound<br />
and post-production industry; and<br />
/ / Diverse and accessible shooting locations.<br />
The Ausfilm Make it in Australia brochure was<br />
distributed in the following territories in the<br />
reporting period:<br />
/ / USA - The Australia/Ausfilm stand at<br />
AFCI Locations Trade Show (100);<br />
/ / USA - The Ausfilm hosted Knowing cocktail<br />
celebration in Los Angeles (80); and<br />
/ / Europe - The Screen Australia Cannes<br />
Film Festival co-production seminar and<br />
networking events. In addition, stock was<br />
requested and distributed by the CEOs of<br />
the NSW Film and Television Office and<br />
Film Victoria (230).<br />
This brochure will continue to be used in<br />
sales meetings in the US and the UK in the<br />
next financial year.<br />
Ausfilm Website<br />
Ausfilm’s website promotes Australia’s<br />
capabilities and all factsheets can be<br />
downloaded directly. In addition, the website<br />
provides details on the productions filmed<br />
(or posted) in Australia, and provides a link<br />
for ordering Ausfilm magazine.<br />
5.4<br />
Outlook<br />
At the end of the period Ausfilm was in the<br />
advanced planning stage for a marketing<br />
campaign to promote Australia’s PDV Offset<br />
and its Post, Digital and Visual effects<br />
production (PDV) capabilities. A promotional<br />
book promoting Australia’s PDV Offset and<br />
Ausfilm’s PDV members is being developed.<br />
The high quality book will be direct mailed to<br />
300 key contacts in the US post-production<br />
and visual effects market, 100 in the UK market<br />
and 100 in the Australian market. The PDV<br />
book will contain a DVD that will promote the<br />
work of Ausfilm’s 13 PDV members. Publicity<br />
and client newsletters will be undertaken as<br />
part of this campaign. The campaign will be<br />
launched in late September 2010.<br />
25
5.0<br />
Marketing<br />
5.5<br />
Media and Publicity<br />
Print articles, editorial and broadcast interviews<br />
that occurred during the reporting period are<br />
reported in Figure 9 to the right.<br />
5.6<br />
Website / Subscriber news<br />
In October 2008, Ausfilm moved its web<br />
hosting from Griffin Media to Websend in<br />
Melbourne because Griffin were ceasing<br />
operations. Owing to specific operational<br />
requirements, Ausfilm subsequently moved its<br />
website and CRM to a new server and host,<br />
Loaded Technologies, in June, 2009.<br />
26<br />
Figure 9. Media and Publicity<br />
Date Media outlet Ausfilm rep interviewed<br />
July 2008 Desk Top magazine – Ausfilm’s Australia –<br />
“Let Us Tempt You” campaign featured.<br />
7/11/08 Screen Daily, Sandy George Co-production in UK Caroline Pitcher<br />
9/10/08 Screen Hub, Alex Prior Coproduction in UK Caroline Pitcher<br />
9/10/08 Sunday Age Melbourne, Peter Munro Tourism<br />
& Australia the Film<br />
N/A<br />
Caroline Pitcher<br />
1/8/08 Encore magazine – Grinding to a Halt, Tracey Vieira Tracey Vieira<br />
1/9/08 Encore magazine – Australia in vogue for Olympians<br />
and Tourism alike, Tracey Vieira<br />
1/10/08 Encore magazine – Ledgers Legacy For Young Actors,<br />
Tracey Vieira<br />
Tracey Vieira<br />
Tracey Vieira<br />
1/11/08 Encore magazine – Every Crisis Has A Brighter Side, Tracey Vieira Tracey Vieira<br />
29/11/08 The Australian – Spy who didn’t love us, Michael Bodey Caroline Pitcher<br />
1/12/08 The Australian – Australia fare advances film industry,<br />
Michael Bodey<br />
1/12/08 Encore magazine - Time to say G’Day Again,<br />
Tracey Vieira<br />
1/1/09 Encore magazine – Actors Strike Might Define<br />
New Media, Tracey Vieira<br />
8/1/09 Screen International – Ausfilm to Promote Oz<br />
technical talent at US event, Sandy George<br />
30/1/09 Variety – “Australia” incentive stirs Down Under,<br />
Michaela Boland<br />
1/2/09 Encore magazine - Filmmakers Become Ambassadors<br />
by Tracey Vieira<br />
1/3/09 Australians In Film March Newsletter photograph<br />
features Ausfilm staff.<br />
1/3/09 Encore magazine – Everyone Needs a Little Incentive,<br />
Tracey Vieira<br />
18/3/09 Screen Hub – Don’t Be Afraid of the Dark possible for Australia,<br />
Alex Prior<br />
26/3/09 Sydney Morning Herald – Movies are Threatened by<br />
Tax Rule says Director, Garry Maddox<br />
1/4/09 Encore magazine – Blockbusters with an Aussie Touch,<br />
Tracey Vieira<br />
3/4/09 Variety – Knowing flap muddles Oz tax credit,<br />
Michaela Boland<br />
6/5/09 Variety - Australian Entertainment Rebounds,<br />
Michaela Boland<br />
1/5/09 Encore magazine – Global Incentives Team Work,<br />
Tracey Vieira<br />
1/6/09 Encore magazine – The Year Victoria Went Wild,<br />
Tracey Vieira<br />
Caroline Pitcher<br />
Tracey Vieira<br />
Tracey Vieira<br />
Caroline Pitcher<br />
Caroline Pitcher<br />
(not quoted)<br />
Tracey Vieira<br />
Vivien Flitton<br />
Michelle Sandoval<br />
Tracey Vieira<br />
Ausfilm<br />
Caroline Pitcher<br />
Tracey Vieira<br />
Caroline Pitcher<br />
Caroline Pitcher<br />
Tracey Vieira<br />
Tracey Vieira
6.0<br />
Information Services<br />
27
6.0<br />
Information Services<br />
6.1<br />
Customer Relationship<br />
Management System (CRM)<br />
During the reporting period, Ausfilm’s client<br />
database underwent significant review and<br />
updating – including the deletion of contacts<br />
which are no longer relevant – as part of the<br />
changeover to Sugar CRM, Ausfilm’s new<br />
Customer Relationship Management system.<br />
Implemented in February 2009, Sugar allows<br />
both Ausfilm offices to work in real time on<br />
one single database. The merged database<br />
contains some 5,954 international and<br />
domestic contacts.<br />
28<br />
6.2<br />
Content Management System (CMS)<br />
During the reporting period Ausfilm ceased<br />
using Interspire – an e-marketing tool to send<br />
e-marketing to its clients – and implemented<br />
the e-marketing function in its Sugar CRM.<br />
Two Ausfilm staff received training on this<br />
software. The benefit of using the Sugar CRM<br />
e-marketing function is that it can identify<br />
which email contacts within the database<br />
received email campaigns and provide<br />
analysis on which stories each contact read<br />
in every email campaign. Ausfilm staff can, for<br />
example, follow up with key clients who may<br />
have demonstrated interested in a specific<br />
story on production incentives. Electronic<br />
communications with global clients included<br />
client e-blasts for Trackdown Orchestral<br />
Scoring Stage, TPH, Stage and Screen and<br />
ARRI Australia, various e-invites in the US and<br />
UK as well as a May client newsletter sent to<br />
4,253 email contacts globally.<br />
6.3<br />
New Subscription Feature<br />
During the reporting period Ausfilm<br />
implemented an e-newsletter subscription<br />
feature on its website to attract interest from<br />
filmmakers seeking information on Australia.<br />
Visitors can choose to receive quarterly email<br />
updates from Ausfilm on Australian screen<br />
production industry news and/or on Australia’s<br />
production incentives updates. All contact<br />
details received through this portal and<br />
transferred directly into Ausfilm’s Sugar CRM<br />
database as potential sales leads.
7.0<br />
Collaboration and Advocacy<br />
29
7.0<br />
Collaboration and Advocacy<br />
7.1<br />
Screen Australia<br />
Ausfilm’s CEO and Chair met Screen<br />
Australia’s newly-appointed CEO to discuss<br />
opportunities for collaboration. Ausfilm has<br />
regular contact with the relevant arms of<br />
Screen Australia, particularly with Marketing,<br />
Co-productions and the Producer Offset.<br />
Evidence of the collaboration can be seen from<br />
Alex Sangston’s (Head of Co-productions and<br />
Producer Offset, Screen Australia) attendance<br />
at Ausfilm’s UK mission and presence on the<br />
panel to promote co-production opportunities.<br />
Ausfilm involves Screen Australia and the<br />
State Screen Agencies at an early stage<br />
in the development and updating of its<br />
factsheets, especially those referring to<br />
programs administered by Screen Australia.<br />
Equally, Ausfilm involves DEWHA closely<br />
when preparing information materials on the<br />
programs administered by the Commonwealth<br />
Government.<br />
Ausfilm provided feedback on Screen<br />
Australia’s marketing guidelines as part of<br />
Screen Australia’s industry consultation.<br />
Ausfilm also prepared a submission to Screen<br />
Australia on the possibility of establishing a<br />
talent website that would enable international<br />
clients to view information on Australian talent.<br />
Ausfilm considers the service essential to<br />
satisfy a demand that is not being met.<br />
7.2<br />
Ministerial support and liaison<br />
During the year Ausfilm raised a number of<br />
issues with the Minister for the Arts, DEWHA,<br />
regarding co-operation from the Department<br />
of Defence in accessing sites and in relation to<br />
the construction of a Horizon Tank in Australia.<br />
Minister Garrett demonstrated his support<br />
for Ausfilm by writing the foreword for the<br />
inaugural Ausfilm magazine and accepting an<br />
invitation to participate in Ausfilm’s LA mission<br />
in October 2009 (subject to scheduling and<br />
approval processes).<br />
30<br />
7.3<br />
DEWHA<br />
Ausfilm continued to maintain close contact<br />
with DEWHA, and with key personnel. Towards<br />
the end of the reporting period, DEWHA’s Greg<br />
Jericho left his position on the last day of the<br />
reporting period and will be replaced by Penny<br />
Gault for the next reporting period.<br />
During the reporting period, Ausfilm also<br />
successfully negotiated a new funding deed<br />
for 2009-10. The deed’s funding was very<br />
closely aligned to Ausfilm’s business plan.<br />
7.4<br />
States meetings<br />
Ausfilm held regular meetings with the four<br />
State Partners (the State Screen Agencies<br />
of Victoria, NSW, Queensland and South<br />
Australia) in order to better co-ordinate<br />
missions and marketing activities.<br />
7.5<br />
Outlook<br />
Ausfilm will target the effectiveness of the ASPI<br />
with a planned study into the economic impact<br />
of securing foreign productions to Australia<br />
and an investigation into the effectiveness of<br />
the Location and PDV Offsets in attracting<br />
productions to Australia.
8.0<br />
Governance<br />
31
8.0<br />
Governance<br />
8.1<br />
Staff<br />
There have been some significant changes in<br />
Ausfilm staffing during the reporting period.<br />
Brondalie Martin left her role as Operations<br />
and Marketing Co-ordinator in June of the<br />
previous reporting period and was replaced in<br />
September 2008 by Marty Jamieson.<br />
Jodea Bloomfield left her role as Vice-President<br />
(Content Attraction) in October 2008. The role<br />
was restructured, and recruitment took place<br />
during the last quarter of 2008 for the role of<br />
Client Liaison Executive. Michelle Sandoval,<br />
formerly at Dreamworks Animation, was<br />
appointed in December 2008 and commenced<br />
in January 2009.<br />
Nick Coyle left his role as Policy and Corporate<br />
Services Executive in June 2009 and was<br />
replaced that same month by Alastair<br />
McKinnon, formerly at Screen Australia.<br />
Caroline Pitcher announced she would not be<br />
renewing her contract as CEO beyond its two<br />
year term and a recruitment process began to<br />
find a new CEO to commence early in the next<br />
financial year.<br />
Rachelle Gibson-Cummins continued as<br />
Marketing and Development Executive, Annie<br />
Lucas continued as Administration Coordinator<br />
3 days per week whilst in LA Tracey Vieira<br />
continued as Film Commissioner and Vivien<br />
Flitton as Director of Operations.<br />
32<br />
Director of Operations<br />
Vivien Flitton<br />
LA Film Commissioner<br />
Tracey Vieira<br />
8.2<br />
Accounting<br />
Client Liason Executive<br />
Michelle Sandoval<br />
Ausfilm’s accounting system was supervised<br />
by Moneypenny Services’ Kate Meyer. Ausfilm<br />
also employs a freelance book-keeper one<br />
day per week, who enters information into<br />
the bookkeeping system, pays invoices, and<br />
registers income received. Ausfilm uses MYOB<br />
accounting package.<br />
Cost and income reports are generated<br />
and examined by the Executive Committee,<br />
which meets monthly. Kate Meyer attends the<br />
Executive Committee meetings in her capacity<br />
as accountant.<br />
Financial protocols are in place to ensure that<br />
Ausfilm enters into financial obligations only<br />
after due care. Major expenditures must be<br />
authorised by a Deputy Chair or Chair.<br />
Ausfilm Board<br />
Ausfilm Executive<br />
Committee<br />
Chief Executive<br />
Caroline Pitcherr<br />
Marketing and<br />
Development Executive<br />
Rachelle Gibson<br />
Marketing and Operations<br />
Coordinator<br />
Marty Jamieson<br />
8.3<br />
DEWHA: reports and deed<br />
Ausfilm is required to report twice-yearly<br />
to its major funder, DEWHA and to inform<br />
DEWHA about its progress in meeting the key<br />
performance indicators (KPIs) which are agreed<br />
between the two parties.<br />
Ausfilm submitted its interim report in January,<br />
which was acquitted by DEWHA, permitting<br />
the second tranche of Ausfilm’s funding to<br />
be paid.<br />
Ausfilm confirmed its KPIs with DEWHA during<br />
the reporting period, and will submit its final<br />
report for 2008-09 with its audited accounts<br />
for 2008-09.<br />
Policy and Corporate<br />
Services Executive<br />
Alastair McKinnon<br />
Admin Coordinator<br />
Annie Lucas
8.0<br />
Governance<br />
8.4<br />
Committees<br />
Ausfilm is governed and assisted by a<br />
number of Committees. For full details of<br />
their membership, please see Appendix 1.<br />
Executive Committee<br />
The Executive Committee meets monthly,<br />
on the first Wednesday of every month. It is<br />
chaired by Ausfilm’s Chair, and also comprises<br />
the two Deputy Chairs and a representative<br />
from one State Screen Agency Partner.<br />
For 2008-09, it was chaired by Martin Cayzer,<br />
supported by Catherine McDonnell and Alaric<br />
McAusland, with Sandra Sdraulig representing<br />
the State Agencies.<br />
The minutes from the Executive Committee are<br />
circulated to the Board after they have been<br />
approved by the Chair or Deputy Chair.<br />
Marketing Committee<br />
The Marketing Committee meets quarterly and<br />
for 2008-09 was chaired by Alaric McAusland.<br />
The Marketing Committee discusses issues<br />
relating to Ausfilm’s international promotion of<br />
Australia’s capabilities. For its membership in<br />
2008-09, please see Appendix 1.<br />
Policy Committee<br />
The Policy Committee meets quarterly<br />
and for 2008-09 was chaired by Catherine<br />
McDonnell. The Policy Committee discusses<br />
structural issues relating to Australia’s ability<br />
to attract international production, such as tax<br />
requirements. For its membership in 2008-09,<br />
please see Appendix 1.<br />
8.5<br />
Board meetings<br />
Four Board meetings were held in 2008-09:<br />
one in Sydney, one in the Gold Coast, one in<br />
Melbourne, and one in Canberra.<br />
Figure 11. Ausfilm Board and Committee Members and Staff<br />
Board members<br />
Position Director Member Term begins Term ends<br />
Chair Martin Cayzer Panavision 1/7/08 30/6/10<br />
Deputy Chair Alaric McAusland Deluxe 1/7/06 30/6/09<br />
Deputy Chair Catherine McDonnell Fox Studios<br />
Australia<br />
1/7/06 30/6/09<br />
Elected Corporate<br />
Member<br />
Trish Graham Fuel 1/7/08 30/6/11<br />
Elected Corporate<br />
Member<br />
Elected Corporate<br />
Member<br />
Elected Corporate<br />
Member<br />
Elected Corporate<br />
Member<br />
Elected Corporate<br />
Member<br />
State screen agencies<br />
State Screen Agency<br />
Board position<br />
State Screen Agency<br />
Board position<br />
State Screen Agency<br />
Board position<br />
State Screen Agency<br />
Board position<br />
Greg McKibbin Kodak 1/7/08 30/6/11<br />
Kate Meyer Moneypenny 1/7/07 30/6/10<br />
Sue Greenshields Lemac 1/7/08 30/6/11<br />
Ian Robertson Holding Redlich 1/7/06 30/6/09<br />
Greg Smith Animal Logic 1/7/07 30/6/10<br />
Robin James Pacific Film & Television Commission<br />
Richard Harris South Australian Film Corporation<br />
Sandra Sdraulig Film Victoria<br />
Tania Chambers NSW FTO<br />
33
8.0<br />
Governance<br />
Board observers<br />
Federal Government<br />
Board Observer<br />
Federal Government<br />
Board Observer<br />
Federal Government<br />
Board Observer<br />
Associate State<br />
Screen Agency Board<br />
Observer<br />
Associate State<br />
Screen Agency Board<br />
Observer<br />
Associate State<br />
Screen Agency Board<br />
Observer<br />
34<br />
Lloyd Downey Austrade<br />
John Odgers Austrade<br />
Stephen Richards DEWHA<br />
Ian Booth ScreenWest<br />
Karena Slaninka Screen Tasmania<br />
Penelope McDonald NT Film Office<br />
Staff<br />
Chief Executive Caroline Pitcher Sydney<br />
Policy & Corporate<br />
Services Executive<br />
Alastair McKinnon Sydney<br />
Administration<br />
Coordinator<br />
Marketing and<br />
Development Executive<br />
Marketing and<br />
Operations Coordinator<br />
Annie Lucas Sydney<br />
Rachelle Gibson Sydney<br />
Marty Jamieson Sydney<br />
Film Commissioner Tracey Vieira Los Angeles<br />
Client Liaison Executive Michelle Sandoval Los Angeles<br />
Operations Director Vivien Flitton Los Angeles<br />
Accountant (freelance) Kate Meyer Sydney<br />
Book-keeper (freelance) Virginia Parsons Sydney
9.0<br />
Appendix 1 – Committees<br />
35
9.0<br />
Appendix 1 – Committees<br />
Figure 1. Audit committee:<br />
Chair Greg Smith Animal Logic<br />
Auditor Chris Coote Chris Coote & Co.<br />
Accountant Kate Meyer Moneypenny<br />
Member Alaric McAusland Deluxe<br />
State Screen Agency Tania Chambers NSW FTO<br />
Figure 2. Executive committee<br />
Chair Martin Cayzer Panavision<br />
Deputy Chair Alaric McAusland Deluxe<br />
Deputy Chair Catherine McDonnell Fox Studios Australia<br />
State Screen Agency member Sandra Sdraulig Film Victoria<br />
Reporting Kate Meyer (Accountant, Moneypenny) & Ausfilm Staff<br />
Figure 3. Marketing committee<br />
Chair Alaric McAusland Deluxe<br />
Corporate Member (Board member) Trish Graham Fuel<br />
Corporate Member James Bramley Fox Studios Australia<br />
Corporate Member Julian Dimsey Iloura (Omnilab Media)<br />
Corporate Member Nathan Wellington FSM<br />
Corporate Member Geraldine Quinn ARRI Australia<br />
Corporate Member Stephen Rutter Show Group<br />
Corporate Observer Pamela Hammond Digital Pictures<br />
Corporate Observer Kylie Ranger Stage & Screen<br />
Corporate Observer Lynne Benzie Warner Roadshow Studios<br />
State Screen Agency Kate Marks Film Victoria<br />
State Screen Agency Jess Conoplia Pacific Film & Television Commission<br />
State Screen Agency Kya Blondin NSW FTO<br />
State Screen Agency Sue Stewart South Australia Film Corporation<br />
36
9.0<br />
Appendix 1 – Committees<br />
Figure 4. Policy committee:<br />
Chair Catherine McDonnell Fox Studios Australia<br />
Corporate Member (Board member) Sue Greenshields Lemac<br />
Corporate Member Sonia Borella Holding Redlich<br />
Corporate Member Brinos Lambrinos BDO Kendalls<br />
Corporate Member Brett Thornquest Moneypenny<br />
Corporate Member Lewis Pullen Omnilab Media<br />
Corporate Member Lynn Paetz Warner Roadshow<br />
Corporate Observer (Board member) Greg Smith Animal Logic<br />
Corporate Member Susan Horlin PricewaterhouseCoopers<br />
State Screen Agency Jess Conoplia Pacific Film & Television Commission<br />
State Screen Agency Sue Stewart South Australia Film Corporation<br />
State Screen Agency Judith Bowtell NSW FTO<br />
State Screen Agency Kate Marks Film Victoria<br />
Figure 5. Ausfilm members<br />
Post-Production/Digital/Visual Effects (PDV)<br />
Animal Logic<br />
Complete Post<br />
Cutting Edge<br />
FSM<br />
Fuel<br />
Omnilab Media<br />
(incorporating Digital Pictures, Iloura, The Lab Sydney)<br />
Rising Sun Pictures<br />
Surreal World<br />
Music & Sound Post Production<br />
Stageone Sound (Deluxe)<br />
Trackdown Scoring Stage<br />
Equipment Suppliers & Rentals<br />
Agrekko<br />
ARRI Australia<br />
Lemac Films (Australia) Pty Ltd<br />
Panavision (incorporating Panalux)<br />
Financial Services<br />
BDO Kendalls<br />
Ernst & Young<br />
Moneypenny Services<br />
PricewaterhouseCoopers<br />
Threadgold Plummer Hood<br />
Film Laboratories & Suppliers<br />
Deluxe Sydney<br />
(incorporating Deluxe Melbourne and Efilm Australia)<br />
Kodak (Australasia) Pty Ltd<br />
State Government Agencies<br />
Film Victoria<br />
Pacific Film and Television Commission<br />
NSW Film and Television Office<br />
South Australian Film Corporation<br />
Northern Territory Film Office<br />
Screen Tasmania<br />
ScreenWest<br />
Federal Government<br />
Department of the Environment, Water,<br />
Heritage and the Arts (DEWHA)<br />
Studios & Facilities<br />
Melbourne Central City Studios<br />
Fox Studios Australia<br />
Warner Roadshow Studios<br />
Freight, Travel & Accommodation<br />
Ausfilm Transport & Logistics<br />
Showgroup<br />
Stage and Screen Travel<br />
Legal<br />
Holding Redlich<br />
37
10.0<br />
Appendix 2 – Website Visitors<br />
38
10.0<br />
Appendix 2 – Website Visitors<br />
Number of Visits & Page Views<br />
Number of visits in Table 1 on page 40 in the<br />
appendix records the amount of visitors to the<br />
website for all visits not unique visitors. Page<br />
Views records the amount of pages a unique<br />
visitor views. Ausfilm has provided the statistics<br />
for Page Views for the 07/08 and 08/09<br />
reporting period. There has been a 13 percent<br />
increase in the amount of pages viewed on the<br />
Ausfilm website for 08/09 when compared to<br />
07/08. More unique users are viewing more<br />
pages on the Ausfilm website. No visits or<br />
percentage changes are provided from January<br />
to June for Number of Visits in Table 1 because<br />
changes in the way Ausfilm now records this<br />
information made comparison impossible for<br />
that six month period.<br />
Unique Users<br />
Traffic to Ausfilm’s website by unique visitors<br />
increased significantly from January 2009.<br />
This can be attributed to the Make it in<br />
Australia campaigns conducted in January<br />
and April 2009. From March through to June<br />
the unique visitors increased significantly<br />
with May having the highest unique visitors<br />
to Ausfilm’s website in history. This can also<br />
be attributed to consistently directing users<br />
to the Ausfilm website for all articles and<br />
attachments for Ausfilm member and client<br />
e-communications.<br />
Hits<br />
The definition of the hits statistics is the<br />
number of elements a web page measures<br />
when a user navigates to a page. If there are<br />
five images, three text areas and two menu<br />
sections and a banner, then when a user<br />
visits this page it is recorded as ten hits. This<br />
figure will only change significantly if there<br />
are more page views or the site has been<br />
rebuilt with more components per page. The<br />
statistics in the Hits column are reduced for the<br />
reporting period because there were content<br />
and site map updates on the Ausfilm website<br />
in October and November which included<br />
the deletion of a number of pages that were<br />
repetitive and provided little or no information<br />
(menu list). Some outdated slide shows and<br />
factsheets were also removed and the site was<br />
refined for easier navigation. The decrease in<br />
hits to the Ausfilm website during the reporting<br />
period can be attributed to these refinements.<br />
This is shown in Table 2 on page 40.<br />
Bandwidth<br />
Bandwidth measures the bytes for pages,<br />
images and files downloaded by webbrowsing.<br />
The bandwidth for this reporting<br />
period decreased by 33 percent. This can<br />
be credited to the website revisions during<br />
the reporting period.<br />
39
10.0<br />
Appendix 2 – Website Visitors<br />
Table 1<br />
40<br />
Unique visitors Number of visits Page Views<br />
2007/08 2008/09 Change 2007/08 2008/09 Change 2007/08 2008/09 Change<br />
July 5,859 5,271 -10% 20,099 9,959 -50% 42,326 38,953 -8%<br />
August 5,674 3,764 -34% 13,872 6,930 -50% 36,182 37,039 2%<br />
September 5,028 4,129 -18% 11,040 7,209 -35% 27,431 32,056 17%<br />
October 5,354 3,322 -38% 11,636 5,617 -52% 32,984 29,370 -11%<br />
November 5,319 1,353 -75% 10,942 1,965 -82% 29,472 20,607 -30%<br />
December 4,498 3,101 -31% 9,897 5,063 -49% 28,127 39,786 41%<br />
January 5,140 12,387 141% 11,474 - - 32,183 48,739 51%<br />
February 5,187 9,604 85% 11,075 - - 35,765 35,614 0%<br />
March 6,136 11,339 85% 13,807 - - 36,650 54,459 49%<br />
April 7,818 10,232 31% 18,663 - - 45,151 42,880 -5%<br />
May 6,622 13,666 106% 17,099 - - 43,902 64,186 46%<br />
June 6,462 13,323 106% 12,857 - - 43,806 47,123 8%<br />
Average 5,758 7,624 24% 13,538 27,478 - 36,165 40,901 13%<br />
Total 69,097 91,491 24% 162,461 329,744 - 433,979 433,979 13%<br />
Table 2<br />
Hits Bandwidth(GB)<br />
2007/08 2008/09 Change 2007/08 2008/09 Change<br />
July 450,699 465,109 3% 6.6 8 21%<br />
August 650,554 458,455 -30% 6 7.2 22%<br />
September 396,420 612,117 54% 5.1 6.4 27%<br />
October 590,967 347,977 27% 6.7 3.9 -42%<br />
November 584,872 86,428 -85% 5.3 1.1 -79%<br />
December 435,124 139,513 -68% 5.7 2.8 -52%<br />
January 598,902 212,080 -65% 5.7 5.8 2%<br />
February 663,380 155,199 -77% 6.7 2.7 -60%<br />
March 541,008 214,101 -60% 6 3.8 -37%<br />
April 618,511 191,261 -69% 7.8 3.2 -59%<br />
May 482,031 277,835 -42% 8.7 5.2 -40%<br />
June 539,249 204,361 -62% 9.6 3.4 -65%<br />
Average 545,976 280,370 -49% 6.7 4.4 -34%<br />
Total 6,551,717 3,364,436 -49% 80 53.5 -34%
11.0<br />
Ausfilm Audited Accounts<br />
41
Notes<br />
55
Notes<br />
56
www.ausfilm.com