14.12.2012 Views

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

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

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

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!