T R A C K D O W N - AusFilm

Ausfilm
Annual Report 2008/09

Contents
02 1.0 Chairman’s Foreword
03 2.0 CEO’s Report
04 3.0 Production Activity and Client Liaison
05 3.1 Productions attracted
06 3.2 New contacts/leads
06 3.3 Meetings
07 3.4 International Missions and Events
07 3.5 Familiarisation tours/inbounds
09 4.0 Membership
10 4.1 Members during period and losses and gains
11 4.1.1 Tailored Member Services
13 4.1.2 Newsletters/reports
14 5.0 Marketing
15 5.1. Campaigns
15 5.1.1 Australia – “Let Us Tempt You” Incentives campaign
(USA) 23 June – 8 July 2008
16 5.1.2 Australia – “Let Us Tempt You” Incentives campaign
(UK) October 2008
19 5.1.3 Make It In Australia – Talent Campaign
(USA) January 2009
21 5.1.4 Make it in Australia – Incentives Campaign
(USA) April 2009
22 5.2 Annual Online Impact Overview
25 5.3 General Advertising
25 5.4 Outlook
26 5.5 Media and Publicity
26 5.6 Website / Subscriber news
27 6.0 Information Services
28 6.1 Customer Relationship Management System (CRM)
28 6.2 Content Management System (CMS)
28 6.3 New Subscription Feature
29 7.0 Collaboration and Advocacy
30 7.1 Screen Australia
30 7.2 Ministerial support and liaison
30 7.3 DEWHA
30 7.4 States meetings
30 7.5 Outlook
31 8.0 Governance
32 8.1 Staff
32 8.2 Accounting
32 8.3 DEWHA: reports and deed
33 8.4 Committees
33 8.5 Board meetings
35 9.0 Appendix 1 – Committees
38 10.0 Appendix 2 – Website Visitors
41 11.0 Ausfilm Audited Accounts
01

1.0
Chairman’s Report
Ausfilm is a private/public
partnership that strives to reinforce
Australia’s standing as one of the
world’s pre-eminent destinations
for large-scale film and television
production, post-production
services and visual effects work.
It is a partnership that succeeds because of
a singular vision and a shared commitment to
the collective benefits of attracting overseas
productions to Australia.
When international productions shoot in
Australia they bring enormous benefit to the
local economy, with foreign dollars spent
in hotels, restaurants, on travel, real estate
and in tax revenue for government. For the
screen industry they provide employment
opportunities for local creatives and crews.
It also engages our service companies and
utilises our equipment, recording facilities,
stages, transport and expertise.
Ensuring that there is a consistent supply
of overseas-sourced production in Australia
enables the entire industry to have predictability
and stability; prerequisites for planning and
investment in infrastructure and training.
This financial year was a challenging one for
the screen sector worldwide on a number of
fronts. The global financial crisis put downward
pressure on many productions and the wildly
fluctuating Australian dollar made conditions
somewhat difficult. It was unfortunate that at a
time of transformative change for the Australian
screen sector in the form of the Australian
Government’s Australian Screen Production
Incentive, the economy stuttered; Ausfilm
responded, adapted and rose to this challenge.
02
During the year Ausfilm refined its message,
finessed its marketing approach, built stronger
links with existing partners and forged critical
relationships with new ones. Ausfilm today
stands for quality of outcomes and not quantity
of output and the industry stands to benefit
from that.
Ausfilm produced the first edition of its annual
Ausfilm magazine, providing information
about Australia’s talented screen industry,
diverse filming locations and Australia’s ability
to service all types of international film and
television production. It promises to become
a key resource for the international production
sector.
In the next financial year Ausfilm will be
focussing on a detailed Economic Impact
Study to review and assess the effectiveness
of the Location and Post, Digital and Visual
Effects (PDV) Offsets. We want to know what
is working and not working about the
incentives so that Ausfilm is fully equipped
to be a key contributor to the Federal
Government review in 2010.
Despite international production activity being
down during the period, there is cause for
optimism for the coming year. Looking ahead
to 2009/10 Australia will host filming of the
third episode in the hugely popular Narnia
franchise in Queensland as well as the horror/
thriller Don’t Be Afraid of the Dark filming in
Melbourne from July 09. With several other
projects looking closely at Australia, there is
no reason to think that 09/10 won’t provide
a boost for the industry. However, Ausfilm will
continue to work harder than ever to build,
grow and secure increasing numbers of
footloose productions to Australia.
It is an undertaking that requires indefatigable
pursuit of production leads by Ausfilm, primarily
in the US, as well as close co-operation
between relevant government agencies and
industry partners in Australia. For that I would
like to extend my deepest thanks to CEO
Caroline Pitcher and her team, whose energy
and commitment are undoubtedly one of
Ausfilm’s greatest assets.
I must also thank the tireless Deputy Chairs,
Alaric McAusland and Catherine McDonnell,
between them chairing the Marketing and
Policy committees, as well as Executive
Committee member, Kate Meyer they have
provided support and expertise I could not do
without. Sandra Sdraulig of Film Victoria was
the State’s representative on the Executive
Committee and I thank Sandra for her
commitment and valuable contribution.
Finally I wish to acknowledge the ongoing
critical support of the Australian Government
and in particular the Minister for Environment,
Heritage and the Arts, Peter Garrett, for the
continued engagement with, and support
of Ausfilm. Ausfilm works closely with the
Department of the Environment, Water,
Heritage and the Arts (DEWHA) and it is
a relationship Ausfilm values most highly.
Martin Cayzer
Chairman

2.0
CEO’s report
Ausfilm is a critically important
bridge between the Australian
screen industry and the
international production sector.
Its operations are targeted to
position Australia nationally
and internationally as a leading
destination for large-budget film
and television production.
Despite the tough economic climate,
2008/09 saw Ausfilm build on its strengths
and reputation and it is well placed to seize
every advantage for its members in the
coming year.
Ausfilm embarked on a series of overseas
missions on behalf of its membership, kicking
off with the Singapore/UK mission in October
2008. In Singapore and London the emphasis
was on promoting Co-productions and the
Producer Offset. These markets are more
suited to these two products and Ausfilm
accordingly tailored and targeted its marketing
and advertising message to maximise
opportunities in that arena.
In January Ausfilm launched its inaugural
magazine simultaneously with its major
campaign for the year, Make it in Australia
(MIIA), in its priority international market, the
US. Taking Australian talent as its theme,
Ausfilm magazine was distributed directly
to more than 3,500 key players in the film,
television and post-production market around
the globe. The magazine also promoted the
facilities and locations of Australia’s seven
states and territories as well as Ausfilm’s
member businesses. The response to the
magazine was so strong that we are already
looking forward to bringing you the second
edition in October 2009.
Ausfilm also continued to assume a major
presence at the most critical international
production industry events. The AFCI
tradeshow is a one-stop-shop for the US
film and television industry and Ausfilm’s
booth provided a unique opportunity for
its membership to connect with its target
audience and participate in discussions on
issues facing the industry. Visitors to Ausfilm’s
booth included film, television, video and
commercial industry studio executives,
producers, directors, cinematographers and
location scouts from all segments of the
entertainment industry.
Ausfilm demonstrated the versatility of
its marketing approach when it hosted a
reception honouring the Summit Entertainment
executives behind the successful film
Knowing. Instead of a traditional marketing
approach, the guests at this event learnt
about Summit’s experience filming in
Australia during a casual evening and the
industry response was fantastic.
Ausfilm sponsored five international inbounds
during the year with overwhelmingly
positive feedback. Large-scale projects are
currently budgeting for Australia as a result,
underscoring the value of the program.
I am delighted to report that Ausfilm conducted
an independent assessment of its customer’s
satisfaction with Ausfilm services and found
that nearly 90 percent of its clients are “very
satisfied”, the highest classification. Citing
Ausfilm’s professionalism, knowledge and
responsiveness in obtaining necessary
information as the organisation’s primary
benefits, this survey was confirmation that
Ausfilm is fulfilling its brief, successfully
engaging with the very best opportunities for
its membership in key markets.
Ausfilm continues to diligently plan ahead and
is already in advanced planning for a marketing
campaign to promote Australia’s post-digital
and visual effects production capabilities.
Advertising expenditure will be geared heavily
to the US market with the campaign proposed
to launch in the first half of the next financial
year, capitalising on the Location and PDV
Offsets.
Ausfilm has carefully developed its business
plan and budget for the coming year to
respond to the current needs of its members
and the wider industry. Ausfilm prides itself
on being responsive and agile and the
business plan reflects Ausfilm’s determination
to remain relevant to its membership and
consistently be innovative and resourceful
in its marketing.
Ausfilm is first and foremost a membership
organisation and we are only as strong as
our membership base. The generosity of the
membership in providing time, expertise and
market intelligence is essential to Ausfilm’s
ongoing success. However, when Ausfilm
succeeds, it benefits the entire industry,
and to that end I would strongly encourage
Ausfilm’s members to continue to promote
the value of membership to potential
industry partners.
For their invaluable skill and enthusiasm
I extend sincere thanks to the outstanding
Ausfilm staff in Sydney and Los Angeles.
Importantly I would like to thank the Australian
Commonwealth Government for its recognition
of the critical role Ausfilm plays through its
ongoing financial support through DEWHA.
Particular thanks must go to Stephen Arnott,
Stephen Richards and Greg Jericho who are
always a pleasure to work with.
Finally, as this is my last annual report as CEO,
I would like to extend my sincere gratitude
to Martin Cayzer, the Deputy Chairs, the
Executive Committee and the Ausfilm Board
for their support, guidance and generosity
to me during my time as CEO. The passion
and commitment of Ausfilm’s members,
committees and staff has made leading
Ausfilm an immense privilege.
Caroline Pitcher
Chief Executive Officer
03

3.0
Production Activity and Client Liaison
04

3.0
Production Activity and Client Liaison
3.1
Productions attracted
It was a challenging year for attracting
international production activity to Australia,
primarily explained by the global financial crisis,
an erratic and strengthening Australian dollar
and fierce competition from other territories
offering incentives, particularly from non-
Californian states in the US.
There was also uncertainty caused by industrial
activity at the Hollywood guilds, initially the
Writers’ Guild of America, and subsequently
the Screen Actors’ Guild, resulting in
depressed levels of production. This translated
into overall lower levels of production attracted
to Australia.
There were no projects (TV, Film & PDV)
attracted from overseas and executed in
Australia in 2008/09 which are eligible to
apply for, or receive the Location or PDV
Offsets. Post-production work on Knowing
(which wrapped principal photography in
Melbourne in June 2008) continued during
the period, as did post-production work on
Australia and Broken Hill.
Productions attracted to Australia and
intending to undertake production, post and/or
VFX work in Australia in the next financial year
which may be eligible for the Location or PDV
Offsets are:
/ / Invisible Army (Voyage of the Dawn Treader),
Twentieth Century Fox
/ / Don’t Be Afraid of the Dark, Miramax
/ / Harry Potter and the Deathly Hallows
Part 1 & 2, Warner Bros.
/ / The Way Back, Scott Rudin Productions
05

3.0
Production Activity and Client Liaison
Stephen Richards, DEWHA, Caroline Pitcher,
Ausfilm, Stephen Arnott, DEWHA and
Catherine McDonnell, Deputy Chair, Ausfilm,
Parliamentary Screening of
X-Men Origins: Wolverine,
Canberra, June 2009.
Kimberly Cooper, Twentieth Century Fox,
Tennyson Cooper and Tania Chambers, NSW FTO,
Pre-gala Cocktail Event,
Los Angeles, January 2009.
06
3.2
New contacts/leads
The period was notable for the number of
enquiries received on the newly-legislated
Australian Screen Production Incentive scheme
(ASPI).
The Los Angeles office tracked 111 completely
new productions and 192 projects in total,
of which 16 would potentially qualify for the
Producer Offset.
The proportion of Ausfilm time spent on
the Producer Offset continued the trend
established last year and fell further as the
features of this strand of the ASPI became
well-understood.
Since the introduction of the Producer Offset,
an increasingly large number of international
client enquiries relate to the requirements
for accessing the 40 percent rebate and
opportunities to forge creative partnerships
with Australians.
There were approximately 150 “unprompted”
enquiries in the reporting period, received
mostly through Ausfilm’s website.
There has been a significant increase in
Australian producers contacting Ausfilm in
Los Angeles for advice and assistance on
pitching or locking in their US deals. Australian
creatives contacting Ausfilm’s Los Angeles
office are looking to sell their concept and/or
script and arrange meetings to set up deals
with production financiers in the USA. They
are reaching out to Ausfilm for assistance with
contacts and advice on how to best achieve
their desired outcome.
Ausfilm continued to refine and update its
electronic database which at the end of
the period contained 5,887 contacts. The
roll-out of Ausfilm’s Customer Relationship
Management system (Sugar CRM) enables
greater detail on the source and nature of
enquiries to be collated and a more effective
mechanism for executing sales strategy.
Outlook
Ausfilm will continue to promote all aspects of
the ASPI scheme. It is of note that the market’s
intense interest in the Producer Offset during
the previous reporting period has levelled out
and as a result Ausfilm intends to place a
greater emphasis on the Location and PDV
Offsets. In particular Ausfilm will focus on
the attraction of post-production and visual
effects work to Australia through a targeted
international mission as well as an intensive
marketing campaign.
Ausfilm will continue to communicate details
of the Producer Offset and promote it in
conjunction with Screen Australia, with a
particular emphasis on the UK market where
co-production opportunities will be further
explored for their potential to locate in
Australia.
3.3
Meetings
The three LA-based staff undertook 121
meetings with 153 industry figures throughout
the year as well as coordinating and attending
numerous events, detailed in the regular
LA monthly reports to members. Intensive
relationship building is essential to gain
project leads and intelligence early enough
to effectively pursue them for Australia in an
intensely competitive international market.
Ausfilm also provides comprehensive project
leads and briefs to State Screen Agencies for
their consideration and action.

3.0
Production Activity and Client Liaison
3.4.
International Missions and Events
US Mission (September 2008)
Ausfilm led a delegation of members and State
Screen Agency partners to Los Angeles in the
last week of September 2008. The focus was
continuing promotion of the federal incentives
and the fostering of closer links between
Ausfilm members and producers looking at
Australia for specific projects. Ausfilm also
arranged group meetings for State Screen
Agencies and collaboratively promoted the
Australian industry.
Singapore and UK Missions
(October 2008)
Ausfilm travelled to Singapore in October 2008,
joined by Alex Sangston, Screen Australia’s
Head of Co-productions and the Producer
Offset. Meetings were held with Singapore’s
Media Development Authority to discuss
Singapore’s approach to co-production and
with entertainment lawyers from the Samuel
Seow Law Corporation, which hosted an
afternoon tea and provided an opportunity to
meet Singaporean producers.
The London leg of the mission (4 – 10 October
inclusive) comprised an Ausfilm delegation
including Ausfilm’s CEO and PCSE, as well as
Alex Sangston of Screen Australia, NSW FTO’s
Tania Chambers, SAFC’s Richard Harris, Film
Victoria’s Kate Marks, PFTC’s Jess Conoplia
and Jane Corden from Moneypenny Services.
Ausfilm hosted a breakfast seminar for 65 key
industry contacts to raise awareness about
the benefits and opportunities in partnering
with Australian filmmakers. A panel comprising
Alex Sangston, Richard Harris, Jane Corden,
Julie Baines (producer of Triangle, a recent
Australian co-production), and Jacqueline Hurt
(partner at UK law firm Olswang) discussed
the Producer Offset and co-production
opportunities with Australia, focussing on the
feature film Triangle as a case study. Julie
Baines and Jacqueline Hurt also talked about
their experiences making a co-production work
with Australia.
US Mission (January 2009)
G’Day LA/NY – Australia Week
Ausfilm undertook a major promotional event
in the form of a breakfast seminar at the
Renaissance Hotel during G’Day LA week in
Los Angeles. The central feature of the seminar
was a panel moderated by Alaric McAusland
(Deputy Chair, Ausfilm) and including
Stuart Beattie (writer), Adam Elliott (writer,
producer, director), Greg McLean (writer,
producer, director), Mandy Walker (director of
photography), Chris Godfrey (VFX supervisor)
and Alex Sangston (Screen Australia). The
event attracted more than 170 guests including
producers, directors, studio executives and
key decision makers from the Hollywood
entertainment industry.
Ausfilm also hosted a cocktail reception at the
Renaissance Hotel prior to the Black Tie Gala
dinner, providing an opportunity for all Ausfilm
members and their guests to network. Ausfilm
hosted key contacts at the Black Tie Gala at
the Hollywood and Highland Centre with over
900 people in attendance.
In addition, the LA Film Commissioner,
Tracey Vieira, was asked to speak on the
“globalization and incentives, Films without
Borders” panel at Loyola Law School. Tracey
joined Susan Ord from Film New Zealand and
Ralph Winters, producer, to discuss X-Men
Origins: Wolverine and the success of the
film in using multiple jurisdictions.
Ausfilm attended the Black Tie Gala dinner in
New York, with NSW FTO and Fox Studios
Australia, where Baz Luhrmann was honoured
for his work on Australia. Approximately
30 Ausfilm magazines were distributed at
meetings in New York by the Ausfilm CEO
and LA Film Commissioner in the week of
19 January.
US (April 2009)
Ausfilm hosted a Hollywood reception on
14 April honouring Summit entertainment
executives behind the box office hit Knowing,
which filmed and posted in Australia. The
event, held at the Sunset Marquis Hotel and
Villas, had over 100 guests who during the
course of an informal event learnt about
Summit’s experience filming in Australia.
AFCI Locations Trade Show (April 2009)
Ausfilm participated in the AFCI Locations
Trade Show held in Santa Monica from
16 – 18 April. Members in attendance
included Pacific Film and Television
Commission, Warner Roadshow Studios,
Melbourne Central City Studios, Film Victoria,
Trackdown and Lemac. The Trade Show
attracted 4,000 people and gave Ausfilm and
its members multiple opportunities to build
new contacts and reconnect with existing
clients. Ausfilm conducted a marketing
campaign which ran from 13 – 17 April to
coincide with the Trade Show (see Figure 6
on page 21 of the report).
Outlook
Ausfilm will continue its focus on the US
market, with a mission to Los Angeles in
October 2009, followed immediately by an
expansion of its activity in the UK with a
mission to London.
Tracey Vieira, Ausfilm and Lynne Benzie,
Warner Roadshow Studios,
Locations Trade Show,
Santa Monica, April 2009
07

3.0
Production Activity and Client Liaison
Ausfilm staff: Michelle Sandoval, Tracey Vieira,
Caroline Pitcher and Vivien Flitton,
Ausfilm’s Annual Breakfast Seminar,
Los Angeles, January 2009.
Over 180 guests attended
Ausfilm’s Annual Breakfast Seminar
in Los Angeles in January 2009.
08
3.5
Familiarisation tours/inbounds
Ausfilm sponsored five international inbounds
to Australia during the period:
/ /
/ /
/ /
/ /
/ /
Betsy Megel, Associate Production
Executive, Feature Production
Management at Paramount Pictures
(in September/October);
Barry Rosenbush, Producer at T&C
Pictures. Barry travelled to Tasmania,
which was the first time that an Ausfilmsupported
inbound had visited the state;
Rod Brown and Andrew Boswell, The Mob
Film Co (UK), visited New South Wales
and Victoria;
Bruce Hendricks, President of Physical
Production at Walt Disney Studios (Buena
Vista) visited New South Wales, Queensland,
South Australia and Victoria; and
Steve Chasman and Gary McKendry from
Mosaic Media arrived in Australia at the
very end of the period to visit locations
on their feature film project The Killer Elite.

4.0
Membership
09

4.0
Membership
4.1
Members during period and
losses and gains
Corporate membership at the beginning
of the financial year stood at 37. Ernst
& Young, PricewaterhouseCoopers and
Beyond International joined during the period.
Soundfirm did not renew its membership for
the financial year.
Figure 1. Membership Pitches
Company Date Pitched Company Type STATE
Beyond International 1/02/2009 TV Production NSW
Blue Rocket Productions Animation TAS
Chaotic Pictures 12/06/2009 Post/VFX NSW
DLA Phillips Fox 17/04/2009 Law/Production Services NSW
Eliza Films 29/09/2008 Producer NSW
Entertainment Personnel 4/03/2009 Recruitment NSW
Ernst & Young 16/10/2008 Accountants/Finance NSW
Fin Design 22/06/2009 Post/VFX NSW
Fragomen Lawyers 17/04/2009 Legal Services NSW
FujiFilm/Hanimex 15/09/2008 Film Stock NSW
Galaxy Transport 1/07/2008 Transport NSW
Gold Coast City Council 18/09/2008 Government QLD
JMB FX 23/09/2008 Special Effects QLD
Lachlan River Studios 1/10/2008 Studio & Facilities NSW
Marine Coordinator 19/06/2009 Marine Equipment QLD
Phlimsound 26/05/2009 Sound Production NSW
PricewaterhouseCoopers 31/07/2008 Accountants/Research NSW
ScreenCorp Production Co NSW
Smart Street Films 1/07/2009 Production Co NSW
Spectrum 1/07/2008 Editing/Post-Production NSW
Stacey Testro Management 13/01/2009 Casting VIC
Strategic Aviation Group Pty Ltd 10/06/2009 Aviation QLD
Superyachting 16/09/2008 Equipment NSW
The Creature Technology Company 6/02/2009 Animatronics VIC
The Post Lounge 1/07/2008 Post-Production QLD
10

4.0
Membership
4.1.1
Tailored Member Services
Email Campaigns
Ausfilm members receive a variety of annual
benefits including the opportunity to
promote their business via Ausfilm’s
e-marketing service. Email “blasts” can
be sent to a tailored database of clients on
behalf of the members, further details of
which can be found in Table 1 below, which
lists Ausfilm’s entire e-communications to
international clients for the period. This year
the service was taken up by:
// ARRI Australia
An e-blast for ARRI Australia was sent to
169 contacts in the Australian and US film
industry with 65 unique opens and five click
throughs to links in the email.
// Stage and Screen
An e-blast was sent to ten unit production
manager contacts in the Australian
film industry.
// Trackdown Orchestral Scoring Stage
An e-blast was sent to the email
addresses of 167 contacts in the US
post-production industry.
// T P H
E-blast invites were sent to the email
addresses of 304 key contacts.
This was followed by the distribution of
the May client Newsletter to 4,253 email
contacts globally.
Table 1. Financial Year Overview E-Marketing Campaign Results
Date Emails
Sent
During the reporting period Ausfilm
implemented an e-newsletter subscription
feature on its website to attract interest from
filmmakers seeking information on Australia.
Visitors can choose to receive quarterly email
updates from Ausfilm on Australian screen
production industry news. Despite the feature
only being implemented in the final month of
the reporting period, 21 subscriptions had
been received by 30 June, 2009.
Ausfilm Emarketing
Communication
Territory Audience Email
Contacts
Unsubscribe
Requests
Unique
Opens
Clicks
on Email
4/07/2008 1 TPH Client E-blast invite to event USA Client 304 0 n/a n/a
27/08/2008 1 UK “Let Us Tempt You” UK Client 743 0 0 0
10/09/2008 Stage and Screen Client E-blast AUST Client 10 0 0 0
20/11/2008 Arri Australia Client E-blast US/AUST client 169 0 65 5
7/12/2008 1 G’Day LA Breakfast Invite Reminder USA client 2218 0 575 4
8/12/2008 1 G’Day LA Breakfast Invite USA client 2063 3 658 12
10/12/2008 1 2008 Xmas Card - Global GLOBAL client 7129 5 1958 81
15/01/2009 1 Make it in Australia
Campaign Launch
GLOBAL client 7123 0 1409 341
23/03/2009 1 Knowing Event Invite USA client 1108 0 261 n/a
1/04/2009 Trackdown E-blast USA Client 595 0 98
8/04/2009 1 Knowing Event Reminder USA client 1108 0 265 n/a
31/05/2009 1 May Australian News GLOBAL Client 4253 1 922 235
1 July 2008 -
30 June 2009
24 Ausfilm Member Newsletters &
Project Leads
AUST member 180 n/a n/a n/a
11

4.0
Membership
Meeting Scheduling for Members
Fourteen Ausfilm member companies
including four State Screen Agencies
benefited from tailored client introductions
in the past year.
Ausfilm provided lists of potential partners,
and contacted them on behalf of members
to make an introduction and to set up
meetings. Ausfilm staff also accompanied
members to meetings, if requested, to
assist with sales pitches.
In total 38 different executives were
confirmed for meetings with Ausfilm
members. Many of these met with
more than one member. The list of
executives included:
12
Figure 2. Executives Met by Ausfilm Members
Executive Title Company
Bruce Hendricks President, Physical Production Walt Disney
Paul Steinke Sr. VP, Production Finance Walt Disney
Gary Hamilton Managing Director Arclight
Steve Eddy Production Executive Summit Entertainment
Gary Wordham VP, Physical Production Universal
Simonne Overend Development Executive RGM Associates
Betsy Megel Associate Production Executive Paramount Pictures
Stephanie Ito Post-Production Executive Paramount Pictures
Greg McRitchie Exec. VP, Post-Production Universal
Hansa Adams Prasad Manager, Acquistions and Co-Productions The Weinstein Company
Mark Indig Producer
Mark Scoon Sr. VP, Physical Production Warner Bros.
Bill Bowling Location Manager Warner Bros.
Bill Draper Exec. VP, Physical Production Warner Bros.
Steve Papazian President, Physical Production Warner Bros.
Kelli Smith-Wait VP, Physical Production Warner Bros.
Karen Fouts Executive Director Budgeting Warner Bros.
Chris DeFaria Exec. VP, Digital Production Animation
and Visual Effects
Warner Bros.
Doug Jones Exec. VP, Physical Production Walden Media
Mylan Stepanovich VP Physical Production Walden Media
Jonas Thaler VP Post-Production Walden Media
Sean Santiago Director, Visual Effects Walden Media
Liz Gutierrez Production/Post-Production Coordinator Walden Media
Luke Homeres Production Coordinator Walden Media
Barry Rosenbush Producer T & C Pictures
Steve Chasman CEO Mosaic
Greg Coote CEO/Chairman Dune Entertainment
Jillian Longnecker Director, Physical Production Spitfire Pictures
Jason Lust Sr. VP, Feature Films Henson Company
Steven Spira President Worldwide Business Affairs Warner Bros.
Todd Isroelit Sr. Production Supervisor, Visual Effects Twentieth Century Fox
Marc Solomon, Exec. VP, Post-Production Warner Bros.
Ruth Hauer VFX Associate Producer Walt Disney
Andy Fowler VP, Visual Effects /Snr Visual Effects Producer Walt Disney
MaryAnn Hughes VP, Film and Television Production Planning Walt Disney
Fred Chandler VP, Post-Production Twentieth Century Fox
Kim Cooper Sr. VP, Physical Production Twentieth Century Fox
Alex Brunner Sr. VP Spitfire Pictures
Eric Feig Entertainment Lawyer Rosen Feig Golland & Lunn

4.0
Membership
Group Meetings (State Screen Agencies)
Group meeting schedules for State Screen
Agency partners and studio members were
arranged and executed on four separate
occasions in Los Angeles during the period:
/ / September Mission (Sept/October 2008)
/ / G’Day LA (January 2009)
/ / New York (January 2009)
/ / Locations Trade Show (April 2009)
Additionally, Ausfilm facilitated guest
attendance at an event hosted by Threadgold
Plummer Hood in July 2008 showcasing their
Eclipse and EzyPo systems.
4.1.2
Newsletters/reports
Over 30 e-newsletters were distributed to
members in the reporting period including
ten LA project lead reports and 26 general
information or member e-invitation newsletters.
See Table 1 on page 11 for a complete list.
Top – Bottom
Knowing E-Invite
X-Men Origins: Wolverine E-Invite
13

5.0
Marketing
14

5.0
Marketing
In 2008-09, Ausfilm undertook a number
of significant marketing initiatives to attract
productions to Australia.
5.1
Campaigns
5.1.1
Australia – “Let Us Tempt You” Incentives
campaign (USA) 23 June – 8 July 2008
Based on the previous success of this
campaign in April 2008, this promotion was
repeated and overlapped with the reporting
period. A space was road-blocked on the
Variety.com homepage for the periods of
23 – 26 June and 30 June – 8 July (11 days
in total) and in the daily e-newsletter for one
week from 23 – 27 June (5 days).
The aim of this campaign was to:
/ /
/ /
/ /
Continue to raise awareness of Australia’s
new and enhanced ASPI scheme;
Seize the attention of Ausfilm’s target
market in the US; and
Increase enquiries and interest in the
scheme.
Online Impact
The June/July Campaign had a combined
circulation of 891,227 viewers with 19 percent
of viewers clicking through to the Ausfilm
website. This is the largest quantity of online
advertising impressions (total audience
exposure) Ausfilm has ever achieved.
The website analysis revealed a 32 percent
increase in unique visitors to the Ausfilm
website during this campaign compared to
the previous month when no online advertising
was conducted.
Despite the larger audience exposure, there
was a 15 percent reduction in unique visitors
to the Ausfilm website in the July 2008
campaign as well as a reduced click through
rate compared to the US incentives campaign
in April 2008. The reduction in click through
rates and unique visitors to the Ausfilm website
are attributed to the fact that, unlike in April,
there was no direct mailout, direct email
marketing or print advertising undertaken
in July, nor complimentary “welcome mat”
advertisement provided by the Hollywood
Reporter which was valued at $10,000.
Figure 3. Campaign Mix and Distribution
Advertising // online advertising
campaign on
Variety.com’s
homepage,
23 – 26 June and
30 June – 8 July
(11 days); and
// Variety daily e-newsletter,
23 – 27 June (5 days).
15

5.0
Marketing
5.1.2
Australia – “Let Us Tempt You”
Incentives Campaign (UK) October 2008
Ausfilm produced revised marketing and
advertising materials under the Australia – “Let
Us Tempt You” theme for the UK and European
market. These included an incentives “cherry”
folder, a postal DL-size double-sided invitation,
a revised campaign website, two e-marketing
blasts and four online advertisements.
Ausfilm also produced three new hardcopy
and online factsheets and an Ausfilm Member
Directory for the London event. These
factsheets were enclosed within the incentives
“cherry” folder and were contained in an
Ausfilm branded give-away-bag for the London
industry seminar. Member marketing materials
were also included in these bags.
The aim of this campaign was to:
/ /
/ /
/ /
/ /
Introduce and raise awareness of Australia’s
new and enhanced ASPI scheme to the UK
and European market prior to and during
Ausfilm’s London marketing mission;
Promote the benefits of partnering
with Australian producers on official
UK/Australian co-productions;
Seize the attention of Ausfilm’s target
market in the UK and Europe; and
Increase enquiries and interest in the
scheme from this market.
16
Online Impact
The online advertising for the Ausfilm
‘Australia – “Let Us Tempt You” incentives
campaign featured on the Screendaily.com
homepage for the period of 29 September –
14 October (11 days) to coincide with
Ausfilm’s UK marketing mission.
The online advertising campaign was
bolstered by two e-marketing campaigns
delivered to key contacts within the UK. This
totalled 743 individual email addresses within
Ausfilm’s database. The e-marketing blasts
led audiences to the campaign website which
linked back to the Ausfilm website. There
were ten requests for postal information packs
stemming from this e-marketing campaign.
The campaign message for the UK/European
market emphasised co-productions and the
Producer Offset. This market is more suited for
these two products. Therefore, the advertising
message focused on the fact that official
co-productions with Australia qualify for the
Producer Offset. The four different sized digital
adverts used throughout the campaign were
as follows:
/ / Screen Daily e-newsletter banner:
6 – 12 October with 49,500 impressions
/ / Screen Daily e-newsletter skyscraper:
28 September – 15 October with
141,903 impressions
/ / Website homepage mini-skyscraper:
6 – 14 October with 69,901 impressions
/ / Website button: 26 September –
15 October with 280,467 impressions

5.0
Marketing
Table 2 on page 22 shows impressions
(audience exposure) and click through rates
for unique visitors in all campaigns across the
US and the UK/Europe for the past year.
There were a total of 541,770 impressions
over the length of the UK campaign with
0.08 percent of viewers clicking through to
the Ausfilm website compared with the US
June/July campaign of 891,227 viewers with
19 percent of viewers clicking through to the
Ausfilm website.
From 191,402 people who viewed the Ausfilm
adverts in the Screen Daily e-newsletter, two
hundred and sixty-three people clicked onto
the Ausfilm advert which linked back to an
incentives campaign web page on
ausfilm.com/letustemptyou.
Figure 4. Campaign Mix and Distribution
Digital
Campaign
Direct mail
electronic
Dedicated campaign website
with URL: ausfilm.com/
letustemptyouUK providing
PDF versions of the ASPI
and PDV Factsheets and
links to the Ausfilm and
DEWHA websites.
Two e-marketing blasts
to 743 addresses (from
European targets in
Ausfilm’s database)
Advertising Four different sized online
adverts on Screendaily.com
Australia – “Let Us Tempt You”
Incentives Campaign
Online Advertisement
17

make it in australia
SUBLIME
LOCATIONS.
FILMING THe WORLD IN ONe COuNTRY
BEEN THERE.
DONE THAT.
HOLLYWOOD PRODuCeRs TALK GReAT AussIe LIFesTYLe
makeitinaustralia.com
© Ausfilm 2009. Featuring Cinematographer Mandy Walker + Lamington National Park Queensland.
18
THE TALENT ISSUE
Issue #01 | January 2009
Cinematographer MANdy WALkEr
Writer/Director GrEG McLEAN
Composer dAvId HIrScHfELdEr
Production Designer OWEN PAT E rSON
Make it In Australia –
Ausfilm Magazine
Talent Campaign (USA)
January 2009
Cinematographer
Greg McLean, director/writer,
Wolf Creek, Rogue

5.0
Marketing
5.1.3
Make it in Australia – Talent Campaign
(USA) January 2009
Ausfilm launched its Talent Campaign to
promote the capabilities of Australia’s offscreen
talent. The campaign’s centrepiece
was the launch of the new Ausfilm annual
magazine. The magazine was distributed
to 2,300 US-based contacts. 19 members
purchased advertising in the magazine
generating $26,450 towards the cost of
producing the magazine.
DVD Testimonial Presentation
A four minute visual presentation was
developed featuring four testimonials from
clients who were working or had worked in
Australia. The DVD screened at Ausfilm’s
G’Day LA Breakfast Seminar in January.
Testimonials included the following US
executives:
/ /
/ /
/ /
/ /
Todd Isroelit, Vice-President, VFX
Production at Twentieth Century Fox
John Palermo, producer,
X-Men Origins: Wolverine
Ralph Winter, producer,
X-Men Origins: Wolverine
Chris Wyatt, producer,
Broken Hill
Online Impact
There were a total of 745,600 impressions
over the length of this campaign with 0.09
percent of viewers clicking through to the
Ausfilm website compared with the US June/
July campaign of 891,227 viewers with 0.19
percent of viewers clicking through to the
Ausfilm website.
Of the 325,000 impressions of the Ausfilm
adverts in the Variety.com daily e-newsletter,
167 people clicked onto the Ausfilm advert
which linked back to the Ausfilm website.
This equates to a 0.05 percent click through
rate, half the 0.10 percent achieved for the
digital campaign conducted on Variety.com
in June/July.
However, there were a total of 12,387 unique
visitors to the Ausfilm website in the month of
January 2009. This is the largest amount of
unique visitors to the Ausfilm website in the
08/09 reporting period and can be attributed
to the broader Make it in Australia marketing
campaign and Los Angeles sales mission.
Figure 5. Campaign Mix and Distribution
Magazine Ausfilm magazine was
/ / Direct mailed to 2,300 US film and television personnel.
/ / Distributed to 190 studio and production executives
in LA events and meetings.
/ / Distributed to 30 production executives in
New York meetings.
/ / Distributed to 160 government stakeholders,
domestic producers and members.
Direct Mail / / A direct email advertisement launching Ausfilm magazine
was sent to over 7,123 US film and television personnel
via the Ausfilm customer relationship management
system (Sugar).
/ / 2 html invites for G’Day LA seminar to 2,100 US executives.
/ / Hardcopy, 3D invite mailed to 2,000 executives.
Online Advertising / / Two animated digital advertisements on the Variety.com
homepage and in its daily newsletter. One horizontal banner
(superbanner) and one square island (marqueee) were used
from 12 – 16 January.
Print Advertising / / One full page full colour advertisements placed in
G’Day LA Black Tie Gala Program
Campaign Website / / Dedicated campaign website: makeitinaustralia.com
where the following factsheets were available:
Screen Production Incentives, Screen Production
Talent in Australia and Co-productions in Australia.
Magazine Request button / / 234 Ausfilm magazines were requested.
Signage / / Four banners were produced featuring each of the
four talent profile subjects.
Campaign website – makeitinaustralia.com
A Make it in Australia website and domain
name were created for this campaign
showcasing the four Australian talents
featured in Ausfilm magazine. The magazine
is promoted on this site with a call to action
“Click here to request the Talent Issue”.
The site also contains the three key Ausfilm
Factsheets on Screen Production Incentives,
Screen Production Talent in Australia and
Co-production with Australia which can be
downloaded from the site.
Ausfilm measured the performance results
of the dedicated website created for the
campaign via Ausfilm’s corporate website
(see Table 3 on page 24).
19

Make it in Australia –
Incentives Campaign
AFCI Locations magazine
Print Advertisement
owen
paterson
Speed Racer, V for Vendetta, The Matrix trilogy

5.0
Marketing
5.1.4
Make it in Australia – Incentives Campaign
(USA) April 2009
Ausfilm repeated the Make it in Australia
(MIIA) campaign, this time emphasising on
the Australian Screen Production Incentives,
to coincide with the Association of Film
Commissioners International’s Locations Trade
Show in Santa Monica from 16 – 18 April.
The MIIA campaign communication included
the four key messages of Australia’s screen
incentives:
/ / 15 percent Location Offset;
/ / 15 percent Post/Digital/VFX Offset;
/ / 40 percent Producer Offset – Australian
Features; and
/ / 20 percent Producer Offset – other
Australian Productions.
This campaign included print and online
advertising, a direct mail campaign of Ausfilm’s
new sales brochure, attendance at the AFCI
Locations Trade Show, an Ausfilm promotional
event in Los Angeles held in the week of the
Locations Trade Show and an associated
hardcopy and e-invitation to LA-based clients.
The aim of the campaign was to:
/ /
/ /
/ /
/ /
Continue to promote and build awareness
of Australia’s Screen Production Incentive
scheme in the US;
Promote and build awareness of Australia
as a leading destination for film, television
and post, digital and visual effects
production;
Motivate Ausfilm’s target market to explore
filming and or undertaking post-production
work in Australia; and
Generate and increase production enquiries
and project leads for Australia.
Online Impact
As a result of Ausfilm’s print advertising
booking, Variety provided a discounted online
advertisement package which achieved a
small rate of impressions (24, 236) for the
week of 13 April. These online adverts were
for “run of site”, meaning they were displayed
across all pages on Variety.com and not
solely placed on the homepage. Two digital
advertisement sizes were submitted:
a marquee (square) and a super-banner
(thin rectangle) in which the four MIIA
campaign messages were replicated
(see page 23 for online artwork).
Statistical analysis of unique visitors to
Ausfilm’s website during this campaign
period show a 17 percent decrease when
compared to the previous Ausfilm campaign
in January 2009. However, there was a 213
percent increase in unique visitors compared
to the July 2008 campaign.
Figure 6. Campaign Mix and Distribution
Print
Advertising
MIIA Sales
Brochure
Campaign
Website
/ /
/ /
Two full page colour advertisements using the
MIIA campaign featuring Owen Paterson and the
three offsets presented in Variety Weekly
(13 – 17 April) and daily (13 April) magazines.
One full page colour advertisement placed in
the AFCI Locations magazine for April 2009.
Distribution covered the US and Europe/UK.
Direct mailed to:
/ / 610 key clients in the US market;
/ / 275 Ausfilm members and key stakeholders in
state and federal government departments and
agencies within Australia;
/ / 100 distributed at the AFCI Locations Trade Show;
/ / 80 distributed in Knowing event bags; and
/ / 230 distributed at the Cannes Film Festival.
Dedicated campaign website: makeitinaustralia.com
where the following factsheets were available: Screen
Production Incentives, Screen Production Talent in
Australia and Co-productions in Australia.
21

5.0
Marketing
5.2
Annual Online Impact Overview
Ausfilm measures the performance results of
its marketing campaigns by measuring the
number of times the relevant trade website
carrying the Ausfilm advertisement is accessed
(“Impressions”) against the number of times
a user “clicks through” to Ausfilm’s website.
The industry benchmark for what constitutes a
positive click through rate (CTR) is 0.1 percent
(1 click through for every 1,000 views) and as
Table 2 demonstrates below, Ausfilm achieved
or exceeded this target in all but one instance.
Table 2. Financial year overview online advertising campaign results
Online Advertising Days of
Campaign
June/July 2008
US Digital campaign
Variety.com Homepage
June/July 2008
US Digital campaign
Variety.com Daily e-Newsletter
29 September – 14 October 2008
UK Campaign
Screen Daily e-Newsletter
29 September – 14 October 2008
UK Campaign
Screen Daily Homepage
12-16 January 2009
MIIA Talent Campaign
Variety Homepage
13-17 April 2009
MIIA Incentives Campaign Variety Run
of Site (ROS)
22
When compared with the preceding US
campaigns, the results for the UK campaign
demonstrate substantially less traffic to the
Ausfilm website, with 4,559 fewer unique
visitors than during the July 2008 campaign.
However, while there were 65 percent more
impressions (350,000 more) during the US July
campaign compared to the UK campaign, the
significantly higher cost of advertising in UK/
European publications forced Ausfilm to limit
the scale and scope of its online presence.
Total
Impressions
Delivered
Unique Users to
website during the
month
Impressions
per day
Total Clicks
Delivered
Clicks
per day
CTR %
(Click
Through
Rate)
11 505,948 5,271 45,995 1284 117 0.25%
7 385,279 5,271 55,040 367 52 0.10%
25 191,402 6,188 7,656 263 11 0.14%
29 350,368 6,188 12,082 460 16 0.13%
5 420,600 12,387 84,120 518 104 0.12%
5 24,236 10,232 4,847 36 7 0.15%

5.0
Marketing
Figure 7. Three-Year Trend of Unique
Users to Ausfilm’s website
(Number of impressions)
16000
14000
12000
10000
8000
6000
4000
2000
0
July
August
Make it in Australia –
Incentives Campaign
Online Marquee
Advertisement Slides
September
October
08 October UK Incentives Campaign
November
December
January
08 January MIAA Talent Campaign
Feburary
March
April
09 May Client e-Newsletter
09 April MIAA Incentives Campaign
08 April Incentives Campaign
May
June
2006/07
2007/08
2008/09
23

5.0
Marketing
Table 3. Campaign Website Downloads and Unique Visitors
Campaign Websites Viewed Site Web Page Views Total Downloads
Australia - “Let Us Tempt You” Campaign Website
Unique Users to Homepage
October 08 - June 09
Downloads of Incentives & PDV
Factsheets from Campaign Website
October 08 - June 09
makeitinaustralia.com Campaign Website
Unique Users to Homepage
January 09 - June 09
Downloads of Incentives, Talent &
Co-production Factsheets
from Campaign Website
January 09 - June 09
Figure 8. Two Year Trend of Ausfilm Website
Pageviews (Number of impressions)
70000
60000
50000
40000
30000
20000
10000
0
24
654 728
1,501 1563
July
August
September
October
November
December
January
Feburary
March
April
May
463
1,024
2007/08
2008/09
June

5.0
Marketing
5.3
General Advertising
Factsheets
In addition to specific campaigns, Ausfilm
continued its marketing and promotion of
Australia’s capabilities through the maintenance
of its factsheet series, the most popular of
which are regularly updated. In particular, the
Screen Production Talent in Australia factsheet
has proved very valuable when meeting US
clients who are eager to engage Australian
talent. Demand for Australian talent has
been driven in part by the introduction of the
Producer Offset. Factsheets are available in
printed hardcopy and a downloadable format
on the website.
Ausfilm Make it in Australia brochure
In March, Ausfilm produced a new brochure
for international clients profiling the benefits of
shooting and/or post-producing a production
in Australia. The five key communication
messages within this brochure are:
/ / Australia’s screen production incentives;
/ / The three major studio complexes in NSW,
VIC and QLD;
/ / Australia’s skilled and talented production
and creative personnel;
/ / Australia’s innovative visual effects, sound
and post-production industry; and
/ / Diverse and accessible shooting locations.
The Ausfilm Make it in Australia brochure was
distributed in the following territories in the
reporting period:
/ / USA - The Australia/Ausfilm stand at
AFCI Locations Trade Show (100);
/ / USA - The Ausfilm hosted Knowing cocktail
celebration in Los Angeles (80); and
/ / Europe - The Screen Australia Cannes
Film Festival co-production seminar and
networking events. In addition, stock was
requested and distributed by the CEOs of
the NSW Film and Television Office and
Film Victoria (230).
This brochure will continue to be used in
sales meetings in the US and the UK in the
next financial year.
Ausfilm Website
Ausfilm’s website promotes Australia’s
capabilities and all factsheets can be
downloaded directly. In addition, the website
provides details on the productions filmed
(or posted) in Australia, and provides a link
for ordering Ausfilm magazine.
5.4
Outlook
At the end of the period Ausfilm was in the
advanced planning stage for a marketing
campaign to promote Australia’s PDV Offset
and its Post, Digital and Visual effects
production (PDV) capabilities. A promotional
book promoting Australia’s PDV Offset and
Ausfilm’s PDV members is being developed.
The high quality book will be direct mailed to
300 key contacts in the US post-production
and visual effects market, 100 in the UK market
and 100 in the Australian market. The PDV
book will contain a DVD that will promote the
work of Ausfilm’s 13 PDV members. Publicity
and client newsletters will be undertaken as
part of this campaign. The campaign will be
launched in late September 2010.
25

5.0
Marketing
5.5
Media and Publicity
Print articles, editorial and broadcast interviews
that occurred during the reporting period are
reported in Figure 9 to the right.
5.6
Website / Subscriber news
In October 2008, Ausfilm moved its web
hosting from Griffin Media to Websend in
Melbourne because Griffin were ceasing
operations. Owing to specific operational
requirements, Ausfilm subsequently moved its
website and CRM to a new server and host,
Loaded Technologies, in June, 2009.
26
Figure 9. Media and Publicity
Date Media outlet Ausfilm rep interviewed
July 2008 Desk Top magazine – Ausfilm’s Australia –
“Let Us Tempt You” campaign featured.
7/11/08 Screen Daily, Sandy George Co-production in UK Caroline Pitcher
9/10/08 Screen Hub, Alex Prior Coproduction in UK Caroline Pitcher
9/10/08 Sunday Age Melbourne, Peter Munro Tourism
& Australia the Film
N/A
Caroline Pitcher
1/8/08 Encore magazine – Grinding to a Halt, Tracey Vieira Tracey Vieira
1/9/08 Encore magazine – Australia in vogue for Olympians
and Tourism alike, Tracey Vieira
1/10/08 Encore magazine – Ledgers Legacy For Young Actors,
Tracey Vieira
Tracey Vieira
Tracey Vieira
1/11/08 Encore magazine – Every Crisis Has A Brighter Side, Tracey Vieira Tracey Vieira
29/11/08 The Australian – Spy who didn’t love us, Michael Bodey Caroline Pitcher
1/12/08 The Australian – Australia fare advances film industry,
Michael Bodey
1/12/08 Encore magazine - Time to say G’Day Again,
Tracey Vieira
1/1/09 Encore magazine – Actors Strike Might Define
New Media, Tracey Vieira
8/1/09 Screen International – Ausfilm to Promote Oz
technical talent at US event, Sandy George
30/1/09 Variety – “Australia” incentive stirs Down Under,
Michaela Boland
1/2/09 Encore magazine - Filmmakers Become Ambassadors
by Tracey Vieira
1/3/09 Australians In Film March Newsletter photograph
features Ausfilm staff.
1/3/09 Encore magazine – Everyone Needs a Little Incentive,
Tracey Vieira
18/3/09 Screen Hub – Don’t Be Afraid of the Dark possible for Australia,
Alex Prior
26/3/09 Sydney Morning Herald – Movies are Threatened by
Tax Rule says Director, Garry Maddox
1/4/09 Encore magazine – Blockbusters with an Aussie Touch,
Tracey Vieira
3/4/09 Variety – Knowing flap muddles Oz tax credit,
Michaela Boland
6/5/09 Variety - Australian Entertainment Rebounds,
Michaela Boland
1/5/09 Encore magazine – Global Incentives Team Work,
Tracey Vieira
1/6/09 Encore magazine – The Year Victoria Went Wild,
Tracey Vieira
Caroline Pitcher
Tracey Vieira
Tracey Vieira
Caroline Pitcher
Caroline Pitcher
(not quoted)
Tracey Vieira
Vivien Flitton
Michelle Sandoval
Tracey Vieira
Ausfilm
Caroline Pitcher
Tracey Vieira
Caroline Pitcher
Caroline Pitcher
Tracey Vieira
Tracey Vieira

6.0
Information Services
27

6.0
Information Services
6.1
Customer Relationship
Management System (CRM)
During the reporting period, Ausfilm’s client
database underwent significant review and
updating – including the deletion of contacts
which are no longer relevant – as part of the
changeover to Sugar CRM, Ausfilm’s new
Customer Relationship Management system.
Implemented in February 2009, Sugar allows
both Ausfilm offices to work in real time on
one single database. The merged database
contains some 5,954 international and
domestic contacts.
28
6.2
Content Management System (CMS)
During the reporting period Ausfilm ceased
using Interspire – an e-marketing tool to send
e-marketing to its clients – and implemented
the e-marketing function in its Sugar CRM.
Two Ausfilm staff received training on this
software. The benefit of using the Sugar CRM
e-marketing function is that it can identify
which email contacts within the database
received email campaigns and provide
analysis on which stories each contact read
in every email campaign. Ausfilm staff can, for
example, follow up with key clients who may
have demonstrated interested in a specific
story on production incentives. Electronic
communications with global clients included
client e-blasts for Trackdown Orchestral
Scoring Stage, TPH, Stage and Screen and
ARRI Australia, various e-invites in the US and
UK as well as a May client newsletter sent to
4,253 email contacts globally.
6.3
New Subscription Feature
During the reporting period Ausfilm
implemented an e-newsletter subscription
feature on its website to attract interest from
filmmakers seeking information on Australia.
Visitors can choose to receive quarterly email
updates from Ausfilm on Australian screen
production industry news and/or on Australia’s
production incentives updates. All contact
details received through this portal and
transferred directly into Ausfilm’s Sugar CRM
database as potential sales leads.

7.0
Collaboration and Advocacy
29

7.0
Collaboration and Advocacy
7.1
Screen Australia
Ausfilm’s CEO and Chair met Screen
Australia’s newly-appointed CEO to discuss
opportunities for collaboration. Ausfilm has
regular contact with the relevant arms of
Screen Australia, particularly with Marketing,
Co-productions and the Producer Offset.
Evidence of the collaboration can be seen from
Alex Sangston’s (Head of Co-productions and
Producer Offset, Screen Australia) attendance
at Ausfilm’s UK mission and presence on the
panel to promote co-production opportunities.
Ausfilm involves Screen Australia and the
State Screen Agencies at an early stage
in the development and updating of its
factsheets, especially those referring to
programs administered by Screen Australia.
Equally, Ausfilm involves DEWHA closely
when preparing information materials on the
programs administered by the Commonwealth
Government.
Ausfilm provided feedback on Screen
Australia’s marketing guidelines as part of
Screen Australia’s industry consultation.
Ausfilm also prepared a submission to Screen
Australia on the possibility of establishing a
talent website that would enable international
clients to view information on Australian talent.
Ausfilm considers the service essential to
satisfy a demand that is not being met.
7.2
Ministerial support and liaison
During the year Ausfilm raised a number of
issues with the Minister for the Arts, DEWHA,
regarding co-operation from the Department
of Defence in accessing sites and in relation to
the construction of a Horizon Tank in Australia.
Minister Garrett demonstrated his support
for Ausfilm by writing the foreword for the
inaugural Ausfilm magazine and accepting an
invitation to participate in Ausfilm’s LA mission
in October 2009 (subject to scheduling and
approval processes).
30
7.3
DEWHA
Ausfilm continued to maintain close contact
with DEWHA, and with key personnel. Towards
the end of the reporting period, DEWHA’s Greg
Jericho left his position on the last day of the
reporting period and will be replaced by Penny
Gault for the next reporting period.
During the reporting period, Ausfilm also
successfully negotiated a new funding deed
for 2009-10. The deed’s funding was very
closely aligned to Ausfilm’s business plan.
7.4
States meetings
Ausfilm held regular meetings with the four
State Partners (the State Screen Agencies
of Victoria, NSW, Queensland and South
Australia) in order to better co-ordinate
missions and marketing activities.
7.5
Outlook
Ausfilm will target the effectiveness of the ASPI
with a planned study into the economic impact
of securing foreign productions to Australia
and an investigation into the effectiveness of
the Location and PDV Offsets in attracting
productions to Australia.

8.0
Governance
31

8.0
Governance
8.1
Staff
There have been some significant changes in
Ausfilm staffing during the reporting period.
Brondalie Martin left her role as Operations
and Marketing Co-ordinator in June of the
previous reporting period and was replaced in
September 2008 by Marty Jamieson.
Jodea Bloomfield left her role as Vice-President
(Content Attraction) in October 2008. The role
was restructured, and recruitment took place
during the last quarter of 2008 for the role of
Client Liaison Executive. Michelle Sandoval,
formerly at Dreamworks Animation, was
appointed in December 2008 and commenced
in January 2009.
Nick Coyle left his role as Policy and Corporate
Services Executive in June 2009 and was
replaced that same month by Alastair
McKinnon, formerly at Screen Australia.
Caroline Pitcher announced she would not be
renewing her contract as CEO beyond its two
year term and a recruitment process began to
find a new CEO to commence early in the next
financial year.
Rachelle Gibson-Cummins continued as
Marketing and Development Executive, Annie
Lucas continued as Administration Coordinator
3 days per week whilst in LA Tracey Vieira
continued as Film Commissioner and Vivien
Flitton as Director of Operations.
32
Director of Operations
Vivien Flitton
LA Film Commissioner
Tracey Vieira
8.2
Accounting
Client Liason Executive
Michelle Sandoval
Ausfilm’s accounting system was supervised
by Moneypenny Services’ Kate Meyer. Ausfilm
also employs a freelance book-keeper one
day per week, who enters information into
the bookkeeping system, pays invoices, and
registers income received. Ausfilm uses MYOB
accounting package.
Cost and income reports are generated
and examined by the Executive Committee,
which meets monthly. Kate Meyer attends the
Executive Committee meetings in her capacity
as accountant.
Financial protocols are in place to ensure that
Ausfilm enters into financial obligations only
after due care. Major expenditures must be
authorised by a Deputy Chair or Chair.
Ausfilm Board
Ausfilm Executive
Committee
Chief Executive
Caroline Pitcherr
Marketing and
Development Executive
Rachelle Gibson
Marketing and Operations
Coordinator
Marty Jamieson
8.3
DEWHA: reports and deed
Ausfilm is required to report twice-yearly
to its major funder, DEWHA and to inform
DEWHA about its progress in meeting the key
performance indicators (KPIs) which are agreed
between the two parties.
Ausfilm submitted its interim report in January,
which was acquitted by DEWHA, permitting
the second tranche of Ausfilm’s funding to
be paid.
Ausfilm confirmed its KPIs with DEWHA during
the reporting period, and will submit its final
report for 2008-09 with its audited accounts
for 2008-09.
Policy and Corporate
Services Executive
Alastair McKinnon
Admin Coordinator
Annie Lucas

8.0
Governance
8.4
Committees
Ausfilm is governed and assisted by a
number of Committees. For full details of
their membership, please see Appendix 1.
Executive Committee
The Executive Committee meets monthly,
on the first Wednesday of every month. It is
chaired by Ausfilm’s Chair, and also comprises
the two Deputy Chairs and a representative
from one State Screen Agency Partner.
For 2008-09, it was chaired by Martin Cayzer,
supported by Catherine McDonnell and Alaric
McAusland, with Sandra Sdraulig representing
the State Agencies.
The minutes from the Executive Committee are
circulated to the Board after they have been
approved by the Chair or Deputy Chair.
Marketing Committee
The Marketing Committee meets quarterly and
for 2008-09 was chaired by Alaric McAusland.
The Marketing Committee discusses issues
relating to Ausfilm’s international promotion of
Australia’s capabilities. For its membership in
2008-09, please see Appendix 1.
Policy Committee
The Policy Committee meets quarterly
and for 2008-09 was chaired by Catherine
McDonnell. The Policy Committee discusses
structural issues relating to Australia’s ability
to attract international production, such as tax
requirements. For its membership in 2008-09,
please see Appendix 1.
8.5
Board meetings
Four Board meetings were held in 2008-09:
one in Sydney, one in the Gold Coast, one in
Melbourne, and one in Canberra.
Figure 11. Ausfilm Board and Committee Members and Staff
Board members
Position Director Member Term begins Term ends
Chair Martin Cayzer Panavision 1/7/08 30/6/10
Deputy Chair Alaric McAusland Deluxe 1/7/06 30/6/09
Deputy Chair Catherine McDonnell Fox Studios
Australia
1/7/06 30/6/09
Elected Corporate
Member
Trish Graham Fuel 1/7/08 30/6/11
Elected Corporate
Member
Elected Corporate
Member
Elected Corporate
Member
Elected Corporate
Member
Elected Corporate
Member
State screen agencies
State Screen Agency
Board position
State Screen Agency
Board position
State Screen Agency
Board position
State Screen Agency
Board position
Greg McKibbin Kodak 1/7/08 30/6/11
Kate Meyer Moneypenny 1/7/07 30/6/10
Sue Greenshields Lemac 1/7/08 30/6/11
Ian Robertson Holding Redlich 1/7/06 30/6/09
Greg Smith Animal Logic 1/7/07 30/6/10
Robin James Pacific Film & Television Commission
Richard Harris South Australian Film Corporation
Sandra Sdraulig Film Victoria
Tania Chambers NSW FTO
33

8.0
Governance
Board observers
Federal Government
Board Observer
Federal Government
Board Observer
Federal Government
Board Observer
Associate State
Screen Agency Board
Observer
Associate State
Screen Agency Board
Observer
Associate State
Screen Agency Board
Observer
34
Lloyd Downey Austrade
John Odgers Austrade
Stephen Richards DEWHA
Ian Booth ScreenWest
Karena Slaninka Screen Tasmania
Penelope McDonald NT Film Office
Staff
Chief Executive Caroline Pitcher Sydney
Policy & Corporate
Services Executive
Alastair McKinnon Sydney
Administration
Coordinator
Marketing and
Development Executive
Marketing and
Operations Coordinator
Annie Lucas Sydney
Rachelle Gibson Sydney
Marty Jamieson Sydney
Film Commissioner Tracey Vieira Los Angeles
Client Liaison Executive Michelle Sandoval Los Angeles
Operations Director Vivien Flitton Los Angeles
Accountant (freelance) Kate Meyer Sydney
Book-keeper (freelance) Virginia Parsons Sydney

9.0
Appendix 1 – Committees
35

9.0
Appendix 1 – Committees
Figure 1. Audit committee:
Chair Greg Smith Animal Logic
Auditor Chris Coote Chris Coote & Co.
Accountant Kate Meyer Moneypenny
Member Alaric McAusland Deluxe
State Screen Agency Tania Chambers NSW FTO
Figure 2. Executive committee
Chair Martin Cayzer Panavision
Deputy Chair Alaric McAusland Deluxe
Deputy Chair Catherine McDonnell Fox Studios Australia
State Screen Agency member Sandra Sdraulig Film Victoria
Reporting Kate Meyer (Accountant, Moneypenny) & Ausfilm Staff
Figure 3. Marketing committee
Chair Alaric McAusland Deluxe
Corporate Member (Board member) Trish Graham Fuel
Corporate Member James Bramley Fox Studios Australia
Corporate Member Julian Dimsey Iloura (Omnilab Media)
Corporate Member Nathan Wellington FSM
Corporate Member Geraldine Quinn ARRI Australia
Corporate Member Stephen Rutter Show Group
Corporate Observer Pamela Hammond Digital Pictures
Corporate Observer Kylie Ranger Stage & Screen
Corporate Observer Lynne Benzie Warner Roadshow Studios
State Screen Agency Kate Marks Film Victoria
State Screen Agency Jess Conoplia Pacific Film & Television Commission
State Screen Agency Kya Blondin NSW FTO
State Screen Agency Sue Stewart South Australia Film Corporation
36

9.0
Appendix 1 – Committees
Figure 4. Policy committee:
Chair Catherine McDonnell Fox Studios Australia
Corporate Member (Board member) Sue Greenshields Lemac
Corporate Member Sonia Borella Holding Redlich
Corporate Member Brinos Lambrinos BDO Kendalls
Corporate Member Brett Thornquest Moneypenny
Corporate Member Lewis Pullen Omnilab Media
Corporate Member Lynn Paetz Warner Roadshow
Corporate Observer (Board member) Greg Smith Animal Logic
Corporate Member Susan Horlin PricewaterhouseCoopers
State Screen Agency Jess Conoplia Pacific Film & Television Commission
State Screen Agency Sue Stewart South Australia Film Corporation
State Screen Agency Judith Bowtell NSW FTO
State Screen Agency Kate Marks Film Victoria
Figure 5. Ausfilm members
Post-Production/Digital/Visual Effects (PDV)
Animal Logic
Complete Post
Cutting Edge
FSM
Fuel
Omnilab Media
(incorporating Digital Pictures, Iloura, The Lab Sydney)
Rising Sun Pictures
Surreal World
Music & Sound Post Production
Stageone Sound (Deluxe)
Trackdown Scoring Stage
Equipment Suppliers & Rentals
Agrekko
ARRI Australia
Lemac Films (Australia) Pty Ltd
Panavision (incorporating Panalux)
Financial Services
BDO Kendalls
Ernst & Young
Moneypenny Services
PricewaterhouseCoopers
Threadgold Plummer Hood
Film Laboratories & Suppliers
Deluxe Sydney
(incorporating Deluxe Melbourne and Efilm Australia)
Kodak (Australasia) Pty Ltd
State Government Agencies
Film Victoria
Pacific Film and Television Commission
NSW Film and Television Office
South Australian Film Corporation
Northern Territory Film Office
Screen Tasmania
ScreenWest
Federal Government
Department of the Environment, Water,
Heritage and the Arts (DEWHA)
Studios & Facilities
Melbourne Central City Studios
Fox Studios Australia
Warner Roadshow Studios
Freight, Travel & Accommodation
Ausfilm Transport & Logistics
Showgroup
Stage and Screen Travel
Legal
Holding Redlich
37

10.0
Appendix 2 – Website Visitors
38

10.0
Appendix 2 – Website Visitors
Number of Visits & Page Views
Number of visits in Table 1 on page 40 in the
appendix records the amount of visitors to the
website for all visits not unique visitors. Page
Views records the amount of pages a unique
visitor views. Ausfilm has provided the statistics
for Page Views for the 07/08 and 08/09
reporting period. There has been a 13 percent
increase in the amount of pages viewed on the
Ausfilm website for 08/09 when compared to
07/08. More unique users are viewing more
pages on the Ausfilm website. No visits or
percentage changes are provided from January
to June for Number of Visits in Table 1 because
changes in the way Ausfilm now records this
information made comparison impossible for
that six month period.
Unique Users
Traffic to Ausfilm’s website by unique visitors
increased significantly from January 2009.
This can be attributed to the Make it in
Australia campaigns conducted in January
and April 2009. From March through to June
the unique visitors increased significantly
with May having the highest unique visitors
to Ausfilm’s website in history. This can also
be attributed to consistently directing users
to the Ausfilm website for all articles and
attachments for Ausfilm member and client
e-communications.
Hits
The definition of the hits statistics is the
number of elements a web page measures
when a user navigates to a page. If there are
five images, three text areas and two menu
sections and a banner, then when a user
visits this page it is recorded as ten hits. This
figure will only change significantly if there
are more page views or the site has been
rebuilt with more components per page. The
statistics in the Hits column are reduced for the
reporting period because there were content
and site map updates on the Ausfilm website
in October and November which included
the deletion of a number of pages that were
repetitive and provided little or no information
(menu list). Some outdated slide shows and
factsheets were also removed and the site was
refined for easier navigation. The decrease in
hits to the Ausfilm website during the reporting
period can be attributed to these refinements.
This is shown in Table 2 on page 40.
Bandwidth
Bandwidth measures the bytes for pages,
images and files downloaded by webbrowsing.
The bandwidth for this reporting
period decreased by 33 percent. This can
be credited to the website revisions during
the reporting period.
39

10.0
Appendix 2 – Website Visitors
Table 1
40
Unique visitors Number of visits Page Views
2007/08 2008/09 Change 2007/08 2008/09 Change 2007/08 2008/09 Change
July 5,859 5,271 -10% 20,099 9,959 -50% 42,326 38,953 -8%
August 5,674 3,764 -34% 13,872 6,930 -50% 36,182 37,039 2%
September 5,028 4,129 -18% 11,040 7,209 -35% 27,431 32,056 17%
October 5,354 3,322 -38% 11,636 5,617 -52% 32,984 29,370 -11%
November 5,319 1,353 -75% 10,942 1,965 -82% 29,472 20,607 -30%
December 4,498 3,101 -31% 9,897 5,063 -49% 28,127 39,786 41%
January 5,140 12,387 141% 11,474 - - 32,183 48,739 51%
February 5,187 9,604 85% 11,075 - - 35,765 35,614 0%
March 6,136 11,339 85% 13,807 - - 36,650 54,459 49%
April 7,818 10,232 31% 18,663 - - 45,151 42,880 -5%
May 6,622 13,666 106% 17,099 - - 43,902 64,186 46%
June 6,462 13,323 106% 12,857 - - 43,806 47,123 8%
Average 5,758 7,624 24% 13,538 27,478 - 36,165 40,901 13%
Total 69,097 91,491 24% 162,461 329,744 - 433,979 433,979 13%
Table 2
Hits Bandwidth(GB)
2007/08 2008/09 Change 2007/08 2008/09 Change
July 450,699 465,109 3% 6.6 8 21%
August 650,554 458,455 -30% 6 7.2 22%
September 396,420 612,117 54% 5.1 6.4 27%
October 590,967 347,977 27% 6.7 3.9 -42%
November 584,872 86,428 -85% 5.3 1.1 -79%
December 435,124 139,513 -68% 5.7 2.8 -52%
January 598,902 212,080 -65% 5.7 5.8 2%
February 663,380 155,199 -77% 6.7 2.7 -60%
March 541,008 214,101 -60% 6 3.8 -37%
April 618,511 191,261 -69% 7.8 3.2 -59%
May 482,031 277,835 -42% 8.7 5.2 -40%
June 539,249 204,361 -62% 9.6 3.4 -65%
Average 545,976 280,370 -49% 6.7 4.4 -34%
Total 6,551,717 3,364,436 -49% 80 53.5 -34%

11.0
Ausfilm Audited Accounts
41

Notes
55

Notes
56

www.ausfilm.com