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ANZ stands for Australia and New Zealand. It's often used to indicate the distribution territory that covers Australia and New Zealand. An ANZ DG means an Australia and New Zealand Distribution Guarantee.
A Distribution Guarantee (DG) is the amount of funding a distributor will pay to secure the distribution rights for a territory. They may pay an ANZ DG for distribution rights in Australia and New Zealand and/or an ROW (rest of the world) DG for distribution rights throughout the rest of the world. Distribution Guarantees often partly finance the project and may be paid throughout production of the project.
Above-the-line/below-the-line: ‘Above-the-line' is key creatives – writers, directors and producers – and ‘below-the-line' is crew.
A free-to-air broadcaster (e.g. ABC) or pay-TV service provider (e.g. Foxtel).
A budget document outlines the costs involved in making the project. Producers and production accountants use itemised spreadsheets to track costs.
Broadcasters (e.g. ABC), pay-TV services (e.g. Foxtel) and subscription television services (e.g. Binge, Stan and Netflix).
A bonding entity that guarantees the completion of a project once it’s fully funded. They oversee the production and offer assistance as necessary to ensure the project adheres to its schedule and delivery date.
Comprising internal Screen NSW investment managers, the Development Assessment Panel is responsible for the comprehensive evaluation of projects. They convene for decision meetings, accompanied by a member from the Create NSW probity team and the Head of Screen NSW, to determine project viability. In certain instances, external assessors with substantial experience in the screen industry may be enlisted to provide their expertise in the evaluation process. Once projects are approved, Investment Managers are assigned to oversee them throughout the development process through to delivery.
A firm that secures specific project rights for a mutually arranged compensation and duration, during which they will capitalise on these rights through various channels, encompassing theatrical exhibition, broadcasting, SVOD, home entertainment, and more.
The Broadcasting Services (Australian Content and Children’s Television) Standards 2020 (the Standards) contain a definition of ‘documentary program’: Documentary program means a program that is a creative treatment of actuality other than a news, current affairs, sports coverage, magazine, infotainment or light entertainment program. Documentary and the other program types listed in the definition are all forms of factual programming. These program types are not always distinct and are on a continuum, with movement over time as new styles of program emerge and others lose popularity. Within the documentary form itself, there are various genres, such as the observational versus fully scripted form, and hybrids such as programs that combine re-enactments and interview.
Please refer to the Australian Communications and Media Authority’s (ACMA) definition and guidelines for further information.
Comprised of dedicated Screen NSW investment managers, the Investment Team plays a pivotal role in the project assessment process. They convene to collectively evaluate projects and make resolutions during decision meetings, which as relevant for each program can include the Head of Screen NSW and members of the Film and Television Advisory Committee. Once projects are approved, Investment Managers are assigned to oversee them throughout the development or production finance process, from production to delivery. Their expertise and guidance are instrumental in facilitating successful project development within the screen industry.
Typically, this funding category caters to projects distributed on various online platforms like YouTube, Facebook, Vimeo, and encompasses Virtual Reality (VR) and other Extended Reality (XR) ventures. Recognising the dynamic nature of the online content landscape, additional eligible release platforms may be considered, reflecting the ever-evolving digital landscape.
Screen NSW is committed to supporting increased participation in the industry of people from under-represented groups, as well as the diversity of screen stories. Priority will be given to teams including people from the following priority areas:
A Series Bible serves as a comprehensive document for episodic projects, encompassing synopses, episode breakdowns, character descriptions, visual elements, and style summaries. It comes in two primary forms: the Development Bible and the Production Bible. The Development Bible is concise and focuses on pitching ideas for funding and commissioning, while the Production Bible is more extensive and unifies creative teams during production. A typical Series Bible includes key elements such as: Logline, One-Page Synopsis, Genre, Concept, and Themes, Setting and Story World, Format, Characters, Episode Summaries, Look and Feel (with images), and a Creator's Statement. It provides a holistic view of the show's content, style, and market potential.
A ‘slate’ of projects, or multiple projects.
A Treatment is a critical development document primarily utilised in the world of feature films. Unlike TV and online series projects that rely on Bibles and episode summaries, feature films employ Treatments to articulate their story in terms of style and unfolding narrative. Typically spanning 10 to 20 pages, a Treatment expands upon the One-Page Synopsis and Outline, offering a detailed yet persuasive account of the narrative. Its primary purpose is to convince readers of the value of the story while providing a glimpse of the audience's experience. Treatments are written in the present tense, emphasising what viewers can see and hear, avoiding extensive context or subtext, and focusing on summarising the viewing experience.