A comprehensive list of acronyms and terms, and their associated definitions, which may assist you in understanding guidelines, preparing individual applications, and doing business with us, or within the screen sector more broadly.
The individuals who can influence the creative direction of a project, specifically the Director, Writer, Producer, Executive Producer and Lead Cast.
Bought, licenced, or otherwise secured with a commercial arrangement that is more than simple revenue sharing. For example, it would normally include a sales advance or guarantee, and/or a specific marketing commitment.
An advanced treatment is longer than a treatment and contains all of the elements of a script other than script formatting, exact dialogue, monologue or narration. It tells the story of the project as you hope to make the audience experience it, and provides a sense as to how it will, or might, flow from start to finish. An advanced documentary treatment also states or implies the style in which the project will be treated/told, specifying: interviews, reconstructions, archival footage, photographs, maps, diagrams, graphics, etc.
An aggregator collects many pieces of content and distributes it from a central location. Typically this is done in order to monetize smaller content such as short films, mobile games or news feeds.
A style of screen production where moving images are created through drawings, models, etc. that are photographed or created by a computer.
The Applicant is the legal entity we contract with i.e. a company, incorporated association or an individual (not a business name) or the individual who submits the application on behalf of the legal entity we contract with.
If the application is made on behalf of an entity, the entity must have ownership or control of the activity for which funding is being sought.
In some funding strands, certain eligibility requirements or exclusions may extend to associated entities of the applicant.
The first stage of the offline editing process. Selected shots are ordered into scenes. The scenes are arranged in the order indicated by the script, or in the case of documentary, by a treatment.
VicScreen provides funding for production of film, television, online and virtual reality and games by way of production investment that is assigned to the producer for their benefit. This Assigned Production Investment (API) must be recognised in the finance plan as part of the producer’s investment in the project.
VicScreen is not entitled to any recoupment, profit share or sequel, remake or spin-off fees from projects receiving API. See our Terms of Trade for more information.
VicScreen's Professional Attachments program offer early career practitioners a paid attachment on a film or television production, providing significant hands-on learning opportunities by working with an experienced practitioner. Attachments are offered in Below The Line roles.
Being a person who is domiciled in Australia, and who has actually been in Australia, continuously or intermittently, for at least 6 months immediately preceding an application for funding through VicScreen.
All on-set crew, other cast and post production roles who do not fall into Above the Line
A Bible tends to run around 10-20 pages, and provides an overall 'concept' pitch for a television series (usually 1-2 pages), as well as other key sections such as: episode break-down (generally between a paragraph and half a page on each episode), character profiles and major 'settings'. It provides a sense of the key plot lines that are likely to drive the series, as well as outlining the relationships between the characters over the course of the series and each of their individual journeys (or arcs).
A commercial free-to-air or subscription television network, public broadcasters such as the ABC or SBS or international equivalents. Broadcast television excludes networks which hold a CTV license, such as local community or public access television.
The purchase, maintenance or improvement of assets such as buildings, cameras, computers or other major equipment.
Capital works are production and office equipment, other than approved props., e.g. the building or purchase of offices, studios, facilities, cameras and other production or administrative equipment.
Chain of title is a term commonly used to refer to a series of documents which establish that you own all the necessary rights (including copyright) to allow you to develop, produce and market your project. Documents which might typically form the chain of title for a project include:
Script Editor's Agreements
Option and Assignment Agreements (if you are basing the script for your project on someone else's work, such as a novel)
Producer's Agreements, and
You will need to establish for Film Victoria, at each relevant stage of your project, that you own all necessary rights and have the appropriate chain of title documents. If you are required to provide chain of title documents under your agreement, Film Victoria will be entitled to approve those documents.
A project which is, or is going to be, financially supported by a third party, other than Film Victoria and the applicant alone.
A free-to-air broadcaster, subscription television service, VOD platform, or similar.
A form of insurance that is provided by a company which takes on the responsibility on behalf of the investors of finishing the film, should the producer be unable to do so, for whatever reason.
The underlying premise of a film or television project. A concept can usually be conveyed in a couple of sentences that provide an overview of the story’s world, main conflict and key characters.
The exclusive right to copy, broadcast, perform, exhibit, communicate to the public and otherwise commercially deal with and exploit works such as novels, stage plays, scripts, music, film and sound recordings, pursuant to the Copyright Act 1968 (Cth). Copyright is a personal property and can only be transferred in writing. Copyright assignments and licences relating to the script form part of the chain of title.
Copyright law can be complex. Visit Arts Law for further information.
This means a Victorian creator or co-creator has developed the premise or general storyline, setting, theme or point of view, main characters, and style of a project. It applies to practitioners who would in normal industry practice receive a “Created by” credit.
See 'Eligibility credit requirements' below.
Distribution via multiple media platforms including broadcast television, online, mobile etc.
Usually taking the form of a short form agreement, this is a contract with a financier, broadcaster, distributor or sales agent specifying the conditions under which they will invest in the project.
A fee (or part fee) for professional services or supply where the fee is payable from revenue generated from sales of the film rather than from the production budget.
A digital game (also called a video game) is structured play that involves interaction with a user interface to generate feedback on an electronic display.
From 1 July 2022, the Digital Games Tax Offset (DGTO) will be introduced as a refundable tax offset for businesses that spend a minimum of A$500,000 on qualifying Australian games expenditure. The DGTO is managed by the federal Office for the Arts – contact via email.
Broadly defined as encompassing games, animation, interactive and online.
A fixed amount guaranteed by a distributor to a producer for the grant of distribution rights to the distributor for a given project. Commonly, the distributor will pay the distribution guarantee in tranches to the producer according to milestones, such as delivery of the project.
Documentaries are projects which involve actual events and real people. For the purposes of assessing documentary development funding we refer to the Australian Communications and Media Authority (ACMA) guidelines and the Australian Content Standard definition of documentary as "a program that is a creative treatment of actuality other than a news, current affairs, sports coverage, magazine, infotainment or light entertainment program‟.
A version of a script. Each time significant changes are made, it is considered to be a new draft. The version of the script is often referred to as a 'First Draft' 'Second Draft' 'Final Draft' etc.
The project can be considered as being driven substantially by Victorian key creatives if:
For single episode projects (such as features), at least two of the three key creative roles of writer, director or producer are Victorian.
For series, at least two of the three key roles of creative producer, main writer/showrunner or lead director are Victorian, and/or a majority of the directors and writers used on the series are Victorian.
Some professional industry or production experience. Have produced work but not in a professional format. Not yet endorsed by the marketplace. Some reputation and industry networks. Demonstrated commitment to a career over the long term (e.g.: tertiary study, volunteer, self-produced work, corporate or community video).
Early career practitioners may have a combination of the following experience:
- Have graduated from tertiary study in film and TV or digital media production
- Have up to five years screen industry experience (either paid or unpaid)
- May have some credits on commercially released screen industry productions
- Relevant work in a related field may be considered
An assembly, typically provided on a digital format, consisting of 'making of' footage, clips from the production and interviews with key cast and crew, provided as publicity material for the upcoming release of a production.
Specific credit and expertise requirements set out in program guidelines that require prior project credits are:
• in the same role as that of a current application; and
• on projects that have been commercially released
For the calculation of cumulative totals, a program that is considered in normal industry practice as a “broadcast hour” or “commercial hour” shall be counted as 60 minutes. Similarly, a program considered in normal industry practice as a “broadcast” or “commercial” half-hour shall be counted as 30 minutes.
Students and non-grads with little to no production or industry experience. No reputation within the industry; not endorsed by the marketplace; little to no industry networks.
3 or more professional credits in the nominated role (i.e. commercially distributed or exhibited, and/or sold to a recognised broadcaster or commissioning platform. Film/TV credits must have a minimum cumulative length of one hour). Endorsed by marketplace. Significant reputation and international networks.
An executive producer is primarily responsible for facilitating the financing of a project, including the forging of broadcast/distribution deals and may advise on the forming of an appropriate production team, but is generally not responsible for the technical or physical production of the project.
An Executive Producer with at least 2 credits as producer or executive producer on feature films that have been released on a minimum of 5 commercial screens in one territory, or primetime broadcast miniseries or telemovies.
We regularly engage experienced industry practitioners with relevant expertise to assess projects submitted for funding. Such assessors are engaged on a case-by-case basis for the assessment of projects.
A film (fiction or documentary) of no less than 75 minutes aimed at theatrical or SVOD release. Refer to the relevant program guidelines for specific length requirements.
A work driven by a storyline and based on the imagination and not necessarily on fact. See also Narrative Fiction.
The final stage in the sound mix where all audio components have been added and levels finalised. This is typically the last stage of the post-production process.
Structure of a project's finance, generally including source of funds and percentages of copyright, equity and licensing details
The last of three stages of offline editing, in which the sequence of images and sound is 'locked off' (finalised).
A right over a specific asset which a lender of funds will generally require from a borrower. If the borrower fails to repay the funds, the lender has the right to sell the asset and receive repayment of the funds from the sale of the specific asset.
A 'footloose' production is a project that has qualified interstate or international production destination alternatives.
Television broadcasts which are free to access, as distinct from pay TV. Free-to-air broadcasters in Australia include commercial networks 10, 9 and 7 and the two public broadcasters ABC and SBS.
See 'Digital game'.
A Federal or State level government body that functions to support and promote the Australian screen sector
A film, television, animation or digital media major project that forms part of the assessment required to graduate from a post-secondary course.
Film Victoria provides funding in two ways, grants and investments. Funding support for skills development and programs that enable professionals to expand their industry networks is typically provided as a grant. Grants also support the staging of industry activities and public screen events. Grants do not need to be repaid.
The person responsible for running a particular department on a film or television production, e.g. the head of the camera department is generally the Director of Photography (DOP).
For the purposes of API funding, Heads of Department are as generally known in the industry and include Line Producer or Production Manager (where there is one only), DOP, 1st AD, Location Manager, Production Designer, Construction Head, Sound Recordist, Gaffer, Grip, Costumer Designer, Key Make-up Artist, Hair Supervisor, VFX Supervisor, Post Supervisor, Editor, Composer, Sound Designer, Production Accountant and, where the role is significant, Stunt, Safety, and SFX Co-ordinators/Supervisors.
A writer or producer with at least 1 theatrically released fiction feature film credit and at least 4 hours of professionally produced credits in broadcast television, either narrative fiction or factual (but not sketch or reality) or a writer or producer with at least 2 theatrically released fiction feature film credits.
A highly experienced producer must be able to demonstrate a combination of at least two of the following experience and skills:
- Successful running of a screen business for 5 or more years
- Credits as a producer on at least 4 discrete projects that have been broadcast or theatrically released
- Substantial experience in the marketplace and a demonstrated track record in the financing and production of projects.
Refers to the company or business that hosts a placement or attachment for an approved duration through our Skills/Business Support funding programs
The legislation which provides for the Producer Offset. Also referred to as "ITAA".
Indigenous cultural and intellectual property (ICIP) rights refer to Indigenous people's rights with respect to their cultural heritage. This is a living heritage, which comprises all objects, sites, stories, images and knowledge, the nature or use of which has been transmitted or continues to be transmitted from generation to generation, and which is regarded as pertaining to a particular Indigenous group or its territory.
The Australian Content Standard defines an infotainment or lifestyle program as “a program the sole or dominant purpose of which is to present factual information in an entertaining way, where there is a heavy emphasis on entertainment value.” For a more detailed discussion of the distinctions between documentary and infotainment and light entertainment see the Australian Communications and Media Authority Documentary Guidelines.
A panel consisting of suitably qualified and experienced VicScreen staff.
Refer to our Approved International Festivals list for the festivals and awards ceremonies to which we will support applications.
Approved international markets to seek financing, sales, marketing and business opportunities. Refer to our Approved International Markets list for specific definitions.
A short program generally shown between programming on broadcast television. An interstitial might be a micromovie, a short animation, broadcaster branding or music clips.
We provide funding as grants or investments. Investments are typically associated with projects that will result in the production of content and generate revenue. Investments usually entitle VicScreen to a 1% share copyright in the project. Investments will be converted to Assigned Production Investment, unless production is undertaken outside of Victoria in which case the investment must be repaid with a 25% premium.
Where a party directs another party to perform a specific action and the direction cannot be undone, unless agreed by all parties involved, e.g. a producer directs a distributor to pay a distribution advance directly to a third-party financier.
Writer, director, producer. The key creative team of a project includes all writer/s, director/s and producer/s attached to a project.
Key Performance Indicators are the measurable goals or targets set for your activity, which you’ll need to report on.
A film shot with a larger than conventional image size and projected in a specialist theatre to maximise the greater image resolution (e.g. IMAX). Large format features may have a shorter running time than the usual 75 minute minimum for conventional feature films.
A letter of intent is used during the packaging or financing stage, to indicate to the producer and the marketplace that, subject to finalisation of an acceptable creative and financial proposal, the writer of the letter is interested in supporting the project financially. A letter of intent does not represent a binding contract. For the purposes of applying for VicScreen funding, this must be current, usually no more than six months old at the time of application.
A letter of interest is issued by a recognised sales agent, distributor or exhibition platform (e.g. a broadcaster, exhibitor, or major online content provider) and signifies that they are aware of your project and believe that it has market potential pending further development, but they have not yet made a commitment, financial or otherwise, to it. For the purposes of applying for VicScreen funding, this must be current, usually no more than six months old at the time of application.
A fixed amount paid by a licensor to a producer for the grant of rights to release a project, e.g. by free-to-air broadcast or theatrical release. Commonly, the licensor will pay the licence free in tranches to the producer according to agreed milestones.
Productions made for screen that are acted out by human actors or real people, as opposed to animation.
The Location Incentive is a federal grant of 13.5 per cent of a project’s Qualifying Australian Production Expenditure (QAPE), offered in addition to the Location Offset (16.5 per cent) for projects spending over AU$15 million on production in Australia. When combined these two incentives offer projects 30 per cent of QAPE. The Location Incentive forms part of the Australian Screen Production Incentive. Further information can be found through Ausfilm.
The Location Offset is a federal 16.5 per cent rebate which supports the production of large-budget film and television projects shot in Australia. Projects spending over AU$15 million may be eligible for an additional 13.5 per cent through the Location Incentive, to achieve a combined federal incentive of 30 per cent of a project’s QAPE. Together with the Producer Offset, Location Incentive and PDV Offset, the Location Offset forms part of the Australian Screen Production Incentive. Further information can be found through Ausfilm.
A document presented in book form that conveys the tone and visual style of a project through images and photographs. Typically created for feature film projects.
A major company providing content to viewers via streaming or download through paid video-on-demand (VOD) or commercial subscription video-on-demand (SVOD), such as iTunes, Netflix, Amazon, Hulu, Yahoo, Presto, Stan or Quickflix.
A marketplace entity is defined as an entity whose core business is the sales, distribution, exhibition or broadcast/streaming of feature films and series.
A suitably qualified and experienced practitioner engaged to provide their expertise to less experienced individuals in order to help them advance their project through any stage of development. The mentor cannot have an interest of any kind in the project.
A mid-career practitioner may have a combination of the following experience:
1-2 professional production credits in the nominated role (i.e. commercially distributed or exhibited, and/or sold to a recognised broadcaster or commissioning platform. Film/TV credits must have a minimum cumulative length of one hour) with some reputation amongst the public or peers in the local industry. Endorsed by the marketplace.
Stages of project development, as defined in an Agreement with VicScreen, which involve reporting on project progress to date and which triggers payment of an instalment of funding.
A production made for a commissioning platform which tells a story in a limited number of episodes (generally four or less), as distinct from a series. Also known as a limited series.
Handheld media platforms (e.g. mobile phones, PDAs, iPods etc.).
To distribute content to mobile devices such as phones, generally using wireless networks.
A structured story or account of a series of events or experiences, whether documentary or fiction.
A non-documentary outline/treatment/script for film or television that develops a sustained and coherent story across the duration of the piece. Note: this excludes sketch comedy and scripted reality.
A film made with limited or no financial support from investors. This may mean they defer payments and much of their resources are provided in-kind.
A producer who meets the documentary credit requirements for the program, but is not a Victorian resident.
A feature film or television production by producers from two or more countries which is made under a treaty or another form of government arrangement, and has been approved by Screen Australia as meeting official co-production eligibility criteria. For more information, refer to the section on co-productions on the Screen Australia website.
Footage is digitised at a low resolution and edited using a non-linear editing suite and software such as Final Cut Pro, Avid and Lightworks. There are typically three distinct stages of offline editing: assembly, rough cut and fine cut. Once the fine cut is completed, the online editing process may begin.
Content made specifically for web-based distribution, e.g. streaming video, alternate reality games, interactive and social networking websites.
When the offline editing is complete, the selected shots from the original footage are re-captured at full resolution. The picture and sound quality of the film or television project are adjusted and brought to their optimum levels. This is also referred to as 'conforming'. Visual effects, titles, and colour correction are typically added at this stage. There are generally no changes to the choice or order of shots at this stage.
A short overview document for a fiction or documentary project, which provides detail regarding the narrative or concept. An outline is typically 3-10 pages.
Subscription-based television services, usually provided by both analogue and digital cable and satellite, but also increasingly by digital terrestrial methods.
Refers to live action film or series production.
A pilot is typically a sample episode of a television show that acts as a model for new programming which may then be commissioned by a network.
Film Victoria’s Key Talent Placements programs offer early to mid-career practitioners in key creative roles (writer, director or producer) a paid, significant hands-on learning experience by working with an experienced practitioner
The PDV Offset is a 30 per cent rebate which supports work on post, digital and visual effects production (PDV) in Australia, regardless of where a project is shot. Together with the Location Offset, Location Incentive and Producer Offset, the PDV Offset forms part of the Australian Screen Production Incentive. Further information can be found through Ausfilm.
A program of continuing study that can only be undertaken after completion of an Undergraduate degree or equivalent work experience.
The general term used in the screen industry to describe all stages of production occurring after production/principal photography and ending with the completion of the film or television project.
Post-production is generally understood to include picture editing, sound design (including sound editing, writing and recording the soundtrack music, adding sound effects, and sound mix), adding visual effects, and colour grading.
Study undertaken following the completion of high school or equivalent.
The period leading up to production/principal production where all elements necessary to proceed to production are finalised. At this stage a project will generally be fully financed and have most of the key elements in place, such as principal cast, director and cinematographer as well as a screenplay which is satisfactory to all the financiers.
The pre-production period would focus on locking in locations, cast members and crew, sourcing props, costumes & equipment, and creating a schedule for production and post-production.
A written compilation of information to be provided to the press to give them the information they need to write an article about the project, or conduct an interview with key creative personnel and lead cast.
Refers to the phase of film production during which the film or television project is actually shot, as distinct from pre-production and post-production. Also referred to as Production.
A credit in a particular role on a production that has been theatrically released (features) or broadcast (television), but excluding community television.
A producer has responsibility for the creative and financial oversight and delivery of a project to its investors.
Investors in the production of a project typically recoup their investment in proportion to their respective contributions to the overall equity budget. Sometimes an investor will provide a portion of their recoupment share (corridor) to the Producer.
The Producer Equity Program provides a direct payment of funds to producers of eligible low-budget Australian documentaries, equal to 20 per cent of the approved budget. The program is administered by Screen Australia’s Documentary Unit - contact via email.
Producers applying to Screen Australia for documentary production funding (grant or equity investment) will apply for the Producer Equity payment in the context of their funding application. Producers not applying to Screen Australia for documentary production funding can apply for Producer Equity in pre-production, production or post-production, but an application cannot be submitted more than six months after the project is completed.
The amount of the Producer Equity payment will not vary once decided. Projects approved for Producer Equity cannot apply for the Producer Offset under any circumstances.
The Producer Offset is a refundable tax offset for producers of Australian feature films, television and other projects on Qualifying Australian Production Expenditure (QAPE). The Producer Offset is managed by the Screen Australia Offset Division – contact via email. Together with the Location Offset, Location Incentive and PDV Offset, the Producer Offset forms part of the Australian Screen Production Incentive.
Refers to the phase of film production during which the film or television project is actually shot, as distinct from pre-production and post-production. Also referred to as Principal Photography.
The company that has been created for the purposes of undertaking production of screen content.
Our incentives program encourages filmmakers to bring their projects to Victoria. These incentives are a simple grant system, provided in the form of a cash rebate, generally at the end of production. All funds are negotiated on a project-by-project basis
Paid work undertaken under a recognised industrial award.
Specific credit and expertise requirements set out in program guidelines that require prior projects are in the same role as that of a current application, and are on professionally produced projects.
Work experience on film, television or digital media projects that have been professionally produced.
Film, television or digital media projects where cast and crew have been paid professional or award rates and commercial distribution or television broadcast has been secured, either before or after production.
Credits on a production that has been commercially distributed or exhibited, and/or sold to a recognised commissioning platform.
A proof of concept may be seen as desirable by a broadcaster/telecommunications company or distribution partner when it is interested in a series, but is unsure how particular aspects may be realised, or how it may be received by the proposed target audience.
At the same time (as other investors) and at a rate that is proportionate based on the amount of each investor's contribution to the overall budget.
A first or original model of hardware or software, providing software developers with a 'working model' for demonstration or use by customers, to help define interfaces and to develop collaborative components.
A non-binding certificate which is issued by Screen Australia to provide guidance, based on the information submitted, on whether a production is likely to qualify for the Producer Offset. The certificate is issued with an accompanying letter which provides a guide as to what the QAPE will be, based on the information submitted.
This can be an online publication or hard copy book or magazine. Online publications do not include blogs, which are websites maintained by an individual with regular entries of commentary, descriptions of events, or other material such as graphics or video.
Qualifying Australian Production Expenditure. See Screen Australia.
A written opinion from a QAPE assessor confirming the estimated QAPE for the project. The opinion must be addressed to VicScreen and in a form approved by VicScreen.
Production spend in Victoria on approved elements. For more information, refer to our Qualifying Victorian Expenditure information sheet.
For documentary projects a reader performs many of the core functions of a script writer and/or script editor although to a lesser degree. A reader may draw attention to basic errors and offer suggestions relating to structural changes.
In accordance with the Australian Content Standard, we define reality television as programming where “the primary purpose of the program is not to explore and interpret an idea”. We understand that the delineation between reality television programming and documentary is a complex one and encourage applicants to refer to the standard for an in depth discussion of this issue. See Australian Communications and Media Authority Documentary Guidelines.
When we provide investment in a project, we are entitled to reimbursement of the investment and, in some instances, a 10% premium. Depending on the funding program, we will either recoup our investment on the commencement of principal photography or production, from gross receipts earned by the project, or on commercialisation.
RLAF is one of VicScreen's Production Incentives designed to assist productions shooting in regional Victoria.
Refer to our map of regional Victoria
A release form is a legally binding document between a participant in a project and the Producer. In the release form, the participant agrees to participate in the relevant project and gives the Producer certain rights to use their image, appearance and words in the project. The purpose of a release form is to ensure that the Producer has the necessary rights to include key participants in the project in question. The Producer's right to use audio visual reproductions in which the participant features, typically in all media (including digital) and in perpetuity, will be clearly stated.
Release forms must conform to current legal requirements and must be executed by the participant and the Producer. There may be special legal requirements if the participant is a minor.
The second of three stages of offline editing. The rough cut is the first stage in which the film begins to resemble its final product. Rough cuts undergo many changes before the release of the film.
Screen Australia is the Commonwealth Government agency which incorporates the functions of the former Film Finance Corporation (FFC), the Australian Film Commission (AFC) and Film Australia.
Persons, companies, associations, and other entities which are involved in production, exhibition, or critical analysis of product designed to be viewed on a screen.
A written representation of a story, as it will appear on screen including dialogue, scene descriptions and character actions, etc. Also referred to as a screenplay.
In documentary development, successful applicants are encouraged to engage a script editor for advanced stage projects, especially, for those based on stories, inquiries or events that have already unfolded (eg. history, science and biography). The script editor edits the treatment or script and may make structural changes to the project document (which may or may not be accepted by the applicant). Ideally, the script editor is independent of the creative team to ensure impartiality.
A demonstrable need in a particular field of the industry, identified by us sometimes in conjunction with an industry body.
Means a security interest in personal property as defined by the Personal Property Securities Act 2009 (Cth).
Comprises a potentially unlimited number of episodes and contains a number of interweaving and overlapping plots continuing from one episode to the next.
A production made for a commissioning platform (primarily television or SVOD platform) which has a narrative that is told across multiple episodes (usually more than four), together comprising ‘a season’. A series may have multiple seasons.
Serious games typically have the goal of educating or training players. They should contain rules, goals and competition elements, and potentially also entertainment value. A serious game may be considered eligible for our games funding where it clearly differentiates itself from mere simulation of an activity.
Generally refers to a fiction, documentary or animation narrative project of not more than 25 minutes in length. Longer projects are sometimes considered shorts where they are intended for theatrical release or festival screening (rather than for broadcast television), and are not long enough to qualify as a feature. For the purposes of applying to the International Festivals funding strand, short films must be screening in competition.
A one-off documentary made specifically for broadcast television of between approximately 30 and 90 minutes.
See "Video teaser"
A screen content production role that production entities are finding difficulty to fill with suitably experienced personnel. Skills gaps may be identified by us in consultation with industry bodies.
A number of projects in development by one producer or production company.
A new film, television or digital media project based on characters or elements of a pre-existing project. A spin-off may be created in the same or a different medium.
SPV means a special purpose vehicle, often a subsidiary company, established and owned by the Applicant for the purposes of producing the project.
A subject consultant is an expert in the subject matter being addressed by a documentary project (in particular, history, science and biography-based projects) and is often, but not always, an academic. A subject consultant is utilised at the beginning of the development process to indicate research resources that should be consulted, to warn of appropriate protocols and risks and to check factual accuracy. Ideally, this person is not already deeply connected with the creative team.
Refer to Major online content provider.
A SWOT Analysis is a strategic planning method used to evaluate the Strengths, Weaknesses, Opportunities, and Threats involved in a project/event or activity. It involves specifying the objective of the project and identifying the internal and external factors that are favourable and unfavourable to achieving that objective.
Either 1 line, 1 paragraph or 1 page (depending on its usage and our specified requirements), conveying the essence of the story, the who, what and why.
Targeted business travel refers to travelling overseas to facilitate meetings with broadcasters, distributors, sales agents or other potential business partners.
A feature-length film that is produced specifically for television, as opposed to a film produced for theatrical release.
VicScreen refers to Screen Australia's definition of theatrical release where: In all cases, the film must be a normal full-length feature film of a type commonly shown in commercial cinemas, and produced in a format suitable for theatrical release as the primary attraction to an audience in commercial cinemas. Cinema-on-demand plans will be assessed on a case-by-case basis, with a particular emphasis placed on the pathway to audience identified by the application materials. ‘Four-walled’ arrangements are unlikely to be satisfactory
The Australian Screen Production Incentive (APSI) is a Commonwealth Government initiative designed to support screen production (excluding digital games). It comprises four incentives: the Producer Offset, Location Offset, Location Incentive and PDV Offset.
Refers to any other person or entity (besides us/VicScreen and you/the applicant) with a financial investment in a project.
Film and television, as distinct from digital media.
The legal documents which are required in final form as part of the contracting process and before any payments can be made, e.g. distribution agreements, chain of title documents.
A treatment tells the story and gives an indication of the style and tone of the project. It is written as a narrative, typically one paragraph per scene, and has no dialogue. This is typically the stage before 1st draft of a script.
A documentary treatment is often the final stage of the writing process, as opposed to in drama. It also states or implies the style in which it will be treated/told, specifying: interviews, reconstructions, archival footage, photographs, maps, diagrams, graphics, etc.
The bundle of rights that must be acquired in order to be able to produce and commercially exploit the project, such as rights in relation to the novel or play on which the script is based.
This is a test entry, to be updated.
A company or organisation based in and operating out of Victoria for at least 6 months prior to the funding application. Newly registered companies may still qualify, where at least one of the company principals and/or parent entity have been based in and operating out of Victoria for at least 6 months prior to the funding application.
For VPF eligibility purposes, a genuine co-production must include a Victorian production company with a track record or ambition to develop and produce projects in its own right. It does not include service companies set up to facilitate imported productions. The project and relationship between the companies must demonstrate significant benefit for the Victorian company including fees and overheads from the production budget. Additionally, a portion of any Assigned Production Investment (API) secured from VicScreen for the project should be assigned to the Victorian production company for their benefit. This portion of the API should be recognised in the finance plan as part of the local producer’s investment in the project.
An Australian citizen or permanent resident residing in Victoria at the time of application and for at least 6 months immediately prior to the date of the application.
A Victorian producer is a producer (individual or company) based in and operating out of Victoria for at least 6 months prior to the funding application.
A VicScreen program is designed to attract interstate or offshore projects to bring their film, television and games projects to Victoria across all sectors of the screen industry including physical production, post-production, VFX, animation and games.
Production spend in Victoria. For more information, refer to our Qualifying Victorian Expenditure information sheet.
See ‘Digital game’
VOD allows viewers to view content using many different electronic devices, including phones, PCs, media centres, media centre PCs, set-top boxes, certain portable media devices, etc.
Also known as a sizzle reel, a video teaser is a short (3-7 minute) example of your project, used particularly by documentary projects to help raise production or post-production financing. The teaser should give an indication of the story and the key characters and give future buyers or investors a sense of the look and feel of your project. It should be submitted on DVD.
Virtual Reality is an immersive experience which could be created using 360 video, computer generated imagery or a combination of both. When VicScreen references Virtual Reality or VR in our program guidelines this also encompasses Augmented Reality (AR) and Mixed Reality (MR) and 360 video. In our Film, Television and Online programs, VR projects must have an underlying narrative.
Computer generated imagery (CGI) created, manipulated, or enhanced for a screen project.
A statement from a key character or expert indicating their preparedness to participate in the factual project in question. In particular, their willingness to appear on camera. This can be in the form of a letter, fax or email.
A tax paid on royalty revenues earned in one country and remitted to a party in a second country. It is calculated at a standard percentage which varies from country to country and from time to time.