Many want the Producer Offset pushed up to 40% for all television that’s currently eligible. Who wouldn’t want government money if it’s on offer … ?

It’s only fair that Australian content rules are applied more evenly to more platforms; what happens to quotas is the big question.

Many want the Government to stop cutting Screen Australia funding but few ask what might happen if more money goes to production via other means.

Co-production treaties, low wages, poor mental health, inadequate training, foreign workers and intellectual property are all raised in submissions.

For creators of digital content on platforms such as YouTube, a high level of multitasking is required as a channel or series grows in popularity and views.

The number of people watching film, TV and other content online is growing exponentially. Data shows that 63% of Australians gobbled up stories this way in 2016*.

Raising $6.78 million for an ambitious space science documentary that would excite international audiences was the opposite of a walk in the park for Essential Media and Entertainment chief executive Chris Hilton.

So what is the cost of creating an online series or video?

The myth of the ‘overnight success’ story can make it seem like this is an easy, and inexpensive route to becoming a filmmaker.

Penguins, pigs and crocs: nine titles have made the all-time top 20 Australian films in the US, UK and Australia.

Securing an advance from an international sales agent against future anticipated rest of world (ROW) sales revenue could be a key factor behind whether enough money can be raised to enable a film to go into production.

Screen Australia is an investor in many of the Australian feature films that find their way into cinemas. The agency requires a sales agent – among other things – to be attached to each film so it has the best chance of being pushed out onto the world stage.