Where does the finance for TV drama come from? How do producers put together budgets for individual projects? How has this changed compared to ten years ago?

Screen Australia’s data paints a picture of a typical recent year of production compared with ten years ago.

Jo Porter, Director of Drama at FremantleMedia Australia, talks Wentworth format sales in Germany and The Netherlands.

Downriver's story is one of teamwork and tenacity; and the inevitability of people and policies at the film agencies greatly influencing what independent films are made in Australia.

Australian film, TV and online soared to new heights in 2015 and we look back on the year that was, as well as casting our eyes to exciting times ahead.

Tyke, Elephant Outlaw is a feature-length documentary that explores the story of a circus elephant who killed her trainer in front of thousands of people in Honolulu in 1994.

The Australia-China screen relationship is deepening in features, children’s programming and documentaries. Let's look into why.

Call Me Dad was commissioned by ABC TV. Well into filming, it went to Good Pitch2. The amount subsequently raised was nearly half the production budget.

Sixteen relatively recent Australian TV shows have earned more than $1 million each in gross revenue, and nearly $43 million as a group.

Four sets of Australian producers talk about how they raised the money to tell a story using the documentary form.

WildBear Entertainment was prompted to produce Making Tracks by a commissioning editor at German public broadcaster NDR.

Australian/UK company See-Saw Films and New Zealand’s Escapade Pictures produced Top of the Lake, which is represented by BBC Worldwide. Emile Sherman talks about its success and explains the value of co-commissioning.