Documentary production. in Australia, A collection of key data.

Transcription

1 Documentary production in Australia, 29 A collection of key data

2 2 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 CONTENTS SUMMARY PRODUCTION Documentary as a proportion of audiovisual production In Australia, 26/ In Australia, Canada and New Zealand Production activity Businesses involved in producing documentaries Hours produced and production budgets Budget ranges Cost per hour Activity by state EMPLOYMENT Documentary filmmakers: Number Documentary filmmakers: Activity FUNDING Sources of finance Sources of finance in Australia, Canada and France... 9 Government funding Government film agency funding Tax incentives Federal agencies AFC documentary development FFC documentary finance Film Australia documentary production Sales Domestic non-theatrical sales Overseas sales ON SCREEN Cinema Theatrical release Festivals and awards Top documentaries at the box office Video Sales of documentaries on video Top documentaries on video Television Audience for documentaries on free-to-air TV Free-to-air TV release Programming by public broadcasters Program spending by commercial broadcasters Top documentaries on TV Cover picture: First Australians director Rachel Perkins on location in Central Australia. Photographer: Kim Batterham. Courtesy: First Nation Films. Screen Australia 29 Screen Australia is grateful to all those who contributed data to the compilation of this report. ISBN: X Also available online via the Screen Australia website at: See also Get the Picture Online at: This report is based on key data from Get the Picture Online, Screen Australia s comprehensive web-based statistics collection. ABOUT THE DATA Data in this section is based on documentary production by Australian production companies, including those productions filmed wholly or partially overseas. These are projects under Australian creative control (i.e. where the key elements are predominantly Australian and the project has been originated and developed by Australians). It includes official and unofficial co-productions with foreign partners (i.e. where creative control is shared between a mix of Australian and foreign partners and there is a mix of Australian and foreign elements in the key creative positions). It also includes projects that are 1 per cent foreign financed if they are under Australian creative control. It does not include productions made in Australia by foreign production companies, or foreign projects where an Australian production company is operating in a service capacity. Although programs made by New Zealand companies are counted as local by the Australian Communications and Media Authority (ACMA) for compliance with the Australian content quota, they are not included in Australian production figures. In-house production by free-to-air and subscription television broadcasters is included only where indicated. Figures are based on when principal photography commenced, even though series, in particular, may be shot over more than one financial year. What is a documentary? Screen Australia's definition of documentary follows that used by ACMA, specifically a program that is a creative treatment of actuality other than a news, current affairs, sports coverage, magazine, infotainment or light entertainment program, and corporate and/or training programs. Screen Australia data covers documentaries intended for cinema and/or TV release. Non-broadcast documentaries are not included, nor are online documentaries. In practice, it can sometimes be difficult to distinguish documentaries from programs such as infotainment, travelogue or light entertainment programs, which adds to the difficulty of gathering data on this area of Australian production activity. ACMA released guidelines on the interpretation of its definition of documentary in December 24; see Data sources Screen Australia has collated research from a number of sources, including the Australian Bureau of Statistics (ABS), GfK Marketing, OzTAM and state film agencies as well as the Australian Film Commission (AFC), the Film Finance Corporation (FFC) and Film Australia (which merged to form Screen Australia in July 28). Screen Australia continues the monitoring of documentary production previously undertaken by the AFC throughout the year via an extensive range of sources, including funding agency announcements, production reports and media monitoring. Many titles are located through the monitoring of Australian documentaries screened on Australian free-to-air and subscription TV. A point of contact first needs to be established; then data can be requested from the filmmakers, including details of the producer, director, writer, production company, sales contact, synopsis, duration, budget, location, sources of finance and subject headings. The agency also monitors festival screenings, awards, cinema and Australian TV screenings, ratings and box office. Documentary production is also included by the Australian Bureau of Statistics in its Services Industry Surveys of the film and video production and post-production services industries. Variations between Screen Australia and ABS data are due to differences in survey methodology. Data limitations Because of the difficulties involved in monitoring documentary production, particularly in-house production by the television broadcasters, Screen Australia includes some estimates in the number of titles, hours and budgets. Data updates This report includes data from Get the Picture Online. Data on Get the Picture Online is updated as it becomes available, which may lead to discrepancies between this report and Get the Picture pages.

3 SUMMARY DOCUMENTARY AS A PROPORTION OF AUDIOVISUAL PRODUCTION Documentary makes up 2-3 per cent of audiovisual production in Australia, compared to 11 per cent in New Zealand and 21 per cent in Canada. HOURS PRODUCED AND PRODUCTION BUDGETS Documentary production in Australia reached an 11-year high in 26/7. A total of 46 hours (196 titles) were produced, with production budgets totalling $97.2 million, compared to an annual average of 36 hours and $65.4 million. BUDGET RANGES Not including broadcaster-produced titles, 87 per cent of single documentaries made between and 26/7 had budgets of less than $5,, with more than half made for less than $2,. ACTIVITY BY STATE Most documentaries (55 per cent of titles, 61 per cent of hours) are made by production companies in NSW. EMPLOYMENT Around 2 producers, 17 directors and 13 writers have made two or more documentaries in the last five years. However, the majority of documentary filmmakers (66 per cent of producers, 67 per cent of directors and 74 per cent of writers) made only one. SOURCES OF FINANCE Government sources provide the highest proportion of funding to the annual documentary slate in Australia (5 per cent), with broadcasters providing 23 per cent and foreign finance 14 per cent. GOVERNMENT FILM AGENCY FUNDING In the past 14 years, federal and state government agencies have provided an annual average of $1.51 million for documentary development and $2.65 million for documentary production. DOMESTIC NON-THEATRICAL SALES Around $11 million in royalties was collected for educational off-air copying of documentaries in 28. THEATRICAL RELEASE Twelve Australian documentaries were released in cinemas in 28 the highest number since FESTIVALS AND AWARDS Australian documentaries tallied 36 screenings at 2 key festivals in 27 and won 13 international awards. SUMMARY 3 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 SALES OF DOCUMENTARIES ON VIDEO Of the top 5 documentary titles sold on video in 28, 13.3 per cent were Australian. The three highestselling Australian documentary titles were Australia: Land of Parrots, Bra Boys and First Australians. FREE-TO-AIR TV RELEASE A total of 343 hours of first-release Australian documentaries were broadcast on Australian free-to-air TV in 27 significantly higher than the annual average of 283 hours. PROGRAM SPENDING BY COMMERCIAL BROADCASTERS Australian commercial free-to-air broadcasters spent $9 million on Australian documentary programming in 26/7, down from a high of $12.4 million the previous year. TOP DOCUMENTARIES ON TV Nine of the top ten documentaries in 27 were Australian, with The Force: Behind the Line at no. 1.

4 PRODUCTION DOCUMENTARY AS A PROPORTION OF AUDIOVISUAL PRODUCTION According to the ABS, documentary production made up 2 3 per cent of total audiovisual production in Australia in 26/7. SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 PRODUCTION 4 IN AUSTRALIA, 26/7 Quiz, panel and game shows 4% TV and other documentaries 2% Light entertainment and variety 16% Feature films 1% Commercials 13% Sport 14% Corporate/marketing/ training videos 4% Other TV programs (includes children s) 5% Other 2% News and current affairs 22% TV drama (excludes children s) 8% Type of audiovisual activity No. businesses Production value ($m) Share of value (%) News and current affairs * % Situation and sketch comedy <1% TV drama (excludes children s) ^ % Sport * % Commercials n.a % Feature films % Light entertainment and variety * % Quiz, panel and game shows % TV documentaries ^67 ^39.8 2% Other TV programs (includes children s) n.a % Corporate/marketing/training videos ^454 *71.7 4% Other non-tv programs *74 ^4.1 <1% Documentaries (other than for TV) ** <1% Short films ^ <1% Music media *27 ^1.3 <1% Educational media *17 *6. <1% Total 1,882.4 Source: Australian Bureau of Statistics (ABS) Television, Film and Video Production and Post-production Services 26/7 (cat. no ). Includes film and video production and post-production businesses, free-to-air and subscription television broadcasters and subscription television channel providers. Unlike previous years, includes significant non-employing businesses. ^ Estimate has a relative standard error of 1 25 per cent and should be used with caution. * Estimate has a relative standard error of 25 5 per cent and should be used with caution. ** Estimate has a relative standard error greater than 5 per cent and is considered too unreliable for general use. n.a. Data not available. IN AUSTRALIA, CANADA AND NEW ZEALAND % $m (local currency) $m (Aus) Australia New Zealand Canada Source: Australian Bureau of Statistics (ABS), Statistics New Zealand, Statistics Canada, Documentary Organisation of Canada and Reserve Bank of Australia (RBA). 1. Documentary as a proportion of total production costs for film and video production and post-production businesses, free-to-air and subscription television broadcasters and subscription television channel providers in 26/7. 2. Documentary as a proportion of funding received by screen production companies in 26/7. RBA s annual average of daily exchange rate with New Zealand in 26/7: AUD$1. = NZD$ Documentary as a proportion of total content production in 25/6. RBA s annual average of daily exchange rate with New Zealand in 25/6: AUD$1. = CAD$.87.

5 . PRODUCTION ACTIVITY BUSINESSES INVOLVED IN PRODUCING DOCUMENTARIES In 26/7, according to the ABS, there were approximately: 67 Australian businesses involved in producing documentaries for TV, down from 98 in 22/3, and 46 businesses involved in producing documentaries other than for TV, up from 21 in 22/3. PRODUCTION Source: Australian Bureau of Statistics (ABS). See Documentary as a proportion of audiovisual production (page 4) 5 HOURS PRODUCED AND PRODUCTION BUDGETS Documentary production in Australia reached an 11-year high in 26/7. A total of 46 hours (196 titles) were produced, with budgets totalling $97.2 million. Average annual documentary production in Australia is estimated at around 36 hours (337 broadcast hours), with a production value of approximately $65 million (based on combined production budgets). Although television broadcasters play a significant role in Australian documentary production, most documentary activity occurs in the independent sector. An average of 22 hours, totalling $52.5 million, have been produced annually by production companies in the 11 years from to 26/7, compared to 15 hours, totalling nearly $13 million, by broadcasters. After a peak in 199/, boosted by titles made for the Centenary of Federation, independent documentary activity fell in both 2/1 and 21/2, but subsequently rose again to an 11-year high in 26/7. The generally high levels since 23/4 have been due to an increase in production of documentary series. Production of single documentaries (in titles and hours) has remained at lower levels since 23/4; however, there was a strong increase in their total production value in 25/6 due to several high-budget titles made that year. Activity by broadcasters has remained relatively steady over the surveyed period, with a peak in hours and production value in 26/7. HOURS MADE Documentary hours / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 Hours made by production companies Hours made by broadcasters PRODUCTION BUDGETS Documentaries made by production companies Documentaries made by broadcasters Source: Screen Australia. Figures include some estimates. Duration calculated on actual running time of program in minutes rather than broadcast hours. Figures are based on year when principal photography commenced; this also applies to series, even though series are often shot over more than one financial year. Activity by broadcasters refers to productions where television broadcasters are the only production companies involved. Includes free-to-air and subscription broadcasters. Does not include subscription television channel content providers; these are included with production companies. Includes IMAX documentaries but excludes magazine-format documentaries, current affairs, news, information programs, online documentaries, and corporate and training films/programs. Production budgets ($m) / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 For comprehensive data, see Get the Picture Online: /gtp This report online:

6 BUDGET RANGES Eighty-seven per cent of the single documentary titles made by production companies over the 11 years between and 26/7 had budgets of less than $5, (in 27 dollars), with more than half made for less than $2,. For series, budgets vary with the number of hours produced, but on average 35 per cent of titles were made for less than $5,, and 33 per cent for more than $1 million. SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 PRODUCTION 6 BUDGET RANGES FOR SINGLE DOCUMENTARY TITLES 1999/ 2/1 21/2 22/3 23/4 24/5 25/6 26/7 Percentage of single documentaries in these ranges Under $2k $2k $499k $5k $1m $1m+ Source: Screen Australia. Current dollar figures have been adjusted for inflation using the Non-farm GDP Deflator. This index has been used in preference to the Consumer Price Index as it more accurately reflects the cost increases experienced by the film industry. COST PER HOUR % 2% 4% 6% 8% 1% BUDGET RANGES FOR DOCUMENTARY SERIES 1999/ 2/1 21/2 22/3 23/4 24/5 25/6 26/7 % 2% 4% 6% 8% 1% Percentage of series in these ranges Under $2k $2k $499k $5k $1m $1m+ For single titles, the average cost per commercial broadcast hour has risen since, reaching $286,539 in 2/1 ($358,86 in 27 dollars). It fell in 21/2 and subsequent years, however, when no large-format titles were produced, but rose again in 25/6 with the production of several high-budget titles, such as The Secret, Bom Bali and Night. For documentary series, the average cost per commercial broadcast hour has ranged between $11,173 in ($147,412 in 27 dollars) and $262,952 in ($35,656 in 27 dollars). Over the 11-year period since, 74 per cent of series hours have been made for less than $3, per hour (actual running time) and 18 per cent for less than $1, per hour. Only 6 per cent cost more than $6, per hour. AVERAGE COST PER COMMERCIAL BROADCAST HOUR FOR SINGLE TITLES Average cost per b cast hour ( $ ) / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 AVERAGE COST PER COMMERCIAL BROADCAST HOUR FOR SERIES Average cost per b cast hour ($ ) / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 Source: Screen Australia. Current dollar figures have been adjusted for inflation using the Non-farm GDP Deflator. This index has been used in preference to the Consumer Price Index as it more accurately reflects the cost increases experienced by the film industry.

7 ACTIVITY BY STATE In the 11 years between and 26/7, most documentaries (excluding in-house productions by broadcasters) were made by production companies based in NSW (55 per cent of titles, 61 per cent of hours), followed by Victoria, Queensland and Western Australia. SHARE OF DOCUMENTARY TITLES BY STATE SHARE OF DOCUMENTARY HOURS BY STATE NSW 55% ACT, NT & Tasmania 5% Queensland 9% South Australia 3% Victoria 2% Western Australia 8% NSW 61% ACT, NT & Tasmania 4% Queensland 9% Source: Screen Australia. Documentaries may have two or more production companies; where the production companies are located in different states, each state is counted. Co-productions with foreign companies are allocated to the Australian production company s state of residence. Calculated as an 11-year average, 26/7. Hours are calculated on actual running time of programs in minutes. Overall total may be less than 1 per cent due to a small number of titles of unknown origin. South Australia 1% Victoria 15% Western Australia 9% PRODUCTION 7 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 For comprehensive data, see Get the Picture Online: This report online:

8 EMPLOYMENT The main sources for film industry employment data are the ABS Census and Service Industries Surveys. Unfortunately, these don't categorise occupations by genre. However, some data is available from other sources. SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 EMPLOYMENT 8 DOCUMENTARY FILMMAKERS: NUMBER All credits, 22/3 26/7 Based on Screen Australia analysis of 92 Australian documentaries, including broadcaster-produced titles, shot between July 22 and June 27: 69 people produced a documentary (44 per cent of these were women) 526 people directed a documentary (37 per cent women) and 529 people wrote a documentary in this period (39 per cent women). Source: Screen Australia analysis of the credits of 92 Australian documentaries, including broadcaster-produced titles, shot between July 22 and June 27. Sex unknown for 14 producers (2%), 15 directors (3%) and 13 writers (2%). Two or more credits, 22/3 26/7 Analysis of filmmakers who have made two or more documentaries in the last five years indicates that there are around 2 producers, 17 directors and 13 writers currently making documentary films/programs in Australia. 5-year profile: Men Women 2 or more credits No. % No. % Total no. Producers % 91 44% 26 Directors 17 61% 62 36% 174 Writers 84 62% 49 36% 136 Source: Screen Australia analysis of the credits of 92 Australian documentaries, including broadcaster-produced titles, shot between July 22 and June 27. Sex unknown for 4 producers (2%), 5 directors (3%) and 3 writers (2%). DOCUMENTARY FILMMAKERS: ACTIVITY Analysis of the producer, director and writer credits for documentaries made in the five years between July 22 and June 27 shows that a high proportion of documentary filmmakers made only one title over this period, with producers the most likely to have multiple credits 34 per cent, compared to 33 per cent for directors and 26 per cent for writers. Producers Directors Writers Percentage of documentary filmmakers with: 1 credit 2 credits 3 credits 4 credits 5+ credits Production companies % 1% 2% 3% 4% 5% 6% 7% 8% 9% 1% Source: Screen Australia analysis of the credits of 92 Australian documentaries, including broadcaster-produced titles, shot between July 22 and June 27.

9 FUNDING SOURCES OF FINANCE SOURCES OF FINANCE IN AUSTRALIA, CANADA AND FRANCE Government sources (excluding public broadcasters) provide the highest proportion of funding to the annual documentary slates in Australia and Canada (5 per cent and 34 per cent of the slate respectively), and the second highest in France (19 per cent), where producers provide around the same proportion. The largest contribution to the French slate comes from broadcasters (including public broadcasters) 44 per cent, compared to 3 per cent in Canada and 23 per cent in Australia. Australia has the highest level of foreign finance 14 per cent, compared to 11 per cent in Canada and 7 per cent in France. SOURCES OF FINANCE FOR DOCUMENTARY SLATE (% SHARE) Foreign Other local Producers Distributors Broadcasters Private Government Percentage Australia Canada France Source: Australia: Screen Australia, eight-year average 1999/ to 26/7. Canada: Getting Real Volume 2, 24 and Volume 3, 27, Documentary Organisation of Canada, CFTPA Profile 25 and 26, ten-year average to 25/6. France: CNC Results May 28, ten-year average 1998 to 27. Includes Screen Australia estimates. Figures may not total exactly due to rounding. FUNDING 9 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 For comprehensive data, see Get the Picture Online: This report online:

10 GOVERNMENT FUNDING GOVERNMENT FILM AGENCY FUNDING 1 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 FUNDING From 1994/95 to 27/8, federal and state government agencies provided project-specific development funding for documentaries of $21.16 million, an average of $1.51 million annually, and production funding of $289.3 million, an average of $2.65 million annually. Most of the production funding comes from federal agencies, such as the Film Finance Corporation Australia, the Australian Film Commission, SBS Independent, Film Australia (National Interest Program and History Initiative) and the Commercial Television Production Fund (which operated from 1995/96 to ). Around 45 per cent of development funding for documentaries comes from state film agencies (mainly the NSW Film and Television Office, Film Victoria and ScreenWest). Production funding decreased by 2 per cent in 27/8, mainly due to a decrease in funding from the states. As part of the 27 Budget, the Australian Government announced the creation of a new agency, Screen Australia a merger of the Australian Film Commission, the Film Finance Corporation and Film Australia which took place in July 28. DOCUMENTARY FUNDING BY FEDERAL AND STATE/TERRITORY AGENCIES DEVELOPMENT FUNDING PRODUCTION FUNDING Funding ($m) Source: Compiled by the Screen Australia. Federal agencies included are the Australian Film Commission, the Film Finance Corporation Australia, SBS Independent, the Commercial Television Production Fund and Film Australia (National Interest Program and History Initiative). State agencies included are the ACT Department of the Environment and Cultural Heritage (until ), Arts Tasmania, Screen Tasmania (established in ), Film Victoria from 21/2 (before this, the following Cinemedia agencies: Digital Media Fund, Film Victoria, Melbourne Film Office), NSW Film and Television Office, Pacific Film and Television Commission, ScreenWest, and the South Australian Film Corporation. Film Australia has expended a minimum of $5, annually since 1998 on documentary development. Funding figures are in current dollars (i.e. not adjusted for inflation). TAX INCENTIVES 1994/ / / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 27/8 State agencies Federal agencies Documentary production boomed in the mid-198s under the 1BA tax incentive scheme, but dropped when the incentive was reduced to 1 per cent from 75 titles totalling $25 million in 1987/88 to 11 titles totalling $1.6 million in 1988/89. Between 22/3 and 26/7, an average of six documentaries a year were made with funds raised under 1BA; total value of production budgets raised averaged $4 million per year. In 27, a new Australian Screen Production Incentive was introduced by the Federal Government, comprising three streams: the Producer Offset, Location Offset and Post, Digital and Video Effects (PDV) Offset. These supersede earlier incentives such as 1BA. Funding ($m) 1994/ / / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 27/8 State agencies Federal agencies NUMBER OF DOCUMENTARIES MADE UNDER 1BA TOTAL PRODUCTION BUDGETS No. documentaries Production budgets ($m) / / / / /89 199/ / /95 2/1 22/3 24/5 26/7 198/ / / / /89 199/ / /95 2/1 22/3 24/5 26/7 Source: Department of Communications, Information Technology and the Arts, Commonwealth Treasury, Department of Water, Heritage, Environment and the Arts. The 1BA tax incentive scheme was reduced to 1 per cent in 1988/89.

11 FEDERAL AGENCIES AFC DOCUMENTARY DEVELOPMENT The Australian Film Commission provided $6.9 million in development funding for 544 documentary titles in the period to 27/8. In 28/9, the AFC became part of Screen Australia and its funding programs were incorporated into those of Screen Australia. Of the 544 documentaries funded by the AFC, 29 were completed as of December 28 (38 per cent). Of the 29 completed, Screen Australia put additional production or post-production money into 64 titles. Source: Screen Australia. FFC DOCUMENTARY FINANCE The Film Finance Corporation Australia (FFC) provided finance for an average of 36 documentaries per year between 1991/92 and 27/8, with total production budgets averaging $16.4 million per year. In 26/7, the Accord system of financing documentaries was phased out and replaced with financing through the domestic door and international door strands. Accord documentaries were made as part of an agreement between the FFC and Australian domestic broadcasters. The domestic door strand requires a local television presale, with the FFC and the broadcaster each contributing 5 per cent of finance. The international door strand requires a local television presale as well as international presales/ guarantees. Accord documentaries to 25/6 averaged 23 titles totalling $6.7 million per year, with FFC investment contributing 69 per cent of budgets ($4.7 million per year). Non-Accord titles to 25/6 averaged 12 titles totalling $8.3 million per year, with FFC investment contributing 49 per cent of budgets ($3.7 million per year). In 27/8, 23 documentaries worth $11.3 million were financed through the domestic door, with 41 per cent of the finance from the FFC, and 15 documentaries worth $15.4 million were financed through the international door, with 29 per cent of finance from the FFC. This is down slightly from 26/7. In addition, the FFC again invested in two titles under the National Indigenous Documentary Fund (NIDF) and five films under the Special Documentary Fund in 27/8. These funding programs were counted with non-accords before 26/7. Figures quoted reflect FFC investment into projects contracted in those financial years. In 28/9 the FFC became part of Screen Australia, and its funding for documentaries was incorporated into Screen Australia s National Documentary Program. NO. OF DOCUMENTARIES WITH FFC FINANCE No. of documentaries Accord Non-Accord Domestic door International door Other PRODUCTION VALUE (TOTAL BUDGETS) $ million Accord Non-Accord Domestic door International door Other FUNDING 11 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY / / / / / / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 27/8 1991/ / / / / / 2/1 21/2 22/3 23/4 24/5 25/6 26/7 27/8 Source: Screen Australia. Other includes National Indigenous Documentary Fund and Special Documentary Fund. For comprehensive data, see Get the Picture Online: This report online:

12 FILM AUSTRALIA DOCUMENTARY PRODUCTION 12 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 FUNDING Film Australia (now part of Screen Australia) aimed to produce outstanding documentaries to shape a cultural record of Australian life. Its National Interest Program (NIP) was an agreement with the Australian Government to develop, produce, distribute and market programs that deal with matters of national interest to Australia. Its History Initiative, Making History, commenced in 25 to develop, commission and produce a range of distinctive, high-quality history programs. In 28/9, these programs were incorporated into Screen Australia s National Documentary Program. Between and 27/8, Film Australia produced 23.8 television hours of broadcast documentaries under its National Interest Program and Making History Initiative. This does not include new media and education projects, which have also been produced under the NIP, or drama programs, which were produced under the NIP before In 27/8, budgets of completed projects totalled $15.7 million, almost double the previous year. This rise is largely due to the completion of six Making History documentaries. FILM AUSTRALIA S BROADCAST DOCUMENTARY PROGRAMS 27/8 Year Total TV hours* Total budgets* for projects completed in the year ($m) / / / / / / / / / Annual av * Includes hours of archival materials reversioned and repackaged for broadcast and distribution. Educational programming produced but not included. * Drama and educational programming produced but not included. * 2-disc CD ROM also produced but not included. * Website also produced but not included. * A DVD and 5 x 5 min. animations also produced but not included. * 5 x 5 min. animations also produced but not included. * Website and 2 DVDs also produced but not included. * Website, new material for Australian Biography Online and a cross-platform initiative with ABC also produced but not included. * 3 new media projects also produced but not included. * Includes 3 projects made under Making History; 4 new media projects also produced but not included. * Includes 6 projects made under Making History; 2 new media projects also produced but not included. Source: Screen Australia. These figures include expenditures for development, production and promotion of projects which are completed, but do not include development expenditure for projects which may not proceed to production, nor distribution expenditure for any projects. 1. Includes the official co-production Captain Cook: Obsession and Discovery (Australia/Canada/New Zealand).

13 SALES DOMESTIC NON-THEATRICAL SALES Documentaries are distributed non-theatrically by small educational distributors that specialise in supplying educational institutions, libraries, community groups and other niche markets. It is a labour-intensive and low-returning activity. However, documentaries often have a long life. For example, many popular older titles distributed by Film Australia, such as The Back of Beyond (1953) and Exile and the Kingdom (1994), have continued to sell to educational users and in niche markets looking for Australian content. Another source of revenue for documentary makers is off-air copying of programs for educational use. Screenrights promotes documentaries to the education sector via its website, enhancetv.com.au, and collects and distributes royalties for the copying of programs from TV and radio by schools, TAFEs and universities for teaching purposes. Documentaries comprised 45.5 per cent of audiovisual material copied by educational institutions in 27/8. In 28, $3 million in royalties was collected by Screenrights, including $24.2 million for educational copying throughout Australia and New Zealand. It is estimated that almost $11 million of this will be allocated to documentaries. Royalty returns from the off-air copying of programs for educational purposes can be substantial for documentaries. For example, a multi-part Australian documentary series that screened in 25 earned $26, in Screenrights royalties. In the case of the three-hour Film Australia Federation series (1999), the Screenrights returns were $285,, more than the $24, domestic free-to-air television licence fee. The one-hour documentary Seeking Asylum (22), made by Piper Films with a budget of $26,, generated $5, in royalties through Screenrights, or 35 per cent of its total returns. Payments, however, can vary greatly, and with the recent introduction of royalty payments from resource centre copying, royalties can typically range from $4 to over $6, for individual documentary titles. SHARE OF EDUCATIONAL OFF-AIR COPYING BY TYPE, 27/8 TV drama 5% Radio 3% Infotainment and light entertainment 1% News and current affairs 17% Dedicated educational 18% Source: Film Australia, Screenrights. Includes Australia and New Zealand educational institutions. Feature films 1% Advertisements <1% Music and variety < 1% Sport <1% Short films <1% Documentary 45% FUNDING 13 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 For comprehensive data, see Get the Picture Online: This report online:

14 OVERSEAS SALES 14 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 FUNDING Though mostly produced for Australian audiences, Australian documentaries are distributed internationally. Opportunities to license Australian documentaries in other territories increased along with the proliferation of speciality cable and satellite channels. However, the value of such sales has not increased. Market fragmentation and rises in the Australian dollar eroded the value of licence fees. It is often necessary for major territories to be pre-sold in order to finance production. Of all the FFC-financed documentaries with international investment in 26/7, 26 per cent of production budgets came from overseas presales and distribution advances, up from 22 per cent in 1995/96. Twenty-eight FFC-supported documentaries were sold into the US market between January 25 and June 27; prices ranged from US$1, to US$73,4 per hour. LOWEST AND HIGHEST PRICES PAID FOR FFC-SUPPORTED DOCUMENTARY FILMS IN VARIOUS TERRITORIES; SALES REPORTED JANUARY 25 TO JUNE 27 Prices paid (US$) per hour Main territory No. titles No. buyers Lowest Highest Belgium ,45 Canada , 13,5 China ,4 Czech Republic; Slovakia Denmark 1 5 1, 6, Finland , 5,1 Former Yugoslavia ,2 France & French-speaking Europe ,5 34,2 Germany & German-speaking Europe 3 4 3,85 51,3 Hong Kong ,5 Hungary Indonesia 3 3 1,1 1,5 Ireland ,45 2,6 Israel ,5 Italy & Italian-speaking Europe 6 6 1,4 21,7 Japan 2 2 1,1 1,5 Middle East ,5 Netherlands 5 5 3,45 8,35 New Zealand ,3 Pan Asia , Poland ,3 South Africa 2 1 1,25 3,5 South Korea , Spain; Portugal ,5 Sweden 9 5 1,15 6,35 UK , 12,35 US , 73,4 Source: Film Finance Corporation Australia (FFC). 1. Most sales for single country within territory. 2. Includes sales to Arte, which include German rights. 3. Includes some sales to a single country within the territory.

15 ON SCREEN CINEMA THEATRICAL RELEASE Twelve Australian documentaries were released in cinemas in 28 the highest number since Between 1988 and 28, an average of seven Australian documentaries were released annually in Australian cinemas, totalling 145 titles. A total of six Australian documentary titles were released in the UK over this period and 17 in the US. ON SCREEN No. Australian titles released in Australian cinemas Source: Compiled by Screen Australia. Includes Australian productions and co-productions with overseas partners. FESTIVALS AND AWARDS The first Australian nomination for an Academy Award, and the first Australian Oscar winner, was the documentary Kokoda Front Line! (1942). Since then, Australian documentaries have regularly been invited to screen at the world's peak film and television and documentary festivals, events and competitions, where they frequently win major awards. Screen Australia tracks screenings of Australian films at 8 key international film festivals. Australian documentaries (including short documentaries) tallied 36 screenings at 2 of these festivals in 27. In the ten years between 1998 and 27, Australian documentaries won an average of 27 international awards each year, peaking at 48 in 2. In 27, they won a total of 13. NUMBER OF AUSTRALIAN DOCUMENTARY SCREENINGS AT 8 KEY INTERNATIONAL FILM/TV FESTIVALS No. screenings NUMBER OF INTERNATIONAL AWARDS WON BY AUSTRALIAN DOCUMENTARIES No. international awards SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 Source: Screen Australia. Note: International refers to overseas festivals and awards only. Multiple screenings of a title at the same festival are counted as one screening. For comprehensive data, see Get the Picture Online: This report online:

16 TOP DOCUMENTARIES AT THE BOX OFFICE Large-format films dominate the top Australian documentaries at the Australian box office. There are two Australian-made IMAX titles in the all-time top 2 to December 28: Antarctica and Africa s Elephant Kingdom. The most successful non-imax Australian documentary is Bra Boys, which has grossed $1,698,976 since its release in March 27.. TOP 1 FROM ANY COUNTRY (AUSTRALIAN TITLES LISTED IN BOLD) SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 ON SCREEN 16 Rank Title Distributor Release date Box office ($) 1 1 Fahrenheit 9/11 Hopscotch 29 Jul 24 8,44,378 2 Everest IMAX 18 Mar ,334,124 3 Space Station 3D IMAX 6 Jun 22 5,317,179 4 Extreme IMAX (CPL/Extreme) 18 Mar ,152,785 5 Deep Sea 3D IMAX 6 Apr 26 5,19,368 6 Bowling for Columbine Icon/Hopscotch 26 Dec 22 4,852,31 7 Titanic 3D: Ghosts of the Abyss IMAX 4 Sep 23 4,477,494 8 Mysteries of Egypt IMAX (CPL/Destin) 21 Jan ,431,536 9 Antarctica IMAX 26 Sep ,355,648 1 Shackleton s Antarctic Adventure IMAX 1 Nov 21 4,35,14 TOP 1 NON-IMAX (AUSTRALIAN TITLES LISTED IN BOLD) Rank in top 5 Title Distributor Release date Box office ($) 1 1 Fahrenheit 9/11 Hopscotch 29 Jul 24 8,44,378 6 Bowling for Columbine Icon/Hopscotch 26 Dec 22 4,852,31 11 March of the Penguins Roadshow 3 Mar 26 4,345, An Inconvenient Truth UIP/Paramount 14 Sep 26 4,117,17 16 Touching the Void Hopscotch 24 Jun 24 3,8, Super Size Me Dendy 3 Jun 24 2,97,24 2 The Travelling Birds Hopscotch 19 Jun 23 2,564, In Bed with Madonna Columbia 13 Jun ,241,64 3 Bra Boys Hopscotch 15 Mar 27 1,698, Buena Vista Social Club Dendy 23 Dec ,696,381 TOP 1 AUSTRALIAN Rank in top 1 Title Distributor Release date Box office ($) 1 9 Antarctica IMAX 26 Sep ,355, Africa's Elephant Kingdom IMAX 21 May ,491,995 3 Bra Boys Hopscotch 15 Mar 27 1,698, Australia: Land Beyond Time IMAX 6 Mar 23 85, Sydney: A Story of a City IMAX 19 Aug , 61 Cane Toads: An Unnatural History Ronin 29 Feb ,91 83 Unfolding Florence: The Many Lives of Florence Broadhurst Dendy 24 Aug , Forbidden Lie$ Palace 13 Sep 27 41,27 89 Sacred Sex Premium 14 Nov , God on My Side Hopscotch 2 Nov ,12 Source: Motion Picture Distributors Association of Australia (MPDAA), Nielsen EDI (Australia) and Ronin; compiled by the Screen Australia. World Safari 2: Adventure Bound (released 1984) is not included as national box office figures are unavailable. 1. Cumulative box office, reported on 29 January 29 in current dollars (i.e. not adjusted for inflation). These figures may include revised MPDAA box office earnings.

17 VIDEO SALES OF DOCUMENTARIES ON VIDEO GfK Marketing tracked approximately 42, video releases sold in Australian retail outlets in 28. These sales accounted for around 71 million units at a value in excess of $1.3 billion in revenue. Around 4, of these were documentary titles, with a combined value of over $5 million, compared to approximately 3, titles worth $37 million in 27. When ranked by value, the proportion of sales achieved by Australian titles within the top 5 documentaries sold on video during 28 was 13 per cent (almost $5.5 million). After four years of growth, the proportion of Australian titles fell for the first time in 28, while the shares of units and value fell for the second consecutive year, dropping to their lowest point in the fiveyear period. Despite these falls, Australian titles maintained stronger unit sales and retail value in 28 than in the years prior to 27. Since 24, the number of Australian titles in the top 5 documentaries has risen from 62 to 11 in 28, peaking at 133 in 27. The highest selling titles in 28 were the DVD editions of Australia: Land of Parrots, Bra Boys and First Australians. AUSTRALIAN SHARE OF TOP 5 RETAIL DOCUMENTARIES ON VIDEO (DVD, BLU-RAY AND VHS), Australian documentary share (%) Titles 3 Units 3 Values TOP DOCUMENTARIES ON VIDEO TOP 1 AUSTRALIAN DOCUMENTARY TITLES ON VIDEO (DVD AND BLU-RAY), 1 28 TOP 1 DOCUMENTARY TITLES FROM ANY COUNTRY ON VIDEO (DVD AND BLU-RAY), 1 28 Source: Analysis of GfK Marketing data by Screen Australia. Includes DVD and VHS in 24-27, DVD and Blu-ray in Documentary does not include reality, light entertainment, music performance, sports coverage, infotainment or instructional titles. It does include documentary features, TV series and made-for-video titles. 2. Refers to the number of titles sold during each calendar year (first-release titles issued that year and continued sales of previously issued titles). This may include multiple editions of the same movie or program. 3. Although box sets are counted as a single title for ranking purposes, their units and value are proportioned according to the origin of discrete titles included in the collection. Rank2 Title Distributor Release date 1 Australia: Land of Parrots ABC 5 Jun 28 2 Bra Boys Hopscotch 16 Aug 27 3 First Australians SBS 3 Dec 28 4 Food Safari: Series 2 SBS 2 Feb 28 5 Food Safari: Series 1 SBS 6 Jun 27 6 ANZAC: Australians at War in World War Two EMI 25 Mar 28 7 Two in the Top End Roadshow 6 Nov 28 8 A Time to Remember: Australian Edition Reel 5 Nov 27 9 The Secret Brumby 1 May 27 1 Captain Cook: Obsession and Discovery South Pacific Pictures 6 Mar 28 ON SCREEN SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY Rank2 Title Distributor Release date 1 Planet Earth: The Complete Series BBC 7 Nov 27 2 Top Gear Collection 2.: Challenges, US Special and Polar Special BBC 7 Aug 28 3 Planet Earth: The Complete Series (Blu-ray) BBC 5 Dec 27 4 Top Gear Collection 2.: Challenges, US Special and Polar Special (Steelbook Edition) BBC 6 Nov 28 5 Wild China BBC 27 Jun 28 6 Top Gear: Challenges BBC 6 Nov 28 7 Long Way Down: The Complete TV Series EMI 3 Oct 27 8 Top Gear: Polar Special BBC 1 Dec 27 9 Top Gear: Collection BBC 5 Jun 28 1 Top Gear: US Special BBC 31 Jul 27 Source: Screen Australia analysis of GfK Marketing data. All titles DVD unless stated. 1. Documentary does not include reality, light entertainment, music performance, sports coverage, infotainment or instructional titles. It does include documentary feature, TV series and made-for-video titles. 2. Ranked by value of retail sales (value ranking has been adjusted to reflect Australian proportion of collections).

18 TELEVISION AUDIENCE FOR DOCUMENTARIES ON FREE-TO-AIR TV On average, documentaries 1 aired on Australian free-to-air television in 24 were watched by 251, people, an average viewing audience of 1.8 per cent of the population. People aged 4 years and over comprised 72 per cent of the viewers for this programming genre. 18 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 ON SCREEN Source: OzTAM, free-to-air viewing in metropolitan TV homes for five capital cities, Sunday to Saturday, 2:-26:, 1/1/24 to 31/12/ Includes one-off documentaries, documentary series and documentary compilations. Excludes Australian Story, which is categorised as News and Current Affairs. FREE-TO-AIR TV RELEASE Children 12 Adults 65+ 3% Adults % Teens Adults Children 12 5% Teens % Adults % Adults % Adults % Average viewing audience 13, 6, 1, 42, 6, 45, 75, 251, Composition of viewing audience 5% 2% 4% 17% 24% 18% 3% 1% Average viewing audience (%).6%.6%.7% 1.4% 2.1% 3.2% 4.4% 1.8% Share of viewing (% of total people watching television at that time) 5.% 3.9% 4.7% 6.5% 8.7% 11.4% 13.7% 8.7% A total of 343 hours of first-release Australian documentaries were broadcast on Australian free-to-air TV in 27, including 137 hours by the ABC and 88 hours by SBS. This is the highest level in the ten-year period back to 1998 and significantly higher than the average (283 hours). Adults HOURS OF FIRST-RELEASE AUSTRALIAN DOCUMENTARIES ON TV, Adults 4 54 Adults Adults 65+ Total people Hours broadcast ABC SBS Nine Seven Ten Source: Australian Communications & Media Authority (ACMA) Compliance Reports, Screen Australia databases. Hours are broadcast hours rather than actual running time of program in minutes. Commercial free-to-air networks hours calculated using five-city average for the relevant year.

19 PROGRAMMING BY PUBLIC BROADCASTERS On ABC1, 572 hours of documentaries (including repeats) were screened in 27/8 (6.5 per cent of total hours broadcast). Australian documentaries comprised 2.1 per cent (183 hours) of total programming in 27/8, compared to 4.4 per cent (389 hours) for foreign titles. In addition to this, ABC2, the ABC s complementary digital-only service, broadcast 53 hours (including repeats) of documentaries in 27/8 (7.6 per cent of total hours broadcast on ABC2). Australian documentaries accounted for 18 hours (2.7 per cent of total programming), compared to 323 hours of foreign documentaries (4.9 per cent). The ABC is required to report across 19 genres and therefore some documentaries screened in genres such as arts and culture, education, Indigenous, natural history, religion, and science and technology are not included in these documentary genre figures. On SBS, 1,169 hours of documentaries (including repeats) were broadcast in 27/8 (17.1 per cent of total hours broadcast). Australian documentaries accounted for 363 hours (5.3 per cent of total programming), compared to 86 hours (11.8 per cent) of foreign documentaries. Source: ABC Annual Report, SBS Annual Report. PROGRAM SPENDING BY COMMERCIAL BROADCASTERS There was $9 million spent on Australian documentary programming by commercial free-to-air broadcasters in 26/7, down from a high of $12.4 million the previous year. EXPENDITURE BY COMMERCIAL FREE-TO-AIR BROADCASTERS ON AUSTRALIAN DOCUMENTARY PROGRAMMING, 26/7 Program expenditure ($m) Source: Broadcasting Financial Results, Australian Communications and Media Authority (ACMA). 1999/ 2/1 21/2 22/3 23/4 24/5 25/6 26/7 ON SCREEN 19 SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 For comprehensive data, see Get the Picture Online: This report online:

20 TOP DOCUMENTARIES ON TV Australian productions have dominated the free-to-air television ratings for documentaries in 27 and 26. Nine of the top ten documentaries in 27 were Australian, with The Force: Behind the Line in the no. 1 position. Border Security, another local program, had topped the national ratings for the previous two years. Overall, The Force: Behind the Line and Border Security ranked 19 and 2 in the top-rating programs on Australian television in 27. SCREEN AUSTRALIA: DOCUMENTARY PRODUCTION IN AUSTRALIA: A COLLECTION OF KEY DATA, FEBRUARY 29 ON SCREEN 2 No. of local documentaries in top 1 Rank of top-rating Australian documentary 2 5 RPA (no. 1) 21 2 RPA (no. 1) 22 2 RPA (no. 2) 23 3 RPA (no. 2) 24 4 Australian Story Into the Forest: Part 1 (no. 3) 25 5 Border Security Series 3 (no. 1) 26 8 Border Security: Australia s Front Line (no. 1) 27 9 The Force: Behind the Line (no. 1) Source: OzTAM; compiled by the Australian Film Commission (AFC) based on Sydney only. Since 25, based on five-city averages. TOP-RATING DOCUMENTARIES ON TELEVISION, 27 (AUSTRALIAN TITLES LISTED IN BOLD) Rank Title Network Viewers (') 1 The Force: Behind the Line 7 1,845 2 Border Security: Australia s Front Line 7 1,828 3 Medical Emergency 7 1,695 4 Border Security: Australia s Front Line (repeat) 7 1,558 5 RPA 9 1,372 6 Missing Persons Unit 9 1,298 7 Border Patrol NZ 7 1,258 8 Constructing Australia The Bridge (evening) ABC 1,245 9 Medical Emergency (Wednesday) 7 1,242 1 Bondi Rescue (repeat) 1 1,226 Source: OzTAM; compiled the Australian Film Commission (AFC). Tel: Freecall: Fax: Level 4, 15 William Street, Woolloomooloo NSW 211 Australia GPO Box 3984, Sydney NSW 21 info@screenaustralia.gov.au