Glossary of terms

In some cases, a project may be eligible for Screen NSW production finance funding on the basis that it is conducting 100% of its post production in NSW. In general, to claim eligibility on this basis, all post production heads of department should be NSW-based and all post production from picture edit to delivery should be conducted in NSW facilities. 

Screen NSW recognises that sometimes it may not be possible to expend certain post production line items in NSW, resulting in the intention to conduct 100% of post production from picture edit to delivery being subsequently compromised. 

In these instances Screen NSW may still consider post to be conducted 100% in NSW. Those line items will be “Allowable Post Exclusions” for the purposes of calculating 100% Post Production in NSW.

Carrying out these services in NSW wherever possible increases the eligible NSW Spend and may increase the amount of Screen NSW funding that can be provided for the project.

Allowable Post Exclusions are post production costs that cannot feasibly be carried out in NSW and include the following:

• Film Lab services that are not available in NSW
• Location editing costs during the shoot; non-NSW ADR/post sync costs where international or interstate cast must conduct that work out of NSW because of their availability
• Music licences where the rights to an international track that adds value to a production are owned by a non-NSW based publisher
• Marketing costs that cannot be spent in NSW
• Delivery items that are not available through a NSW based company. 

Please note that generally the composer, like other post-production heads of department, is expected to be NSW based. In exceptional circumstances, such as where the composer is organic to the material, this cost may be an Allowable Post Exclusion. 

ANZ stands for Australia and New Zealand. It's often used to indicate the distribution territory that covers Australia and New Zealand. An ANZ DG means an Australia and New Zealand Distribution Guarantee.

A Distribution Guarantee (DG) is the amount of funding a distributor will pay to secure the distribution rights for a territory. They may pay an ANZ DG for distribution rights in Australia and New Zealand and/or an ROW (rest of the world) DG for distribution rights throughout the rest of the world. Distribution Guarantees often partly finance the project and may be paid throughout production of the project.

Above-the-line/below-the-line: ‘Above-the-line' is key creatives – writers, directors and producers – and ‘below-the-line' is crew. 

Please see our Guide to Understanding Diversity and Creating Authentic Screen Content for information.

A free-to-air broadcaster (e.g. ABC) or pay-TV service provider (e.g. Foxtel).

A budget document outlines the costs involved in making the project. Producers and production accountants use itemised spreadsheets to track costs.

Broadcasters (e.g. ABC), pay-TV services (e.g. Foxtel) and subscription television services (e.g. Binge, Stan and Netflix).

A bonding entity that guarantees the completion of a project once it’s fully funded. They oversee the production and offer assistance as necessary to ensure the project adheres to its schedule and delivery date. 

Comprising internal Screen NSW investment managers, the Development Assessment Panel is responsible for the comprehensive evaluation of projects. They convene for decision meetings, accompanied by a member from the Create NSW probity team and the Head of Screen NSW, to determine project viability. In certain instances, external assessors with substantial experience in the screen industry may be enlisted to provide their expertise in the evaluation process. Once projects are approved, Investment Managers are assigned to oversee them throughout the development process through to delivery.

A firm that secures specific project rights for a mutually arranged compensation and duration, during which they will capitalise on these rights through various channels, encompassing theatrical exhibition, broadcasting, SVOD, home entertainment, and more. 

Please see our Guide to Understanding Diversity and Creating Authentic Screen Content for information. 

The Broadcasting Services (Australian Content and Children’s Television) Standards 2020 (the Standards) contain a definition of ‘documentary program’: Documentary program means a program that is a creative treatment of actuality other than a news, current affairs, sports coverage, magazine, infotainment or light entertainment program. Documentary and the other program types listed in the definition are all forms of factual programming. These program types are not always distinct and are on a continuum, with movement over time as new styles of program emerge and others lose popularity. Within the documentary form itself, there are various genres, such as the observational versus fully scripted form, and hybrids such as programs that combine re-enactments and interview.

Please refer to the Australian Communications and Media Authority’s (ACMA) definition and guidelines for further information.

A project that is not already locked into production in NSW, and which can be readily established or relocated in different jurisdictions, as it is not dependent on resources, labour or capital specific to a particular jurisdiction.

Comprised of dedicated Screen NSW investment managers, the Investment Team plays a pivotal role in the project assessment process. They convene to collectively evaluate projects and make resolutions during decision meetings, which as relevant for each program can include the Head of Screen NSW and members of the Film and Television Advisory Committee. Once projects are approved, Investment Managers are assigned to oversee them throughout the development or production finance process, from production to delivery. Their expertise and guidance are instrumental in facilitating successful project development within the screen industry.

Key Creatives refer to writers, directors, and producers on a project. 

International:

• Cannes Film Festival
• Berlin International Film Festival
• Toronto International Film Festival
• Sundance Film Festival
• Venice International Film Festival
• San Sebastian International Film Festival
• Karlovy Vary International Film Festival
• Hong Kong International Film Festival
• South by South West (SXSW) Film Festival
• BFI London Film Festival
• Busan International Film Festival
• Edinburgh International Film Festival
• Fantastic Fest (Austin, TX)
• Sitges International Film Festival
• Telluride Film Festival
• Tribecca Film Festival
• Bucheon International Fantastic Film Festival
• Clermont-Ferrand International Short Film Festival
• Annecy International Animation Film Festival and Market

Domestic:

• Adelaide Film Festival
• Brisbane Asia Pacific Film Festival
• Melbourne International Film Festival
• Revelation Perth International Film Festival
• Sydney Film Festival
• SXSW Sydney
• Flickerfest
• St Kilda Film Festival

Domiciled in NSW, with a registered address, for at least six continuous months immediately leading up to the application date. 

Typically, this funding category caters to projects distributed on various online platforms like YouTube, Facebook, Vimeo, and encompasses Virtual Reality (VR) and other Extended Reality (XR) ventures. Recognising the dynamic nature of the online content landscape, additional eligible release platforms may be considered, reflecting the ever-evolving digital landscape.

Screen NSW is committed to supporting increased participation in the industry of people from under-represented groups, as well as the diversity of screen stories. Priority will be given to teams including people from the following priority areas:

• Regional NSW
• Western Sydney
• First Nations people
• People from culturally and linguistically diverse backgrounds
• People living with disability
• LGBTQIA+ people.

Qualifying NSW Production Expenditure (QNSWPE) includes:

• Payroll subject to NSW Payroll Tax excluding payroll to non-NSW residents
• NSW workers’ compensation payments
• Payments to a supplier of goods and services whose principal place of business is in NSW. Suppliers include independent contractors who are not subject to NSW Payroll Tax.
• Payments to a supplier of goods and services which, although its principal place of business is outside NSW, has an office or branch in NSW which is supplying the goods or services, including fees and charges relating to the use of land within NSW
• Fees and charges relating to the use of land within New South Wales
• Inbound freight to a NSW destination
• Fringe Benefits Tax relating to benefits provided in NSW
• NSW Payroll Tax.

but excludes:

• Goods or services which are sourced from outside NSW from a non-NSW supplier, even though they are used in the production of the project in NSW
• Remuneration for non-NSW residents.
• Financing Costs.

and where an application is made for funding under the Made in NSW TV Drama fund, the following also applies to the definition of Qualifying NSW Production Expenditure:

• Inbound international or interstate travel to a NSW destination. Where a return fare is purchased fifty per cent (50%) of the fare qualifies as QNSWPE.
• Costs associated with a non-NSW resident coming to NSW to work on a production after two weeks in the state (travel, accommodation, etc.).

A Series Bible serves as a comprehensive document for episodic projects, encompassing synopses, episode breakdowns, character descriptions, visual elements, and style summaries. It comes in two primary forms: the Development Bible and the Production Bible. The Development Bible is concise and focuses on pitching ideas for funding and commissioning, while the Production Bible is more extensive and unifies creative teams during production. A typical Series Bible includes key elements such as: Logline, One-Page Synopsis, Genre, Concept, and Themes, Setting and Story World, Format, Characters, Episode Summaries, Look and Feel (with images), and a Creator's Statement. It provides a holistic view of the show's content, style, and market potential.

A ‘slate’ of projects, or multiple projects. 

A Treatment is a critical development document primarily utilised in the world of feature films. Unlike TV and online series projects that rely on Bibles and episode summaries, feature films employ Treatments to articulate their story in terms of style and unfolding narrative. Typically spanning 10 to 20 pages, a Treatment expands upon the One-Page Synopsis and Outline, offering a detailed yet persuasive account of the narrative. Its primary purpose is to convince readers of the value of the story while providing a glimpse of the audience's experience. Treatments are written in the present tense, emphasising what viewers can see and hear, avoiding extensive context or subtext, and focusing on summarising the viewing experience.