Features
AIDC 2013: Ratings driving Australian content
We used to have huge output deals with the US, but I don’t see that continuing. The good news is…
AIDC 2013: government commissioning editors, all in a row...
Now that we have three government channels in the FTA sector, the landscape is riven by contradictions. With such differences,…
AIDC 2013: ye olde complete guide to formats
Formats are a strong theme at this year's Australian International Documentary Conference. And if you have a format, and you…
AIDC 2013: making money under the education Kanopy
When you think profitability, do you think education sales? Kanopy provides the "Netflix of education", and it's a damned site…
AIDC 2013: Digital Distribution, a complex way to make money
Digital distribution is the great hope for many filmmakers - a way to get material out into the world, either…
AIDC 2013: keeping the pirates at bay
he piracy horse has bolted. The only question that remains is what is to be done about it. The figures…
AIDC 2013: David Lyle escorts Granny Geo into a naughty unscripted future
David Lyle probably knows more about unscripted television than any other Australian. How does he see this bastard child of…
Convergence Review: Screen Producers have a major impact
As rumours abound that the new media regulations are currently being considered by Federal cabinet, Dr Vincent O'Donnell looks at…
AIDC 2013: Ruth Harley lauds Australian documentary
If a documentary represents a kind of picture of the world at a particular time and place, then CEO of…
AIDC 2013: and the opposite of branded entertainment is...
In accepting the Stanley Hawes Award on behalf of the Documentary Australia Foundation, Ian Darling lays out a beautiful world…