INTHEBLACK March 2025 - Magazine - Page 37
“When doing production accounting, it is also very important
to make sure you understand all the funding which will
be received, so you can track the production expenditure
appropriately and be able to report accordingly.”
NATALIE DUCKI CPA, COLLECTIVE WORKS
which means that the traditional fundraising
task for producers is sometimes not as
cumbersome. It also makes the producer’s
role more sustainable, but removes their final
ownership of the product.
“As a result of streamer funding, there are
a lot more quality productions being made,”
says Holly Salmons, film and TV production
accountant, BAS agent and founder and
director of Neo Numerist, which specialises
in accounting and bookkeeping for creative
media businesses, with a focus on film
and TV production.
When she originally graduated from
media arts at RMIT University, before
focusing on film finance and studying
Financing Screen Projects at the Australian
Film, Television and Radio School, Salmons’
short films won awards at festivals such as
Flickerfest, made the finals at Tropfest,
and were exhibited around the globe.
“Sometimes, the streamers pay for film
and TV productions outright, but
sometimes they just contribute a
minimum guarantee. It can depend on
a lot of factors,” Salmons says. “But it
means there is a lot more content getting
made, and stories from diverse perspectives
being told.
“In the past, what used to be produced
was often dictated by a small group of
gatekeepers,” says Salmons. “Now, the
streamers analyse their subscriber data
and are aware of what audiences want.”
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