Marvel Studios’ Shang-Chi and The Legend of The Ten Rings tells the story of Shang-Chi, who must confront the past he thought he left behind when he is drawn into the web of the mysterious Ten Rings organisation.

Directed by Destin Daniel Cretton and produced by Kevin Feige and Jonathan Schwartz, with Louis D’Esposito, Victoria Alonso and Charles Newirth serving as executive producers. This never-before-seen origin story’s screenplay was written David Callaham, Destin Daniel Cretton and Andrew Lanham.

Simu Liu stars as the hero character Shang-Chi. Other cast members include Tony Leung as Wenwu, Awkwafina as Shang-Chi’s friend Katy and Michelle Yeoh as Jiang Nan, as well as Fala Chen, Meng’er Zhang, Florian Munteanu and Ronny Chieng.

Shang-Chi’s journey is told with stunning visuals, the MCU’s signature spectacle and displays of mind-blowing action, along with the talents of a diverse, stellar cast and a relatable story.

Shang-Chi sees yet another Marvel Studios production primarily filmed on Australian shores (with some scenes filmed in the US), using Australian studios, crews, cast, facilities, select locations, and best of all, talent.

AUSFILM INSIDER INTERVIEW

Ausfilm interviewed Executive Producer Charles Newirth and Co-producer David Grant (Vice President of Physical Production for Marvel Studios) whilst they were filming Shang-Chi and The Legend of the Ten Rings in Australia. Check out the video below.

FEDERAL & STATE SCREEN TAX INCENTIVES

The production was supported with assistance from the Australian Government’s highly successful AU$540 million Location Incentive program through the Department of Infrastructure, Transport, Regional Development and Communications. 

VFX and editorial services were provided out of New South Wales (Sydney), South Australia (Adelaide) and Victoria (Melbourne). Read more about the outstanding companies who supported this production below.

The production was also financially supported by Screen NSW’s Made In NSW – International Footloose fund. It also received on-ground assistance from Screen NSW’s Production Attraction Team, which works closely with productions scouting and filming in NSW. Additional support was provided by the Victorian Government through Film Victoria.

When Victoria Alonso, President of Physical, Post-Production, VFX and Animation at Marvel Studios spoke with Ausfilm’s CEO as part of Ausfilm’s Screen Innovator’s Series back in 2020 she mentioned how much Marvel enjoyed filming in Australia on Thor: Ragnarok in Queensland, saying:

“[We] enjoyed working with Australia and its people very much. I thought Thor: Ragnarok was a movie that had a lot of the spirit of having shot there [in Queensland], and we love being in Sydney. I can officially say you’ve got what we are looking for.”

Shang-Chi and the Legend of the Ten Rings premiered to audiences in the US on September 3, 2021 and Australia on September 2, 2021.

MADE IN NEW SOUTH WALES

SCREEN NSW: SYDNEY BRINGS THE MARVEL UNIVERSE TO LIFE

Director Destin Daniel Cretton’s Marvel production Shang-Chi and the Legend of the Ten Rings is exhilarating!

“This film will take your breath away on the big screen. And it is as big as anything that we have ever brought to life in the MCU before.” Kevin Feige, Producer of Shang-Chi and the Legend of the Ten Rings reported in Vogue Australia.

Created by some of the most experienced filmmakers in the world, many based in Sydney, New South Wales, Shang-Chi and the Legend of the Ten Rings showcases an authentic hugely talented cast, spectacular sets, costumes, special and visual effects – and astonishing stunts and fight scenes.

“We [were] working with world-class stunt teams, their work ethic, everything that they [were] doing, is like, incredible to witness.”

Awkwafina, portrayed Katy in Shang-Chi and the Legend of the Ten Rings

Sydney, a city of striking beauty, cultural diversity and world-class cast, crew and facilities, has a long history of welcoming international productions. Still, there was definite excitement when Marvel chose Sydney as home for its blockbuster production Shang-Chi and the Legend of the Ten Rings, the first Marvel film to be shot in New South Wales.

“I was told that we’re going to be shooting in Australia. That was music to my ears because I have worked down there a number of times, and it is actually one of my favourite places to work… To me, a lot of it has to do with the people. There is an attitude there that is welcoming, open, collegiate. It feels very democratic in terms of filmmaking and people come to work in very good spirits.”

Charles Newirth, Executive Producer, Shang-Chi and the Legend of the Ten Rings

Shang-Chi and the Legend of the Ten Rings filmed at Fox Studios Australia, and other key locations in Sydney. Having a world-class facility like Fox Studios Australia was a critical factor in bringing a production of this scale to New South Wales.

David Grant, Vice President of Physical Production for Marvel Studios and Co-Producer, Shang-Chi and the Legend of the Ten Rings told Ausfilm “It’s a world-class facility and has a perfect complement of large stages, small stages, workshops, offices that can support a large tentpole feature of this scale. And as a bonus, it’s a wonderful setting, and has a chilled, laid-back vibe.”

The film’s story, predominately set in China and spanning time periods, required detailed and authentic sets, costumes, hair, makeup and weaponry – designed and executed by highly-skilled creative, construction and technical teams – in addition to Chinese cast in lead roles and extras. The outcome is simply awe-inspiring.

“The crews are fantastic. The quality of work that you get here is as good as it gets anywhere. We had a lot of building to do on this movie that is unique and very special … the construction teams, the art teams – every department here is wonderful, camera, grip, electric, catering even – I mean, it’s a great place to work.”

Charles Newirth, Executive Producer, Shang-Chi and the Legend of the Ten Rings

With Australia’s British colonial history, people may be surprised to know that Chinese is the largest cultural or ethnic group in Australia other than British or Irish. So, when it came to casting extras, New South Wales was able to deliver on that too.

Shang-Chi and the Legend of the Ten Rings highlights the work of exceptional Australian talent, including:

• Emmy Award Winning Art Director, Richard Hobbs (Supervising Art Director)
• Award Winning Costume Designer, Kym Barrett (Costume Designer)
• Oscar Nominated Hair and Makeup Designer, Rick Findlater (Hair Designer; Makeup Designer)
• Oscar Nominated, Award Winning Special Effects Expert, Dan Oliver (Special Effects Supervisor)
• The late Bradley James Allan (Supervising Stunt Coordinator and Second Unit Director).

Shang-Chi and the Legend of the Ten Rings was financially supported by Screen NSW’s Made In NSW – International Footloose fund. It also received on-ground assistance from Screen NSW’s Production Attraction Team, which works closely with productions scouting and filming in NSW.

“The film offices here are tremendous. They help expedite things, they help make things happen … there is just a can do, we want you here, kind of attitude and how can you beat that?”

Charles Newirth, Executive Producer, Shang-Chi and the Legend of the Ten Rings

For information on filming in New South Wales, please contact the Screen NSW Production Attraction Team:

And as David Grant (Shang-Chi and the Legend of the Ten Rings) put it so succinctly: “Australia is a world-class location, featuring an incentive on par or better than the rest of the world.”

Matt Carroll, Senior Manager (Head), Production Attraction, Screen NSW
[email protected]
Cell: + 61 418 404 127
www.screen.nsw.gov.au

View NSW’s Locations Reel here.

FILMING AT FOX STUDIOS AUSTRALIA

Shang-Chi and the Legend of the Ten Rings was predominately filmed at Fox Studios Australia. The production utilised sound stages and support facilities including production offices, steel, plaster and construction workshops, costume craft shops and dye rooms and post-production facilities. The production bumped in during August 2019, the Shang-Chi production team made Fox their home for a period of 16 months.

“I love Australia, and we love shooting there, and we’re grateful that you let us come back. And we would like to come back, and come back, and come back.”

Victoria Alonso, President of Physical, Post-Production, VFX and Animation, Marvel Studios

Learn more about Fox Studios Australia at www.foxstudiosaustralia.com.

FOX LIGHTING: EQUIPMENT LEGENDS!

Fox Lighting supplied Shang-Chi and the Legend of the Ten Rings a range of equipment which included various ARRI LED’s and M-Range HMI Pars, Maxi Panels, Kino Flo tubes and fixtures, HMI Ballasts, Big Bee Motor Yokes, Lumen Radio Wireless DMX, Dimmers / Switches, Textiles & Frames, Power Distribution Systems & Cabling, Rigging, Crank Stands and Lightning Strikes.

“I believe that one of the reasons that Marvel Studios chose to shoot here is because they firstly, had a very good experience with the last Thor movie that was being shot here. And it also has to do with the fact that we have fantastic facilities here at the Fox Studios, and that’s very critical to making these very large tentpole movies.”

Charles Newirth, Executive Producer, Shang-Chi and the Legend of the Ten Rings

Learn more about Fox Lighting at www.foxstudiosaustralia.com/fox-lighting.

AUSTRALIAN VFX & POST VENDORS

FIN DESIGN + EFFECTS RISES FOR MARVEL STUDIOS’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS

FIN teamed up with Marvel Studios, VFX Supervisor Christopher Townsend and VFX Producer Damien Carr to deliver an expositional sequence set in the Mandarin’s home courtyard. Known for combining complex VFX with concise storytelling, FIN’s work included one of the film’s most sophisticated sequences: when Wenwu, played by Tony Leung, places the pedants into the eyes of the carved dragon Fin Fang Foom. This action initiates water to seep from the walls and explode into the shrine room, enveloping Shang (Simu Liu), Katy (Awkwafina) and Xialing (Meng’er Zhang).

As Shang interacts with the frozen water it falls to the floor to form a liquid forest with a myriad of bioluminescent trails revealing the path to the Moon Gate waterfall and the location of the Ten Rings. 

FIN was involved in the project from pre-production, to on-set and through to final delivery.

“We were fortunate to have started collaborating with Chris and Damien very early on. This afforded us time to undertake extensive research into water and its behaviour. We were always sure to design our simulations based on real world elements grounded in reality, even for a brief which was very much other-worldly.”

Roy Malhi, VFX Supervisor, FIN

“From the outset, Chris wanted to produce a sequence different from the usual holographic storytelling they have done in the past”, continues Malhi. “Water is some of the most challenging and unforgiving FX work in the world of VFX. The complexity starts with the replication of the physical properties, maintaining surface tension and viscosity while performing unnatural movements this was performed using millions of particles with our in-house developed surface tension solver.

“Our process continued with the production of geometry that represents the surface of the water, which has incredible high fidelity and detail. This was made even more difficult when the water moved in slow motion.”

“We were very focused on adding physically complex lighting effects like caustics and interaction with every object or human in the scene for optimum integration. Striving for photographic correct realism, the collisions and finished CG water have all the naturalistic nuances you’d expect to see, the result is incredibly beautiful.”

Another central task for FIN was to develop the water forest map and the bioluminescent trails that guide them through the forest to the moon gate. 

As the sequence is a precursor to scenes later in the film FIN was required to collaborate with the other vendors to maintain continuity between the sequences. Malhi explains: “For the trails again, we wanted to avoid anything that looked like a hologram hence taking inspiration from bioluminescence and with the sequence based around water this was a logical fit. The intention always was for the trails to appear fluid, magical, that coalesces naturally into the water forest.”

FIN has a history for delivering seamless visuals for Marvel Studios, having worked on Thor: Ragnarok (when it was filmed in Queensland), and this show is no exception.

“We were humbled to be entrusted with this sequence and the key to its success was the collaborative approach Chris and Damien brought coupled with our exceptional artists and agile internal workflow. All our departments worked closely from assets, dev through to effects, lighting and compositing. This has been one of the most challenging and rewarding sequences we have ever produced, which has been described as the most ‘elegant’ and ‘beautiful’ moments in the film. The results are a testament to the commitment and artistry of the entire team here at FIN.”

Alastair Stephen, Head of Visual Effects, FIN

Learn more about Fin Design + Effects at www.findesign.com.au.

LUMA PICTURES: A LONG-LASTING RELATIONSHIP WITH MARVEL STUDIOS

Luma Pictures’ relationship with Marvel Studios spans over a decade, and that collaboration continued with their VFX work on Shang-Chi and the Legend of the Ten Rings. The Luma team was entrusted with 177 shots across three major sequences.

In 2019’s Captain Marvel, Luma Pictures spearheaded the intense and memorable fight sequence aboard a moving train, and it was the realism and energy they infused into that which led Chris Townsend (Marvel VFX Supervisor) and Damien Carr (Marvel VFX Producer) to task Luma with creating a similar photoreal sequence in Shang-Chi—this time, aboard a bus that is careening out of control in the streets of San Francisco, ultimately splitting in half.

For this sequence, Luma Pictures’ work involved creating a CG bus, CG digital doubles of the bus passengers, a CG San Francisco environment, as well as complex face replacement work using deep learning technology.

Andrew Zink, Luma Pictures’ VFX Supervisor based in the Melbourne studio, noted that the bus fight had to be fantastic without verging into the fantastical:

“That the sequence needed to feel visceral and grounded was a key component to our success because the shots, when reviewed, either look real or don’t—there’s not a lot of room for fantasy or over-the-top visuals. At the end of the day, the audience should never question if the bus wasn’t really driving along the streets of San Francisco. To that end, one of the bigger challenges of this sequence was choreographing the geographic locations in sync with our shots. We mapped out and timed the bus route to keep the intensity of the action while also seamlessly blending well-known geographic locations with others.” 

This directive of creating a real and visceral experience extended to Luma Pictures’ handling of the CG Razor Fist Blade, belonging to the character Razor Fist. Zink explained, “We started with a very fictitious effect, then pared it down until we reached a happy medium of a red hot, razor sharp blade.”

Zink led Luma Pictures’ 96-person local team, in tandem with 71 artists in their Los Angeles location. Luma Pictures’ agile team, internal workflow, and collaboration with Marvel Studios all helped the studio enhance the excitement of the sequences.

Learn more about Luma Pictures Melbourne at www.luma.inc/pictures.

METHOD STUDIOS: THE SHANG-CHI AND THE LEGEND OF THE TEN RINGS EXPERIENCE!

Method Studios Melbourne asked VFX Supervisor, Josh Simmonds, to give his thoughts on the Shang-Chi and the Legend of the Ten Rings experience!

“When Method Melbourne started Ring FX RnD on Shang-Chi in late 2019, little did we know we’d still be delivering on the project 18 months later. Like many others, this production was significantly interrupted by COVID-19. I was amazed at how quickly we had remote working up and running; the foresight of our Leadership team along with IT and Systems meant that when the decision was made, most of us were back on the tools at home within hours. Overall, it’s an efficient way to work, and a lot of the team really enjoy working from home. The quality of work is as good as it has always been,” said Josh.

“Our planning on the project was constantly being re-engineered due to COVID-19 as well. Our headcount fluctuated quite dramatically depending on where we were at with shot production, and the access we had to plates,” continued Josh.

“The project itself provided some great opportunities. Our biggest sequence was Wen Wu’s rise to power, which culminated in a long shot of him single-handedly fighting an army whilst the camera spins around him. It involved us stitching 3 main takes together, along with countless extra filmed elements, digital doubles, and CG crowd, all tied together with huge helpings of dust and debris and some visceral ring FX.”

Josh Simmonds, VFX Supervisor, Method Melbourne

“Another fun shot was Wen Wu laying waste to a group of henchmen in a gambling den, which would have been much easier (but way less cool) had it not had half the shot reflected in a wall of mirrors. I don’t want to give much away, but to say that there was some crew clean-up required would be an understatement!” said Josh.

“Working on Shang-Chi was a unique experience – my first Marvel show, during a pandemic, whilst in lockdown – but ultimately a very rewarding one. It was a fantastic opportunity and the team at Method Melbourne did an incredible job. They always do!”

Josh Simmonds, VFX Supervisor, Method Melbourne

Learn more about Method Studios Melbourne at www.methodstudios.com/en.

RISING SUN PICTURES BUILDS A MASSIVE JUNGLE ENVIRONMENT FOR MARVEL STUDIOS’ SHANG-CHI

In its latest project for Marvel Studios, Rising Sun Pictures (RSP) delivered nearly 300 VFX shots for Shang-Chi and the Legend of the Ten Rings. The first Marvel film to feature an Asian superhero, it is also the studio’s first film to premiere exclusively in theatres in more than two years.

135 RSP artists and production staff contributed to the film. RSP’s work centered on a vast, nearly-fully CG environment representing a village called Talo and its jungle environs. The digital setting appears throughout the film and is the site for some of its most spectacular action.

“We were thrilled that Marvel Studios trusted us with the development of one of the film’s key assets. The enormity of the set posed a huge challenge for our team, and they responded with their best work.”

Tony Clark, Managing Director, Rising Sun Pictures

The Talo set describes a swath of jungle spanning around 75 square kilometres. Loosely based on locations in Southeast Asia, it is meant to appear real to audiences but not identifiable as any real-world site. RSP artists, led by Visual Effects Supervisor Malte Sarnes, designed the geography of the landscape, including lakes, mountains and valleys, populated it with plants and myriad other details, and integrated practical elements shot on set in Sydney.

“It includes more than 10 million individual trees,” notes Sarnes. “We studied forested areas in Vietnam and Indonesia and reproduced the variety of plant-life found there as well as how plants are distributed across the environment. We mimicked the light, humidity and feel of the jungle.”

“We’ve built photo-real environments for other films,” Sarnes adds, “but this was ten times the size of anything we’ve done before.”

The Talo environment is used in shots occupying roughly 30 minutes of screen time, some finished at RSP, some at other visual effects studios in Australia and internationally.

“It was a challenge because every asset we created, from the library of plant species to cloud shaders, had to be easily accessible to other vendors using different software and methodologies. It required good communication, tight logistical coordination and a collaborative spirit.”

Malte Sarnes, Visual Effects Supervisor, Rising Sun Pictures

RSP’s previous work for Marvel includes Captain Marvel and Black Widow. “Trust has been built between our team and Marvel,” notes Sarnes. “We share common ground and work in the same direction. We knew what VFX Supervisor Chris Townsend was looking for and he knew what to expect from Rising Sun Pictures. Our goal, as always, was to deliver visuals that look fantastic.”

Learn more about Rising Sun Pictures (RSP) at www.rsp.com.au.

SPECTRUM FILMS: IN POST-PRODUCTION HEAVEN

Spectrum Films provided full editorial services throughout 2020 including supplying multiple Avids, screening room facilities and post-production offices at their new purpose-built production suites adjacent to the main Spectrum Films office on the Fox Studios Australia lot.

Learn more about Spectrum Films at www.spectrumfilms.com.au.

AUSTRALIAN SCREEN VENDORS

PANAVISION: WHERE ELSE FOR THE BEST CAMERAS & TECH?

Cinematographer Bill Pope, ASC turned to Panavision Sydney for the camera and lens package on the new Marvel Studios feature Shang-Chi and the Legend of the Ten Rings. Over the course of production, Panavision Sydney supplied a total of 7,934 items — including cameras, lenses, and a vast array of accessories — to the project’s main, second, VFX and drone units. 

Pope has a long relationship with Panavision, and his work with the Sydney office, in particular, goes back to The Matrix, The Matrix Reloaded and The Matrix Revolutions. Panavision Sydney provided those productions with rental packages that included a range of 35mm-format film cameras and Panavision Primo lenses. Pope also employed Primo optics on Spider-Man 2 and Spider-Man 3, his earlier forays into Marvel’s big-screen superhero adventures.

For Shang-Chi, Panavision Sydney provided Panavised Arri Alexa LF and Mini LF digital cameras, which Pope primarily paired with Panavision Sphero 65 large-format lenses. Offering modern mechanics for ease of use and specialty coatings that make them less susceptible to flare and glare, the Sphero 65 optics offered the cinematographer a classic look with pleasing skin tones complemented by subtle aberrations and rounded out-of-focus properties.

Learn more about Panavision at asia.panavision.com.

SHOW GROUP: CONQUERING COVID-19 TRAVEL RESTRICTIONS

Filming for Shang-Chi and the Legend of the Ten Rings began in 2019 and was not yet completed when COVID-19 first hit in 2020.

Showfilm‘s Film Manager, Carolyn Dean, said that logistics were challenging, due to the requirement of flying international cast and crew back home when COVID-19 hit, only to be flown back into Australia again later in 2020 to complete filming.

Despite the challenges the Showfilm team successfully and expertly managed the nuanced travel requirements of this large-scale production.

“Our travel consultant worked tirelessly over an 18-month period to meet the travel needs of this feature film. We were dealing with travel restrictions never before put in place, so the logistics were complex. To have delivered travel as streamlined as our team did, in these challenging times, was phenomenal and we were incredibly proud to have provided our expertise to support Marvel Studios on this amazing production.”

Carolyn Dean, Film Manager, Showfilm

Contact the Showfilm team for your travel requirements.

HELIGUY: WORKING ON SHANG-CHI WAS “A REAL THRILL”

“Shang-Chi was the first Marvel film both myself and the Heliguy team had worked on. It was a real thrill and provided the opportunity to utilise a range of skill sets and technology to service a range of requirements,” said Drone Camera Operator, Ewan Donnachie.

The majority of their Main Unit work took place on the Prospect set, and required precise and repeatable flight paths using the Heliguy Turbine heavylift systems. When working so closely to pre-vized animatics, a drone system with extremely accurate flight characteristics is needed. “This, coupled with a range of live telemetry logs on parameters such as drone height, speed, positioning, camera tilt etc, provided a workflow that satisfied such comprehensive VFX demands,” said Ewan.

However, their Second Unit shooting allowed for more dynamic and reactionary operating, where Heliguy’s history of shooting car commercials and stunts was more relevant. Especially when shooting through the Pine State Forest, there was a need for high intensity, close-quarter flying – chasing vehicles drifting and weaving their way through tight forest corridors. “This was a fun opportunity to freestyle and get a little crazy!”, said Ewan.

“It’s always a great experience when you’re able to explore a few different styles of shooting within the same project, and Shang-Chi certainly offered that up in droves.”

Ewan Donnachie, Drone Camera Operator, Heliguy

Learn more about Heliguy at www.heliguy.tv.

ADDITIONAL AUSTRALIAN STATE GOVERNMENT SUPPORT

FILM VICTORIA: MARVEL CALLS ON MELBOURNE’S LUMA PICTURES AND METHOD STUDIOS

Film Victoria supported Melbourne studios, Luma Pictures and Method Studios, to secure VFX packages on the film by providing Marvel Studios with competitive financial incentives through the Victorian Screen Incentive.

Victoria’s acclaimed VFX studios have created award-winning VFX on some of the world’s biggest titles, including Black Panther, Spider-Man: Far From Home and Game of Thrones. Now both Melbourne-based studios have created high-calibre VFX sequences on Marvel’s newest release, Shang-Chi and the Legend of the Ten Rings.

Luma’s relationship with Marvel spans over a decade – beginning with the first Thor film – and they have since collaborated with Marvel on many of their blockbusters. For Shang-Chi, the studio was awarded 177 shots across three major sequences.

“Having worked on a fight sequence onboard a moving train in Captain Marvel, we were thrilled to collaborate with the team again on a similar sequence in Shang-Chi – this time onboard a bus!” said Luma Pictures’ Senior VFX Producer Linda Luong.

“We created CG versions of the bus and passengers and a city environment, in addition to complex CG work utilising deep learning technology. The result is a photorealistic, action-packed sequence, which we couldn’t be more proud of.”

Linda Luong, Senior VFX Producer, Luma Pictures

Shang-Chi was Method Studios Melbourne’s first-time working with Marvel. Marvel’s VFX Supervisor Chris Townsend and VFX Producer Damien Carr approached the Melbourne team after seeing their Emmy-Award winning work on the ‘Battle of the Bastards’ scene in Game of Thrones.

“The scene in Game of Thrones had an army of people and horses and the sequence they had us in mind for in Shang-Chi was along the same lines,” said Method Studios’ VFX Executive Producer Ineke Majoor.

“Ultimately we were awarded 110 shots in five main sequences, each one unique and complicated. Our team was excited to work on their first Marvel project and to be encouraged to bring their creativity and experience to such demanding sequences.”

Ineke Majoor, VFX Executive Producer, Method Studios Melbourne

“We were given creative freedom to “go 10 times bigger” with a particularly dynamic effect in Shang-Chi. It was a lot of fun to create and the result is a sequence that looks very dramatic, very cool, and very Marvel,” said Method Studios’ Senior Compositor Gabriel Mandela.

Want to find out more about the Victorian Screen Incentive or be introduced to the state’s world-class VFX studios? Contact Joe Brinkmann, Production Attraction & Support Manager at Film Victoria [email protected]
www.film.vic.gov.au/

AUSFILM: HELPING YOU TO NAVIGATE AUSTRALIA’S SCREEN PRODUCTION TAX REBATES

Want to know more about Australia’s screen production tax rebates? The Australian Government offers a 16.5% Location Offset combined with up to 13.5% merit-assessed Location Incentive grant (effectively up to 30% rebate on your qualifying spend in Australia), the Producer Offset (40% features/20% non-features) and a 30% Post, Digital & VFX (PDV) Offset.

DON’T FORGET POST & VFX REBATES!

You can also combine a Federal screen production tax rebate with a combination of Australian state government rebates and grants.

New South Wales, Queensland, South Australia, Victoria and Western Australia all offer up to 10-20% PDV Offsets. The City of Gold Coast also offer grants when you work with Gold Coast based Post and VFX companies. Meaning your production could claim up to 50% rebates in post, sound, music and VFX production spend in Australia (conditions apply) whether your film is shot in Australia or not.

For more information about how these incentives work read this Factsheet, or email Ausfilm’s Erin Stam.

THANK YOU TO MARVEL STUDIOS.

Featured top image credit: (L-R): Director Destin Daniel Cretton, fight instructor Alan Tang, crew camera operator, and Simu Liu on the set of Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Photo by Jasin Boland. ©Marvel Studios 2021.