This thesis is informed by my own transition from short filmmaking to the writing and directing of my first feature film, The Butterfly Tree (2017). It investigates the crucial role of domestic distributors within the context of an Australian feature film ‘mainstream’ funding model and focuses on how domestic distributors evaluate an Australian feature film pitch and project. It also explores the power of tonal proof (for the purposes of this thesis, defined as a short-form project tonally reflective of the long-form project in terms of genre, tone and style). Its central line of inquiry investigates how aspiring Australian feature film directors can efficiently transition from short filmmaking to feature film directing by strengthening their creative vision while simultaneously meeting funding body and funding system requirements. This process has synthesised primary and secondary research with reflective creative practice and praxis, and involved the creation of two short films and an awardwinning feature film. The feature competed at the Toronto International Film Festival, one of the most prestigious ‘A list’ film festivals in the world and was also released theatrically in Australia.