HONGKONG'S film industry is to tackle the triad problem with the establishment of a regulatory body and a central office this year. With an estimated annual budget of $5 million, the commission would probably take a form similar to the Trade Development Council. It could help to overcome the endemic problem of triad violence in the industry and to promote Hongkong to foreign directors. Mrs Rachel Cartland, the Deputy Secretary of Broadcasting, Entertainment and Administration, Recreation and Cultural Branch, said: ''I think it is very likely that a fully-fledged film commission will be established.'' Mrs Cartland, who met film industry representatives last month, said a series of talks had been initiated by the industry and would continue. She added that the industry had shown its commitment by offering to finance the commission. The new board would offer the advantage of a single overall authority to regularise the industry. The commission would act as a board of directors over a proposed central film office or ''one-stop shop'', which would provide a focus for information on the industry and would issue licences, for example. ''Many seem to be in favour of establishing a permit system through which film-makers would have to register films with the commission,'' Mrs Cartland said. The film-makers initially approached the Government in the aftermath of triad violence last year. As discussions progressed, their demands changed from physical protection to attempts to regularise the industry. Mr Peter Tsi Ka-kei, the chief executive of the Hongkong Motion Picture Industry Association, said he saw the film commission and one-stop shop as having a dual purpose - to help the local industry and to promote it abroad. Other demands are for more efforts to establish co-production agreements. Industry spokeswoman Ms Sarah Winter, casting director for Salon Films, which specialises in co-productions, said she believed there was a great need for a body to formalise the industry. She believed the foreign capital that could be brought in by foreign film crews was being lost overseas because outside directors had been discouraged by practical difficulties such as obtaining information on getting permission to film.