What's Happening With

® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. THE FUTURE OF TV JUNE 2011 Canada Post Publication Agreement No. 40050265 Agreement No. Canada Post Publication

WHAT’S HAPPENING WITH: FUNDING • INDIE SLATES • LABOR ISSUES • NEXT GEN TALENT

PPB.Cover.Banff.inddB.Cover.Banff.indd 1 225/05/115/05/11 5:445:44 PMPM AWARDS 2 Emmys + 9 Geminis+ 6 Genies+7 DGCs + 6 Golden Reels Selected credits: Saw II - VII + Defendor + Skins + The Kennedys+ Lost Girl + Being Erica PICTURE +

SOUND SOLUTIONS PICTURE PERFECT

t Emmy award-winning team of sound t Expert team of online editors, colourists designers and dialogue editors and operators

t Da Vinci Resolve colour correction t Expert staff of sound mixers and technicians t Avid HD Nitris + Final Cut Pro HD online suites t 5.1 Dolby certified mix theatres t HD + RED + ARRI Alexa digital dailies Proprietary sound libraries t t Captioning + descriptive video

t Foley+ADR studios / ISDN / Dolby FAX t Picture edit suites + production offices

urbanpost.ca Matthew Robillard, Business Development 416.203.6655 ext. 2204 SOUND THE FUTURE OF TV 2011 table of contents

A still from Secret Location’s interactive online property complementing Endgame, which airs on Showcase.

4 Editor’s note 12 Op-Ed 23 The year ahead: Unions and Guilds The new realities of media and Interactive Ontario’s Ian Kelso wonders From ACTRA to the DGC, a look at content monetization if the sky is falling on traditional TV what’s in store for ﬁ ve Canadian industry organizations

6 Note from the publisher 14 Op-Ed Mary Maddever talks Apple TV, fi ghting Secret Location founder James Milward 28 The 2011 Playback Indie List Farmville for viewers and Brunico’s on the brave new media world It’s back – fi nd out who’s new in the explosive new awards of storytelling top fi ve this year

15 The future of talent 37 National funding sources Global dollars, domestic disputes 8 Who are our industry’s next stars? Find An overview of ﬁ nancial resources for As productions increasingly cross out in Playback’s 2011 academic Canadian ﬁ lm and TV producers international borders, Etan Vlessing scouting report looks at the future of TV funding

Cover illustration by: Matthew Daley

The Future of TV | 3

PPB.TOC.2011.inddB.TOC.2011.indd 3 225/05/115/05/11 5:395:39 PMPM PUBLISHER Mary Maddever • [email protected] EDITOR Katie Bailey • [email protected] STAFF WRITER FROM Emily Claire Afan • [email protected] CONTRIBUTORS Patricia Bailey, Brendan Christie, Ian Kelso, FALL TV James Milward, Etan Vlessing TO THE BRUNICO CREATIVE CREATIVE DIRECTOR Stephen Stanley • [email protected] FUTURE OF TV ART DIRECTOR Mark Lacoursiere • [email protected] As this magazine goes to press, the spring upfront season in Canada is kicking in once again PRODUCTION & DISTRIBUTION CO-ORDINATOR Robert Lines • [email protected] and I ﬁ nd myself giddy to see all the clips from the new fall season. What will former boy wonder J.J. Abrams come up with next? Where will the Canadian shows be slotted in? And did someone ADVERTISING SALES really give Tim Allen a new series? (416) 408-2300 The American upfronts were in full swing when I joined Playback this spring, taking over FAX (416) 408-0870 this issue mid-stream as former editor Brendan Christie moved on to pursue a new role in 1-888-278-6426 consumer publishing. ADVERTISING REP As then-editor of Media in Canada, I had been asked to help plan the Fall TV issue of our sister Jessamyn Nunez • [email protected]

publication, strategy magazine. From social TV to the rise of mobile, it quickly became apparent MARKETING CO-ORDINATOR in planning the issue that what once seemed far-fetched for TV is quickly becoming an everyday Vakis Boutsalis • [email protected] reality for consumers and content producers alike. BRUNICO AUDIENCE SERVICES Which brings us, quite naturally, to the issue of fi nancing and funding, where Playback’s Future of ASSISTANT MANAGER TV issue picks up. Christine McNalley • [email protected] The number of viewing screens seems to increase every day, and there is no shortage of places for content to go, or ways for it to get there. But content is not the issue troubling many in the ADMINISTRATION industry today. Monetizing the cross-platform environment, however, is. As the demands on PRESIDENT AND CEO production companies increase, is investment from content distributors rising accordingly? Is the Russell Goldstein • [email protected] return on investment for complementary cross-platform content worth it? Are digital rights and VP AND CHIEF INFORMATION OFFICER regulations keeping pace with the changes in consumer media behavior? Omri Tintpulver • [email protected] These are the kinds of questions keeping many up at night. As the future of TV marches boldly VP AND EDITORIAL DIRECTOR forward, keeping up while carving out a place for Cancon is critical to the vitality of the industry, an Mary Maddever • [email protected] issue that industry organizations (see p. 23) and studios (p. 14) alike are tackling. VP ADMINISTRATION & FINANCE Linda Lovegrove • [email protected] So while my fall schedule speculations may seem like old-school topics to raise as we address VP & PUBLISHER, REALSCREEN the future of TV, programming content remains a key area that media agencies – and thus ad Claire Macdonald • [email protected] dollars – are focused on. The preoccupation with GRPs may slow the pace at which business VP & PUBLISHER, KIDSCREEN models change, but the good news is that the fundamental need for good content has not. Jocelyn Christie • [email protected] As viewership fragments, so too do ad dollars and less revenue for broadcasters means less money for investment in content, all of which will likely expedite change in broadcast business Playback is published by Brunico Communications Ltd., 366 Adelaide Street West, Suite 100, models. Just as successful specialty channels went from tiny license fees at launch to real Toronto, Ontario, Canada M5V 1R9 (416) 408-2300; FAX: (416) 408-0870 contenders, hopefully the Netfl ix of the world will also start to kick into the pot. Internet address: www.playbackonline.ca Despite all of the issues at play, one can’t help but admit that the speed of change right now is Editorial e-mail: [email protected] Sales e-mail: [email protected] exhilarating. What once seemed possible only in theory is now fi nally being put into practice on a Sales FAX: (416) 408-0870

scale that means something. And consumers are keeping up and even driving change. It’s up to us, © 2011 Brunico Communications Ltd. All rights reserved. as an industry, to ensure that we do too. Printed in Canada. I look forward to meeting you all in Banff, at TIFF and at the Hall of Fame this fall. Drop me a note Postmaster Notiﬁ cation Canadian Postmaster, send undeliverables and address changes to: to introduce yourself, or come up and say hello. I’d love to hear how you’d like to see Playback Playback PO BOX 369 Beeton ON, L0G 1A0 U.S. Postmaster, send undeliverables and address changes to: grow and evolve in our new, digital-ﬁ rst personality. Playback PO BOX 1103, Niagara Falls NY, 14304 [email protected] Canada Post Agreement No. 40050265. ISSN: 0836-2114 Katie Bailey Printed in Canada. Editor, Playback

4 june 2011 | playbackonline.ca

PPB.Editorial.2011.inddB.Editorial.2011.indd 4 330/05/110/05/11 11:1411:14 AMAM PPB.19421.NBCNews.Ad.inddB.19421.NBCNews.Ad.indd 1 226/05/116/05/11 11:4211:42 AMAM Looking to partner with New world, TV & fi lm new ways producers? As a result of rather random bidding at a fundraiser gala, I ended up with a spa package and Apple TV. Although both came in tiny boxes, a helpful colleague explained “there isn’t a real TV in there, you know.” By now I expect technology to be smaller, faster, easier, so I wasn’t really expecting some telescoping big screen to come bursting out. Although, like Doctor Who’s Tardis, it did open the door to a big experience, and more consumers (if not actually joining the much-ballyhooed but so far greatly exaggerated cord- Find them at cutting revolt) are testing these new “not real TV” viewing options. Which is why it’s fi tting that this edition of Playback looks at the future of TV. When the June lineup was planned, we originally referred to it as the money issue. Along the way, although the annual funding and production tallies anchor the reports, we widened the scope to look ahead, and asked associations how they’re preparing their membership for the future. In that vein, it also seemed prudent to check in on the next gen of production talent, so we rolled our annual academic report into the mix. Speaking of new talent, I’m delighted to introduce you to Playback’s new editor, Katie Bailey, who has taken The defi nitive over the job of steering content. Katie joins the team from sister publication Media In Canada, so she’s well versed in the TV and media side of the industry, and is a kickass daily news editor. While we’ll sorely miss her news source for on the strategy brand, our loss is also our gain, as the two publications are collaborating more. For instance, as Playback and strategy, Canada’s national marketing magazine, were planning their joint Fall TV coverage, it was clear that this is the year web TV, social TV, addressable TV and the myriad new alt viewing the Canadian options afoot will have more impact on both publications’ worlds. Although business models are still in beta, the Playback team is focused on following the money and entertainment reporting on the steps producers, distributors, broadcasters and all their new partners are taking to lead their companies through the viewing smorgasbord in ways that make sense for the bottom line and the future. The industry. only outcome I’m 100% sure about is that this episode in TV will call for the gutsiest leadership yet, and that the fi ght to preserve Cancon has some new battlefronts. As producers and broadcasters are embracing technology to fi nd new ways to engage viewers – and ways to monetize those efforts – brands are also evolving the way they connect with consumers, often with programs that entail deeper content production or integration. This all requires more collaboration, which Register today is why – in tandem with an advisory panel spanning the TV production, broadcast, online, advertising, marketing and media industry – we developed the AToMiC awards, to bring all the new players together. for your FREE Networks used to be the main bridge between producers and advertisers, but as Farmville kicks daytime’s butt, it’s time a more diverse group of potential partners share the cool new things going on in their respective 14 day trial! domains. The AToMiC awards, which have an entry deadline of July 15, will identify the new properties, platforms and ideas across the mediascape that are moving the industry forward. AToMiC spans content, tech, Visit: advertising and media creativity, with categories for everything from best broadcast engagement and best transmedia, to AToMiC tech innovation (see page 35). The winners will be featured in the October issue of PlaybackOnline.ca/Free strategy, as well as online in Playback and Media in Canada and at an awards show this fall. Speaking of which, we’re also working away on Playback’s Film and TV Hall of Fame and 10 To Watch awards. They’ll take place Sept. 15 during TIFF, this year in collaboration with the CBC, which is hosting the ceremony at the Glenn Gould Theatre. Given our shared mission of celebrating the people who make a profound difference in the industry, as well as the next stars, we’re looking forward to a great HoF this year with the help of our new and old partners. You’ll see many Playbackers at Banff this month, so say hi, tell us who should be in the Hall of Fame or 10 To Watch, and anything else that’s on your mind. We have more news in the pipelines, so stay tuned. Subscribe to Playback at www.playbackonline.ca/free Cheers, mm Mary Maddever, Playback publisher or call 416.408.2448 and become an expert on the Canadian

6 june 2011 | playbackonline.ca entertainment scene.

PPB.Publisher.2011.inddB.Publisher.2011.indd 6 225/05/115/05/11 4:224:22 PMPM La galère Ice Pilots NWT

Borgias

Dan for 3 600 Mayor secondes d’extase Hiccups Tactik Les Parent

Rabbit Soul Fall Bo Les Being Degrassi on Boys the Erica Belle- Baie Republic Go! of Doyle Météo + Fan Urbania Yamaska club

Turn on Canada. Branchés sur le Canada. Canadians are connecting to content wherever Quel que soit le moment ou le lieu, il n’a www.cmf-fmc.ca they are, whenever they want. That’s precisely jamais été aussi facile pour les Canadiens why the Canada Media Fund is committed d’accéder aux contenus de leur choix. C’est to championing the creation of successful, pourquoi le Fonds des médias du Canada innovative, Canadian content and software s’engage à favoriser la création de contenus applications. Whatever the platform, we want originaux et d’applications novatrices. Peu Canadians to turn on Canada. importe la plateforme, nous voulons que les Created by Canada’s cable and satellite Canadiens se branchent sur le Canada. distributors and the Government of Canada. Créé par les distributeurs de services par câble et par satellite et le gouvernement du Canada.

PPB.19389.CanadaMedia.Ad.inddB.19389.CanadaMedia.Ad.indd 1 225/05/115/05/11 5:005:00 PMPM THE FUTURE OF TV

GLOBAL DOLLARS DOMESTIC DISPUTES

Veteran media writer Etan Vlessing looks at how As fi lmmaker Ann Shin faces a table of funders and “There’s 100,000 North Koreans in China, many buyers at the Hot Docs Forum in Toronto, the scene women traffi cked,” she says, putting the TV execs TV production funding models are changing as looks more like a Hollywood set – a packed Hart into the shoes of a North Korean refugee making fi nancing goes increasingly global House gallery, video cameras whirling and shutters their way across China to possible freedom. clicking, and a story destined for the silver screen. Shin next unveils an immersive website full of Shin is pitching around 20 international animation and graphics in full 360-degree digital Canadian actor Peter Mooney stars in commissioning editors on Pyongyang Express: Escape environments to underpin a fi lm and online project Camelot, a Canada-Ireland coproduction. On the Underground Railroad, selling her project as if about an international underground railroad the documentary’s future is directly in their hands. assisting North Korean fugitives.

CANADIAN COPRODUCTIONS (2009) Total budget $462,752,153 | Canadian share: $209,534,850 17 13 4 222111111111 221 11

South Germany Australia Brazil ChinaSouth Spain France Ireland Israel Italy Morocco MexicoUnited SingaporeSloveniaSweden Germany, France, Singapore, Africa Korea Kingdom Argentina South UK Africa Number of projects per year TOTAL # OF PROJECTS 57 Source: Teleﬁ lm Canada

8 june 2011 | playbackonline.ca

PPB.FutureTV.2011.inddB.FutureTV.2011.indd 8 226/05/116/05/11 4:314:31 PMPM But the commissioning editors express He’s not alone. Incendies, as well as Barney’s Version, a “At a general level, skepticism. Invest, but in what? The bottom line for Canadian producers is Canada-Italy coproduction. the coproductions are “I don’t have a sense of what I see in a that their old fi nancing model – fi ll out most Canadians may seem unlikely partners for fi lm, how it looks as a feature-length fi lm that of your budget by securing a license fee from European period dramas like The Borgias and out of balance. We’re holds together in and of itself,” Nick Fraser a Canadian broadcaster or a distribution Camelot – but here we are. getting far too many of BBC’s Storyville said after viewing Shin’s advance, subsidies from the Canada Media U.S. producers are securing less Wall Street minority and not enough promotional video and online elements. Fund, tax credits and additional fi nancing coin these days, and European producers “[There are] so many stories, but from the Rogers Fund or the Harold face deep government subsidy cuts in their majority coproductions,” I’m wondering how they are combined Greenberg Fund – has broken down. own markets. says WGC’s Maureen and narrated,” added Lorenzo Hendel, Canadian producers like Ann Shin require So Canuck producers are increasingly Parker. “We can’t just be commissioning editor at RAI 3. international options as never before. shopping their tax credits and other local Shin counters that her documentary will “Producers are going to require sources of taxpayer subsidies, and their coproduction presenting ourselves as a focus on three characters on the ground fi nancing from abroad. You can’t fi nance World know-how, to participate in transatlantic service industry disguising in China, in the hope that at least one fi lm Without End at home,” John Weber, president series replacing local TV shows in a host of as a Canadian content subject gets to the West. and CEO of Take 5 Productions, says of the world markets. It’s a tough scene, but Jan Rofekamp, big-budget German-Canadian coproduction All of which puts the Canadian coproduction producer.” president and CEO of Films Transit mostly fi nanced and shot in Europe. as both a traditional job creator and an International, a veteran of the Hot Docs And feature fi lms as international instrument to tell Canadian stories under Forum, knows what Shin is facing. coproductions are increasingly common too. the microscope as the industry faces “These days, you hear a lot around the All fi ve contenders in the most recent unprecedented change and challenge in an table, ‘Can you show me more?’” Rofekamp Genies best picture competition were emerging digital age. says of his own pursuit of coproduction international productions, including Canada- A trend among Canadian broadcasters and dollars from international commissioning France coproductions Splice, Xavier Dolan’s producers to back majority coproductions when editors. Heartbeats, and the Oscar-nominated they can, and minority coproductions when they

CANADIAN COPRODUCTIONS: TOTAL BUDGET VS. CANADIAN SHARE FILM AND TELEVISION

575,886,254 462,752,153 464,794,359 460,361,853 $ TOTAL BUDGET $ 349,610,172 CANADIAN SHARE $ $ 238,023,623 $ 209,534,850 211,086 ,151 $ 188,528,014 $ $ 171,829,570 $ $

45% 46% 41% 40% 49%

2009 2008 2007 2006 2005

Source: Teleﬁ lm Canada

The Future of TV | 9

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must, worries unions and guilds who fear Canada is losing creative jobs to foreigners. “At a general level, the coproductions are out of balance. We’re getting far too many minority and not enough majority coproductions. And we’re talking about TV dramas,” Maureen Parker, executive director of the Writers Guild of Canada, charges. The guilds feel particular angst over the Canadian Media Production Association, representing indie producers, asking Heritage Canada during its current coproduction consultation to lower the minimum threshold for a producers’ fi nancial contribution to a coproduction from 20% to 15% of the total production budget, and in exceptional cases to 10%. “We can’t just be presenting ourselves as a service industry disguising as a Canadian content producer,” Parker adds. The CMPA, for its part, disagrees and sees minority coproductions as a way to snag work on foreign projects that might otherwise be lost for Canada. “The idea of a minority coproduction is to help bring in more foreign dollars, and to create relationships internationally. We think those are good objectives,” CMPA senior VP of policy Marc Seguin argues. Flexibility is key here, with the goal of making it easier for producers to raise fi nancing abroad and reach out to international partners. Such a scenario will radically change how Canadian coproductions share costs, split rights with foreign producer partners and recognize Canadian creative elements. Heritage Canada’s proposed template for future coproduction treaties identifi es four key creative positions: director, screenwriter, lead actor and second lead actor. To introduce fl exibility, Heritage is proposing that only one key position be Canadian. What’s more, two of the four key positions in a

The Borgias, a Canada-Europe coproduction, airs this summer on CTV. Canadians in the cast include Montrealer François Arnaud as Cesare Borgais (above, top right) and Colm Feore as Cardinal Giuliano Della Rovere (not pictured).

FILM & TV COPRODUCTIONS: 2005-2009

FILM PROJECTS 68 46 50 TV PROJECTS 40 45

25 25 19 17 16

2009 2008 2007 2006 2005 Number of projects, year over year Source: Teleﬁ lm Canada

10 june 2011 | playbackonline.ca

PPB.FutureTV.2011.inddB.FutureTV.2011.indd 1010 225/05/115/05/11 4:504:50 PMPM “high-budget coproduction” could be fi lled by “third- “The idea of a attract foreign investment for homegrown fi lm other global fi nancing strategies is overblown. party” or “non-party” nationals – basically big-name and TV shows destined for the world market, Take 5 Productions’ John Weber insists American actors – to help producers attract money minority coproduction now increasingly feature creative driven by the current spate of mini-series like Titanic and talent to a project. is to help bring U.S. partners and popular genres. and The Borgias are minority coproductions And with Hollywood stars being the elixir of life for in more foreign A certifi ed Canadian coproduction having no because, after the success of The Tudors, a show business, Canadian producers argue big budget local performers in the top two leading roles Canadian-Irish coproduction, HBO, Starz and fi lms and TV shows will be built or scrapped based on dollars, and to worries ACTRA, the performers union. a host of other American broadcasters wanted the presence and performance of A-list talent. create relationships “We’re now into minority coproductions European costume dramas. Neil Tabatznik, a principal with indie movie producer internationally,” – Tudors, Borgias, Being Julia and Barney’s “Creatively, it makes sense to go to Europe Blue Ice Films, insists “stringent” Telefi lm Canada Version. Where are the Canadian stars in to shoot them,” he adds. rules erect often insurmountable barriers to fi nancing says the CMPA’s those productions? They are the stars of other That trend is ending, however, and Take 5 Canadian fi lms as international coproductions. Marc Seguin. “We countries,” ACTRA national executive director has two contemporary dramas in development He’s not alone. think those are good Stephen Waddell says. to be shot in Toronto. “I’m fi nding it easier to fi nd dollars internationally, For indie producers, however, fl exibility is the “They all have Canadian writers. We’re which doesn’t make much sense,” observes Pat objectives.” price the Canadian industry must pay to play looking for Canadian writers on those series,” Ferns, president of Ferns Productions. in the international sandbox. Weber says. Heritage Canada choosing to relax rules on key “The reality is the cost of producing big acting leads in international coproductions should budget fi lms is huge,” says CMPA topper open up new fi nancing vistas for a local industry built Norm Bolen, and the Canadian market can astride the U.S. border, producers argue. only contribute so much coin. “That will create a rich climate for generating “If you want to participate in a $200 million commercial projects,” Tabatznik says. project, there has to be fl exibility,” he adds. The implications of such changes are vast. Producers argue that industry criticism of a Canadian coproductions, originally meant to help revamped Canadian coproduction model and

The Future of TV | 11

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OP-ED: BY IAN KELSO IS THE SKY REALLY FALLING THIS TIME? TV is dead! Long live the web! Interactive Ontario’s Ian Kelso has heard it before, but wonders if this time, it’s true

“The combination of The fi rst time I discovered the internet, a big chunk of sky fell and According to a recent edition of the Globe and Mail, in March technological ease and hit me squarely on the head. I was immediately convinced – the 2011, 22.5 million Canadians watched over 5.6 billion videos world as we knew it was coming to an end. Television, fi lm, music, online, marking an amazing 37% growth in just six months. This speed of access in the music books and magazines would be forever changed. metric likely did not include viewers of Netfl ix in Canada which, in industry created an infl ection I believed it so much that, in 1994, I abandoned my plans to less than a year, has amassed over 800,000 subscribers. point which erased over $11 enter the fi lm and TV job market to join an internet start up. These are not small shifts in either technological transformations I told anyone and everyone who would listen that enormous or in the emergent behaviour of consumers in the marketplace. billion in annual revenues. change was imminent. Just over 10 years ago a young college student in Boston by the It begs the question whether But I know from experience that with digital transformation name of Shawn Fanning launched an application called Napster. Apple TV, Netfl ix and YouTube things happen very, very slowly, until they happen very, very MP3 compression was able to reduce a four-minute song to quickly. And now, almost 18 years later, I am still just as adamant. about four megabytes, 10% of its original size. At the same time are together the new Napster The sky! The sky! new consumer broadband connections allowed for them to be of the video age...” In 2006, Alan Sawyer authored an IBM report titled, “The end downloaded in mere seconds. of television as we know it – a Canadian perspective.” In it, he The combination of technological ease and speed of access argued that technological transformations in bandwidth and created an infl ection point which has erased over $11 billion in delivery mechanisms would forever change the nature of the annual revenues from the music industry in the 10 years since. TV business. Aha! Even experts were now saying that the sky In fi lm and TV terms, it was once unthinkable to imagine that is falling! one day we’d be able to instantly stream a high-defi nition movie That year, the Banff TV Festival was abuzz with speculation: over the internet. We were told that 56.6 kbps was the theoretical could it actually be true? Was this the beginning of the end? A limit of copper telephone wire. green paper was commissioned as a pivot for further discussion. It begs the question whether Apple TV, Netfl ix and YouTube are It ultimately made the McLuhan-esque argument that traditional together the new Napster for the video age – whether this time media are not being replaced by new media, and that TV would the sky will actually fall, and fall extremely quickly. likely continue to reign on without fear. Hmm. The story Henny Penny – the original British version of the tale Five more years have passed. And day after day, the sun seems we know as Chicken Little – warns against those who would to rise and set just as it always has. make or believe unfounded claims. At the conclusion of the tale Was I completely wrong? Was Sawyer simply stirring hype to sell Foxy Loxy profi ts from the naïveté of the main character and her more billable hours of consulting? followers in order to lure them into his lair. Once there, one-by- When I fi rst started to work for that internet company in one, he cuts off their heads. Only Henny Penny escapes. 1994, we were deploying state of the art technology: modems But in the most recent Disney retelling of the story, Chicken that offered our customers access to data speeds of up to an Little was redeemed. In this version, he actually was hit on the astounding 14.4 kilobits per second (kbps). Today, my home head by the sky (more specifi cally, an invisible object that turned internet connection is 50 megabits per second (mbps), about out to be alien). His warnings – which went unheeded – almost 3,500 times faster. resulted in the total destruction of the planet. I fi rst started to experiment with streaming video over the internet So which character are you? Henny Penny, who claims the sky in 1995 as we upgraded our delivery to 56.6 kbps. In 1998, internet is falling but didn’t bother to fi nd out if it was true? Or Chicken usability expert Jakob Nielsen predicted that the average speed of a Little, who bravely confronted a new (alien-fi lled) world? high-end user’s internet connection would grow by 50% a year. So The third option, of course, is Foxy Loxy, who told Henny Penny far his predictions have been dead right. This means within just fi ve he believed her, and then gobbled up all her friends. years, I can expect to have a connection speed of almost 400 mbps. But that’s not you, is it? At that speed one could watch a couple hundred high defi nition videos on Netfl ix simultaneously.

12 june 2011 | playbackonline.ca

PPB.FutureTV.2011.inddB.FutureTV.2011.indd 1212 225/05/115/05/11 4:514:51 PMPM TV VIEWERSHIP BY PLATFORM

While more people access TV on new platforms* (31%), they are not abandoning traditional TV – only 3% watch TV exclusively on new platforms in a typical week.

66%

28% * New platforms include the internet, and mobile devices such as cell phones, 3% 3% video, MP3 players or PSPs. TV on TV on set and TV on new No TV on any set only new platforms platforms only* platform

Source: Media Technology Monitor, Fall 2011

The Future of TV | 13

Kitchen Sync is merging with the sound division of Optix Digital Pictures!

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Contact Paul Moyer, Russellel Walker or Geororge LevLe ai 157 Princi essss Streeet . 3rd Floolo r . M5A 4M44 . 4161 21421 -9999111 ..w www.w opoptix.caa Toronto . DuD baiaii . Hamm burb g . Berlin

PPB.FutureTV.2011.inddPB.19412.OptixDigital.Ad.inddB.FutureTV.2011.indd 1313 1 225/05/115/05/11 6:2765:03:27 PMPM THE FUTURE OF TV

OP-ED: BY JAMES MILWARD THE BRAVE NEW WORLD OF STORYTELLING

Secret Location founder James Milward Anyone who says they know exactly what the future of completion rates of around 80%. share his thoughts on creating content TV will look like isn’t telling the truth. Second screens: As second screen apps take on- No one technique, technology, platform or format will demand to the next level, synching social conversation, for a fragmented media world be the downfall or the saviour of the TV industry. In the trivia and live gaming with TV broadcasts, more people future, we’ll simply see more fragmentation and, in the will watch TV while on their computers, tablets or best cases, good storytelling arising from the necessity smartphones. New show-sharing apps like IntoNow, of catering to new, splintered target audiences. which combines audio identifi cation of TV shows with More and more, this means knowing what story social media, and entertainment-based social check- techniques attract whom, where and why. Since media in apps like GetGlue and Miso will pick up steam, convergence is still in its early stages, the challenging increasing the opportunity for enhanced storytelling part will be keeping up with these techniques as and monetization across multiple platforms. they change. Digital media is still a new frontier – we Participatory storytelling: Transmedia narratives should embrace all its possibilities, and courage is are fi nally nailing the opportunity to extend stories required to make it work. across platforms and provide a bigger content So, what does the landscape look like today? universe for IPs. From reality show voting to Facebook On-demand everything, everywhere: Netfl ix, integration – such as our interactive online episode of Facebook’s new movie rental service, Hulu and Showcase’s Endgame, which featured the viewer in a torrents, illegal rips from sites like Mega Video will decision-making role – this genre is a viable method continue to cannibalize traditional appointment for audience-driven storytelling moving forward. viewing. More calls to the CRTC for regulation in The common element to all of these points is a this area will ultimately just annoy viewers. Welcome strategic understanding of how audiences use the on-demand media and fi nd ways to capitalize on the various gadgets that are now a part of their daily lives. audience’s desire to watch programming on whatever Remember, an entire generation of people below the screen suits them. age of 25 expects to interact, chat, play and have Applications that extend TV viewing to digital devices an impact while they watch content. But how will we are a massive opportunity. Take for example Comcast’s adapt and meet the needs of fans while still telling XFinity TV app, which turns an iPhone or iPad into a great authored stories that matter? My advice: cultivate TV listings database, remote and PVR control and a a relationship with your fans, trust your storytelling gut means to share viewing opportunities with friends. and love the process. Since it debuted last November, it’s been downloaded a whopping 1.5 million times. This kind of technology ultimately means more avenues for producers to create content and get it in front of the eyes of their audiences, along with offering ways for broadcasters to monetize content by providing even more utility and convenience. Advertisers need better engagement: With the advertising industry in transition, brands and agencies require more effective solutions to engage audiences. This challenge will continue to defi ne a new paradigm in content-advertising integrations. Examples include Intel’s original content video series, Visual Life, and American Family Insurance’s online digital video series, In Gayle We Trust, which garnered 24 million views and

14 june 2011 | playbackonline.ca

PPB.FutureTV.2011.inddB.FutureTV.2011.indd 1414 225/05/115/05/11 4:514:51 PMPM FUTURE TALENT

Early in their careers, the following bright young minds have been nominated by their teachers as outstanding ACADEMIC talents, already forging paths in the industry for themselves. Find out how SCOUTING sound became one young man’s passion, branded entertainment another’s pursuit and how two young REPORT women forged a path in ﬁ lm the DIY way BY BRENDAN CHRISTIE 2011

Emily-Claire McLaughlin Entertainment Business Management/Branded Entertainment Vancouver Film School

Like many in the fi lm and TV industries, Emily-Claire strategize an effective campaign to meet their needs McLaughlin is prepping for the future of media. and that I could execute it at a quality comparable to And, like many, McLaughlin sees brand integrations any top advertising agency out there.” as a growing opportunity, as entertainment creators McLaughlin demonstrated all those abilities with her seek more ways to fund projects and advertisers look grad project, a series of three PSAs for Big Brothers of to connect with consumers in new ways. Canada aimed at recruiting volunteers. “You have to entertain people to get them to listen,” McLaughlin went to Big Brothers to get their she says. remit and then sourced the talent, crew and gear, And so, she’s preparing to serve as a matchmaker and created the three 30-second spots with a – bringing clients and creators together to make great $3,000 budget. The creative focus of the spots content that serves both. was to communicate that one doesn’t have to be a After spending time in the business world, professional to be a good role model or mentor for a McLaughlin enrolled in Vancouver Film School’s child. She even recruited three celebrity spokespeople: Entertainment Business Management program – which journalist Tony Parsons, Bryan Baeumler from HGTV’s prepares students to produce IP for any platform – with Disaster DIY and BC Lions’ fullback Rolly Lumbala. the goal of becoming the client and creative liaison on McLaughlin and the client are currently talking to fi ve branded entertainment properties, or overseeing the different broadcasters to get them aired. execution of branded entertainment properties. What’s next for McLaughlin? She has had several “I want to be that middle man,” she explains. “I offers, but is holding out for the right match: “I want to believe I can really translate things in a way that works fi nd an organization I can learn a lot from and which for both sides. I love the execution – seeing a good idea can challenge me on a daily basis. Management or a brought to life. I think that’s where my strengths lie. producing position working with branded entertainment “[At VFS] I was asked: what do you want your fi nal or advertising properties would be amazing.” project to say about you?” she says. “I wanted to show that I could source and secure clients; that I could

The Future of TV | 15

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Adam Clark Sound York University

Fresh out of the Fine Arts program at York University, and was really fun. That really got me started in the Adam Clark already has a resume that attracts industry. I made a lot of connections, and I think I did notice from the industry. He’s a young entrepreneur, three or four feature fi lms [right after].” having started his own company, Adam Clark Sound, Clark credits much of his acumen to one of his and hiring fi rst-year sound students for feature and course directors, Steve Munro, a sound teacher at York. documentary work. “He told us that you can get away with bad picture “It started my second year,” he says of his fi rst but you can’t get away with bad sound… There is an interest in sound. “In my fi rst year I wanted to entire other world out there, besides the visual. I can be a director. Everyone wanted to be a director just use my imagination to create worlds.” or cinematographer. But I shot my fi rst fi lm and I Clark says he has plenty of feature work lined up realized that I spent more time on my soundtrack and has hired four fi rst-year students to work on than I did on my actual fi lm. projects he’s picked up. “When I came into my second year, I was the only His success probably has a lot to do with his guy doing sound in the program, so people came to approach: “If you come into it with a good attitude me. While other people did four fi lms over the year, and you treat people with respect,” he observes, I think I did 24. I was able to make all my mistakes “if you approach every fi lm set doing your best and and learn and progress.” enjoy what you do, you always get called back.” Clark invested over $25,000 in sound gear while at university, and quickly became the go-to guy for school projects and even professional fi lms. His favorite project to date? The fi rst feature he worked on, The Battleground (nee Skeleton Lake). “I got a phone call from an actor friend of mine, Robert Nolan, who I worked with on a bunch of student fi lms. He got a job on a fi lm and the sound mixer/ recordist dropped out the day before. It was 11:30 at night and they were shooting the next day. I drove up to Newmarket the next day and started fi lming. “That led to an entire month of shooting – and it was an action fi lm so it was a lot of explosions

16 june 2011 | playbackonline.ca

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Sheridan Doose Character Modeler/Gaming/Animation Seneca College

Game design might be an exploding fi eld, but it’s new had never touched a 3D program before. We had just enough that there aren’t many well-trod paths to a done everything traditionally; we weren’t even doing niche career like character modeling. So when Sheridan animation on the computer very much.” Doose set out to work in the fi eld, he knew it was up to Already a skilled sculptor, Doose found that his him to forge his own way. traditional art skills translated easily into the 3D “Coming out of high school I knew I wanted to environment. “I had a background in traditional work in videogames,” Doose recalls. “I found that the sculpture…I like handling clay. I still prefer that even animation program was the best way to get there. I to 3D. I fi nd the feel of clay more intuitive and more could still hone my skills and get the traditional basics artistic. But [3D software] ZBrush is a very close that a good artist needs.” second.” (For examples of his work in both mediums, Doose’s fi rst two years at Seneca were dedicated visit doose-ex.blogspot.com.) to traditional animation: layouts, storyboards and Doose hopes to make a go of it in character character design – all the things a good animator modeling, a rapidly expanding niche in Canada’s needs to understand how creations come to life and ever-growing gaming market. In the meantime, he’s interact with a dynamic environment. All of which is looking to expand his portfolio, building on an already also critical for a game designer. impressive list of creations. “The third year was gaming-specifi c,” recalls Doose, explaining that unlike the fi rst two years, the course required students to prove that they had the aptitude to thrive in the discipline in order to move ahead. “We all handed in our portfolios and a lucky few got in. It was a steep learning curve because a lot of us

Laura Armstrong Documentary ﬁ lmmaker The Chang School, Ryerson University

Most students typically spend their time plotting bar crawls and next one is going to cost $10,000. Each year I think we want to wrangling extensions on essays that never quite happened. push it a bit further and see what we can do.” Laura Armstrong, on the other hand, is far from typical. While Armstrong is still deciding what to do with all her A world traveler and aspiring documentary fi lmmaker, footage, some of it has already shown up on the Work of Heart Armstrong is already using her skills to make a difference. Facebook page, as well as in a doc she’s making for A-work- In May of last year, the young fi lmmaker visited Kenya with of-heart.org called With My Own Two Hands. Local artists have international NGO Global Youth Network, staying with a group begun donating art that can be sold to help raise funds for the of women affl icted with HIV. What struck her the most was how next project. simple the women’s needs were, but how impossible they were While she has a degree in English and Film from Wilfrid to fulfi ll locally. Laurier University, Armstrong is currently in Ryerson University’s Armstrong and her Global Youth Network companions Chang School, picking up the technical skills she felt Laurier decided to help, choosing a project they felt they could tackle didn’t offer. Once she wraps this course, she’s considering the – making the local daycare sustainable for the rainy season. At masters program for docs at Ryerson, with an eye towards a only $1,000, it carried a tiny budget by Western standards but career in fi lmmaking or teaching fi lm. it would have a huge impact on the community. The group set out to raise the money when they returned to Canada. Armstrong, who is also a painter, started selling her work at A-work-of-heart.org, donating 20% of every sale to fundraising efforts. They also organized a live fundraising event. “It was pretty easy,” she admits. “And that was one thing I really wanted to demonstrate: how easy it is to get involved and do something once you put your mind to it.” Armstrong returned to Kenya in 2011 to fi lm the project’s implementation and capture the stories of the women involved, but that’s not likely to be the end of it. “The next step would be a primary school project. This project cost $1,000, but the

18 june 2011 | playbackonline.ca

PPB.Universities.2011.inddB.Universities.2011.indd 1818 225/05/115/05/11 4:584:58 PMPM Alexandra Milhill and Rivera Reese Theatre Studies/Motion Picture Arts Red Deer College

Six months out of Red Deer College, Alexandra Milhill and Rivera Reese “We were really ambitious for our year,” says Reese. “We wanted have formed a strong partnership that has pushed them to develop to do a lot so that we could walk away from the program with a lot creatively. Still at the beginning their careers, the pair are already of fi lm experience.” experienced actors, writers, directors, producers and singers. Post-graduation, Mihill has found the time to rewrite her musical Initially, Milhill and Reese began in RDC’s Theatre Studies Dead Lover’s Day, which had a successful run (featuring Reese, of program, before moving into the college’s Motion Picture Arts course) in Red Deer. The pair have also since moved to Calgary and program, a strand that focuses on fi lm skills, and learning self- formed a band called Doom Kitties, though they are making plans reliance. In their fi nal year, the pair made several fully independent to soon shift to Vancouver to take advantage of the bigger market. projects, sourcing their own crew and talent – though they did They insist, however, that their Red Deer roots have been vital. discover that the best way to remain a working actor is often to “You can defi nitely get opportunities in Red Deer and Alberta,” create your own roles. observes Milhill. “You end up making your own work. I didn’t want “What Riv and I did to make it easier,” recalls Milhill, “is decide to move to Vancouver right after we graduated because I think it’s that we would be the producers. [But we were also] generally the easier to build credits here, even though there is a lot more work in writers, the actors and sometimes the directors.” Vancouver. If we go to a place like that, or L.A., and you don’t have Of those projects, their fi lm Easy Ways was nominated at any credits or a good resume, no one is going to look at you.” Saskatchewan’s Yorkton Film Festival and Becoming, vied for an Alberta Media Production Industries Association (AMPIA) Rosie award.

The Future of TV | 19

Sheridan grads apply knowledge creatively

Sheridan is Canada’s largest art school, with a reputation for excellence and innovation. Our hands-on, applied environment ensures that Sheridan grads are ready to help your company from the day they start work.

Renew your skills this summer at Sheridan! Register for our professional ﬁ lm training courses. ﬁ lmtvprotraining.sheridancollege.ca faad.sheridancollege.ca

PB.19449.Sheridan.Ad.inddPPB.Universities.2011.inddB.Universities.2011.indd 191 91 225/05/1125/05/115/05/11 6:406 5:05:40 PMP PMM AAcademicListingPages.indd 20 PB.19370.CreativeWomen.Listing.indd 1 PB.19311.CanadianFilm.Listing.indd 1 PB.19234.BanffCentre.Listing.indd 1 c a d e m i c L i s ACADEMIC LISTINGS t i n g P a g e s . i n d world-renowned visitingthroughout faculty theyear. accommodation andmealoptionsare On-campus available to participants. disciplines isahallmarkof The Banff Centre isacreative space rooted butwithanopen-mindedattitudefor technology inthearts, andcollaboration. The cross-pol photography, come andaudio, from allover participants theworld to work attheircreative andcoll pursuitsinoursupportive The Banff The Banff benefi Program.Comedy LabandtheCFCNFBDocumentary These programs andhelpfoster provide relationships globalpartnerships thatc NBC Universal Content Creator Program, Marketplace, Program, theShaw Canada-UK Incubation Media/BBC Script CFCNorth-South the for ourmore than1,500alumniandtheCanadianopportunities mediaindustry. Recently, we have launchedanumberofprograms t CFC isfocused oncreating alearningenvironment thatfosters global collaboration, creative sharing. innovation andknowledge CFC isproud to beattheforefront thefuture needsoftheme industry. Aleaderinassessingandserving oftheentertainment “WIDC is a rare opportunity to upgrade skills, isarare opportunity “WIDC “take risks, makemistakesanddiscover talentsyou you never had.” knew –Anne Benefi and non-traditionalpositionsinCanadian fi their projects, peopleandtechnicians, actors, crafts CWWA isalsodedicated to i increasing thenumberofwomen participating screen. fo ofwomen Strivingtowards storytellers celebrating by andadvancingthetalents skills supporting, genderequity The Banff CWWA: Through itsinternationally acclaimed mentoring anddevelopment program, The Women theDirector’s In Chair Workshop, pres d WEBSITE: E-MAIL: TEL: FOUNDED: LOCATED: Creative Women WorkshopsAssociation Canadian Film Centre WEBSITE: E-MAIL: FAX: TEL: FOUNDED: LOCATED: The Banff

2 0 t Canada’s andourindustry. storytellers WEBSITE: E-MAIL: FAX: TEL: FOUNDED: LOCATED: 1-604-913-0747 1.800.565.9989or403.762.6180 403.762.6345 t Society, DGC,BC,IATSE 669,IATSE 891,IATSE Production 212, Independent Fund andmany others. Centre’s Creativity, mission,Inspiring isrefl Centre: Canada’s creative andculture leaderinarts Centre and ACTRA with major support from Centre withmajorsupport andACTRA Telefi [email protected] [email protected] 416.445.1446 416.445.9481 Vancouver,BC Banff, Alberta www.creativewomenworkshops.com www.banffcentre.ca 1997 1933 [email protected] Toronto,Ontario www.cfccreates.com 1988 Centre -Film &Media Centre oftheCanadian Rockies, experience. intheheart Set The Banff lm, television, videoanddigital mediaprograms from lessthan10% to 50%. by Fraternal Actra WIDC isalso supported CFC poisesyou for success. Find outmore at cfccreates.com inourdiverse Film intheexperience ofparticipants ected department. &Media Working indigital media, receive experience andunprecedented hands-on leaders. mentorship withindustry FestivalBook Audio Programs; MarkResch,Director, MediaResearch; Digital JoniCooper, Director, Banff Mountain Film and more than1,500alumnicome through itsdoors. NUMBER OFSTUDENTS: at Toronto Film Studios. located downtown Our at District. MaRSDiscovery fi lmand television programs offi production casting, editingsuites, workshops, meetingandscreening room space. CFCMediaLabis The state-of-art FACILITIES: DEGREES/CERTIFICATES: andmore.Conservatory Program, &Entertainment CFCFeatures,Art Program, CFCActors CFCNFBDocumentary PROGRAMS: CONTACTS: Workshop Work StudyProgram, Performance Photography Workshop, Communications, Science Adventure Filmmakers’ WHAT’S NEW: NUMBER OFSTUDENTS: andanimation/graphicarts, designdepartment. ties includingcollaboration, andvisualization labs;access spaces, to andaccess performance to music, visual suites;post production audiofacilitiesincludingsurround soundrecording andeditingstudios;research facili- televisiona 2,500square-foot studiospace; complement; fullHDproduction green screen environment; AVID FACILITIES: DEGREES/CERTIFICATES: and newmedia.Programs inlengthandrunthroughout theyear. vary programs digitalmedia,adventure andpost-production, invideoproduction fi lmmaking, photography, audio, PROGRAMS: CONTACT: Feature Film Award ($100,000inkind),BANFFFellowship ($7,500inkind). and otherwomen directors across businessandskillsbuildingworkshops, Canada through the one-day WIDC AdvancementOngoing Module: advance thescripts, andskillsofthe8women styles directing directors from SIM. &PostPrep Production Module: screen aswell astheleadershipandmanagement women skillsof8mid-career screen directors. CONTACT: WHAT’S NEW: OAM:to andcrew 75actors participants; women 14mid-career directors NUMBER OFSTUDENTS: Props,Selective andthegeardonated by IATSE intheprogram membersparticipating annually. Intl, Panavision Shore Studios, Canada, North The BridgeStudios, Deluxe Vancouver, Post ModernSound, FACILITIES: PROGRAMS: lm Canada, CWWA encourages andinspires excellence, for creativity andcollaboration instorytelling Pleaserefer to theCFCwebsite for specifi cprogram information. contact Carol Whiteman, President &CEO/ WIDC Producer Kerry Stauff Kerry er, ExecutiveDirector, Film &Media; Theresa Leonard,Director andExecutive Producer, CFCoff as facilitiesandservices, leadingproduction/post well asprovides ers residents industry Fully equippedfacilitiesfordigitalfi lmandvideo, photography, audio, anddigitalmediaincluding: Provided ofthe inkindforvarious parts WIDC program by: The Banff Centre, William F White Cineplex Film Entertainment Program, CBCPrime Time Television Program, TELUS Interactive Advanced training, work research, andinternship-style study opportunities, andco-production Story Incubation Module: Story BanffBand Residency, Indie Radio CORUS Entertainment: Work Study Program, Podcast Producer Events,WIDC 15thAnniversary TBA. In2010,CFChadmore than100residents, andsince itsinauguration, hasseen 450annually SIM: 8 mid-career women from SIM:8mid-career directors; theSIM,plusup PPPM:the8participants The programs are designedat thepostgraduate andseniorlevel andparticipants Non-degree granting,Non-degree institution publicpost-secondary off career plansof forlongandshort-term erssupport WIDCalumnae working withseniorprofessionals, (ACTRA Actors, DGCandIATSE Crews) to exploring apsychological approach to developing fiction stories for Centre isacatalyst for creative thought,withahostof Wheeler, Director 1997&2006Mentor lination ofideasacross many artistic It isourgoalto drive more It content dia industry athomeandabroad,dia industry aborative environment. The Banff n ameaningfulway inleadership r screen includingdirectors and o achieve this, includingthe reate real opportunities thatreate real opportunities Telefi ented in partnership with ented inpartnership lm Canada Features ce is located

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P PB.19473.OIART.Listing.indd 1 PB.19413.NationalScreen.Listing.indd 1 PB.19180.HumberCollege.Listing.indd 1 M 25/05/11 5:38 PM 25/05/11 5:37PM 25/05/11 5:37PM Humber College

PROGRAMS: fi lm making, television writing, screenwriting, remote broadcast, post production, television production, videography DEGREES/CERTIFICATES: Bachelor of Film and Media Production, Advanced Diploma in Film and Television Production, Diploma in Television Broadcast/Videography, Graduate Certifi cate in Post Production, Graduate Certifi cate in Television Writing and Producing FACILITIES: digital cameras, fi lm cameras, motion capture, studios, remote broadcast truck, broadcast centre, LOCATED: Toronto, Ontario industry standard lighting and grip, certifi ed Pro-tools trainer, certifi ed Final Cut Pro trainer, professional faculty FOUNDED: 1967 TEL: 416-675-6622 ext 4658 NUMBER OF STUDENTS: Approximately 300 per year (fi lm degree limited to 70 students per year) E-MAIL: [email protected] WHAT’S NEW: Film & Television Production student’s documentary accepted into the Hot Docs festival. WEBSITE: www.humber.ca CONTACT: Basil Guinane, Associate Dean School of Media Studies and Information Technology

Humber’s School of Media Studies & Information Technology has the largest combination of media-sector programs in Canada providing training in public relations, journalism, advertising, graphic design, digital arts, 3D animation, fi lm and television production, new and web-based media and information technology. Credentials range from degrees, diplomas, certifi cates and postgraduate certifi cates. Our students train with a team of dedicated faculty members who have years of experience in their respective fi elds and maintain strong industry connections. Students learn in state-of-the-art facilities including a digital broadcast centre, mobile broadcast unit, and an on-campus ad centre. The School of Media Studies & Information Technology keeps the Humber community well-informed of current events and campus activities through the Humber Etc, Humber Radio, Humber TV and the Daily Planet website, all student run media outlets. We enroll the best, and produce graduates with the skills sought after by industry. National Screen Institute - Canada PB.19234.BanffCentre.Listing.indd 1 25/05/11 5:34 PMPB.19180.HumberCollege.Listing.indd 1 25/05/11 5:37 PM PROGRAMS: NSI Drama Prize trains emerging writer/director/producer teams to develop and produce a short fi lm. NSI Features First trains writer/director/producer teams working on their fi rst or second feature. NSI Totally Television is designed to help writer/producer teams further develop their scripted TV series concepts and secure a broadcast development deal. NSI Global Marketing provides training and professional development for producers with TV projects ready to sell internationally. LOCATED: Winnipeg, Manitoba FOUNDED: 1986 NSI New Voices is a 14 week full-time program for young Aboriginal adults aged 18 to 35 off ering skills development training and an internship in an industry setting. Minimum wage paid throughout program. TEL: 204-956-7800 / 800-952-9307 FAX: 204-956-5811 The NSI Online Short Film Festival shows short fi lms all year round. The $2,500 A&E Short Filmmakers Award is presented four times a year to the best fi lm. E-MAIL: [email protected] WEBSITE: www.nsi-canada.ca NUMBER OF STUDENTS: varies CONTACT: Director of Programming

National Screen Institute – Canada is a national training school widely known for its prestigious training programs for Canadian writers, directors and producers working in fi lm, TV and digital media. Participants do not have to relocate and can keep their day jobs while they train. Intensive training happens in one place and participants return home to work with a mentor for the rest of their program. All training is delivered by senior industry experts. NSI leads in the design and delivery of programs that provide training to Canada's Aboriginal screen professionals. NSI showcases Canadian short fi lms and provides professional development resources online. "It is like the AFI of Canada. Having gone to the NSI is instantly a foot in the door when meeting new people." Katie Weekley, NSI Drama Prize & NSI Features First grad. Ontario Institute of Audio Recording Technology PB.19311.CanadianFilm.Listing.indd 1 25/05/11 5:35 PMPB.19413.NationalScreen.Listing.indd 1 25/05/11 5:37 PM

PROGRAMS: Audio Recording Technology (audio immersion program including music production, live sound, audio for fi lm and television, and audio for video games and the internet) DEGREES/CERTIFICATES: Audio Recording Technology — 11-month diploma program FACILITIES: Six on-site professionally equipped, multi-track recording studios; an acoustics research lab; a video screening and gaming lab; a live sound lab and numerous computer-based audio production workstations LOCATED: London, Ontario FOUNDED: 1983 NUMBER OF STUDENTS: 64 maximum per academic year TEL: 866.686.5010 WHAT’S NEW: New facility additions include: three new Pro Tools equipped studios designed for one-on-one FAX: 519.686.0162 personal instruxction with faculty (Music Production and Sound Design), Yamaha M7CL Digital Console and QSC Line Array (Live Sound), the Soundstorm SFX Library (Audio for Pictures), Video editing taught by award winning E-MAIL: [email protected] director Francois Driessen (Edge Factor). WEBSITE: www.oiart.org CONTACT: Robert Breen, Career Development and Industry Relations; Lynne Dubuc, Admissions Inquires

OIART has established a reputation over its 30 year history for producing honest, hard working graduates with the correct skill set for the audio industry; working in Music Recording, Live Sound, Television, Film and Gaming positions worldwide. Students are taught using industry standard technologies in studios designed to emulate real world facilities by a world class faculty of industry professionals, including Audio Engineering Society (AES) Eastern US and Canada Vice President Robert Breen, Gemini award winner Mark Vogelsang, and new full-time faculty addition Engineer/Mixer Dean Nelson. Nelson was personally trained by master Engineer Jack Joseph Puig over a 5 year working relationship, credits including the Rolling Stones, U2, Fergie and Mary J. Blige. Nelson recently engineered and mixed several albums with artist Beck (incl. Record Club, Thurston Moore, Cat Power, “Scott Pilgrim” soundtrack). Visiting lectures by 30+ adjunct faculty members include 2010 Juno Award "Engineer of the Year" Dan Brodbeck and CTV Head of Audio Post Production Mike Nunan, who recently co-ordinated the sound for the 2010 Vancouver Olympics - and mixed the Gold medal game!

PB.19370.CreativeWomen.Listing.indd 1 25/05/11 5:35 PMPB.19473.OIART.Listing.indd 1 25/05/11 5:38 PM AAcademicListingPages.inddcademicListingPages.indd 2121 225/05/115/05/11 6:036:03 PMPM AAcademicListingPages.indd 22 PB.19428.UBC.Listing.indd 1 PB.19450.Sheridan.Listing.indd 1 PB.19337.Ryerson.Listing.indd 1 c a d e m i c L i s ACADEMIC LISTINGS t i n g P a g e s . i n d house” dedicated to exploringdigital imagecapture andcreation processes for fi Research and Training located atPinewood Studios Centre (SIRT), Toronto. SIRT’s isanindus studioandlabfacility production andtechnology fi business, service community in thearts, inthefallof 2011. andBrampton, withanewcampussetto openinMississauga education studentsatourcampusesinOakville Sheridan College to thrive provides inarapidlychanging andskills world. studentswiththeknowledge We 16,000full-ti serve environment celebrated for academicexcellence, appliedresearch andcreativity. Program certifi optionsrangefrom one-year d productions in a variety ofmedia. inavariety productions available attheRogersCommunications Centre whiledeveloping strategic tieswithmediaoutletsoutsidetheUniversity to deve gies, communities, S digital ofproduction. managementofmediaproperties, entrepreneurial cinema,cyber modelsandthetheory includingvideo,subjects sound, performance, writing, broadcast aesthetics, law, e-commerce, mediafunding, mediadistribution Sheridan College fi and services. Production inMedia focusesThe onthecreation ofArts Master andanalysis withemphasisonth ofmediaproducts of otherhandheldandinteractive devices are transforming theway we experience media,exchange information, produce creative Today’s medialandscapeischanging atanunprecedented rate. Satellite, cable, HDTV, Internet, digital radio, interactive tele Ryerson University mediaproduction WEBSITE: E-MAIL: FAX: TEL: 2007 MA inMediaProduction: FOUNDED: LOCATED: WEBSITE: E-MAIL: FOUNDED: LOCATION(S): 4180 Duke of 4180 Duke York Blvd., Mississauga Road,7899 McLaughlin Brampton

thatunderpinexcellentnancing structures membershave media.Ourfaculty extensive experience andinterest inabroad range

WEBSITE: E-MAIL: FAX: TEL: FOUNDED: LOCATED:

Studies Continuing British Columbia The University of 2 2 416-979-5000Ext. 2785 416-979-5153 604-822-7525 604-822-1499 [email protected] [email protected] [email protected] Toronto,Ontario www.ryerson.ca/graduate/ www.sheridancollege.ca Radioand Television 1950, Arts: Vancouver,BC www.tech.ubc.ca 1967 approx. 1982 1430 Trafalgar Road, Oakville Corporate Training, Workforce Development, Continuing Education Degrees, Joint College-University Degrees, University Transfer Credits, Graduate Certifi cates, Apprenticeships, NUMBER OFSTUDENTS: STUDENTRESIDENCES: TWO and Centre forHealthy Communities. Learning Commons, SheridanCentre forAnimation andEmerging Technologies Skills (SCAET), Training Centre FACILITIES: DEGREES/CERTIFICATES: Animation Digital Visual Eff ects, DesignWeb ours), Advanced Television andFilm, Computer Animation, Computer Animation Character, Digital Computer Events, (Photography), (Animation), (Hon- ofDesign Bachelor ofAppliedArts ofAppliedArts Bachelor Bachelor MEDIA-RELATED PROGRAMS: 905-459-7533 Brampton/Mississauga. CONTACTS: WHAT’S NEW: CONTACT: NUMBER OFSTUDENTS: facilities. computing laboratoriescommunications world, andnetworked mediaandprint featuring state-of-the-art FACILITIES: DEGREES/CERTIFICATES: ofmediaproduction. which focusesonaspects over three consecutive semesters andculminating ineitheramajorprofessional oraresearch project paper innovators. This core through afl visionissupported courses, delivered andtheory exible seriesofproduction PROGRAMS: Apply today! View Programs September, start Administration Earlybird 2011.Entertainment deadlineisJuly 12. industry. Network withguestspeakersandlearnfromand entertainment qualifi Professional development, leadershipandbusiness trainingfor today’s digital media,socialmedia CONTACTS: WHAT’S NEW: FACILITIES: Award ofAchievement Media, inSocial courses evenings/weekends.(plus internship)/ part-time UBC Certificate Administration, inEntertainment DEGREES/CERTIFICATES: MediaProject.Social Metrics, MediaStrategy Social & Marketing, MediaGovernance, Social MediaMonetization Social and Award ofAchievement Media: inSocial CAUCE 2009. Professional SkillDevelopment MediaforEntertainment. andDigital Winner ofProgram ofExcellence Award, MarketingEntertainment Film andDistribution, and Financing,TV Budgeting, Production Management, PROGRAMS: indigital mediaandfi elds. Ourexpertise AinaArro Four campuses housing state-of-the-art facilitiesinBrampton, Oakville(2)andMississaugafeature Four campuseshousingstate-of-the-art Offi The RogersCommunications Centre (RCC) at Ryerson isafullyinteractive andhighlyadaptable Fiona McAuley inMediaProductionThe isdesignedto launchCanada’s Master ofArts generation next ofmedia UBCRobsonSquare, centrally located indowntown Vancouver. ce oftheRegistrar. 905-845-9430 Oakville/Mississauga.905-681-4611Burlington/Hamilton.

UBC Certificate Administration: inEntertainment Sheridan’s newHazel McCallion Campus inMississauga Award 100%onlineprogram ofAchievement launch2012. Media,part-time inSocial tech.ubc.ca lm, television, gamingand otherscreen-based industries. 16,000full-timestudents, 35,000continuing education students approximately 25 Foundation College Certifi cates, Diploma and College AdvancedDiplomas, Bachelor's Master ofArts one eachat Brampton andOakvillecampuses. www.theplace2be.ca Media Fundamentals, MediaArts, Technical Production for Theatre andLive orcall604-822-1420. launched 2010, part-time evenings launched2010,part-time Courses MediaFundamentals, includeSocial Media Social lm studieshasledto thecreation oftheScreen Industries launched2003,full-timeevenings/weekends Courses Law, include:Entertainment Sheridan off cates to four-year Bachelor’s degrees vision, cellphones andabroad range try andacademic try “technology club- e aesthetics, technology and tudents utilize theresources , developing newtechnolo- me and35,000continuing lop compelling, innovative work andmarketproducts ersaninnovative learning of mediaandproduction ed industry professionals ed industry 225/05/11 6:06PM 25/05/11 5:40 PM 25/05/11 5:40PM 25/05/11 5:42PM 5 / 0 5 / 1 1

6 : 0 6

P M As the face of THE YEAR AHEAD: government changes and technology continues to transform the media landscape, Playback’s Emily Claire Afan reaches out to ﬁ ve UNIONS industry leaders to ﬁ nd out how their AND organizations plan to address the challenges of 2011 and beyond

The Directors Guild of Canada (DGC) is less than a year away from its golden anniversary and the organization has a lot on its plate as it builds up to the big 5-0. As president of the national executive board, Sturla Gunnarsson notes that the DGC “We have to has come a long way from its Harry Potter- embrace what like beginnings in a broom closet. “We’re consolidating our national strategic [new media] plan, which involves the creation of a more means for us – nationally coherent organization,” he says. it’s a tremendous The organization’s evolution will be marked opportunity for by the construction of new Toronto offi ces, currently underway. The offi ce will open its directors.” doors in January 2012, but there’s much to be done before that, including increasing the guild’s membership base, says Gunnarsson. Currently just shy of 4,000, the DGC recently liberalized its membership requirements, resulting in “a pretty good increase among the young new media Director Sturla Gunnarsson, president of the national been working with Minister of Canadian side.” (Directors used to have a threshold executive board, on the set of Beowulf & Grendel. Heritage and Offi cial Languages James of production credits before applying, but Moore and Minster of Finance James now anyone with a collective agreement is does not defi ne directors and writers as the Flaherty to secure an indication of intent in welcome to join.) authors of audio-visual works. the next budget. As for regulating and monetizing projects in “We believe it’s essential that directors, Meanwhile, the DGC is also looking the era of digital media, Gunnarsson remains and writers, are authorized as writers,” to expand relations with francophone positive about the impact digital media will he states. “It’s morally indefensible and it directors this year. “We have so many have. “We have to embrace what it means hurts us economically and in terms of the areas of common interest and we should for us – it’s a tremendous opportunity for workplace rights that we strive to advocate.” be speaking with one voice in Ottawa, directors,” he says. Also on the policy front, Gunnarsson especially since we have a national party Copyright legislation is also high on the is hoping to move forward on tax-based speaking on behalf of Quebec.” DGC’s agenda. Currently, the existing legislation private investment incentives. The guild has DIRECTORS GUILD OF CANADA

The Future of TV | 23

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“You can’t be a modern content organization if you’re not paying attention to what’s going on online.”

It’s been almost a year since the Canadian Media they’ll put the budget into play, but we don’t know Production Association (CMPA) changed its name how that’ll roll out.” from the Canadian Film and Television Production The ongoing talks surrounding over-the- Association, and it’s busier than ever. As president top services (OTT) are also a priority for the and CEO Norm Bolen notes, “if anything, our level association, which strongly believes that these of activity has been growing exponentially. broadcaster-like services should be contributing “You can’t be a modern content organization to the Canadian system. “We view them basically if you’re not paying attention to what’s going on as no different from existing VOD services,” online. We’re reaching out to digital media, gaming says Bolen, who stresses the importance of and web companies to share ideas,” he adds. understanding OTT’s impact. He also notes that the number of members “OTT will become a permanent part of cultural producing online content is on the rise. “We’re policy debate and we’re hoping to get some starting to see business models exploding and we concrete policy decisions made in the next three think Canadians need to play in that space.” to six months.”

CANADIAN MEDIA CANADIAN As far as major achievements go, the eight- The policies around government feature fi lm year process of negotiating the terms of trade funding is another major issue the CMPA wants to agreement ended in April. Over the summer, the see updated, and it’s asked the CRTC for a review. CMPA will begin an outreach campaign to the “We’re drifting away from fi nancing features, and indie production community to explain the terms’ a few years from now, we’ll wonder why we don’t Norm Bolen, president and CEO, CMPA. impact on digital rights, and the mechanisms of have a feature fi lm space.” how it’ll be enforced. While Bolen remains uncertain as to whether At press time, the CMPA was giving its fi nal the CRTC will initiate a proceeding on the issue, submissions to the group license renewals. “We he says the CMPA will continue to push it, as want to make sure there’s a maximum focus on the policy has not seen many updates since its

PRODUCTION ASSOCIATION Cancon and we’ll continue to lobby the CRTC to implementation almost 10 years ago. A major focus on supporting Cancon.” factor affecting a producer’s ability to fi nance The recent election is also bringing about waves Canadian feature fi lms is the lack of broadcaster of change, particularly with the Canada Media investment and pre-buying of these fi lms. Fund. “We may need to go back to lobbying for “We’re trying to focus on the future to evolve long-term funding to make sure we get the money the system so we can continue to have successful in the budget,” says Bolen. “The Conservatives say creation of Cancon,” he says.

24 june 2011 | playbackonline.ca

PB.19300.Capp.inddPPB.Unions.2011.inddB.Unions.2011.indd 12424 25/05/1125/05/11 5:436:426:42 PMPM The Writers Guild of Canada (WGC) is staffi ng up to writers and producers, Parker has her sights set on help with the policy work within its crosshairs. specifi c goals. An important one this year is achieving Along with its colleagues at the DGC, CMPA minimum fees for animation writers, which don’t and ACTRA, the WGC has been fi ghting for many currently exist. of the same issues, such as the group license The guild will be entering bargaining on minimum renewals which will see the implementation of the fees by the end of the year. 2010 TV Policy. “Our focus is on TV, to ensure that OTT services and ISPs as broadcasters are issues broadcasters are contributing to the creation of on the guild’s agenda, as they are with several other Cancon,” says executive director Maureen Parker. industry bodies for lack of contribution to Cancon. Along with ACTRA, the coproduction treaty Digital production for digital distribution and is topping the priority list, as the parties are broadcast are also top of mind. “We have to ensure concerned about the treaty’s imbalance of minority that it’s union work and we’re prepared to be fl exible

OF CANADA and majority copros, with Canada inevitably falling because [digital] is a challenging environment,” into the former since projects are fi lmed offshore. explains Parker. “Payments and rates are the same “We’re seeing a slew of minority coproductions as broadcast fees and we want to represent writers in and fi nancially, it makes sense. But this is not this area.” Cancon,” says Parker, who specifi cally refers to TV WRITERS GUILD dramas (The Borgias, The Tudors). “These should be labeled as service productions. We don’t want to eliminate them, but we want to have a balance.” As the WGC enters bargaining to renew its Maureen Parker, executive director, WGC. Independent Production Agreement between

The Future of TV | 25

ACROSS THE COUNTRY

DGC National Ofﬁ ce 111 Peter Street, Suite 402 Toronto, Ontario M5V 2H1 Tel: 416 482-6640 Fax: 416 482-6639 www.dgc.ca

British Columbia District Council Saskatchewan District Council Quebec District Council 1152 Mainland Street, Suite 430 2440 Broad Street, Suite W213B 4200 Saint-Laurent Blvd., Suite 708 Vancouver, British Columbia V6B 4X2 Regina, Saskatchewan S4P 4A1 Montreal, Quebec H2W 2R2 Tel: 604 688-2976 Fax: 604 688-2610 Tel: 306 757-8000 Fax: 306 757-8001 Tel: 514 844-4084 Fax: 514 844-1067 www.dgcbc.com www.dgcsask.com www.cqgcr.ca

Alberta District Council Manitoba District Council Atlantic Regional Council 2526 Battleford Avenue S.W. Suite 133 The Union Centre, 202B – 275 Broadway 1657 Barrington Street, Suite 408 Building B8, Currie Barracks Winnipeg, Manitoba R3C 4M6 Halifax, Nova Scotia B3J 2A1 Calgary, Alberta T3E 7J4 Tel: 204 940-4301 Fax: 204 942-2610 Tel: 902 492-3424 Fax: 902 492-2678 Tel: 403 217-8672 Fax: 403 217-8678 www.dgcmanitoba.ca Toll Free (Atlantic region only): 1 888 342-6151 www.dgcalberta.ca www.dgcatlantic.ca Ontario District Council 15 Toronto Street, 9th Floor Toronto, Ontario M5C 2E3 Tel: 416 925-8200 Fax: 416 925-8400 www.dgcodc.ca

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The Screen Composers Guild of Canada rates issues, delivery costs – so it’s about (SCGC) is a “small, but mighty group” that’s educating clients on working with composers,” undergone a branding renewal from its he explains. previous iteration as the Canadian Guild of Dolgay also stresses the importance of Film Composers. advocacy, and last year was heavily involved This year is its year to be heard, the guild’s with lobbying for artists’ rights in Bill C-32, president Marvin Dolgay says. legislation that he says does not ensure artists “We want to make sure we’re not perceived receive appropriate compensation for their work as old-boy composers working in orchestras,” in the new digital realm. Dolgay says. “Not that we aren’t that, but we’re Additionally, he wants to see change in not just that.” music budgets and a reduction in spending on Part of that has been embracing the licensing works from out of the country. “I’d like emergence of new technologies, as well as to see accountability and transparency – that dealing with changes in clients, broadcasters most of the money allocated for composers is and general work in the audio-visual world. “We staying in Canada,” he says. want to bring young composers into the fold Dolgay says he believes the digital media and bring experienced composers to the new provides unprecedented opportunity for artists world of tech,” he says. to reach consumers, but that ensuring digital Education is also key for the organization, media is appropriately monetized will be the

GUILD OF CANADA GUILD OF CANADA which is primarily run by volunteers. “There’s challenge. a lot of misinformation out there – rights and “Once we ﬁ gure that out, it’s going to be fantastic.” SCREEN COMPOSERS SCGC president Marvin Dolgay.

26 june 2011 | playbackonline.ca

Based on the book by best selling author Joan Smith

A British lady pits her wit and her wits against a shaikh, a lord and a pirate

United Kingdom Canada Zephyr Films 3D Camera Co. Two Academy Award William White nominations for [email protected] The Last Station Doomsday Studios Limited Chris Curling Ramona Macdonald ccurling@zephyrﬁ lms.co.uk [email protected]

Authorized to ﬁ lm in the United Arab Emirates

PB.19304.WritersGuild.Ad.indd 1 25/05/11 5:15 PM PS.19499.DoomsdayStudios.Ad.inddPPB.Unions.2011.inddB.Unions.2011.indd 2626 1 25/05/11 5:14 PM 225/05/115/05/11 6:466:46 PMPM ACTRA president Ferne Downey, actor Nicholas Campbell and ACTRA Toronto councillor Wendy Crewson holding a Canadian prime-time television schedule – full, they note, of American programming.

This year is all about change for ACTRA, says December 2010, saw 75% of the existing “Creators’ rights should be the organization’s national executive director, Apprentice member pool (new members) strengthened, not weakened, Stephen Waddell. coming into full ACTRA membership. Some of those changes begin with Outreach initiatives included eligible in the copyright bill.” what’s happening on the government level. post-secondary institutions with fi rst credit “The NDP being in opposition is certainly on graduation, and diverse and Aboriginal on each of the nets and we’d certainly like to something that we’re looking forward to, performers and fi lmmakers. see more in prime time,” he says. in an effort to try and raise the profile of On the digital media front, Waddell notes Over-the-top services (OTT) are also of cultural issues on a national level,” states that ACTRA was one of the fi rst unions to concern for the lack of contribution to the Waddell. negotiate collective agreements dealing with Canadian system, Waddell says, because Organizing jurisdiction is also top of mind, as provisions, including commercial agreements they’re taking money out of the country the union continues to encourage performers and independent production agreements. as well as pulling audiences away from working within ACTRA jurisdiction to join. However, the union was displeased when broadcasters and other Canadian services. Similar to the Directors Guild of Canada, the the private copyright levy wasn’t extended to “In our view, they should be made to ALLIANCE OF actors union has also implemented changes to include digital media formats. That’s something contribute to our system, so we’ll continue to its membership requirements. ACTRA will address when Bill C-32 is call on the government and the CRTC to look “We’ve reduced the number of credits to reintroduced to the new session of Parliament. at imposing conditions,” he adds. RADIO ARTISTS become a member in order to encourage “Creators’ rights should be strengthened, not “It may take a while, but we don’t think it has

TELEVISION AND more performers to become union members,” weakened, in the copyright bill,” says Waddell. to. It’s our view that the government should be says Waddell. “Our membership voted Group license renewals are also underway asking the CRTC to look at the OTT services as overwhelmingly in favor to modernize and and ACTRA, along with other unions and quickly as possible.” CANADIAN CINEMA, CINEMA, CANADIAN renew these rules and we’ve been actively guilds, has been arguing that broadcasters bringing actors into membership to dry up the should be producing more Cancon, particularly non-union talent pool.” in prime time. “Right now we’re only seeing That move, which went into effect in one hour of programs of national interest (PNI)

The Future of TV | 27

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THE BY PATRICIA BAILEY 2011 PLAYBACK INDIE LIST The companies at the top of Playback’s 2010 Indie The top 5: winning slate strategies Production List have reached the pinnacle of the Canadian fi lm and television industry by going After its rapid-fi re rise to the top of the Canadian producer with global outreach. To do this, the entertainment business, eOne’s strategy to stay company has made a series of daring corporate beyond our borders to fi nance, broadcast and there is simple: fi nd great stories and distribute acquisitions including Koch Entertainment, distribute Canadian stories. As a result, despite them around the world. which opened the doors to U.S. distribution “The television business has become global. and Contender Entertainment Group, one of the the recession and an increasingly fragmented and And it’s changing very rapidly. But whether largest distributors of TV content in the U.K. competitive media landscape, companies such as we’re making webisodes or mobisodes, it’s The company’s distribution network now always going to be about content,” says the stretches across Canada, the U.S., the U.K., Shaftesbury, Muse and eOne – who were also among company’s president of scripted programming, Ireland, Benelux, France, Scandinavia, Australia, the top fi ve on our list in 2009 – continue their Noreen Halpern. “We are always looking for New Zealand and South Africa. In July, the next great product, the really interesting eOne received a listing on the London Stock ascent as global brands. But the story this year was stories that the creators are passionate about. Exchange’s main market for listed securities. not strictly international, with Montreal-based Zone3 That’s why we work with the best independent “It’s really been an extraordinary few years,” producers in Canada.” says Halpern. “We take advantage of the and Cinefl ix entering the top fi ve by virtue of their And it’s no wonder the company attracts fact that we have international partners and success in the francophone and non-fi ction lifestyle talent. eOne’s rise to the top of the Canadian a fantastic sales team. So we are in a great entertainment business has been meteoric. position to maximize fi nancing when we produce markets, respectively, as well. In the following pages, With more than $113 million spent on Canadian content.” you’ll hear from some of Canada’s most successful Canadian independent production in 2010, Producing quality content is also a priority for the entertainment powerhouse is No. 1 on Montreal-based Muse Entertainment, which has brands, and see the top 10 players in a variety of Playback’s Indie Production list for the second jumped to second place from fi fth last year due to categories, from service production consecutive year. its production of two big budget made-in-Canada In the last six years, Toronto-based eOne has television series, the controversial $25 million to dramas and comedy. For the full rankings in every transformed from a below-the-radar DVD, music miniseries The Kennedys and Being Human, category, visit PlaybackOnline.ca. and video distributor to a fi lm and television a remake of the British supernatural series

28 june 2011 | playbackonline.ca

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Opposite: eOne’s Hell on Wheels, set to premiere this fall on AMC, follows a Confederate soldier who is out to avenge the death of his wife in post-Civil War America. The full-series order was announced in December 2010.

Muse Entertainment’s Being Human, based on a U.K. series of the same name, premiered on CTV’s Space channel in January 2011.

that aired on Space in Canada and Syfy in the U.S. “What we try to focus on is great productions. Broadcasters will come back to you if your productions reach a certain standard,” says the company’s president and CEO, Michael Prupas. “We’ve done a great deal of service productions, which means that we can meet the standards of U.S. television. We’ve also developed great relationships with U.S. networks.” successful titles such as Animals at Work, Canadian Pickers, Cash & Canadian drama and kid’s content for television. The bio-terrorism Despite its success, this past year has been Cari and Blank Canvas. drama ReGenesis (2004-2007), created by company chairman and a stressful one for Muse. In January, The “Cinefl ix consistently looks within and beyond our own borders for CEO Christina Jennings for The Movie Network and Movie Central, has Kennedys went from cancellation on the U.S. new opportunities. The combination of the best talent from around the sold to more than 100 countries. History channel to a new stateside home with world, strong ideas, and excellent execution means broadcasters keep Shaftesbury has also adapted much Canadian literature for fi lm and ReelzChannel in just a few short weeks. After coming back for new and long-running hit series like Mayday, and television, including the works of Margaret Atwood, Carol Shields, Prupas was alerted in January that History Property Virgins,” says the CEO of Cinefl ix, Glen Salzman. Mordecai Richler, Timothy Findley, Morley Callaghan and the Giller intended to drop The Kennedys, the producer One of Quebec’s most prolifi c TV makers, Zone3, produces more than prize-winning book by Vincent Lam, Bloodletting & Miraculous Cures had to scramble to fi nd the high-cost series 700 hours of television each year, much of it among the most-watched (2009). The company has also developed Maureen Jennings’ novels a new home. The network claimed it was content in the province. In addition to its slate of award-winning, into three Murdoch Mysteries made-for-television movies and four concerned about the series’ accuracy but there homegrown French-language programs such as the drama Minuit, seasons of the series (2007-2010). were also news reports that the Kennedy family le soir and the comedies 3600 seconds d’extase and Infoman, the And last year, Shaftesbury added a factual entertainment division, pressured History to abandon ship. Montreal-based company also adapts international formats such as explains CEO Christina Jennings. “It’s really important to me to “It could have been a disaster but we had Come Dine with Me, Cash Cab, Family Feud and Match Game for the have a diverse production slate. So we are expanding into factual. made pre-sales around the world so when Quebec audience. International co-productions are also important. The Listener wouldn’t it happened we were cushioned,” says the The key to the company’s success is a diverse production slate, have been made were it not for Fox TV. And for Murdoch Mysteries we executive, adding that The Kennedys has been says Zone3’s president and executive producer, Michel Bissonnette. needed U.K. television.” licensed in over 30 territories. “We don’t focus on making a few big series. We produce many Although the television landscape is changing rapidly Jennings “It’s a truly international show. It’s a Canadian different types of projects at the same time in different genres. That’s relishes the challenge. show which networks around the world have how we thrive.” “The old model for making television is increasingly less relevant. I am basically stood behind. Because of its success Investing in developing new projects is key, says Bissonnette. ever-mindful of the need to be nimble and think outside of the box.” the Muse brand is now trusted internationally.” “Research and development is the bread and butter of the business. Two other Montreal-based companies, Cinefl ix But I do it strategically; I don’t develop to develop. Each year I make and Zone3, have also made it into the top fi ve, the rounds of the broadcasters to fi nd out what they need.” although each company caters to radically Zone3 is also expanding into the English-language market. Last different markets. year it struck a deal with Incendo to create reality and lifestyle In the No. 3 spot is Cinefl ix, which produces programs for English-language broadcasters to fulfi ll Canadian more than 300 hours annually of lifestyle and content regulations. factual entertainment programming aimed at the In No. 5 spot on this year’s indie production list is Toronto-based international English-speaking market, including Shaftesbury, one of Canada’s largest creators and distributors of original

The Future of TV | 29

PPB.IndieSurvey.2011.inddB.IndieSurvey.2011.indd 2929 225/05/115/05/11 6:566:56 PMPM INDIE SURVEY *Figures do not include DHX TOTAL TOTAL PRODUCTION* DEVELOPMENT* OVERALL TOTAL

eOne Television $113,754,145 eOne Television $2,500,000 eOne Television $116,254,145.00

Muse Entertainment $78,500,000 Incendo $2,000,000 DHX $89,000,000

Cineﬂ ix $69,623,000 Cineﬂ ix $1,605,000 Muse Entertainment $79,250,000

Zone3 $62,000,000 Shaftesbury Films $990,861 Cineﬂ ix $71,228,000

Shaftesbury Films $41,960,000 Screen Siren Pictures $859,340 Zone3 $62,000,000

Seven24 Films $35,400,000 Muse Entertainment $750,000 Shaftesbury Films $42,950,861

Temple Street Productions $33,673,534 Temple Street Productions $711,986 Seven24 Films $35,800,000

Minds Eye Entertainment $33,500,000 Paperny Films $641,000 Temple Street Productions $34,385,520

Breakthrough Entertainment $32,542,066 Cuppa Coffee Studios $510,000 Minds Eye Entertainment $33,800,000

Sphere Media Plus $30,133,419 Portfolio Entertainment $500,000 Breakthrough Entertainment $32,954,649

TOTAL 2010: $1,072,430,700 TOTAL 2010: $25,790,878 TOTAL 2010: $1,092,408,711 Change year over year: down 7% ($85,593,582) Change year over year: down 11% ($2,775,154) Change year over year: down 8% ($94,181,603)

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THE A-LIST BY PATRICIA BAILEY Cuba Gooding Jr. stars in Sacriﬁ ce, a ﬁ lm which helped propel Zed Filmworks to second place on our service production list.

For the ﬁ rst time in the history of Playback’s Indie Production List, an Ottawa-based company, Zed Filmworks, is in the top two of the foreign-service category. “This is our fourth year in existence. We have worked hard to get the Ottawa SERVICE PRODUCTION brand noticed, and it’s working,” the company’s VP of business affairs, Donald Osbourne, tells Playback. “Ottawa has a natural appeal; it can be transformed to Lionsgate $40,000,000 look like Boston, or Europe or the Midwest. We also do work of very high quality. This has earned us a great deal of attention.” In 2010, Zed Filmworks drummed up more than $20 million in foreign-service Zed Filmworks $20,400,000 production business, including the $6.8 million American action thriller Sacriﬁ ce, starring Christian Slater and Cuba Gooding Jr. And in partnership with Relativity Cuppa Coffee Studios $15,495,000 Media and FilmNation Entertainment, Zed Filmworks also produced the $7 million thriller House at the End of the Street, starring Elisabeth Shue and Max Thieriot. Nerd Corps Entertainment $6,900,000 “Many things came together to establish Ottawa as a viable alternative. We have been doing a great deal of promotion. We meet personally with American Muse Entertainment $6,400,000 producers. And for whatever reason, Toronto just wasn’t drawing that much business,” says Osbourne, who also believes Ontario’s aggressive new tax credit Seven24 Films $5,600,000 has helped offset the rising Canadian dollar. To remain competitive with rival jurisdictions in the U.S., Ontario and Quebec Tricon Films and Television $3,465,614 introduced all-spend credits in 2010. This may explain why foreign-service production in Canada rose 4% in 2010 to $1.51 billion, according to a Canadian Media Production Association (CMPA) report. Canadian foreign-service production Guru Studio $3,000,000 peaked in 2003 at $1.91 billion. The recovery was mostly concentrated in and around Vancouver, where Buck Productions $2,505,000 foreign-service production spend reached $485 million locally in 2010. The CMPA report also said foreign-location shooting in Ontario was up modestly Big Motion Pictures $2,000,000 last year, but was sluggish in Quebec.

TOTAL 2010: $110,863,731 Change year over year: less than 1% ($390,000) The Future of TV | 31

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COMEDY

Zone3 $28,500,000

eOne Television $25,792,000

The Nightingale Company $17,000,000

Breakthrough Entertainment $13,480,000

Buffalo Gal Pictures $12,700,000

WestWind Pictures $11,780,000

Vérité Films $9,500,000

Sphere Media Plus $9,320,097

Amaze Film + Television $7,000,000

Shaftesbury Films $5,700,000 Seeing a 147% spike in comedy spend means more laughs for everyone and that’s just how Jake Labow likes it. The manager of original programming for The Comedy Network noticed more comics ﬁ nding work TOTAL 2010: $162,212,390 in 2010, due in part to the industry emerging from the recession. “When the economy goes down, the Change year over year: up 147% ($96,669,619) ﬁ rst thing people want to do is laugh,” he says, adding that he’s also seen a demand for comedy on the programming side in the last year. So is he surprised at the increase in comedy spend? Not really. “That’s how it should be,” he says.

DOCS: SHIFTING DOCUMENTARY REALITIES BY PATRICIA BAILEY Pyramid Productions $14,561,466

As this year’s Indie List illustrates, the documentary category in Canada is changing Paperny Films $6,186,000 dramatically. At ﬁ rst glance, it appears to be thriving (up approximately $60 million over 2009) but a closer look at the content being produced reveals the uptick isn’t Primitive Entertainment $5,300,000 necessary all good news for the category. TV networks in recent years have become more interested in programming lighter Omni Film Productions $5,027,796 fair, which is eligible for doc funding under the Canadian Media Fund, says Lisa Fitzgibbons, executive director of the Documentary Organization of Canada (DOC). “It could be attributed to what I refer to as genre creep,” she says of the category’s Anaid Productions $4,900,000 increase. “These companies might very well have received documentary funding but it may be for projects that are more lifestyle oriented rather than what I view as Lamport Sheppard Entertainment $3,100,000 traditional documentary.” According to a report released by DOC earlier this year, “Getting Real, an Economic 90th Parallel Productions $3,019,214 Snapshot of the Canadian Documentary Industry,” which looks at the sector over the period from 2006 to 2009, the production of social issue and current affairs docs in Make Believe Media $3,000,000 Canada has declined to $413 million, its lowest level in six years. Fitzgibbons lays blame for the decline in POV docs on the Canadian networks, which increasingly favor lifestyle and reality series over traditional documentaries, which are Markham Street Films $2,500,000 harder to program. On the other hand, the non-scripted category (opposite page) is thriving, up 65% over Zone3 $2,400,000 last year. As Canada’s portfolio of specialty channels grows, and expands into new spaces, demand for this type of programming is up, a boon for producers working in this area. TOTAL 2010: $142,877,476 Change year over year: up 71% ($59,705,627)

32 june 2011 | playbackonline.ca

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eOne Television $67,453,530

Shaftesbury Films $34,850,000

Take 5 Productions $26,000,000

Epitome Pictures $25,000,000

Temple Street Productions $22,152,130

Muse Entertainment $22,000,000

Sphere Media Plus $20,813,322

Seven24 Films $20,000,000

Thunderbird Films $12,671,000

Sparrow Media Company $11,000,000

TOTAL 2010: $275,053,127 Rookie Blue, which airs on GlobalTV, returns this summer. Year over year: down 20% ($70,873,924)

NON-SCRIPTED DRAMA (OTHER)

Cineﬂ ix $68,957,000 Muse Entertainment $56,500,000

Zone3 $22,700,000 Chesler/Perlmutter Productions $20,300,000

Force Four Entertainment $9,760,000 Incendo $20,000,000

Tricon Films and Television $8,940,076 Seven24 Films $15,400,000

Entertainment One Television $11,911,164 Entertainment One Television $6,791,608 Buffalo Gal Pictures $2,900,000 Buck Productions $4,484,000 Whizbang Films $2,076,528 Ocean Entertainment $3,238,255 Sarrazin Couture Entertainment $194,000 Marblemedia $3,146,000 Prospector Films $100,000 Peace Point Entertainment Group $2,800,000 Year of the Skunk Productions $83,000 Castlewood Productions $2,000,000 TOTAL 2010: $129,865,012 TOTAL 2010: $142,567,998 Year over year: down 16% ($24,960,665) Change year over year: up 65% ($56,311,873)

The Future of TV | 33

PPB.IndieSurvey.2011.inddB.IndieSurvey.2011.indd 3333 225/05/115/05/11 7:067:06 PMPM INDIE SURVEY

FEATURE PRODUCTION

Minds Eye Entertainment $33,000,000

Don Carmody Productions $30,000,000 Julia Stone stars in The Year Dolly Parton Was My Mom, from Winnipeg-based Buffalo Equinoxe Films $24,000,000 Gal Pictures. The ﬁ lm, which premiered across Canada this spring, follows a young girl in Cinémaginaire $10,000,000 search of her birth mother. Accent Entertainment $9,500,000

Buffalo Gal Pictures $9,100,000

Whizbang Films $5,332,747

Ecstasy FIlm $5,000,000

Buck Productions $4,852,000

Independent Edge Films $3,500,000

TOTAL 2010: $149,439,578 Change year over year: down 3% ($5,386,099)

CHILDREN’S LIVE ACTION

Sudden Storm Entertainment $13,769,780

Temple Street Productions $11,525,404

Zone3 $8,400,000

Marblemedia $8,231,535

Thunderbird Films $4,915,000

CCI Entertainment $4,750,000

Tricon Films and Television $4,494,085

Aircraft Pictures $3,270,000

Sinking Ship Entertainment $3,187,000 Splatalot, marblemedia’s newest game show, premiered on YTV in March 2011. Apartment 11 Productions $2,800,000

TOTAL 2010: $70,092,804 Change year over year: up 9% ($5,102,928)

Numbers in the above charts have been calculated based on results from Playback’s annual survey of Canadian independent production companies and the feature ﬁ lm, TV and new media projects they produced and developed in a given calendar year. For the full list of companies, and additional top 10 breakdowns, please visit PlaybackOnline.ca.

34 june 2011 | playbackonline.ca

PPB.IndieSurvey.2011.inddB.IndieSurvey.2011.indd 3434 226/05/116/05/11 4:024:02 PMPM In today’s mediascape, more players need to move past their comfort zones to ﬁ nd new ways of engaging viewers and propel the industry forward together.

The AToMiC Awards are designed to showcase projects that challenge the status quo and celebrate groundbreaking partnerships between content creators, broadcasters and brands, as well as the individual properties and initiatives that take the viewing experience up a notch.

Enter now! And be part of the celebration at the AToMiC conference and Awards Show this Fall. Deadline for entries is July 15th For info call Carla MacNeil at 416-408-2300 x536

Categories span all media universe areas, so anyone can enter as long as it’s AtoMiC in nature – content that blows up conventional thinking in a potent cocktail of media creativity, technology and/or advertising innovation.

Here’s what we’re looking for: + mediacos that take content platforms and models to a new level – whether it’s an alternate reality game or an exceptionally transmedia property + technology breakthroughs – platforms, tools, metrics – that help reach & engage consumers + truly forward-thinking programs and media-centric ﬁ rsts from brands & agencies

ADVISORY BOARD/2011 INAUGURAL JURY: Co-chairs

Lauren Richards Mark Childs CEO VP Marketing Media Experts Campbell Canada

Mark Bishop Nick Barbuto Barbara Smith Sharon MacLeod Stephen Jurisic Alan Dark Graham Moysey Executive Producer & VP Digital Solutions, Director of Brand Building Director, Creative Director, Executive Director General Manager, Partner, Marblemedia Cossette Media Brand Engagement, Unilever Canada John St. Media Sales & Marketing, AOL Canada The Globe & Mail CBC For category and entry details check out: atomicawards.strategyonline.ca

PRESENTED BY PLATINUM SPONSOR

PPB.19521.Atomic.Ad.inddB.19521.Atomic.Ad.indd 1 226/05/116/05/11 2:192:19 PMPM Without funding, big ideas for great stories would never make it off the cocktail napkin.

From script to screen, we are proud to partner with Canadian producers to tell our stories and ensure a vibrant Canadian culture.

Proud sponsor of the Banff World Media Festival 2011

PPB.19487.AstralMedia.Ad.inddB.19487.AstralMedia.Ad.indd 1 225/05/115/05/11 5:205:20 PMPM NATIONAL Playback’s annual compilation outlines the latest FUNDING SOURCES updates and information on funding sources across Canada, to help screen-based producers get their next project off the ground, on budget and on deadline. For more sources and information, please IN CANADA head to PlaybackOnline.ca. ASTRAL’S HAROLD GREENBERG FUND/ FONDS HAROLD GREENBERG Astral’s Harold Greenberg Fund/Fonds Harold Greenberg supports the development of Canadian feature fi lms. ENGLISH-LANGUAGE PROGRAM Script Development Program: Interest-free development loans for dramatic feature fi lm projects by Canadian production companies with a track record of producing theatrically released or nationally broadcast fi lms. Loans are repayable on the fi rst day of principal photography. For the story optioning phase, the full amount of the option plus administrative costs of up to $2,500 can be advanced. Up to $18,000 can be advanced at the treatment to fi rst-draft phase, up to $12,000 at the fi rst- to second-draft phase, and up to $10,000 at the second- to fi nal-draft phase. In the polish and packaging phase, up to $25,000 can be advanced for costs related to script polishing, packaging, workshopping and preliminary cast interest. There are three deadlines per year. Paperny Films’ Eat St. received over $300,000 in Bell Fund support. It airs on Food Network Canada. Equity Investment Program: Equity investments for dramatic feature fi lms made by Canadian production companies with a track record of producing feature fi lms that were theatrically released or nationally broadcast (conventional or pay TV). The Fund may advance up to 10% BELL BROADCAST AND NEW MEDIA FUND of the total production budget, to a maximum of $200,000 on any With approximately $13 million from Bell TV, the Bell Fund or educational program. The program must qualify under single project. There are no deadlines for this program. encourages connections between Canadian broadcast CAVCO guidelines at a minimum 8/10 on the point system. Contact: English-Language Program Offi ce: (416) 956-5431, and new media sectors and the production of interactive Development $$$: Grants of up to 75% of the cost of [email protected], www.astral.com/hgfund content. The pot is divided between English-language development to a maximum of $50,000 for the development FRENCH-LANGUAGE PROGRAM (two-thirds) and French-language (one-third) projects. of new media projects associated with television programs. Script Development Program: Loans are repayable on the fi rst day Criteria: Projects must have a broadcast licence and Other $$$: Grants to recognize trade organizations for of principal photography. Fonds may advance up to 50% of eligible include a new media component. special projects (training programs, conferences and expenses, to a maximum of $30,000. For story optioning, Fonds may Production $$$: Grants provide a top-up of 75% of workshops for industry professionals). advance up to 50% of the cost of the option, to a maximum of $5,000. total Canadian broadcast licence fees (up to $75,000) Deadlines: Feb. 1, May 1 and Oct. 1 for production MaxFACT Program: This program provides assistance to in addition to a grant of 75% of the cost of production of applications; fi rst of each month for development French-Canadian and foreign-language Canadian projects towards the new media component (up to $250,000), as well as a applications. the production of music videos. The funding covers up to a maximum bonus to match broadcaster cash investments in the new Contacts: Toronto: (416) 977-8154, [email protected], of $15,000 of the production budget. Visit www.maxfact.org. media project (up to $100,000). www.bellfund.ca Contact: Gabrielle Meloche, French-Language Program Offi ce Eligible projects: The broadcast portion must be a Montreal: (514) 845-4418, [email protected], (514) 939-5094, [email protected], www.astral.com drama, variety, documentary, children’s, performing arts www.fondsbell.ca

The Future of TV | 37

for Canadian Drama www.cogecofund.ca www.fondscogeco.ca

PPB.FundingSources2011.inddPB.19333.Cogeco.Ad.inddB.FundingSources2011.in d d1 3737 225/05/1125/05/115/05/11 7:177 5:24:17 PMP PMM FUNDING SOURCES

CANADIAN AUDIO-VISUAL CTV’S BRAVO!FACT CANADA COUNCIL FOR THE ARTS CERTIFICATION OFFICE (CAVCO) Production $$$: Sponsored by Bravo! and CTV GRANTS TO INDIVIDUAL ARTISTS CAVCO co-administers the Canadian Film or Video Television, this program provides producers, Grants to Film and Video Artists: These grants are designed to Production Tax Credit (CPTC) program and the Film or directors, artists and arts groups with up to 50% of support Canadian independent artists. The applicant must be the Video Production Services Tax Credit (PSTC) program with the total production costs (maximum of $25,000 director and must maintain complete creative and editorial control the Canada Revenue Agency. per short) in non-refundable grants for short over the work. Canadian Film or Video Production Tax Credit: The Canadian fi lms (maximum length six minutes) for Ineligible projects: Commercial or journalistic projects, CPTC is available at a rate of 25% of eligible salaries broadcast on Bravo! and affi liated TV stations. The conventional theatrical and TV entertainment and calling-card fi lms. and wages, which may not exceed 60% of the cost fund is 5% of Bravo!’s gross revenues from the Research/Creation $$$: For time and expenses related to a of production, net of assistance. The tax credit can previous year. The fund provides exposure for the project that advances individual creative expression in fi lm or video. comprise up to 15% of the cost of production, net of shorts produced on the national specialty channel Eligible projects include: development, analysis and/or research assistance. through non-exclusive broadcast rights, but of ideas, concepts, themes and/or techniques, experimentation Film or Video Production Services Tax Credit: This applicants retain copyright of their production. and research workshops linked to the application, experimentation tax credit is equal to 16% of salaries and wages paid to Eligible projects: Arts genres (drama, spoken with processes or techniques. Maximum grants are $20,000 for Canadian residents or taxable Canadian corporations (for word, animation, dance, visual arts). emerging artists and $60,000 for midcareer and established artists. amounts paid to Canadian residents) for services provided Deadlines: Four deadlines annually, in March, Scriptwriting $$$: Cover the direct costs related to developing a to a Canadian production. This refundable tax credit has June, September and December. The deadlines storyboard, treatment or script. Maximum grants are $20,000, and no cap and it is available to taxable Canadian corporations for 2011 are March 18, June 24, Sept. 23 and are open to established and mid-career artists only. or foreign-owned corporations with taxable permanent Dec.16. Production $$$: For the direct costs of production and post of an establishments in Canada. Contact: Gina Dineen, program administrator, independent fi lm or video. Max. grants are $20,000 for emerging Contact: 1-888-433-2200, [email protected], (416) 384-2738, [email protected], artists, $60,000 for mid-career and established artists. www.pch.gc.ca/cavco www.bravofact.com Deadlines: March 1, Oct. 1, 2011

38 june 2011 | playbackonline.ca

Three different types of financing. Three different funds. All from one source.

The Rogers group of funds offers support to Canadian independent producers with three different types of funding: Rogers Telefund offers loans to Canadian independent producers; Rogers Documentary Fund, Canada’s premier source of funding for documentary films and Rogers Cable Network Fund, an equity investor in Canadian programs with a first play on a Canadian cable channel. Three different types of financing. Three different funds. All from one source – Rogers. For more information contact Robin Mirsky, Executive Director, at (416) 935-2526. The application deadline for the Rogers Documentary Fund is Monday, August 15, 2011. The application deadlines for the Rogers Cable Network Fund are Wednesday, June 15 and Monday, October 17, 2011.

PB.19356.Rogers.Ad.inddPB 19356 Rogers Ad indd 1 25/05/11 5:28 PM PPB.FundingSources2011.inddB.FundingSources2011.indd 3838 225/05/115/05/11 7:187:18 PMPM CFC FEATURES Formerly The Feature Film Project, CFC Features is for fi lmmakers Contacts: 1-800-263-5588; Ian Reid, ext. 5203, Deadlines: March 1, Oct. 1, 2011 wishing to work in the low-budget realm. As executive producer, [email protected]; Laura Jeanne Lefave, Contact: Laura Jeanne Lefave (see previous grant) CFC Features oversees and provides up to 100% of the fi nancing, ext. 5254, [email protected]; Aboriginal Media Arts Program: Open to administrative and professional support for development, production Paul Thinel (Francophone artists), ext. 5253, emerging, mid-career and established aboriginal and marketing of theatrical feature fi lms. The program is for production [email protected] artists to help them develop careers as media artists. budgets in the range of $1 million and under, and can provide up to Grants to New Media & Audio Artists: Assists Research $$$: Cover research costs, scriptwriting 100% of the production fi nancing to a maximum of $600,000. For Canadian artists working with new media and audio as and concept development to a maximum of $20,000. budgets exceeding that, fi lmmakers are responsible for securing means of artistic expression. Production $$$: For emerging artists, the grant additional funds required (subject to approval). Support and fi nancing Research $$$: Cover time and expenses related to is up to $20,000; for mid-career and established is provided in development, production and the eOne Entertainment work that advances individual creative expression. artists, $60,000. Distribution Lab. To be considered, the creative team and project must Maximum grants are $20,000. Deadline: April 1, 2011 have successfully completed development. Full mentorship continues Production $$$: Cover the direct costs of production Contact: Ian Reid (see previous grant) throughout the production and post-production process. and post of an independent new media or audio Travel Grants to Media Artists: Travel grants are Eligible projects: Dramatic feature fi lms over 85 minutes in length, artwork. Maximum grants for new media are $20,000 available to independent media artists to present their intended for theatrical release. Applicants must own and control the for emerging artists and $60,000 (new media) and work at recognized festivals or exhibition venues, property on which the proposed feature is based. Principal photography $35,000 (audio) for mid-career and established artists. or to participate in workshops, residencies or other can take place anywhere in Canada provided the budget supports the Other $$$: Cover the expenses of a program of work professional development opportunities. Amounts location. Applicants are not prohibited from bringing additional fi nancing. that advances a mid-career or established media of $500, $750, $1,000, $1,500, $2,000 or $2,500 Deadlines: Jan. 28, May 27, Sept. 30, 2011 artist’s understanding and research in new media. may be requested, depending on the distance of the Contact: (416) 445-1446 ext. 268, [email protected], The maximum research grant is $30,000. Production proposed travel. www.cfccreates.com residencies pay for the direct costs of production of an Deadline: Anytime. www.canadacouncil.ca independent new media artwork, to a maximum of $60,000. CANADA MEDIA FUND The Canada Media Fund (CMF) supports the creation and promotion of Canadian content and software applications for current and emerging digital platforms. The CMF has two streams, Convergent and Experimental. CONVERGENT STREAM The Convergent Stream supports multi-platform Canadian projects that provide content on at least two distribution platforms, one of which is TV. In this stream, the CMF supports the creation of TV shows and related digital media content in four genres: drama, documentary, children’s and youth, and variety and performing arts. The digital media component must feature rich, interactive content and can include games, interactive or on-demand web content, podcasts, webisodes and mobisodes. The majority of funding in this stream is disbursed through the Performance Envelope Program, which encourages partnerships between broadcasters, television producers, and digital media producers. EXPERIMENTAL STREAM The Experimental Stream encourages the creation of leading-edge, interactive, digital media content and software applications. Projects funded under this stream are to be developed for commercial potential by iThentic’s Guidestones, a transmedia property, received funding from the the Canadian media industry or public use. Ontario Media Development Corporation (OMDC). Visit www.cmf-fmc.ca for full program details. Contact: (416) 214-4400; 1-877-975-0766

The Future of TV | 39

Taking to a Whole www.bellfund.ca Television New www.fondsbell.ca Platform.

PB.19356.Rogers.Ad.indd 1 25/05/11 5:28 PM PPB.FundingSources2011.inddPB.19331.Bell.Ad.inddB.FundingSources201 1 .1indd 3939 225/05/1125/05/115/05/11 7:187 5:29:18 PMP PMM FUNDING SOURCES

COGECO PROGRAM DEVELOPMENT FUND Development $$$: Provides fi nancing series and drama series for public via loans repayable on the fi rst day of broadcasters. principal photography for dramatic series Criteria: Projects must have a licence bibles, treatments, fi rst- and fi nal-draft from a Canadian broadcaster. Producers scripts, and cross-platform development must be independent and Canadian. proposals for content for alternate Eligible projects: Same as distribution platforms. development. Criteria: Applicant must be a Canadian Deadlines: May 1, July 1, Oct. 1, 2011 independent producer with a least two THEATRICAL FEATURE FILM PROGRAM years of production experience and Development $$$: Applicant must one credit as a TV drama producer. be a Canadian feature fi lm production A development commitment from a company with three theatrically Canadian broadcaster is required. released or broadcast productions in Eligible projects: English and French the last fi ve years. dramatic TV series, MOWs or miniseries. Deadline: July 1 Deadlines: March 1, Oct. 1 Criteria: Production companies Pre-Development $$$: For early stage with three theatrical feature fi lms in development of creative materials to development. pitch to broadcasters. Contacts: Toronto: (416) 977-8966, Deadline: Oct. 1 [email protected]; Montreal: (514) 845-4334, Season four of Shaftesbury’s Murdoch Mysteries, which airs on Citytv, received CPDF funding. Production $$$: Equity investments for fi [email protected], www.ipf.ca MOWs, miniseries, pilots for dramatic

40 june 2011 | playbackonline.ca Sa s k a tch e wa n

Jordan Ladd stars in the Academy Award winning horror film GRACE, filmed actor Charlize Theron and Renowned director Bill Pullman and Julia in Saskatchewan’s scenic Christian Slater stars in the director Bill Maher on the Qu’Appelle Valley in Terry Gilliam on the set Ormond star in the thriller set of SLEEPWALKING in of TIDELAND, filmed Stephen King adaptation SURVEILLANCE, directed southern Saskatchewan. Award winning director DOLAN’S CADILLAC, the Canada Saskatchewan throughout southern Bruce McDonald by Jennifer Lynch, filmed in Jason Patric and Maria Saskatchewan and in the filmed in the Canada Production Studios in OFFICIAL SELECTION took advantage of southern Saskatchewan. Bello on location in Regina, SUNDANCE Saskatchewan Production Regina, Saskatchewan. FILM FESTIVAL Canada Saskatchewan Saskatchewan on the set of Saskatchewan’s small Studios in Regina, Production Studios in colourful towns and resort OFFICIAL SELECTION DOWNLOADING NANCY. Saskatchewan. FESTIVAL DE CANNES OFFICIAL SELECTION Regina. SUNDANCE villages for HARD CORE FILM FESTIVAL OFFICIAL SELECTION LOGO II. SUNDANCE OFFICIAL SELECTION FILM FESTIVAL TORONTO INTERNATIONAL FILM FESTIVAL

STATE OF THE ART UP % TAX CREDIT TO 55 ON ELIGIBLE LABOR PRODUCTION FACILITY

PPB.FundingSources2011.inddB.FundingSources2011.indd 4040 226/05/116/05/11 4:034:03 PMPM PB.19334.IPF.Ad.indd 1 25/05/11 5:30 PM

PB.19009.Sask.indd 1 25/05/11 5:46 PM CORUS MADE WITH PAY DEVELOPMENT FUND

Administered through Movie Central, this $1.5-million fund assists in the development of Canadian dramatic movies and Canadian original series intended for broadcast on pay television. The fund offers support on a per-project basis. Deadlines: Oct. 5, 2011, Feb. 10, 2012 (Check www.corusent.com for details) Contact: Susan Makela, director, network content, original, [email protected]

INDEPENDENT PRODUCTION FUND Production $$$: A private charitable foundation with a capital endowment of $35 million, the IPF has more than $2 million available per year for equity investment. Criteria: Projects must have a licence from a Canadian private broadcaster. Producers must be independent and Canadian. Eligible projects: Canadian one-hour dramatic TV series, children’s drama series and web drama series (no broadcaster required). Other $$$: IPF also provides grants to recognized trade organizations for special projects such as training programs, conferences and workshops targeted at Gordon Tootoosis The Closer You Get To Canada, which received funds from the NSI (photo: Stacey Schmidt, Simplicity Media/Opus 59) industry professionals. Deadlines: March 1 (web series only); May 1 and Oct. 15 Contacts: Toronto: (416) 977-8966, [email protected]; Montreal: (514) 845-4334, ﬁ [email protected], www.ipf.ca

NATIONAL FILM BOARD NSI DRAMA PRIZE QUEBECOR FUND/FONDS QUEBECOR

Canada’s public producer and distributor, the National Each year, the National Screen Institute selects Founded in 2000, the Quebecor Fund contributes to the development of Film Board, works with independent fi lmmakers and up to four teams of emerging fi lmmakers Canadian content production and promotes the use of new broadcasting coproducers in every region of the country through its from across the country to receive a year of models. Vidéotron provides annual contributions of over $6.8 million to English and French Program production centres. professional mentoring and training to produce the Canadian industry through BDU grants. The Quebecor Fund promotes n Productions: The NFB participates as a full producer a quality short fi lm. Teams receive $10,000 in the production of projects including Canadian content production for TV or as a coproducer in the development and production cash support and $25,000 in services. broadcasting. Productions can be fi lm or TV. To date, through the Main Television of Canadian audiovisual works (documentary, Eligible projects: Dramatic fi lm projects, Production Assistance Program (MPAP), the Quebecor Fund has helped more animation and interactive) that are innovative and no longer than 10 minutes, from emerging than 53 producers for 124 projects broadcast on 27 different Canadian socially relevant. The board works with domestic professionals with less than two hours credit in networks such as TVA, Radio-Canada, Télé-Québec, Astral channels, Discovery, as well as international partners. The NFB retains their discipline. Teams must apply with a short TFO and TV5. In its fi rst round of fi nancing, under the Event and Film Production copyright ownership in proportion to its participation. fi lm script and must invest at least $2,000 in Assistance Program (EFPAP), the Quebecor Fund supports eight producers for The NFB also offers technical support to independent their project. event coverage and feature fi lms as well as three distributors. fi lmmakers through its Filmmaker Assistance Program Contact: Melissa Kajpust, (204) 957-8480, Deadlines: Oct. 1 and April 1 of each year for MPAP, and June 3, 2011 and and French-language equivalent, Aide au cinéma 1-800-952-9307, [email protected], Jan. 9, 2012 for EFPAP. indépendant. Visit www.nfb.ca/emerging. www.nsi-canada.ca Contact: (514) 842-2497, [email protected], www.fondsquebecor.ca

The Future of TV | 41

Making a Dramatic Difference www.ipf.ca

PB.19334.IPF.Ad.inddPPB.FundingSources2011.inddB.FundingSources20 1 1.indd 4141 25/05/11225/05/115/05/11 5:307:207:20 PMPMPM

PB.19009.Sask.indd 1 25/05/11 5:46 PM FUNDING SOURCES

ROGERS CABLE NETWORK FUND SHAW ROCKET FUND This fund provides approximately $9 million per year in equity The Shaw Rocket Fund is an independently governed national fund, projected at approximately $11 million annually. The fi nancing to Canadian independent producers for TV programs fund targets Canadian independent producers of children’s, youth and family programming. Current Shaw Rocket Fund with a guaranteed fi rst play in primetime on an English-language contributors are Shaw Communications, Shaw Direct and Shaw Pay Per View, a division of Shaw Cablesystems G.P. Canadian cable channel. Production $$$: Historically, the Shaw Rocket Fund invests an average of $250,000 in 13 x 30-minute episode series, Production $$$:The RCNF will invest up to 20% of the total made-for-TV movies or feature fi lms. An investment higher than historical averages will be considered if the business production budget or fi nal cost of eligible projects to a maximum plan and recoupment proposal support the request. of $500,000 per project. Eligible projects: Productions must be of high quality, have a broadcast licence, meet a minimum of 8/10 Cancon Criteria: Projects must have an 8/10 Cancon ranking with the points, and be primarily targeted to children, youth or family audiences. Funding is not intended to support projects that Canadian applicant holding copyright in the project, controlling the are primarily targeted at a general audience, even though the program may be suitable for family viewing. project and being based or operating in Canada. Contacts: Agnes Augustin, president; Lisa Donahue, manager, business and legal affairs; Chandra Deedman, business Eligible projects: Eligible genres include drama, documentaries, analyst; (403) 750-4517, [email protected], www.rocketfund.ca children’s, educational, instructional, performing arts and variety (news and sports are excluded). Programs must be 30 minutes or more. Deadlines: June 15, Oct. 17, 2011 TELEFILM CANADA The mandate of Telefi lm is to foster and promote the Offi cial Coproductions development of the Canadian audiovisual industry. It Telefi lm administers all international agreements governing ROGERS DOCUMENTARY FUND administers annual funds totaling $128 million* offi cial coproductions. It receives and evaluates all Canadian With $2 million a year, the Rogers Documentary Fund provides Canada Feature Film Fund applications in order to recommend to the Canadian grants to French and English documentaries up to a maximum of With approximately $93.2 million available for government whether offi cial coproduction status should be $75,000 per project. commitment*, the Canada Feature Film Fund includes: granted. At present, Canadian producers may create joint Deadlines: April 11, Aug. 15, 2011 Development Production and Marketing Programs; works with their counterparts in more than 50 countries. Premier Writers Program; Low Budget Independent Deadlines: Check website for updates. Feature Film Assistance Program; and complementary Contacts: Montreal (head offi ce and Quebec region): activities including: Festivals Performance Program / Skills (514) 283-6363; 1-800-567-0890 ROGERS TELEFUND and Screens Program; Versioning Assistance Program; Toronto (Ontario and Nunavut regions): (416) 973-6436; Rogers Telefund is a revolving fund available for interim International Marketing Program; and Alternate Distribution 1-800-463-4607 fi nancing to Canadian producers with fully fi nanced TV projects Networks Program, all of which provide fi nancial support Vancouver (Western region): (604) 666-1566; and a Canadian broadcaster attached. There are no minimum or to initiatives dedicated to increasing awareness and 1-800-663-7771 maximum loan amounts or administration fees. accessibility of Canadian fi lms. Halifax (Atlantic region): (902) 426-8425; 1-800-565-1773 For all of the above, please contact: Robin Mirsky, The overall goal of the CFFF is to increase Canadian www.telefi lm.gc.ca, www.cmf-fmc.ca (416) 935-2526, www.your.rogers.com audiences in theaters for Canadian feature fi lms (*Figures indicated refer to the 2009/10 fi scal.)

42 june 2011 | playbackonline.ca

PB.19382.CanadaFilm.Ad.indd 1 25/05/11 5:31 PM PPB.FundingSources2011.inddB.FundingSources2011.indd 4242 225/05/115/05/11 7:217:21 PMPM PPB.19283.Iatse.inddB.19283.Iatse.indd 1 225/05/115/05/11 5:485:48 PMPM