® A PUBLICATION OF BRUNICO COMMUNICATIONS LTD. SPRING 2012

GAME-CHANGE INTEL FOR PLANNING TIME YOUR NEXT MOVE

ALSO: INDIE SURVEY RESULTS | FUNDING | HGTV CANADA AT 15 | BRANDED ENTERTAINMENT

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SPRING 2012 table of contents

TV Movie Cyberbully was produced by Montreal’s Muse Entertainment, who according to the Playback annual survey of independent production (starting on page 18) had a strong year. The survey results suggest Canadian producers as a whole had no reason to cry in 2011. (Photo credit: courtesy Muse Entertainment)

8 Up front 26 Forward thinking 41 Directors Guild of Canada Bridging transmedia work’s two Unions, guilds and academic and marks 50 years solitudes, taking the branded training institutions are readying the Examining the association’s entertainment plunge profession for the digital and formative role in the industry’s transmedia era present and its future 13 Time to join the crowdsourcing trend? 37 HGTV Canada turns 15 46 The Back Page A look at non-traditional funding In its short life, the lifestyle specialty Wish you were there? models producers are using to channel has boosted its homegrown Feting the inaugural Playback Summit get their projects to any screen programming and opened U.S. doors for Canadian producers 18 Playback Indie List Our annual survey of independent fi lm and TV production

Cover artwork by award-winning illustrator Ryan Snook. From top of game board is depicted John Brunton, president and CEO of Insight Productions; James Milward, founder and executive producer of Secret Location; Kirstine Stewart, CBC English language executive VP and Tony Chapman, partner and CEO of Capital C.

spring 2012 | 3

PPB.TOC.2012.inddB.TOC.2012.indd 3 118/05/128/05/12 1:471:47 PMPM PUBLISHER Mary Maddever • [email protected] EDITOR Matt Sylvain • [email protected] STAFF WRITER Danielle Ng-See-Quan • [email protected] CONTRIBUTORS Mark Dillon, Marc Glassman, Kevin Ritchie, Etan Vlessing SAME OLD GAME– INTERN Jordan Twiss

OR NOT? BRUNICO CREATIVE Is it appropriate to start out by saying, may you live in interesting times? CREATIVE DIRECTOR The last few months have certainly been interesting for the Canadian screen-based industry. Unless you’ve been on an Stephen Stanley • [email protected] extremely-long, extremely-remote shoot you will be well aware of the funding cuts to many key government-funded industry ART DIRECTOR supports–the deepest and, in many people’s minds the bloodiest, to the CBC, the National Film Board and Telefi lm Canada. Mark Lacoursiere • [email protected] While those budget reductions, which resulted in hundreds of job cuts across the country, are undeniably disruptive, they PRODUCTION & DISTRIBUTION CO-ORDINATOR were a long time coming, as the Harper government had been telegraphing its coolness to the nationally-owned media for Robert Lines • [email protected] well over a year. But a lesser-noticed major change, long in coming, seems to be fi nally in the process of overtaking the industry. While this ADVERTISING SALES observation is based entirely upon anecdotal evidence, the newsfl ow through Playbackonline.ca over the last few months (416) 408-2300 suggests that now, more than ever, the business model of distributing content direct-to-audiences via online and mobile FAX (416) 408-0870 platforms by prodcos and broadcasters–supported by advertising–has taken hold. 1-888-278-6426 This is a positive development, both for individual companies but also the production community as a whole, if nothing else ADVERTISING EXEC because it means the Harper cuts won’t be as damaging to the industry as they would have been in an earlier era. Jessamyn Nunez • [email protected] As discussed in our story beginning on page 13, some ambitious content producers are going directly to audiences, using MARKETING CO-ORDINATOR social media to raise project funding or, in some cases, to sell content or ancillary products to their fans. It illustrates a point Vakis Boutsalis • [email protected] raised at the recent inaugural Playback Summit in Toronto; one panelist noted that today getting into the Canadian fi lm and TV industry is easier than ever (the downside is that it’s becoming ever harder to fi gure out a sustainable revenue model for your BRUNICO AUDIENCE SERVICES business, once you get in). ASSISTANT MANAGER For the established players in the business, the results of the annual Playback production survey suggests 2011 was Christine McNalley • [email protected] a pretty good year. Completed by you (thanks readership!) between January and April of this year, the data suggests the MANAGER independent community held its own last year. Coverage of the survey results begins on page 18. No small part of that Deborah Brewster • [email protected] achievement was entrepreneurialism–and maybe a high loonie–as an ever-growing number of Canadians set up shop in New York and Hollywood, offi ces the better with which to promote and pitch to the powers that be in the U.S. media industry. ADMINISTRATION The results also convey the sense that the industry feels more game-line than ever. With that in mind we decided to go with PRESIDENT AND CEO the board game theme on the cover of this issue. Illustrated by New York artist Ryan Snook, the characters are based on real • industry personalities. Can you fi gure them out? In the beret is John Brunton, the president and CEO of factual powerhouse Russell Goldstein [email protected] Insight Productions. In the check shirt is James Milward, founder and executive producer of transmedia player Secret VP AND CHIEF INFORMATION OFFICER Location. The lone woman is Kirstine Stewart, the CBC’s English language executive VP, who is looking at the pubcaster’s Omri Tintpulver • [email protected] current challenges as an opportunity. Finally, the sock legger is Tony Chapman, the partner and CEO of branded content VP AND EDITORIAL DIRECTOR impresario Capital C. Mary Maddever • [email protected] As is the nature of journalism, even as this issue of Playback was going to press we were already thinking of our next issue, VP ADMINISTRATION & FINANCE which comes out in time for TIFF. That issue’s coverage includes our Hall of Fame as well as our 10 to Watch list. Keep an eye Linda Lovegrove • [email protected] out for our social media initiatives tied to the 10.2.W in particular, such as the Twitter hashtag #PB102W. VP & PUBLISHER, REALSCREEN Claire Macdonald • [email protected] VP & PUBLISHER, KIDSCREEN Jocelyn Christie • [email protected] Matt Sylvain

Editor, Playback Playback is published by Brunico Communications Ltd., 366 Adelaide Street West, Suite 100, Toronto, Ontario, Canada M5V 1R9 (416) 408-2300; FAX: (416) 408-0870 Internet address: www.playbackonline.ca Editorial e-mail: [email protected] Sales e-mail: [email protected] Sales FAX: (416) 408-0870

© 2011 Brunico Communications Ltd. All rights reserved. Printed in Canada.

Postmaster Notifi cation Canadian Postmaster, send undeliverables and address changes to: Playback PO BOX 369 Beeton ON, L0G 1A0 U.S. Postmaster, send undeliverables and address changes to: Playback PO BOX 1103, Niagara Falls NY, 14304 [email protected] Canada Post Agreement No. 40050265. ISSN: 0836-2114 Printed in Canada.

4 spring 2012 | playbackonline.ca

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Photo: Arctic Air

1 Catalyst for great ideas Find out more on our website new cmf-fmc.ca the CMFoffers the to means succeed. merge emerge, and As media onething isconstant: innovative content that transcends platforms. marketand intelligence, support we the creation and of new offers edgethat an make can the difference. Through funding Even the best stories can’t goit alone. Fund Media The Canada 116/05/12 4:58PM 6 / 0 5 / 1 2

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P M MAKE Playback’s SOME gameplan NOISE As our cover suggests, there are many moving pieces at play in Canada’s AT TIFF! production industry right now, so a higher level of gamesmanship is needed to navigate the board. With the mediascape shifting faster than a kaleidoscope, entering new worlds, collaborating with new partners and Streeting in early September, moving nimbly are all part of the game. To that end, Playback recently held its fi rst Summit in Toronto, themed “what’s Playback’s Fall issue shines the working now + next”, which was designed to help chart a path by sharing success stories from newer areas – branded entertainment, cost-effective spotlight on Canadian fi lm social marketing, digital ROI and the best reality-development bets these days. just in time for one of the Producers, broadcasters and transmedia gurus mixed with media agencies and brands for a day that attendees deemed much-needed. One delegate, in year’s most important events. post-Summit feedback, called it “an intense and productive meeting of like- © 2012 ALEXANDER MANU – PLAYBACK SUMMIT APRIL 25 2012 - 69 • 267 minded people facing the same challenges and opportunities.” Word cloud courtesy of Alexander Manu With bonus distribution at the The big hit was thought-provoking author/professor Alexander Manu, senior partner and chief imaginator at InnoSpa International, who spellbound the crowd with magic while challenging everyone to rethink what their Toronto International Film business actually is. In feedback, one audience member wrote: “It was a bit like listening to Marshall McLuhan in 1965 – you aren’t quite Festival this is a great sure what the hell he is talking about, but it is very erudite, well researched, provocative and entertaining.” The word cloud seen here is from Manu’s research into the Playbackonline.ca universe, and depicts what’s most top of mind in the opportunity to get your industry based on its headline news. A lot of traditional TV themes (like funding cuts) show up. However, Manu’s thesis is that the rivals for your audience’s attention are Facebook, YouTube and Twitter, so you need to focus development on the new behaviour spaces, and on message in front of Canada’s content that provides purpose and play, as well as pleasure. Manu points out that “content happens in every single place where humans are connected,” and that the TV-network-centric industry model needs to re-orient around a more platform-neutral consumer utility or production industry, as well as enjoyment consideration. To that end, he encouraged mining the new communities of interest growing on the niche social-media platforms the global fi lm biz elite. to fi nd those opportunities. The Network SuperPanel: Canadian TV’s Extreme Makeover, involving CBC’s Kirstine Stewart, Bell Media’s Phil King and Rogers Media’s Malcolm Dunlop, was also lauded in feedback for “not holding back” on their companies plans and challenges ahead. So we’re happy that we got the mix right in bringing some of Brunico’s Summit recipe to Canada, largely thanks to our forward-thinking yet reality-grounded The Fall edition advisory panel – CBC’s Kirstine Stewart, Paperny Film’s David Paperny, marblemedia’s Mark Bishop, Secret Location’s James Milward and Noreen Halpern – and our speakers, sponsors and audience who came out and helped make a great day! also includes the I think the feedback that best affi rms our direction was this testimonial: “Playback is in a unique position to offer the entire media industry an objective and educated conference examining the state of the industry.” PLAYBACK In other news, I’m delighted to welcome Matt Sylvain back to the Brunico fold as Playback’s new editor. Matt was a senior writer at RealScreen when we fi rst worked together, then went on to serve as political editor at the Medical Post prior to returning to his fi lm and TV HALL OF FAME coverage roots. Many of you met Matt at the Summit, his fi rst Playback event MCing gig, and this is his fi rst Playback magazine issue as editor, hard on the heels of putting out the 2012 Playback Ultimate Guide to Production in Canada and overseeing the site’s Daily. honoring the We’re happy to have his editorial leadership at this busy time as we develop new initiatives and grow our remit. Playback’s editorial schedule is growing – we’ll now have quarterly issues of the magazine in addition to our international guide to production in Canada, and 2012 inductees more new projects are under way that tap into the media and marketing worlds of sister brands Media in Canada and Strategy to encourage & the 10 TO WATCH. cross-industry collaboration and innovation. Next up, our TIFF and Playback’s Hall of Fame issue! Please submit your suggestions for Hall of Fame and 10 To Watch candidates ASAP, as our advisory panel is ready to identify the 2012 honorees. And please be in touch with your own feedback as to how Playback can help forge new relationships and supply “purpose-oriented” intel and tools for your new content space evolution. To reserve space in the issue please contact Jessamyn Nunez Cheers, Mary Maddever, Publisher, Playback [email protected] Booking deadline: August 3rd All print buys include a two-week run on playbackonline.ca

6 spring 2012 | playbackonline.ca

PPB.Publisher.2012.inddB.Publisher.2012.indd 6 118/05/128/05/12 2:502:50 PMPM From controversial to inspirational...

Great content is “what matters. Lousy content on any screen is still lousy content. ” The show’s performance – Kevin Crull, in Canada speaks for President, “ Bell Media itself and the elements that have driven that success can be translated in any territory. ” - Grant Ross, Global Head of Format Acquisitions, Endemol

Playback covers the deals, the strategies and the people who make things happen in Canada’s fi lm & TV biz. If you don’t have access, you’re missing out. Stay in the loop.

Subscribe today and save $30.00 off the regular price*!

Visit PlaybackOnline.ca/subscribe and use promo code: PBSave30 or call 416-408-2448

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PPB.21394.House2.inddB.21394.House2.indd 1 116/05/126/05/12 5:245:24 PMPM Secret Location’s Endgame Interactive helped boost the profi le of the TV series by Thunderbird Films and Shaw Media. BRIDGING TRANSMEDIA’S TWO SOLITUDES Interactive producers Even as everyone agrees that digital content is taking interactive studio focuses so much on the mechanics of on an ever-growing part in determining the success of a the user experience, and the fi lm and TV company focuses focus on the digital user fi lm or TV project, traditional and digital-media producers so much on the story and the brand. And yet, “to do a experience, while TV and are still trying to fi gure out the best way to maximize the proper interactive digital media component, you need both. potential value of interactive properties. At the same time, The problem is understanding that intersection between fi lm producers focus on they are also continuing to fi gure out how best to work the two, and having the ‘political’ expertise to manage it,” the storytelling. Playback’s together in this rapidly evolving industry niche. she adds. Getting a good return on investment for a digital project James Milward says the nature of the relationship Danielle Ng-See-Quan looks in today’s marketplace can mean achieving any number between traditional screen and digital producers differs at getting them “to speak the of pre-defi ned cornerstones – getting audience eyeballs, depending on the opportunity. His Toronto-based company, creating an immersive user experience, generating direct interactive agency Secret Location, has found success same language.” revenue, or inking licensing deals or international sales. leading digital productions by fostering very close And producers agree that successful content creation partnerships with traditional producers and broadcasters, across multiple platforms requires approaching the particularly in cases where they don’t have a clear vision content with a detailed plan to exploit its opportunities of what they want. on various platforms, crucially by understanding the audience’s preferred way for consuming content. EVALUATING THE RISK Yet, in the changing game of funding – whether In some situations, “I’m going to be responsible for triggered from broadcasters, or bestowed by the Canada creative, because they want me to lead, and also Media Fund or the Bell Broadcast and New Media Fund because they want me to help them raise money – a challenge for content creators across the industry through [seeking out funding sources]. So I’m taking has been to fi nd a transmedia model that achieves their some risk to do that, and as a result, I should have business goals. more overall project responsibility and be treated like a Independent Toronto consultant Sasha Boersma says partner,” he explains. success in the convergent space can be diffi cult to Knowing thyself is important. A major relationship- achieve because often traditional and digital producers management decision is “to weigh the value of giving up aren’t speaking the same language. [project] control to somebody who’s able to make it better She adds that some interactive studios and prodcos with than you can by yourself, against taking the project on built-in digital arms, such as Shaftesbury’s Smokebomb, by yourself and risking failure. The best people have had Breakthrough Entertainment and marblemedia, are experiences that have frankly been the latter and they fl ourishing in the convergent space because they’ve don’t want to [control] it anymore, because it’s not worth it fi gured out how to integrate the expertise from various to them,” he adds. content creators on board a project. A big budget project doesn’t automatically guarantee “Everyone knows what they’re [themselves] doing success in the digital space. What is more important is really well,” says Boersma, adding, for instance that the knowing the audience.

8 spring 2012 | playbackonline.ca

PPB.FOB.2012.inddB.FOB.2012.indd 8 118/05/128/05/12 2:512:51 PMPM PB.21414.ACCT.Ad.indd 1 16/05/12 3:56 PM Secret Location’s James Milward says its D-Day to Victory interactive doc, which was produced for History Television, resonated with viewers because it didn’t play into kitsch

“You have to really understand the strategy and target Boersma says that focusing less on silos of content A major relationship decision is “to weigh demographic to be able to understand what’s the best and more on finding the best platform to tell a story, the value of giving up [project] control to and most appropriate use of the money and the time. and finding partners who are flexible and adaptable And not everything’s appropriate for a large scale – “who can roll” – are key for producers dealing with somebody who’s able to make it better transmedia execution,” says Milward. the conundrum. than you can by yourself, against taking the Boersma agrees. Good return on investment “is not “I find that the best practices start with whatever project on by yourself and risking failure,” about the money spent, it’s about spending the right your expertise is, and if it’s in doing an interactive kind of money to execute the vision properly. It’s not game, if it’s in doing a TV show, then focus on figuring says Secret Location’s James Milward. to do with ‘the bigger budget is going to make me a out the essence of the brand as it relates to that bigger audience.’” platform,” she says. Data from this year’s 2011 Canadian production survey Until the goals and values of a project are hammered (starting on page 18) indicates that more and more indie out, “it’s really diffi cult to then move it to another platform.” TV and fi lm producers are boosting their digital-media content work, in response to both market demand and there being more public funding earmarked for projects with digital media components. Still others reported working to expand their TV properties into digital content, including apps, companion websites and iOs games, to create a stronger digital presence. Taken as a whole, this suggests that traditional TV producers who hope to thrive in the coming years should expect to work in tandem with digital producers (Better get on Facebook now).

spring 2012 | 9

Shape Your Destiny! • Vote •Network •Promote your shows

Become an Academy Member Today! Jag Gundu Photography/ Courtesy of ACCT Jag Gundu Photography/ Courtesy of Academy.ca/membership | 1-800-644-5194 ext. 245

PB.21414.ACCT.Ad.inddPPB.FOB.2012.inddB.FOB.2012.indd 9 1 16/05/12118/05/128/05/12 3:562:512:51 PMPM Feeling the project- funding pinch? With broadcasters and brands feeling squeezed by revenue model changes, independent producers should think more about branded entertainment, as Jordan Twiss reports

The sharp disruptions occurring in the TV when viewers increasingly are zipping through landscape are opening up opportunities for commercials with PVRs, watching full episodes independent producers, broadcasters and online, or using time-shifting to watch shows advertisers to work more closely than they have earlier or later. And consumers are also hungry since the earlier days of the medium. for new forms of entertainment engagement and According to marblemedia partner and more personalized messages, he argues. executive producer Mark Bishop, enterprising Yet while a single successful branded- producers need to capitalize on these entertainment model has proven to be elusive, opportunities to generate new revenue, now both Bishop and Chapman agree: good content and in the future. He continues, “there’s needs to be at the heart of the exercise. an expectation on indie producers to fi nd “If the consumer doesn’t value it, in terms of different sources of fi nancing. This is becoming giving it their attention or taking what they see increasingly important, as fi nancing sources are and further amplifying it by contributing to it, getting tougher [to fi nd] and commissions are less posting it or sharing it, then it’s going to be a than what they used to be.” very short-lived opportunity,” says Chapman. Capital C partner and CEO Tony Chapman, The challenge for those on the creative side, whose marketing agency has created branded Bishop argues, is fi nding a way to weave the entertainment, adds that consumer brands are brand into a program’s story, as opposed to in the same boat. Those companies, he says, tacking it on as an afterthought. The key is to are starving for ways to attract and engage have conversations with branded entertainment consumers in an increasingly competitive project partners early and often, to ensure their marketplace. Meanwhile, TV broadcasters, who needs are being met by the content. are also seeing their revenue models shift, are Equally important is to understand the regulatory desperate to fi nd new ways to get advertising hurdles put in place by funding agencies such dollars and to measure their audiences in an age as the Canada Media Fund, which don’t want advertisers having infl uence over the content, or, in the case of kids’ properties, don’t want any The format for marblemedia’s Splatalot, a branded partnership with YTV and Danone, has become an advertising in a show’s content at all. Bishop cites international hit. (Photo courtesy marblemedia) the example of YTV and Danone’s branded

10 spring 2012 | playbackonline.ca

PB.12628.BCCS.Ad.inddPPB.FOB.2012.inddB.FOB.2012.indd 1010 1 25/08/11118/05/128/05/12 4:573:043:04 PMPM PB.21322.MIJO.Ad.indd 1 17/05/12 10:10 AM Challenge launched last fall, with Nissan asking consumers to get involved by sending responses about innovation to its Facebook page. The partners, Nissan, Capital C and TBWA, then asked 200 of the 8,000 respondents to turn their ideas into videos; the top fi ve were then selected by Nissan’s Facebook fans to compete on a Facebook-based reality show, which Capital C produced. The top fi ve pitched their ideas to a panel of judges, including Chapman, and completed a series of challenges, including an elevator pitch. The three videos were posted on the brand’s Facebook page and when a new video was released, it received an added push on YouTube. The winning idea was turned into a 30-second TV ad by TBWA that premiered with the 30-minute fi nal TV episode of the challenge, broadcast on Citytv at the end of April, and The Nissan Innovation Challenge, a multi-platform branded campaign, featured on-screen roles by (from left) Jay Bertram of TBWA\Canada\North America, Judy Wheeler of Nissan and Tony Chapman of Capital C. continues to air nationally. Everyone involved, including the audience, walked away winners, says Chapman, adding the entertainment partnership with the marblemedia factual version on Télétoon in Québec, has become an international hit as project over-delivered on every metric, including increasing property, Splatalot as a successful execution. The medieval- well, airing on CBBC in the U.K. and ABC3 in Australia. “It’s a great traffi c to Nissan’s Facebook page and website, improving themed, tween-targeted game show debuted in March 2011, case study of how we can collaborate, and, if we have enough lead perceptions of the carmaker and increasing traffi c to and pits 12 contestants against a large outdoor obstacle time, can craft something that feels unique and special. Because dealerships. While no consensus has been reached on what course and a group of defenders who try to bar their way. The ultimately the audience still has to love it,” he says. makes a successful branded entertainment model, Chapman winner is crowned king or queen of Splatalot. Chapman adds that brands are realizing their relationships believes this offers an idea of what future models will look like. The branded content deal between the three partners saw them with consumers are changing, from one where they just sell a For Bishop, screen-content producers have a key role to play create an interactive, multi-platform consumer experience that product to one where the brand becomes a character or hero in that future, and that successful model won’t emerge until promoted Danone’s then new Coolisions yogurt. The experience in a story, and enables consumers to, as he says, “get more out they become accustomed to working more closely with brands. included a homepage with ads for the yogurt, special opening of life.” He points to the Nissan Innovation Challenge as a good credits, the Coolisions “Splat of the Day” highlights and a contest, example “We used our digital assets to strike a conversation in which the winner gets to compete on season two of the show, with Canada on innovation,” and then the partners selected the which shoots this summer. The format, which fas a French-dubbed best ideas to be a part of the content, he says.

spring 2012 | 11

THIS IS WHERE WE LIVE

connect with us @MIJOCanada

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BY MARC GLASSMAN TIME TO JOIN THE CROWDSOURCING TREND?

As budget cutbacks at the CBC, Telefi lm Canada Crowdsourcing through websites like Kickstarter Casey Walker had mixed results when he used social media to and Indiegogo – or entirely on one’s own using help raise money for A little Bit Zombie. (Photo credit: ALBZ Productions) and the National Film Board of Canada ripple social media – enterprising producers have fi nanced through the fi lm and TV industry, leaving producers new dramas and docs while production companies such as Shaftesbury Films and Xenophile Media are traditional funding sources, such as the Ontario frantically searching for new methods to fi nance looking to monetize their screen content via direct Media Development Corporation (OMDC), the Bell and distribute their media works, non-traditional relationships with audiences online. While these Broadcast and New Media Fund (BBNMF) or the new methods of generating revenue are appealing, Canada Media Fund (CMF). ways of funding projects and building revenue their newness come with fuzzy tax implications Thanks in part to their successful use of streams are looking more appealing than ever. if a producer is also seeking the assistance of crowdfunding as their key fi nancial and audience-

spring 2012 | 13

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

PPB.Funding.2012.inddB.Funding.2012.indd 1313 117/05/127/05/12 1:091:09 PMPM FUNDING

“There are policy questions building mechanism, Lisanne Pajot and James Swirsky Lisanne Pajot and James Swirsky raised $150,000 through online initiatives for Indie Game: The Movie. emerging... [For instance] what is the have made Indie Game: the Movie an industry attention getter. The Winnipeg producer-director team pursued (Photo credit: courtesy of Indie Game: The Movie) market value of what the sources are an uncommon entrepreneurial model that may become getting in exchange for their money? increasingly seen in Canada. More in the vein of American something that had an audience. There was a demand to Is it screen credit? Is it a copy of a independent producers, they went after private investment cover this world [of video game producers].” through Kickstarter and corporate sponsorship through Elizabeth Radshaw, the forum and marketing manager at DVD? If it’s [fi nancial] assistance, fi rms like Adobe, which sponsored a recent 15-city U.S. Toronto’s Hot Docs and key administrator of its Doc Ignite that’s going to grind against tax tour by them. program, echoes Pajot’s words. When it comes to using credits. Those are tough questions In what has quickly become a piece of industry lore, crowdsourcing as a fi nancial and marketing tool, she the two raised $150,000 via various independent online says, fi lmmakers must have good “entrepreneurial skills,” which the federal government is initiatives, ranging through multiple Kickstarter campaigns, meaning they have to hustle up fi nanciers themselves. grappling with right now,” says Karen marketing pre-orders of special DVDs of Indie Game and Doc Ignite is a crowdfunding initiative for Canadian Thorne-Stone, CEO, Ontario Media private donations. documentary fi lmmakers. Unlike Kickstarter, which Although their tale is a positive one, Swirsky points out requires a U.S. bank account, it involves Canadian Development Corp. “the key to crowdsourcing is realizing that you have to currency. Also unlike Kickstarter, which requires a funding bring the audience to Kickstarter or Indiegogo. You have to goal to be hit by a deadline or else no money is committed convince people.” to the project, “you get to keep the money no matter Pajot cautions producers: “It’s a lot of work! We chose what,” says Radshaw.

14 spring 2012 | playbackonline.ca

Making a Dramatic Difference Canadian Web Series Portal Online Wip: ipf.ca/webseries/ www.ipf.ca

PPB.Funding.2012.inddB.Funding.2012.indd 1414 117/05/127/05/12 1:101:10 PMPM PB.21312.CMG.Ad.indd 1 16/05/12 4:04 PM Thunder Bay-based Casey Walker, the about how crowdfunding worked for me.” Crowdsourcing and digital networking can additional content from members of the youthful producer-director of the horror comedy A Jeremy Lalonde did better than Walker. The prove quite successful for indie fi lmmakers audience. Based around a fi ctional musical Little Bit Zombie, offers a cautionary tale. Toronto director used his self-deprecating but the cost of producing traditional broadcast group, for whom the app users generate He started an online funding campaign humour and willingness to be outrageous TV content is too high for Kickstarter-style content, tweens are encouraged to design in 2006, before the advent of Kickstarter, to market an Indiegogo campaign for his campaigns. However, even well established TV clothes and posters, remix songs, sing karaoke, called My Million Dollar Movie, with what upcoming romantic comedy Sex After Kids. production companies are increasingly pursuing even create their own music videos. he thought was a simple plan: to sell the He decided, “One thing I can do is embarrass non-traditional pathways to attract audiences In part due to its innovativeness it has been fi lm frame by frame and then lease it back myself. I have chipmunk costumes. So I and bring in revenue. nominated for a Banff Rockies award, in the from the buyers. persuaded [actress] Zoie Palmer to join me.” “At Shaftesbury, we have been quite fi ctional webseries category. The two dressed up in chipmunk suits and successful in [broadcaster-supported] “Totally Amp’d doesn’t rely on traditional WIN, LOSE OR LAWYERS acted goofy – but vaguely parental – with a storytelling,” observes Shane Kinnear, the TV or broadcast outlets. It is a property that “But then,” says Walker, “the Securities and young girl in a playground. The response on Toronto company’s senior VP, sales and has been imagined and delivered as an app,” Exchange Commission (SEC) threatened to kill the internet was overwhelmingly positive. marketing. But with media convergence, the says Kinnear. the project and put me in jail. They deemed “People went nuts after they saw it,” says company’s executives wonder, as Kinnear puts Shaftesbury has its own digital media division, what I was selling was securities – even Lalonde. Their publicity stunt yielded 6,000 it, “how will those [screen-based] stories be told Smokebomb Entertainment, which was the though I wasn’t – and my lawyers said that I site hits and brought in $7,000 in one day. in the future? Where will they be seen? And how co-creator of Totally Amp’d and created the could win the case and lose $300,000.” Lalonde and producer Jennifer Lau do we get to people?” sci-fi series State of Syn, a show that combines Walker worked out a deal in which “frame carefully researched other successful social A recent Shaftesbury kids project, Totally live action with animation and will be available holders” would get their money back if media-driven campaigns by fi lmmakers, Amp’d, takes a novel approach to marketing online and via smartphones and tablet devices the fi lm did well. But all profi ts must go and, in part due to promoting “something and revenue generation, one that the OMDC’s this fall. Enabled for 3D, the show has been to environmental charities of the donor’s new every couple of days to get people to CEO Karen Thorne-Stone calls “fascinating.” funded through OMDC’s Ontario Interactive choice. While that satisfi ed the SEC, Walker come to view the campaign” they raised just The ten “app-isode” mobile series was Digital Media Tax Credit system and the admits that he now has “negative feelings over $61,000, beating their $50,000 goal. created with the strategy of crowdsourcing Canadian Media Fund’s Experimental Stream.

spring 2012 | 15

The media is a tough industry

From time to time, you need some muscle. That’s where we come in.

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PPB.Funding.2012.inddPB.21312.CMG.Ad.inddB.Funding.2012.indd 151 51 16/05/12117/05/127/05/12 4:041:051:05 PMPM FUNDING

Even well-established TV Xenophile Media, is preparing to co-produce Time Tremors Director Jeremy Lalonde marketed the Indiegogo campaign for his upcoming with Australia’s People’s Republic of Animation. Veteran media fi lm, Sex After Kids, with a publicity stunt that yielded an infl ux of donations. production companies are specialist Alex Mayhew, who is collaborating on the project, (Credit: Caitlin Cronenberg) increasingly using non- describes the sci-fi mystery show as “a convergent media traditional pathways to project with its primary focus being on the delivery of a TV that in fi ve years the broadcast landscape will be changed series and an online game world for a largely tween audience.” dramatically, when “TV will be the ‘locator’ – great for attract audiences and bring in The high concept show was pitched initially as a TV series marketing apps and other products.” To prepare for that future, revenue. but Xenophile found a market as a convergent project with he advises producers today should control the rights on the online and game applications. On that basis, a pilot was apps and games they develop in tandem with broadcasters. ordered through CBC. Andra Sheffer, the one-stop executive director of the Bell “Even if Time Tremors isn’t broadcast as a half-hour TV Broadcast and New Media Fund, the COGECO Program series,” says Xenophile CEO Patrick Crowe, “we can plan Development Fund and the Independent Production Fund on using dramatic content and showing those in seven (IFP), is paying attention to the innovative work being done 3-minute interstitials, which will work as on-air promos for by Smokebomb, Xenophile and others. She waxes with our rich web content.” enthusiasm about Prison Dancer, the new web series produced Both Crowe and Kinnear see potential profi ts though the by the Canadian Film Centre Media Lab’s executive director merchandising of apps and console games. Crowe speculates Ana Serrano.

16 spring 2012 | playbackonline.ca

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

PPB.Funding.2012.inddB.Funding.2012.indd 1616 117/05/127/05/12 1:061:06 PMPM Inspired by the viral YouTube video of Philippine prisoners tax credits. Those are tough questions which the federal crowdfunding in the screen-based industries as related to dancing to the pop classic “Thriller,” writer-directors Romeo government is grappling with right now.” CMF’s mandate. The goal is to help us design best practices Candido and Carmen de Jesus worked with Serrano to make The Department of Canadian Heritage was hesitant to from the get-go, instead of [us] dealing with the applicants a dramatic series set in a Filipino jail that features singing discuss the tax implications of crowdfunding or other social on a case-by-case basis.” and dancing. media-based fi nancing to fi lm and TV projects. Department She continues by pointing out that while the CMF is geared “It’s amazing,” says Sheffer. “They have original songs and media representative Pierre Manoni offered this reply: at supporting the creation of Canadian content, the agency choreography and it costs a tenth of [broadcast] TV series. I “The treatment of crowdfunding under the Canadian Film or must follow strict rules. “For instance, even if we are willing to think this is the future.” Video Production Tax Credit depends on the manner in which welcome crowdfunding [as part of a project’s business model], While established funding envelopes are available for web the amounts raised fi nd their way into productions’ fi nancing we could not accept a project in which equity or copyright series, it’s still diffi cult to know what the fi nancial implications structures. There are many different types of crowdfunding has been traded-off in the crowdfunding process (or in TV, for are for Canadian productions that want to use Kickstarter or mechanisms available. instance, a project which 10 out of 10 CAVCO points would’ve Indiegogo and then harness Canada’s system of production “Income Tax Act provisions may apply in determining whether been affected by the trade-off of key positions in the credits).” tax credits. a particular investment would either reduce the value of the tax credit, e.g., if it were considered assistance, or would render EMERGING QUESTIONS the production ineligible to the tax credit.” The OMDC’s Thorne-Stone acknowledges, “there are policy He suggested screen-producers inquire further to either questions emerging. We don’t have all the answers yet. On the Telefi lm Canada or the CMF. Catalina Briceno, the director grants side of the business, whom the money is coming from is of industry and marketing trends at the CMF, was forthright: not of particular concern to us. On the tax credit side, there are “Crowdfunding is on our radar; this year it’s reached a tipping real questions that haven’t been answered yet. [For instance] point as serious funding vehicles.” what is the market value of what the sources are getting in The CMF has commissioned a report from consulting firm exchange for their money? Is it screen credit? Is it a copy of a Nordicity, “to identify the issues that require consideration DVD? If it’s [fi nancial] assistance, that’s going to grind against in formulating a CMF role in facilitating the use of

spring 2012 | 17

CANADIAN SCREENWRITERS ARE… Writing Three different types of financing. WRITING Three different funds. what All from one source. THE RATINGS Canada

HITS Watches Writing what

The Rogers group of funds offers support to Canadian independent producers Sells Internationally 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. Telling Canadian For more information contact Robin Mirsky, Executive Director, at (416) 935-2526. Application deadline for the Rogers Documentary Fund is stories… to the World. Wednesday, August 8, 2012. Application deadlines for the Rogers Cable Network Fund are Friday, June 15 and Wednesday, October 17, 2012. www.wgc.ca

www.rogersgroupoffunds.com

PB.21370.Rogers.Ad.indd 1 16/05/12PB.21404.WGC.Ad.indd 4:05 PM 1 16/05/12 4:06 PM PPB.Funding.2012.inddB.Funding.2012.indd 1717 117/05/127/05/12 1:061:06 PMPM 2012 INDIE LIST CANCON OVERDRIVE BY ETAN VLESSING

As the results of this year’s annual fi lm and TV production survey reveal, top performers like Cinefl ix Media, Shaftesbury Films, Paperny Pictures and Thunderbird Films maintained strong output levels despite domestic headwinds by using a variety of fi nancing models, with a stronger-than-ever lean toward the international market. Playback deconstructs their growth and where the industry may The Canadian indie production sector of this fl exibility is an increasing stable of to be sold to, the U.S.,” Morayniss explains. be headed next. enjoyed another strong year in 2011. American-style series – The Firm, shot in And then there’s U.S.-originated shows like According to the results of this year’s Toronto, Hell on Wheels, lensed in Calgary, AMC’s Hell on Wheels that eOne backs as Playback independent production survey, Walking Dead and Haven (which is shot in it bets the series has world sales potential. Canada’s L.A. Complex-like found on the following pages, the total of Nova Scotia) to name a few – whose creative “There’s no Canadian [specifi c] strategy with moment: Canadian prodcos that screen-and-fi lm work in Canada hit $1.93 is driven by U.S. channels and other foreign that show. It made sense because we felt have ventured stateside to fi nance projects topped the charts with an billion in 2011, up $80 million from $1.85 broadcast fi nanciers and the Canadian bullish about the world market,” Morayniss increasing stable of hits. billion in 2010. content contribution may only be a location explains. (Photo courtesy Bell Media) The question is, what kind of industry was backdrop. responsible for that increase? John Morayniss, eOne’s CEO, says the PULLING THE TRIGGER The answer, as revealed in the results of indie producer has aimed to grow its scripted Where is all this headed? Camelot, The this year’s survey, is an outward-looking TV division through volume, and pursues Borgias and other lush historical dramas industry that increasingly goes worldwide to varying strategies to get shows to the world co-produced by Canadians may not be fi nance and sell Canadian shows. Canuck market. Some shows are developed and what the original architects of the Canadian producers that in the last year ventured to initially fi nanced in Canada and, where Broadcasting Act envisioned when they Los Angeles and London to make European possible, a U.S. and world market is sought conceived the ground-rules for Canadian TV. costume dramas or New England sci-fi for the show. But CAVCO rules that allow broadcasters thrillers, often via international treaties, this “Everything we do aims to have world to count these and what some may call year sit atop the league table. appeal, but it doesn’t always work out that Euro-pudding dramas as “Canadian content” For example Vancouver-based Lionsgate, way,” Morayniss adds. – and allow participating Canadian producers which is run largely out of its Los Angeles Often it does work out, as with HBO to tap tax credits and other lucrative local offi ce, has its biggest TV properties in U.S. Canada’s Call Me Fitz, which ultimately found incentives – will keep this year’s busiest cable series like Mad Men, Weeds, Nurse a U.S. home on DirecTV’s Audience Network, indie producers, racking up the frequent fl yer Jackie and Blue Mountain State (which and elsewhere internationally. points, the survey suggests. was shot in Québec). And another chart Still other Canadian dramas are developed As development and production coin from topper, Toronto-based Entertainment One with a U.S. slot in mind from the get-go, as the CBC, the National Film Board of Canada has its recognizably Canadian shows like with Saving Hope, which was picked up by and Telefi lm Canada shrinks, and other Saving Hope and Rookie Blue, yet is proving NBC stateside. “From the very beginning, broadcasters continue to only cautiously increasingly fl exible in how it fi nances new [Saving Hope] was an anchor show for the trigger what funding remains, the Canadian series on both sides of the border. The result CTV. But it was always thought of, and likely TV industry has made international partners

18 spring 2012 | playbackonline.ca

PPB.Survey.2012.inddB.Survey.2012.indd 1818 118/05/128/05/12 2:532:53 PMPM PPB.21171.Ryerson.Ad.inddB.21171.Ryerson.Ad.indd 1 116/05/126/05/12 4:074:07 PMPM 2012 INDIE LIST

2011 total: $382,845,000 DRAMA (SERIES) 2010 total: $275,053,000 39% 1. Entertainment One $152,667,000 2. Shaftesbury Films $36,524,000 3. Epitome Pictures $35,000,000 4. Muse Entertainment $30,879,000

2011’S TOP 5 CO.’S 5. Cinefl ix Media $30,500,000

2011 total: $99,595,000 DRAMA (OTHER) 2010 total: $129,865,000 23% 1. Muse Entertainment $30,245,000 2. Entertainment One $25,215,000 3. Incendo $20,000,000 4. SEVEN24 Films $12,900,000

2011’S TOP 5 CO.’S 5. Screen Siren Pictures $4,888,000

increasingly responsible for the success of its scripted Cinefl ix Media’s fi rst commission out of its new L.A. scripted division, TOTAL INDIE 2011 total: $1.93 billion dramas and reality shows, many of which are based on which the company opened in 2011, is period drama Copper. (PROD + DEV) 2010 total: $1.85 billion 4% (Photo courtesy of Cinefl ix Media) global formats. 1. Lionsgate $878,000,000* As the business data contained in Playback’s indie 2. Entertainment One $196,000,000 survey reveals, top performers like Cinefl ix Media, opened out of L.A. It’s fi rst commission: Copper, a period 3. Don Carmody Productions $112,390,000 Shaftesbury Films, Paperny Pictures and Thunderbird drama about an Irish cop in 19th century New York City, Films have maintained their production levels despite produced for BBC America. 4. Cinefl ix Media $103,448,000

the domestic headwinds by opening satellite offi ces in Of course Hollywood North has long seen Americans 2011’S TOP 5 CO.’S 5. Muse Entertainment $58,223,000 Los Angeles and New York in the last year. Those offi ces and Canadians airing “U.S.” shows which were made *See The Lion In The Room on p.24 have clearly been drumming up business. “One of the in Toronto and Vancouver mostly. Ultimately, that long keys to our success, of any Canadian producers’ success, association has made Canadians the second-largest is to have a variety of production models and fi nancing producers of TV content worldwide. That being said, in TOTAL INDIE 2011 total: $994,275,000* models available to us,”says David Paperny, president of 2011, a Canadian industry worried as never before by the PRODUCTION 2010 total: $1,072,431,000 7% Vancouver-based Paperny Films. threat of dwindling government subsidies – threats made 1. Entertainment One $193,688,000 No doubt echoing the thinking of his competitors who good earlier this year – and a tiny home market, made 2. Don Carmody Productions $112,000,000 also opened or expanded U.S. offi ces, Paperny adds sharp turns south, and outwards, to fi ll out budgets for his New York offi ce aims at deepening relationships “global dramas” like Copper. 3. Cinefl ix Media $100,913,000 with American broadcasters, with an eye to doing All these developments, seen as a whole, suggest more 4. Muse Entertainment $58,223,000 U.S.-Canadian programming partnerships or service minority Canadian co-productions are in the pipeline – 2011’S TOP 5 CO.’S 5. Shaftesbury Films $44,242,000 production. “The more people we know, the more people series shot outside our borders, and top-lined by U.K. and *Does not include Lionsgate we fi nd to work with, the more healthy a company we U.S. stars, with post-production and visual effects work become,” Paperny insists. done here. That migration underlines a growing industry focus-shift Another increasingly traffi cked road into U.S. and TOTAL 2011 total: $21,564,000* from country to continent, and from Canadian culture to international markets in 2011 that no doubt is behind DEVELOPMENT 2010 total: $25,791,000 16% global creativity as indie producers harness private and the industry strength shown in the survey: individual TV 1. Cinefl ix Media $2,535,000 foreign dollars to penetrate a worldwide and digitized producers securing representation with Hollywood talent 2. Entertainment One $2,500,000 market. Cinefl ix Media, which in many ways led the rush agencies, or Canadian producers who already have Los 3. Incendo $2,000,000 of Canadian producers far beyond their industry’s horizon Angeles development offi ces, to get their projects pitched when it opened a London offi ce fi ve years ago, in 2011 on big studio lots. 4. Shaftesbury Films $1,721,000

added to its U.S. base in New York with a scripted division 2011’S TOP 5 CO.’S 5. 9 Story Entertainment $700,000 *Does not include Lionsgate

20 spring 2012 | playbackonline.ca

from your tax incentive Eh! and payroll service experts Top advice

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PB.21403.CFCC.Ad.inddPPB.Survey.2012.inddB.Survey.2012.indd 202 0 1 16/05/12118/05/128/05/12 4:09 2:592:59 PM PMPM CANADIAN PRODCOS GET DRAMATIC Production on drama series, the bellwether genre for The rights for Shaftesbury’s The Listener, which premiered the production community, is on an upturn. Indie survey in the U.S. before it bowed on CTV here, are controlled by Fox respondents reported a total of approximately $382.8 International Channels outside of the country. million in production spending for drama series in 2011, Additionally, Epitome Pictures, which in 2011 had up from approximately $275.1 million in the previous year. Degrassi, Season 11 and The L.A. Complex in the pipeline, The data suggests that our producers are spending more says in its survey submission that it produced the most time making scheduling-friendly shows with potential for programming hours ever in a single year. The L.A. Complex U.S. and international broadcasters. airs on MuchMusic in Canada and on the CW stateside. Entertainment One and Shaftesbury lead the year in “We continue to focus on high-quality, high-end scripted production spend on drama series, as they did in the dramas that are primarily developed for the U.S. and previous year. Additionally, both companies indicated Canadian marketplace, and with a strong international increased production dollars spent versus the year- appeal,” eOne says in its survey submission. earlier period. “Over the past year, we have seen an increased eOne’s production slate in 2011 included Hell on appetite among U.S. broadcast networks and cable Wheels, The Firm and Haven, which have been ratings networks to get involved with Canadian and/or winners stateside. Hell on Wheels, produced by eOne internationally fi nanced series utilizing a discounted and Nomadic Pictures, was developed by Endemol U.S. licence fee model and a direct-to-series order pattern,” and airs on AMC in the U.S. and Canada. The Firm the company reported, adding that it will continue to premiered on both Global and NBC, and airs on the Sony develop shows that fi t this model, and work with indie Pictures Entertainment-owned pay TV channel AXN; and producers to implement this strategy. supernatural TV series Haven is a Canada-U.S. copro by Danielle Ng-See-Quan that airs on Showcase in Canada and was produced for Epitome Pictures’ Degrassi has been highly successful in the U.S., having aired on Syfy pay channels around the globe. TeenNick and MTV. (Photo courtesy Bell Media)

spring 2012 | 21

www.thesocialagency.ca

PB.21433.Social.indd 1 17/05/12 11:34 AM

PB.21403.CFCC.Ad.indd 1 16/05/12 4:09 PM PPB.Survey.2012.inddB.Survey.2012.indd 2121 118/05/128/05/12 1:451:45 PMPM 222&23.indd 2 2 & 2 3 . i n d d

2 Canadian companies’ production THE INDIE LIST & development spending in 2011

TV DOCUMENTARY TV DRAMA KIDS TV NON-SCRIPTED TV COMEDY Total Total Indie Total Feature Genre Live Action Lifestyle/ Reality/ Reality – Game or quiz One-off/ Service Company (Ind. Prod.+ Dev.) Production Development Production one-off series Genre Total Pilot Miniseries Movie (Sub- Total) Series scripted Factual/Reality Genre total Magazine Factual Competition show Genre Total Series Variety Genre Total Production Lionsgate Entertainment $878,200,000

Entertainment One $196,188,000 $193,688,000 $2,500,000 $1,941,000 $3,693,000 $5,634,000 $2,544,000 $13,433,000 $9,238,000 $25,215,000 $152,667,000 $10,171,000 $10,171,000

Don Carmody Productions Inc. $112,390,000 $112,000,000 $390,000 $112,000,000

Cinefl ix Media Inc. $103,448,000 $100,913,000 $2,535,000 $53,777,000 $53,777,000 $30,500,000 $735,000 $735,000 $71,847,000 $82,734,000 $385,000 $3,874,000 $158,840,000

Muse Entertainment Enterprises $58,223,000 $58,143,000 $80,000 $1,185,000 $8,881,000 $11,625,000 $9,739,000 $30,245,000 $30,879,000 $6,266,000

Shaftesbury Films Inc. $45,964,000 $44,242,000 $1,722,000 $650,000 $650,000 $36,524,000 $1,088,000 $1,088,000 $4,420,000 $4,420,000

Temple Street Productions $38,602,000 $38,372,000 $230,000 $2,499,000 $2,499,000 $22,444,000 $13,428,000 $13,428,000

DHX Media $38,150,000

Epitome Pictures Inc. $35,250,000 $35,000,000 $250,000 $35,000,000

Seven24 Films $33,850,000 $33,150,000 $700,000 $6,900,000 $6,000,000 $12,900,000 $20,250,000

Breakthrough Entertainment Inc. $30,446,000 $29,835,000 $611,000 $4,854,000 $4,854,000 $660,000 $660,000 $9,118,000 $9,118,000

9 Story Entertainment $28,504,000 $27,804,000 $700,000 $2,200,000

Thunderbird Films Inc. $26,700,000 $26,660,000 $40,000 $7,509,000 $19,100,000 $19,100,000

Omni Film Productions Ltd. $23,877,000 $23,565,000 $312,000 $9,344,000 $9,344,000 $14,221,000

Take 5 productions Inc. $22,738,000 $22,252,000 $486,000 $22,252,000

Incendo $22,000,000 $20,000,000 $2,000,000 $20,000,000 $20,000,000

marblemedia $16,800,000 $16,500,000 $300,000 $8,100,000 $8,100,000 $3,200,000 $3,200,000

Nerd Corps Entertainment Inc. $14,799,000 $14,500,000 $299,000 $4,667,000

Tricon Film & Television $13,219,000 $13,179,000 $40,000 $13,179,000

Paperny Entertainment Inc. $12,994,000 $12,343,000 $651,000 $8,497,000 $8,497,000 $3,846,000 $3,846,000

Force Four Entertainment $11,758,000 $11,637,000 $121,000 $11,637,000 $11,637,000

WestWind Pictures Ltd. $11,214,000 $11,116,000 $98,000 $10,464,000

Portfolio Entertainment $10,350,000 $10,000,000 $350,000 $1,000,000

Cuppa Coffee Studios $9,700,000 $9,200,000 $500,000 $13,230,000

Pyramid Productions Inc. $8,869,000 $8,689,000 $180,000 $353,000 $8,079,000 $8,432,000 $257,000

Amaze Film & Television Inc. $8,822,000 $8,190,000 $632,000 $4,000 $16,000 $16,000 $80,000 $172,000 $21,000 $193,000 $1,000 $1,000 $251,000 $251,000

Verité Films Inc. $8,200,000 $8,000,000 $200,000 $8,000,000 $8,000,000

Buck Productions Inc. $8,014,000 $7,924,000 $90,000 $478,000 $7,446,000 $7,446,000 $97,000 $97,000 $97,000

Aircraft Pictures $7,431,000 $7,250,000 $181,000 $1,500,000 $4,300,000 $4,300,000 $2,950,000 $2,950,000 $1,500,000

Arcadia Entertainment Inc. $6,836,000 $6,823,000 $13,000 $1,325,000 $1,878,000 $3,203,000 $3,620,000 $3,620,000

Topsail Productions Limited $6,488,000 $6,323,000 $164,000 $1,730,000 $4,593,000 $4,593,000

Apartment 11 Productions $6,201,000 $6,073,000 $128,000 $2,334,000 $2,334,000 $3,739,000 $3,739,000

Peace Point Entertainment Group $5,730,000 $5,620,000 $110,000 $2,920,000 $1,700,000 $4,620,000

Primitive Entertainment Inc. $5,348,000 $5,200,000 $148,000 $150,000 $150,000 $5,050 $5,200,000

Whizbang Films $5,156,000 $5,000,000 $156,000 $5,000,000

CCI Entertainment Ltd. $4,800,000 $4,500,000 $300,000

Independent Edge Films Inc. $4,400,000 $4,000,000 $400,000 $4,000,000

Sinking Ship Entertainment $4,225,000 $4,000,000 $225,000

Screen Siren Pictures Inc. $3,600,000 $3,500,000 $100,000 $3,500,000 $5,000 $5,000 $4,888,000 $4,888,000 $10,000 $4,888,000

White Pine Pictures $3,440,000 $3,200,000 $240,000

Guru Studio $3,265,000 $3,000,000 $265,000 $4,200,000

Sarrazin Couture Entertainment $3,200,000 $3,000,000 $200,000 $3,000,000

Darius Films Inc. $2,950,000 $2,700,000 $250,000

Suki Films Inc. $2,500,000 $2,400,000 $100,000 $2,400,000

Markham Street Films Inc. $2,173,000 $2,055,000 $118,000 $2,080,000 $975,000 $3,055,000

Lively Media $2,172,000 $2,100,000 $72,000 $430,000 $1,700,000 $2,100,000

Castlewood Productions Inc. $2,100,000 $2,000,000 $100,000 $2,000,000 $3,000,000 $5,000,000 $3,000,000

118/05/12 1:50PM Cave Painting Pictures $2,025,000 $2,000,000 $25,000 $2,000,000 $50,000 8 / 0

5 Soapbox Productions Inc. $1,878,000 $1,778,000 $100,000 $522,000 $1,256,000 $1,778,000 / 1 2

Quiet Revolution Pictures $1,825,000 $1,700,000 $125,000 $3,700,000

1 : 5 0

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d Genuine Pictures Inc. $1,565,000 $1,530,000 $35,000 $640,000 $890,000 $1,530,000 $112,000 d

Alibi Entertainment $1,320,000 $1,200,000 $120,000 3

Storyline Entertainment Inc. $1,302,000 $1,230,000 $72,000 $1,230,000 $1,230,000

Echo Bay Media Inc. $1,300,000 $1,300,000 $1,300,000 $1,300,000

GAPC Entertainment Inc. $1,235,000 $1,100,000 $135,000 $100,000 $100,000 $1,000,000 $1,000,000

Black Walk $1,100,000 $1,000,000 $100,000 $1,000,000

Geordie Sabbagh Productions $869,000 $850,000 $19,000 $850,000

Raven West Films $850,000 $750,000 $100,000 $750,000 $50,000

PMA Productions Inc. $835,000 $760,000 $75,000 $760,000 $760,000

Mercury Films Inc. $820,000 $800,000 $20,000

Summer Pictures Inc. $705,000 $650,000 $55,000 $650,000 $100,000 $100,000

Bunbury Films Inc. $350,000 $250,000 $100,000 $250,000 $15,000 $265,000 $5,000 $5,000 $5,000 $15,000 $20,000

Hill’s Production Services $300,000 $250,000 $50,000 $50,000 $50,000 $50,000 $50,000 $500,000

Juxtapose Productions Inc. $300,000 $300,000 $300,000 $300,000

Project 10 Productions $294,000 $80,000 $214,000 $80,000 $80,000 $119,000 $119,000 Pinewood Films Inc/Peter Rowe Productions Inc $265,000 $240,000 $25,000 $240,000 $240,000 Soner Rock Films Production $265,000 $250,000 $15,000 $250,000 $22,000

Twofold Films Inc. $265,000 $165,000 $100,000 $100,000 $100,000

Chesler-Perlmutter Productions Inc. $250,000 $250,000 $20,500,000

Riddle Films Inc. $195,000 $180,000 $15,000 $180,000 $180,000 $15,000

Prospector Films $180,000 $80,000 $100,000

RJ Deverell Productions $150,000 $50,000 $100,000

Really Real Films Inc. $100,000 $50,000 $50,000 $10,000 $10,000 $10,000 $30,000 $10,000 $5,000 $5,000 $5,000 $5,000

Choroid Entertainment Inc. $55,000 $50,000 $5,000

Les Harris Productions $50,000 $50,000 $50,000 $50,000 $4,000

IVY Entertainment Inc. $50,000 $50,000 $35,000 $15,000 $15,000

SableFilms International $50,000 $50,000 $50,000

Shore Road Pictures Inc. $47,000 $47,000

Opus 59 Films Inc. $26,000 $10,000 $16,000

CJ Creative Productions Inc. $25,000 $25,000

Ocular Nutrition $25,000 $25,000 $5,000

Year of the Skunk Productions $20,000 $20,000

Insurrection Films Inc. $18,000 $3,000 $15,000 $3,000 $3,000

Thomega Entertainment Inc.

JAMS Productions $75,000 $75,000 $25,000 $25,000

Timshel Pictures $5,000 $25,000 $30,000

Zed Filmworks $3,900,000 $3,900,000 $10,400,000

TOTAL $1,932,190,000 $994,275,000 $21,564,000 $161,697,000 $9,731,000 $103,692,000 $113,423,000 $20,837,000 $29,972,000 $48,887,000 $99,595,000 $382,845,000 $25,217,000 $13,486,000 $38,703,000 $96,490,000 $103,145,000 $14,075,000 $6,874,000 $220,584,000 $33,097,000 $122,000 $33,219,000 $52,226,000 * Lionsgate and DHX Media totals based upon publicly available information (see The Lion in the Room on page 24 for more explanation). All other entries based on responses to a Playback survey, conducted online between January and April 2012. Animation genre totals appear on page 25.

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List.indd 1 18/05/12 1:46 PM 2012 INDIE LIST

2011 total: $220,584,000 NON-SCRIPTED 2010 total: $142,568,000 55% 1. Cinefl ix Media $158,840,000 2. Temple Street Prod. $13,428,000 3. Tricon Films & TV $13,179,000 4. Force Four Entertaiment $11,637,000

2011’S TOP 5 CO.’S 5. Entertainment One $10,171,000 Tricon’s Bitchin’ Kitchen, a twist on the typical foodie series hosted by Nadia G, has sold internationally in countries like France, New Zealand and Belgium. 2011 total: $161,697,000 (Photo courtesy Tricon Pictures) FEATURE 2010 total: $149,440,000 8% 1. Don Carmody Productions $112,000,000 2. Chesler-Perlmutter Productions $20,500,000 APPETITES FOR NON-SCRIPTED 3. Whizbang Films $5,000,000 This year, non-scripted entertainment continued on its character-led series being greenlit,” the company reported. 4. Independent Edge Films $4,000,000 meteoric upward trend seen in recent years. Canadian Cinefl ix also continued to expand outside of Canada, hiring

2011’S TOP 5 CO.’S 5. Quiet Revolution Pictures $3,700,000 producers this year reported almost $220.6 million in execs for the company’s arms in L.A. and the U.K. production dollars spent on non-scripted entertainment, Tricon and Force Four Entertainment were also top whether lifestyle, reality, competition or game show non-scripted producers in 2011. Tricon expanded its programming, up from approximately $142.6 million last year. business stateside, opening new offi ces in California, and KIDS LIVE ACT./ The pattern is clear – audiences are hungry for non- sold a slew of its lifestyle and factual programming series 2011 total: $38,703,000 scripted entertainment with compelling characters in an internationally. Force Four, the company behind Million FACTUAL 2010 total: $70,093,000 45% engaging context. With an increasing number of specialty Dollar Neighbourhood and The Bachelor Canada, struck 1. Thunderbird Films $19,100,000 channels that allow audiences flexibility in fine-tuning a fi rst-look deal last year with London-based distributor 2. Marblemedia $8,100,000 their programming preferences, producers are spending DRG International for its factual slate, and added a head of 3. Aircraft Pictures $4,300,000 more money to deliver, as one indie producer reported, factual entertainment. “reality, docu-soap, competition and lifestyle series to Aother Canadian success story in 2011 was Temple 4. Apartment 11 Productions $3,739,000 suit market appetites.” Street’s Recipe to Riches, a competitive food series that 2011’S TOP 5 CO.’S 5. Genuine Pictures $1,500,000 Cinefl ix reported the highest non-scripted production aired on Food Network Canada. The series was also an spend in 2011, at $158,840,000. The company says in its exercise in producing successful branded entertainment, in survey submission response that it increased production of that the Loblaws-sponsored competition involved Canadian non-scripted programming by 100 hours versus 2010, and home cooks battling it out in the kitchen to have their recipe COMEDY 2011 total: $33,219,000 increased its non-scripted programming budget by 35% become a President’s Choice product. Recipe to Riches was 2010 total: $162,212,000 80% in 2011 alone, with premieres of series like The Property picked up as a format by Fremantle Productions in the U.S. 1. Breakthrough Entertainment $9,118,000 Brothers, Canadian Pickers and Cash & Cari. Non-scripted entertainment is also an opportunity for indie 2. Verité Films $8,000,000 “In 2011, Cinefl ix saw a desire for even more character- producers to exploit audience engagement, through in-show 3. Topsail Productions $4,593,000 led television. To capitalize on these opportunities, Cinefl ix voting, social media, app and website extensions, strategies continued to expand its operations with six casting that are becoming necessary elements of a project as the 4. Shaftesbury Films $4,420,000 executives now based out of London, Toronto, New York digital and TV worlds converge.

2011’S TOP 5 CO.’S 5. Arcadia Entertainment $3,620,000 and Los Angeles. This casting push resulted in six new by Danielle Ng-See-Quan

DOCUMENTARY 2011 total: $113,423,000 2010 total: $142,877,000 21% * THE LION IN THE ROOM 1. Cinefl ix Media $53,777,000 Lionsgate Entertainment, while Vancouver-based and Canadian-controlled, operates largely out of 2. Omni Film Productions $9,344,000 its corporate headquarters in Santa Monica, California and is a $2 billion diversifi ed global fi lm and 3. Paperny Entertainment $8,497,000 TV production and distribution company. That’s refl ected in its 2011 investment in fi lms and TV 4. Pyramid Productions $8,432,000 programming at $878.2 million, compared to a 2010 investment of $753.6 million.

2011’S TOP 5 CO.’S 5. Entertainment One $5,634,000 While Lionsgate didn’t participate in the independent production survey, Playback added its production revenues into the totals in 2011 (We also added DHX Media, even though it also didn’t complete the survey). Why? Because Lionsgate (and DHX Media) is such a major player in the industry that to leave it out–when their data is publicly available–we felt would have unduly biased the numbers. Additionally, this year we factored Lionsgate’s 2010 revenues into the 2010 indie survey comparisons (they were not in last year’s survey) to make year-over-year observations amount to apples-to-apples comparisons. See The Indie List on the previous page. by Etan Vlessing

24 spring 2012 | playbackonline.ca

PPB.Survey.2012.inddB.Survey.2012.indd 2424 118/05/128/05/12 1:461:46 PMPM PB.21323.OIAF.Ad.indd 1 16/05/12 4:11 PM 9 Story Entertainment’s Almost Naked Animals airs on YTV in Canada and is broadcast internationally, with some episodes available for digital download through iTunes. (Photo courtesy 9 Story)

BY DANIELLE NG-SEE-QUAN ANIMATORS RIDE DIGITAL DISTRIBUTION WAVE The Canadian animation industry has taken a hit over the The trend of digital distribution has opened up across ANIMATION* 2011 total: $106,974,000 last few years, but 2011 was a strong year, according to the Canadian production landscape as an opportunity for 2010 total: $69,242,000 54% the results of the indie survey, suggesting this niche of the creators to get their content out with a lower budget and 1. 9 Story Entertainment $27,804,000 business recovered as the world economy bounced back. quicker turnaround. This can be especially effective for 2. Nerd Corps. Entertainment $19,167,000 Last year, indie producers reported approximately $107 animation products, whereby partnering with an online 3. Cuppa Coffee Studios $16,430,000 million in spending on kids and adult series, up from distributor like MondoMedia or Kidobi, or distributing series approximately $69.2 million in 2010. via a specialty YouTube channel or iTunes, gives instant 4. Breakthrough Entertainment $15,202,834 The most successful players this year were 9 Story and access to audience eyeballs. 5. Portfolio Entertainment $10,000,000 Nerd Corps. 9 Story put several series through the pipeline “Everybody’s getting into online broadcast. And video on 6. Guru Studio $7,200,000 in 2011, including two seasons of Almost Naked Animals, demand is changing the landscape as well. What this means 7. Marblemedia $5,200,000 which airs on YTV and is distributed internationally, including to creators is an acceleration of the low-budget, auteur- on Cartoon Network in the States and Disney XD in Latin driven production trend. The tools are cheaper than they’ve (includes adults and kids programs) 8. Darius Films $2,700,000 America and India. Nerd Corps’ Slugterra will launch globally ever been, and the barrier between content creator and 9. Muse Entertainment $2,100,000 on Disney XD this fall, and the company’s reboot of Max consumer is smaller than it’s ever been,” says Valiquette. 10. Peace Point Entertainment $1,000,000 Steel, co-produced by the U.S.’s Mattel and FME, will air on “Independent animators are building audiences for their 11. Bunbury Films $70,000 the Cartoon Network internationally in 2013. work, and the next stage will be monetization. Distribution The majority of Canadian animation production has always been the biggest barrier for content producers, 12. Thunderbird Films $51,000 reported for 2011 falls under the kids category (totalling but they’re gradually taking that in hand.” 13. RJ Deverell Productions $50,000

$96.2 million; adults $10.8 million), a highly exportable Going forward, Valiquette adds that the Canadian industry TOTALS 2011’S COMPANY TOTAL $106,974,000 commodity, which Mike Valiquette, publisher of Canadian can fi ll a niche for animation in feature fi lms over time. Animation Resources, says indicates buyers are playing it “I think we’re very well-positioned in Canada to help * The sums shown here were included in the total safe with their content decisions. grow a fi eld for smaller-budgeted animated features. production data shown in Valiquette, who is also the director of development at Audiences now recognize other styles of animation than The Indie List. Toronto’s Smiley Guy Studios, notes that kids programs they did previously. Even in mainstream movies, stop-motion sell well internationally in part because there are so many seems to have found footing right next to CG and traditional broadcasters and platforms that carry them. animation,” he says.

LOWER BUDGET, QUICKER TURNAROUND To that later point, Valiquette points to the changes happening outside of the traditional broadcast model– namely, increased opportunities to get animated content out online and via emerging platforms.

spring 2012 | 25

YOU CAN’T UNSEE THIS STUFF. SEPT 19-23 ANIMATIONFESTIVAL.CA

2012 TAC keynote speaker: Butch Hartman

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FORWARD BY ETAN VLESSING THINKING

Canada’s industry training schools are readying today’s crop of professionals for arrival of the web and mobile technologies as the primary screen-entertainment destinations

Charles Falzon, the chairman of the RTA “We’re not training education in 3D animation and Ryerson RTA School of Media students are trained collaboratively in content creation across all media platforms. (Photo courtesy RTA School of Media) School of Media at Ryerson University, people for a field visual effects, followed by graduates recently had a tough choice fi nding the producing an animated fi lm reel for “ultimate story-teller” to train Canada’s that we know what potential employers. next generation of content producers. He [the future] is. We’re “We want students to best do one-minute episodes?” RTA’s Falzon argues, echoing a had two options to choose from, actually, to educating students understand as many [professional] vanguard of media students whose designer drug of choice is fi ll twin distinguished visiting producers in disciplines in the general sense, so disruptive digital change. residence posts at the Toronto school. to make that future.” they can respond to – and respect – To push the creative envelope, RTA is partnering with industry Falzon could either fi nd candidates says Charles Falzon, what the other artists are doing, and leaders to arrange student placements and attendance for in TV or newspapers, traditional media chair of the RTA how their role impacts those roles,” students at industry conferences. businesses that have received a karmic O’Reilly explains. And RTA each May holds its own upfronts to showcase the beating from the internet, but in which RTA School of Media VFS students are also taught to work latest work by graduates. Some of the work has been so strong graduates still secure jobs. collaboratively and, rather than be artist they have yielded script options and development pilot with Or Ryerson could spot possible mentors divas, learn to take notes and direction companies such as Corus Entertainment, Bite TV and other in emerging social and digital media platforms and the new era to fi t into the digital pipeline. domestic broadcasters. they herald for young content producers. As at Ryerson, the focus is on story-telling, with the one-year In addition, RTA plans a 2013 transmedia conference in The answer to Falzon’s unenviable dilemma: keep a foot in 3D animation and visual effects program providing tools to partnership with the Canadian Media Production Association. both worlds to stay in charge of Ryerson’s future. make compelling content. And on the international front, the school operates a number RTA chose for one of the posts Canadian TV maven Linda Students, explains O’Reilly, “want to animate, to make of school exchange programs, including the upcoming RTA Los Schuyler, whose Degrassi franchise is an archetypal product things move and have fun. But we’re teaching them the Angeles, where 30 students will spend two weeks at UCLA, of Canadian TV, and for the other post transmedia guru Lance components of animation, the model and the rig, so they learning from Hollywood professionals, including RTA alumnus. Weiler, a pioneer of next-generation digital content for Walt understand the process, who it goes to next, whether lighting “We want to break down the mystique and fear of the U.S. Disney and Coca Cola. and rendering or compositing, who’s integrating and who’s market, and to have the students learn from top L.A. players,” “We’re story-telling and transmedia,” Falzon says of his making the work great.” Falzon explains. talent factory’s fl exible mandate to teach content creation and She adds VFS students, many from overseas, often arrive for Demystifying for students the entertainment business is also leadership across all media platforms. the one-year program already equipped for careers in media. a goal at William F. White International, the national production After all, there’s no more assembly-line thinking or training in “Many come into the program with BAs and MAs, and we’ve had equipment supplier, where Bruce Dale, education and training today’s media schools. computer engineers, so they’re highly technical,” O’Reilly says. manager, holds workshops and facility tours for students so “We’re not training people for a fi eld that we know what “We’re so blessed to have people coming in with a level they can make better calling-card short fi lms. [the future is],” he tells Playback. “We’re educating students to of education where they know how to learn fast and they “We teach them about equipment and facilities, and even make that future.” graduate with skills required for the industry,” she adds. how to get a quote when placing an order,” Dale says, with an Marianne O’Reilly, head of animation and visual effects at Besides preparing students to work and excel in different forms eye to reducing the intimidation factor when students consider the Vancouver Film School, says preparing students for a of media, Canadian schools are also encouraging innovation. equipment rentals or facilities. fast-changing digital industry calls for an all-encompassing “Why do a sitcom that needs to be 22 minutes? Why not

26 spring 2012 | playbackonline.ca

PPB.Academic.2012.inddB.Academic.2012.indd 2626 117/05/127/05/12 9:569:56 AMAM PB.21313.CFC.indd 1 16/05/12 4:59 PM NSI PLANS PURE-PLAY DIGI COURSE As the fi lm and TV industries converge with the digital space, and for the platform on which they will be delivered, and story-telling storytelling via emerging digital platforms become increasingly for the digital space is a logical addition. common avenues of delivery, the National Screen Institute is “I think that as the industry matures, people will eventually developing a pure digital-focused program. fi nd the ways to make money off of the digital space, and giving NSI CEO John Gill says the program, that will begin within the people the same developmental opportunities that they have year, will include the best of the training provided in the Winnipeg on the television and fi lm side is part of what a national screen schools’ Totally Television and Drama Prize courses – including institute has to do,” he explains. intensive training and mentorship from industry experts – for The NSI over the past few years has also bolstered its projects created specifi cally for the web, and designed with the training by incorporating the marketing of digital media into challenges of non-traditional funding models and web and digital its existing courses. funding in mind. “Gone are the days when you can make your fi lm and In developing the program, he explains the focus is to “forget television show and hand it over to marketers and say, ‘You deal the content for a second, and think about serialized or episodic with [marketing] this,’” says Gill. The NSI’s market-driven professional content that will go on the web as the primary delivery focus.” So they run intensive social media management workshops development courses provide hands-on The courses would culminate in a fi nished episode or one- during their courses to get participants thinking about the online experience from industry experts. off, additional episodes written [if applicable], and a full bible marketing side of their traditional media projects at a much (Photo courtesy NSI) outlining how the series will play out, Gill explains. earlier stage, which Gill says is a tool for participants to fi rst When the participants are fi nished they’ll have a full package understand and then build their audiences. with which to fi nd funding, be it via novel approaches like crowd- “If you’re not talking to your audience while you’re developing the sourcing or through agencies like the Independent Production project, it’s not so likely it’s going to resonate, no matter what kind of Fund. Gill says that however program graduates do it, “people marketing you do. So using social media to create programming that would have a very good sense of what [the project] is.” satisfi es an audience is something that hopefully our participants are Gill adds that the aim of the NSI’s training is to provide content taking away from the courses in general,” he says. producers with rigorous training and skills to shape their stories by Danielle Ng-See-Quan

spring 2012 | 27

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WATERLOO ADDS DIGITAL LEADERSHIP DEGREES The University of Waterloo has developed a pair of innovative interactive and new media, as well as taking traditional programs at its Stratford Campus targeted to individuals who media to digital formats. want to pursue strategic careers in digital media. McWebb says the programs were built as team- and project- The Master of Digital Experience Innovation (MDEI), a based structures to simulate the actual working environment professional degree that runs for 12 months, and the and emphasize developing skills-based competencies. four-year Global Business and Digital Arts Bachelor’s As part of the master’s program’s fi nal term, students degree (GBDA), are interdisciplinary and project-based work with companies on industry projects to increase their programs that integrate creativity, technology and skills levels and apply what they’ve learned. Current fi rst- business to produce the “ideal graduate,” what program year students are working with companies such as Google, director Christine McWebb says she would call a chief OpenText, digital media company PineLake and web and design officer. mobile app start-up Marmot Labs. “Our students are not coming out of this program as The bachelor’s program includes a one-term paid specialists in programming or marketing or design, but internship with companies such as Research in Motion and they have competencies in all of those areas so they can Christie Digital, along with course work and projects led by The Stratford Campus’ project-based interdisciplinary programs produce “design offi cers” for the digitally evolving effectively lead a project and talk to all members of a large instructors and industry partners. marketplace. (Photo courtesy University of Waterloo) project,” McWebb explains. McWebb adds that faculty and curriculum committees The core of the programs is digital media and user across multiple departments at the university gave input experience (or “UX”) – what Stratford Campus executive on the need for digital media and new technologies in their director Ginny Dybenko says is “the humanization of various sectors. technology” and is today a “hot skill” in the marketplace. “We discovered that we could create a really unique program, A graduate of the program’s career-scape would include building bridges between disciplines,” McWebb says. opportunities in developing and managing projects in by Danielle Ng-See-Quan niches such as digital marketing, social media, mobile, web,

28 spring 2012 | playbackonline.ca

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CENTENNIAL ‘PLAYS’ IN KIDS NICHE The three-year-old Children’s Entertainment: Writing, During the program, students have the opportunity to Production and Management program at Toronto’s work with and attend conferences of industry partners like Centennial College is emerging as busy hub for creators on the Youth Media Alliance, TIFF Nexus and TIFF Kids, and the fast-track into the children’s media industry. other media organizations during a fi eld placement. The project-driven program was developed and is The program also incorporates a survey of children’s led by kids’ entertainment industry heavy-hitters, from entertainment, which brings to the table added knowledge producers and writers to animators and digital and of other kids’ platforms including toys, games and books, interactive content producers. and a course on child development. It came out of the desire to provide a one-year – yet Since it started churning out graduates in 2010, two broad – overview of skills that not only get graduates into graduates have had projects optioned, and many others the industry, but help them accelerate their careers. are working at organizations such as the Bell Fund, indie “The key question we asked all the people we talked prodcos and licensing and merchandising companies. to was, ‘What do you wish you knew 10 years ago that “Our overriding philosophy is whether or not you’re Students in Centennial College’s Children’s would have saved you so much grief?’” explains program specifi cally in the creative or the business side, to be Entertainment program work the green screen. coordinator Suzanne Wilson (who also works in business and successful, you’ve got to understand where the other side (Photo credit: Stephanie Lake, Centennial College) legal affairs for Toronto-based Breakthrough Entertainment). is coming from,” explains Wilson. The organizers developed a curriculum that zeroes in on the by Danielle Ng-See-Quan kids audience, covering the creative and business aspects of the industry, including legal and regulatory issues, with digital media and emerging technologies integrated across the courses. “[Digital media] is just a natural for the kids’ space. We have to play in that space because that’s where the kids are playing,” says Wilson.

30 spring 2012 | playbackonline.ca

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PPB.Academic.2012.inddPB.21342.Sheridan.Ad.inddB.Academic.2012.indd 3030 1 117/05/1216/05/127/05/12 9:499 4:15:49 AMA PMM UNIONS AND GUILDS

Playback looks at what fi ve industry organizations are doing to help prepare the next generation of fi lm and television practitioners and to keep members up to speed with the digital evolution. All images courtesy Vancouver Film School, Flickr Creative Commons Film School, Vancouver All images courtesy UPGRADESPROFESSIONAL ALLIANCE OF CANADIAN CANADIAN MEDIA CINEMA, TELEVISION AND PRODUCTION ASSOCIATION

RADIO ARTISTS The recent budget cut to our national movie program’s sponsors - along with Film Nova funder will not impact the Telefi lm Canada Scotia and the Newfoundland and Labrador Ferne Downey, Alliance of Canadian schools are now more attuned to Producers’ Mentorship Program put on by Film Development Corporation - and had Cinema, Television and Radio Artists how actors look in different media,” the Canadian Media Production Association yet to confi rm its ongoing support. “There (ACTRA) national president, says the she adds. This would include motion- (CMPA). The initiative, a rebrand of the is an interest from the Atlantic Provinces to performers union no longer produces its capture, where image sensors capture Telefi lm Producer Trainee Program, allows continue, and should we receive unfortunate own on-going professional development human movements and expressions six emerging or mid-level producers to gain news from Telefi lm with respect to its future classes because every Canadian city has and translate them into animation. on-the-job fi lm, TV and interactive experience partnership, we will defi nitely look at other an ample supply of acting schools. ACTRA ACTRA is also instructing its members and production credits with established partnership opportunities,” Vaas says. She does stage its own conferences, however, on performing for capture on the digital production companies. The placements pay adds that other educational programs are including ACTRA Toronto’s Winter Member Red camera. One advantage is in set-up interns $14,000. According to Susanne Vaas, also in the sponsorship discussion stage, Conference in February, complete with time. “We used to spend all day to light CMPA VP business affairs, mentors will gain and could be up-and-running as early as this workshops and master classes. a scene with fi lm. With Red camera, invaluable intel from their participation. summer. “Hopefully we will secure them in Recent digital seminars have included it’s faster,” Downey says. However, one “The mentorship program is not only very short order so we can offer a good focus how actors can create a web drama, or drawback is that shooting at the ultra- about providing skill sets to interns, but it’s on transmedia and digital media training to perform using motion-capture technology high 4k resolution means actors need a the interns who are up-to-date on the latest balance what we offer for traditional content for the next Lord of the Rings or Avatar. make-up artist with the appropriate skill technologies, and their knowledge helps delivery,” she says. That’s a change for Canadian actors who set to help achieve that perfect close-up. mentor companies tap into that demographic Additionally, in May the CMPA and the Bell are mostly live theatre-trained, unlike in One area where rival unions and guilds that eats and breathes media,” Vaas says. Fund launched a new Digital Media Production the U.S., where performers are mostly surpass ACTRA is in mentoring. “We don’t The future of the CMPA’s Atlantic Training Program, a mentorship that will help TV-trained, and so already know how to have a good mentor program for actors,” Mentorship Program was up in the air as TV and digital media producers develop their look and move on screen. Downey concedes, adding that mentor of press time. In its most recent iteration, skills to succeed in both the traditional and “You didn’t have televisions in the pairings work better in producing and the 22-week paid internship placed two new media production sectors. The program, classroom,” Downey says, recalling directing. But in acting, where you struggle emerging producers from Nova Scotia and open to independent prodcos, will facilitate six Canadian acting schools back in the to get to the top of the greasy pole, less so. Newfoundland and Labrador with local 20-week placements this year. day. “Most professional performance by Etan Vlessing prodcos. Telefi lm has been one of the by Mark Dillon

spring 2012 | 31

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WRITERS GUILD SCREEN COMPOSERS OF CANADA GUILD OF CANADA

The Digital Age is creating a whole new Curse of the Lost Pharaohs. “We’re While it might be intuitive that digital evolution cool and it works and don’t think computer kind of scribe, and the Writers Guild of working through master classes to necessitates educating members on the latest [sampling] is the only way to go. And when you Canada is looking to keep its computer raise awareness about the guild,” says technology, the Screen Composers Guild of do go back to the computer, you’ll know what keys tapping. “There is a movement away Kinahan. “We’re doing it at a craft level, Canada (SCGC) looks to get its members back the real thing was and maybe it will bring up from broadcast, and with the Canada providing training for members and to basics. your skill set in your home project studio.” Media Fund increasingly supporting non-members alike. It really is about “A lot of our younger composers grew up This program is in addition to the guild’s convergence, people are going to be connecting them with the opportunities in the digital revolution, so they don’t have mentorship placements that see aspiring looking for a growing amount of work on and the skills for these new platforms.” exposure to writing and directing live musicians composers shadowing veterans for several new platforms,” notes WGC director of In traditional TV, the guild offers the Bell and don’t understand how they’re supposed weeks on a particular project. Dolgay says communications David Kinahan. Media Diverse Screenwriters Program. to be doing it,” says Marvin Dolgay, SCGC the response from mentees has been On its website, the WGC provides ample In each session, eight writers attend an president. The guild has responded with the overwhelmingly positive. He recently mentored information for members about guidelines intensive one-week workshop in which SCGC Emerging Composer-Director Match-Up, a composer from Newfoundland. “He’s a very for working on digital projects, and is showrunners and other industry fi gures a Toronto-based initiative pairing up to fi ve talented guy; he just didn’t have the confi dence touting its offerings to digital writers who discuss their respective crafts, followed composers with a directing resident from the to manage a fi lm project,” Dolgay says. “So we are not yet members. by an eight-to-10 week mentorship in Canadian Film Centre. The composers write the helped him with that and he went back and The guild looks to open writers’ eyes which each student is partnered with a score for a CFC short fi lm, then produce and landed gigs with the NFB and CBC.” to the digital world and hook them seasoned screenwriter who helps them record it with a chamber orchestra at the CBC’s by Mark Dillon up with others in the fi eld through its hone an original script that will serve as Glenn Gould Studio. Seasoned SCGC members presence at industry events such as their calling card. provide mentorship on dealing with music those organized by Interactive Ontario “The effort there is to bring writers charts, voicings and players. The results are and North by Northeast Interactive. Last from diverse backgrounds into the writers then screened as part of an open master class. year’s Fan Expo Canada presented a rooms of Canada so our stories will more Dolgay says the SCGC hosts similar WGC panel about adapting properties for closely refl ect Canada’s diversity,” says programs in all the major production centers other platforms, featuring Patrick Tarr, Kinahan. Travel expenses, if required, are nationally and has done it in Halifax as well. His award-winning writer of the Murdoch covered. message to composers is, “Here’s something Mysteries’ online spinoff series The by Mark Dillon you should be aware of, because it’s pretty

32 spring 2012 | playbackonline.ca

PPB.Unions.2012.inddB.Unions.2012.indd 3232 117/05/127/05/12 10:0110:01 AMAM PB.21325.DGC.Ad.indd 1 16/05/12 4:17 PM PB.21411.Zoot.Ad.indd 1 16/05/12PB.21358.Actra.indd 4:16 PM 1 16/05/12 5:37 PM DIRECTORS GUILD OF CANADA

The Directors Guild of Canada (DGC) is doing its part to raise members’ profi les and employment opportunities. Its recent Features Exchange initiative allowed feature-fi lmmaking members to pitch either their projects or themselves in fi ve-minute sessions with top producers and funders. “You have a chance to meet somebody [in the industry] face-to-face that normally you may not,” says Hans Engel, the DGC’s National Directors Division manager, who indicates the popular event will likely return. Looking to empower directors in the TV world, the guild wants to build awareness of the director-producer role, which is far more prevalent in Hollywood than here. To that end, last fall it brought Greg Yaitanes, who occupied that chair on the hit medical drama House, to tell DGC members how they can be part of the showrunning team. Meanwhile, the annual Meet the Directors event spotlights helmers nominated for DGC Awards and allows them to share war stories with emerging fi lmmakers. “Originally it was very much focused on ‘How do you get into the industry?’ ‘How did that project get started?’ and ‘How do you make these choices as a director?’ says Engel. “Some of that is still part of it, but we’re now able to have a broader scope.” Last fall’s event, featuring Sturla Gunnarsson (the doc Force of Nature), TV director Adrienne Mitchell (Durham County) and sci-fi meister Vincenzo Natali (Splice), was held at TIFF Bell Lightbox, a venue big enough to allow the guild to open the event to the industry at large. Among DGC regional mentorship offerings, Ontario’s Guild Apprentice Programs have applicants perform paying work or otherwise shadowing for 50 days on three productions over the course of 18 months, after having attended training days. Graduates can then join the DGC. Also, in an era when more projects are being done on low budgets and for digital platforms, the DGC is instructing fi lmmakers on becoming more profi cient at generating their own content. Weekly professional development courses for both members and apprentices cover the gamut of working on Avid, Final Cut Pro and Photoshop as well as 3D production management. by Mark Dillon

spring 2012 | 33

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PB.21358.Actra.indd 1 16/05/12 5:37 PM Academic Listings

The Banff Centre - Film & Media PROGRAMS: Advanced training, research, and co-production opportunities, and student work study programs in video production and post-production, digital media, adventure fi lmmaking, photography, audio, and new media. Programs vary in length and run throughout the year. DEGREES/CERTIFICATES: Non-degree granting, public post-secondary institution FACILITIES: Fully equipped facilities for digital fi lm and video, photography, audio, and digital media including: a 2,500 square-foot television studio space; full HD production complement; green screen environment; AVID post production suites; audio facilities including surround sound recording and editing studios; research facili- LOCATED: Banff, Alberta ties including collaboration, and visualization labs; access to performance spaces, and access to music, visual arts, and animation/graphic design department. FOUNDED: 1933 NUMBER OF STUDENTS: TEL: 1.800.565.9989 or 403.762.6180 450 annually FAX: 403.762.6345 WHAT’S NEW: Ongoing Artist-in-Residence programs, Performance Photography Workshop, Science Communi- E-MAIL: [email protected] cations, Adventure Filmmakers’ Workshop, National Media Arts Summit, City TV Scholarships, Podcast Producer Work Study, NBCUniversal Training Program WEBSITE: www.banffcentre.ca CONTACTS: Kerry Stauff er, Executive Director, Film & Media; Theresa Leonard, Director and Executive Producer, Audio Programs; Nicholas Mills, Director, Digital Media Research; Joni Cooper, Director, Banff Mountain Film and Book Festival The Banff Centre: Canada’s creative leader in arts and culture The Banff Centre’s mission, Inspiring Creativity, is refl ected in the experience of participants in our diverse Film & Media department. Working in digital media, photography, and audio, participants come from all over the world to work at their creative pursuits in our supportive and collaborative environment. The Banff Centre is a creative space rooted in the arts, but with an open-minded attitude for technology and collaboration. The cross-pollination of ideas across many artistic disciplines is a hallmark of The Banff Centre experience. Set in the heart of the Canadian Rockies, The Banff Centre is a catalyst for creative thought, with a host of world-renowned faculty visiting throughout the year. On-campus accommodation and meal options are available to participants.

PB.21228.Banff.indd 1 16/05/12 4:18 PM Canadian Film Centre PB.21326.CreativeWomen.indd 1 16/05/12 4:17 PM

PROGRAMS: Cineplex Entertainment Film Program, CBC Prime Time Television Program, CFC Features, CFC Actors Conservatory, CFC Media Lab, and more. DEGREES/CERTIFICATES: The programs are designed at the post graduate and senior level and participants receive hands-on experience and unprecedented mentorship with industry leaders. FACILITIES: CFC provides residents with exceptional production and post-production facilities and services, including workshops, casting, editing suites, and a screening room. The state-of-the-art CFC Media Lab is LOCATED: Toronto, Ontario located at MaRS Discovery District. Our fi lm and television programs’ production offi ce is located at Toronto Film Studios. FOUNDED: 1988 TEL: 416.445.1446 NUMBER OF STUDENTS: In 2011, CFC had more than 75 residents, and since its inauguration, has seen more than 1,600 alumni come through its doors. FAX: 416.445.9481 E-MAIL: [email protected] CONTACT: Please refer to the CFC website for specifi c program contact information. WEBSITE: www.cfccreates.com

CFC is proud to be at the forefront of the entertainment industry. A leader in assessing and serving the future needs of the media industry at home and abroad, CFC is also a signifi cant creative and business catalyst for emerging and established talent and projects, a key partner in the entertainment industry and a leader in the digital economy. CFC accelerates the careers of the brightest talent in fi lm, television, screen acting and digital media. A charitable organization, CFC is committed to promoting and investing in Canada’s diverse talent; providing exhibition, fi nancial, and distribution opportunities, industry collaborations and creative partnerships for top creative content leaders. CFC makes a signifi cant cultural and economic contribution to Canada by launching the country’s most creative ideas and voices to the world. Find out more at cfccreates.com

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LListings.inddistings.indd 3434 117/05/127/05/12 11:3811:38 AMAM Creative Women Workshops Association

PROGRAMS: Story Incubation Module: exploring a psychological approach to developing fi ction stories for screen as well as the leadership and management skills of 8 mid-career women screen directors. Prep Production & Post Module: working with senior professionals, (ACTRA Actors, DGC and IATSE Crews) to advance the scripts, directing styles and skills of the 8 women directors from SIM. Ongoing Advancement Module: off ers support for long and short-term career plans of WIDC alumnae and other women directors across Canada through one-day business and skills building workshops, the WIDC Feature Film Award ($100,000 in kind), BANFF Fellowship ($7,500 in kind). FACILITIES: Provided in kind for various parts of the WIDC program by: The Banff Centre, William F White LOCATED: Vancouver, BC Intl, Panavision Canada, North Shore Studios, The Bridge Studios, Vancouver Film Studios, SIM Digital, FOUNDED: 1997 Deluxe, Post Modern Sound, Selective Props, and the gear donated by IATSE members participating in the TEL: 1-604-913-0747 program annually. E-MAIL: [email protected] NUMBER OF STUDENTS: SIM: 8 mid-career women directors; PPPM: the 8 participants from the SIM, plus up to 75 actors and crew participants; OAM: 14 mid-career women directors WEBSITE: www.creativewomenworkshops.com WHAT’S NEW: Coming soon! WIDC ONLINE, OUTREACH and SIM programs powered by NBCUniversal. CONTACT: Carol Whiteman, President & CEO/ WIDC Producer

CWWA: Through its internationally acclaimed mentoring and development program, The Women In the Director’s Chair Workshop, presented in partnership with The Banff Centre and ACTRA with major support from Telefi lm Canada, CWWA encourages and inspires excellence, creativity and collaboration in storytelling for screen. Striving towards gender equity by supporting, celebrating and advancing the talents and skills of women storytellers for screen including directors and their projects, actors, crafts people and technicians, CWWA is also dedicated to increasing the number of women participating in a meaningful way in leadership and non-traditional positions in Canadian fi lm, television, video and digital media programs from less than 10% to 50%. WIDC is also supported by Actra Fraternal Benefi t Society, DGC, BC, IATSE 669, IATSE 891, IATSE 212, Independent Production Fund and many others. “WIDC is a rare opportunity to upgrade skills, “take risks, make mistakes and discover talents you never knew you had.” – Anne Wheeler, 1997 & 2006 Mentor Director

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PROGRAMS: fi lm making, television writing, screenwriting, remote broadcast, television production, videography, radio DEGREES/CERTIFICATES/ DIPLOMAS: Bachelor of Film and Media Production, Advanced Diploma in Film and Television Production, Diploma in Television Broadcast/Videography, Graduate Certifi cate in Television Writing and Producing, Radio Broadcasting Diploma FACILITIES: digital cameras, fi lm cameras, motion capture, studios, remote broadcast truck, broadcast centre, LOCATED: Toronto, Ontario radio station, industry standard lighting and grip, certifi ed Pro-tools trainer, certifi ed Final Cut Pro trainer, FOUNDED: 1967 professional faculty 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 rela- tions, 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 and a mobile broadcast unit. The School of Media Studies & information Technology keeps the Humber community well-informed of current events and campus activities through the award winning 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.

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LListings.inddistings.indd 3535 117/05/127/05/12 11:3811:38 AMAM Ontario Institute of Audio Recording Technology

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 Rob- ert Breen, Gemini award winner Mark Vogelsang, and Producer/Engineer/Mixer Dean Nelson. Joining the faculty in 2011, Nelson was personally trained by master Engineer Jack Joseph Puig over a 5 year working relationship, and their credits include the Rolling Stones, U2, Fergie and Mary J. Blige. Nelson recently engineered and mixed several albums with artist Beck (incl. Record Club, Thurston Moore, Stephen Malkamus, “Scott Pilgrim” soundtrack). Visiting lectures by 30+ adjunct faculty members include multiple Juno Award “Engineer of the Year” winners, including Vic Florencia and John Bailey. Final student Audio for Pictures projects are judged by CTV Head of Audio Post Production Mike Nunan, and Technicolor Toronto’s Manager of Sound Services, Re-Recording Mixer James Porteous. Ryerson University PB.21386.OIART.Listing.indd 1 16/05/12 4:18 PM PROGRAMS: BACHELOR OF ARTS (RADIO & TELEVISION) The RTA School of Media off ers a creative environment with a broad education in the fi eld, ensuring a perfect mix. This includes advanced, creative production courses contextual- ized through theory and business courses, as well as general liberal studies. MASTER OF ARTS (MEDIA PRODUCTION) Designed to launch the next generation of media innovators through a fl exible series of production and theory courses, culminating in either a major professional project or a research paper focusing on aspects of media production. LOCATED: Toronto, Ontario FACILITIES: FOUNDED: 1953 The Rogers Communications Centre (RCC) at Ryerson is a fully interactive and highly adaptable communications world, featuring state-of-the-art computing laboratories and networked media and print facilities. TEL: 416-979-5107 FAX: 416-979-5246 NUMBER OF STUDENTS: BA: approximately 630 / MA: approximately 25 EMAIL: [email protected] WEBSITE: www.ryerson.ca/rta CONTACT: BA: Donna Buczkowski ([email protected]) / MA: Aina Arro ([email protected])

Established in 1953 as the School of Radio and Television Arts, with the addition of a Masters in Media Production in 2007, the RTA School of Media at Ryerson University is one of Canada’s preeminent schools of production, broadcasting and innovative transmedia content. Today’s media landscape is changing at an Academic Listings unprecedented rate. Satellite, cable, internet, HDTV, digital radio, interactive television, smartphones and a broad range of other handheld and experiential devices are transforming the way we consume media, exchange information, produce creative work and market products and services. The RTA School of Media focuses on creation and analysis of the industry with emphasis on the aesthetics, technology, and fi nancing structures that underpin excellent media. Our faculty members have extensive experience and interest in a broad range of subjects including video, sound, performance, writing, aesthetics, e-commerce, broadcast law, media funding, media distribution, developing new technologies, management of media properties, digital cinema, cyber communities, entre- preneurial models and the theory of production. Students utilize the resources available at the Rogers Communications Centre while developing strategic ties with media outlets outside the University to develop compelling, innovative productions in a variety of media.

Sheridan College MEDIA-RELATED PROGRAMS: PB.19337.Ryerson.Listing.indd 1 Media Fundamentals, Media Arts, Technical Production for Theatre and Live 16/05/12 4:18 PM Events, Bachelor of Applied Arts (Animation), Bachelor of Applied Arts (Photography), Bachelor of Design (Hon- ours), Advanced Television and Film, Computer Animation, Computer Animation Digital Character, Computer Animation Digital Visual Eff ects, Web Design

DEGREES/CERTIFICATES: Foundation College Certifi cates, College Diploma and Advanced Diplomas, Bachelor's Degrees, Joint College-University Degrees, University Transfer Credits, Graduate Certifi cates, Apprenticeships, Corporate Training, Workforce Development, Continuing Education

FACILITIES: Four campuses housing state-of-the-art facilities in Brampton, Oakville (2) and Mississauga feature LOCATION(S): 1430 Trafalgar Road, Oakville Learning Commons, Sheridan Centre for Animation and Emerging Technologies (SCAET), Skills Training Centre 7899 McLaughlin Road, Brampton and Centre for Healthy Communities. 4180 Duke of York Blvd., Mississauga TWO STUDENT RESIDENCES: one each at Brampton and Oakville campuses. www.theplace2be.ca FOUNDED: 1967 NUMBER OF STUDENTS: 18,000 full-time students, 35,000 continuing education students E-MAIL: [email protected] WHAT’S NEW: WEBSITE: www.sheridancollege.ca Sheridan was named number one among the world’s top 100 schools for animation, gaming and design by Animation Career Review CONTACTS: Offi ce of the Registrar. 905-845-9430 Oakville/Mississauga. 905-681-4611 Burlington/Hamilton. 905-459-7533 Brampton/Mississauga. Sheridan College provides students with the knowledge and skills to thrive in a rapidly changing world. We serve 18,000 full-time and 35,000 continuing education students at our campuses in Oakville, Brampton and Mississauga. Sheridan off ers an innovative learning environment celebrated for academic excellence, applied research and creativity. Program options range from one-year certifi cates to four-year bachelor degrees in the arts, business, community service and technology fi elds. Our expertise in digital media and fi lm studies has led to the creation of the Screen Industries Research and Training Centre (SIRT), located at Pinewood Stu- dios Toronto. SIRT’s production studios and lab facility is an industry and academic “technology house” dedicated to exploring digital image capture and creation processes for fi lm, television, gaming and other screen-based industries.

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BY KEVIN RITCHIE Building a Mike Holmes (front) provides some pointers to a contractor. The fi rst program he fronted, Holmes on Homes, premiered in 2003 on HGTV Canada. powerhouse (Image courtesy HGTV) In its short history, the When HGTV fi rst launched in Canada 15 years ago, ‘how’ what type of show I thought he needed and that’s when he was more important than ‘who.’ Many of its programs jumped up out of his chair and said ‘I want a pilot right away!’ lifestyle specialty channel were design-focused, centering on crafts, hobbies and I actually laughed. I said ‘I’m contractor; I’m not a TV guy.’ has gone from having just interior décor with hosts on many shows essentially “It was months later and he kept pushing me,” he guiding viewers on tours through upscale homes and continues. “He said some magical words to me, which one Canadian-made show properties and leading how-to classes. Its top-rated show, were: ‘I noticed that you like helping one family at a time.’ in its 20 top slots to having Awesome Interiors, had an average of 19,000 viewers in I said ‘absolutely that’s what this [business] is about’ and the adults 25-54 demographic. he said, ‘how would you like to help everyone at once?’ Canadian programming At least one of those adults, however, was not a huge fan. And he got me.” utterly dominating its top In 2001, Mike Holmes was working as a contractor when In March 2003, Holmes on Homes (The Holmes Group) Michael Quast, then a director of studio programming for debuted on HGTV. Each half-hour episode featured a ranks. And it did something specialty channel operator Alliance Atlantis (which owned homeowner facing dire circumstances after a shoddy else: it helped open U.S. HGTV Canada until 2008- it is now owned by Shaw Media), renovation job. Just when it seemed their situation can’t get hired him to build a custom straw bale home in Oakville. any worse, Holmes arrives and shows them that it is in fact industry doors to Canadians. “I got to know him and I really liked him, so one day I worse, and sets out to repair the damage. Along the way, the Here Playback looks at its decided to give him a bit of crap because I didn’t like the viewers got an education in best home reno practices. shows on the channel,” recalls Holmes. “I went off for about HGTV and the The Holmes Group had struck upon a recipe many feats 30 minutes. I had diarrhea of the mouth and I just told him for success. “It was about trying to fi nd emotional story arcs

spring 2012 | 37

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“Television itself matured and less about [showing]how-to and doing it Former Property Virgins host Sandra Rinomato (right) launched her own HGTV Canada series Buy Herself earlier this and so did our audiences. yourself,” adds Quast. year. Property Virgins remains on the air, with new host Egypt Sherrod. (Image courtesy HGTV) During its third season, HGTV extended They wanted not just enter- Holmes on Homes to an hour. Holmes has since tainment, but storytelling rocketed to international fame and is preparing completed winter-spring season, 18 of its top it-yourself themes to emotional storytelling. and stakes,” says Christine to launch the latest iteration of his renovator- 20 series are domestic programs, including Daniel Eves, VP of specialty programming to-the-rescue franchise, Holmes Makes It Right Canada’s Handyman Challenge, Leave it to and scheduling for corporate parent Shaw Shipton, VP original content in the fall, part of a deal that will keep him on Bryan (Si Entertainment), Holmes Inspection Media, notes the programs “became more for Shaw Media HGTV for the next three years. (The Holmes Group), Massive Moves (Windfall entertainment-based” as the sources of DIY As HGTV Canada prepares to celebrate 15 Films), Property Virgins (Cinefl ix Productions) home ownership information proliferated. At years on the air in the fall, Canadian-made and Income Property (RTR Media). root “it’s the same fl avour, tone and talent programming about renovation, real estate Since its inception, HGTV Canada has driving it - it’s just a different approach to the and design driven by real-life characters like grown its audience despite multiple changes actual content.” Holmes, dominates the network’s slate, and its in ownership. At fi rst a joint venture between Since the late 1990s, “television itself top-rated show for winter-spring 2012, Canada’s Atlantis Communications and minority matured and so did our audiences,” adds Handyman Challenge (Firvalley Productions), has partner E. W. Scripps Company, it came Christine Shipton, VP of original content an average of 132,000 viewers in the 25-54 under control of Alliance-Atlantis with a for Shaw Media. “They wanted not just demo. company merger in 1998; it was then bought entertainment, but storytelling and stakes: They It’s an impressive feat. When the network by Canwest in 2008. In 2010, Shaw Media want to know whose home you’re renovating launched in 1997, only one of its top 20 took it off Canwest’s hands. and why. What’s at stake? If this renovation is timeslots was a homegrown production. In Each successive owner has built on the not going to happen to their house, how bad spring, 55% of HGTV Canada’s schedule accomplishments of its predecessor and will their life be?” Success in this niche involves was devoted to Canadian content. In this just continued to shift the focus away from doing- “making sure you approach the content from

38 spring 2012 | playbackonline.ca

PPB.HGTV.2012.inddB.HGTV.2012.indd 3838 118/05/128/05/12 3:153:15 PMPM PB.21315.FishFry.Ad.indd 1 16/05/12 4:19 PM MAY THE BEST SHOW WIN In the seasons ahead, in addition to bringing back shows starring expert talent such as Bryan Baeumler, Jim Caruk and Holmes, Shipton wants to expand the idea of home-centric programming. She cites returning series Massive Moves, a show about movers that relocate entire houses, and two new formats as examples of programming that offer new takes on factual-entertainment theme. One is the “fantasy real estate series” Live Here, Buy This from Toronto-based JV Productions which shows Canadians buying homes in far fl ung cities that are the same value as their current dwelling. The second is Proper Television’s May The Best House Win, an ITV format about four people who showcase their homes to each other and then judge each other’s taste in home décor and design. “It’s a step away from the traditional expert-sweeps-in-and- transforms-your-life show,” says Proper Television president Guy O’Sullivan. “Audiences tastes are always changing and HGTV has been good at changing with them, which is why they’ve been around a long time. You’re going see more [character-led] shows on HGTV. Audiences want shows with big characters and stories but not driven by process so much.” “They’re very good at knowing and spotting formats that won’t feel tired,” says Simon Lloyd, the CEO of Cinefl ix Productions, which has produced around 170 episodes of the fi rst-time homebuyer series Proper Television president Guy O’Sullivan says character-driven shows appeal to audience appetites. Property Virgins for HGTV (the show is also airing in its second season

spring 2012 | 39

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on HGTV U.S.). “There are certain formats out there where you feel the level of repetition is so high, and it makes the format feel tired very quickly. HGTV’s formats have natural in- built dynamics or characters that give simple conceit great longevity.”

OPENING U.S. DOORS South of the border, HGTV’s U.S. counterpart airs 75% of HGTV Canada’s shows. Some of those series are conceived as U.S.-Canadian co-productions by both networks, while others are picked up after they air in Canada. “HGTV Canada was smart enough to realize bringing HGTV U.S. in a pre-sale position would help defray costs of production,” says David Paperny, founder of Vancouver-based Paperny Films, which has produced for the specialty The Stagers, Spring and the de- cluttering docu-series Consumed. “They were open to that creative collaboration whereas other broadcasters were more hesitant to establish the great relationships with American broadcasters. They opened the door for us Canadian Proper Television’s new HGTV series May the Best says. “It’s very competitive because you can he says. “You feel the kind of density of producers to make a sale in the U.S., they House Win expands further on the idea of home-centric have a pitch for a show that if you tweaked character-led commissioning can’t continue at programming, says Shaw Media VP of original content promoted that process and they realize that it one way, it could fi t for Discovery Channel, this pace forever. I think there will be a change Christine Shipton. (Not shown; image courtesy HGTV) they as well benefi t from that.” another way it could fi t for HGTV, another way and there’s a good chance you will see strong Today, HGTV is the second-highest ranked it could fi t for History Television. It’s important returnable formats coming to the fore in the specialty network among female viewers 25-54 renovate a house and you’d have a formulaic that we are on top of which producers next couple of years [on HGTV Canada].” in Canada and fi fth for adults 25-54, according [story structure of] before, during and after— have which shows and which ideas. We’re to BBM Canada data. Shipton attributes and the reveals were the big deal on the constantly out there talking to people because those rankings in part to the maturing of the show. Producers in Canada get beyond [the it is about hits now on every single service.” Canadian production landscape, which has emphasis on the reveal] now.” Lloyd believes that the specialty’s become more astute at fi nding formats with a That awareness is especially important as commissioners are keeping a sharp eye out for “bigness” that resonates with HGTV viewers. television networks have shifted their focus whether or not factual entertainment fans start to “Our producers have gotten so much better from a big picture brand environment to a feel over-saturated by larger-than-life characters. at making shows for specialty,” she says. show-by-show mentality. “One wonders, what’s next? Will competition “It used to be this cottage industry. We’d “Television has become very hit-driven,” she begin to re-emerge? Will it be formats?”

40 spring 2012 | playbackonline.ca

+ HAPPY + ANNIVERSARY TO THE SUPERB TEAM r r at HGTV from your friends at

PB.21284.RTR.Ad.inddPPB.HGTV.2012.inddB.HGTV.2012.indd 404 0 1 16/05/12117/05/127/05/12 4:219:489:48 PMAMAM DGC TURNS 50 All photos courtesy of The Director’s Guild of Canada The Director’s All photos courtesy of

A big board in the Directors Guild of Canada’s downtown Toronto headquarters lists ongoing and upcoming productions on which its members are working. Using this as a bellwether, it promises to be a busy shooting summer. And there are further reasons for optimism as the From its earliest DGC blows out 50 birthday candles. Thanks in part to the guild’s lobbying efforts, the CRTC now requires broadcasters to spend set amounts on beginnings in 1962, the programs “of national interest.” Directors Guild of Canada And yet there are challenges as well. The CBC, NFB and Telefi lm Canada are scaling back after Ottawa-imposed budget cuts, and has worked to improve the Saskatchewan’s production community is in crisis after the provincial working lives of directors government jettisoned its fi lm tax credit, replacing it with an unpopular one. If that weren’t enough, the recent spate of broadcaster and their support teams consolidation has left fewer doors for fi lmmakers to knock on. as it also played a key role But change and adversity defi ne this business, and the DGC continues to hold fi rm to its mandate, which current president and in building the domestic fi lmmaker Sturla Gunnarsson articulates as “advancing the creative, fi lm and TV industry. Gunnarsson moral and economic rights of our members.” That membership today numbers more than 3,800, including not only directors but also their Here, Playback puts the support teams: assistant directors, production managers, location spotlight on the high- managers, production designers, editors and sound editors. The guild looks after their interests in three ways: through membership services, profi le association including what Gunnarsson describes as “the best healthcare plan in the business,” collective bargaining, and regulatory affairs. The DGC’s HALF A business is conducted by 40 full-time staff as well as volunteer offi cials who are also practicing fi lmmakers. Seven regional branches – one for the Atlantic region plus one per remaining province – are each represented by a district council, and all are bound together by the national organization. CENTURY Not only has the DGC grown substantially since 18 fi lmmakers hatched its creation at the Toronto offi ce of fi lmmaker Don Haldane in 1961, but it has played an integral role in the development of Canadian fi lm and television overall. Half a century ago, being a fi lmmaker in Canada was an even tougher slog than it is today. The CBC and NFB AT THE were for the most part closed shops, leaving an independent route with limited options. Budding talents like Norman Jewison, Ted Kotcheff and Arthur Hiller eventually departed for the greener pastures of the U.S. and U.K. “The guild’s founders set out to do two things,” Gunnarsson says, “one was to improve conditions for themselves, but they saw right HELM away that the only way to do that was also to build the industry.” The Screen Directors Guild of Canada, as the DGC was originally BY MARK DILLON known, held its fi rst offi cial meeting at Toronto’s Westbury Hotel on March 16, 1962. Its constitution was ratifi ed that June and it dropped “Screen” from its title in the hopes of attracting stage and art directors. Freelance directors didn’t have a legally binding contract, so the guild looked to establish pay structures and working conditions for them in an agreement to be signed by producers in the Toronto – Montreal – Ottawa triangle. It then set its sights on Parliament Hill, lobbying for support for a sustainable movie industry. Some of the guild’s suggestions were incorporated in the creation of the Canadian Film Development Corporation (predecessor to Telefi lm Canada). “Within two years of the charter meeting, a hell of a lot went on,” notes Robert Barclay, one of the DGC’s founding members and a future president.

continued on p. 43 >

spring 2012 | 41

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DON HALDANE ROBERT BARCLAY ALLAN KING Edmonton-born Haldane enjoyed a busy career Documentary fi lmmaker Barclay was one of the DGC’s The cinéma vérité master brought his considerable directing industrial movies in New York in the late founding members and in the mid-1960s fi ne-tuned the international experience and reputation to bear in two 1940s and early 1950s. While there he helped DGC’s infl uential brief to the Fowler Committee, which terms as DGC president, the fi rst from 1970 to 1972, form the Screen Directors International Guild (SDIG), was set up by the Pearson government to investigate when membership had ballooned to 150. whose members broke off from the Directors Guild the state of Canadian broadcasting, which, at the time, His second turn beginning in 1993 proved more of New York over concerns about pay and working was largely foreign controlled. The brief’s most important eventful. He sought to quash confl icts between conditions. He returned to Canada to helm NFB suggestion was to create an “honourable trusteeship” of Ontario and the other district councils – which shorts, direct early TV series and form indie house industry stakeholders to regulate the private broadcast thought Ontario had too much say – and present Westminster Films with wife Lee Gordon. It was sector and the CBC. Out of this study came the Canadian a united national front. He increased effi ciency by through Haldane that the SDIG sought to expand Radio-Television Commission, as the CRTC was then limiting the DGC board’s activity to policy and leaving into Canada, but producer Sydney Banks convinced known. “People on the Fowler Commission later said, the execution to a full-time staff. This period saw his fellow founding DGC members that they should ‘Your brief was the one that was the key as to how to set industry expansion driven by a weak loonie and a instead form an independent Canadian organization, up the CRTC,” Barclay recalls. boom of Hollywood service work, making the DGC’s and Banks became its fi rst president. Barclay served as DGC president from 1978 to vigilance towards its members’ contracts even more With the DGC operating out of his offi ce, Haldane 1980, when the Capital Cost Allowance program was necessary. The organization again successfully assumed the presidency in its second year. Under keeping Canadian fi lmmakers busy and, as a result, the donned its lobbying hat, going after quotas for his leadership, the guild sought to implement the DGC’s coffers full. He doubled directors’ rates, added a Canadian programming hours in primetime. The DGC rules of working conditions it had drafted. This and directors’ pension clause to the Basic Agreement with was also at the forefront of the discussion leading a pay structure formed the guild’s Basic Agreement producers, and ensured that producers were signing to the creation of the Canada Television and Cable with producers. Haldane and future DGC president Canadian fi lmmakers’ contracts. He also instituted Production Fund, the precursor to today’s Canada George Gorman lobbied the federal Department of the fi rst comprehensive Basic Agreement covering Media Fund. King strove for healthy relationships with Trade and Commerce about support for Canadian all categories and established offi ces for the Quebec other industry organizations, and played peacemaker feature fi lms. Lester B. Pearson’s government and B.C. district councils. He put together the 1979 among quarreling territories in the formation of the released a report on the matter in 1964, and the event The Art of Film Design, which addressed art International Forum of Directors Organizations. DGC was convinced its efforts could help shape the direction and special effects with the participation of fl edgling industry. Within three years, the Canadian major international talents. And in 1988, as chairman Film Development Corporation (today Telefi lm of the action committee, he organized directors Canada) was formed. and mobilized support from British and American counterpart organizations to gain recognition for the guild with the CBC.

42 spring 2012 | playbackonline.ca

PPB.DGC.2012.inddB.DGC.2012.indd 4242 116/05/126/05/12 5:575:57 PMPM PB.21316.Primevista.Ad.indd 1 16/05/12 4:22 PM “It would be hard to keep the national narrative going on [an industry] that works only irregularly. So the whole mix matters: service production, indigenous production, television, fi lms for screen and digital. It’s pretty hard to distinguish one from the other in terms of their importance,” says Gerry Barr, DGC national executive director and CEO

< continued from p. 41 growth in production in the Big Three centers but not the regions – particularly The DGC was also an early booster of a not Saskatchewan, which is currently in Capital Cost Allowance (CCA) program for disarray due to tax credit reform. So to Canadian fi lm, which ushered in the tax shelter assist the district councils in the “have not” era of the mid-1970s. Although it resulted in areas, the national offi ce – strengthened by innumerable projects of dubious merit, the CCA combining resources with Ontario – is now led to a production boom and helped the guild able to handle those councils’ administrative increase member roster. By the late 1980s, services on their behalf. And with the Hollywood service productions, particularly challenges that lie ahead, DGC members groups including the Canadian Council for DGC national executive director and CEO Gerry Barr’s in B.C., meant more work for local ADs and from coast to coast to coast realize there is International Cooperation, of which he is goals are two-fold: to keep cameras rolling and members employed. production managers. Yet DGC members in strength in solidarity. president and CEO. It’s his job to help keep B.C., who largely did service work, felt the guild “Everybody understands the importance cameras rolling and members employed. was ignoring their needs in favour of those of of having a strong national vision,” To do this, the guild regularly promotes He is confi dent in his approach to lobbying Toronto directors, who worked in indigenous Gunnarsson says. Canada as a shooting location in Hollywood, on behalf of audiovisual craftspeople and the fi lm and TV. So, in 1990, the Ontario district The guild has girded for the challenges while domestically it continues to drive home industry at large, thereby continuing the DGC’s council was spun off into an entity distinct from of fewer public dollars and broadcasters the signifi cance of stable tax credits. Barr points time-honored tradition. the Toronto-based national offi ce. that have shown an interest in seeing out that these initiatives support each other. “It “You have to make sure the community But the industry has evolved substantially, Canadian content rules loosened by last would be hard to keep the national narrative is together,” he says. “You also need and today, at the tail-end of a three-year year installing Gerry Barr as its national going on [an industry] that works only irregularly. to be clear, quick and accurate with strategic plan, the Ontario and national executive director and CEO. Barr comes with So the whole mix matters: service production, parliamentarians about what your industry’s offi ces have been brought back together excellent credentials in organizing labour and indigenous production, television, fi lms for screen needs are. They need to be able to trust the under one roof in a new location at 111 negotiations for the Steelworkers Union and and digital. It’s pretty hard to distinguish one message you’re bringing, because if that is Peter St. in Toronto. The DGC is anticipating has made a mark with various humanitarian from the other in terms of their importance.” gone you have nothing to work with.”

spring 2012 | 43

CONGRATULATIONS ON 15 GREAT YEARS !

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PPB.DGC.2012.inddPB.21316.Primevista.Ad.inddB.DGC.2012.indd 4343 1 16/05/12117/05/127/05/12 1:1514:22:15 PMPM DGC TURNS 50

MILESTONES NOVEMBER 16 ’61 JUNE 4’62 DECEMBER 7 ’65 Founding The organization Finished agreement with the Association of As current president meeting of changes its name to Motion Picture Producers and Laboratories the Directors Guild of the Screen of Canada (today known as the Canadian Sturla Gunnarsson Canada and ratifi es a Directors Guild points out, the constitution, solidifying Media Production Association), a fi rst-of- of Canada. its collective-bargaining its kind pact covering minimum rates and Directors Guild of power in the industry. conditions for freelance directors. Canada’s goal is “advancing the DECEMBER 16 ’69AUGUST 19 ’84 1990 creative, moral and New contract rates are Film The national guild and economic rights of its brought into force, and an Ontario wing formally include categories for director, editors split, due to concerns members.” Here are unit production manager, fi rst join the Ontario’s numerically greater some key milestones and second assistant director guild. membership dominates the on the road toward and production assistant. body’s national agenda. that goal. MARCH ’02 OCTOBER ’02

DGC/CFTPA Standard Agreement covering Alberta, Manitoba, Inaugural Northwest Territories, Nunavut, DGC Awards Ontario and Saskatchewan comes into force. It combines three held in separate pacts and strengthens DGC members’ bargaining power Toronto. in these regions.

44 spring 2012 | playbackonline.ca

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PPB.DGC.2012.inddPB.21418.Vistek.inddB.DGC.2012.indd 444 4 1 16/05/1216/05/12 5:015:595:59 PMPM PB.21332.PrairieDog.Ad.indd 1 16/05/12 4:23 PM ACKNOWLEDGING THE CREATORS In 1966, the DGC began sponsoring 150 attendees crammed into Toronto’s a director prize at the Canadian Film Boulevard Club. After going on to wear Awards, predecessor of the Genies. But several DGC hats, Danelon has returned after several decades guild members to produce the anniversary awards felt frustrated that it had no control over show, slated for October at the Fairmont how the excellent work of its members Royal York Hotel. was recognized. Danelon is particularly proud of “The organization and national the DGC’s team awards, which have executive asked, ‘How can we change been given out from the start. “It takes that? What is our most cost-effective more than one person to put a show way to honor our own: not only together.” directors, but also production designers, editors, sound editors, all the gamut that we represent?’” recalls Manny Danelon, chairman of the awards committee and producer of the fi rst DGC awards Danelon shows, which kicked off in 2002 with

spring 2012 | 45

CONGRATULATIONS TO THE

S DIRECTORS GUILD OF CANADA ON 50 YEARS OF EXCELLENCE

PB.21418.Vistek.indd 1 16/05/12 5:01 PM PPB.DGC.2012.inddPB.21332.PrairieDog.Ad.inddB.DGC.2012.indd 4545 1 16/05/1216/05/12 4:235:595:59 PMPM WHAT’S WORKING NOW + NEXT? Late April saw over 200 industry veterans and novices alike take part in the inaugural Playback Summit in Toronto. Delegates heard a variety of speakers discussing the changes taking place in Canada’s screen-based industry. The day featured 13 sessions in all, including the very popular and intimate “30 minutes with” a commissioning editor and round-table luncheons hosted by industry experts.

[All photos by Sean Torrington]

a b c

d e f

g h i j

k l

a Male dancers perform during Mark Montefi ore’s d Playback Summit co-hosts Mark Bishop of h Ted Boyd of 58Ninety, Rebecca Shropshire of UM k Co-host Paperny, CBC’s Jennifer Dettman, marketing pitch; in background is communications marblemedia and David Paperny of Paperny Films Canada and Stephen Jurisic of john st. hear a pitch Shaw Media’s Leslie Merklinger, Cinefl ix Media’s consultant Lauren Richards Joe Houlihan, Insight Productions’ John Brunton e David Heath makes his marketing pitch i Claire Freeland of Rogers Broadcasting b Discovery Canada’s Edwina Follows l Opening keynote Alexander Manu, of f Bell Media’s Phil King, CBC’s Kirstine Stewart, Rogers j Capital C’s Tony Chapman InnoSpa International c Tribal DDB’s Jason Chaney, Alliance Films’ Media’s Malcolm Dunlop Lauren Jacob, Prodigy Pictures’ Vanessa Piazza, g Corus Entertainment’s Vibika Bianchi Mongrel Media’s Danish Vahidy

46 spring 2012 | playbackonline.ca

PPB.Backpage.2012.inddB.Backpage.2012.indd 4466 116/05/126/05/12 5:255:25 PMPM PPB.21391.IATSE.Ad.inddB.21391.IATSE.Ad.indd 1 116/05/126/05/12 4:254:25 PMPM