On Screen Manitoba

Innovative Projects Seek $90 million

The Canada Media Fund (CMF) announced that the future of content and content delivery in Canada is being bolstered by home grown innovation, as evidenced by the strong demand for funding through the CMF's Experimental Stream. Applications submitted for funding by the first deadline, July 5, 2010, vastly exceeded the $16.2 million available at this round. Over 250 applicants have requested almost $90 million to support 120 production ($57 million requested), 112 development ($25 million requested), and 21 marketing ($8 million requested) projects. First round applicants represent all regions of Canada, and their projects include console, PC, and online games; alternate reality games; websites and webportals; webseries; mobile applications; software applications; and more.

As a result of the high demand experienced in the first round, the second and final deadline for applications is being extended from October 4 to November 12, 2010.

"We are truly impressed by the vast quantity and diversity of projects submitted thus far," said Valerie Creighton, President and CEO of the CMF. "The demand for funding from the CMF's Experimental Stream by pioneering Canadians reflects the demand by Canadians for innovative content and content delivery and points to the need for financial support for these types of projects."

The CMF also announced details regarding the process it has implemented to evaluate applications to the Experimental Stream. As published in the 2010-2011 CMF Experimental Stream Guidelines, projects will be assessed on the following factors: innovation (40%), production team (15%), business plan (30%), and distribution strategy (15%). For production projects, the innovation and production team factors, comprising a total of 55% of the assessment, will be evaluated by a jury of Canadian and international industry experts. All remaining factors for production applications, plus all development and marketing applications, will be assessed by CMF Program Administration analysts at Telefilm Canada.

Applications received by the first deadline, July 5, 2010, are currently under evaluation and decisions will be announced in early October. Of the $27 million in funding available through this stream, 60% will be disbursed in the first round and 40% in the second. As a result of the high demand experienced in the first round, the second and final deadline for applications is being extended from October 4 to November 12, 2010. All decisions made by the CMF will be considered final.

Connect.Create.Innovate.
The Canada Media Fund (CMF) champions the creation of successful, innovative, Canadian content and software applications for current and emerging digital platforms through financial support and industry research. Created by Canada's cable and satellite distributors and the Government of Canada, the CMF aspires to connect Canadians to our creative expressions, to each other, and to the world. www.cmf-fmc.ca

By: The Insider / Maureen Scurfield

Onalee Ames Film Studio, an acting school for film and TV hopefuls, has sent so many talented Winnipeggers to Carrier Talent Management, the Vancouver-based agency is opening a branch here this month.

They're setting up in the back office at Onalee Ames' glamourous L.A.-style studio at 701 Corydon Ave. In the last six months, coach Ames has seen at least 50 of her students get acting parts. "You really don't have to leave Winnipeg anymore to make it," says the experienced actress.

Click here to read more.

The Canadian Radio-television and Telecommunications Commission (CRTC) issued a new policy, one it says will give Canadians more opportunities to participate in their community television channels.

The CRTC's policy is designed to ensure that the community channels better reflect the realities and interests of local citizens.

"Community channels give Canadians the unique ability to see themselves and their neighbourhoods, towns and cities reflected on television," said Michel Arpin, the CRTC's Vice-Chairman of Broadcasting. "This can only be achieved through equal partnerships between cable companies and the communities they serve. Access to the broadcasting system must be as open as possible, especially for people who are new to the production of television programming."

Under the new policy, the CRTC will require that community members must be involved in the creation of at least half of a community channel's programming. This means that the original idea for a program must come from members of the community, who must also be involved in some aspect of the production, whether in front or behind the camera.

Additionally, at least half of a channel's programming expenditures will have to be devoted to this type of programming, as well as to community outreach initiatives and the training and development of volunteers.

Given the significant changes to the policy, the CRTC has determined that the new requirements will take effect on September 1, 2014.

The CRTC has also introduced measures to improve the accountability and transparency of the funds cable companies allocate to the operation of their community television channels. Cable companies will have to provide this information on a yearly basis starting in 2012.

Click to review the CRTC Broadcasting Regulatory Policy CRTC 2010-622
http://www.crtc.gc.ca/eng/archive/2010/2010-622.htm

For more Mediacaster Magazine coverage of this topic, please see:

Canadians Endorse Community Ownership of Community TV

http://www.mediacastermagazine.com/issues/story.aspx?aid=1000368913

'Don't Change Community Channels' Cogeco Says

http://www.mediacastermagazine.com/issues/story.aspx?aid=1000369363

CRTC Audits Show Abuses of Community Channels

http://www.mediacastermagazine.com/issues/story.aspx?aid=1000366637

Community Television Hearings at CRTC

http://www.mediacastermagazine.com/issues/story.aspx?aid=1000353949

Dear Colleagues,

We are writing to inform you that we are nearing completion of our rebranding initiative that was announced last June. The objective of our rebranding is to reflect the fact that the Association, like the hundreds of producers we represent across Canada, is keeping pace with change in the production sector. The most visible aspect of our rebranding is our new name, the Canadian Media Production Association. But the transformation of the organization does not end there. Our rebranding will also directly influence our strategies and our work processes. Though we have accomplished much in the past 3 months, there are still two outstanding items to finish before our rebranding is complete. These relate to both changing the domain name of our email addresses and updating our website. Our new email addresses will be effective on Tuesday, September 7, 2010. The standard format will be first.last@cmpa.ca. Any email sent after that time to the current cftpa address will be redirected.

We are working on significant improvements to our website. The launch of our new site is planned for early next year. Until then our website will continue to reflect current information and anyone accessing cmpa.ca will be redirected to our existing website. We are pleased to move forward with this exciting initiative. From today onwards all our business will be conducted under our new name. As such, we ask you to update your records, and to address any communications to us using our new name, the Canadian Media Production Association.

Sincerely,

Norm Bolen
President and CEO
Canadian Media Production Association (Formerly Canadian Film and Television Production Association)

By: Etan Vlessing, Playback

Movie tax credits are back in vogue south of the border, posing a renewed challenge for Hollywood North.

The California Film Commission this week doled out $100 million in tax-based production incentives for 2011 - all in one day.

The program gave tax credits to 30 Los Angeles-based film and TV projects to stem the flight of production to rival U.S. states, Canada and elsewhere internationally.

California has set aside $100 million each year for its film tax credit program, through 2014.

Most of the projects that received coin for the coming year are expected to start production this fall, and complete shooting in calendar 2011.

And while California has run dry for 2011, the state of New York is back in the film money business after it renewed its 30% film tax credit worth $420 million annually, or $2.1 billion over five years.

New York state last year offered $350 million worth of film and TV tax credits, but was quickly tapped out due to excessive demand.

That empty tank forced a host of U.S. producers to shift their projects elsewhere, including Warner Bros. Television's Fringe relocating to Vancouver.

Montreal film commissioner Hans Fraikin noted the new multi-year film tax credit activity stateside, but cautioned U.S. producers face a familiar dilemma on whether to locate to a cash-strapped U.S. state where a film tax credit program could run dry.

"Once those funds are depleted, there's nothing left," Fraikin told Playback Daily.

By contrast in Quebec and Ontario, where recently-introduced 25% all-spend tax credits have no ceilings, a U.S. producer is guaranteed a rebate on money they spend locally.

Fraikin said some U.S. producers have relocated projects to Montreal for budget planning certainty, but he can't identify them to avoid "rubbing it in their noses."

Stursberg exits CBC
By: Etan Vlessing, Playback

Canadian Broadcasting Corp. topper Richard Stursberg has left the public broadcaster after six years as head of its English language TV service.

No reason was given for the sudden departure.

CBC president Hubert T. Lacroix in a statement paid tribute to Stursberg, indicating he "brought with him a revolution that shook the foundation of the organization and eventually of the whole of our English services."

"Six years later, the institution is better off than it was. I want to acknowledge his success in turning CBC Television around and thank him for his contribution," Lacroix added.

Stursberg's position will be filled on an interim basis by Kirstine Stewart, general manager of CBC Television, until a permanent replacement is found.

"CBC is in great shape and now in this role I look forward to leading what is a great team of broadcasters, journalists and producing partners," Stewart told Playback Daily.

"Media moves too fast for CBC to take a break, we'll continue on making the best Canadian programming and news that we possibly can," she added.

Stursberg's tenure at the CBC was marked by a relentless push towards ratings with more commercially-driven shows in primetime, and repeated run-ins with unionized employees that included a 2005 work stoppage and 2009 job cuts to stem ad revenue losses.

His departure is the latest sign of a new regime at the CBC after the earlier departure of Fred Fuchs as executive director of arts and entertainment, and Jenny Hacker replacing Anton Leo as creative head of comedy.

Lacroix indicated Friday that that management restructuring will likely continue.

"We are in the midst of developing a new strategic plan that will guide CBC/Radio-Canada through the next five years. This is the opportune time to bring new leadership to English Services and to ensure alignment of the senior team on the future of the public broadcaster," he said.


Wilson upped at CBC
Etan Vlessing, Playback

Post-Richard Stursberg, it¹s onwards and upwards for senior CBC executives.

First Kirstine Stewart shifted from general manager of CBC Television to become executive vice president of English services on an interim basis.

Now close behind, Christine Wilson, executive director for CBC network programming, has become acting general manager while the public broadcaster looks inside and outside the corporation for Stursberg¹s permanent replacement.

Through the transition, Stewart will maintain her current working relationship with CBC programming execs and indie producers.

Stursberg promoted Wilson in 2006 to deputy program director around the time he recruited Stewart to oversee the selection and scheduling of CBC English-language TV programming.

(Voir le message en français ci-dessous)

Performance Envelope Calculation Factors

As a result of the consultation with the industry and funders of the Canada Media Fund (CMF), and in view of the policy direction from the federal government, the Board of the CMF has determined that the following factors will apply in the calculation of the performance envelopes for 2011-2012:

• Audience success (calculated on total hours tuned)

• Original prime time first run

• Historic performance, formerly historic access

• Above threshold licensing

• Regional licensing

• Digital media investment.

The new factor weights are defined as follows:

Original first run is defined as the first airing of a project (or series of episodes that make up that project) by an eligible broadcaster. Eligibility will be determined based on whether the broadcaster participated in the initial financing structure of the project. This, in essence, allows participation in this factor by second and third window broadcasters who licensed the project, but excludes acquisitions.

Prime time is defined as the period of time between 7:00 p.m. and 11:00 p.m., 7 days per week. A project for which the majority of the telecast airs between these hours is considered to be airing in prime time. In the case of single-feed specialty broadcasters, this time period will be extended to the hours of 5:30 p.m. to 2:00 a.m., 7 days per week.

For the digital media investment factor, credit will be earned for each dollar of cash financing and CMF envelope contribution provided by a broadcaster to a rich and substantial digital media component, as defined in section 3.2.DM of the Performance Envelope Program Guidelines.

The specific percentage weights to be assigned to each of the performance factors will continue to be assessed. Further consultations with the industry and funders will occur in September and the percentages of each factor will be announced following the final determination made by the Board.

Facteurs servant au calcul des enveloppes de rendement

Par suite de la consultation tenue avec l'industrie et les bailleurs de fonds du Fonds des médias du Canada (FMC), et vu les directives d'orientation prescrites par le gouvernement fédéral, le conseil d'administration du FMC a déterminé que les facteurs suivants s'appliqueront pour le calcul des enveloppes de rendement de l'exercice 2011-2012 :

• Succès auprès de l'auditoire (calculé en fonction du nombre total d'heures d'écoute)

• Première diffusion originale aux heures de grande écoute

• Rendement historique (anciennement accès historique)

• Droits de diffusion supérieurs au seuil

• Droits de diffusion régionaux

• Investissement en médias numériques.

Les nouveaux facteurs de pondération sont définis comme suit :

On entend par « première diffusion originale » la première mise en ondes d'un projet (ou série d'épisodes composant le projet) par un télédiffuseur admissible. L'admissibilité sera déterminée en fonction de la participation ou non du télédiffuseur au financement initial du projet. Essentiellement, cela exclut les acquisitions, mais permet aux télédiffuseurs de la deuxième et troisième fenêtre qui ont acquis des droits de diffusion du projet à se prévaloir de ce facteur.

Par « Heure de grande écoute » on entend la période de temps se situant entre 19 h et 23 h, 7 jours par semaine. Un projet pour lequel la majorité des émissions télévisées sont diffusées au cours de cette période est considéré comme mis en onde aux heures de grande écoute. Dans le cas de télédiffuseurs qui distribuent un seul signal, cette période de temps s'étendra de 17 h 30 à 2 h du matin, 7 jours par semaine.

Pour ce qui est du facteur « investissement en médias numériques », un crédit sera obtenu par un télédiffuseur pour chaque dollar qu'il aura octroyé à une composante médias numériques riche et élaborée (selon la définition prévue à la section 3.2 MN des Principes directeurs régissant le Programme des enveloppes de rendement), en espèces et par le biais de son enveloppe de rendement du FMC.

La pondération spécifique sous forme de pourcentage à attribuer aux facteurs de rendement fera l'objet d'évaluation continue. D'autres séances de consultation avec l'industrie et les bailleurs de fonds se tiendront en septembre et les pourcentages de chacun des facteurs seront publiés lorsque le conseil d'administration aura déterminé leurs valeurs définitives.

Patricia Bailey, Playback Magazine

A webseries penned by Ryan FitzGerald (Rogue Nation Studios) chronicling the plight of American citizens forced to leave their country as refugees picked up the 2010 Rogers and Manitoba Film & Music $15,000 Pitch prize presented by On Screen Manitoba at the 10th annual Gimli Film Festival.

FitzGerald was one of 47 filmmakers who had 3 minutes to pitch their project to a panel of broadcast executives at the five-day festival, which wrapped Sunday night in the small prairie town that's shaped the careers of experimental filmmaker Guy Maddin (Tales from the Gimli Hospital) and award-winning director Norma Bailey (The Capture of the Green River Killer). Maddin, one of the festival's advisors, is a long-time summer resident and Bailey, who sits on the GFF board grew up here.

Since its founding in 2000 to commemorate the arrival of Erik the Red at L'Anse aux Meadows in Newfoundland a millennium ago, GFF has become one of the province's most important film events. It initially screened films by Icelandic-Canadian and Icelandic directors and then expanded to include Circumpolar nations.

"The Gimli Festival has evolved into Manitoba's premiere film festival," director Sean Garrity (Zooey and Adam) told Playback Daily. "It's a chance for filmmakers from here to get together and to really connect with their audience and to celebrate our industry our own way."

The GFF's programming goal is to screen independent films and mainstream documentaries and features from the chilly countries that circle the Arctic pole. The festival also has an extensive short program which this year includes a spotlight on Nunavut.

"Filmmakers love coming here because it's so laid back. We give them a chance to talk with the audiences and they can hang out at the beach," says festival director Kristine Sigurdson.

The fest also features industry panels on producing skills, art design and cinematography. And through its Insight series the GFF annually takes a close look at a Canadian film and dissects how it gets made, from the scriptwriting to the post-production phase. This year the featured film was High Life, by Manitoba director Gary Yates, who was in Gimli to discuss his work.

"The industry panels were very well attended this year," says Sigurdson, adding that roughly 5,000 people attended the festival, a 25% increase over last year.

In addition to the $15,000 pitch prize the GFF also hands out a $1000 award for the Best Manitoba Short, which this year went to Curtis L. Wiebe's The Devil Wears a Paper Hat. A $1,000 artistic achievement prize also went Gabriela Pichier for her film Scratches.

Originally settled by Icelanders, Gimli is the largest community of its kind in North America. Maddin, who spends summers here, made the town famous on the art house circuit with his 1988 cult film Tales from the Gimli Hospital, and is one of the fest's advisors. The director also inspired one of the GFF's most unique features: movies on the beach. Supported by a steel scaffold mounted temporarily in Lake Winnipeg's hard sandy bottom, a 35-foot screen rises out of the expanse of water.

The festival is the brainchild of former Gimli resident and Senator for Selkirk-Interlake Janis Johnson. One of GFF's principal patrons is David Asper, also a Gimli summer resident.

The Federal Court of Appeal has rejected the notion that internet service providers are broadcasters, likely ending a plan to introduce a new levy on internet users to pay for the creation of Canadian content online.

The Canadian Radio-television and Telecommunications Commission in June asked the court to decide whether ISPs could be governed under the Broadcast Act, which would therefore require them to contribute to the creation of Canadian programming, as traditional broadcasters do.

On Wednesday, the court ruled that ISPs are not broadcasters because they only provide access to video content, which is generally supplied by third parties — such as broadcasters. As long as the ISPs remain neutral in providing that access, they should continue to be governed only by the Telecommunications Act, the court said.

"Because ISPs' sole involvement is to provide the mode of transmission, they have no control or input over the content made available to internet users by content producers and as a result, they are unable to take any steps to promote the policy described in the Broadcasting Act or its supporting provisions," said the decision. "Only those who 'transmit' the 'program' can contribute to the policy objectives."

Read more: http://www.cbc.ca/arts/tv/story/2010/07/07/isp-broadcasting-court-appeal.html?ref=rss#ixzz0trLAOxOe
 

(Voir le message en français ci-dessous)

Be sure to check out the article on Merit Motion Pictures produced One Ocean series, The Immersive Media World of One Ocean in this issue of the CMF's Interactivity publication.

Interactivity
Interactivity is the Canada Media Fund’s monthly publication, featuring news about the CMF and the projects we fund, as well as valuable information on industry events, awards and sales. We want to keep you up to date and connected with the Canadian content industry: let us know how you enjoy this issue and send us your ideas at info@cmf-fmc.ca.

Read the current issue

Interactivité
Interactivité est le bulletin mensuel du Fonds des médias du Canada. Il fait  le point sur les activités du FMC ainsi que sur les projets que nous appuyons. Il contient  également des renseignements importants sur les activités de l’industrie, de même que les prix remportés et les chiffres d’affaires des projets appuyés. Notre but : vous tenir au courant de l’industrie du contenu canadien. Dites-nous ce que vous pensez de ce numéro et envoyez-nous vos idées à info@cmf-fmc.ca.

Lisez le numéro du mois 

SaskFilm and the Saskatchewan Communications Network (SCN) have reached an agreement to provide services to film producers and production companies impacted by the wind-up of SCN. This agreement will transfer the management of all SCN’s outstanding contracts with film and television producers to SaskFilm.

"At this time of sector change and industry challenges, we are pleased to strengthen our relationship with producers and support the completion of these productions,” said Susanne Bell, SaskFilm CEO and Film Commissioner. “This agreement will ensure that these productions are completed and that work continues for many local film and television producers and that the transition resulting from the sale of SCN assets is handled efficiently.”

SaskFilm will support producers and production companies by helping them with financing, delivering product and licensing with broadcasters.

“SCN is determined to honour its contracts with Saskatchewan’s film producers and production companies,” Wynne Young, SCN Board Chair said. “By reaching this agreement with SaskFilm producers and production companies can be assured that their current projects will not only go ahead, they will experience efficiency in the transition period.”

SaskFilm will contact all affected parties to discuss details and determine what support services are required.

(Voir le message en français ci-dessous)

Canada Media Fund Supports Content Creation in Diverse Languages

June 29, 2010 (Toronto) – The Canada Media Fund (CMF) today released guidelines for its Diverse Languages Program. The Diverse Languages Program, which forms part of the CMF’s Convergent Stream, ensures that Canadians have access to content that reflects the variety of languages they speak. The program will provide funding support for the creation of Canadian content for television and digital media platforms in languages other than English, French, and Canadian Aboriginal languages, which are served by the CMF’s other funding programs.

Program guidelines are available for download on the CMF website under Create at www.cmf-fmc.ca.

Le Fonds des médias du Canada appuie la création de contenus dans diverses langues

Toronto, le 29 juin 2010 – Le Fonds des médias du Canada (FMC) a publié aujourd’hui les Principes directeurs régissant son Programme de diversité linguistique. Le Programme de diversité linguistique, qui fait partie intégrante du Volet convergent du FMC, assure que les Canadiens auront accès au contenu reflétant la diversité des langues qu’ils parlent. Le programme accordera un soutien financier pour la création de contenu canadien par le biais de plateformes télévision et médias numériques dans des langues autres que l’anglais, le français et les langues autochtones utilisées au Canada, qui bénéficient de l’aide financière dans le cadre d’autres programmes de financement du FMC.

Les principes directeurs régissant le programme sont téléchargeables à partir du site Web du FMC sous Créer au : www.cmf-fmc.ca.

By: Marise Strauss, Playback

The new czar at Telefilm Canada wants to cut red tape within the organization and implement new guidelines to gauge the success of homegrown movies beyond the box office.

Carolle Brabant on Tuesday made her first official appearance in English Canada since her appointment as the new executive director of the federal film funding agency in March, replacing Wayne Clarkson.

Digital convergence and its impact on the industry was top of mind for Brabant, as she spoke in Toronto of the agency's responsibility to help the audiovisual sector deal with a current "groundswell of change."

"Digital media is beginning to shape entertainment and culture in ways we don't fully understand yet," observed the chartered accountant in her speech to industry leaders and filmmakers, adding that Telefilm is in discussions with Heritage and Industry Canada to develop a national digital strategy.

New technology is also changing the way stories are delivered, and success of a homegrown film cannot be determined by its box office receipts alone, she remarked to reporters afterwards. (Telefilm's corporate mandate has been to increase the box office for Canadian movies to 5%, a goal that it has been unable to attain).

"[We] have to find other ways of measuring success. People are looking at cultural products on many different [screens]," she said, admitting that the organization is in a transition period. "We are in a difficult period because we don't know what the new business model will be," Brabant added, noting that Telefilm is not only looking for hits, but for a diversity of films. (The organization has a budget of $100 million for feature films this year).

"Box office is not the only measure of success," agreed filmmaker Clement Virgo, who was in the audience. "A lot of films don't make money at the box office but they make money on television, DVD, VOD. [The current] model is an old model," he told Playback Daily. Virgo is currently working on a feature adaptation of Lawrence Hill's bestselling The Book of Negroes, which he hopes to shoot in Toronto, Halifax and West Africa next year.

Brabant continued to paint in broad strokes her vision for Telefilm but was short on specifics. She spoke of a desire to cut back on the amount of red tape within the organization and reduce the number of guidelines.

"[Currently] we have one guideline for each and every program...we're looking at reducing that so there won't be 32 guidelines every year that have to be updated, published and promoted," she said.

When asked for an opinion on Alberta culture minister Lindsay Blackett's controversial comments last week, in which he suggested that Canadian-made TV shows were "crap" in a panel at the Banff World Television Festival, Brabant said she "totally disagrees."

"When I say that I'm a true fan of what we're producing, I am. I would not be heading Telefilm if I didn't think that the taxpayer dollars were not well invested," she said.
 

The Government of Saskatchewan today announced that, after careful review and analysis of the Expressions of Interest from groups interested in buying the Saskatchewan Communications Network (SCN), it has decided to sell SCN’s assets and operations to Bluepoint Investment Corporation.

“Bluepoint offered the best bid. It was also the only proposal with a business plan that required no public investment,” Tourism, Parks, Culture and Sport Minister Dustin Duncan said. “Along with buying the assets there is also a commitment to buy new Saskatchewan programming content that will support the film industry and to develop digital content. This proposal is the best value for taxpayer dollars.”

Bluepoint Investment Corporation is a private, Canadian-owned business whose offer includes a commitment to purchase SCN’s physical assets as well as its film and video assets. Bluepoint will also be financially responsible for ongoing operations while applying to the CRTC for a transfer of the existing broadcast license.

“We are delighted to have the opportunity to operate SCN in the spirit of its original vision, yet with a real chance to grow its audience base with additional programming. Bluepoint’s aim is and has been to grow as a respected broadcaster with a focus on community. Our SCN purchase fits that goal perfectly”, CEO and founder of Bluepoint Investment Corporation Bruce Claassen said.

Throughout the process, government has listened to suggestions and feedback about the future of SCN. It heard from many people that keeping an educational broadcaster in Saskatchewan was a preference. Bluepoint provides the best option to achieve this.

“We took the time to review and evaluate all proposals and we are confident we have made an informed decision,” Duncan said. “Ultimately the success of the venture will depend on the creativity, innovation, vision and business savvy of the new owners.”

The Canada Media Fund today released highlights from the Canadian Television Fund’s final program year, which ended on March 31, 2010.

“The board, staff, and stakeholders spent the past year working together towards a successful transition to the Canada Media Fund,” said Valerie Creighton, President and CEO of the Canada Media Fund. “While ensuring the CTF’s programs successfully delivered almost $328 million in funds to Canadian productions, we also engaged our stakeholders across the country to participate in an extensive consultation process which informed the creation of the policies and programs of the new Canada Media Fund. We would like to sincerely thank everyone who contributed their time and ideas to this process.” 

The following are highlights of the CTF’s funding results from 2009-2010:

* Revenues for 2009-2010 were $325 million, with a 6% increase in the contribution from cable and satellite service distributors and a stable contribution from the Department of Canadian Heritage.

* Administrative expenses were limited to 4.2% of revenues, including costs incurred by both the CTF and the Television Business Unit at Telefilm Canada, which administers the CTF’s programs.

* Total CTF funding for all streams was 14% higher than in 2008-2009 and 23% higher than the average of the four previous years.

* Production funding was $307 million, representing an increase of 21% over the average of the four previous years.

* 476 production and 352 development television projects were funded, with total budgets of over $1 billion and $22 million, respectively; this resulted in the creation of over 2,400 hours of new Canadian programming. The ratio of CTF funding to total television budgets continues to be approximately 1:3.

* In the English market, six of the top ten programs posted average minute audiences of more than one million viewers; in the French market, the top ten programs posted average minute audiences of more than 1.1 million viewers.

* The CTF disbursed 69% of its production funding through licence fee top-ups and 31% through equity investments.

* The $10 million Digital Media Program supported 43 English and 34 French digital media projects related to CTF-funded television shows.

* The $10 million Production Incentive supported English production in Atlantic Canada (4 projects) and British Columbia and the Yukon and Northwest Territories (35 projects), where volumes had dropped significantly below their historic averages.

Stéphane Cardin, VP of Industry and Public Affairs, announced the creation of a new publication that reports on audiences to each individual show supported by the funding agency. The CMF Audience Reports launched today present data on average minute audiences to individual programs funded by the CTF that aired during the 2007-2008 and 2008-2009 broadcast years. These reports are available as an interactive web interface and downloadable PDFs at www.cmf-fmc.ca.

The CTF 2009-2010 Annual Report will be available in fall 2010. The CMF 2009-2010 Audience Report will be published in spring 2011.

Ms. Creighton also mentioned that the CMF will soon announce plans for the next phase of its ongoing consultation with the industry. Details will be provided as soon as they are available.

Dear community members and stakeholders,

On Screen Manitoba wishes to share news that PS Production Services, a leading national motion picture equipment supplier, will be scaling down operations in Manitoba and moving their equipment inventory out of the province. They have yet to determine if they will continue to provide camera rentals from a Manitoba office.

This difficult business decision by PS points to the vulnerability of our industry's infrastructure following two years of diminished levels of production and increased competition despite production activity this year that is projected to match previous levels.

The industry is projecting a very busy summer production season including four drama/comedy television series TODD & THE BOOK OF PURE EVIL (wrapped principle photography in May), MEN WITH BROOMS, LESS THAN KIND and CASHING
IN and a number of feature films including THE DIVIDE, THE YEAR DOLLY PARTON WAS MY MOM (wrapped in June), FACES IN THE CROWD (wrapped in June), HAUNTING IN GEORGIA, ATM and Guy Maddin's latest project KEY HOLE.

Manitoba is still served by William F. White International (WFW), Canada's oldest and largest provider of motion picture, television and theatrical production equipment. Paul Bronfman, Chairman and CEO of WFW, has confirmed his company's intentions to continue to serve the Manitoba industry.

On Screen Manitoba wishes to recognize PS for 20 years of service to the industry and for the company's contributions to our community through involvement with OSM, NSI, FTM, WFG, VideoPool and our festivals. Our collective industry and talent development benefited from their active participation and financial contributions.

On Screen Manitoba is working with our community on a number of strategies to build long-term sustainability for our industry over the coming years.

For further information please contact:

Tara Walker
Executive Director
On Screen Manitoba
62 Albert Street
Winnipeg, MB R3B 1E9
Phone: 204.927.5893
Fax: 204.943.4007
tara@onscreenmanitoba.com
www.onscreenmanitoba.com

By: Brendan Christie, Playback

The CFTPA is no more. Long live the CMPA.

The Canadian Film and Television Production Association has become the Canadian Media Production Association, a change meant to acknowledge the new multi-platform paradigm in the industry.

"Independent producers create high-quality Canadian content and are at the heart of the feature film, broadcasting and content distribution system," Norm Bolen, CMPA president and CEO, noted in a statement. "The global shift towards digital technology and new forms of distribution means we have to change with the times. The new name embraces the opportunities for our members to create new partnerships and expand into the international marketplace."

The new-look CMPA will be led by a new chair, as outgoing chair Sandra Cunningham turns the reins over to Tom Cox, managing partner of Calgary's SEVEN24 Films. Beyond his long career in film and television, Cox is also at the tip of the spear when it comes to the digital movement in Canada - as evidenced by the launch (in partnership with Toronto's marblemedia) of Distribution 360 earlier this week.

Speaking to Playback Daily from Banff, Cox said the time to position for the digital age is now: "The next 12 to 18 months are going to be instrumental in terms of building the next broadcast age, the next regulatory age, the next content creation age in Canada," said Cox. "Now is the time to get all hands on deck, really focus on the issues and drive things forward."

Cox is certainly going to have his hands full, balancing duties as chair, his new role at Distribution 360 and existing duties at SEVEN24. Notes Cox wryly, "this is definitely going to be an era of multitasking."

"My hope as chair is that I can continue to energize the board, and find ways to strategically support our goals, our initiatives and our staff."

This is not the first time the producers' union has changed its identity in response to innovations in media. Launched in 1948 as the Association of Motion Picture Producers and Laboratories of Canada, the body became the Canadian Film and Television Association in 1974. In 1990, it merged with the Association of Canadian Film and Television Producers to form the CFTPA.
 

By: Emily Claire Afan, Playback

Hoping to do away with the perception that it only caters to Hollywood-sized productions, equipment supply house William F. White International is launching a solution to target the increasing number of smaller indie prodcos.

To that end, WFWI has introduced what's it's calling viral vans--a one-stop shop, mobile production unit, complete with camera, lighting grip and sound, to name a few features. Manager of commercials Dan St. Amour got the ball rolling and in January, brought on Jonathon Root as interactive manager to carry out this new initiative.

"We wanted to have an all-access production vehicle," says Root, who explains that growing trends in the media community led WFWI to address the demand for small, mobile production units. "We wanted it to be affordable because a lot of these people are working with a small budget, and for it to be a one-stop shop where they could get everything they wanted in one place."

Director of marketing and communications Lowell Schrieder adds that WFWI teamed up with Sim Video "to enhance the attractiveness of the offer with their digital cameras and capabilities," including a data management station with editing software.

Root and Schrieder emphasize the mobility of the viral vans that anyone can drive, whereas before, clients were required to have a packaged truck driver, which adds to production costs. Features include a rolling desk on wheels with a full power station and LED lighting and everything is on carts for portability, organized by type of gear.

WFWI has also launched an interactive website at www.whitesinteractive.com for planning shoots and insurance.

Though it's only been two weeks since its soft launch, Root says the response has been very good and has already had to turn people down. There are currently two viral vans in stock, and Schrieder is optimistic that "If the signs are pointing in the right direction, then we are looking to expand our fleet and quite likely will do so."

These mobile units go for a flat rate of $650 per day and can be built up with additional packages, including higher-end cameras and anything else in the WFWI inventory. Package prices range from another $300 to $1,200.

On Screen Manitoba would like to send its condolences to the family of Wayne Nicklas, an active industry member. Our thoughts are with you.

More information here

The government has introduced new copyright legislation that would legalize activities commonly engaged in by thousands of Canadians — such as copying a CD — but which would prohibit breaking digital locks placed on gadgets and media.

Read more here

A UNIQUE OPPORTUNITY FOR FACILITATED ACCESS TO THE JAPANESE WIRELESS MARKET
The Mobile Computing Promotion Consortium (MCPC) of Japan have partnered with Wavefront to connect Canada’s community of innovative wireless and new media companies to the Japanese market.

Any company is welcome to attend the seminar in Vancouver next month, but only ones vetted by MCPC will be chosen for the one-on-one coaching sessions and trade show component in Japan this November.

MCPC MOBILE EXCHANGE PROGRAM WITH WAVEFRONT
The MCPC Mobile Exchange Program with Wavefront is a two-phase program to prepare Canadian wireless businesses looking to successfully export their wireless product or service to Japan.

PHASE 1
One-on-one coaching in Vancouver late June 2010 with visiting MCPC representatives that will provide:
+ Assessment of your product/service for entry into the Japanese market taking into account cultural, technical and market factors + How to structure your presentation for the Japanese market + Marketing and distribution strategies for deployment in Japan
There is no charge for companies to participate in Phase 1.

PHASE 2
Participation at the 8th annual MCPC Solutions Fair will be held in Tokyo late November 2010. The MCPC Solutions Fair attracts over 6500 enterprise attendees and displays the latest mobile solutions from Japan’s leading mobile equipment manufacturers and services.
+ Facilitated introductions to high potential clients, partners and members of MCPC + Coordination of one-on-one meetings during Solutions Fair

CONTACT: Brian Roberts — VP, Business Development, Wavefront — brian.roberts@wavefrontac.com

JAPAN’S MOBILE MARKET
Japan is one of the world’s top mobile markets with 111 million mobile subscribers1 and generating $71.5 billion in revenues2. Seventy- two percent of the population uses mobile data services and mobile internet penetration in Japan is more than double the U.S. or top European countries. With outstanding network quality and coverage and over 95% 3G handset penetration, Japan operators have fostered an environment containing rich mobile content and engaging campaigns. Japan is also one of the world leaders in deploying 4G technology, the first networks of which are due to become commercially operational in late 2010.

THE MOBILE COMPUTING PROMOTION CONSORTIUM (MCPC) OF JAPAN
MCPC is dedicated to the promotion and expansion of mobile computing in the Japanese market. MCPC has 168 member firms representing the top wireless operators and device manufacturers including NTT DOCOMO, KDDI, SOFTBANK MOBILE, Sharp, Fujitsu, Casio Computer, Hitachi, Toshiba, Mitsubishi and NEC. The Consortium cooperates internationally with interested organizations, contributes to the evolution and expansion of the information society, and plays a role in mobile computing system efforts worldwide, especially in Asia.

ABOUT WAVEFRONT
Wavefront is a not-for-profit commercialization centre accelerating the growth of Canada’s wireless and new media development companies. Wavefront improves speed-to-market and delivery of mobile applications and devices by providing emerging companies with a suite of WaveGuideTM training, mobile industry advisory, incubation and testing services that facilitate market linkages and commercial engagement with the mobile ecosystem and enterprise companies around the world.

By: Emily Claire Afan, Playback

According to Patrice Theroux, digital distribution in Canada is not the enigma it used to be.

"With the exploitations of the rights, I think every distributor is exposed to some form of digital distribution now," says the chairmain of the Canadian Association of Film Distributors and Exporters, as well as president of filmed entertainment at E1.

Content has become more widely available to consumers through what Theroux defines as four major categories: cable, IPTV, VOD, digital (i.e. Rogers and Shaw); TV and set-top consumer electronics (i.e. PlayStation 3, Xbox 360); PC and Mac; and mobile.

While 'traditional' new media sources are hard enough for the industry to adapt to, even newer avenues for distribution are coming online every month. Take for example the recent news out of Cannes that Sony Computer Entertainment Europe is offering a movie-streaming service with MUNI on the PS3, while HBO also just announced that its content will also be distributed on the game console in the US. There is still a question whether or not these services will come to Canada.

"From a CAFDE point of view, we're doing a review right now of some of the distribution act -- how to treat those rights, the internet, how to monitor, how to apply some of these regulations," states Theroux. "It's essential for our distribution system in Canada that we have the same guidelines over digital." He adds that this is a bit more of a difficult task because digital rights differ from country to country.

But some progress is on the horizon. Even now, Theroux says that services such as Netflix will be coming north of the border.

"They've (Netflix) been talking about it for a while, they're not sure what the timing is, but you'll see more of these arising," he notes. "At the end of the day, it's consumers accessing the same content, through film and digital. So we're very interested as a group of distributors, obviously, how this will play. We hope the digital world is bringing a lot more access to the consumer and therefore expanding the pie in terms of entertainment dollar that's going to be spent on film entertainment."

And since digital distribution has become part of distributors' daily activity, Theroux is hopeful that once the government addresses regulatory issues, that digital content will have to go the same route through a Canuck distributor as film and TV content.

"What it does is it allows some of the money that's generated in all this media to be retained in Canada by Canadian and redeployed into the Canadian system," he explains. "All the distributors do massive investment in Canadian content, so we do hope that money generated will expand with digital as well."

Interestingly, Theroux adds that even though consumers have more choice than ever on how to consume their content, there was a spike in global box office numbers last year.

"Who would have predicted in 2009 that the box office would have risen the way it did on a global basis? Despite a lot more access and different ways to access the content. It was one of my great pleasures last year to see [that]."
For now, he remains optimistic of digital distribution's future in Canada. "I hope the government continues to monitor it and make sure we do retain a lot of Canadiana into those services," he says. "And that we make sure that all of these services contribute to a healthy production and distribution sector in the country."

The Shaw Rocket Fund has unveiled its new Digital Funding Stream, providing financial support for the creation of digital media content related to Canadian children's programming. For more information on the fund and to apply, visit The Shaw Rocket Fund website.

The Rocket Fund will allocate up to $2 million annually towards digital content, the organization announced.

The Shaw Rocket Fund is dedicated to investing in the Canadian children's production industry with a broader mission to champion Canadian children's programming in Canada and around the world.

Under the new Digital Fund component, equity financing will be provided for digital content related to Canadian television programs that the Rocket Fund has already invested in, with the goal of enhancing the viewing experience for the audience and support the exploitation of the programs.

The Rocket Fund will allocate up to $2 million annually for digital content intended for children, youth or a family audience. The content must be new or upgraded in some way, and available on additional digital media platforms.

The Shaw Rocket Fund is a permanent, independently governed, not-for-profit corporation that provides equity financing for the production of high quality Canadian children's, youth and family programming for television.

The Shaw Rocket Fund is supported by Shaw Communications Inc., Shaw Pay Per View Ltd. a division of Shaw Cablesystems G.P., Star Choice Television Network, EastLink Cablesystems and Delta Cable Communications.

Really you'll want to choose the right mate to compliment your personality, as you'll want to choose the right platform to compliment your story. And while I don't recommend having multiple partners, I do recommend having multiple platforms - because after all, it's the digital revolution.

Here's a great article that will help you make your decision about platforms called Transmedia: 5-Steps to Selecting the Right Platforms. I found this article from a posting on the NSI site that Liz Hover put up, so make sure to check out Liz's site for more digital media tips.

After 24 years of delivering you the news via traditional paper and ink, Canada's film, TV and digital entertainment industry journal of record will now be published exclusively on its digital platform at PlaybackOnline.ca.

Embarking on this new print-less chapter seems only fitting as each of the sectors Playback serves tries to evolve their business models to reflect the relentless growth of the digital media landscape. Now that we're focused on more flexible real time content, expect to see expanded coverage as Playback continues its legacy of providing topical commentary and context for the issues affecting the broadcast and production community.

While the transition may appear sudden, this decision was made from a position of strength. Since 2007, when we decided to convert playbackonline.ca to a paid access site, we have been preparing for the inevitable reality that demand for a bi-weekly compendium of industry news, analysis and insight would cede to the immediacy of the web. Our online readership has never been stronger with over 10,000 readers of Playback Daily, our site traffic is continually growing and we now boast a significant paid digital circulation.

Playback's reporting team, led by editor Brendan Christie, will continue to cover all the entertainment business news to be distributed via Playback Daily, and will be expanding their online remit to better serve the industry's up-to-the-minute information needs.

Thank you for your continued support of Playback over the years. We are very excited to enter this new phase and to better serve a community which has served us so well. I look forward to hearing your feedback on how we're doing.

Sincerely,

Russell Goldstein
Executive Publisher
Playback

Having gathered more than 1,200 user-generated videos, uploaded by funny people across Canada, you'd think there'd be a TV show in there somewhere.

At least, The Comedy Network thinks so - it is bringing submissions from its user-generated website to primetime television, in a new show called Upload Yours.

Also premiering Thursday, June 3 on the specialty TV channel is Tosh 3.0, another light-hearted look at the Internet. The two shows about the Web can also be caught on the Web on-demand, at thecomedynetwork.ca.

Daniel Tosh returns with 16 new episodes of TOSH.0, the weekly, topical hit series that exposes and skewers the endless array of ridiculousness on the Internet. In the premiere episode, the fan-favourite "Web Redemption" segment features the Lightning Bolt Larper (aka Brendon Boucher). Boucher, famous for casting his lightning bolt spell on the Internet, is brought to Los Angeles to recreate his famous larping video on Tosh.0, accentuated with special effects.

Following TOSH.0, The Comedy Network's new original series, Upload Yours is said to shine a spotlight on videos uploaded to The Comedy Network's user-generated comedy site uly.thecomedynetwork.ca. Comedy Network says it has pulled the most "unique" of these videos and thrust them into the broadcast spotlight for the entire country to laugh at, or share-an-awkwardly-long-uncomfortable-silence-with-friends-or-family-members-before-being-excused-to-go-to-the-bathroom-moment.

The Comedy Network says it will help kick start these digital programs with a live event celebrating online comedy (both intentional and unintentional) at a downtown Toronto club on June 1st.

No word as yet if attendees will be videotaped for subsequent uploading.

Canada's first-and-only specialty comedy service, The Comedy Network airs comedy of all kinds, 24-hours-a-day, across multiple platforms, including a revolutionary broadband service at thecomedynetwork.ca. Launched in October 1997, The Comedy Network broadcasts, uncut and uncensored, an eclectic mix of scripted, stand-up, sketch, improv, and animated comedy - as well as topical comedy talk shows, game shows and classic situation comedies. Offering an unrivalled slate of original Canadian programming, The Comedy Network reinvests nearly 50 per cent of its revenues into home-grown productions. The Comedy Network, a division of CTV Television Inc., is available to nearly six million households across the country.

Governments, the private sector, academia and the Canadian public are being asked for their thoughts on a national digital strategy, as part of a federal government consultative process that should lead to new regulation and legislation.

Digital content, new communication technology, creator and copyrights, R&D, market growth and economic realities are all in the mix as Canada looks to its digital future.

The deadline for comments is July 9, 2010. An online submission form, as well as available details about the consultation process, are available at http://de-en.gc.ca/idea-forum/

The consultation call was made jointly by the Honourable Tony Clement, Minister of Industry, the Honourable James Moore, Minister of Canadian Heritage and Official Languages, and the Honourable Diane Finley, Minister of Human Resources and Skills Development.

"Canada can and should be a leader in the global digital economy," said Minister Clement. "Now is the time for the private sector to step up and contribute their ideas for a digital strategy and, when that strategy is in place, to implement the plan."

"Our government is committed to ensuring that creators, inventors and entrepreneurs have the incentives to innovate, the confidence to take risks and the tools to succeed," said Minister Moore. "We recognize the important role the digital media and content sector plays in the digital economy, and we intend to develop a long-term plan that will stand the test of time."

"Our government wants Canadians to have the skills that will make them leaders in this rapidly developing and globally competitive industry," said Minister Finley. "Through these consultations, we will work with industry and other partners to identify areas where we need to develop our workforce of the future."

The consultations are being hosted online (www.digitaleconomy.gc.ca). A discussion paper posted on the consultation site provides details on the key themes being considered:

Capacity to Innovate Using Digital Technologies;

Building a World-Class Digital Infrastructure;

Growing the Information and Communications Technology Industry;

Digital Media: Creating Canada's Digital Content Advantage; and

Building Digital Skills for Tomorrow.

The consultation seeks feedback from all interested parties on priorities and targets as Canada moves toward improving innovation and creativity, adopting new technologies and achieving the shared goal of making Canada a global leader in the digital economy.

A strategy for Canada's digital economy will recognize that success will not come through a particular government program or combination of government programs, but from a concerted effort - combining government vision and the resolve of individual businesses to be global leaders in their fields.

Once the consultation process has closed in July 2010, the government will review the information and use it to inform the development of a national digital economy strategy.

The March 2010 Speech from the Throne and Budget 2010 both established the Government of Canada's objective to develop a digital economy strategy for Canada. The strategy will enable the information and communications technology (ICT) sector to create new products and services, accelerate the adoption of digital technologies and contribute to improved cyber security practices by industry and consumers. It ensures that creators have the incentives to innovate, the confidence to take risks and the tools to succeed.

Canada's ICT and digital media sectors create high-skilled, high-paying jobs in Canada, and the adoption of ICTs helps to raise business productivity. However, Canadian businesses currently lag their international competitors in the development, adoption and use of innovative ICTs.

For Canada to improve its position and take its place at the forefront of the global digital economy, some key questions need to be addressed. How can we improve the adoption and use of digital technologies in all sectors of Canada's economy? What kind of digital infrastructure will we need for the 21st century? And what will grow the ICT industry while we try to reduce our deficit?

Canada was one of the first countries to take advantage of the digital economy. It was the first country to connect all of our schools and libraries to the Internet, and led Organisation for Economic Co-operation and Development member countries in the deployment and uptake of broadband. Canadians were early adopters of ICTs. Canada was one of the first countries to implement policies and programs that enabled the creation of digital media and content. Other countries have followed Canada's lead, and some have overtaken us in a number of areas, prompting us to look at how to regain our advantage.

The June 2009 Canada 3.0 Conference in Stratford, Ontario, focused on the direction of digital media and the importance of this sector to the economy. That set the tone for the Forum on Canada's Digital Economy in Ottawa later that month, where the key elements for a strategy began to take shape. There is broad agreement that the digital economy is a strong driver of innovation, which is essential to future growth across the entire Canadian economy.

The consultations over the next two months are aimed at identifying areas of collaboration, priority issues to be addressed and opportunities for realigning existing federal policies and programs. It is clear from previous and ongoing discussions that government can play a key role in providing the legislative and investment framework so that individual businesses can be global leaders in their fields. However, it is the private sector that has the talent, technology and entrepreneurial spirit to take the initiative in securing Canada's position of leadership in the global digital economy.

These consultations will help to clearly define roles and responsibilities among industry, academia, content developers, technical experts, researchers and government, and build consensus on how to work together to develop a Canadian strategy for the digital economy.

Jay Baruchel to shoot hockey movie, 'The Goon,' in Manitoba this summer
By Nick Patch, The Canadian Press

Jay Baruchel is bringing hockey to Manitoba.

No, he's not behind the push to bring the Winnipeg Jets back, but the 28-year-old actor said that he expects to head to the province at the end of the summer to shoot "The Goon," a movie he co-wrote about a bouncer who becomes a hockey enforcer.

"It looks like we're finally going to get to make the movie," he told The Canadian Press during a promotional stop in Toronto for his film, "The Trotsky," which opens Friday.

"We'll probably be making it in Manitoba at the end of the summer, with a few days in Halifax because the movie takes place in Halifax. But the Manitoba government has been very kind to us."

He co-wrote the film with Evan Goldberg, whose credits include "Superbad," "Pineapple Express" and the upcoming "The Green Hornet."

"The Goon" will be directed by Michael Dowse ("Fubar," "It's All Gone Pete Tong"). Baruchel says he's "champing at the bit" to reveal the actor who has been lined up to star in the movie, but has to keep tight-lipped for now.

"Our lead is someone really amazing — it's a bona fide American movie star coming to do a Canadian movie," he said.

Baruchel also offered an update on "Jay and Seth vs. the Apocalypse," the film collaboration with Vancouver native Seth Rogen and Goldberg that began life as a short film back in 2007.

The trailer was posted to YouTube that same year and has been viewed more than 300,000 times even as updates on the status of the film — which revolves around a pair of friends who become unlikely survivors of the apocalypse — have been scarce.

"It's the 'Chinese Democracy' of movies," Baruchel cracked, referring to the endlessly delayed Guns n' Roses album.

"Seth and Evan are writing it right now. ... They finished producing this movie, 'I'm With Cancer,' and 'Green Hornet' is all cut. The only thing that Seth and Evan are working on right now is 'Jay and Seth.'

"People still want to see this movie, and I feel bad because twice a year someone asks me, and then Seth always makes me look like an ass because he contradicts whatever I say. But I know for a fact they're writing it right now. It's just a matter of time."
 

(Voir le message en français ci-dessous)

The Experimental Stream Application Form is now available. Download it here:
http://www.cmf-fmc.ca/index.php?option=com_content&view=article&id=110&page_mode=create&Itemid=110 

Le formulaire de demande du Volet expérimental est maintenant disponible. Téléchargez le document à l’adresse suivante :
http://www.cmf-fmc.ca/fr/index.php?option=com_content&view=article&id=110&page_mode=create&Itemid=110 

Isn't technology great! You are now able to follow the Cannes Film Festival on your iPhone.

Download the free iPhone application, named CannesFilm: Download from iTunes

Watch the trailer of the festival opener, Robin Hood, browse the complete screenings listing...

...the first user generated images and comments have been shared in the gallery

Application Features:

- Application is available in English and French
- Read film descriptions and watch trailers
- View and select screenings fom the complete screeing guides (market and festivals sections)
- Browse film by genre...
- Find out what's on near you during the Festival
- Watch videos and read blog posts from the red carpet brought to you by fest21.com and filmfestivals.com team of 15 contributors
- View and submit photos from your iPhone to appear on our website
- Facebook and Twitter integration
- Browse upcoming screenings
- View venue details and maps
- Build your personalized 'Favourites' list

The application is launching today and will continue to improve with further releases and updates ready.

It was meant for film industry professionals and fans at the festival, as well as people who want to enjoy the festival from afar.

Available on the App Store, or Visit: www.xomodigital.com/cannes 

Filmfestivals.com is proud to launch the First Cannes iPhone application Powered by Xomo.
More festivals applications are currently beeng prepared
Xomo founding partners Jeff Sinclair and Ben West will be organizing private demos in Cannes at Filmfestivals.com office in the Palais 1 - Booth 5.10 and at a private reception for festival organizers in Cannes at Spa des Stars May 19th.

The Writers Guild of Canada is pleased to announce that screenwriter Jill Golick was appointed by the WGC council as the new WGC President.

Ms. Golick has written more than 200 hours of produced television, including children’s (Zaboomafoo, Canadian Sesame Street), docudrama (Exhibit A), half-hour comedy (Metropia, Instant Star) and hour-long drama (Blue Murder). 

Describing herself as a screenwriter “at the corner of TV and digital,” Ms. Golick will lead the WGC at a time of great opportunity, encouraging screenwriters to embrace the potential of the new digital platforms.

Ms. Golick has been active on behalf of screenwriters since the late 1980s, when she was one of those who helped form and found the Writers Guild of Canada. She served on the Council of the WGC from 1994 to 2000, and again from 2006 to the present. She has worked selflessly to improve the working conditions for writers, particularly writers working in animation. She was instrumental in negotiations bringing animation screenwriters under the collective agreement. Ms. Golick has also worked to heighten the profile of screenwriters in Canada, helping to launch (and Chairing) the WGC’s Top Ten Awards, now in its 14th year and known as the WGC Screenwriting Awards. Ms. Golick also moderates a monthly screening series, Writers Watching TV, at which noted showrunners screen their works and discuss the craft and business of screenwriting. In 2005, Ms. Golick received the WGC Writers Block Award for her dedication to Canadian screenwriters.

“Jill has long been a passionate advocate for screenwriters,” says Maureen Parker, Executive Director, WGC. “It’s a challenging time for Canadian screenwriters, and the guild will need Jill’s boundless creativity and energy, her exceptional insight into digital media, and her skill and experience at the very hard work of collective bargaining.”

“I’m excited by this new opportunity and I’m energized by the trust of members and council,” says Ms. Golick. “Canadian media and entertainment have entered a new era, and I’m looking forward to working with WGC council, members and staff to help realize the terrific opportunities.”

Also appointed to positions on the WGC Council were award-winning writer and showrunner Andrew Wreggitt, who will serve as WGC Vice President, and writer and showrunner Charles Lazer, who will act as WGC Treasurer. Rounding out the regional representation on the Council are Mark Ellis, Denis McGrath, Anne-Marie Perrotta, and Sherry White.

Paul Bronfman, Chairman and CEO of Comweb Group Inc. and William F. White International Inc., is pleased to announce the development of William F. White Centre, the largest and most significant facility in the company's 47-year history. The new $20-million dollar, world-class production complex will act as a hub for industry professionals, while offering a full-range of production and related support services under one roof. Located in Toronto at 800 Islington Ave., only a few blocks south of the company's existing west-end location, the new 338,000 square-foot complex is situated on nearly 17 acres of prime real estate, on a corner lot just minutes from downtown Toronto and the city's international airport. William F. White International Inc. will occupy nearly half of the building, with the balance of space earmarked to house additional production support service businesses including Bill White's 3D Camera Company.

William F. White Centre will provide customers with the ultimate in world-class ingenuity while simultaneously acting as a training centre where professionals can draw from the vast knowledge-base of on-site staff.

"For well over three years, we've been searching for the perfect facility where we can effectively serve a vast range of production professionals and this location couldn't be better," stated Paul Bronfman. "It's a short drive to both downtown Toronto and Pinewood Toronto Studios, with the new Cine Space Studios are right down the street...a winning combination indeed!"

"Ontario's enhanced all-spend tax credit recently introduced by the Ontario Government, combined with a rebound in U.S. production and a healthy indigenous industry helped this facility become a reality," Bronfman maintains. "William F. White remains committed to nurturing Toronto's continued role as one of North America's most active production centres. World-class facilities such as the new William F. White Centre add further incentive to attract production to Toronto in a time of increased global competition."

"William F. White Centre marks an important contribution to our local infrastructure," added Executive Producer, Don Carmody, helmer of such films as "Chicago" and "Amelia." "It will be an innovative hub of creative activity."

William F. White Centre is owned by Comweb Toronto Realty Inc., a wholly-owned subsidiary of Comweb Corporation. The company is actively discussing tenancies with other professional production service entities.

William F. White Toronto's recent projects include: The new Morgan Creek thriller "Dream House," starring Daniel Craig, "The Bridge," "Harvard Medical School," "Lost Girl," "Being Erica," and "Unnatural History." "Saw VII" just wrapped and is now in post-production.

It's far from quiet on the set as film production roars to life
By: Randall King

After last year's production lull, the Manitoba film industry is back with a vengeance with three theatrical feature movies currently shooting simultaneously in Winnipeg.

The films include a post-apocalyptic thriller set mostly in an apartment building fallout shelter, a serial-killer thriller about a woman afflicted with "face blindness" and a coming-of-age story about a young girl seeking out her birth mother.

Visit the Winnipeg Free Press for the full story.

Applicant Meetings
(Voir le message en français ci-dessous)

The CMF Program Administrator | Telefilm Canada will be holding one-on-one meetings with CMF applicants to answer questions regarding the application process, deadlines, and eligibility criteria for the recently launched Canada Media Fund.

The meetings will take place as follows. When calling to RSVP for your 30-minute meeting, please indicate your region, date, and the CMF stream you are interested in discussing.

Please note that you are also welcome and encouraged to direct any questions you may have to an analyst in your respective region at any time.

For more information about the Canada Media Fund, please visit www.cmf-fmc.ca.

WESTERN REGION – RSVP to Katherine Lee at 1-800-663-7771 (ext. 2636)

Victoria - May 12, 2010
Vancouver - May 13 and 14, 2010
Calgary - May 13, 2010
Edmonton - May 14, 2010
Saskatoon - May 17, 2010
Regina - May 18, 2010
Winnipeg - May 20, 2010

ONTARIO & NUNAVUT REGION – RSVP to Cassandra Lyons at 1-800-463-4607 (ext.2568)

Ottawa - May 14, 2010
Toronto - May 17 to 21, 2010

ATLANTIC REGION – RSVP to Denise Jamieson at 1-800-565-1773 (ext. 2723)

St. John’s - May 19, 2010
Halifax - May 20, 2010
Charlottetown - May 21, 2010

QUEBEC REGION

Locations and dates to follow shortly.

_____________________________

Rencontres avec les requérants

L’Administrateur des programmes du FMC | Téléfilm Canada tiendra des rencontres individuelles avec les requérants du FMC afin de répondre à leurs questions concernant le processus de demande, les dates de dépôt des différents volets et les critères d'admissibilité du nouveau Fonds des médias du Canada.

Les rencontres se dérouleront dans l'ordre ci‑dessous. Quand vous appelez pour réserver votre rencontre de 30 minutes, veuillez indiquer votre région, la date et le volet du FMC qui vous intéresse.

Veuillez noter que vous pouvez également poser vos questions à un analyste de votre région en tout temps.

Pour obtenir de plus amples renseignements sur le Fonds des médias du Canada, voir le site
www.cmf-fmc.ca.

RÉGION DE L'OUEST – Réservez auprès de Katherine Lee au 1-800-663-7771 (poste 2636)

Victoria – 12 mai 2010
Vancouver – 13 et 14 mai 2010
Calgary – 13 mai 2010
Edmonton – 14 mai 2010
Saskatoon – 17 mai 2010
Regina – 18 mai 2010
Winnipeg – 20 mai 2010

ONTARIO et NUNAVUT – Réservez auprès de Cassandra Lyons au 1-800-463-4607 (poste 2568)

Ottawa – 14 mai 2010
Toronto – 17 au 21 mai 2010

RÉGION DE L'ATLANTIQUE – Réservez auprès de Denise Jamieson au 1-800-565-1773 (poste 2723)

St. John’s – 19 mai 2010
Halifax – 20 mai 2010
Charlottetown – 21 mai 2010

QUÉBEC

Les villes et les dates vous seront communiquées sous peu.

By: Katie Bailey, Playback

The media landscape shifted significantly Monday morning, as Calgary-based Shaw Communications announced a new deal that will see it gain full control over Canwest's conventional and speciality television business.

Worth approximately $2 billion, the deal effectively ends Shaw's dispute with Goldman Sachs, which had asked the Ontario Court of Appeal to block its previous bid for the company, which would have seen it gain control of 20% of Canwest's equity and 80% of its voting stock. Under the terms of the new deal -- which still must pass muster with Canwest's creditors, the courts and the CRTC -- Shaw will acquire Goldman Sachs' stake in the company for $700 million.

"This agreement is really significant and it's good news because it brings much-needed stability to the business," said John Douglas, senior VP of public affairs at Canwest.

"It means that there is a clear finish line in front -- we have overcome a significant hurdle for emerging from creditor protection, and it also of course means we'll have a well-capitalized, financially strong company behind us."

Outstanding claims against the company still need to be resolved, which is expected "very soon," Douglas says, and a date by which creditors will vote on the deal will be announced in coming weeks. Work on Shaw's proposal to the CRTC for the acquisition is taking place today, he adds.

Canwest filed for creditor protection for its television division in October. Shaw made its first offer for the company in February, but the deal hit a roadblock when Goldman Sachs, which partnered with Canwest on the purchase of the former Alliance Atlantis channels, sought to block it in court. The companies have been negotiating in court since.

In a separate deal, Torstar Corp. on Friday said it has made an offer on Canwest's newspapers and digital businesses -- joined by Fairfax Financial Holdings.

From Media in Canada

The National Film Board of Canada is taking its long-time relationship with animation filmmaker

in an exciting new direction.

Barker, creator of three NFB animation shorts that are among the most popular in the public producer's catalogue, has signed on as a creative consultant with the NFB's Prairie and North West centres. He will advise NFB producers on animation projects generated in Manitoba, Saskatchewan and Alberta, as well as work from the Northwest Territories and Nunavut. Barker will consult on all genres and forms of animated films and assist producers in discovering and working with emerging and experienced animation talent.

Visit the NFB Website for the full press release.

It's always good to keep updated on what's going on in Hollywood, even though they are our less artistic sister. Recently, there has been a big move to adjust to the new digital landscape and creating content for multiple platforms. The announcement of the new CMF fund this month has made multiple platform projects mandatory, which means you have to tell your story in several different ways to suite multiple platforms of distribution. The PGA moving forward to add 'Transmedia Producer' to their Producer Code of Credits is a step in the right direction and is necessary to help bring producers into this new era.

PGA Board of Directors Approves Addition of Transmedia Producer to Guild's Producers Code of Credits

The Producers Guild of America Board of Directors announced today that they have approved the addition of Transmedia Producer to the Guild’s Producers Code of Credits (PCOC).

"The Guild’s decision to expand the Code of Credits to recognize the Transmedia Producer underscores the changing media landscape and the critical role of the producer within new creative mediums,” said PGA President Marshall Herskovitz. "As technology evolves, it’s no longer adequate to think of a project as simply a television show or a movie; we now understand that the audience will want to experience that content across several platforms - online, mobile, VOD, Blu-Ray, and now iPad - often with different or additional material. It’s the producer who oversees the complex and creative process that allows that to happen.”

"The New Media Council, led by Alison Savitch, has worked tirelessly to advocate consistency of credits for the producing team across new media,” added PGA Executive Director Vance Van Petten.

The Guild defines a Transmedia Narrative project or franchise of one that consists of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.

And a Transmedia Producer credit is given to the person(s) responsible for a significant portion of a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and creation of original storylines for new platforms. Transmedia producers also create and implement interactive endeavors to unite the audience of the property with the canonical narrative and this element should be considered as valid qualification for credit as long as they are related directly to the narrative presentation of a project.

This unprecedented decision will be highlighted during the second annual Produced By Conference being held at 20th Century Fox Studios on June 4-6, 2010 where attendees will be able to participate in a session entitled "The New Paradigm: Transmedia Storytelling.” With content no longer available as a discrete single-platform experience, but an expansive and immersive one, it takes a savvy producer to assess and manage the wealth of multi-platform possibilities available to a great story, as well as finesse the final deal. Moderated by Jeff Gomez (Transmedia Producer, "Avatar,” "Pirates of the Caribbean ”), will help producers and content creators understand the unique requirements and limitless possibilities of multi-platform exploitation. For more information on the 2010 Produced By Conference, and to register visit www.producedbyconference.com.

About the Producers Guild of America
The Producers Guild of America is the non-profit trade group that represents, protects and promotes the interests of all members of the producing team in film, television and new media. The PGA represents over 4,000 members who work together to protect and improve their careers, the industry and community by providing members health benefits, enforcing workplace labor laws, maintaining fair and impartial standards for the awarding of producing credits, as well as other education and advocacy efforts. The PGA hosts important industry events including the annual Producers Guild Awards and the Produced By Conference. For more information, visit www.producersguild.org.

Educational Resources now Available in Schools

Manitobans now have greater access to television programming developed by Ontario's French-Language Educational Communications Authority (TFO), Premier Greg Selinger announced today.
 
"Offering TFO programming through cable TV stations and other distributors, and providing educational materials to schools via the Internet will enrich and enhance the educational and cultural resources available to French-speaking Manitobans," Selinger said. "TFO is best-known for producing high-calibre documentaries and children's programming and this initiative will support the creation of new made-in-Manitoba television programs."
 
This new partnership will allow school divisions to have greater access to online, multimedia French-language teaching resources. Teachers from all grade levels in Français and French-immersion programs as well as teachers of basic French will have access to more than 4,000 videos, 300 teaching guides and related websites, mainly through the school's Internet server.
 
The premier was joined by Ontario Minister of Community and Social Services and Minister Responsible for Francophone Affairs Madeleine Meilleur, and Claudette Paquin, TFO's Chief Executive Officer, to officially launch this educational television resource in Winnipeg. Access to TFO programs is now available in digital format via Manitoba Telecom Services (MTS), Shaw Cable and the Westman Communications Group as well as on Bell TV.  

The Province of Manitoba has invested $250,000 over three years to support access to TFO educational resources in Manitoba schools.  The federal government has provided support in the amount of $50,000 as part of a special project under the Canada-Manitoba Agreement on French Language Services.
 
"Francophones and francophiles of Manitoba will now have access to a greater choice of high-quality French-language programs,"
declared James Moore, Minister of Canadian Heritage and Official Languages. "The Government of Canada is proud for having supported this project. Access to TFO programming will significantly broaden the range of educational resources available in French within the province."
 
"In Ontario, as well as in Manitoba, French is a significant asset that helps us define the future of our provinces", declared Madeleine Meilleur, Ontario Minister Responsible for Francophone Affairs. " I am proud of Ontario's contribution to TFO's programming in Manitoba, especially since it will reflect the daily lives of Manitoba's Francophones and foster the development of the province's educational and cultural sector."     
 
"TFO is true to its educational and cultural mandate, dedicated to all those who live in a province where French is not the language of the majority," Paquin said. "Mr. Selinger has always been a strong supporter of French education as a first and a second language in Manitoba, and by ricochet, of TFO.  I speak for the Board and my colleagues at TFO in expressing our gratitude.  Working with the education milieu and Productions Rivard here in St. Boniface is a true pleasure!  Together, we create products and services that highlight Manitoba and its talents while being fully appreciated by francophones and francophiles in many other areas of this country.  What a winning situation!"
 
Educational components, videos and programming line-up is available at www.tfo.org.

By: Randall King, Winnipeg Free Press

The TV series Less Than Kind is evidently more than popular, given that HBO Canada has ordered a third season of the Winnipeg-shot sitcom.

The announcement was made Thursday at noon at a ceremony at the Manitoba Legislature confirming the government's previously announced commitment to introduce a 30 per cent production tax credit, the most aggressively competitive tax credit available in Canada.

Both announcements were good news for the film and television production community which, a year ago, was suffering through the doldrums of a particularly slow year.

Click here to read the full article

Marise Strauss, Playback

Broadcasters and producers will divvy up $276 million from the Canada Media Fund for 2010/11, based on figures revealed Thursday by the new fund.

The amount is down slightly from the $285 million paid out last year by the Canadian Television Fund. The CMF -- which amalgamates the former CTF and the Canada New Media Fund -- came into effect April 1.

The funds break down to $187 million for English-language TV and $89 million for French. Genres supported by the fund are drama, children's and youth, documentary, and variety and performing arts.

On the English side, dramas will receive a total of $57 million, followed by children's and youth with $19 million. About $15 million has been earmarked for documentaries, while variety and performing arts claim nearly $2 million. In French funding, drama will receive $24 million.

The largest broadcaster envelope in English Canada belongs to CBC with roughly $65 million -- though this marks a drop from $71 million that network boss Richard Stursberg said Wednesday threatens its primetime schedule. CBC used to receive a set 37% of CTF cash but now is on a level playing field with other broadcasters.

CMF CEO Valerie Creighton notes the Ceeb's funding might swing the other way in 2011/12 on the strength of its original programming. "The amount allocated to all broadcasters, including the CBC/Radio-Canada, is based on their performance during the previous broadcast year," says Crieghton.

CTV's envelope -- the second largest at $17.1 million -- is up slightly from last year.

Though Canwest's conventional envelope shrunk from $10.1 million to $5.4 million for the upcoming year, some of its specialty channels including Showcase and History Television saw an increase in funds. Showcase's envelope is the third largest at $12 million.

Rogers' Citytv stations obtained $3.6 million, up slightly from last year.

On the French side, Radio-Canada commands most of the money with $30 million (down slightly from last year's $33 million), followed by TVA with $18 million.

The broadcaster envelopes are calculated based on factors including ratings, to what extent the fund was accessed in the past, and regional production licences.

The factor weights for 2011/12 will be announced in June, when the CMF will also give greater consideration to the performance of first-run original primetime Canadian shows.

Broadcaster Magazine

The Canada Media Fund today announced that Glenn Wong has been appointed to the funding agency’s Board of Directors. Nominated by the Department of Canadian Heritage, Mr. Wong is an executive management consultant and former President of Electronic Arts Canada and Rogers Cable TV (BC).

Based in Vancouver, Mr. Wong currently serves on the board of Coast Capital Savings Credit Union, CopperLeaf Technologies and the Vancouver Police Board where he is Vice-Chair. His past board roles have included the BC Cancer Foundation and the Insurance Corporation of B.C. He is also a certified member of the Institute of Corporate Directors.

“Mr. Wong comes to the CMF with experience serving on numerous boards and supporting a variety of community initiatives, as well as extensive knowledge of the interactive digital media sector,” said Louis Roquet, Chair of the Board of the CMF.

Mr. Wong’s appointment will fill the vacancy created by Eileen Sarkar’s departure. The CMF Board of Directors and staff express their gratitude to Ms. Sarkar for her expertise and dedicated contribution to the organization during her tenure on the board.

Mr. Wong joins fellow Department of Canadian Heritage nominee, Cheryl Barker, as well as Canadian Coalition for Cultural Expression nominees, Alison Clayton, Guy Fournier, Ronald W. Osborne, Louis L. Roquet, and Max Valiquette.

(Voir le message en français ci-dessous)

The Canada Media Fund (CMF) is holding outreach sessions across the country to provide applicants with details regarding the 2010-2011 guidelines for funding and to answer questions.

The meeting will be led by Nathalie Clermont, Director, CMF Program Management, along with Roxane Girard, Director, CMF Program Administrator | Telefilm Canada, Francesca Accinelli, Director, English Market, and Stéphane Consantino, Director, French Market.

The 2010-2011 guidelines are available on the CMF website at www.cmf-fmc.ca under “Create.”

To register to attend in a city close to you, please click here.

If you have any questions, please feel free to contact Rachel Coley, Administration Manager, at rcoley@cmf-fmc.ca or 416-214-4423.

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Le Fonds des médias du Canada (FMC) organise des séances d'information qui auront lieu partout au pays, afin de permettre aux requérants d'obtenir plus de détails sur les principes directeurs 2010-2011 et aussi afin de répondre à toute question.

La rencontre sera animée par Nathalie Clermont, directrice, gestion des programmes du FMC, en compagnie de Roxanne Girard, directrice, Administrateur des programmes du FMC | Téléfilm Canada, Stéphane Consentino, directeur, marché francophone, et Francesca Accinelli, directrice, marché anglophone.

Les Principes directeurs 2010-2011 sont disponibles sur le site du FMC au www.cmf-fmc.ca sous « Créer ».

Pour vous inscrire à la rencontre qui aura lieu près de chez vous, veuillez cliquer ici.

Pour toute question, veuillez communiquer avec Rachel Coley, directrice de l'administration, à rcoley@cmf-fmc.ca ou au 416-214-4423.

New Media Manitoba has some announcements to share with you today related to the interactive digital media industry in Manitoba, the most important of which, relates to the latest Provincial Budget.

Manitoba Supports New Media Tax Credit but Eliminates the Province's only New Media Fund

Anyone that says Manitoba appears to be immune from the recession is mistaken.

To begin on a positive note we were happy to see that all of industry’s recommendations to improve the Manitoba Interactive Digital Media Tax Credit (MIDMTC) in the 2010 Provincial Budget were passed. Some of the improvements include:

• the length of the Interactive Digital Media Tax Credit was extended to December 31, 2013
• tax credit certificates can be issued on an annual basis instead of at the end of a project (you get your money quicker)
• government assistance from other funding programs will no longer grind down eligible labour costs

What we were uneasy about in the 2010 Budget was the noticeably absent reference to the Manitoba Interactive Digital Media Fund (MIDMF), a $300,000 program meant to support new application development in the Interactive Digital Media sector. This past Tuesday, the Department of Innovation, Energy and Mines (IEM), confirmed our fears that MIDMF has indeed been eliminated. This means that Manitoba New Media Producers no longer have a program specifically designed to create innovative new products like Video Games, and Mobile Applications, or the support to attend new markets for training and trade shows.

This news has been sobering to say the least.

When we compare what has happened in Manitoba to the rest of Canada we see a disconnect. The Canada New Media Fund (CMF) which was just announced last week enables Canadian New Media Producers to access 27 million dollars for project funding in the Experimental Stream (almost double what it was a year ago). There is also a CMF Convergence Stream of $277 million dollars, which will support the creation of television shows and related digital media content. The CMF requires a substantial portion of the Convergence Stream be used to create rich content such as videogames, podcasts, webisodes, mobisodes, and interactive web content - a great opportunity for Film/TV and New Media Producers to collaborate together.

Several other provinces like Ontario, which just invested 26 million into their provincial digital media sector, are creating more incentives to organically grow their industries which begs the question: Why, when every other province is providing incentives to a growth sector like interactive digital media, is Manitoba's only digital media fund being terminated?

To help balance this latest announcement we need to state a few facts:
• When the budget was handed down, Innovation, Energy and Mines had the largest cuts to their programs.
• The Manitoba Interactive Digital Media Fund was under-subscribed in previous years (with the exception of 2009).

We at New Media Manitoba are extremely disappointed with the elimination of the MIDMF particularly because there was no prior indication this program could be cut. We have made recommendations this past year to improve MIDMF's guidelines and have helped 5 companies successfully achieve funding to build their projects. With the momentum that was built, we projected over 15 companies would successfully receive MIDMF product assistance and access to markets in 2010.

With the reduction to IEM's budget and a history of new media companies not applying for the fund, we can understand the challenges protecting MIDMF amidst budget cuts. As new media producers we need to take responsibility for how we approached the fund and for not utilizing it to its fullest potential.

We want you to know that IEM has told us they will do everything they can to help new media producers access other program funding to attend new markets or help with project investment. We still have the interactive digital media tax credit that supports production labour.

Over the next while we will be calling on you to help provide vital statistics for our industry. We need to better understand the size and economic data of our own industry in order to help our province better understand us. If you believe in growing the interactive digital media sector in Manitoba then we ask you to be forthcoming with your time when we launch our survey in the coming months so we can build better programs and support for new media producers in this province.

Questions about this latest announcement can be directed to:
New Media Manitoba's Business Director: Louie Ghiz louie@newmediamanitoba.com, (204) 960-9311 or, to
Innovation, Energy and Mines: Doug McCartney douglas.mccartney@gov.mb.ca (204) 945-6298

The Canadian Audio-Visual Certification Office (CAVCO) is pleased to announce the launch of CAVCO Online, a new fast and secure way that production companies will use to apply for certification under the Canadian Film or Video Production Tax Credit (CPTC) program or the Film or Video Production Services Tax Credit (PSTC) program.

CAVCO has been working hard to create a user-friendly online system to streamline the application process for producers, and to ensure faster delivery of their certificates.

And we are proud of the result. CAVCO Online will allow producers to:

o Get a complete application into the queue faster than paper-based applications;

o Reduce the back and forth with program officers, thanks to automatically validated entry fields;

o Use the Form Wizard so they’ll always know which sections of the form to fill out;

o Complete their applications faster by reusing information entered in previous applications;

o Easily trace communications with program officers;

o Keep track of application status and deadlines; and

o Receive certificates directly to their account Inbox – No more waiting for the mail.

While the main eligibility requirements of both the CPTC and PSTC programs remain unchanged, CAVCO has introduced newly updated program guidelines, with information on how to complete an application and a new “Definitions” section. Everything you need to know about CAVCO Online can be found on our newly updated Web site at http://www.pch.gc.ca/pgm/bcpac-cavco/index-eng.cfm. 

NB. The online system will result in new certificates with a six-digit number followed by a three digit number, eg.123456-789.

Should you have any questions, please contact us at the following coordinates:

Canadian Audio-Visual Certification Office (CAVCO)
8th Floor, 25 Eddy Street, 25-8-0
Gatineau, Quebec
K1A 0M5

Toll-free number: 1-888-433-2200
Telephone: 819-934-9830
Fax number: 819-934-9828
Teletypewriter (toll-free): 1-888-997-3123
E-mail:

bcpac-cavco@pch.gc.ca

***************************************************

Le Bureau de certification des produits audiovisuels canadiens (BCPAC) a le plaisir d’annoncer le lancement du BCPAC en ligne, une nouvelle façon rapide et sécuritaire qu’utiliseront les sociétés de production pour présenter des demandes de certification dans le cadre du Programme de crédit d’impôt pour production cinématographique ou magnétoscopique canadienne (CIPC) ou du Programme de crédit d’impôt pour services de production cinématographique ou magnétoscopique (CISP).

Le BCPAC s’est employé à créer un système en ligne convivial pour simplifier le processus de demande des producteurs et assurer une attribution plus rapide des certificats.

Nous sommes fiers du résultat. Avec BCPAC en ligne, les producteurs pourront :

o placer une demande complète dans la file d’attente plus rapidement que les demandes papier;

o réduire les communications avec les agents de programme grâce aux zones d’entrée validées automatiquement;

o utiliser l’assistant intelligent Wizard pour ne pas avoir à deviner quelles sections du formulaire remplir;

o remplir leurs formulaires de demande plus rapidement en réutilisant les renseignements inscrits dans les demandes antérieures;

o retracer facilement les communications avec les agents de programme;

o faire le suivi de l’état de la demande et des échéances;

o recevoir des certificats directement dans la boîte de réception de leur compte – plus d’attente du courrier.

Les principaux critères d’admissibilité aux programmes du CIPC et du CISP n’ont pas changé, mais le BCPAC a instauré de nouvelles directives de programme comprenant des renseignements sur la façon de remplir une demande et une section sur les nouvelles définitions. Tous les renseignements utiles sur le BCPAC en ligne se trouvent sur notre site Web récemment mis à jour : http://www.pch.gc.ca/pgm/bcpac-cavco/index-fra.cfm.

Nota: Des nouveaux certificats du système en ligne seront composés d’un code à six chiffres, suivi de trois chiffres, p. ex. 123456-789.

Pour toute question ou préoccupation, n’hésitez pas à communiquer avec nous. Voici nos coordonnées :

Bureau de certification des produits audiovisuels canadiens (BCPAC)
8e étage, 25, rue Eddy (25-8-0)
Gatineau (Québec)
K1A 0M5

Numéro sans frais : 1-888-433-2200
Téléphone : 819-934-9830
Télécopieur : 819-934-9828
Téléimprimeur (sans frais) : 1-888-997-3123
Courriel : bcpac-cavco@pch.gc.ca

Mediacaster Magazine

The Canadian Radio-television and Telecommunications Commission (CRTC) has decided to allow advertising on VOD (video on demand) services, and it has opened the door to the use of new forms of advertising, including targeted advertising, in the VOD environment.

Conditions and negotiations apply, but the CRTC says that advertising should be permitted only in programming acquired directly from an unrelated licensed Canadian broadcaster or from a related broadcaster that has also acquired the linear rights to the program.

The CRTC says cable companies should negotiate with broadcasters to sell advertising on VOD, and decide among themselves how revenues will be distributed.

Despite such services' relative popularity, there has been no real VOD business model, considering the rights often paid for the content. New revenue streams for the cable based services can also come as old ads are replaced with new ads or more highly targeted ads, based on viewer demand and specific demographics.

For more information, see the CRTC document Broadcasting Regulatory Policy CRTC 2010-190

CBC Arts

Canada's broadcast regulator has approved Citytv co-founder Moses Znaimer's deal to buy the broadcasting assets of VisionTV, a Toronto-based multi-faith religious network.

Moses Znaimer, co-founder of Citytv, is back in the TV business.

On Tuesday, Canada's broadcast regulator approved his deal to buy the broadcasting assets of VisionTV, a Toronto-based network that broadcasts multi-faith religious programming.

The assets include two over-the-air local TV stations in western Canada: CHNU-TV in British Columbia and CIIT-TV in Winnipeg.

Znaimer's ZoomerMedia Ltd. has also bought the related digital service One: the Body, Mind & Spirit channel, for the equivalent of $1.9 million.

The total deal for Vision and its assets, including its programming, is valued at $29 million.

Click here for the full article
 

Bill Curry, The Globe and Mail

Google Inc. has a message for MPs – don’t try to regulate the net.

A Commons committee that includes grey-haired MPs who candidly admit to knowing little about YouTube, let alone the latest web trends, has launched a wide-ranging study of “new media.” They got a clear warning yesterday that Canadian content rules have no place online.

The Heritage Committee plan to meet Thursday to narrow the focus of their study. Members acknowledged they are not sure where this review will take them, so they invited Google Inc. to suggest the possible issues they should explore and the witnesses they should hear from.

Conservative MP Dean Del Mastro, 39, called it a a good opportunity for MPs to get up to speed on a the evolving media landscape.

Click here to read the full article

Mediacaster

There’s an increasingly high interest in new TV and video entertainment delivery models, particularly multi-screen video services that enable media consumption across multiple devices with litte or no airtime schedule restrictions.

Toronto-based QuickPlay Media, a mobile media solutions provider, says its annual survey on mobile TV and video consumption shows 53 percent of respondents voiced an interest in services that allow them to seamlessly switch between multiple devices, such as PCs and smartphones, when watching programs.

The 2010 study also shows that 56 percent of respondents are interested in mobile TV and video services, up slightly from 55 percent in 2009. Additionally, while the number of people that have tried their carrier’s mobile TV and video service holds firm at 36 percent, the survey reveals accelerating adoption in the past year.

Specifically the study found that 67 percent of those currently watching mobile TV or video began using such services in the last 12 months and 25 percent in the past six months.

“This research is consistent with what we are seeing in the marketplace,” said Wayne Purboo, president and CEO, QuickPlay Media “For some time now, we have been working with our clients to deliver solutions that enable them to offer a seamless entertainment experience across multiple devices while also managing key business requirements such as content entitlements, digital rights management (DRM) and geographic restrictions.”

Consumer engagement with mobile TV/video services is also on the rise. Most notably, when asked how often they use their carrier’s mobile TV and/or video service in an average month, 20 percent responded almost every day, a striking increase from the 8 percent reported in 2009. Additionally, 31 percent stated that they use the service at least once a week, more than double the 13 percent reported in 2009. These viewing figures may be attributable to growing consumer awareness regarding the content offered by their operator. Specifically, 50 percent of respondents who watch mobile TV/video stated that their favorite network and cable programs are currently available on their particular service.

“Consumers are passionate about their TV programs but expect the freedom to view their shows at a time and place of their choosing,” added Purboo. “Services that deliver a high-quality TV experience with features that enable time and place shifting will drive increased consumer engagement. We have witnessed this firsthand with PrimeTime2Go, our premium mobile TV service. Service subscribers are downloading an average of 18 show episodes per month and enjoying them in a variety of locations, including at home and while travelling on airplanes.”

When it comes to viewing preferences, 56 percent stated that they would be interested in services that allow them to watch their favorite content when offline, from anywhere. Furthermore, while 29 percent of respondents said that they most often watch mobile TV or video at home, this interest in anywhere viewing is reflected by the 17 percent who watch in between activities, 16 percent at work or while in transit (i.e. on the bus, train, etc.) and 15 percent while waiting in line.

Despite encouraging results regarding awareness and engagement, mobile TV/video service adoption still faces hurdles. When users were asked about the biggest challenges they have had with their mobile TV/video service, 27 percent said finding content of interest was difficult. Misconceptions around service costs also prevail, although to a lesser extent than reflected in previous studies. The 2010 survey found that 41 percent of respondents who hadn’t tried a mobile TV or video service cited perceived cost as their primary reason, down from 58 percent reported 2009, potentially attributable to improving economic conditions.

Additional noteworthy findings of the survey include:

* The mobile device is gaining status alongside the TV and computer as a “go-to” entertainment resource, with 61 percent of respondents spending at least 31 minutes of uninterrupted time watching a movie on their mobile device and 24 percent spending more than 60 minutes.
* There is tremendous interest in mobile application stores with 70 percent of smartphone users reporting having downloaded an application to their device. Among those who download applications, 41 percent do so at least once a week.

QuickPlay is headquartered in Toronto, with sales offices in London and throughout the US. The company provides soltiuons for the delivery of mobile video to leading communications and telecom companies worldwide.

Take a look at this interesting article. Software company MoboVivo is gearing up to release a new social platform called Previiw that will allow users to be more interactive with television content, while at the same time providing creators with more information about their audience.

New Social Platform Supports Television Broadcasters and Producers
Mediacaster

TV producers and broadcast content creators know full well their productions and programming should be created with alternative platforms in mind.

Many are looking to distribution for their shows on the Web and to portable media devices.

In Canada, with new Canada Media Fund guidelines stressing multiple platform consideration in funding applications, the opportunities and requirements for multiple platfrom TV integration will continue to grow.

That's one reason why Calgary-based MoboVivo, a software company that enables TV producers to distribute shows on mobile phones, laptops and Internet-connected TVs, says it is unveiling a new social platform designed to deepen audience engagement and interaction between fans.

Called Previiw, the software solution lets users create, capture and share video clips from their favourite shows Up to 140 second clips of TV episodes can be captured and shared on Facebook, YouTube, Twitter, blogs and mobile apps, the copmany descrinbes.

The platform also includes an interface for celebrities, producers and brands to connect with and deepen fan relationships across multiple social networks, the company describes. Available as a website module or as a standalone mobile application, the toolkit delivers a social media hub that aggregates in one place comments from fans on Facebook and Twitter, drawing traffic from those services to branded websites and mobile applications. In addition, the service also supports hosted conversations around video and audio content.

"Our new social platform gives producers and broadcasters much greater control over the environment in which consumers share and discuss their shows," said Trevor Doerksen, founder and CEO of MoboVivo. "Previiw empowers content owners to market and distribute their shows in mobile app stores and on their own websites, while also supporting rich social media engagement."

The new social platform integrates fully with myScreens, MoboVivo's white-label video management service, and also serves as a plug and play framework for mobile apps.

MoboVivo is a software company that enables broadcasters and producers to distribute premium video to audiences on alternative platforms, including mobile phones, computers and internet-connected TVs.

CMF Backgrounder

The Honourable James Moore, Minister of Canadian Heritage and Official Languages, Louis Roquet, Chair of the Board of Directors of the Canada Media Fund (CMF), and Valerie Creighton, President and CEO of the CMF, announced the launch of the new funding agency and presented details regarding its programs.

Open for business on April 1, 2010, the CMF's mandate is to champion the creation of successful, innovative, Canadian content and software applications for current and emerging digital platforms through financial support and industry research.

"In launching the Canada Media Fund, we've taken an important step towards supporting a truly modern, multi-platform industry and a digital content strategy for Canada. The CMF will allow our industry to do what it does best: create, entertain, and connect with Canadians," said Minister Moore. "We must all work together to ensure the Canada Media Fund's success and provide Canadians with exciting content that is reflective of new digital realities."

The CMF will support projects through two streams of funding, an Experimental Stream, which will invest in the creation of innovative content and software applications for eventual integration into mainstream Canadian media platforms; and a Convergent Stream, which will support the creation of convergent television and digital media content.

"Disbursing over $350 million in funding support, the CMF will strengthen Canada's production and broadcasting industries as they adjust to the evolving content consumption behaviour of Canadians," said Mr. Roquet.

Through its Experimental Stream, the CMF will encourage the development of leading-edge, non-linear, interactive digital media content and software applications. Through its Convergent Stream, the CMF will support the creation of television shows and related digital media content in four underrepresented genres: drama, documentary, children's and youth, and variety and performing arts. While basic digital media components, such as first generation websites and video-on-demand will be eligible, the CMF will encourage the creation of rich, value-added content.

The programs and incentives that comprise the Convergent Stream are designed to support production in all regions of Canada and in the variety of languages spoken by Canadians. The majority of funding in the Convergent Stream will be disbursed through the Performance Envelope Program, which encourages partnerships between broadcasters, television producers, and digital media producers to create convergent content that Canadians want to consume.

"Designed and based on the valuable input we received from the industry, the CMF program balances the varied objectives and interests of the industry, while responding to the call for change in the mandate of the new organization. As we roll out the new program, we will continue to consult with the industry, evaluate the impact of the program, and re-calibrate as required." said Ms. Creighton.

Connect.Create.Innovate.

The Canada Media Fund (CMF) champions the creation of successful, innovative, Canadian content and software applications for current and emerging digital platforms through financial support and industry research. Created by Canada's cable and satellite distributors and the Government of Canada, the CMF aspires to connect Canadians to our creative expressions, to each other, and to the world. www.cmf-fmc.ca

TELETOON Canada inc. is pleased to announce the appointment of Alan Gregg to the position of Director, Original Content, effective April 19, 2010.

Gregg will oversee original content development and production for TELETOON's two English and two French networks and respective multiplatform services. Reporting to Carole Bonneau, Vice President, Programming, TELETOON Canada inc., Gregg will be responsible for TELETOON's Original Production team in Toronto and Montreal and will work closely with TELETOON's production partners across Canada.

"As the largest supporter of the Canadian animation industry and a major contributor to homegrown production, we are thrilled to have Alan helm TELETOON's original content portfolio with the extensive experience he has in children's television content," said Bonneau.

With a 17-year career in the film and television industry, Gregg has spent more than 12 years in the children's television business, starting at YTV. Most recently, he has been story editing a new preschool series for Guru Studio. Prior to that, he opened an office in Toronto for the Irish animation studio, Brown Bag Films, where he oversaw the studio's project and business development as Vice President, International Production. Gregg also spent numerous years in various senior roles at Alliance Atlantis' Children's Television division, last serving as Vice President, Production & Distribution. During this time, Gregg was responsible for the creative development of a number of properties, both animated and live action, including Henry's World, Ace Lightning, Dragon Booster and Lunar Jim. In addition to numerous other production credits that include Degrassi: Next Generation (Creative Executive) and Instant Star (Creative Executive), Gregg's work has been recognized with a Gemini award for Dragon Booster (Best Animated Program) in 2005 and the 2003 Alliance for Children & Television award for Henry's World (Best Preschool Animation).

TELETOON Canada brings kids, youth and adults the best in animated entertainment with four nationwide specialty television channels - TELETOON English and French, and TELETOON Retro English and French - available in over 7.8 million homes. Founded in 1997, TELETOON Canada inc. is owned by Astral Media (50%) and Corus Entertainment (50%).

CMF Funding Guidelines (CREATE)

The Canada Media Fund is a not-for-profit corporation that delivers $350M in funding annually. Through the Experimental Stream, the CMF will encourage the development of leading-edge, interactive, digital media content and software applications. Through the Convergent Stream, the CMF will support the creation of innovative, convergent television and digital media content.

Below are links to the funding guidelines:

Experimental Funding
Experimental Stream 

Convergent Funding
Development Program
Performance Envelope Program
Francophone Minority Program
Aboriginal Program 
English Production Incentive 
English POV Program
Versioning Program 
Diverse Languages Program *

For more information, visit www.cmf-fmc.ca and select Create.

*Guidelines for the Diverse Languages Program will be available in the second quarter.

Etan Vlessing, Playback

Saskatchewan is exiting the educational broadcast business by shuttering SCN.

The provincial government says it will transfer certain SCN assets, including satellite distance education classes and broadcasts of the Legislative channel, to phone giant SaskTel in order to secure around $5 million in annual savings.

SCN fading to black in May will also mean the end of outstanding contracts with indie producers, and a possible sale of the CRTC licence to a new operator.

Around 35 SCN employees are affected, and will remain in their posts until June to wind down the channel. (Know more? Email us!)

"SCN's viewership is quite low, and we feel that there is no longer a role for government in the broadcast business," provincial Tourism, Parks, Culture and Sport Minister Dustin Duncan said in a statement.

ACTRA Saskatchewan branch rep Mike Burns says the closure of SCN amounts to a huge loss for the local production scene.

"SCN has been a home for Saskatchewan stories, for us to see ourselves and our own communities on TV. If we lose this voice, I don't know how we will be able to see and celebrate our own culture," says Burns.

Manitoba Entrepreneurship, Training and Trade
Industry Workforce Development
Workforce Development Solutions

What is it?
The Province of Manitoba is committed to partnering with business and industry in creating a sustainable and competitive workplace through the development of a highly skilled, knowledgeable and adaptable workforce.

The Workforce Development Team is designed to support business with Human Resource planning, training development and delivery. Resources and funding support may be available through Industry Workforce Development (IWD).

Administered by IWD, the program assists business by undertaking a needs assessment of the company and developing a Human Resource plan/strategy for the organization.

How does it work?
After the initial assessment the team will work with the company in the development of a human resource and staff development strategy. The strategy could include a number of the following areas:

· Human Resource Planning
· Recruiting and Selection Strategies
· Human Resource Foundations
· Training and Staff Development Funding
· Job Analysis
· Succession Planning

The Workforce Development Consultant then brings together various partners who deliver supports and services that could assist the company with their needs. These partners may include other Government departments/agencies, third party service providers, and external consultants.

What are the benefits?
The company is supported throughout the entire process – not sent in search of services on their own. Solutions will assist them to attract, retain, and re-train existing workers and new employees. This innovative service will provide options to an employer to assist with a current issue and will also provide a follow-up service to ensure that the employers’ needs have been met.

Integration of our services allows the Workforce Development Team to connect the employer to a network of training programs and Human Resource development services. The combination of internal Government and external agency resources can create a custom made solution for the company. These services may include support from:

· Sector Councils – Film Training Manitoba
· Workplace Education Manitoba
· Employment Manitoba
· Apprenticeship Manitoba
· Other Federal and Provincial government services and programs
· External Consulting Services

For information please contact:

Industry Workforce Development
Entrepreneurship, Training and Trade
260 - 800 Portage Avenue
Winnipeg, MB R3G 0N4
Phone: (204) 945-5643
Fax: (204) 945-0356
Email: itp@gov.mb.ca

The

is proposing a new operational and licencing framework for English-language private television broadcasters.

The CRTC wants the major broadcast organizations to spend 30 per cent of gross revenues on Canadian programming, spread across conventional and specialty television services.

And it wants the broadcasters and cable & satellite distributors to negotiate a 'fee-for-service' for carriage of local TV. It is seeking additional legal opinion on the controversial proposal.

"The new approach to licensing on the basis of ownership groups reflects the trend of media convergence," said Konrad von Finckenstein, Q.C., Chairman of the CRTC. "Our framework will enable the large groups to attract viewers to their different television services while encouraging the creation of original Canadian programs. In doing so, we are providing the industry with flexibility to adapt to the new reality of increased consumer choice in a digital world."

In 2011, the CRTC will hold licence-renewal hearings for the largest English-language private ownership groups. The largest groups are: CTVglobemedia Inc., Canwest Television Limited Partnership and Rogers Communications Inc.

This approach will allow the introduction of new requirements to encourage and support the creation of Canadian programs, the CRTC says.

The CRTC will propose that the three largest ownership groups spend at least 30 per cent of their gross revenues on Canadian programming. However, they will be able to shift resources among their English-language conventional television stations and specialty services to meet this obligation.

As part of its framework, the Commission has set out a market-based solution to allow private local television stations to negotiate with cable and satellite companies. Each television station would have the option of entering into negotiations to establish a fair value for the distribution of their programs.

"The current dispute between conventional broadcasters and distributors threatens the overall integrity of the broadcasting system," said von Finckenstein. "Broadcasters and distributors have a symbiotic relationship. The time has come for them to put their differences aside and work together to ensure the continuation of conventional television, which Canadians clearly value."

During its proceeding, the CRTC received conflicting legal opinions as to whether it has the authority to implement a negotiation regime. Given that this issue is vital to the future of conventional television, the Commission has initiated a reference to the Federal Court of Appeal seeking clarification on its jurisdiction under the Broadcasting Act. The CRTC has asked the Court to consider its request on an expedited basis.

The Commission also launched a proceeding to ensure an orderly transition to digital television for consumers. Local television stations in major markets, as well as provincial and territorial capital cities, must complete the switchover by August 31, 2011.

In particular, the CRTC is seeking comments on:

* the number of Canadians that could potentially lose access to free local television as a result of the transition
* the size, type and manner of administering a subsidy program for over-the-air viewers, should such a program be authorized
* the provision of a free package of local and regional television stations
* measures to educate consumers, and
* the establishment of a trial market ahead of the transition date.

The Commission will allow video-on-demand services to insert commercial advertising in programs acquired from Canadian English- and French-language broadcasters. This will provide the broadcasting system, and conventional broadcasters in particular, with an important new source of revenues.

However, the CRTC will keep its current policy restricting the sale of advertising in the local availabilities of programs broadcast by foreign pay and specialty services. This time, usually two minutes per hour, will continue to be used primarily for the promotion of Canadian programs.

In addition, the Local Programming Improvement Fund will be maintained in its current form. As a result, cable and satellite companies will continue to contribute 1.5 per cent of their gross broadcasting revenues to support local television programming in markets with a population of less than one million. The CRTC will conduct a comprehensive review of the Fund during the 2011-2012 broadcast year.

Next year, the Commission will consider appropriate measures for the French-language market when it reviews the licence obligations of TVA Group Inc. and V Interaction. The CBC's unique mandate and needs within the Canadian broadcasting system will be discussed, the CRTC noted, in the context of the next licence renewal for the public broadcaster's English- and French-language television services.

Finally, the current licences of broadcasters will be extended until August 31, 2011, under their existing terms and conditions.

The CRTC is an independent public authority that regulates and supervises broadcasting and telecommunications in Canada.

Click here for additional information about the new CRTC framework.

Winnipeg Free Press

WINNIPEG film producer Buffalo Gal Pictures says it has inked a deal to shoot three feature films here this year worth a total of $50 million.

Company president Phyllis Laing says the projects are co-productions with Los Angeles-based Gold Circle Films, which made the Renée Zellweger comedy New in Town here in 2007.

Two of the titles have been green lit: a horror film, The Haunting in Georgia, to be shot this summer; and a thriller, ATM, to go before the cameras in the fall.

The third title, Laing said, is still in discussion.

Laing thanks Manitoba's upgraded film-tax credit for securing the deal.

Click here to view the full article

As you may know, late last week Telefilm announced that the Canada Media Fund (CMF) will officially open for business on April 1, 2010.

This Friday (March 26) Telefilm will launch the new funding agency with an announcement in the morning at 8:30 – 9:00 AM CST.

Please click here to watch the launch via webcast.

Speakers will include:

-James Moore, Minister of Canadian Heritage & Official Languages
-Louis Roquet, Chair of the Board of Directors, Canada Media Fund
-Valerie Creighton, President & CEO, Canada Media Fund

At noon, the announcement will be followed by, what else, but a virtual townhall.

At this event, all the details about the CMF guidelines will be delivered along with an opportunity for applicants to ask questions.

On Screen Manitoba would like to invite you to join us for the townhall so we can watch and participate together.

Bring your lunch and more importantly, bring any questions you might have to The Actors Training Centre (5th floor – 62 Albert Street)

Background:

The announcement for the new fund was made last March (2009). The CMF will be created out of the Canadian Television Fund and the Canada New Media Fund combining together.

Telefilm says the CMF’s mandate will be to ensure the production of quality content and to make it available on multiple platforms.

In essence, your project must be available on multiple platforms to be eligible for this fund.

WHAT: Canada Media Fund Townhall
WHERE: The Actors Training Centre (62 Albert St – 5th floor) -- BRING YOUR LUNCH!
WHEN: This Friday (March 26)
TIME: Doors open at 11:45 AM. Virtual townhall commences at 12:00 PM CST – 1:00 PM CST

If you can’t join us for the townhall guidelines and you want to watch from your own computer, click here to register.

If you have any questions, please call On Screen Manitoba @ 927.5898

The issue of fee-for-carriage, or value-for-signal, as the broadcasters affectionally call their cause, will continue on as the CRTC questions whether or not this issue falls legally into their jurisdiction. See Marise Strauss' article from Playback below.


The CRTC has eluded a decision on fee-for-carriage, and has referred the matter over to the Federal Court of Appeal in Ottawa.

Noting that it has received "conflicting legal opinions" on whether it has the authority to impose fees between broadcasters and cable companies, the federal watchdog has asked the court to clarify its jurisdiction under the Broadcasting Act.

"The current dispute between conventional broadcasters and distributors threatens the overall integrity of the broadcasting system," said CRTC chief Konrad von Finckenstein in a statement. "Broadcasters and distributors have a symbiotic relationship. The time has come for them to put their differences aside and work together to ensure the continuation of conventional television, which Canadians clearly value."

A federal government funding cut of $205,000 has forced the Canadian Screen Training Centre in Ottawa to close its doors permanently on May 1, 2010.

Executive director Tom Shoebridge, who founded the CSTC in 1981, said a combined $2.5 million cut by the federal government in August 2008 to four national training schools, including his own, led to the pending closure.

"The CSTC has been struggling to find replacement funding since there was a 100% cut to the federal core funding for all the national film schools... It proved to be the death knell for a small organization like the CSTC," Shoebridge said.

Also impacted by the loss of the National Training Program, as of April 1, 2009, was the Canadian Film Centre, the National Screen Training Institute and l'Institut national de l'image et du son.

Around 7,000 students passed through the screen-training center in its 29 years, where they received instruction from, among others, Megan Follows, Atom Egoyan, Patricia Rozema, Peter Raymond, Sarah Polley and Denys Arcand.

The Cultural Human Resources Council works for and with all the cultural industries and arts disciplines in the cultural sector including: Live Performing Arts; Writing and Publishing; Visual Arts and Crafts; Film and Television Production; Broadcasting; Digital Media; Music and Sound Recording; and Heritage.

The Cultural Human Resources Council has asked The Conference Board of Canada to examine the cultural sector workforce in Canada. We want to learn about your opinions on the opportunities, challenges, trends and issues that you face; as well as your suggestions for enhancing the quality and sustainability of Canada’s cultural sector.

To help, please answer the following questions.

Link to Survey

Movie fans across Canada and around the world can join in the celebration of Canadian film for the first time.

This year, the 30th Annual Genie Awards will be broadcast live on the Canwest-owned Independent Film Channel (IFC) and via a live webcast on CBC.ca.

The live webcast of the awards show is a first in the Academy's history, giving viewers outsiode the country an opportunity to engage with the gala presentation.

"This year's Genie Awards broadcast will be an unprecedented collaboration among some of Canada's major broadcasters - a truly amazing way to celebrate the Award's 30th anniversary," said Sara Morton, CEO of the Academy of Canadian Cinema & Television, said in a release. "Presenting the Genie Awards in partnership with multiple networks, on television and online, will enable us to celebrate with a remarkably broad and diverse audience of movie fans here in Canada and around the world. We are as committed as ever to building audiences for Canadian films and we are thrilled that Canwest, CBC, Astral, and Corus are joining us in this effort."

Additionally, the show will be re-broadcast on Astral Media's The Movie Network and Corus Entertainment's Movie Central at a later date.

"Canwest is committed to supporting independent film in Canada and is proud to be bringing the Genie Awards ceremony to our audience," added Daniel Eves, VP, Strategic Programming, Specialty, Canwest Broadcasting.

"CBC is proud to participate in this wonderful celebration of Canadian cinema," said Kirstine Stewart, General Manager, CBC Television, "and to continue to support and nurture the talent that is contributing to the growing success of our film and television industry."

To celebrate the 30th anniversary of the Genie Awards, a one-hour special paying tribute to three decades of celebrating Canadian filmmaking is also in the works and will air on CBC this fall, as well as CBC's digital specialty channel, bold.

The 30th Annual Genie Awards show takes place Monday, April 12, 2010 at 9:00pm EDT

Re-broadcasts of the Awards show on TMN and Movie Central will continue the momentum of celebrating this year's nominees and winners.

"Astral Media is the largest private investor in Canadian feature films and our pay-television network, The Movie Network, licenses virtually all Canadian feature-length theatrical films," said Kevin Wright, Senior Vice President, Programming, Astral Television Networks. "We are thrilled to participate in the Genie Awards this year as an extension of our long-standing commitment to Canadian film and will celebrate and showcase the achievements of filmmakers by featuring the award show on air, on demand and online."

"Movie Central takes great pride in being a key platform beyond theatrical for Canadian filmmakers to showcase their independent films in this country," explained Erica Benson, Vice President Programming for Movie Central, Corus Entertainment. "Partnering with the Academy on the broadcast of the Genies this year offers another way for us to show our support, as well as celebrate and highlight the extraordinary calibre of creative talent that Canada's film community is producing."

Additional details, including airdates on TMN and Movie Central, will be announced in the coming weeks, the Academy of Canadian Cinema & Television reports.

For the complete list of nominations and information about this year's awards show, visit www.genieawards.ca.

Cheryl Binning, Playback

Tax credit competition among Canada's biggest production centers is hotter than ever.

B.C. recently increased its foreign production labor rebate to 33%, although the province continues to face a large incentive gap in comparison to Ontario and Quebec, both of which are seeing a production upswing since announcing lucrative 25% all-spend credits last summer.

Quebec film commissioner Hans Fraikin reports that just over a month into 2010, production volume is already double the $140 million in total activity for 2009, fuelled by big-budget service projects like Upside Down, starring Kirsten Dunst and Jim Sturgess, and the Jake Gyllenhaal sci-fi thriller Source Code.

"My expectation is we will double last year's volume in 2010," he adds.

Ontario is also reporting a rise in activity. Major U.S. projects currently shooting in the province include the thriller Red, with Bruce Willis and Morgan Freeman, and Dream House, starring Daniel Craig and Naomi Watts.

"The all-spend credit equalized the playing field for Ontario vis-à-vis not just Quebec but states like Louisiana and New Mexico," notes Comweb Group chairman and CEO Paul Bronfman.

While B.C.'s labor rebate doesn't come close to matching Ontario and Quebec, the local industry expects that the 33% credit will keep their long-term and loyal clients - the U.S. studios - shooting in the province. The rumor mill, for example, suggests that the sequel to Percy Jackson & the Olympians: The Lightning Thief and Night at the Museum 3 will land in Vancouver this summer.

"We can be a bit more expensive because we have other measurable advantages that make us appealing," says Vancouver Film Studios president Pete Mitchell, pointing to the numerous large studio facilities and negotiated labor agreements with Hollywood as examples. "We offer predictability and a great product for a good price."

However, the more price-sensitive independent features are expected to stay away from B.C. and opt for production centers with more lucrative credits.

"For indie films in the $10 million and $40 million range, B.C. is not on the radar right now," says Shawn Williamson, partner at Vancouver-based Brightlight Pictures.

"On a $10 million movie it makes hundreds of thousands of dollars difference if you shoot in Ontario instead of B.C.," he adds. "It's difficult enough to finance indie features right now, so every producer is looking to jurisdictions where you can best access soft dollars."

VFX is another area of the business seeing a tax-credit boom. B.C. just increased its labor-based VFX credit from 15% to 17.5% and Quebec responded just days later by offering foreign productions a 20% labor rebate on special effects and animation.

"Vancouver is a big competitor for Montreal," admits Benoit Touchette, operations manager at Montreal's Rodeo FX. "In addition to the credit, Vancouver has the advantages of proximity to L.A. and time zone, so we have to offer savings as well as quality of work. The recent VFX increase should help us compete."

Shawn Walsh at Vancouver VFX house Image Engine says that as it now stands the slight difference among provincial VFX credits is "inconsequential" and the playing field is level.

"It's a question of capacity, creativity, capability and areas of expertise that a shop brings to the table," he says. "The tax credit is considered in concert with many other factors."

The gaming industry is also a competitive hot spot. Both Ontario and Quebec have been luring investment in video game development with labor rebates: Ontario's credit is worth 35% to 40% of labor expenditures and Quebec's incentive is 37.5%.

Now the B.C. government is giving the local gaming industry a shot in the arm with it's first Digital Media Tax credit, set at 17.5%.

"B.C. is one of the preeminent game development hubs in the world, but it has been challenging times," says Colin Macrae, spokesperson for the B.C. Interactive Task Force, made up of local gaming companies. "Other markets in North America, including Ontario and Quebec, have attracted investment in the video game industry, so this new tax credit is an important first step to get us back on track."

Vancouver's gaming industry has struggled over the past 18 months as a result of intense competition from other jurisdictions.

For example, Electronic Arts has been laying off staff in B.C. while growing jobs in Montreal where it can access a gaming credit.

"The cost advantages can be a real deciding factor," says Macrae.

In the meantime, Ontario is also proposing to offer another incentive under its video game credit to lure game development: companies can opt to take advantage of a 35% rebate if they spend $1 million in labor per year. This will offer companies access to funding throughout the long gaming development cycle, as opposed to waiting to collect a rebate upon game completion.

And while the new 33% labor rebate is expected to keep the studios shooting in B.C., the future looks gloomy for the province's domestic industry.

Brightlight, for example, has opened a Toronto office and plans to shoot all its projects in Ontario where it can access the 25% all-spend credit as opposed to a B.C. domestic labor rebate of 35%.

"Ontario has won the battle for Canadian film and TV - at least in the short term," says Williamson.

Crawford Hawkins, executive director of the Directors Guild of Canada B.C. District Council, also expects B.C. producers to look outside their home province.

"It's hard enough to finance Canadian productions, so if a B.C. producer can go to Ontario and pick up a couple hundred thousand dollars it makes sense," he says. "They would be silly if they didn't."

Still, many in B.C. feel that the Ontario and Quebec all-spend credit is not sustainable over the long term.

"When you look at the return for the province of Ontario when a film shoots there, it's marginal, if not negative," says Mitchell. "I think the government of Ontario is taking a loss. The B.C. government won't take a bath on every show, and as a taxpayer I get that."

Etan Vlessing, Playback

Goldman Sachs & Co. has asked the Ontario Court of Appeal to block Shaw Communications and U.S. bondholders from taking control of a restructured Canwest Global Communications.

"This CCAA restructuring proceedings has involved a remarkable abuse of the CCAA's process and a total failure of Canwest corporate governance for the purpose of extracting the most value possible for the [U.S.] noteholders," the Wall Street bank said in a legal brief filed Wednesday.

Goldman Sachs, as it appeals a lower court ruling to give Shaw control of a recapitalized Canwest Global, said the U.S. bondholders see value not in "Canwest's insolvent conventional TV business," but in the 13 profitable cable channels the broadcaster has since 2007 operated as CW Media on behalf of the U.S. investment bank.

Following the blessing of the Ontario Superior Court of Justice, Shaw stands to acquire at least 20% of Canwest Global's equity and 80% of its voting stock after the debt-laden broadcaster completes its restructuring.

Shaw's equity stake will likely exceed 20% after U.S. bondholders and other senior lenders decide whether to take cash rather than shares in a restructured Canwest Global.

Goldman Sachs claims the proceedings under the Companies' Creditors Arrangements Act aim not to get Global Television back on its feet, but to force the Wall Street bank to "surrender value or else to force a CCAA disclaimer" of the 2007 CW shareholders agreement.

Goldman Sachs pointed to an earlier failed Catalyst/Leonard Asper bid for a controlling stake in Canwest Global, which did not call for changes to the CW shareholders agreement, as evidence that the renegotiation called for by Shaw was "not necessary" for a restructuring of Canwest and served only to transfer value to the U.S. bondholders.

Without the Court of Appeal setting aside the lower court decision, Goldman Sachs said its showdown with Shaw and the U.S. bondholders will "continue down a path of acrimonious and time-consuming litigation," in which Goldman Sachs will, it added, "ultimately prevail against any attempted disclaimer of the CW shareholders agreement."

A separate March 2 court monitor report on the Canwest Global restructuring reveals the debt-laden broadcaster reached an agreement on March 1 to sell its corporate aircraft, a 1988 BAE 125 series craft, with the deal to close before March 15.

The court report added that the U.S. bondholders approved the latest asset sale at Canwest Global, and Shaw did not oppose.

Marise Strauss, Playback

CBC has rearranged its news department, handing new titles to members of its management team, as it continues to make changes focused on improving operations.

The Ceeb's former director of English network TV news, Jonathan Whitten, is now exec director of news content, putting him in charge of the news assignment desk, while Heaton Dyer will now work across all media platforms as exec director for programming strategy and innovation.

Todd Spencer is now in charge of the CBC News Network, the 24-hour channel formerly known as Newsworld. Spencer's previous title was exec director of news content.

Fred Youngs will manage work flow as director of strategic resource management, while Gino Apponi has been appointed chief of staff for Jennifer McGuire, GM of CBC News. McGuire announced the news in a recent memo to staff.

The changes take effect on April 1. CBC began a massive restructuring of its news operations about three years ago, the result of which was unveiled last October.

In other CBC news, the recent federal budget has put a freeze on salaries for employees for three years.

The Canadian Short Screenplay Competition (CSSC), the most prestigious short film script contest in Canada, is thrilled to announce a new partnership with Yorkton Film Festival (YFF) – the oldest and longest running film festival in North America.

On Saturday May 29, 2010, David Cormican, Producer and CSSC Founder, will present the writing competition’s top prize, the Golden Cinema Award to the writer of the best short script for 2009. “I’m just stoked”, says Cormican. “To be able to bring writers to the forefront of such a long-standing film festival is a real treat. It is an incredible opportunity for these scribes to be celebrated amongst an audience of industry professionals, as well as become part of a Canadian film tradition steeped in excellence”.

The CSSC’s thirteen lucky finalists will be encouraged to attend the festival, which runs May 27-30 2010 and to partake in the many films, workshops, panels networking opportunities, and Golden Sheaf Awards Gala.

Joanne McDonald, a director of the board for YFF, says “We are very pleased to welcome The Canadian Short Screenplay Competition to the Festival. Our focus is on emerging filmmakers and the CSSC is a natural fit into the YFF”

One writer will walk away with top honours: $1,000 cash prize sponsored by Year of the Skunk Productions, a production deal to have their screenplay made into a short film (to be screened at next year’s YFF), and their very own Golden Cinema trophy commemorating their achievement in screenwriting.

About The Canadian Short Screenplay Competition (CSSC)
The Canadian Short Screenplay Competition, administered by Year of the Skunk Productions (Regina), and established in 2008, is the premiere script contest for short film screenplays. CSSC is the single-most competitive, prestigious, short screenplay festival in Canada, a champion for screenwriters everywhere and a launching pad for writers’ professional careers.

Visit www.Screenplay-Competition.com

About the Yorkton Film Festival
The Yorkton Film Festival is the longest running film festival in North America. In the 63 years of its existence, the Festival has developed a tradition of recognizing excellent films and providing great professional development and learning opportunities. The Festival recognizes outstanding Canadian short films and rewards the very best with the annual Golden Sheaf Awards.

Visit www.goldensheafawards.com

Flaherty keeps status quo for arts and culture
James Bradshaw (The Globe and Mail)

The 2010 federal budget contains no new money for arts and culture, but also no cuts, eliciting a mixture of relief and frustration from the arts community.

The government committed to keeping its promises from last year's budget, which contained hundreds of millions of dollars in stimulus funding spread over two years. Canadian Heritage Minister James Moore confirmed that no arts funding has been slashed and, with so much talk of renewed fiscal restraint in Ottawa, that was enough to provoke some smiles.

“I'm very happy with that budget. What they committed for two years, all that money is there,” said Simon Brault, head of the National Theatre School and president of Culture Montréal. “There is a foundation around that budget on which we should, as arts players, build ... our case in the coming years.”

The Canadian Arts Coalition was similarly upbeat, with spokesperson Shannon Litzenberger stressing that “the arts sector is pleased to see that the government is going to sustain arts investment,” and that the $181-million annual budget of the Canada Council for the Arts has been protected.

Others, though pleased to see no cuts, were less charitable.

“We're of course disappointed there's nothing new. But it is very clear that we are facing an avalanche of cuts to come and nobody is going to escape it,” said John McAvity, executive director of the Canadian Museums Association.

Members of the film, television and new media industries expressed particular disappointment. Brian Anthony, CEO of the Directors Guild of Canada, had extensive meetings in Ottawa leading up to the budget, including a one-on-one talk with Finance Minister Jim Flaherty, and was expecting a strong indication of a future commitment to the industry, if not concrete dollars today.

“I think it was a missed opportunity, quite frankly,” Anthony said. “Critics will now say that the 2009 budget was a one-off, a response to the near-death experience in the 2008 election when the PM did a bit of freelance culture bashing and lost lots of votes.”

“We're disappointed there's nothing specific and nothing new in terms of commitment to culture,” added Stephen Waddell, national executive director of the Alliance of Canadian Cinema, Television and Radio Artists (ACTRA). “We would have thought there might have been something very specific to our industry given that we produce a lot of good, clean, well-paying, environmentally conscious jobs.”

Moore countered that their disappointment was misplaced, given that the government is honouring its word.

“I thought we were pretty assertive last year in letting people know that it was a two-year Economic Action Plan and not a one-year investment,” Moore said. “It's more than ‘nothing's been taken away.' ”

One commitment did draw praise across the board. The Canada Council, the CBC, Telefilm Canada and the National Film Board had all been targeted for Strategic Review, the government-wide process designed to identify and shift inefficient spending. Moore made it clear that the four agencies had faced “up to a 5 per cent cut,” and that those funds might have been reallocated to something other than arts and culture. But the government has decided all four are meeting “the priorities of Canadians,” and will not move any of their funding.

The Canada Prizes for Arts and Creativity, which sparked widespread controversy when they were announced in last year's budget, returned to the radar after a year of relative silence. The one-time $25-million infusion earmarked to kick-start the awards is still on the table, and Moore said he hopes to announce the results of consultations with many stakeholders before long.

Some also lauded the government for easing disbursement quota restrictions on charities, meaning they will have more flexibility in the way they spend their money.

But a long list of suggestions the arts community put forward in advance of the budget will have to wait another year at least. Most prominent among them were calls for gradual increase the Canada Council's budget by $120-million; widespread requests for a Market Development and Access Program, in part to replace touring and cultural export lost when the Tories cut the Promart and Trade Routes programs in 2008; and suggestions for a variety of tax incentives and reforms, from income averaging for artists and credits for live performance, to enhanced film and television production credits.

And several arts officials remain wary of the new budget's pledge to find $17.6-billion in savings over the next five years, fearing it might mean cuts to the arts are still in the offing. Moore moved to quell those fears, saying “That's not part of our plan right now.”

“An economic recovery that doesn't include strong investments in arts and culture isn't a real plan,” he added.

Look to former TV execs for funding

A chronic shortage of early-stage angel and venture capital investment in Canadian digital content has produced a novel source of financing to get new innovations off the ground: former top TV executives.

Nathan Gunn, CEO of game producer Social Game Universe, recently told an Interactive Ontario iLunch panel that few Canadian VC investors are completing major investment deals these days.

But his company has landed financing from industry veterans like former CHUM-turned-Zoomer Media head Moses Znaimer, Nelvana co-founder Clive Smith, Standard Radio's Gary Slaight, Score Media's John Levy and U2 concert promoter Michael Cohl.

"Here's an interesting group of guys who understand the content business and do make gut bets," he told the panel on digital content financing.

"What unites Gunn's angel investors is all cashed out of major Canadian TV companies when they were bought up by rivals, and now need to invest their riches."

Ted Werth, a business consultant with Injenius Projects, told the iLunch panel that a pullback by traditional angel investors and VCs has created an opening for Canadian TV innovators looking to straddle new platforms.

Another recent syndicate deal saw former TV players including Ted Riley, Jay Switzer and Gary Slaight jointly invest in GlassBox TV, a cross-platform broadcaster.

Another untapped financing source for Canadian digital start-ups is the Ontario Media Development Corporation's new one-year $10 million Intellectual Property Development Fund that refunds 30% of costs (up to $150,000) absorbed by indie producers.

OMDC director of tax credits and financing Jennifer Blitz said the fund, launched in December, has only received 25 applications from digital content producers who have barely tapped $1 million of the available funds.

Blitz added interest in the pilot development fund is quickly building. Yet, non-juried grants from the IP fund are still to be doled out.

"There's still plenty of availability. We want to get the word out," she said.

The panel audience was told that, but for the OMDC IP fund and the upcoming Canada Media Fund, few sources of public subsidies focus on convergent digital product, and instead target specific product in the development or production phases.

Gunn cautioned producers not to get bogged down pursuing tax credits, and instead to pursue big-picture business goals.

"You're spending time completing a lengthy tax credit document that isn't your business plan," he cautioned.

The CRTC has reached a decision on fee-for-carriage, the source of bitter debate between Canada's broadcasters and cable providers, and plans to release its findings next month.

CRTC spokesman Denis Carmel confirms the "second half of March is the planned date" for the ruling.

The decision will end months of public squabbling on what has become the thorniest issue in Canadian broadcasting: whether casters including Canwest Global, CBC and CTVgm should be permitted to charge cablecos for their over-the-air station signals, which they currently carry for free.

The federal watchdog has twice turned down broadcasters on the issue, in its 2007 TV policy and again in 2008, before a round of hearings last year aimed at establishing "fair market value" for over-the-air signals.

Broadcasters vigorously lobbied for the fees, starting anew last spring with the "Save the Local TV" campaign just as they were hit hard by the recession and declining advertising sales. Layoffs and the closure of some local TV stations added fuel to the political fire. Cable and satellite distributors such as Bell TV, Cogeco and Rogers Communications warned that the proposed fees would be passed on to consumers and instead proposed an overhaul for the entire broadcast system.

It is not clear what the CRTC's new policy will look like, though Ottawa will have the final say -- as Heritage Minister James Moore stated last year that fee-for-carriage will not be imposed "without the consent of the government." Recently, the CRTC was overruled on another major decision, that of Wind Mobile, by Industry Canada.

Whatever the ruling, cable giant Shaw Communications looks to be in an awkward position now that it has moved to acquire Canwest Global's TV assets -- putting it, like Rogers Communications in Toronto, on both sides of the fence. Rogers, which also owns the OMNIs and the Citytvs, opposed fee-for-carriage, as did Shaw.

The Ontario Superior Court of Justice has chosen Shaw Communications' $95 million bid to grab control of Canwest Global Communications' TV assets and take them private.

The court's blessing sets up a likely confrontation between Shaw and Goldman Sachs & Co. as the cable operator attempts to tear up Canwest Global's agreement with the U.S. investment bank over their jointly owned 13 former Alliance Atlantis channels.

Goldman Sachs backed a failed eleventh-hour $120 million bid from a consortium that included Canadian equity firm Catalyst Capital, Canwest Global CEO Leonard Asper and siblings David and Gail Asper.

Shaw's winning bid was endorsed by Canwest Global's board of directors, the Ontario court's monitor and a majority of U.S. bondholders and other senior lenders -- and signals the exit of the Asper family from the Canadian media giant originally founded by Israel Asper.

Shaw will now look to cross remaining hurdles in its way to acquiring at least 20% of equity in a rebooted Canwest Global and 80% of the broadcaster's voting stock. That equity stake is likely to exceed 20% as Shaw eventually offers U.S. bondholders and other secured lenders cash rather than shares in a restructured broadcaster.

Shaw said it does not know how many U.S. bondholders will take cash payments, but that its "80% voting interest will give it effective control of a restructured Canwest regardless of its final equity interest."

Goldman Sachs backed the Catalyst bid in part over a suspicion that the interests of U.S. bondholders increasingly dictate the course of Canwest Global's restructuring and the fate of the Alliance Atlantis channels.

"Sadly, it is difficult to see this filing as anything other than perpetuation of the noteholder committee's and the company's continued efforts from the start to exclude GSCP from the process and force a fait accompli," lawyer Kevin McElcheran, who is representing Goldman Sachs, said in a Feb. 13 letter to the Ontario court before its ruling on the Shaw bid.

Shaw's rationale for ripping up the 2007 shareholders agreement is clear: Goldman Sachs stands to pocket a huge profit from putting up two-thirds of the financing for Canwest Global's takeover of the AAC channels when the Canadian broadcaster purchases Goldman's stake in 2011.

Goldman Sach's take-out price will be determined by the relative value of the AAC channels and the Global Television network, starting in 2011.

Besides talks with Goldman Sachs, Shaw's equity play for Canwest Global faces a number of other hurdles, including securing approval from the CRTC, creditors and the court for the broadcaster's overall restructuring.

To potentially appease the CRTC, Shaw proposes that a restructured Canwest Global will remain "a pure play Canadian broadcaster," with its own management team and board of directors.

Shaw said it wants Canwest Global's court-directed trip through creditor protection to conclude by Aug. 11.

Creatives Loop organised the 1-2-1 meetings with UK Producers as part of On Screen Manitoba UK Mission 2006.

Since then they have organised many other international missions and networking events for clients such as Telefilm Canada, Pact and Creative Business Wales, resulting in over $65m of Co-Pro deals (actually these are the only ones audited by the gov't).

If you are interested in Co-Productions, then their latest initiative in creating the word's first and only fully dedicated Co-Production website, will be of great assistance to your company. Co-Production Factory gives Producers access to a powerful information hub and interactive community.

Please go to www.co-productionfactory.com & simply click on the Co-Production Factory Brand

If you like what you see and you would like to join, then we have a special discount code, for all those that we have worked with in the past and have effectively become part of the 'LOOP', reducing 1 years membership from CAD$300 (£195) to CAD$85 (£50)
To take advantage of this offer when registering use Coupon Code: oscars

The structure and content was designed with advice from Isabel Davis of the UK Film Council, who is also a member. I followed the Google principle of simplicity, allowing users to get the most out of their time online, whilst there over 4500 pages of useful information behind the scenes, run by sophisticated software.

Jan Miller of Strategic Partners is a member and states:

“One stop shopping for everything you need to know about international co-production! Creatives Loop is offering a remarkable resource globally. As its membership grows its value will increase exponentially – everyone should sign up for this invaluable source and exchange of information.”

We now have over 120 Film-makers, Producers, Broadcasters, Sales Agents and Distributors from Canada, Germany, UK, Denmark, Australia etc... Membership to the site is growing each day

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Do You have a Trailer or Promotional Short video that you would like to appear in the Showreel Pages to be showcased globally?

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ISPs, broadcasters and "mobile companies" will be able to apply alongside TV producers to the "experimental stream" of the Canada Media Fund if its proposed guidelines are approved by the new board of directors, according to executives apparent Valerie Creighton and Stéphane Cardin.

The board of the new $350 million fund is reviewing the proposed guidelines this week. Speaking last week to attendees of the Prime Time conference, Creighton, president and CEO of the old Canadian Television Fund, said the new, official rules will be announced "towards the third week of March."

Management and staff of the CTF are expected to move to similar positions at CMF, which arrives with the federal fiscal year on April 1. Telefilm Canada will continue to administer the application process.

Further changes, however, to the broadcaster performance envelopes will not be unveiled until "the first or second [fiscal] quarter." Creighton also seemed to indicate that CBC will be judged on performance of its shows, as are commercial broadcasters. "CBC is coming into the competitive mix," she said.

Creighton and Cardin, who is CTF's policy VP, told concerned producers that CMF will be divided into a "conversion stream" and an "experimental stream" and that all projects will effectively require an interactive element.

The experimental stream will be earmarked for Canadian companies which are "leading-edge, interactive, innovative" content creators, said Creighton, noting the rule-makers will "keep barriers to an absolute minimum." Meanwhile, the conversion stream would require two distribution platforms, "one must be TV" and the "second could be a game," Creighton continued.

If the new guidelines fly, web-only series need not apply. The CMF is looking for experimental interactive content but wants applications that incorporate both web and TV. Docs are still eligible, and animators will be happy that the proposed rules mean "they can go elsewhere in the world" and still be considered Canadian.

Regional incentives haven't changed and a "northern bonus" has been recommended for the three territories -- a first. Producers can expect the same deadlines for applications, meaning "October and final in December."

Creighton noted that decisions for both streams will be once again made on a "per project basis" and that there "will be more flexibility in year one" as the inevitable bumps of new guidelines get ironed out.

She said CMF management will continue its "town hall" process to answer questions, warning, finally, that "It's gonna be messy the first year."

Province promoting its 'good things' in big way
By: Bruce Owen

If you want to be a big dog you've got to bark like one.

That's why Canadians in Hogtown and Cowtown will start seeing ads on CTV during the final week of the Vancouver Winter Olympics trumpeting Manitoba's quality of life.

Manitoba Day is Feb. 25
PREMIER Greg Selinger has his eyes set on the women's hockey gold-medal game Feb. 25.

Not only is that a game Canada is anticipated to win, it's also Manitoba Day at the Vancouver Winter Olympics.

Selinger arrives in British Columbia Feb. 23 and will stay until the closing ceremonies on the 28th.

While in Vancouver, he will attend receptions for the Canadian Museum for Human Rights and Manitoba film and music industries (industry associations On Screen Manitoba and Manitoba Music), as well as the Homecoming 2010 social on Feb. 24.

The social is being held at the Commodore Ballroom on Granville Street and features performances by Manitoba's Doc Walker, Streetheart, Eagle & Hawk, Inward Eye and members of Chic Gamine. Ace Burpee hosts the evening.

Selinger is currently in Washington, D.C., with other premiers meeting with U.S. officials on trade and agriculture issues.

Manitoba is spending an estimated $6.4 million to promote the province at the Games, including $2.3 million for a pavilion in downtown Vancouver showcasing the province's eco-friendly initiatives, immigration programs and tourist destinations.

For more on Manitoba at the Olympics, visit www.centreplacemanitoba.ca.

The ads are the latest initiative from the province and its Start Living campaign, said Jim August, who heads up the province's year-old Promotion Council.

The $350,000 ad-buy won't be seen by viewers in Manitoba, as it targets people living in big cities like Toronto and Calgary who are sick of long commutes, expensive houses and too much time spent away from their families.

"Everyone I talk to is just fascinated with the Olympics," August said. "We're all following it. There's a lot of attention. There will be great exposure.

"There's only four provinces that have bought into this. The risk is if you don't buy into it, you're just not out there. You're not a player."

CTV has enjoyed blockbuster ratings during the Winter Games. On Tuesday, some 6.2 million Canadians tuned into watch Team Canada's 8-0 rout over Norway. An average of 3.7 million Canadians watched mid-afternoon Tuesday as B.C.-raised snowboarder Maëlle Ricker took to the slopes and won a gold medal.

"When an opportunity comes along to really tell your story and do it when then Olympics is on when you've got all this people, you can't ignore it," August said.

The trick after the Olympics end is whether anyone remembers Manitoba. Officials will monitor Start Living website www.livingmanitoba.ca to see if the ads generate any interest.

The locally produced ads will be spread out throughout the day during Olympic coverage -- they won't run after viewers have gone to bed.

"We picked the markets that we wanted and that's where they are going to run the ads," August said. "We weren't bottom-feeders on this. We'll get good times."

August also said the 30-second ads aren't intended to get people off the couch, pack up the U-Haul and move to Manitoba right away.

Rather, the ads are geared to put the word Manitoba in peoples' heads.

"It raises awareness," he said. "It really is an opportunity to increase awareness and make people aware about many of the good things about Manitoba."

Premier Greg Selinger has said Manitoba has to promote itself to compete with other jurisdictions who are also looking for new residents.

The Start Living campaign has been somewhat in limbo since last spring when $1.7-million worth of television and newspaper advertising was purchased in other provinces. The province has since provided an additional $750,000 for ongoing promotion.

The campaign was originally launched several years ago under the Spirited Energy banner, but that slogan was met with a mixed reaction.

Manitoba isn't the only province with such a campaign. Alberta launched a $25-million campaign last year, Saskatchewan has a $14-million campaign, Nova Scotia Tourism recently spent $5 million and Toronto spent $4 million.

Reassurances and warnings about the digital era greeted attendees at the Prime Time conference on Thursday, as kick-off speaker Brent Lowe-Bernie delivered the message that "The sky is not falling."

Though that should be qualified. Like everything else in a binary world, there is a counterpoint.

Canadians, added the president of the consumer marketing company comScore, need to seize the digital day.

"People will go to where the content is," Lowe-Bernie told the crowd on the first day of the annual CFTPA conference. "They will pursue it, and they will consume it. We don't have a digital plan like other countries do and it's a shame because we lead the world in usage in many ways. In engagement, we rate right at the top."

He noted that -- while the only media currently growing in Canada is online -- creatives should be reassured by the fact that filmed content is leading the way. Year-over-year Internet video consumption has grown by 200%, and 90% of Canadians now watch at least one video online every month.

Thus the opportunity, and the warning.

Distribution silos are a thing of the past -- content has to play across all screens organically, and that means cross-platform has to be woven in from the beginning and not just bolted on afterwards.

"How can you build new audiences?" Lowe-Bernie asked rhetorically. "Are there ways to find them and entertain them wherever they are? You have to think about leveraging all the distribution channels.

"People will consume as makes sense to them."

He also had a warning for those who think that Twitter and its ilk are a flash in the pan: social media is here to stay -- and that's a good thing for traditional media.

"There is no question there is an affinity between entertainment and social media," he explained. Facebook, he demonstrated, is already driving users to traditional media sites -- more than 1.4 million to CTVglobemedia alone last year, to name but one example.

To help seize the advantage of this holistic approach to media, he recommended cross-platform experimentation, informed by the precise measurement tools offered on the digital platforms.

"You must measure from the start," he cautioned, "and know how to measure it."

Despite all the uncertainty, he summed, Canadians shouldn't be worried. As always, timeliness and relevancy of content will drive usage -- as long as the industry is prepared to step up.

"Embrace the Canadian opportunity," he added.

Strengthening and promoting Canadian content in an age of rapid technological and social change is an important theme in a new document released by The Canadian Radio-television and Telecommunications Commission (CRTC).

"Navigating Convergence" is a research and policy document that takes a lengthy look at the new world of digital content creation and distribution, and new market realities that are sprouting up as a result..

Sections of the document discuss unique and trendsetting digital developments, including YouTube and Hulu; mobile video and the 'TV anywhere' movement; spectrum allocation and 'Net neutrality; Docsis, IPTV, FTTH and more.

Noting that "Canadians are increasingly seeking multi-platform content wirelessly and online that incorporates complements to television content" the CTRC also goes on to speculate about possible regulatory looks at the booming wireless sector.

The document conveys some concern over a "potential for gatekeeping", and posits the need for a review to look at the opportunity and consequence of "open networks and preferential treatment" in an industry known for a high ownership concentration.

"Over time, the Commission's hands-off approach to wireless may come under pressure as it becomes a more important platform tool to access all forms of communications and the distribution of Canadian content" the document states.

Looking at a wide range of media platforms, content creation strategies and distribution technologies, the paper states that "the 'pipes' are only useful inasmuch they are used to deliver services, applications and content to Canadians. It will be necessary to ensure that Canadians can contribute to and see themselves in stories that are accessible on multiple digital platforms, whether from private, public or community sectors. The role of the public broadcasters in this environment will be a key consideration."

It says user privacy and service standards will be key to the success and value of an emerging digital communications industry and it speaks to the need for a rebalancing of retail, wholesale and contract offering in the information and communications service sector.

The document says that the CRTC "should continue to monitor the state of communications competition in Canada" by paying close attention to retile or wholesale rate increases, any potential barriers for consumers or competitors, established quality of service for resale-based competitors, and the comparisons to other countries in terms of price parity and service innovation.

Nevertheless, the CRTC states that "the elimination of monopolies in most residential and business services has been accompanied by the removal of the need for regulation to manage most facets of service. "

While discussions and hearings continue at the CRTC on these and related topics ( a CRTC decision about cable TV and broadcast carriage, or fee-for-service, is expected within two months, for example, while changes to the Copyright Act and development of an overall national digital strategy have been delayed, the CRTC document notes that any steps taken for "the preservation of Canadian programming and the protection of consumers may be increasingly required in the programming sphere" it also says that "many of the Broadcasting Act's objectives will be achieved, in part, outside of the regulated sector." 

Click here to see the entire CRTC policy document

Why Shaw wants a piece of Canwest
By: Nicholas Hirst

What changes will happen to your television viewing if the cable company Shaw Communications Corp. gets control of the television assets of Winnipeg-based Canwest Global Communications?

Shaw's intent to take a 20 per cent stake in Canwest, which would bring with it 80 per cent of the votes of the company built by Winnipeg's Izzy Asper, is taking place just as the digital revolution is poised to radically alter how we all get our filmed entertainment.

For Shaw it's a gamble that, by taking Canwest out of bankruptcy protection, it gets a bargain that will make it the key player in the future of Canadian television.

All that is known about the deal is that Shaw has to put up a minimum of $65 million, on the face of it, a small sum for a company that still has billions of dollars of assets, even if it also has billions of dollars of debt.

The risk would appear small. If Shaw fails to make a go of it, then it will lose its stake, but it will not be risking either the Shaw family's cable empire or its stake in the Corus television company that owns the "W" network and the pay TV-channel Movie Central.

For viewers, though, the move is at least intriguing and possibly revolutionary. As television viewing has fragmented among many different channels and the big old networks like CBC, NBC, CTV and Global have lost audiences, the big beneficiaries have been the cable companies like Shaw. Once cable just brought a better quality picture than rabbit ears. Now, cable delivers a huge variety of programs to most households. As cable companies' grip on the delivery of a wide choice of television programming has increased, so have their profits. Cable has become the method of choice in television watching.

Not that cable is without competition. The telephone companies like MTS and Bell are in the same game. Competition is spreading across the board for delivery of television, Internet and phone services.

No one quite knows where all of this is going to end up. One intermediate step though, is that the cable companies are becoming more and more like the broadcasters.

Cable companies like Rogers and Shaw as well as MTS and Bell, now offer broadcast programs "on demand." You want to watch the Lost or Flashpoint episode you missed? Just go to your cable company's "on demand" site and there it is to be watched well after it was first broadcast. Of course, you can record the program on your PVR, also provided by you cable or telephone company.

Alternatively, you can watch programs (this is particularly true of the Olympics) streamed directly onto your computer. If you really know what you are doing, you can link up your computer to programs delivered both by the Internet and your cable television. Many Blu-Ray receivers have Internet access, as do the more advanced game consoles.

This is the new convergence and so far, it is in its infancy. As time goes by, it's going to be dead simple. You're going to have a box that receives both from the Internet and from old-style cable seamlessly.

If you can get any programming any time from a menu of choices, then why does the traditional broadcaster even exist? If the cable company has access to the delivery of all content, what is the purpose of a broadcaster?

The answer so far has been that the cable companies don't have expertise in buying, assessing and developing content and selling the advertising that goes with it. If they buy the broadcaster, though, they do.

That's why, in the United States, the cable company Comcast in a complicated transaction is buying NBC/Universal. The Shaw deal is a smaller step in the same direction. The crucial difference is that for success in Canada, companies like Canwest rely on purchasing programs that have been developed by broadcasters and studios south of the border. That arrangement is protected by a wealth of licensing deals and government regulation

The world of television, however, is changing faster than the regulators can keep up. And it is far from certain as programs are increasingly delivered through multiple channels that they will continue to be delivered on a country-by-country basis as they are today.

The day may come when you can simply order up any program you want from anywhere in the world.

Shaw is positioning itself for that world. For a world in which the broadcaster and the cable company are essentially the same thing and the money that supports the content comes as much from your cable subscription as from the advertising that now supports most network programs.

The competition for your eyeballs then, will be not between broadcasters, but between which cable or telephone company can give you the best choice of all programs available, anywhere.

Nicholas Hirst is CEO of Winnipeg-based television and film producer Original Pictures Inc.

In a very smart move for the future Shaw Communications plans to purchase Canwest Global Communications and with that their extensive library of speciality channels. This would give Shaw access to content they could distribute to their customers on various platforms, including mobile phones, a territory they have been working on developing for the past couple of years.

Since it has become increasingly popular for people to watch their content via the internet, this is a good move for Shaw. People are cancelling their cable subscriptions and opting to stream shows from the internet, diminishing future revenue from cable subscriptions. It doesn't seem to far-fetched to assume that once bandwith capacity increases enough, everyone will just stream content from the internet.

Shaw Plans to Buy Canwest Global and Pay Off Creditors

Canwest Global Communications has struck a deal that will see Global TV and a handful of lucrative specialty channels move under the control of Western Canadian cable giant Shaw Communications.

Shaw said Friday it will buy control of the broadcasting assets of a restructured Canwest Global Communications Corp. It has also agreed to help Canwest pay back creditors as it deals with a mountain of debt.

Jim Shaw, president and CEO of the diversified communications company founded by his father J.R. Shaw, said the deal will result in Canwest as a "pure play" Canadian broadcaster. Shaw will take "effective control of one of the premier broadcasters and owners of content in the Canadian broadcasting industry at a reasonable valuation," he said.

"We believe that Shaw's investment results in a number of benefits to the broadcasting system, including an ability to strengthen local programming, ensure the ongoing viability of the second-largest private conventional television network in Canada and sustain a dynamic and competitive television market."

While a price tag hasn't been attached to the deal, some industry observers expect Shaw to have negotiated a discount, considering that Canwest has been struggling to restructure its overall operations - including a stable of daily newspapers slated to be sold separately.

Canwest spokesman John Douglas would not comment on whether Leonard Asper will leave his post at the company, but confirmed that the Shaw agreement would include buying out all of the current shareholders - which would include the Asper family.

Shaw Communications Corp. would own at least 20 per cent of Canwest's equity and 80 per cent of its voting stock after the deal.

In terms of assets, the agreement would give Shaw 11 local TV stations across the country, and ownership of a group of specialty cable channels, including History Television, Showcase, MovieTime and HGTV, some of which were acquired from Alliance Atlantis in 2007.

Shaw's announcement said financial terms of the deal would be filed with Ontario Superior Court on a confidential basis and remain so until court approval is obtained, which must be done by April 15.

Both companies will meet in court next Friday to flesh out some of the details, which could include more details on the price for the deal, and the fate of the Asper holdings, and whether Leonard Asper will continue to be linked with the company.

The recapitalization must be completed by Aug. 11, at which time Canwest will delist from the TSX Venture Exchange.

Shaw president Peter Bissonnette said that the proposed takeover is more than just a play for broadcast TV assets, but also a move to bulk up Shaw's content holdings ahead of a shift into the mobile phone market.

"We're going to be launching a wireless product in the next while and having content available for those customers that come to Shaw, we think would have some value," Bissonnette said in an interview.

Shaw has said it plans to launch its own wireless services by early 2011, entering a highly competitive market for mobile devices that includes several new discount carriers, as well as longtime market leaders Rogers , Bell and Telus.

He also said that Shaw is looking to gain the rights to more video-on-demand content for its cable subscribers..

Canwest also owns a major chain of Canadian newspapers - including the National Post, Montreal Gazette and Ottawa Citizen - which are not part of the Shaw deal and are expected to be sold before the restructuring under court protection is completed.

Bissonnette said the newspapers were never an asset that Shaw was interested in picking up.

Some industry observers have suggested that Shaw should've kept its eye on the basics of moving into the mobile phone market, rather than planning such an ambitious media launch pad.

Canwest said the proposed deal with Shaw has the support of key creditors.

In order to sweeten its brand as a one-stop shop for foreign producers, the Quebec government has made post-production work in the province 20% cheaper.

In what will likely be a boost to the province's burgeoning effects industry, the minister of finance, Raymond Bachand, has increased the tax breaks on computer-aided special effects and animation for foreign productions.

Foreign shoots can now deduct 20% of labor costs -- up from 5%. The change is effective retroactively from June 12, 2009, when the government introduced its new "all spend" tax credit, which allows producers to claim 25% of all production-related expenses.

The recent changes for post-production work are not "all spend" -- only qualified labor costs are eligible -- but it now allows producers to deduct the money spent on freelancers. Extending the tax credit to contract workers is key because so many effects shops can only afford to hire on a project-by-project basis, explains the Quebec Film and Television Council's Sylvain Gagné.

"It's a big plus. Many effects shops have to hire temporary employees when they get a project. Before only salaried employees were eligible for the tax reduction," says Gagné.

Likewise, British Columbia moved last week to increase its tax break on effects and video game production.

The new tax credit may help stabilize the Montreal industry, which has been struggling to compete with India, Asia and the U.S. for special effects contracts. Because the competition is global, and the work sporadic, companies lowball bids to get work and then hire dozens of salaried employees to complete a project. In Montreal, the employees don't always get paid right away.

Since 2007, effects artists have gone to Quebec's labor standards commission twice to fight for back pay from two shops that worked on blockbusters that ultimately grossed hundreds of millions of dollars, Meteor Studios and damnfx.

But the new tax credit may only serve to increase the precarious nature of effects work for the artists themselves by making freelancing the industry standard. Quebec effects workers aren't represented by the province's two main unions, AQTIS and U.S.-based IATSE, whose members work mainly on American service shoots.

Important information for the 2010-2011 Development Program for English-Language Productions

Telefilm Canada wishes to announce changes to the Development Program for English-Language Productions guidelines to be implemented in 2010-2011.

Highlights

1. A streamlined process: there are now standard financing amounts for each scriptwriting phase.
2. A more efficient process: 100% of Telefilm’s commitment will now be paid upon contracting.
3. An eco-responsible process: as of February 22, 2010, all development applications must be submitted via eTelefilm thereby reducing the amount of paper applications.

These improvements to the guidelines and the application process will result in efficient standardized payments, allow for a faster turnaround of contracts and draw downs, and provide predictable financing for our clients.

Telefilm is committed to effective and efficient client service. As such, Telefilm has worked in consultation with the representatives from the English-language CFFF Working Group during this process.

The 2010-2011 guidelines are now available on Telefilm’s website; previous guidelines and application forms are no longer valid. For additional information, please contact your regional Telefilm Canada office or visit Telefilm’s website at www.telefilm.gc.ca.

B.C. is sweetening its foreign production tax credit and effects bonus, while also offering a new video game development incentive.

The B.C. government proposes to increase the Production Services labor-based credit from 25% to 33%; with the qualified labor expenditure cap rising from 48% to 60%.

In a boost for the gaming industry, a new Interactive Digital Media tax credit for video game development will be launched this fall, offering a 17.5% rebate on B.C. labor costs.

The DAVE (Digital Animation or Visual Effects) tax credit will also be increased, from 15% to 17.5%.

The film industry in B.C. has been lobbying for an improved incentive since Ontario and Quebec announced wide-ranging 25% credits back in early summer 2009.

Peter Leitch, chair of the Motion Picture Production Industry Association of B.C. and president of North Shore Studios, says that while he would have liked to see a more lucrative film program announced, this is a positive step.

"Our objective was never to match Ontario, we think what they did isn't necessarily sustainable in the long term," he says. "This is a starting point to build on."

Leitch says that the tax credit increase, combined with B.C.'s other competitive advantages, will work to the province's advantage.

"We have fantastic crews and cast, infrastructure, locations and the same time zone as L.A., so we think that will weigh in our favor," he adds.

But not everyone in the local industry thinks the increase is enough to stop production from heading east.

Shawn Williamson, partner at Brightlight Pictures, told the Vancouver Sun that he is disappointed because an extra 8% isn't enough to give the province an edge over Ontario when you crunch the numbers. He also points out that the announcement does nothing for indigenous producers, as the basic domestic credit still sits at 35%.

B.C.'s production industry has faced a massive drop in activity in recent months as a result of more lucrative tax credits in other jurisdictions. The Winter Olympics has also kept productions away due to difficulties with shooting in the city and housing talent and crew.

Vancouver Film Studios president Pete Mitchell notes that this is the time of year when U.S. pilots and big movie projects are gearing up for production in B.C. and that hasn't happened so far this year. "It's been very quiet," he says.

In the next couple of weeks, American studios will be finalizing their summer shooting locations, so the local industry will quickly find out if B.C.'s tax credit increase is sweetened enough to impact their decision-making.

The B.C. tax credit proposals will be presented to the legislature in the March 2 budget for approval. The tax credit improvements are expected to become effective after Feb. 28. The video game development credit will come into effect for projects beginning after Aug. 31.

For your convenience...

Direct Deposit is now available to Canadian Television Fund (CTF) clients.

Access your CTF payments faster by registering to receive disbursements directly in your bank account.

Details and an application form are available on e-Telefilm and on the CTF website at www.ctf-fct.ca.

HRSDC opens EI Special Benefits to the Self-Employed

In a

issued just before Christmas, the federal government announced that Royal Assent has been given to the Fairness for the Self-Employed Act.

This is legislation that the cultural sector has been pressing for, for many years. Self-employed Canadians will be able to voluntarily opt into the EI program effective January 31, 2010, in order to take advantage of the EI special benefits. "Special benefits provided to self-employed individuals will mirror those currently available to salaried employees under the EI program."

Regulations are still being written, but the commitment has been made and the option for the self-employed to access a social security net as do employees will soon be in place. "Self employed Canadians who choose to take advantage of EI special benefits will be required to opt into the program at least one year prior to claiming benefits, and will be responsible for making premium payments for the tax year in which they apply to the program. [...] As a transitional measure those who register on or before April 1, 2010, will be able to collect benefits as early as January 1, 2011."

As of January 31, 2010, it will be possible to register with the EI program through the Service Canada website.

Everyone knows that their is a huge shift in the way people consume content. With increasingly busier lives people want convenience which means they want to view content on their time, wherever they may be. This shift in consumer behaviour was addressed at ALL ACCESS: The Digital Incubator. Below is an article in Playback about American content becoming more available to Canadian viewers online.

The most interesting thing said in the article, is a comment that eventually the CMF will contribute fewer dollars to broadcaster envelopes and more to indie producers. Looks like a backwards shift from broadcasters running the show to the producers calling the shots. It just makes sense; smaller business are more in touch with their markets and can create content fast and distribute it to their viewers quickly via the web for cheaper.

Just more confirmation that people in the traditional film & television industry need to makes some major changes in strategy in order to stay afloat.

US Contact Could Swamp Canada

Funding agencies and other industry players need to do more to adapt to YouTube and iTunes, which are driving Canadian Internet users to American content, or risk the eventual marginalization of Canadian content online.

That stark warning came this week at Interactive Ontario's "What Is Broadcast" panel in Toronto, where digital consultant Alan Sawyer warned U.S. content is increasingly being "broadcast into" Canada via streaming technologies, and all under the CRTC's radar.

"The threat is an influx of U.S. content that will dwarf, or obliterate the Canadian industry, if we don't take measures to survive."

Brady Gilchrist, president of Admodo Group, agreed that, with "shadow broadcasters" like Facebook and Twitter already directing content to Canada, Canadians had only to unhook their cable or satellite TV service to end the Canadian broadcast system.

"If people pull the plug on that [digital set-top box], it's game over," said Gilchrist, who added he already ended his cable service to watch TV at home via the Internet and iTunes.

Stéphane Cardin, VP of policy and stakeholder relations at the Canadian Television Fund, said the upcoming Canada Media Fund aims to shore up Canadian content producers looking to prosper in an increasingly border-less digital world.

"We're going to support innovation. We'll be making significant financial contributions," he told the panel.

Cardin predicted the CMF will eventually direct fewer dollars to broadcaster envelopes and more to indie producers as the latter innovate and gain a presence online.

"As we evolve, if you are a distributor and secure a sizeable audience, you will make your way into the system, over time," he told digital content producers at the gathering.

And while CTF didn't fund domestic content without a Canadian broadcast licence, Cardin said he could see Canadian producers that make product for the world market eventually securing CMF funding with only an international broadcast presale and no Canadian broadcaster yet on board.

Let’s show the world that Manitoba's Screen-based Industry is open for business!

Looking for international trade and investment opportunities? Mark October 20, 2010 on your calendar.

From October 20-22, 2010, the Winnipeg Chamber of Commerce in partnership with ANIM, Manitoba’s bilingual trade agency, will host one of the largest and most important international business forums in Canada. The event is called Centrallia 2010. It’s a business to business match-making event that will bring more than 500 SMEs from around the world to Winnipeg. Your business needs to be there. There will never be a better or more cost effective way to expand your business internationally.

Key features of Centrallia 2010:

* 2 ½ days of match-making meetings
* 12 pre-programmed, one-on-one meetings with businesses of your choice
* 500 businesses from multiple sectors
* Abundant opportunities to meet and network
* Various guest speakers including Ken Blanchard, best-selling author of The One-Minute Manager

Register now and take advantage of early bird pricing by visiting www.centrallia.com. Space is limited so register early to attract the kinds of businesses that can take your company to the next level.

Centrallia 2010 is a unique opportunity to develop your business internationally. Don’t miss it.

Implementation of a streamlined structure to expand reach and develop digital expertise in the Prairies.

In keeping with the digital revolution and a rapidly changing audiovisual environment, Cindy Witten, Director General of the English Program of the National Film Board of Canada (NFB), has announced the reorganization of the Prairie Centre to broaden the reach of the NFB in the Prairies and to develop expertise in multi-platform digital production in the West.

The NFB will open a new small office in Saskatchewan and will continue to maintain a strong presence in Winnipeg as a producer. Overall, infrastructure costs will be reduced by consolidating administrative duties for the western provinces in NFB’s Edmonton office. As a result, four positions are being abolished in the Winnipeg office, and two new producers with digital expertise will be hired for the West. 

“The NFB has set ambitious goals for itself in terms of creative and organizational renewal. This is about putting less money into infrastructure and more into digital expertise and programming, while ensuring an increased presence in western Canada,” explained Ms. Witten. “The challenge is considerable, but the technology does make it possible to bring the NFB closer to creators and Canadians, even with limited resources.”

“Production levels will be maintained in the Prairies,” Witten added, “and very likely increase as we explore new forms with the considerable creative talent of Manitoba and Saskatchewan.”

Tom Perlmutter, Government Film Commissioner and Chair of the NFB, noted that “as the country deals with a difficult deficit situation, we need to be smarter about how we use our resources to serve all Canadians better.  It is essential that the many voices and faces of this country continue to be represented. Today it is particularly important that all regions across the country play a role in the digital revolution and have a presence on the online and mobile platforms that are attracting Canadian audiences in ever greater numbers.”  

Over the last few years the National Film Board has taken a leadership role in developing new original works for multi-platform and digital media.  In January 2009 it launched its national online screening room, which to date has generated 3.7 million film views.  Its iPhone application, launched in October, was an immediate hit. There have been more than 527,500 i-Phone screenings to date. Last week the NFB launched one of the first Canadian on-line HD offers and a limited offer of 3D films.

About the NFB

Canada’s public film producer and distributor, the National Film Board of Canada creates social-issue documentaries, auteur animation, alternative drama and digital content that provide the world with a unique Canadian perspective. The NFB is expanding the vocabulary of 21st-century cinema and breaking new ground in form and content through community filmmaking projects, cross-platform media, programs for emerging filmmakers, stereoscopic animation – and more. It works in collaboration with creative filmmakers and co-producers in every region of Canada, with Aboriginal and culturally diverse communities, as well as partners around the world. Since the NFB’s founding in 1939, it has created over 13,000 productions and won over 5,000 awards, including 12 Oscars and more than 90 Genies. In 2009, Neighbours/Voisins by NFB animation founder Norman McLaren was added to UNESCO’s Memory of the World Register. The NFB’s new website features over 1,400 productions online, and its iPhone app has become one of the most popular and talked about downloads. Visit NFB.ca today and start watching.

"Canadians have paid over a billion dollars over the last decade for community TV channels. Cable companies have responded by curtailing access," says the Canadian Association of Community Television Users and Stations.

"The CRTC created these channels so Canadians could learn about broadcasting and produce their own programs," CACTUS spokesperson Catherine Edwards noted. "But cable companies have gutted community TV by closing studios, 'firing' volunteers, and regionalizing programming."

CACTUS is urging Canadians to tell the CRTC to reinstate access as it reviews its community TV policy. "Communities should run these channels, not profit-driven corporations," said Edwards. "But the CRTC needs to hear this from Canadians themselves-before February 1st."

The dead-line for interventions is February 1st. The hearings are in late April. There is more detailed information on the CACTUS web site at cactus.independentmedia.ca. The CRTC public notice can be found at: www.crtc.gc.ca

If you wish to write a letter of support, CACTUS has provided a sample letter which can be downloaded here. It summarizes the issues from the point of view of the production community.