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CRTC: Policy framework for Certified Independent Production Funds

The Commission has reviewed its policy framework for Certified Independent Production Funds (CIPFs) to ensure that CIPFs contribute to the development of a robust Canadian production sector and that they have the flexibility necessary to operate in an increasingly multi-platform environment. A robust and forward-looking Canadian production sector will be better able to offer compelling high-quality content to Canadians and to global audiences. 

The Commission is making the following changes to its policy framework:

  • Eliminating the requirement that producers obtain a broadcast licence or development agreement to receive CIPF funding.
    This will foster innovation and provide flexibility to both the CIPFs and producers to fund and create a wide variety of productions, destined for all platforms. 
  • Redefining “new media content” to include only “non-programming digital content” and maintaining the 10% cap on funding for such content. No limits will be placed on the funding of programming regardless of the platform on which it may be broadcast.
    This will ensure CIPF funding is focused on programming content that will enhance and benefit the Canadian broadcasting system. 
  • Allowing CIPFs to fund productions achieving at least six Canadian certification points, and include the pilot projects recognized by the Commission.
    A reduction in the minimum Canadian certification points requirement will allow more productions to be eligible for CIPF funding. Canadian production companies will be able to benefit from expertise from abroad. 
  • Including co-ventures in productions eligible to receive CIPF funding.
    Permitting CIPFs to fund productions that are created in collaboration with non-treaty international partners will give Canadian producers involved in co-ventures access to a new funding stream and will assist in the discoverability of these projects and of the Canadian talent involved. 
  • Allowing and encouraging CIPFs to allocate funding for script and concept development.
    This type of funding will give producers the ability to produce higher quality and “exportable” productions by allowing them to better develop their project or concept at an earlier stage of production.
  • Allowing and encouraging CIPFs to allocate funding for promotion and discoverability.
    Funding promotion and discoverability is an important element in the success of a project.
  • Requiring all CIPFs to introduce a system to measure success.
    Instituting evaluative measures that examine the success of the projects funded will enable the Commission and the public to understand the manner in which public funds are expended and how they have benefited the Canadian broadcasting system.
  • Requiring that all programming supported by CIPFs, regardless of the platform on which it is distributed, be closed captioned and provided with described video.
    Making accessibility a consideration early in the creative process—not only in post-production—will help create a cultural shift that will result in accessibility becoming just another consideration in the regular course of doing business. 
  • Requiring that at least one member of a CIPF’s project selection committee is responsible for ensuring that official language minority communities’ (OLMCs’) reflection and issues are taken into account.
    This is to ensure that the needs of OLMCs are considered when projects are selected. 
  • Amending the governance rules relative to the composition of the board as well as to the funding decision criteria.
    The updates emphasize the importance of the board’s independence from all private funding entities, including broadcasting distribution undertakings, broadcasters and their affiliates, and the notion that CIPF funding should not be self-serving. 
  • Requiring all CIPFs to report annually on their activities to ensure transparency and accountability.
    This policy replaces the policy entitled Contributions to Canadian programming by broadcasting distribution undertakings. The revised policy will be effective 1 September 2016. 

Continue reading.

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Rio 2016 on CBC/Radio Canada most-watched Summer Olympic Games in Canadian history

From a media release:

CBC/Radio-Canada’s coverage  of the Rio 2016 Olympic Games offered Canadians more hours of live coverage than any other Olympic Games before, and audiences responded by watching in record numbers. From the Opening Ceremony on August 5 to the Closing Ceremony on August 21, CBC/Radio-Canada’s coverage of the Rio 2016 Olympic Games reached 32.1 million Canadians – more viewers than have watched any previous Summer Games in Canada.

Team Canada matched the national record for the most medals won at a single non-boycotted summer Olympic Games with 22 total medals. This successful performance by Canada’s athletes and extensive live coverage helped keep CBC audiences engaged from the first week of coverage through to the end of the Olympic Games. CBC’s main network Rio 2016 coverage was the top-ranked programming in morning, daytime, primetime and Pacific primetime among 2+ and key A18-49 and A25-54 demographics.

The 2+ average full day audience for CBC’s Rio 2016 English-language television broadcasts (1.271M, main network only) increased by 11 percent over  London 2012 (1.146M, main network only). In primetime, the 2+ average audience (2.315M, main network only) increased by 23 percent over London (1.879M, main network only). In addition, CBC’s average audience for Pacific primetime coverage (1.055M, main network only, 11 p.m.–1 a.m. ET) saw an average audience (2+) increase of 189 percent over late night coverage during London 2012 (365,000, main network only, 12–2 a.m. ET). Mutual viewing accounted for 60 percent of all viewing (2+), indicating that Canadians enjoyed watching the Summer Games together. This number increases to 65 percent for primetime viewing.

In terms of digital audiences, CBC/Radio-Canada’s English- and French-language websites and apps generated more than 229 million total page views and nearly 37 million video views over the course of the Rio 2016 Olympic Games. These video views alone account for more than 626 million minutes of video watched by Canadians over the course of the Games.

The following are the most-watched moments from each day of Rio 2016 on CBC:

  • Day 0 (Aug. 5): 3.1 million viewers – Team Canada enters the stadium during the Opening Ceremony
  • Day 1 (Aug. 6): 2.7 million viewers – Canada wins bronze in the women’s 4x100m freestyle relay
  • Day 2 (Aug. 7): 3.4 million viewers – Penny Oleksiak wins the silver medal in the women’s 100m butterfly
  • Day 3 (Aug. 8): 3.4 million viewers – Women’s 100m breaststroke final
  • Day 4 (Aug. 9): 3.7 million viewers – Michael Phelps wins gold in the men’s 200m butterfly
  • Day 5 (Aug. 10): 3.6 million viewers – Santo Condorelli swims in the 100m freestyle final
  • Day 6 (Aug. 11): 4.3 million viewers – Penny Oleksiak wins gold in the women’s 200m freestyle
  • Day 7 (Aug. 12): 3.8 million viewers – Women’s 800m freestyle final
  • Day 8 (Aug. 13): 4.8 million viewers – Canada competes in the women’s 4x100m medley relay
  • Day 9 (Aug. 14): 6.9 million viewers – Usain Bolt wins gold and Andre De Grasse wins bronze in the men’s 100m
  • Day 10 (Aug. 15): 3.5 million viewers – Men’s pole vault final
  • Day 11 (Aug. 16): 3.6 million viewers – Derek Drouin wins gold in men’s high jump
  • Day 12 (Aug. 17): 4.5 million viewers – De Grasse challenges Bolt in the men’s 200m semifinals
  • Day 13 (Aug. 18): 7.2 million viewers – Bolt wins gold and De Grasse wins silver in the men’s 200m
  • Day 14 (Aug. 19): 5.3 million viewers – Bolt completes the “triple-triple” by winning gold with Jamaica’s men’s 4 x 100m relay team
  • Day 15 (Aug. 20): 3.3 million viewers – Melissa Bishop finishes just off the podium in the women’s 800m
  • Day 16 (Aug. 21): 4.0 million viewers – Tokyo 2020 offers a preview during the Rio 2016 Closing Ceremony

Over the course of Rio 2016, CBC/Radio-Canada and primary broadcast partners TSN and RDS, as well as Sportsnet, provided Canadians with 1275 hours of television coverage and more than 4000 hours of live streaming sport coverage.

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Link: CRTC orders U.S. ads during Super Bowl despite appeal by Bell and NFL, could start in 2017

From Emily Jackson of the Financial Post:

Link: CRTC orders U.S. ads during Super Bowl despite appeal by Bell and NFL, could start in 2017
Canada’s broadcast regulator has officially changed its rules to prevent broadcasters from swapping out U.S. commercials for local ads during the Super Bowl despite an ongoing legal dispute over its right to block Canadian advertising during the country’s most-watched television event. Continue reading. 

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One-third of all Canadians tune in to The Tragically Hip: A National Celebration

From a media release:

Last night, millions in Canada and around the world gathered around screens and radios and at hundreds of public viewing events worldwide to celebrate Canada’s unofficial poet laureates, The Tragically Hip, as they brought down the house in an emotional and historic performance.

According to Numeris*, the live, commercial-free broadcast of The Tragically Hip: A National Celebration reached 11.7 million (2+) Canadians across all CBC television, radio and digital platforms as Gord Downie, Paul Langlois, Rob Baker, Gord Sinclair and Johnny Fay played the final date of their Man Machine Poem tour at Kingston’s K-Rock Centre. The concert special was also streamed 900,000 times in Canada and around the world. The nearly three-hour Saturday evening broadcast attracted an average minute audience of 4.04 million.

The Tragically Hip: A National Celebration was broadcast nationally and streamed globally live and commercial free from 8:35 pm to 11:17 pm ET on Saturday, August 20 on CBC, CBC Radio One, CBC Radio One on SiriusXM Channel 169, CBC Radio 2, CBCMusic.ca/thehip, ICIMusique.ca, CBC Music’s YouTube channel and Facebook page, and the CBC Music app on iPhone, iPad and Android devices and the new Apple TV.

The broadcast event was the result of a partnership between CBC, The Tragically Hip and Insight Productions to celebrate the band’s hometown stop on their 15-date sold-out cross-Canada Man Machine Poem tour, making it available to all Canadians and audiences around the world in a live, commercial-free, all-platform broadcast.

Formed in Kingston in the mid-80s, The Tragically Hip have sold millions of records worldwide, managing to enjoy both mass popularity and critical acclaim. The group released their first album in 1987, and have since released 14 studio albums, earning two diamond certifications and 20 #1 hits. The Hip has won 14 Juno Awards and was inducted into the Canadian Music Hall of Fame in 2005. They have also received the Governor General’s Performing Arts Award, as well as honorary degrees from the Royal Conservatory of Music and most recently Queen’s University.

The Tragically Hip: A National Celebration was produced by Insight Productions in association with CBC and Man Machine Poem Touring Inc.

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CFC welcomes ABC Signature Studios as associate sponsor of Bell Media Prime Time TV Program

From a media release:

The Canadian Film Centre (CFC) and Bell Media are pleased to welcome ABC Signature Studios as the new associate sponsor of the highly touted Bell Media Prime Time TV program. ABC Signature spearheads development and production in premium and basic cable,emerging platforms and off-cycle, direct-to-series programming. Their presence as both a sponsor and U.S. studio partner will directly benefit the Program and its participants, ensuring vital support for the Canadian production industry.

The Bell Media Prime Time TV Program, presented in association with ABC Signature delivers a real world story room experience, an intense professional and project development process for six to eight TV writers a year. Participants spend three months working on an original series intended for the marketplace under the mentorship of an experienced creator/showrunner delivering a rigorous story room experience while building strong collaborative team skills and creative partnerships. During the remaining two months, participants develop their own original series concept through a series of workshops and story sessions while also being exposed to key industry players through business and marketplace meetings.

The 2016/17 Program is set to begin in September 2016.

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