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Training Gaps

Analysis

Producers
Film and Television

Cultural
Human Resources
Council

Conseil
des ressources humaines
du secteur culturel

CULTURALHUMANRESOURCESCOUNCIL

TRAININGGAPSANALYSIS
FILMANDTELEVISIONPRODUCERS
















Presentedby:

AngelaBirdsell,MM.,MBA
With:MichelineLesage,&Associates

March31,2008


ANGELABIRDSELL
CulturalResearch&Communications


ManagementConsulting,Research,Communications,Facilitation
POBox461
Merrickville,OntarioK0G1N0
613.269.3678
abirdsell@sympatico.ca
FilmandTelevisionProducersTrainingGapsAnalysisCulturalHumanResourcesCouncil,
Version1.0,2008.
Allrightsreserved.

ManyrepresentativesofCanadasculturalsectorhavecontributedtheirtimeandeffortstocreatethis
traininggapsanalysis.TheCulturalHumanResourcesCouncilhopesthatyouwillfindtheinformation
helpful and easy to use, but provides the information as is and makes no representations or
warranties of any kind regarding it. CHRC disclaims all liability of any kind whatsoever arising out of
youruseof,orinabilitytouse,thisinformation.

The opinions and interpretations in this publication are those of the author and do not necessarily
reflectthoseofCHRCandtheGovernmentofCanada.

ThisprojectisfundedbytheGovernmentofCanada's
SectorCouncilProgram.

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Contents

1.Introduction................................................................................................................... 5
2.ExecutiveSummary........................................................................................................ 6
TrainingGapsbyCompetencyGroup.....................................................................................................7
OfferingsResearchTrainingGaps .......................................................................................................7
ProducerResearchIdentifiedTrainingNeeds .....................................................................................8
AdditionalTrainingIssues.....................................................................................................................10
TrainingandTrainingPreferences........................................................................................................11
Recommendations................................................................................................................................12
3.ProjectMethodology ................................................................................................... 14
TrainingNeeds......................................................................................................................................14
TrainingOfferings .................................................................................................................................15
TrainingGapsAnalysis..........................................................................................................................15
CompetencyList ...................................................................................................................................16
4.TrainingNeeds ............................................................................................................. 17
ProducerProfile....................................................................................................................................17
ProducerFeedback...............................................................................................................................18
Competencies...................................................................................................................................18
AdditionalCompetencies .................................................................................................................19
TransitionsandTrends .....................................................................................................................20
TrainingOptionsandPreferences ........................................................................................................21
TrainingNeedsbyCompetencyArea ...................................................................................................24
I.PreProduction(Development) .....................................................................................................24
II.Production ....................................................................................................................................28
III.Marketing&Dissemination.........................................................................................................30
IV.BusinessandManagement .............................................................................................................32
V.LeadershipandCommunication ......................................................................................................34
5.TrainingOfferings ........................................................................................................ 37
ProducerIdentifiedTrainingPrograms ................................................................................................37
PrincipalTrainingOfferingsbyRegion .................................................................................................38
BritishColumbia ...............................................................................................................................38
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PrairieRegion ...................................................................................................................................39
Ontario..............................................................................................................................................41
Qubec .............................................................................................................................................44
AtlanticCanada ................................................................................................................................46
TheNorth..........................................................................................................................................46
6.TrainingGaps ............................................................................................................... 47
BritishColumbia ...................................................................................................................................48
PrairieRegion .......................................................................................................................................49
Ontario..................................................................................................................................................50
Quebec .................................................................................................................................................51
AtlanticRegion .....................................................................................................................................52
IsolatedRegions ...................................................................................................................................52
7.SummaryandRecommendations ................................................................................ 54
8. Appendices............................................................................................................. 59
A. CompetencyListsforFilmandTelevisionProducers................................................................59
EnglishList ........................................................................................................................................59
FrenchList ........................................................................................................................................61
B.TrainingNeeds..................................................................................................................................63
i. ListofProducerandIndustryInterviewSubjects .....................................................................63
ii. ProducerInterviewQuestions ..................................................................................................64
iii. ProducerWebSurveyRespondentProfile ........................................................................65
iv. ProducerTrainingPreferencesData.....................................................................................69
v. ProducerWebSurveyCompetencyData ...............................................................................70
C. TrainingOfferings......................................................................................................................86
i. ListofTrainingSchools,Organizations,AssociationsConsulted ..............................................86

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1.Introduction

ThisreportwaspreparedfortheCulturalHumanResourcesCouncil(CHRC)withtheassistanceofstaffof
theCHRCandtheFilmandTelevisionSteeringCommitteeoftheCHRC.Itiscomprisedoffourmain
componentsincluding;

Asurveyoftrainingneeds,resultinginatrainingneedsassessment,
IdentificationofavarietyoftrainingofferingsacrossCanada
Ananalysisandsummaryoftraininggaps,
Additionalfindings,anExecutiveSummaryandrecommendations.

ThepurposeofthereportistoassisttheCHRCinitscontributiontohumanresourcedevelopmentinthe
fieldoffilmandtelevisionproductionbyidentifyingareasofneedinpreprofessionalandprofessional
training.Thiswillinturnallowtrainingproviderstoplanprogramming,andassistfundersandpolicy
makerstoharmonizeprogramstorespondtocurrentneedsinthesector.

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2.ExecutiveSummary

ThistraininggapsanalysisforfilmandtelevisionProducersworkedfromapredeterminedlistof134core
competenciespertinenttotheprofessionalrole(AppendixA).Researchwasconductedthroughaseries
ofeighteentelephoneinterviewswithfilmandtelevisionProducersandeleveninterviewswithindustry
professionalsandrepresentativesoftraininginstitutionsfromacrossthecountry(AppendixB.i.).Inboth
setsofinterviews,subjectswereaskedtocommentonthecompetencygroups,andtoindicatetheir
opiniononcurrentandpotentialtrainingneedsinfilmandtelevisionproduction.

Theinterviewsweresupplementedbytwowebbasedsurveys,oneforProducersandonefortraining
providers.Producerswhorespondedtothewebsurveywereaskedtheiropiniononeachcompetency
andtoindicatetheirneedordesirefortraininginthatcompetency.Theproducersurveyreceivedatotal
of83respondents.AmongtraininginstitutesandorganizationsacrossCanada,24participatedintheweb
survey.

WiththesynthesisofinterviewnoteswithProducers,graphingandanalysisofthewebsurveydata,anda
comparisonofthetwo,itwaspossibleidentifyProducertrainingneeds.Thecompilationofindustry
interviewnotes,chartingandanalysisofwebsurveyresultsandsupplementaryresearchontraining
offeringsprovidedanoverviewoftrendsintrainingofferingsacrossthecountry.Itwasthenpossibleto
comparethetwosetsofdatatogiveabroadoverviewoftraininggapsinthefieldbasedonthe
competencylists.Fromtheinterviewdata,itwasalsopossibletoidentifyadditionalorpotentialtraining
needsinskillareasnotincludedinthecompetencylist.

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TrainingGapsbyCompetencyGroup

Thelistof134competencieswerecategorizedundertwelveheadingswhichwere,forthepurposesofthis
studyonly,thengroupedunderfivegeneralheadingareas.Amongthesetwelvecompetencygroups
emergedfivekeyareasofpotentialtrainingneeds:

Identifymarketneeds
Create&assesscontent
I. PreProduction(Development) Exploitationstrategy
a. DevelopProperties

Allcompetencies,esp.,
b. SecureFinancing Sellandidea(pitch)
Negotiatefinancing
c. AssembleaProductionTeam Negotiatepartnerships
II. Production Securedistributionguarantees
d. ManageProductionProcess
Internetrights
e. ManageContracts Bridge/gapfinancing
Distributionagreements
f. ManageFinances Equityagreements
Internationalcoproduction
III. Marketing/Dissemination agreements
g. PromoteProperty
h. ExploitProperty Allcompetenciesespeciallyin
newmediaanddelivery
IV. BusinessandManagement
platforms

i. Establish/MaintainIndustryRelations
Developavision
j.RunaBusiness
Developabusinessplan
Respondtomarkettrends
V. LeadershipandCommunication Maximizecorporateassets
k.DemonstrateCommunicationand Exercisefiduciaryresponsibilities
InterpersonalCompetencies Exploitintellectualproperty
l.DemonstratePersonalSkills

OfferingsResearchTrainingGaps

Notsurprisingly,trainingofferingsvarybyregionacrossthecountry.Trainingopportunitiesarewidely
availableintheMontrealandTorontoinalmostallthecompetencies.Infact,somearguethatMontreal
mayhavetoomanytrainingofferingsforwhatthemarketcanabsorbinnewentrants.Inthesetwo
centers,thefullgamutofdegreeprograms,certificateprograms,courseofferings,workshopsand
professionaldevelopmentopportunitiesareavailable.Whiletheprairieregionhasfewfullydeveloped
degreeprograms,arangeoftargetedcoursesandprofessionaldevelopmentopportunitiesareemerging
atcolleges,institutesandespeciallythroughindustryassociationsandcooperatives.TheAtlanticregion
hasfewformalizedcourseofferings,althoughemergingfilmmakerscanembarkonfilmproduction

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throughregionalmemberdrivenorganizations.WhileBritishColumbiaisconsideredafilmhub,alarge
percentageofproductionworkisserviceoriented.Asaresult,trainingprogramsinVancouvertendto
focusonserviceproductionandbelowthelineskills.Inmoreremoteregionsofthecountry,fewformal
trainingopportunitiesexist,sothemajorityifskillsareacquiredonthejoborthroughinformal
mentorships.

TheInterviewsandsurveysamplesdid,however,provideafairlybroadbutconsistentindicationof
offeringgapsinanumberofthecompetencygroups.Thesegenerallycoincidewiththetrainingneeds
expressedbymanyProducers.Theyincludeoverall:

B.SecureFinancing

E.ManageContracts

F.ManageFinances

H.ExploitProperty

J.RunaBusiness

ProducerResearchIdentifiedTrainingNeeds

WhilemostProducersindicatedthatallofthecompetenciesinthelistwereimportanttotheroleoffilm
ortelevisionproduceritwasalsowidelyagreedthatfewProducerscouldownallofthecompetencies,
giventhemanydistinctproducerroles,suchasCreativeProducer,LineProducer,ServiceProducer,
ExecutiveProducer,ProductionManager,AssociateProducerandsoon.

Thereportsynthesizestheinterviewfeedbackandcomparesitwiththesurveydata.Inmanycasesthe
responseswerereasonablyaligned,withsomeanomaliesbetweentheFrenchandEnglishresults.
TrainingneedsindicatedbyProducersalsotendedtocoincidewithapparentgapsinavailabletraining,
withtheexceptionofManageFinances,wherefewtrainingneedswereidentified.Trainingneedsofthe
outlyingregionshowever,accordingtoanumberofinterviews,includedabroaderrangeofcompetencies.

A. DevelopProperties
Inthisgroup,manyProducersfeltthecompetencieswerestandard.However,theyalsoindicatedthat
theseskillsarethemostimportanttotherole.WhiletheOfferingsresearchdidnotindicatesignificant
gapsinthiscompetencygroup,newtrendsincontentdevelopment,especiallyforthemultiplatform
environment(seebelow),maynecessitatenew,moreflexibleapproachestocontemporarycontent
creationtraining.Telefilmhasalsorecentlyannouncedanewfundtotargettrainingincontentcreation,
withaparticularfocusonnewmedia.

Thus,fourkeycompetenciesfromthisgroupandoneadditionalcompetencywereidentifiedastraining
needs:
Identifypotentialmarketneeds
Assesscreativeconcepts
Createcontent*
Createanexploitationstrategy*

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*Additionalcompetencies:
Createcontentforamultiplatformenvironment.
Createanexploitationstrategyforamultiplatformenvironment.

B. SecureFinancing
Thisgroupofcompetenciesinitsentiretywerecalledcriticalforaproducerandoneinwhichthegreatest
skillsgapoccur.Producersneedcontinualrefreshinginnewfinancingmodelsandtheconsensusisthat
informationiselusive,especiallyinareassuchascoproductions,developinginternationalpartnershipsor
othernewfundingmodels.Whileallcompetenciesweredeemedimportant,thoseseenasmost
importantwere:
Sellanidea(pitch)
Negotiatefinancing
Negotiatepartnerships
Securedistributionguarantees*
*Newcompetency:
Developdistributorrelationships(especiallyinisolatedregions)

C. AssembleaProductionTeam
Thiscompetencygroupdidnotemergeinthestudyasapriorityfortraining.

D. ManageProductionProcess
Thiscompetencygroupdidnotemergeinthestudyasapriorityfortraining.

E. ManageContracts
Producersexpressedmanyviewsoncontracts.Manyfeltthataproducer,especiallyanExecutive
Producermustunderstandandcontrolcontracts,whileotherproducersstatedtheyvaluetheassistance
ofconsultantsorlawyerstomanagecontracts.Acquisitionofcontractknowledgeformanyisanongoing
selfdirectedlearningexercise.Ofthisgroup,thecompetenciesrelatedtothebusinessaffairsaspectof
productionmanagement(ratherthanagreementsrelatedtocrew,equipment,facilityetc.)wereidentified
asthemostimportant.Theseinclude:
ManagementofInternetrights
Managementofcoproductionagreements
Managementofdistributionagreements
Managementofequityagreements
Managementofbridge/gapfinancing&interimfinancingagreements
Additionalcompetency:
Managementofinternationalcoproductionagreements

F. ManageFinances
Producersfeltthatoptimizingtaxcreditswasthekeycompetencyinthisgroupandthiswastheonly
competencyidentifiedasatrainingneed.
Optimizetaxcredits

G. PromoteProperty
H. ExploitProperty
Thesetwocompetencygroupswerediscussedintandem.SomeProducersstatedthatdespitethe
primordialimportanceofmarketing,theydonotknowmanyProducerswhohavetimetopromotetheir
product.Itwasfeltthatfunding,nottraining,wasthekeyissueinmarketing.Nonetheless,theweb
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surveyindicatedarelativelyhighneedfortraininginallcompetenciesthesegroups.Inparticular,training
incontemporaryoutoftheboxmarketingtechniquesfocusedonmultiplatformdeliverymechanisms
shouldbeemphasized,accordingtotheinterviews.Trainingshouldbecoupledwithindustry
developmentinitiativeswhichaddressstrategicgapsinmarketing,especiallyforfilm.
Allcompetencies
Marketing&Exploitationforthemultiplatformenvironment.

I. Establish/MaintainIndustryRelations
Industryrelationswereviewedasimportanteveniffewproducersfelttheyhadtheluxurytoactively
network.Althoughthisareawasnotidentifiedasatrainingpriority,itshouldbenotedthatwhile
networkingandrelationshipbuildingactivitiesmayseemaforegoneconclusioninlargercenters,they
presentchallengesforproducersinisolatedregions.

J. RunaBusiness
AstrongeremphasiswasplacedonbusinessskillsamongtheEnglishinterviewsubjects,althoughFrench
Producersalsoagreedthatbusinessacumenwaskeytosurvivalinachangingindustry.
Theskillstodiscerncreativecontentandquality,defineareasoffocus,determinenicheandmarket
viabilitywereviewedasimportantinbothsmallandlargecompanies.Itwasstated;inproduction,ifyou
wanttoownitaswellascreateit,youneedbusinessskills.

Thiswasoneareainwhichtheinterviewfeedbackdifferedfromthewebsurveyresponsewhichindicated
amoderatetolowneedoftrainingintheskillsofmanagingabusiness.However,combined,thekeyareas
identifiedasimportantbyProducerswere:

Developacorporatevision
Developacorporatebusinessplan
Respondtomarkettrendsandchanges
Exercisefiduciaryresponsibilities
Optimizeexploitationofintellectualpropertyrights
Maximizecorporateassets

K. DemonstrateCommunicationandInterpersonalCompetencies
L. DemonstratePersonalSkills
Takenasawhole,alloftheskillsinthesegroupswereviewedascriticalforsuccessand,whiletheymay
notnecessarilybetaught,Producerssaidtheymaybelearnedoracquiredthroughdoing,observingor
beingmentored.Othersindicatedthesetraits,areinherentinpromisingtalententeringthefield,and
withdevelopment,willbecomeacriticalfactorintheirlikelihoodtosucceed.Manytraininginstitutions
indicatedthattheirprogramsseekthesetraitsinpotentialentrants,andstrivetofosterthemindirectly
throughtheirtrainingprograms.

AdditionalTrainingIssues

BusinessaffairsisatermfrequentlyusedbyProducerstodescribeallbusinessmanagementskills
inherentinagivenfilmortelevisionproductionfromdevelopmentthroughtopostproduction,whetherit
befinance,budgeting,contracts,grantwriting,negotiatingetc.Thelifespanofafilmisthreeyears,with
32daysontheset,statedoneProducer,andthebulkofthatthreeyearsworkinvolvesbusinessaffairs.

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Thus,businessaffairsisnotexclusivelyafunctionofmanagingabusiness,butisacrossfunctionofall
competencygroups.Inbroadstrokes,ProducersagreedemphaticallythatyoungProducersneedtraining
inbusinessaffairs.

NewMediaandPlatforms

Therewasunanimousagreementthatthemotionpictureindustryisinaperiodoftransition.Itwasfelt
Producersmustkeepabreastofchangesinordertosurvive.Themostfrequentlycitedtransitionistonew
formsofmediaandthemultiplatformdeliveryenvironment.ExamplescitedincludedHighDefinition
(HD),digitalfilm,webcasting,internetmarketingandsupportproducts,interactiveprogramming,mobile
platforms(suchascellphones)andgames.

Themajorityofintervieweesfeltthatnewmediawillnotcontinuetodevelopinisolation;rather,its
integrationintotelevisionandfilmisnecessaryandinevitable.Somepointedoutthatwithsomedelivery
platforms,theeliminationofthegatekeeper,intheformofthebroadcaster,willremovebarriers
betweenthecreatorandtheenduser.This,itwasfelt,willemphasizetheroleofProducerincreating
andfocusingcontent,especiallyamongyoungergenerationsofProducerswho,whiletechnically
proficient,mayneedtofocusoncontentcreationwellasbusinessmanagementskills.Atthesametime,
veteranproducerswillneedtobecomeadeptatintegrating(atthefrontend)newtechnologiesand
platformsintotheirwork.

SuccessionPlanning

Thisissueofsuccessionwasapreoccupationformanycompanyowners.Whilethewebsurveyprofile
indicatesthatapoolofpotentialsuccessorsmaybeavailableinthefuture,skillstoassumeaseniorlevel
ofresponsibilitymustalsobeinplaceforsuccessiontofollownaturally.

IsolatedRegions

Notwithstandingthatexciting,innovativeandcommerciallysuccessfulfilmandtelevisionprojectshave
originatedinremoteareasofthecountry,gapsinformaltrainingexistinallcompetenciesinregionssuch
astheTerritories,somepartsofAtlanticCanada,ornorthernandoutlyingareas.Alocalizedtraining
strategywilldependinpartonagivenregionsindustrydevelopmentstrategy.Forexample,belowthe
lineskillstrainingmaybethepriorityiftheindustrystrategyistoattractlocationbusiness.Thecreation
ofaskilledresourcebasemightthenleadtoincreasedfocusonindigenousproduction.

TrainingandTrainingPreferences

Producersinterviewedcamefromverydiversebackgroundsandmost(44%ofEnglishsurveyrespondents)
statedtheirprimarytrainingwasacquiredonthejob.However,continuouslearningisamainstayof
professionalsurvival.Francophoneproducersinterviewedalsoindicatedthemajorityoftheirskillswere
acquiredonthejob,althoughrespondentstotheFrenchsurveyindicatedahighernumberofproducers
whoreceivedtheirtrainingthroughadegreeprogram.

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MostProducersinterviewedindicatedthatworkshopswerethepreferabletrainingoption.However,
Francophoneintervieweesandsurveyrespondentsweremixedintheirdeliverypreferences,citing
mentorships,coursesorworkshopsasequallydesirable.Whilethereistremendousdemandfor
mentoringinQuebec,issuesassociatedwithmentoring(qualityandmeasurementoftheexperience,
remuneration)presentchallengesforthisformoftraining.

Thevalueofastageorworkplacement,withinthecontextofacoursewasseenasincontestable.
However,thesepracticalcomponentsaresubjecttochallengessimilartomentoring,thatis,theprovision
ofameaningfulworkandlearningexperienceinareallifeproductionthatisreasonablyintegratedinto
theproductionprocess.

Traininginisolatedregions(ex.,NewBrunswick,PEI,Newfoundland,Nunavut,YukonTerritories)typically
involvesselfdirectedlearning,onthejobtraining,mentoring,and,workshopsorseminarssponsoredby
industryassociationsorcoops.Fewcertifiedcourseofferingsareavailableintheseregions.

Recommendations

Itmaybeusefulfortrainingprovidersorpolicymakerstofocustheirattentiononthetraining
needsidentifiedbyProducers,ratherthanonthesummaryoftraininggapswhichrepresentsa
broadoverview.Astrictcomparisonofthetwosetsofdatamaynotprovidethewholepictureof
thetraininggapinagivenregion.

TrainingneedsinEnglishandFrenchCanadavaryslightly.Whiletraininggapscanbegeneralized,
itmaybemorevaluabletopayattentiontothesubtledifferencesidentifiedinthetrainingneeds
ofthesetwogroups.

OveronehundredtrainingofferingproviderswereidentifiedacrossCanada,notincludingthe
manylocalandregionalfestivals,coopsandorganizationsthatofferentrylevel,recreationalor
othertraining.Anexaminationofonesowncapacity,industryandmarket,whilefocusingon
Produceridentifiedtrainingneedsismorelikelytoprovidevaluetotrainingproviders,institutions
orpolicymakers.

Industrytrendssuchasnewtechnology,theevolvingmultiplatformenvironment,thechanging
roleofthebroadcaster,internationalcoproductions,newfundingmodelsandtheevolutionof
contentdevelopmentdominatedthediscussionwithProducersandIndustryprofessionals.Those
preoccupationsshouldbeconsideredinthetrainingdecisionsandpolicies.

Marketing,particularlyinfilm,wasidentifiedasastrategicgap,relatednotonlytotrainingbutto
systemicandbudgetissues,aswellastheroleofdistributioncompanies,broadcastersand
productionhousesinthemarketingofCanadianfilm.

Thefilmortelevisionindustryinanygivenregionhasspecificchallengesandopportunities.
Population,geography,thetaxstructure,marketing,theavailabilityofskilledworkersandthe

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physicalenvironmentallcontributetothestateoftheindustry.Trainingissuesarethus
contextualvisvisaparticularindustrydevelopmentstrategy.

TheissueofsuccessionwasidentifiedasapreoccupationformanyProducersandmayimpacton
thetypeoftrainingthatshouldtakepriority.Skillsnecessarytoassumeaseniorleadershiprole
andtomanagebusinessaffairsmustbedevelopedforthistofollownaturally.Policyandplanning
mayneedtotakefutureneedsoftheindustryintoaccount.

ManyProducersandindustryprofessionalsindicatedthattheindustryisatacrossroads.Change
occurssorapidlythatonecannotpredictwheretheindustrywillbeinfivetotenyears.Thismakes
thedeterminationoftrainingneedsamovingtarget.Flexibilityandtheabilitytorespondquickly
willbeanimportantfactorfortrainingproviders.

Trainingneedswereidentifiednotonlythroughquantitativeresearchbutmoremeaningfully,identified
viatheexperienceofProducers.Givenmanyofthepointsindicatedaboveitmightbemorerealisticand
accuratetoconsidertheneedsthatwereidentifiedbyFilmandTelevisionproducersasinfact,afairly
accurateindicationoftheactualtraininggapswhichexistnowormaypotentiallyexistfivetotenyears
fromnow.

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3.ProjectMethodology

Thistraininggapsanalysisworkedfromapredeterminedlistofcorecompetenciespertinenttotheroleof
filmortelevisionproducer,whichwasdevelopedbyanexpertworkinggroupoftheCHRC.Researchwas
conductedthroughaseriesoftelephoneinterviewswithFilmandTelevisionProducersaswellaswith
Industryprofessionalsfromacrossthecountry.Theinterviewsweresupplementedbytwowebbased
surveys,oneforProducersandonefortrainingproviders.

ThisprojectwasoverseenbytheCHRCsFilmandTelevisionSteeringCommittee.Incollaborationwith
thecommittee,alistofkeycandidatesfortelephoneinterviewswasdeveloped,andadistribution
mechanismfortheProducerwebsurveylinkswasconfirmed.

TrainingNeeds

Interviews

WiththehelpoftheSteeringCommittee,alistwasdevelopedoftwentyFilm&TelevisionProducers
workinginEnglishandFrenchfromacrossCanada(AppendixB.i.).ThisgroupincludedProducers
successfulandrespectedinthefieldandactivelyinvolvedinindustrydevelopment.Candidateswere
approachedtoparticipateinthestudyandinterviewswereprearranged.Thegoaloftheinterviewswas
tosolicitinputonthecompetencies,askProducerstoidentifycurrentissuesintheindustryanddiscuss
thepreparednessofnewcomerstothefield,andtoelicitanyinformationthatwouldfurtherthegoalsof
thestudy.TheinterviewquestionswereapprovedbytheSteeringCommitteeandcanbefoundin
AppendixB.ii.InterviewswithEnglishspeakingproducerswereconductedbyAngelaBirdsell,andthosein
FrenchwereconductedbyMichelineLesage.

ProducerWebSurvey

AcomprehensivewebsurveyinEnglishandinFrenchwasalsodevelopedusingtheonlinetool
surveymethods.com.Thesurveyaskedaseriesofprofilequestions(AppendixB.iii).Itthenlistedthe134
competenciesandaskedrespondentsatwofoldquestionforeach.Thefirstpartofthequestionasked
themtoidentifytheimportanceofthecompetencyandthesecondpartaskediftheyrequiredordesired
traininginthatcompetency.Respondentswerealsoaskedtoidentifytheirpreferredmeansoftraining
delivery,andtoidentifyanyothertrainingneeds.

TheCanadianFilmandTelevisionProductionAssociation(CFTPA)andtheAssociationdesproducteursde
filmsetdetlvisionduQubec(APFTQ)bothdistributedthesurveylinktotheirmembers.Inaddition,
provincialindustryassociationsandcoops,suchasAlbertaMotionPictureIndustryAssociation(AMPIA),
MotionPictureIndustryAssociation(MPPIA)ofBritishColumbiaandOnScreenManitobadistributedthe
linkandinvitedmemberstorespondtothesurvey.Fromacombinedpoolofapproximately500
members,thesurveyreceivedatotalof83participants,aresponserateofapproximately17%.

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TrainingOfferings

Thisportionofthestudyalsohadtwocomponents.Alistofover100recognizedpostsecondaryschools,
traininginstitutionsororganizationsofferingformalorinformaltrainingprogramswasdevelopedand
approvedbytheSteeringCommittee(AppendixC).

Interviews

Fromthislist,atotaloftenorganizationswereidentifiedaskeycontacts.Theyincludedgovernment
agenciessuchasTelefilm,nationalindustryassociations,filmcommissions,traininginstitutionsandcoops
andarelistedinAppendixB.i.Representativesfromthesegroupswereinterviewedbytelephone.They
wereaskedtospeaktothecompetencylist,todiscusstrainingofferedbytheirprogramswhereapplicable
and,toprovideinsightontrainingissuespertinenttotheirregionorconstituencybase.

TrainingOfferingsWebSurvey

AsecondwebsurveydevelopedinFrenchandEnglishwasdesignedtocollectdataontrainingofferingsin
eachofthecompetencyareas.Thesurveyalsoaskedorganizationstoidentifyanyadditionalofferingsor
provideothercommentsontraininginfilmandtelevisionproduction.Anemaildistributionlistwas
developedfortheremaining100+organizationsonthelist.Eachorganizationwasinvitedtocompletethe
survey.Fromtheseproviders,24websurveyresponseswerereceived.

ThetwosurveyswerelaunchedonFebruary18th,2008.Remindersweresentthefollowingweek,andthe
surveysclosedonMarch3,2008.InterviewswereconductedbetweenFebruary18thandMarch5th.Data
wassorted,collatedandsynthesizedinearlyMarchinpreparationforthegapsanalysis.Thiswork
entailed:

TrainingNeeds

CompilationandsynthesisofinterviewnoteswithProducers
Compilation,graphing,analysisandsynthesisofProducerwebsurveydata
ComparisonofProducersurveydataandinterviewfindings
IdentificationofProducertrainingneeds

TrainingOfferings

CompilationofIndustryinterviewnotes
Charting,graphingandanalysisofwebsurveyresults
Synthesisofoverviewofofferings
Supplementaryresearchontrainingofferings

TrainingGapsAnalysis

Fromhere,itwaspossibletocomparetrendsinthetwosetsofdatatogiveanoverviewoftraininggapsin
thefieldbasedonthecompetencylists.Fromthequalitativedata,itwaspossibletoidentifyadditionalor
potentialtrainingneedsinareasorskillsnotincludedinthecompetencylist.
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Report

Adraftreportofthetrainingneeds,trainingofferingsandtraininggaps,waspresentedtotheCHRCon
March17,2008forreviewbytheSteeringCommittee.Followingthisreview,theconsultantrevisedthe
reportbasedoninputfromtheSteeringCommittee.ThefinalreportandExecutiveSummarywas
submittedMarch31,2008.

CompetencyList

Thelistof134skillsandcompetenciesdevelopedbytheExpertWorkingGroupoftheCHRCformsthe
basisofthisstudy.Theyaredividedinto12areaswhichwerethen,forthepurposesofthisstudyonly,
groupedunderfivegeneralheadings:

J. PreProduction1(Development)
a. DevelopProperties
b. SecureFinancing
c. AssembleaProductionTeam

VI. Production
d. ManageProductionProcess
e. ManageContracts
f. ManageFinances

VII.Marketing/Dissemination
g. PromoteProperty
h. ExploitProperty

VIII. BusinessandManagement
i. Establish/MaintainIndustryRelations
j.RunaBusiness

IX. LeadershipandCommunication
k.DemonstrateCommunicationandInterpersonalCompetencies
l.DemonstratePersonalSkills

Thecompletelistof134competencies(EnglishandFrench)isincludedinAppendixA.


1
MorethanoneProducersuggestedtheheadingPreProductioncouldbemoreaccuratelynamed
Development.Thedevelopmentstageofaproject,encompassingtheseskills,couldrangefrom25years.The
Productionprocessisusuallydescribedinthreecomponents:i.Preproduction,ii.Shootiii.Wrap(orPost
Production).ForthisreasonIhaveincludedDevelopmenttoclarifythisheading.
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AngelaBirdsell,CulturalResearchandCommunications

4.TrainingNeeds

ProducerProfile

AppendixB.iprovidesthelistofFilmorTelevisionProducersinterviewed.Theyincludearangeof
FrancophoneandAnglophonemaleandfemaleproducerswhoworkinavarietyofgenresincluding
documentary,televisionseries,featurefilms,lifestyleprogramming,animationandcorporateand
educationalcontent.TheyserveinavarietyofrolesfromExecutiveProducertoFreelanceProducer,or
workasconsultantsandtrainers.Producerscontributedgenerouslyoftheirtimeandattention,were
articulate,passionateandenthusiastic,andprovidedthoughtfulinsightontheissueoftrainingneeds.

AppendixB.iii.providesaprofileofthe83ProducersfromacrossCanadawhorespondedtotheweb
survey.Thisprofileissummarizedasfollows:

EnglishSurvey

Totalrespondents:65,with33partialresponses
89%wereolderthan30
55%male,45%female
YearsofProducerexperience
o Lessthan10years50%
o Morethan20years29%
CompanyProfile
o 71%workincompanieswith15employees
o 35%ofrespondentsdescribedthemselvesascompanyownerwiththebalance
weightedequallyamongExecutiveProducer,Freelanceproducer,Employee,
IndependentFilmmakerandOther
Originoftraining:
o Ontario(35%),Alberta(20%),BritishColumbia(16%)andQuebec(12%)
o Roughlythesamepercentageworkinthesesameregions
PrimarymeansofprofessionaldevelopmentforroleofProducer:
o Onthejobtraining(44%)
o Degree(19%)
o Other(14%)
CanadianFilmCentre(3%)
combinationofmentorships,courses,onthejobtraining,degreesinother
fields(11%)
o Diploma/Certificate(11%)
o Mentorships(6%)
o Courses/Workshops(3%)

FrenchSurvey

RespondentstotheFrenchsurveyweregenerallyolder,andpossessedmoreyearsofexperiencethan
theEnglishrespondents.
Totalrespondents18,with10partialresponses.
17 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

83%wereolderthan40
56%female,44%male,
YearsofProducerexperience
o Lessthan10years28%
o Morethan16years61%
CompanyProfile
o 56%workincompanieswith15employees
o 39%workforcompanieswith620
o 39%ofrespondentsdescribedthemselvesascompanyowner(propritaire)
o 33%asFreelanceProducer(Producteurdlgu)
o 22%asExecutiveProducer.
AllbutonerespondentindicatedthatprimarytrainingwasreceivedinQuebecandall
respondentsindicatedtheyconductthemajorityoftheirworkinQuebec.
PrimarymeansofprofessionaldevelopmentforroleofProducer:
o Degree(61%)
o OntheJobtraining(28%)
o Other:Includedamixofdegree,workshopsandonthejobtraining

Producersinterviewedcamefromdiversebackgroundssuchasclerical,teaching,theatredirection,
finance,business,filmschool,writing,directingoractingforfilm,advertisingandeventheretailsector.
SomeProducersstartedoutinthecreativesideofProductionandgrewtoacquireskillsinbusinessor
entrepreneurshipwhileotherswhocametotheindustrywithabusinessorlegalbackgrounddescribed
howtheylearnedtheartofproductiononthejob.

FewProducersinterviewedreceivedtheirtraininginaformalizedsettingand44%ofEnglishsurvey
respondentsstatedtheirprimarytrainingwasacquiredonthejob.CBCwascitedasasourceof
experienceforanentiregenerationofproducers,particularlyintheareaofdocumentaryproduction.
However,continuallearningthroughworkshops,seminars,shortcoursesandselfdirectedlearningwas
necessaryforprofessionalsurvival.Francophoneproducersinterviewedalsoindicatedthemajorityof
theirskillswereacquiredonthejob,althoughrespondentstotheFrenchsurveyindicatedahigher
numberofproducerswhoreceivedtheirtrainingthroughadegreeprogram.

ProducerFeedback

Intheinterviewportion,Producerswereaskedtheiropinionontheimportanceofthecompetenciesand
toindicatetrainingneeds,eitherforthemselves,orwithinthefield.Theyalsoofferedinsightsonthe
competencylistandsuggestedadditionalskillsandqualitiesidealfortherole,describedtransitionsand
futuredirectionsintheindustryandthepotentialimplicationsfortraining.Theseviewsandinsightsare
synthesizedhere,followedbyadetailedsummaryoftheirfeedbackineachofthefivecompetencyareas.

Competencies

Byawidemargin,intervieweesindicatedthatallofthecompetenciesinthelistwereimportanttothe
roleoffilmortelevisionproducer.Thisagreementwassupportedinthewebsurveyresponses.

18 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications


However,itwasalsowidelyagreedthatfewProducerscouldownallofthecompetenciesassomerelated
todistincttypesofproducerroles,suchasCreativeProducer,LineProducer,ServiceProducer,Executive
Producer,ProductionManager(producteurdlgu;anddirecteurdeproduction),FinancialProducer
(producteurfinancier),AssociateProducer,ShowRunnerandsoon.WhileProducersmayandoftendo,
wearmanyofthesehats,therolesareoftendistinctinlargercompaniesorproductions.

ItwasstatedthatwhileitwouldbedifficultforoneProducertoownallofthecompetencies,heorshe
musthaveanindepthawarenessoftheseskillsandofthenaturerolesrequiredinaproductionproject.

ItisdifficultforafilmmakertobecomeaProducer,statedsome,asitrequiresatransitionfromacreator
tomanager,whilemaintainingalevelofcontrolinthecreativeproduct.Thiswasdiscussedatlengthby
Producerswhohavemadethetransition,andwillbefurtherelaboratedinthecompetencyanalysis.

Theintervieweesprovidedanumberofadditionalthoughtsonthecompetencylist:

Somefeltthelistisgearedmoretofilmthantelevision.Forexample,themanagementofastory
department(specifictotelevision)encompassesadistinctsetofskillsnotincludedinthelist.

Somecompetencieswereseennotasskills,butasactionsorqualities.

WhatProducerscalledbusinessaffairsreferstobusinessfunctionsinherentinmostproduction
phases(ex.,duediligence,settingtimelines,pitching,budgeting,finance,taxcredits,contracts
etc.).Manystatedthatthemajorityoftraininggapstheyperceive,relatetobusinessaffairs,and
arenotlimitedtoskillsgroupedunderJ.Runabusinessbutcrossallcompetencygroups.

Onthewhole,Producersfeltthelistwascomprehensiveandcomplete.Someindustryprofessionals
statedthelistwillbeusefulinhelpingtoplancurriculum.

AdditionalCompetencies

SuggestionsofadditionalskillsorqualitiesrequiredfortherolewereofferedbyProducersandTraining
providersinterviewed.Thesearedescribedhere,asskillsorsubjectareas;

Motionpicturesandthelaw(anunderstandingofthechanginglegalenvironment)

Featurefilmproductioninforeigncountries(anunderstandingofInternationallegal&
politicalsystems,employmentagreements,culturalnorms)

InternationalCoProductionAgreements(managinglegal,accountingandother
agreements).

Crossculturalcommunicationskills

Breakingintonewproductlines

19 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Contentdevelopmentfornewmediaandthemultiplatformenvironment(seeTrends
below

PostProductionSkills(reporting,auditsandotherrelatedskills)

Establishingnewmediatechnicalprotocol(seeTrendsbelow)

Marketinginthemultiplatformenvironment(seeTrendsbelow)

Humanresourcemanagementinthefilmandtelevisionsector

ClientManagementrespondingtoandanticipatingclientneeds

Ethics(seeLeadershipandCommunication)

Understandingofculturalidentityanddistinctiveness(seeLeadershipand
Communication)

Intuition(seeLeadershipandCommunication)

Professionalism(seeLeadershipandCommunication)

Asolideducationandgroundinginhistory,culture,art,sociology,film,science,filmand
othersubjectswasviewedasanecessarycompetency.

TransitionsandTrends

Therewasunanimousagreementthatthemotionpictureindustryisinaperiodoftransitionandthatold
businessmodelsarechanging.ItwasfeltProducersmustkeepabreastofthesechangesandthus,the
importanceofanentrepreneurialapproachtomanagingonesbusinessemergedasacommontheme.

Multiplatformenvironment

Thetransitiontowardsamultiplatformenvironmentencompassingnewmediahasbeenrapid.Some
predictedthatwithin25yearsmanysmallcompanieswillfailiftheydonotmakethetransition,andsome
predictedthatinfiveyears,TVasweknowitwillceasetoexist.Aspectsofthisnewenvironmentwere
citedas:

HighDefinition(nolongernew),digitalimagingandtheirtechnicalandcreativerequirements
Internetmarketingandsupportproducts
Webcasting
Interactiveprogramming
Mobileplatforms(suchascellphones)
Games

20 TrainingGapsAnalysisFilmandTelevisionProducers
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Themajorityofintervieweesfeltthatnewmediaandthefilmandtelevisionfieldareintrinsicallylinked.
Newmediawillnotcontinuetodevelopinisolation;rather,itsintegrationintotelevisionandfilm
productioninfrastructuresisnecessaryandinevitable.Aswell,Producersstressedtheimportanceof
integratingnewmediaandformatsatthefrontendordevelopmentstageofprojects.

Somepointedoutthatwithsomenewdeliveryplatforms,theeliminationofthegatekeeper,intheform
ofthebroadcaster,willremovebarriersbetweenthecreatorandtheenduser.This,itwasfelt,will
emphasizetheroleofProducerincreatingandfocusingcontent.

ContentDevelopment

Talent,contentdevelopmentandamasteryoftheequipmentiswhatdistinguishesamateurfrom
professional

Justasfilmandtelevisionproducersmustlearntoengagenewtechnologyanddeliveryplatforms,itwas
feltthatemergingproducersmustdevelopskillsincontentdevelopmentthatwillbringsubstanceand
storytosupportthenewformsofmediainwhichtheyaresohabile.

Othernonlineartrendsincontentdevelopmentwereidentifiedas,crossdisciplinaryprogramming,
communityspecificcontentandcommunitydrivencontent(particularlyformobiledeliveryplatforms).

Whileitwasfeltthatregionalcontentwouldalwaysbeapriority,itisalsomorecriticalthaneverto
developworkwithinternationalappeal.

Thedocumentarymilieuwasviewedbymanyassaturated.Thisisdueinparttoagenerationof
documentaryproducersfosteredbytheCBCandaproliferationofyoungfilmmakerswhowanttomake
documentaries,facilitatedbyaccesstocheaperequipment.Documentaryfilmmakersoftendo
everythingandasaresult,havehonedmanyskills.Itwasthusfeltthattrainingislessaconcernin
documentary,thanhavingsufficientresourcestoengagequalifiedpersonnel.

SuccessionPlanning

Thisissueofsuccessionwasidentifiedasapreoccupationfortheindustryandmayimpactonwhattype
oftrainingthatshouldtakepriority.Withinthenext510years,itisestimatedthat50%ofcurrent
companyownersandkeyproducersintheindustrywillhaveretired.(IntheEnglishsurvey,32%of
respondentswereover50,30%were4150,and26%were3040yearsofage).Atalentpoolof
potentialsuccessorsmaybecomingthroughtheranks.However,theskillsnecessarytoassumeasenior
levelofactivityandtheresponsibilityformanagingbusinessaffairsmustalsobeinplaceforthistofollow
naturally.

TrainingOptionsandPreferences

Fromtheinterviewsandwebsurveydata(AppendixB.iii),itispossibletoprovideasynopsisoftraining
deliverypreferencesforbothprofessionaldevelopmentandforthetrainingofentrylevelproducers.

21 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Firstanoverviewofsomethetrainingdeliverymethodsdiscussedintheresearch:

OnthejobtrainingcontinuestobethemostimportantwaythatProducerslearnhowtodotheirjob.Itis
alsotheonlymeansoftraininginmanymoreisolatedregions.

SelfdirectedlearningisanotherwaymanyProducerslearnnewskillsandstayedabreastoftrends.This
takestheformofwebresearch,downloading,readingandstudyingdocumentsfromindustryassociations
suchastheCFTPA,APFTQ,TelefilmandWIFT(WomeninFilmandTelevision),subscribingtolistervs,
attendingindustrymeetings,networkingatindustryeventsandcontinuallyseekinginformation.Some
producerssuggestedthepotentialmeritofanonlinetoolboxthatProducerscouldaccessforself
directedlearning.

Workshopsalsoplayanimportantroleinprofessionaldevelopment,oftenofferedbyindustry
associations,sometimesinconjunctionwithfestivalsorconferences.Shortterm,targetedhandson
workshops,asopposedtoindustrypaneldiscussionwereviewedasthewaytogobymanyProducers.

Moreformalizedcourses,typicallyofferedbycollegesorinstitutes,arenotalwaysavailableorappropriate
asaprofessionaldevelopmentoption.Howeverahigherpercentageofwebrespondentsindicatedthata
coursewouldbethepreferredmeansofdeliveryinfinance,budgetingorcontracts,subjectareaswhich
mightrequirealonger,morefocusedperiodofindividualizedlearning.CollegeandCEGEPprogramsare
valuedfortechnicalandbelowtheline2training.

AhigherpercentageofrespondentstotheFrenchSurveyindicatedtheyattainedtrainingthrougha
degreeprogram.UniversityprogramsinCanadawhichprovideappliedskillstraininginfilmandtelevision
productionhavehistoricallybeenrare,butmoredegreeprogramsnowprovidecomprehensiveproduction
training.

Mentorshipswereidentifiedasextremelyvaluable,althoughrare(itwasstated)inQuebec.Many
Producersindicatedthattheyregularlyprovidementorshipinallaspectsofthebusiness.Mentorships
commonlydeveloptheemergingprofessional.Itisalsowidelypracticedinisolatedregionswhichhaveno
formalizedtrainingprograms.

Aworkplacement,orstage(inFrench)istypicallyintegratedintoaformalizedcourse.Thisisseenideal
forentryleveltrainingalthoughitcanbeproblematictofindmeaningfulworkplacements.

TrainingPreferences

Producersinterviewed,andthemajoritywhorespondedtotheEnglishSurveyindicatedthatworkshops
werethepreferabletrainingoption(AppendixB.iv).

Inthetwelvecompetencygroups,respondentstotheEnglishsurveypreferredworkshopsover
anyothermeansoftrainingdeliverybya40%60%margininallgroupsexcept:


2
"Below-the-Line" functions include technical as well as activities related to the film studio and actual shooting activiety
(technical equipment, travel, location, and catering) etc. "Above-the-Line" is a film and TV industry term referring to
development of creative talent, writers, directors, and producers. Above-the-Line and Below-the-Line also relates to where
related costs are budgeted.

22 TrainingGapsAnalysisFilmandTelevisionProducers
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o C.AssembleaProductionTeam
10respondentsindicatedworkshopaspreferredmeans
8respondentsindicatedonthejobaspreferredmeans
o E.ManageContracts
14respondentsindicatedworkshopaspreferredmeans
11respondentsindicatedcourseaspreferredmeans
o F.ManageFinances
14respondentsindicatedworkshopaspreferredmeans
14respondentsindicatedcourseaspreferredmeans

Francophoneintervieweesandsurveyrespondentsweremixedintheirdeliverypreferences.Accordingto
someproducers,mentoringistimeconsuming,nonremunerative,sometimesexhaustingandcanprovide
littlereturnforeitherparty.However,itwasagreedthereistremendousdemandformentoringin
Quebec,andtheissuesassociatedwithmentoringarechallengesthatQuebecindustryassociationsare
seekingtoaddress.

ProducersinQuebecstatedtheypreferspecialized,oneofftrainingprogramsofshortduration,whether
theybecalledworkshop,orcourse.Integrated,consecutivecourseswhichcoverallaspectsofonespecific
genreoffilmmaking(documentaryforexample)werealsorecommended.

Thevalueofastageorworkplacement,withinthecontextofacoursewasseenasincontestable.
However,theseplacementsaresubjecttochallengessimilartomentoring,thatis,theprovisionofa
meaningfulworkandlearningexperienceinareallifeproductionthatisreasonablyintegratedintothat
productionprocess.

RespondentstotheFrenchProducerSurveyindicatedequallybalancedexpressionsof
preferencefor
o Workshops
o Courses
o Mentorships

TrainingDeliveryIssuesinIsolatedRegions

Trainingandlearninginisolatedregions(ex.,NewBrunswick,PEI,Newfoundland,Nunavut,Yukon
Territories)typicallyinvolveselfdirectedlearning,onthejobtraining,mentoring,and,oneoff
workshopsorseminarssponsoredbyindustryassociationsorcoops.Fewcertifiedcourseofferingsare
availableintheseregions.

Insomeregionsmentoringistheonlymeansofdevelopingaskilledresourcebaseintheindustry.
Mentoringisriskyintheseregionsasthementorcanmakeasignificantinvestmentintalent,onlytohave
therecipientleavetheregion.Oneproducersuggestedaneffectivementoringsystemwouldhavethe
provider(traininginstitute,association)splitthecosts50%50%withtheproductionhouse,inaprogram
ofrigorousentryandevaluationcriteriatomeasurethevalueofthementorshiptobothproducerandthe
mentored.

Industryassociationsinisolatedregionswhichonceprovidedfinancialassistanceforoffsitetraining,are
nowoptingtohosttrainingopportunitieslocallyinanefforttokeeppotentialtalentintheregion.

23 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

AnumberofProducerscitedtheadvantageofworkinginisolatedregionstotheircareerdevelopment.
Whileworkopportunitiesmaybesporadic,trainingthroughavarietyofavailablejobexperiencescan
accelerateonesmovementuptheranks.

TrainingNeedsbyCompetencyArea

ThissectionprovidesasynthesisofdatacompiledthroughtheinterviewsandsurveyofProducersineach
ofthecompetencyareas.Undereachheadingthesubgroupsandindividualcompetenciesarelisted.
Thoseidentifiedthroughtheresearchasimportantfromatrainingperspectivehavebeenhighlighted,and
Producerfeedbackissynthesizedineacharea.

I.PreProduction(Development)

Thisphaseincludesthreegroupsofskills,mostoften,butnotexclusivelyassociatedwiththedevelopment
stageofaproject.Theyare:


C. AssembleaProduction
A. DevelopProperties B. SecureFinancing
Team
1. Identifypotentialmarketneeds 1. Sellanideapitch 1. Attracttalent
2. Assesscreativeconcepts 2. Prepareabudget 2. Evaluateprojectneeds
3. Assessprojectviability 3. Createaproject/businessplan 3. Scouttalent
4. Establishchainoftitle 4. Attachmarketabletalent 4. Communicatejobdescriptions
5. Executeduediligence 5. Prepareandsubmitapplications 5. Selectteammembers
6. Drivecreativeprocess forfunding 6. Negotiatehiringcontracts
7. Focuscontent 6. Ensurecashflow
8. Fosteracreativeenvironment 7. Negotiatefinancing
9. Createcontent 8. Negotiatepartnerships(co
10. Createexploitationstrategy productions,coventures,etc.)
11. Establishtechnicalprotocol 9. Secureloans/grants/advances
12. Setthetimeline 10. Secureequityinvestment
11. Securepresales
12. Securedistributionguarantee
13. Initiateancillaryrevenue
opportunities
14. Secureeligibilitycertifications
15. Closeadeal

TosomeProducers,developmentisthemostimportantpartoftheproject,forafterproductionbegins,it
istoolatetochangewheelswhichhavebeensetinmotionduringthisphase.TheprecedentaProducer
mustestablishwithwriters,directors,productionmanagerandotherteammembersinthisphaseis
critical.Givenaprojectcouldbeuptofiveyearsinthepipeline,itisimportanttobepassionateatthe
developmentstageandtokeeponeself,andothers,motivated.

Insomecompanies,aCreativeProducermaydeveloppropertiesandProductionManagerassemblesthe
team,whiletheExecutiveProducerisresponsibleforfinancing.Inothersituations,thesamepersonmay
performallthreefunctions.

24 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications


Competenciesrelatedtothebusinessaffairsaspectofthedevelopmentphaseandthroughoutthe
rangeofproductionstageswereallconsistentlycitedasimportant,andespecially,subjecttogapsin
knowledgeandtrainingopportunities.

A. DevelopProperties

Inthisgroup,manyProducersfeltthatcompetencieswerestandardandthateveryoneknowshowtodo
this.Nonetheless,determiningmarketneedsandknowingyourmarketaudiencewasconsideredthe
mostimportantcompetencybymanyProducers(6)3.Newideasareplentiful,butitisimportanttobeable
toanticipatebroadcasterneedsandknowhowtoknockontheirdoor.Itwasfeltthatschoolsdont
teachthis.Asprojectshavealongdevelopmentphase,someProducersstatedtheywouldliketolearn
howtoanticipatemarketneed,23yearsinadvance(2).Othersstatedanticipatingneedisinstinctual,or
sometimesyoutakeariskandgetlucky.

Anotherkeycompetencywasidentifiedascreatecontent(5)askilloftenunderdevelopedinemerging
producers(2),who,whiletrainedinproductioncraft,lackagroundinginculture,thelandscape,history,
audienceoraninstinctforstory.Oneproducerinanisolatedregionstatedtheabilitytocreatecontent
iskeytofindingnationalandinternationalmarkets.

Assessingprojectviabilitywasalsoconsideredimportant(2).Itiseasytofocusonabadideastatedone,
andothersstressedtheimportanceofexercisingduediligence(2).Establishingchainoftitlewasalso
underscoredasimportant(1)althoughmanyfeltthiswasataskratherthanacompetency.

Establishingtechnicalprotocolwasconsideredlessimportantbymany,astrainingintechnicalskillsis
readilyavailable.Lessevidenthowever,istheavailabilityoftraininginemergingtechnologies.Equipment
purchaseisnolongeraninvestment,butanexpense,giventheturnoverrateoftechnologyandschoolsdo
nothaveresourcestorenewequipmentevery23years.Traininginemergingtechnologyisentirely
unavailableinoutlyingregions.

Thewebsurveyresultsindicatetheneedordesirefortrainingasfollows:

EnglishRespondents

A.10Createexploitationstrategy(41%ofrespondents)

A.1Identifypotentialmarketneeds(34%)

Between9%and19%ofrespondentsindicatedatrainingneedinallothercompetencies.

FrenchRespondents

A.10Createanexploitationstrategy(50%)

A.3Assesscreativeconcepts(40%)


3
NumbersinparenthesisindicatethenumberoftimesthisviewwasrepeatedbyaProducerinterviewed.Inthis
case(6)Producersofferedavariationofthisview.
25 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Between10%and30%ofrespondentsindicatedatrainingneedinallothercompetencies.

B. SecureFinancing

Thisgroupofcompetenciesintheirentiretywerecalledcriticaltotheroleofaproducer(6)andonein
whichthegreatestskillsgapoccur(7).Producersneedcontinualrefreshinginnewfinancingmodelsand
theconsensusisthatinformationiselusive.Producersunderstandbasicpublicfundingmodels,(called
theoldfundingmodels)buttheyhavedifficultyadvancingtothenextstep,whichmightinvolveentering
intoorcreatingcoproductions,developinginternationalpartnershipsorworkinginothernewfunding
models.OneProducerstatedthatthereshouldbemasterclassesinfinancing.

Anotherimportantcompetencyidentifiedwassellanideapitch(6),followedbynegotiatefinancing(4)
andmanagedeliverables(1).Trainingneedsintheseareasareamplifiedinoutlyingareaswhereaneed
forrelationshipbuildingwithdistributorswasemphasized.

Thesurveyresultssupporttheinterviewdataandindicateahighneedordesirefortrainingasfollows:

EnglishRespondents

34%38%ofrespondentsdesiretrainingin;

B.8Negotiatepartnerships

B.13Initiateancillaryrevenueopportunities

B.12Securedistributionguarantees

B.11Securepresales

Between19%and25%ofrespondentsdesiretrainingalmostallcompetencies.

FrenchRespondents

30%ofrespondentsindicatedadesirefortrainingin

B.1Sellanidea(pitch)

B.8Negotiatepartnerships

B.12Securedistributionguarantees

Amoderateleveloftrainingneedwasidentifiedinallothercompetencies.

C. AssembleaProductionTeam

Someproducersfeltthisabilitycomeswithexperienceinthebusiness,knowledgeoftheenvironmentand
questionedwhetherthisskillcouldbetaught(1).However,evaluatingprojectneeds(1)wasidentifiedas
aparticularchallengegiventheproliferationofunanticipatedexpensesrelatedtoproduction.Scout
talent(1)wasidentifiedaschallenginginoutlyingregions.

26 TrainingGapsAnalysisFilmandTelevisionProducers
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However,thiscompetencyareawasnotconsideredapriorityareafortrainingbymostProducers
interviewed,andthisopinionisechoedinthesurvey.AmongEnglishrespondents,lowtomoderate(9%
19%)expressiontrainingneedswereindicated.Nosignificanttrainingneedswereidentifiedby
respondentsinFrench.Inbothsurveys,22%to30%ofrespondentsdidnotagreethat:C.4Communicate
jobdescriptions,wasanecessaryskill.

27 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

II.Production

ThesethreecompetencygroupsareassembledundertheheadingProductionastheyaremostoften,but
notexclusively,associatedwiththephysicalrealizationofaproject.Manyofthecompetenciescomprisea
businessaffairsfunction,again,viewedasatraininggap.


D. ManageProduction
E. ManageContracts F. ManageFinances
Process
1. Organizeworkflow 1. Incorporateacompany 1. Establish/maintain
2. Createaschedule 2. Managepartnershipagreements accountingsystem
3. Assignresponsibilities 3. Manageintellectualproperty 2. Limitpersonalandcorporate
4. Controlexecutionoftechnical 4. Managelicenseagreements liabilities
protocol 5. Managecoproduction 3. Monitorcashflow
5. Approveprogress agreements 4. Controlexpenditures
6. Maintaincreativeenvironment 6. Manageoptionagreements 5. Reallocateresources
7. Manageexpectations 7. Managesponsorshipagreements 6. Controlfinancialreporting
8. Managecrises 8. Managerelatedparty 7. Optimizetaxcredits
9. Mediateconflicts agreements
10. Managedeliverables 9. Manageinternetrights
10. Managedistributionagreements
11. Manageequityagreements
12. Managebridge/gapfinancing
agreements
13. Manageinterimfinancing
agreements
14. Manageinsuranceagreements
15. Managebonderagreements
16. Managetalentagreements
17. Managecrewagreements
18. Manageequipmentagreements
19. Managelocationagreements
20. Managefacilityagreements
21. Managereleaseagreements
22. Managepostproduction
agreements
23. Managearchivesagreements
24. Managemusicagreements
25. Manageancillaryagreements
26. Manageclearanceagreements



D. ManageProductionProcess

Itwasgenerallyfeltthatmostproducersarewellversedinthecraftofproduction,thatis,workonthe
platform.Toeffectivelymanagetheproductionprocess,theProducermustalsoknowwhateveryone
doesbothabovethelineandbelowtheline.Thisknowledgeisusuallyacquiredbyadvancingthrough
theproductionranks.However,formalizedprogramsareincreasinglyavailablethatteachproduction
managementskills.Tomanageinacreativeenvironmentwasidentifiedasacriticalskillthatoftencomes
withexperience,andallthemorechallenginginisolatedregionsthatlackaproliferationoftrained
28 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

personnelinthecreativesector.However,thisareawasnotsingledoutasatrainingpriorityinthe
interviewsandtherewaslowtomoderateexpressionoftrainingneedamongEnglishrespondents
(although25%indicatedadesirefortraininginD.9Mediateconflicts).Nosignificanttrainingneedswere
identifiedintheFrenchsurvey.

E.ManageContracts

Producersexpressedavarietyofviewsoncontracts.Someproducers(4)feltstronglythataproducer
mustunderstandandcontrolcontractsand,thatthisiskeytothebusinessofanExecutiveProducer(3).
Signabadcontractandyouwilllosemoneyorhavelegalbattlesdowntheroad,statedone.Contract
knowledgeformanyisanongoingselfdirectedlearningexercise.However,otherproducers(2)described
thechallengeforonepersontoknowtheinsandoutsofallcontractsandvaluetheroleofconsultantsto
assistwithcontractdraftingandinterpretation.OneProducerstated,contractsareforlawyers.

Otherproducersensuredthattheydevelopedaninhouseteamofemployees(orpartners)withlegalor
accountingskills(2),peoplewithadirectstakeinthesuccessofaproject.Itwasindicatedthatthefilm
andtelevisionmilieulacksaccountantswithindustryspecificknowledge(3).

ViewsoncontractsreflectdifferentProducerroles.ItwasfeltthatallProducersmustbeawareofthe
natureofcontractsrequiredandthatthisisthefunctionoftraining.OneProducersuggesteda
coordinatedinitiativeofindustryassociationstocirculateaspecializedworkshoponcontractsto
surroundingregionallocationsmightbeeffective.

Thesurveyresultssupporttheinterviewdataandindicateaneedordesirefortrainingacrossall
competenciesintheareaofManagingContracts.Thehighestlevelsofneedwereindicatedin:

E.9InternetRights(French50%,English50%)

E.12Bridge/gapfinancingagreements(English31%,French20%)

E.10DistributionAgreements(French40%,English28%)

E.11Equityagreements(English31%,French20%)

E.24AncillaryAgreements(English28%)

E.13Interimfinancingagreements(English25%,French20%)

E.5Managecoproductionagreements(French20%)

E.3Manageintellectualpropertyagreements(French20%)

Inallothercompetenciesindicationsoftrainingneedsrangedfrom6%to19%ofrespondents.

Approximately31%ofallrespondentsdidnotagreethatE.1Incorporateacompanyisarequired
competency.



29 TrainingGapsAnalysisFilmandTelevisionProducers
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F.ManageFinances

ManyProducersagreedthatoptimizingtaxcreditswasthekeycompetencyinthisgroup(5).Entrylevel
studentsinproductionoftendontknowwhatataxcreditis,orforthatmatter,whatitcoststodo
television(3).Manyfeltthatthereisnosubstituteforselfdirectedlearning,astaxationandtaxlaws
evolvecontinually.

Thesurveydataindicatedalowtomoderate(13%19%)desirefortrainingamongEnglishrespondents
with25%desiringtraininginF.7Optimizetaxcredits.19%ofEnglishrespondentsdisagreedthatF.1
Establish/maintainanaccountingsystemisanecessarycompetency(althoughoneProducerspoketothe
needforarealtimeaccountingsystemwithdailyandweeklytrackingfunctions).Overall,managing
financeswasnotseenasahighpriorityforProducersinterviewedandnosignificanttrainingneeds
identifiedamongrespondentstotheFrenchsurveyinthisarea.

III.Marketing&Dissemination

G. PromoteProperty H. ExploitProperty

1. Develop/executemedia 1. Developanexploitationstrategy
strategy 2. Participateinindustrymarkets
2. Nurturemediacontacts 3. Exploitdistributionopportunities
3. Exploitmediaopportunities 4. Exploitformatopportunities
4. Create/approvepromotional 5. Exploitmerchandising
materials opportunities
5. Promotethroughstrategic 6. Exploitsponsorshipopportunities
partnerships 7. Exploitstockfootage
6. Participateinindustryfestivals opportunities
andcompetitions



Thesetwocompetencygroupsweregenerallyviewedasawhole.SomeProducersstatedthatdespitethe
primordialimportanceofmarketing,theydonthavetimetopromoteproduct,nordotheyknowmany
producerswhodo(3).Thisshouldbeseenasanimportanttrainingissue,butalsoasastrategicgapin
theindustry.

G.PromoteProperty/H.ExploitProperty

Accordingtosome,afilmproducerisnotlikelytohaveamediastrategy,butrather,wouldrelyonthe
distributortomarkettheproduct(2).Ontheotherhand,aproductioncompany,especiallyintelevision
mightfocusheavilyonamarketingstrategy.

Morecreativeapproachestomarketingarerequired(3),accordingtothosewhoreferredtocookie
cutterpublicitystrategiescommonintheindustry(2).Justaseachprojectisdifferent,soshould
marketingapproachesreflectthespecificnatureoftheprojectanditsaudience(2).Acrosspollination

30 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

approachwithmarketingprofessionalsfromotherfieldscouldbeanassettotheindustry,statedsome
producers(3).

MostProducersagreedthatthemarketingstrategymustbedevelopedatthefrontendandthatitmust
includemultiplatformcomponents(2).

Somehavestatedthatmarketingisnotatrainingissue,butastructuralissueinwhichfundersview
marketingastheroleofthebroadcasterordistributoranddiscouragemarketinglineitemsinthebudget
(2).Producerswhowishtomarketarethuslimitedbyresources.

However,otherProducersstatedthatover25years,marketinghasmaturedthroughouttheentire
distributionchain.Thosetrainedinmarketinghaveagoodbackground,buttheirlearningcurveinhowto
readpeopleissteep,askillwhichiscriticalinfilmandtelevision.Selfdirectedlearning,speakingwith
distributorsandongoingcontactwithbroadcasterswasviewedasthemeanstounderstanddistribution
andmarketingtrends.

Thewebsurveysindicateamoreconclusiveresponseontrainingneedsinmarketing.

G.PromoteProperty

BothFrenchandEnglishrespondentsindicateahighinterestintrainingin:

G.1Develop/executeamediastrategy(French44%,English39%)

G.5Promotethroughstrategicpartnerships(French44%,English32%)

G.2Nurturemediacontacts(French44%,English29%)

G.3Exploitmediaopportunities(French33%,English25%)

However,forasmanyrespondentsinFrenchwhoindicatedtrainingneeds,analmostequalnumber
indicatedtheirdisagreementthatthecompetencywasrequired.

H.ExploitProperty

AmongEnglishrespondents,ahighlevelofinterestwasindicatedfor:

H.1Developanexploitationstrategy(39%)

H.5Exploitmerchandisingopportunities(39%)

H.6Exploitsponsorshipopportunities(35%)

H.3Exploitdistributionopportunities(32%)

Intheremainingcompetencies,between16%and23%ofrespondentsidentifytrainingneeds.

31 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

AmongFrenchrespondentsamoderatebutconsistentinterestlevelwasindicatedfor:

H.1Developanexploitationstrategy(33%)

H.5Exploitsponsorshipopportunities(33%)

Allremainingcompetencies(22%)

IV.BusinessandManagement

I. Establish/MaintainIndustry
J. RunaBusiness
Relations
1. Subscribetoindustry 1. Developacorporatevision
publications 2. Developacorporatebusinessplan
2. Participateinindustry 3. Establish/maintaincompanybrand
associations 4. Respondtomarkettrendsandchanges
3. Networkthroughindustryevents 5. Seeprojectsincorporatecontext
4. Cultivatestrategicrelationships 6. Establish/maintaincorporatepolicies
7. Exercisefiduciaryresponsibilities
8. Manageoverhead
9. Buildstaffloyalty
10. Establish/maintainanetworkofprofessionalservices
11. Optimizeexploitationofintellectualpropertyrights
12. Maximizecorporateassets
13. Createpositivecompanyprofile
14. Developanexitstrategy
15. Establish/maintainasuccessionplan


ThesecompetencieselicitedthemostresponseintheEnglishinterviewsandmoderateresponsefrom
Frenchinterviewsubjects.Therewaslittlecohesionbetweenthetwolinguisticgroupsintermsoftraining
needsinthesecompetencies,particularlyunder:J.Runabusiness.

Asageneralrule,mostProducersfeltthatbusinessacumenwaskeytosurvivalinachangingindustry
andindustrydescribedasmovingawayfromthebroadcasterascustomeroremployer,toan
environmentofindependent,creative,audiencefocusedProducersandproductioncompanies.
Increasingly,Producerswillhavetobeentrepreneurs,withcreativedrive(5).Asonestated;in
production,ifyouwanttoownitaswellascreateit,youneedbusinessskills.

ThosewhoseektomaketheleapfromServiceProducertoProducer,oftenfinditdifficult,astheylack
businessskillstodevelopaprojectoftheirown(3).

Alsoidentifiedwasthechallenge,especiallyoutsidethehubs,ofcreatingenoughproductstostayin
businessandkeepskilledworkers.Youngpeopletodayaredriven,notdaunted,saidonetheyare
businessoriented,multitasking,articulate,focusedanddriven...buttheyarealsogoingtothecity
centersandtheregionsaresuffering.

32 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

I. Establish/MaintainIndustryRelations

Industryrelationswereviewedasimportant(3)eveniffewproducersfelttheyhadtheluxurytoactively
networkandstayabreastoftrends.Thesewereviewedastasksmorethanskills,whichincludereading
journals,subscribingtolistservs,volunteeringforindustryassociations,attendingfestivalsand
conferences,viewingwork(4).Networkingandtheimportanceofhumancontactmayseemaforegone
conclusioninlargercenters,butpresentsobviouschallengesinisolatedregions(3).

While22%ofEnglishrespondentstothewebsurveyindicatedadesirefortraininginI.4Cultivatestrategic
relations,overall,therewerefewsignificanttrainingneedsidentifiedinthisareaamongEnglishand
Frenchrespondents.

J. RunaBusiness

TheskillstorunabusinesswererepeatedlyidentifiedbyProducersinterviewedasamongthemost
importantforaProducer(7).AccordingtooneProducer,ifyouhaveastrongandestablishedcompany
vision,theothercompetenciesfallintoplace...ifyoudonthavevision,youwontunderstandtheneedfor
therest.

Onceagain,entrepreneurshipwasviewedasthekeytosurvivalinachangingenvironment(5).Often
producersworkonaprojectbasisandarenotfocusedonbuildingabusiness(7).Tosome,abusiness
approachmeansanumberofprojectsinthepipelineatanygiventime(3).Regardless,skillstodiscern
creativecontentandquality,defineareasoffocus,determinenicheandmarketviabilityarevery
importantinbothsmallandlargecompanies(3)andunlessproducersfocusstrategicallyonproject
development,theymaynotbesustainableinthelongterm(4).

ProducerswithsoleproprietorshipsspeaktothechallengeofbeingaProducerandaPresidentatthe
sametime(3).Insuchacase,youeithertrustsomeonewithcreativecontrolofyourproduct,ortrust
someonewiththebusinessaspectofthecompany.Eitherway,onerisksqualitycontrol.

Formativetrainingiseithercenteredonbelowthelineskillsoroncontentdevelopmentandthus,
studentsarenottrainedtooperateabusiness(3).Moststudentsprefertoworkontheset(platform
workismoresexy)anddontrealizethat90%ofaProducersworkispaperbased(5).Thelifespanofa
filmisthreeyears,with32daysontheset.

OneProducerinterviewedstatedthattherearesufficientcoursesinbusinessandmanagementnow.

Somefeltthereisagapbetweentheindustryandwhatistaughtinschoolsandspoketotheimportance
offindingtherightmixofprofessionalstoteachindustryspecificbusinessskills.Toooftenschoolsbring
inabigname(companyexecutiveswhohaveforgottenhowtobuildabudget)oraproducerwhoseskills
areeitherdated,orwhohavenotdevelopedanappropriatelevelofbusinessacumenorexperience(3).
ProducersfeltthatinsufficienttraininginbusinessandmanagementinWesternCanada(2),wasdriving
emergingtalentsouth.Inoutlyingregions,traininginthebusinessandmanagementareasoffilmand
televisionproductionarevirtuallynonexistent.

Interestingly,thewebsurveyrespondentswerelessdefinitiveontheneedforbusinessandmanagement
training.Foreachcompetencyatleast3%andasmanyas30%ofrespondentsdidnotfeelthe

33 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

competencywasrequired.Aswell,trainingneedswereentirelydifferentbetweenEnglishandFrench
respondents.Overallhowever,identificationoftrainingneedsinbusinessinthisareawasrelativelylow.

AmongEnglishrespondents(71%ofwhomworkforcompanieswith15employees)trainingneedswere
identifiedinallcompetenciesatratesofbetween3%and23%,withmoderatespikesin:

J.1Developacorporatevision(23%)

J.2Developacorporatebusinessplan(23%)

J.4Respondtomarkettrendsandchanges(23%)

J.14Developanexitstrategy(23%)

AmongrespondentstotheFrenchsurvey,20%ofrespondentsindicatedadesirefortrainingthreeentirely
differentcompetencies:

J.12Maximizecorporateassets(20%)

J.7Exercisefiduciaryresponsibilities(20%)

J.11Optimizeexploitationofintellectualproperty(20%)

V.LeadershipandCommunication

TheliteratureoftheageismotionpicturesandProducersareatthetopoftheheap.
Thereforethecreativedecisionsthatproducersmakedefinetheindustry.


J. DemonstrateCommunicationand
K. DemonstratePersonalSkills
InterpersonalCompetencies

1. Speakinaneffectivemanner 1. Havepassion
2. Writeinaneffectivemanner 2. Demonstratestrategicthinking
3. Exerciseleadership 3. Makedecisions
4. Persuade 4. Multitask
5. Motivate 5. Takecalculatedrisks
6. Projectconfidence 6. Exerciseflexibility
7. Projectcompetence 7. Demonstratecreativity
8. Conductmeetings 8. Exerciseresourcefulness
9. Readpeople 9. Takeownership
10. Collaborate 10. Delegate
11. Negotiate 11. Demonstrateambition

12. Mediate 12. Exercisecommonsense


13. Exercisetenacityandperseverance
14. Staycurrent

Takenasawhole,theskillsinthisareawereviewedascriticalforsuccess(8)and,whiletheymaynot
necessarilybetaught,theymaybelearnedoracquiredthroughdoing,observingorbeingmentored(4).

34 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Othersfeelthattheseskillsandtraitsareinherentorlatentinpromisingtalententeringthefield,andwith
development,willultimatelybeacriticalfactorintheirsurvivalorpropensitytothrive(3).

Whiletechnicalskillsareimportant,aProducermustespecially,possesscreativity,visionandleadership
(5).Itiscriticaltohavepassion,forthatiswhatmotivatesmanyProducerstotakerisks.Withoutrisk
littleofvalueisaccomplished(3).Themeldingofthetwoisconsideredimportantbutdifficulttoachieve
inthecreativemilieu.

Leadershipasawholeisimportant,buttypeandstyleofleadershipvariesaccordingtotheProducerand
thenatureofhisorherwork.Certaincompetenciesarecriticalfortheheadsofalargercompany,and
others,morevaluableforsmallermanagementcontexts(3).

Anumberofadditionalpersonalskillsthatmightfallunderthisareaweresuggested:

DemonstrateanunderstandingofCanadianidentityanddistinctiveness.Muchofwhatisknown
aboutCanadacomesfrommedia.Thus,Canadianfilmandtelevisionisimportantfornational
unity,autonomyandculturalidentity(3).ThemostpopularEnglishCanadianproductions
domesticallyandabroadhavedistinctiveCanadianfootprint4.Itisdistinctivenessthatsells(2).

Intuitionandtheabilityto;exercisecommonsense,listentoonesgutreaction.

Professionalism(3).Thiswasdescribedinavarietyofways:

o Tocreateagood,reliableteam.Thismeanscreatingenoughproductstokeeppeople
employedandrecognizethatwhileProducershavearesponsibilitytomakemoney,the
bottomlinecannotbetheonlypriority.Amanagermustkeeppeopleinspired,createa
safeworkingenvironment,challengeandsupportemployees.Treatingpeoplewellis
importantforaProducersreputationandhelpstoavoidarevolvingdoorofemployees,
bothofwhichwillultimatelyhaveanimpactonbusiness.

o Havearealoffice,projectaprofessionalbusinessethicinattire,comportmentand
communication.

o Professionalismmeansbeingadecentperson.Thisincludestreatingpeoplewithrespect,
answeringquestions,gettingbacktopeopleintimelymanner,providingfeedbackto
employees,guiding,mentoring,beinggeneroustoothersbyprovidingfairand
constructiveperformancefeedback,offeringrecommendations,andbeingconsciousof
onesownleadershiproleandrespectfulofthecareeraspirationsofothers.

Despitereservationsamonginterviewparticipantsastotheteachabilityofthesecompetencies,the
Englishsurveyrespondentsindicatedamoderatetohighdesirefortraininginthefirstcategory.Alower
responselevelwasindicatedintheFrenchsurvey.Notably:


4
Examplescited:LittleMosqueonthePrairie,RickMercer,CornerGas.
35 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

K. DemonstrateCommunicationandInterpersonalQualities

K.1Speakinaneffectivemanner(English31%)

K.11Negotiate(English31%)

K.3ExerciseLeadership(French30%)

K.8Writeinaneffectivemanner(English25%)

K.12Mediate(25%)

L. DemonstratePersonalSkills

AmongEnglishrespondents,75%indicatedthatalloftheskillsinthisareaarenecessary,andthiswas
echoedamongFrenchrespondents.Howeverfewindicatedaneedfortraininginanycompetency,with
oneexception:

L.2Demonstratestrategicthinking(French30%,English19%).

36 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

5.TrainingOfferings

Anoverviewofkeyorganizations,identifiedbytheSteeringCommitteeandProducersinterviewed,are
providedinthissection,withabriefdescriptionoftheirservices.AppendixCoffersanextendedlistof
over100colleges,universitiesandorganizationsinCanadawhichprovidetraininginsomeaspectoffilm
andtelevisionproduction.

Inaddition,asamplingoforganizationsparticipatedinawebsurveywhichaskedthemtoidentifythe
areasofcompetenciesaddressedintheirprogramofferings.Surveyresultsforthissamplingareprovided
forBritishColumbia,thePrairieregion,OntarioandQuebec.OrganizationsinAtlanticCanada,theYukon
andNunavutwereinterviewedorresearchedandasummaryofprincipalofferingsisprovided.Fromthe
interviewsandthesurveysamples,itispossibletoidentifyinbroadstrokes,potentialgapsintrainingin
eachregion.

ProducerIdentifiedTrainingPrograms

Thefollowingorganizationsandinstitutions(inalphabeticalorder)weremostfrequentlyperceivedby
Producersasnoteworthyprovidersorfacilitatorsoffilmandtelevisiontraining.Whereidentified,their
perceivedareasofstrengtharealsoidentified.

AlgonquinCollegeOttawa(Productionandproductionmanagement)

AssociationdesproducteursenfilmetentelevisionduQubec(APTFQ)Montral(Manyaspects
includingtraininginfinance).

TheBanffCentreAlberta(Traininginnewtechnologies)

CanadianFilmCentreToronto(Principalproviderofcomprehensiveadvancedtraining,infilm,
televisionandnewmedia,esp.,industryrelations)

CanadianFilmandTelevisionProducersAssociation(CFTPA)Ottawa(NationalMentorship
Program,andindustryworkshops)

ConcordiaUniversityMontral(Theoryandexperimentalfilmmaking,notappliedtraining)

coledeshautestudescommercialsdeMontral(HEC)(TVAHECintensiveprogramin
televisionmanagement).

LInstitutnationaldelimageetduson(LINIS)Montral(Handsontrainingesp.,development
andproductioninfilm,televisionandinteractivemedia).

RyersonToronto(Principaldegreegrantinginstitutioninfilmandtelevisionindustrytraining)

37 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

SaskatchewanMotionPictureIndustryAssociationRegina(Workshopsinallaspectsof
productionwithstrengthinbusinessaffairsandtaxcredits)

UniversitduQubecMontral(Allaspectsofproductionwithemphasisondevelopmentand
belowthelinetraining)

VancouverFilmSchool(Belowthelineanddevelopment).

WIFTToronto(Allaspectsofproductionandbusinessaffairs,fromentryleveltoprofessional
levelsinavarietyofdeliveryformats.Focusonfosteringroleofwomeninthefield)

CollegesandCEGEPS(Typicallybelowthelinetraining,withsomeexceptions).

FilmFestivals(ex.,WhistlerFilmFest)andIndustryassociationsdeliverworkshopsandseminarsinvarious
areasformembersandindustryprofessionals.Programsoftendeliveredinpartnershipsorwithindustry
sponsors.

PrincipalTrainingOfferingsbyRegion

Thefollowingdescribesbyregionpostsecondaryschools,institutesandorganizationswhichoffertraining
infilmandtelevisionproductionandbrieflydescribessomeoftheservicestheyoffer.

BritishColumbia

BritishColumbiaFilm
TheProfessionalInternshipProgramsupports2050weekinternshipsinproducing(orwriting)for
television.BCFilmfinancingismatchedbythementorcompany.Thesearenotentrylevelinternships
andpreviousexperienceinthefilmandtelevisionindustryisrequired.TheScholarshipProgramsupports
theadvancedcareerdevelopmentoffilmandtelevisionprofessionalsinvitedtoattendspecificskills
developmentworkshops,programsandresidencies.

EmilyCarrInstituteofArtandDesign
ECIADoffersaBachelorofMediaArtsPrograminFilm,VideoandIntegratedMediaaswellastechnical
coursesinanimation.

VancouverFilmSchool
VFSofferscoursesinmanytechnicalaspectsoffilm,televisionandmediaandaoneyearappliedfilm
productioncourse.Studentsintheproductionprogramareresponsibleforafullyequippedproduction
courseandhandlingallproductionandpostproductionpaperwork,aswellasensurethatalltheother
elementsareinlinetomeettherequirementsoftheshoot.

SurveySampling
AppendixCprovidesanextendedlistofUniversities,colleges,traininginstitutesorganizationswhichoffer
degreeprograms,certificates,courses,workshopsorprofessionaldevelopservicesinfilmortelevision
productioninBritishColumbia.Organizationswereaskedtorespondtoawebsurveytoindicatewhether
trainingisprovidedineachofthecompetencies.Resultsfromthesamplingofrespondents,Columbia
38 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Academy,CineworksandtheGreaterVictoriaFilmCommission,aresynthesizedforeachofthetwelve
competencygroups.

Training Offerings - British Columbia Sample
Web Respondents

mm
Co
m
Fil
te
titu

ia
tor
Ins

Vic
s
bia

ork

ter
lum

ew

ea
Cin
Co

Gr
Competencies
Training Film
Institute Co-op, ARC Commission
Workshop / Workhops /
Certificate Seminar Seminars

I. Pre-Production (Development)
A. Develop Properites
B. Secure Financing
C. Assemble a Production Team
Surveysample(BritishColumbia) II. Production
indicatespotentiallackoftraining D. Manage Production Process
programsin E. Manage Contracts
F. Manage Finances
B.SecureFinancing III. Marketing and Dissemination
G. Promote Property
E.ManageContracts H. Exploit Property
IV. Business and Management
F.ManageFinances I. Establish / Maintain Industry Relations
J. Run a Business
H.ExploitProperty V. Leadership and Communication
K. Demonstrate Communication and
Interpersonal Competencies
J.RunaBusiness
L. Demonstrate Personal Skills

Traininginskillsnotoffered
Traininginlessthan50%ofskillsoffered
Traininginmostskillsoffered(>50%)

Traininginallskillsoffered

PrairieRegion

TheBanffCentreNewMediaInstitute(BNMI)
BNMIruns,partners,andcollaboratesonaseriesofprofessionaldevelopmentandtrainingworkshops
overthecourseofeachyear.BNMIworkshopsarededicatedtoallaspectsofnewmediapracticeand
production.Theyaredesignedaslearninglaboratorieswhereparticipantsengageindevelopmental
exercises,handsonlearning,andstrategicinterdisciplinarydialogueandmentorship.

NorthernAlbertaInstituteofTechnology(NAIT),Edmonton
ProducerEmergenceProgram(PEP)Certificateisa14week,parttime,intensiveProducertrainingcourse
throughNAITSchoolofProfessional&ContinuingEducation.Thiscertificateprogram(totalhours112)

39 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

providespracticalstudycombinedwithprojectdevelopmentdesignedtopreparepostsecondaryfilmand
televisiongraduatesandotherentrepreneurialindividualsforcareersas,orwith,producersin
independentfilmandtelevisionproduction.Thecurriculumcentersonthecreativeandbusinessaspects
offilmandvideomadefortelevisionproducing.PEPdirectsstudentsthroughtheseaofpaperworkthat
surroundsacreativeprojectthatisdestinedforTVBroadcast.Studentsshouldbegraduatesofafilmand
televisiontrainingcentreorcollegeorhave13yearsindustryexperience.Theprogramisofferedin
partnershipwithAlbertaMotionPictureIndustryAssociation(AMPIA)andWomeninFilmandTelevision
(WIFT).

NationalScreenInstitute(NSI),Winnipeg
NSIisoneoffourfilmandtelevisionschoolsinCanadawhichreceivedirectfundingfromTelefilm.Others
includetheCanadianFilmCentre(CFC)inToronto,theInstitutnationaldimageetduson(lINIS)in
Montreal,andtheCanadianScreenTrainingCentre(CSTC)inOttawa.NSIhasprogramswhichtrainatthe
entrylevel,emergingprofessionalandprofessionallevel.Whilethefocusofeachprogramisdifferentthe
ensembleofofferingsprovidestraininginmostcompetencyareas.Theyinclude:
DramaPrize,aoneyearcoursefornewentrantswithpostsecondaryeducationorsome
experienceintheindustry.Participantsproduceashortfilm.

TotallyTelevisionisan8monthcoursewhichhooksupaproducerwriterdirectorteamwho
workwithadirectorandstoryeditortogetatelevisionprojectofftheground.

FeaturesFirstisa10monthprogramdesignedforfilmmakerswhowishtoembarkontheirfirstor
secondfeaturefilm.Thisprogramisdevelopmentfocused.

GlobalMarketingisaprogramthatworkswithestablishedproducerswhowishtowidentheir
marketsinternationally.Acceptanceintotheprogramisbasedonthestrength(sellability)ofthe
project.MarketingandDissemination,particularlyinternationally,isthefocusofthisprogram.

NewVoicesisfornewentrantstothefieldwhoareAboriginal.Itsgoalistoexposeyouth
betweentheagesof18and35tovariousjobsintheindustryandtoinstillconfidencein
participantswhowishtoenterthefield.

40 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

AppendixCprovidesanextendedlistofUniversities,colleges,traininginstitutesorganizationswhichoffer
degreeprograms,certificates,courses,workshopsorprofessionaldevelopservicesinfilmortelevision
productioninthePrairieregion.Organizationswereaskedtorespondtoawebsurveytoindicatewhether
trainingisprovidedineachofthecompetencies.Resultsfromtheinterviewsandsamplingofrespondents,
RedDeerCollege,SMPIA,WinnipegFilmGroupandtheBanffCentre,aresynthesizedforeachofthe
twelvecompetencygroups.

Surveysampleandinterviews(Prairie Training Offerings - Prairie Region Sample Group


Interview Survey Response
region)indicatefewertrainingprograms
in:

ry
st
du

In
f
) eo

re
F.ManageFinances

tu
te

IT t
A itu

A ic
it u

PI P
(N st

up
st

M n
y In

(S tio

)
In

ro
e
og ta

n Mo

G
g
n

le
ol er
ee

ol

ia an
H.ExploitProperty

on lb

re
l
cr

Fi
rC
A

oc ew

t
lS

en
g
tio
ch n

pe
ee

ss tch
na

Te her

C
ni
D

ka

ff
io

in
ed

an
or
at

s
Competencies

W
Sa
J.RunaBusiness

B
A
MB AB AB SK MB AB
Training Industry Training
Institute College College Association Coop/ARC Institute
Degree/
Courses/ Certificate/
Workshop Certificate Workshops Workshops Workshops Workshops
I. Pre-Production (Development)
A. Develop Properties
B. Secure Financing
C. Assemble a Production Team
II. Production
D. Manage Production Process
E. Manage Contracts
F. Manage Finances
III. Marketing and Dissemination
G. Promote Property
H. Exploit Property
IV. Business and Management
I. Establish / Maintain Industry Relations
J. Run a Business
V. Leadership and Communication
K. Demonstrate Communication and Interpersonal
Competencies
L. Demonstrate Personal Skills

Traininginskillsnotoffered
Traininginlessthan50%ofskillsoffered
Traininginmostskillsoffered(>50%)
Traininginallskillsoffered

Ontario

CanadianFilmCentreToronto
CFC(CanadianFilmCentre)providesadvancedtraininginfilm,televisionandnewmediathrough
education,linkingwithindustrypartnershipsanddirectproductionexperience.CFCalsoprovides
exhibition,financial,anddistributionopportunitiesforProducers.Itsprogramsoffertraininginfilm,
televisionandnewmediatoemergingprofessionalandprofessionalfilmmakers,coveringvirtuallyall
competencies.Programsrangefromlongcoursestoworkshops.

ProjectLaboneweekintensiveinconjunctionwiththeWhistlerFilmFestivalSocietyprovides
creativeandbusinesstrainingaroundanadvanceddramaticfeatureprojectwithUSand

41 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Internationalappeal.Trainingfocusesonbuildingrelationships,collaborationandinvestment
opportunities.

CineplexFilmProgramisa5monthimmersionlabforDirectors,Producers,Writers,andEditors.

FeatureFilmProjectprogramfocusesonthedevelopmentandproductionaspectsandisgeared
towardsparticipantsworkingontheirfirstfeaturefilm.

ShortDramaticFilmProgram

Intelevision,theCFCoffersprogramsgearedtowardsdevelopingcontentfortelevision.Itsmediaprogram
offerstraininginthefundamentalsofnewmedia,includingtheacademic,industrial,artistic,technological
andpracticalaspects.Ithasanincubationprogramfornewmediacompaniesinconjunctionwiththe
BanffCentreandlINISandanInteractiveNarrativeFeaturesProgramwhichdevelopsthecreative,
development,production,financing,marketinganddistributionsideofinteractivefeaturefilms.

WomeninFilmandTelevision(WIFT)
WIFTisamemberdrivenorganization,basedonacoopmodel,whichpromotestelevisionandfilmmaking
forwomen.Itsaimistoprovideongoingtrainingforeverydifferentphaseofafilmmakerscareer
includingentrylevel,emerging,seniorandexecutives.Itsvariousprogramsincludepartnership
agreements(SchulichandHumberCollege),intensiveprograms,appliedprojects,breakfastseries,
mentorshipsandbursaries.Acrosstheseprogramstrainingisprovideddirectlyorindirectlyinvirtuallyall
areasofthecompetenciesidentified.InparticularWIFTprovidestraininginmanagingagreements.WIFT
drawsonprofessionalsfromtheindustrywithabroadbaseofknowledge.

WIFTtrainingplacesastrongeremphasisontelevision.Whiletrainingisavailabletobothmenand
womenthefocusofWIFTistopreparewomenforpositionsofleadershipintheindustry.

Ryerson
RyersonoffersaBachelorofRadioandTelevisionArtscoveringaudio,production,television,broadcasting
andinteractivemediaproduction.Theprogramincludesappliedtrainingaswellaselectivesinlaw,
accounting,economics,financing,marketing,humanresourcesandmanagementpractices.

CanadianFilmandTelevisionProducersAssociaton(CFTPA)
TheNMPisalaunchingpadforthenextgenerationoffilm,televisionandinteractivemediaproduction
talent.InternstrainwithindependentproducersinCanadainallfacetsofproduction,fromdevelopment
topostproduction,dramatodocumentary.Mentorsprovideoneononetrainingtoemergingproducers
andfilmmakers.CFTPAmembersbenefitfromcosteffectiveproductionpersonnel.TheCFTPAalsohosts
industryeventsandrelatedprofessionaldevelopmentactivities.

CanadianScreenTrainingCentre
TheCanadianScreenTrainingCentreinOttawaisanonprofitorganizationwhichisdedicatedtothe
developmentoftheCanadianfilm,televisionandNewMediaindustry.CSTCprovidesintensive,short
durationworkshopsrangingfromentrytoprofessionaldevelopmentleveldesignedtodeveloptheskills
neededtosucceedinthescreenindustry.TheSummerInstituteofFilmandTelevisionpresentsintensive
workshopsinwriting,directing,producing,documentaryandnewmedia.

42 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

SurveySampling
AppendixCprovidesanextendedlistofUniversities,colleges,traininginstitutesorganizationswhichoffer
degreeprograms,certificates,courses,workshopsorprofessionaldevelopservicesinfilmortelevision
productioninOntario.Organizationswereaskedtorespondtoawebsurveytoindicatewhethertraining
isprovidedineachofthecompetencies.Resultsfromtheinterviews,researchandthesamplingof
respondents(Sheridan,ConfederationCollege,Filmbay,IFCO,LoyalistCollegeandConfederationCollege)
aresynthesizedforeachofthetwelvecompetencygroups.
Training Offerings - Ontario Sample Group

Interviewed Survey Respondents Research

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Training Member- College College Training Co-op College College
Institute driven (Co-op Institute
Model) Univeristy
Course Course / Course & Worshops Course Course

Degree
/workshops Workshops modular /Seminar
offerings
E&F
I. Pre-Production (Development)
A. Develop Properties
B. Secure Financing
C. Assemble a Production Team
II. Production
D. Manage Production Process
E. Manage Contracts
F. Manage Finances
III. Marketing and Dissemination
G. Promote Property
H. Exploit Property
IV. Business and Management
I. Establish / Maintain Industry Relations
J. Run a Business
V. Leadership and Communication
K. Demonstrate Communication and
Interpersonal Competencies
L. Demonstrate Personal Skills

Websampleandresearch(Ontario)
indicaterelativelyfewertraining Traininginskillsnotoffered
opportunitiesin Traininginlessthan50%ofskillsoffered

B.SecureFinancing Traininginmostskillsoffered(>50%)

Traininginallskillsoffered
E.ManageContracts

F.ManageFinances

J.RunaBusiness

43 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Qubec

LInstitutnationaldelimageetduson(lINIS)
LINISoffersa4monthtrainingprogramtopostgraduatesorentrantsofatleast21yearsofageinfilm,
television,interactivemedia,documentaryandfeaturefilmwriting.Trainingincludeshandson
productionexperienceandmentoring.Professorsareprofessionalsworkinginthefieldwhichallows
participantsdirectcontactwithandexperienceintheindustry.JobplacementfollowingINIStrainingis
80%infilmand100%ininteractivemedia.Trainingisprimarilyfocusedonpreproduction,production
andleadershipskills.Italsooffersprofessionaldevelopmentandondemandtrainingasrequiredbythe
industry

RegroupementpourlaformationaudiovisuelduQubec(RVAFQ)
RFAVQofferscoursesandtrainingworkshopsforprofessionalsinmediatoparticipantsrangingfromentry
leveltoseniorprofessionalsthroughpartnershipswithINIS,Parlimage,andAQTIS.Trainingisofvarious
durations.Emphasisisbasedontheneedsanddemandsofmembersandthemilieu.Coursesareoffered
inProductionmanagement(preproduction,productionandpostproduction)productiondirection,
marketing,distribution,humanresourcemanagementandbusinessaffairsaswellastechnicalaspectsof
production.Trainingsessionsintaxcreditshavebeenparticularlypopular.

UniversitduQubecMontral(UQAM)
TheBachelorinCommunicationsCinema,providestheoreticandappliedtraininginmedia
communicationsinproduction,directingandpostproduction.Trainingprovidesskillsinallcompetency
areasfortheentrylevelstudentwithparticularemphasisonproduction,marketingandbusinessaffairs
skills.

ConcordiaUniversityMelHoppenheimerSchoolofCinema
TheGraduateFilmProductionisacourseofstudyforfilmmakerscommittedtothenotionofan
independentstudioartpractice.ThestudiocomponentoftheGraduateFilmProductionprogrammeis
dedicatedtoanongoingdialogueandcritiqueoftheprocesses,methodologiesandpracticesof
contemporarycinema.Appliedtrainingisnotprovided.

coledeshautesetudescommercials(HEC)TVAProgram
HECoffersannually,a7dayintensiveprograminfilmandtelevisionmanagement.Thepurposeofthe
programistoprovideskillsandknowledgethatwillenableprofessionalstogainfinancingandbusiness
affairs.Itisopentoprofessionalswithexperienceinthefieldwhowishtoentermanagementoroptimize
thesuccessoftheirmediaproject.

SurveySampling
AppendixCprovidesanextendedlistofUniversities,colleges,traininginstitutesandorganizationswhich
offerdegreeprograms,certificates,courses,workshopsorprofessionaldevelopservicesinfilmor
televisionproductioninQuebec.Organizationswereaskedtorespondtoawebsurveytoindicate
whethertrainingisprovidedineachofthecompetencies.Resultsfrominterviewsandfromthesampling
ofrespondents:UQAM,UniversitdeMontral,CollgeOSullivanandHEC,aresynthesizedforeachof
thetwelvecompetencygroups.

44 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Training Offerings - Quebec Sample Group
Interview Web Survey

c en
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Industry
TypeofInstitution TrainingInstitute Association University University College University

Form.prof.
Continu/ Workshops/ Degree Intensive
TypeofOffering complementaire Prof.Dev Progrma Degree Course Workshop

Language(s) F F F F F F

I. Pre-Production (Development)
A. Develop Properties
B. Secure Financing
C. Assemble a Production Team
II. Production
D. Manage Production Process
E. Manage Contracts
F. Manage Finances
III. Marketing and Dissemination
G. Promote Property
H. Exploit Property
IV. Business and Management

I. Establish / Maintain Industry Relations


J. Run a Business

V. Leadership and Communication


K. Demonstrate Communication and
Interpersonal Competencies
L. Demonstrate Personal Skills

Traininginskillsnotoffered
Websample&research(Quebec)indicate Traininginlessthan50%ofskillsoffered
relativelylessavailabletrainingin
Traininginmostskillsoffered(>50%)
A.DevelopProperties Traininginallskillsoffered

E.SecureFinancing

F.ExploitProperties

J.RunaBusiness

45 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

AtlanticCanada

NovaScotiaCollegeofArtandDesign(NSCAD)
TheFilmprogramintheMediaStudiesdepartmentatNSCADoffersstudentsanopportunitytoexplore
thepractice,history,theoryandanalysisoffilmproductionandfilmart.Theprogramcombinesextensive
courseoptionsinfilmproductiontechniqueswithanacademicoverviewtothehistoryandtheoryoffilm
arts.Thefilmprogramprovidesstudentswithabroadunderstandingofthefilmproductionprocess,as
wellastheopportunitytodeveloptheirownprojects.

NovaScotiaCommunityCollege
RadioandTelevisionArtsProgramTelevisionProductionSpecialization.Thisconcentrationfocuseson
creatingthevaluesbroughtbythetelevisionproductionteamincludingstudiooperations,camera
operations,lightingandaudiotechniques,aswellaspostproductioneditingandmultimedia.

AtlanticFilmmakersCoop(AFC)
AFCisamemberdrivennonprofitorganizationwhichservesapproximately200membersinNovaScotia.
AFCoffersbasicfilmmakingtrainingattheentryandemergingprofessionallevelsaswellasprofessional
development.Programsforemergingproducers(Film5)providedirectorindirecttraininginmostofthe
DevelopmentandProductioncompetencieswithemphasisonbudgetdevelopment,sellinganideaand
creationofabusinessplan.Businessandmanagementisnotastrongfocusoftraining.Approximately
55%oftheiremergingprofessionalstudentscompletedtrainingatNSCADorNSCCandoftencometoAFC
fortheirfirstfilmmakingexperience.

NBFilmCoop
TheNBFilmCoopisanonprofitorganizationinvolvedintheproductionof16mmanddigitalfilms.It
providessupportintheformofworkshops/training,creativesupportandmentoring,grantwriting
assistance,equipment,humanresources,socials,informalwriter/director/actorlabs.
TheNBFilmCoopprovidesintroductoryandintermediateworkshopsinfilmandvideotraininginvarious
aspectsoffilmmaking,includingProductionmanagement,documentaryandmarketing.

NewfoundlandIndependentFilmmakersCoop
NIFCOprovidesassistancetoemergingfilmmakersthroughaccesstofilm,processingandproduction
equipment.Thegoalisproduceashortfilmwithasminimalacosttothefilmmakeraspossible.NIFCO
alsooffersaIntroductiontofilmmakingcourse.

TheNorth

AJIITNunavutMediaAssociation

Ajjiitisafilm,televisionandnewmediaindustryassociationfoundedin2002todeveloptheNunavut
mediaindustrythroughprograms,advocacyandtraining.Thisincludeshostingregionalworkshops,
consultingonthedevelopmentofaMediaStudiesProgramwithArcticCollege,coordinatingan
internationalcircumpolarTradeMission,aTerritorialFilmFestival,andanIndustryServicesandHuman
ResourcesDatabase.AJIITalsohostedaSummerFilmInstitutein2006.

46 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

REELYUKON

TheYukonfilmcommissionwasestablishedin1998andlaunchedtheYukonFilm&SoundIncentive
Programin2001.Itisaimedatattractingfilmproductiontotheregion,anditsindustrydevelopment
programsarecomposedofsixseparatefundsorincentivesinitiativesandincludeprofessional
developmentworkshopsinfilmproductionsponsoredinconjunctionwiththeNorthernYukonFilmand
VideoIndustryAssociation.

6.TrainingGaps

Itispossibletoanalyzetrainingofferingbycompetencygroupandregion,comparethesewiththeneeds
fortrainingexpressedbyProducersandthentoextrapolatetosomedegreeofconfidencepotential
traininggapsbyregion.ThissummarythenwillrecapitulateneedsexpressedbyProducersrelatedto
industrytransitionandtrendsandaswell,identifyissuesspecifictoisolatedregions.

47 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

BritishColumbia

TheWestCoastisahuboffilmandtelevisionproductionactivitywithmuchofthatactivitycomprisedof
serviceproductionforinternationalbusiness.Itstandstoreasonthattraininghasfocusedonthose
relatedskillsandasaresult,technicalcrewandserviceproducersformawelldevelopedtalentpool.The
filmandtelevisionisnothowever,asdevelopedinindigenouswork.Apushtowardsincreaseddomestic
productionbyfunderssuchasTelefilm,shouldpresentaneedfortrainingincontentdevelopment,in
bothtraditionalandnewplatforms5.Increasedfocusondomesticproductionwillalsonecessitatetraining
inbusinessaffairs.

ThesamplingoftrainingproviderswhorespondedtotheWebSurveyindicatesthatwhiletraining
opportunitiesinbelowthelineskillsappearplentiful,traininginbusinessaffairsandmarketingmaynot
beasreadilyavailable,inparticular:

E.ManageContracts

F.ManageFinances

H.ExploitProperty

J.RunaBusiness

BritishColumbia
TrainingOfferingGaps Industrytrends,other CorrespondingProducer
TrainingGaps
identifiedneeds,policy IdentifiedNeeds

E.ManageContracts NewMedia ManageContracts Businessaffairs

F.ManageFinances Multiplatformdelivery Createcontent Managecontracts

H.ExploitProperty Contentdevelopment ExploitProperty Marketing/Exploitation

J.Runabusiness Entrepreneurship Runabusiness Contentcreation(film,


television,newmedia,
Entrepreneurship multiplatform)

Businessmanagement


5
TelefilmannouncementofContentCreatorsFellowshipProgram,Mar6,2008.
48 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

PrairieRegion

EmergingtalentinAlbertais,accordingtosomeproducers,isheadingtoVancouverorL.A.formore
productionexperience.CollegessuchasNAIT,andtosomedegreeSAITandRedDeerCollegeareseeking
toaddresstrainingneedsinbusinessaffairsandsomeproductioncompaniesarementoringyoung
producers.

Forprofessionaldevelopment,ProducerscanbenefitfromorganizationssuchasAMPIAwhichworkswith
industrypartnersontraininginitiatives.TheBanffCentreprovidesaplacetoexperimentwithnew
technologyandtheBanffWorldFilmandTelevisionFestivalprovidesanindustrynetworkingopportunities
andprofessionaldevelopmentatahighcaliberlevel.OtherfestivalssuchasWhistleralsooffer
professionaldevelopmentinconjunctionwithpartnerssuchastheCanadianFilmCentre.

WhilethereislittleformalizedtraininginSaskatchewan,SMPIAprovideswhatareconsideredhighquality,
accessible,andresponsiveprofessionaldevelopmentprogramsforSaskatchewanproducers.Winnipegis
hometotheNSIwhichprovidestraininginallareasoffilmandtelevisionproductionforbeginnerto
seasonedproducer.WinnipegFilmGroupandOnScreenManitobaareactiveinfilm,televisionandmedia
productiontrainingandprofessionaldevelopment.

Theinterviewsandsurveysamplesindicatethattrainingopportunitiesareincreasinglyavailableinthe
prairies,althoughwithslightlylessemphasisinbusinessaffairs.Thethreecompetencygroupsimplicated
are:

F.ManageFinances

H.ExploitProperty

J.RunaBusiness

PrairieRegion
TrainingOfferingGaps Industrytrends,other CorrespondingProducer
TrainingGaps
identifiedneeds,policy IdentifiedNeeds

F.ManageFinances NewMedia Createcontent Businessaffairs(esp.


finances)
H.ExploitProperty Multiplatformdelivery ExploitProperty
ExploitProperty
J.Runabusiness Contentdevelopment Runabusiness
Businessmanagement
Entrepreneurship Entrepreneurship

49 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Ontario

Notsurprisingly,Ontariooffersthegreatestnumberofopportunitiesfortraining,mostofwhicharebased
inToronto.Asthehuboffilmandtelevisionactivity,upwardsof30majorcolleges,universities,private
institutes,coops,industryassociationsandgroupsprovidesomeaspectofprofessionaldevelopment.
OntarioishometovenerableinstitutionssuchastheCanadianFilmCentreorestablisheddegree
programsthatprovideappliedtraining,atRyersonandHumber.WIFTisathrivingandrespectedfilmand
televisionassociationwhichseekstoredressgenderandculturalunderrepresentationintheindustryby
providingproductionskillsattheentry,emergingorseniorlevel.TorontoFilmFestivalisoneofthe
worldsmostillustriousfilmindustryevents.Theareasidentifiedinwhichtrainingislacking,shouldbe
viewedinarelativecontext.Notwithstanding,Ontarioisalargeprovince,andtrainingneedsinmore
isolatedregionsarediscussedlaterinthissection.GapsintrainingofferingsinOntariomaybe:

B.SecureFinancing

H.ExploitProperty

J.RunaBusiness

Ontario
TrainingOfferingGaps Industrytrends,other CorrespondingProducer
TrainingGaps
identifiedneeds,policy IdentifiedNeeds

B.SecureFinancing NewMedia SecureFinancing SecureFinancing

H.ExploitProperty Multiplatformdelivery ExploitProperty ExploitProperty

J.Runabusiness Contentdevelopment Createcontent Contentcreation(film,


television,newmedia,
Entrepreneurship Runabusiness multiplatform)
Entrepreneurship Businessmanagement

50 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Quebec

MontrealisanotherofCanadasfilmandtelevisionhubs.Workshopsandprofessionaldevelopment
supplementthestrengthsofthedegreeprogramofferedthroughUQAM,thediverseappliedprogramsof
INISandthetelevisionmanagementintensiveofferedbyHEC.UniversityofMontrealiscurrently
contemplatinganewprogramthatwouldintegratebusinessmanagementskills.CEGEPSarerecognized
fortraining,especiallyinbelowthelineskills.Trainingopportunitiesappearreadilyavailable,andinfact,
someindustryprofessionalsarguethatMontrealmayhavetoomanytrainingofferingsforwhatthe
marketcanabsorbinnewentrants.Thismeansthattheabilitytostrategicallyfocuscontentand
determinemarketneedswillbeincreasinglyimportantinthisregion.Thesamplingindicatesthatthe
followingpotentialgapsintrainingmayplayintothisdynamic:

A.DevelopProperties

B.SecureFinancing

H.ExploitProperty

J.RunaBusiness

Quebec
TrainingOfferingGaps Industrytrends,other CorrespondingProducer
TrainingGaps
identifiedneeds,policy IdentifiedNeeds

A.DevelopProperties NewMedia Identifypotential DevelopProperties


marketneeds (marketneeds,creative
B.SecureFinancing Multiplatformdelivery concepts,create
Assesscreative exploitationstrategy)
H.ExploitProperty Contentdevelopment concepts
J.Runabusiness Entrepreneurship SecureFinancing
SecureFinancing
ExploitProperty
ExploitProperty
Businessmanagement

51 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

AtlanticRegion
Whileregionalfilmcoopsandartistcollectivesprovideworkshopsandfacilitateopportunitiesfor
productionexperience,formalizedtrainingopportunitiesinallaspectsoffilmandtelevisionproduction
arenotdevelopedinthisregion.NSCADandNCCbothofferdiplomaprogramswithmorefocuson
theoreticalandartisticaspectsofmediaandfilmmaking(NSCAD)orbelowthelineskills(NCC).Trainingin
areasofbusinessaffairs,financeandmarketingarenotreadilyavailable,specifically:

B.SecureFinancing

E.ManageContracts

F.ManageFinancing

G.PromoteProperty

H.ExploitProperty

J.RunaBusiness

Itcouldbeconcludedthatmoreformalizedofferingsintheseskillscouldonlyfosterthedevelopmentofa
poolofskilledcrewandleadersintelevisionproductionintheAtlanticregions,recognizingthatsuchan
initiativewouldonlybepracticalalongsideatargetedindustrydevelopmentstrategybylocalandnational
governmentagencies.

IsolatedRegions

Notwithstandingthefactthatexciting,innovativeandcommerciallysuccessfulfilmandtelevisionprojects
haveoriginatedinremoteareasofthecountry,gapsinformaltrainingexistinallcompetenciesinisolated
regionssuchastheTerritories,insomeareasofAtlanticCanada,orremoteregionsofQuebec,Ontario
andpresumablyBritishColumbia.Thedevelopmentofatrainingstrategywilldependinpartonagiven
regionsindustrydevelopmentstrategy.Forexample,belowthelineskillstrainingmightbethepriorityif
attractinglocationbusinesstotheregionisanindustrypriority.Thecreationofaskilledresourcebase
mightthenleadtoincreasedfocusonindigenousproduction.

Producersinisolatedregionsidentifyprioritiesinmanyareas,includingbutnotlimitedto,

Createcontent

Determiningmarketniche,especiallyforcontentdevelopmentwithnationalorinternational
appeal

Establishindustryrelations(networkingandattendingindustryevents)

52 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Developingdistributionnetworksandrelationships

Fosteringacreativeenvironmentandencouragingcreativethinking

MarketingandDissemination

BusinessAffairs

Learningisprimarilyachievedbydoing,andmentoringisthestandardmeansofdevelopingskillsinthese
regions.Forcompanyowners,someofwhomhavebeenestablishedforover20years,successionisa
seriousconcern.Whiletheyhavementoredpotentialtalent,muchofthattalentwillleavetheregionin
ordertoworkonamoresustainedbasis.

Industryassociationswhichrecognizetheimportanceoffosteringlocalproductionworkers,endeavorto
facilitatetrainingopportunitieslocally,whileatthesametime,worktodevelopanindustrybasethat
mightkeepProducersintheregion.

53 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

7.SummaryandRecommendations

Thedataindicatestraininggapsinbroadcategoriesoffilmandtelevisionproductionvisvisthe
competencylist.ItisbasedonapureanalysisofthetrainingneedsidentifiedbyProducersandan
overviewofgapsintrainingofferings.Strictlywithintheselimitations,traininggapscouldbeidentifiedin
thefollowareas:

A.DevelopProperties

o Identifypotentialmarketneeds

o Createcontent

o Createanexploitationstrategy

B.SecureFinancing

E.ManageContracts

F.ExploitProperty

H.RunaBusiness

Howeverthismethodhasitslimitationsandmaynottakeintoaccountanumberofpoints,someofwhich
werediscussedoverthecourseofthestudy:

BusinessaffairsisatermfrequentlyusedbyProducerstodescribeallbusinessmanagementskills
inherentinagivenfilmortelevisionproductionfromdevelopmentthroughtopostproduction,
whetheritbefinance,budgeting,contracts,grantwriting,negotiatingetc.Thus,businessaffairsis
notexclusivelyafunctionofmanagingabusiness,butisacrossfunctionofallcompetencygroups.
InbroadstrokesProducersagreeemphaticallythatyoungProducersneedtraininginbusiness
affairs.

Itmaybemoreusefulfortrainingprovidersorpolicymakerstofocustheirattentiononthe
trainingneedsidentifiedbyProducers,ratherthanonthesummaryoftraininggapsbyregion.A
strictcomparisonofthetwosetsofdatamaynotprovidethewholepictureofthetraininggap.
Forexample:

o E.ManageContractswasidentifiedasahighpriorityfortraining,buttheofferingsdata
doesnotnecessarilyindicateatraininggap.Giventheplethoraofcontracttypesinthe
industry(26citedinthiscompetencylist)andthecontinualevolutionoftheindustry,itis
doubtfulthattrainingofferingsmeetneedsinallofthecontractareas.

54 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

o A.1Identifypotentialmarketneedswasalsoahighpriorityfortrainingacrossthecountry.
HoweverofferingsgapswereindicatedprimarilyinQuebec.Thisskillcanbehighlygenre,
regionoraudiencespecific.Thereforeitwouldseemthattargetedprofessional
developmentwouldbenecessary.

TrainingneedsbetweenEnglishCanadaandFrenchCanadaarenuanced.Whiletraininggapscan
begeneralized,itwouldbemorevaluabletopayattentiontothesubtledifferencesidentifiedin
trainingneedsofthesetwogroups.

OveronehundredtrainingofferingproviderswereidentifiedacrossCanada,notincludingthe
manylocalandregionalfestivals,coopsandorganizationsthatofferentrylevel,recreationalor
otheractivities.Anexaminationofonesowncapacity,industryandmarket,whilefocusingon
Produceridentifiedtrainingneedsismorelikelytoprovidevaluetotrainingproviders,institutions
andpolicymakers.

Industrytrendssuchasnewtechnology,theevolvingmultiplatformenvironment,thechanging
roleofthebroadcaster,internationalcoproductions,newfundingmodelsandtheevolutionof
contentdevelopmentdominatedthediscussionwithProducersandIndustryprofessionals.Those
preoccupationsshouldbeconsideredinthetrainingdecisions.

Marketingwasidentifiedasastrategicgap,relatednotonlytotrainingbuttostructuralissues
impactingthemarketingofCanadianfilminparticular.

Theindustryineachisolatedregionofthecountryhasspecificneeds,challengesand
opportunities.Population,geography,thetaxstructure,availabilityofskilledworkersandthe
physicalenvironmentallcontributetothedirectionofindustrydevelopment.Trainingissuesare
thuscontextual.

Theissueofsuccessionwasidentifiedasapreoccupationfortheindustryandmayimpactonthe
typeoftrainingthatshouldtakepriority.Skillsnecessarytoassumeaseniorleadershiproleand
tomanagebusinessaffairsmustbeavailableforthistofollownaturally.Policyandplanning
shouldtakefutureneedsoftheindustryintoaccount.

ManyProducersandindustryprofessionalsindicatedthattheindustryisatacrossroads.Change
occurssorapidlythatonecannotpredictwheretheindustrywillbeinfivetotenyears.Thismakes
thedeterminationoftrainingneedsamovingtarget.Flexibilityandtheabilitytorespondquickly
willbeanimportantfactorfortrainingproviders.

Trainingneedswereidentifiednotonlythroughquantitativeresearchbutmoremeaningfully,identified
viatheexperienceandanalysisoftheProducers.Givenmanyofthepointsindicatedaboveitmightbe
morerealisticandaccuratetoconsidertheneedsthatwereidentifiedbyFilmandTelevisionproducersas
infact,afairlyaccurateindicationoftheactualtraininggapswhichexistnowormaypotentiallyexistfive
totenyearsfromnow.

Withthatinmind,anoverviewinanationalcontextmightlookasfollows:

55 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

TRAININGNEEDSANDGAPSFORFILMANDTELEVISIONPRODUCERS

ByCompetencyGroupsandAreas

I. PreProduction(Development)

C. Assemblea
A.DevelopProperties B. SecureFinancing
ProductionTeam
Identifypotentialmarketneeds Allcompetenciesandespecially:

Assesscreativeconcepts Sellanideapitch

Createcontent Negotiatefinancingespeciallynew
New:Createcontentformulti financingmodels
platformenvironment
Negotiatepartnerships
N/A
Createexploitationstrategy
New:Createamultiplatform Securedistributionguarantees
exploitationstrategy
*New:Developdistributor
Businessaffairsaspectsof relationships(especiallyinisolated
developproperties regions)

56 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

II. Production

D. ManageProductionProcess E. ManageContracts F. ManageFinances

Competenciesspecificallyrelatedto
businessaffairsespecially:

Internetrightsagreements

Coproductionagreements

*New:manageinternationalco
productionagreements
N/A Optimizetaxcredits
Distributionagreements

Equityagreements

Bridge/gapfinancingagreements&
interimfinancingagreements

Ancillaryagreements

III. MarketingandDissemination

G. PromoteProperty H. ExploitProperty

Allcompetencies Allcompetencieswithemphasisonintegrating
exploitationopportunitiesinthemultiplatform
New:emphasisoncontemporarymarketingand environment.
promotionmodels,especiallymultiplatform
deliverymechanisms. Trainingandindustrydevelopmentthataddresses
strategicgapsinmarketing,especiallyinfilm.
Trainingandindustrydevelopmentthataddresses
strategicgapsinmarketing,especiallyinfilm.

57 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

IV. BusinessandManagement

I. Establish/maintainIndustryRelations J. RunaBusiness

Keycorporateleadershipskillssuchas

Developacorporatevision
Developacorporatebusinessplan
Respondtomarkettrendsandchanges
N/A
Maximizecorporateassets(Qubec)
Exercisefiduciaryresponsibilities(Qubec)
Optimizeexploitationofintellectualproperty(Quebec)

*New:Entrepreneurialskills

V. LeadershipandCommunication

K. DemonstrateCommunicationand
L. DemonstratePersonalSkills
InterpersonalCompetencies
Allcompetenciesviewedasimportantanddevelopedor Allcompetenciesviewedasimportantanddevelopedor
fosteredthroughmentoringandonthejobtrainingand fosteredthroughmentoringandonthejobtrainingand
leadershipbyexample. leadershipbyexample.

58 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

8. Appendices

A. CompetencyListsforFilmandTelevisionProducers

EnglishList
AREAI:PREPRODUCTION AREAII:PRODUCTION
A. DevelopProperties D. ManageProductionProcess

1. Identifypotentialmarketneeds 1. Organizeworkflow
2. Assesscreativeconcepts 2. Createaschedule
3. Assessprojectviability 3. Assignresponsibilities
4. Establishchainoftitle 4. Controlexecutionoftechnicalprotocol
5. Executeduediligence 5. Approveprogress
6. Drivecreativeprocess 6. Maintaincreativeenvironment
7. Focuscontent 7. Manageexpectations
8. Fosteracreativeenvironment 8. Managecrises
9. Createcontent 9. Mediateconflicts
10. Createexploitationstrategy 10. Managedeliverables
11. Establishtechnicalprotocol
12. Setthetimeline E. ManageContracts

B. SecureFinancing 1. Incorporateacompany
2. Managepartnershipagreements
1. Sellanideapitch 3. Manageintellectualproperty
2. Prepareabudget 4. Managelicenseagreements
3. Createaproject/businessplan 5. Managecoproductionagreements
4. Attachmarketabletalent 6. Manageoptionagreements
5. Prepareandsubmitapplicationsforfunding 7. Managesponsorshipagreements
6. Ensurecashflow 8. Managerelatedpartyagreements
7. Negotiatefinancing 9. Manageinternetrights
8. Negotiatepartnerships(coproductions,co 10. Managedistributionagreements
ventures,etc.) 11. Manageequityagreements
9. Secureloans/grants/advances 12. Managebridge/gapfinancingagreements
10. Secureequityinvestment 13. Manageinterimfinancingagreements
11. Securepresales 14. Manageinsuranceagreements
12. Securedistributionguarantee 15. Managebonderagreements
13. Initiateancillaryrevenueopportunities 16. Managetalentagreements
14. Secureeligibilitycertifications 17. Managecrewagreements
15. Closeadeal 18. Manageequipmentagreements
19. Managelocationagreements
C. AssembleaProductionTeam 20. Managefacilityagreements
21. Managereleaseagreements
1. Attracttalent 22. Managepostproductionagreements
2. Evaluateprojectneeds 23. Managearchivesagreements
3. Scouttalent 24. Managemusicagreements
4. Communicatejobdescriptions 25. Manageancillaryagreements
5. Selectteammembers 26. Manageclearanceagreements
6. Negotiatehiringcontracts

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F. ManageFinances 11. Optimizeexploitationofintellectual
propertyrights
1. Establish/maintainaccountingsystem 12. Maximizecorporateassets
2. Limitpersonalandcorporateliabilities 13. Createpositivecompanyprofile
3. Monitorcashflow 14. Developanexitstrategy
4. Controlexpenditures 15. Establish/maintainasuccessionplan
5. Reallocateresources
6. Controlfinancialreporting
7. Optimizetaxcredits AREAV:LEADERSHIPandCOMMUNICATION
K. DemonstrateCommunicationand
AREAIII:MARKETINGandDISSEMINATION InterpersonalCompetencies
G. PromoteProperty
1. Speakinaneffectivemanner
1. Develop/executemediastrategy 2. Writeinaneffectivemanner
2. Nurturemediacontacts 3. Exerciseleadership
3. Exploitmediaopportunities 4. Persuade
4. Create/approvepromotionalmaterials 5. Motivate
5. Promotethroughstrategicpartnerships 6. Projectconfidence
6. Participateinindustryfestivalsand 7. Projectcompetence
competitions 8. Conductmeetings
9. Readpeople
H. ExploitProperty 10. Collaborate
11. Negotiate
1. Developanexploitationstrategy 12. Mediate
2. Participateinindustrymarkets
3. Exploitdistributionopportunities M. DemonstratePersonalSkills
4. Exploitformatopportunities
5. Exploitmerchandisingopportunities 1. Havepassion
6. Exploitsponsorshipopportunities 2. Demonstratestrategicthinking
7. Exploitstockfootageopportunities 3. Makedecisions
4. Multitask
AREAIV:BUSINESSandMANAGEMENT 5. Takecalculatedrisks
I. Establish/MaintainIndustryRelations 6. Exerciseflexibility
7. Demonstratecreativity
1. Subscribetoindustrypublications 8. Exerciseresourcefulness
2. Participateinindustryassociations 9. Takeownership
3. Networkthroughindustryevents 10. Delegate
4. Cultivatestrategicrelationships 11. Demonstrateambition
12. Exercisecommonsense
J. RunABusiness 13. Exercisetenacityandperseverance
14. Staycurrent
1. Developacorporatevision
2. Developacorporatebusinessplan
3. Establish/maintaincompanybrand
4. Respondtomarkettrendsandchanges
5. Seeprojectsincorporatecontext
6. Establish/maintaincorporatepolicies
7. Exercisefiduciaryresponsibilities
8. Manageoverhead
9. Buildstaffloyalty
10. Establish/maintainanetworkof
professionalservices

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FrenchList 1. Organiserleprocessusdetravail
2. Crerunchancier
I. PRPRODUCTION
3. Distribuerlesresponsabilits
A. Dvelopperdesproduits
4. Superviserlexcutionduprotocole

technique
1. Dfinirlesbesoinsventuelsdumarch
5. Approuverlesdiffrentestapes
2. valuerdesconceptscratifs
6. Favoriserunenvironnementcratif
3. valuerlaviabilitdunprojet
7. Grerlesattentes
4. tablirlachanedetitres
8. Grerlescrises
5. Fairepreuvedunediligenceraisonnable
9. Fairedelamdiationlorsdeconflits
6. Dirigerleprocessusdecration
10. Grerleslivrables
7. Orienterlecontenu

8. Crerunenvironnementdecration
E. Grerlescontrats
9. Crerducontenu

10. Dfinirunestratgiedexploitation
1. Incorporeruneentreprise
11. tablirunprotocoletechnique
2. Grerlesententesdepartenariat
12. tablirunchancier
3. Grerlapropritintellectuelle

4. Grerlescontratsdelicence
B. Miseenplacedufinancement
5. Grerlesententesdecoproduction

6. Grerlesconventionsd'option
1. Vendreuneide(faireuneprsentation)
7. Grerlesententesdecommandite
2. Prparerunbudget
8. Grerlesententesdespartiesavecliende
3. laborerunprojetetunplandaffaires
parent
4. Assurerlaparticipationdactricesetacteurs
9. GrerlesdroitsdInternet
connus
10. Grerlesententesdedistribution
5. Fairedesdemandesdefinancement
11. Grerlesententesdevaleurnetterelle
6. Assurerlesmouvementsdetrsorerie
12. Grerlesententesdecrditdanticipation
7. Ngocierlefinancement
13. Grerlesententesdefinancement
8. Ngocierlespartenariats(coproductions,
intrimaire
coentreprises,etc.)
14. Grerlesententesdassurances
9. Acqurirlesprts,lessubventionsetles
15. Grerlesententesdegarantiesdebonne
avances
fin
10. Acqurirdesinvestisseurs
16. Grerlesententesaveclesactriceset
11. Assurerlaprvente
acteurs
12. Assurerlagarantiededistribution
17. Grerlesententesaveclquipe
13. Trouverdespossibilitsderevenus
18. Grerlesententessurlquipement
additionnels
19. Grerlesententessurleslieuxdetournage
14. Obtenirlescertificationsdligibilit
20. Grerlesententessurlesinstallations
15. Conclureleprocessusdaffaire
21. Grerlesententesdedroitlimage

22. Grerlesententesdepostproduction
C. Monterunequipedeproduction
23. Grerlesententessurlesarchives

24. Grerlesententessurlamusique
1. Susciterlintrtdesactricesetacteurs
25. Grerlesaccordsauxiliaires
2. valuerlesbesoinsduprojet
26. Grerlesententesdedroitdutilisation
3. Dpisterdenouveauxtalents

4. Afficherlesdescriptionsdemploi
F. Grerlesfinances
5. Choisirlesmembresdelquipe

6. Ngocierlescontratsdembauche
1. tablirunsystmedecomptabilitetle

tenirjour
II. PRODUCTION
2. Limiterlesrisquespourlesindividuset

lentreprise
D. Grerleprocessusdeproduction

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3. Contrlerlesmouvementsdetrsorerie 5. Situerlesprojetsdanslecontextede
4. Contrlerlesdpenses lentreprise
5. Raffecterlesressources 6. tablirdespolitiquespourlentrepriseetles
6. Contrlerlesrapportsfinanciers mettrejour
7. Optimiserlescrditsdimpt 7. Exercerdesresponsabilitsfiduciaires
8. Grerlesfraisgnraux
III. MARKETINGETDIFFUSION 9. Construirelaloyautdupersonnel
10. tablirunrseaudeservicesprofessionnels
G. Fairelapromotiondunproduit etlentretenir
11. Optimiserlexploitationdesdroitssurla
1. laborerunestratgiemdiatiqueetla propritintellectuelle
mettreenuvre 12. Maximiserlesavoirsdelentreprise
2. Entretenirdesrelationsaveclesmdias 13. Crerunprofildentreprisepositif
3. Profiterdespossibilitsquoffrentles 14. Prparerunestratgiededpart
mdias 15. tablirunplanderelveetlemettrejour
4. Creretapprouverlematrielde
promotion V. LEADERSHIPetCOMMUNICATION
5. Fairedelapromotiongrcedes
partenariatsstratgiques K. Dmontrerdeshabiletsde
6. Sinscrireauxfestivalsetauxconcoursde communicationetdescomptences
lindustrie interpersonnelles

H. Exploiterleproduit 1. Parlerdemanireefficace
2. criredemanireefficace
1. Mettresurpiedunestratgiedexploitation 3. Exercerduleadership
2. Fairepartiedesmarchsdelindustrie 4. Savoirpersuader
3. Exploiterlespossibilitsdedistribution 5. Savoirmotiver
4. ExploiterlespossibilitsdeFormats 6. Projeterlaconfiance
5. Exploiterlespossibilitsenproduitsdrivs 7. Projeterlacomptence
6. Exploiterlespossibilitsdecommandites 8. Dirigerdesrunions
7. Exploiterlespossibilitsdevendredes 9. Savoirsaisirlespersonnalits
dimagesdarchives 10. Collaborer
11. Ngocier
IV. GESTIONETAFFAIRES 12. Fairedelamdiation

I. tabliretentretenirdesrelationsauseinde L. Dmontrerdescomptencespersonnelles
lindustrie
1. Avoirdelapassion
1. Sabonnerauxpublicationsdelindustrie 2. Penserdefaonstratgique
2. Fairepartiedesassociationsdelindustrie 3. Prendredesdcisions
3. Fairedurseautagelorsdesactivitsde 4. Fairepreuvedepolyvalence
lindustrie 5. Prendredesrisquescalculs
4. Cultiverdesrelationsstratgiques 6. Fairepreuvedeflexibilit
7. Fairepreuvedecrativit
J. Greruneentreprise 8. Fairepreuvedingniosit
9. Prendreencharge
1. Avoirunevisiondentreprise 10. Dlguer
2. tablirunplandaffairespourlentreprise 11. Avoirdelambition
3. tablirlimagedelentrepriseetla 12. Fairepreuvedebonsens
maintenir 13. Fairepreuvedetnacitetdepersvrance
4. Sadapterauxtendancesetaux 14. Setenirjour
changementsdumarch

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B.TrainingNeeds

i. ListofProducerandIndustryInterviewSubjects


Producers
1 ChrisKnight Ottawa,ON ExecutiveProducer Knight
Enterprises
2 SylvieKrasker Montreal,QC Producer Consultant
3 MarySexton SaintJohns,NFLD Producer
4 GeoffLeBoutillier* StMargaretsBay,NS ProducerLowenbeHoldings

5 JoeNovak Calgary,AB Producer
President/CEOJoeMedia
6 MarkSandiford* Charlottetown, PEI Producer
President:BeachwalkerFilms
7 RhondaBaker Regina,SK Producer

8 SueStranks Ottawa,ON Producer/Consultant
9 JacquesBlain Montreal,QC Producer CirrusCommunications

10 KevinTierney Montreal,QC Producer
PresidentParkEx
11 MargaretMardirossian Edmonton,AB Producer
PresidentAnaidProductions
12 VincentLeduc Montreal,QC Executive Producer Zone3
13 MoniqueSimard Montreal,QC Producer Thalie
14 VicPelletier Matane,QC Producer ProductionsVicPelletier
15 CarmenGarcia Montreal,QC Film
ArgusFilms
16 DaphneCurtis Fredericton,NB Partner AtlanticMediaWorks
17 FrancoisSavoie Moncton,NB President FranoisSavoie
ConnectionsProductions
18 ChristinaWillings Edmonton,AB Producer
OtherIndustryProfessionals
19 ErinOakes Halifax,NS EducationCoordinator,Atlantic
FilmmakersCoop
20 SadiaZaman Toronto,ON ExecutiveDirector,WIFT
21 LizJanzen Winnipeg,MB EducationCoordinator,National
ScreenInstitute
22 KathrynEmslie Toronto,ON Director, CFC Film/CFCTelevision
CanadianFilmCentre
23 AlanBrooks Edmonton, AB ExecutiveDirector,AMPIA
24 CherylDalmer Edmonton,AB Director,ProducerEmergence
Program,NAIT
25 GinettePetit Montreal,QC Producer,DirectorCinemaProgram
INIS
26 CharlotteDeWolff Nunavut ExecutiveDirector,AJIIT
27 LucilleDemers Montreal,QC Director,RFAVQ
28 DannyChalifour Montreal,QC Director,IndustryDevelopoment,
Telefilm
29 BarbaraDunlop Whitehorse,YT YukonFilmandSoundCommissioner

63 TrainingGapsAnalysisFilmandTelevisionProducers
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ii. ProducerInterviewQuestions

Telephoneinterviewswereprearranged.Producersweresentacompetencylistinadvanceandtold
thattheywouldbeaskedaseriesofquestionsrelatingtothecompetencies.Interviewsrangedfrom20
50minutesinlength.Theinterviewertookandtranscribedinterviewnotes.Producerswereassured
thatnocommentswouldbeattributabletoanyindividual.

Thefollowingquestionsprovidedtheframeworkfortheinterview,althoughtheinterviewstructure
providedenoughflexibilityforafreediscussionifthisappearedtobethebestwayforinformationto
emerge.

InterviewQuestions:

Whatarethemaintypesofproductionworkthatyoudo?
Whatisthenatureofyourwork(independent,freelance,company)?
Inwhatregion(s)doyouwork?
Inthisgroupofskillsandcompetencies,canyouidentifyanywhichyoubelievetobe
particularlyimportant?Canyouelaborateonyouranswer?
Arethereanyadditionaloremergingcompetenciesorskillsnotindicatedhere,thatyou
believeareimportantorwillbecomeimportanttotheroleofproducer?
Howdoyoubelievefilmandtelevisionproducersacquireskills?
Whatdothinkseeasthepreferablemeansforacquiringskills?
Whatdoyoubelieveareimportantconsiderationsintheindustryforthefutureofthe
industrythatwillhaveanimpactontraining?
Isthereanythingelsethatyouwouldliketotellmeaboutskillsortrainingintheindustry?

64 TrainingGapsAnalysisFilmandTelevisionProducers
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iii. ProducerWebSurveyRespondentProfile

Figure8.1 RespondentAge
English French
89%ofrespondentsaged31+ 83%ofrespondents41+




Figure8.2 YearsofExperience
Question:Pleaseindicatethenumberofyearsofexperienceyouhaveasafilmand/ortelevisionproducer.
English50%ofrespondentshavelessthan10yearsexperience.
28%haveover20yearsexperience.

65 TrainingGapsAnalysisFilmandTelevisionProducers
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Figure8.3 LevelorTypeofTraining
Question: Pleaseindicatethelevelortypeoftrainingyouhavereceived,ortheprimarymeansofprofessionaldevelopmentthathaspreparedyouforyourworkasafilmand/or
televisionproducer.

English French
44%Onthejobtraining,19%Degree 61%degree,28%onthejobtraining
14%Other,includingCanadianFilmCentre(2mentions)andacombination Other:10%acombinationofdegree,workshopsandonthejobtraining.
Mentorships,Courses,OntheJobTraining,Degreesinotherfields(7mentions)


Figure8.4 ProvinceofTraining
Question:Pleaseindicatetheprovinceorterritorywhereyoureceivedmostofyourtrainingorprofessionaldevelopment.

English
ON35%,AB20%,BC16%,QC12%
Other:London,England(2),USANYC&California(3),France(1)
French
17outof18respondentsindicated:Qubec
1respondentindicated:Paris

66 TrainingGapsAnalysisFilmandTelevisionProducers
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Figure8.5 Provinceorterritoryofwork
Question:Pleaseindicatetheprovinceorterritoryinwhichyounowconductthemajorityofyourwork.

English
On40%,AB23%,BC20%,QC11%
French
100%ofRespondentindicatedQuebec.










Figure8.6 ProfessionalRole
Question:Pleaseindicatethecategorywhichbestdescribesyourprofessionalroleorjobtitle.

English French
35%CompanyOwner Balancedprofileofresponses
Other:ConsultingProducer/WriterProducer,DevelopmentManager, Other(3)Producteur excutif (Propre maison de production), Pigiste,
AssociateProducer(funding),ProductionExecutive,Alloftheabove, Directricegnrale(maisondeproductionfinance,ententes,comptabilit)
BusinessAffairs,
VicePresidentandGeneralManager











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Figure8.7 SizeofCompany
Question:Sizeofcompany:Pleaseindicatetheapproximatenumberofregularemployeesinyourcompany.Ifyouareafreelanceproducerorsoleproprietorcompanywithnoregular
employees,indicateone(1).

English French
71%ofrespondentscompaniesrangefrom15employees 55%ofrespondentscompaniesrangefrom15employees
39%ofrespondentscompaniesrangefrom620employees

68 TrainingGapsAnalysisFilmandTelevisionProducers
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iv. ProducerTrainingPreferencesData

Means of Training Preferences By Competency - Survey Results


Preferred Means of Training / Professional Development
English Survey (# of responses) French Survey (# of responses)
Multiple responses possible. Multiple Responses possible

Workshop / Seminar

Workshop / Seminar
On the Job Training

On the Job Training


Mentorship

Mentorship
Competencies

Course

Course
Other*

Other*
N/A

N/A
I. Pre-Production (Development)
A. Develop Properites 10 8 10 19 1 1 2 6 3 7 1 1
B. Secure Financing 9 9 13 22 0 0 3 6 4 8 0 0
C. Assemble a Production Team 8 7 4 10 2 1 0 2 3 4 2 1
II. Production
D. Manage Production Process 9 5 7 15 1 1 0 2 2 3 2 0
E. Manage Contracts 5 7 11 14 1 0 2 4 4 6 1 0
F. Manage Finances 4 7 14 14 3 0 1 2 4 3 1 0

III. Marketing and Dissemination


G. Promote Property 6 7 9 19 2 0 1 3 5 4 1 0
H. Exploit Property 7 7 10 21 1 1 0 2 4 3 1 0

IV. Business and Management


I. Establish / Maintain Industry Relations 6 6 3 7 4 2 0 1 3 3 2 0
J. Run a Business 6 9 9 15 3 1 1 3 4 5 1 0
V. Leadership and Communication 0
K. Demonstrate Communication and
Interpersonal Competencies 4 7 12 18 2 1 0 2 4 4 2 0

L. Demonstrate Personal Skills 6 8 6 13 4 3 0 2 3 3 2 0


Average 7.0 7.0 9.0 16.0 2.0 0.9 0.8 3.0 4.0 4.0 1.3 0.2

*Other: Verbatim responses related to means of training


I. Pre-Production
Preferred training for all above is working as an assistant or associate to a producer. A mentorship program, rather than school, would be the most
advantageous for a would-be producer.
on-the-job or mentorship is nessisary - going off site is difficult when you need to manage/use time to bring in income.
It is important to have Professionals teaching the courses, not simply teachers but relevant contributors. Sheridan Colleges Advanced Television & Film
program is excellent at this.

II. Production
I am very interested in seminars in this area.
On the job paid training in the accounting deptartment or legal department would be idea!

III. Marketing & Dissemination


More initiatives to send 'new comers' to the various festivals and markets. Help with funding of festival and market trips and expenditures.
Once again it's necessary to find a mentorship with a distribution company.
Final Comments

Training with peers can sometimes be intimidating, is there a way to maybe have an online 'toolbox' of articles and advice on various topics (but specific
to television) that can be accesible anytime? Thank you!

Basically, for independent producers, there is really no available mentorship. I would value this above all else.
Training is always a benefit to understanding the roles of a job position, but memtorship programs are the best. To be able to get one-on-one feedback
on questions, concerns, problems - nothing can compare with on the job training!

69 TrainingGapsAnalysisFilmandTelevisionProducers
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v. ProducerWebSurveyCompetencyData

ForeachCompetencygroup,respondentswereaskedthefollowquestion:

Pleaseidentifytheimportanceofeachoftheskillstoyourwork,andifyourequireordesiretraininginanyof
thoseskills.

Veuillezindiquezlimportancedechacunedescomptencesidentifiedansvotretravailetsivousavezbesoin
deformationoudsirezenrecevoirdansluneoulautredecescomptences.

Theresponsesforeachcompetencyweretwofold.Respondentsindicatediftheybelievedthecompetencywas
important,andsecond,iftheyrequiredordesiredtraininginthatcompetency.

Noresponsesweremandatory.Respondentscouldchoosetoansweronlythosesectionstheyconsideredrelevant.

ReadingtheChart

Theresponserateforeachquestionisprovidedinthefiguresthatfollow.Thegraphindicatesthenumberofresponses
foreachpartofthetwofoldquestion.

Example:Inthefollowingquestion,SectionG.PromoteProperties,therewere31respondents.

5/31respondents Indicatestotal
12/32respondents (16%)indicateNo numberofclicksfor
(39%)indicateI Skillisnotreally eachresponsenot
require/desire
required. important
traininginthisskill.



21/31respondents
(68%)indicateallof
aboveforskillis
necessary/desirable.

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Figure8.8ProducerCompetencyEvaluation Respondents:32
AreaI.PreProduction(Development)A.DevelopProperties Highindicationoftrainingneedsfor:
A.10Createexploitationstrategy
English (41%)
A.1Identifypotentialmarketneeds
(34%)
9%19%respondentindicationoftrainingneed
inallcompetencies
22%ofrespondentsindicatethatA.11Establish
technicalprotocolisnotarequiredcompetency.

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Respondents:10
French Greatestareaoftrainingneedidentifiedfor:
A.10Createexploitationstrategy
(50%)
A.2Assesscreativeconcepts(40%)

10% 30%ofrespondentsexpresstraining

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Figure8.9 Respondents:32
ProducerCompetencyEvaluation Moderatetohighindicationoftrainingneeds:
AreaI.PreProduction B.8Negotiatepartnerships(37.5%)
B.SecureFinancing B.13Initiateancillaryrevenueopportunities
(37.5%)

B.12Securedistributionguarantees(37.5%)
English B.11Securepresales(34%)
19%to25%identifytrainingneedinallbut3areas(B.2
Budget, B.5 funding applications, B.6 cash flow)



















French

Respondents:10
Moderateindicationoftrainingneeds:
B.1Sellanidea(pitch)
(30%)
B.8Negotiate
partnerships(30%)
B.12Securedistribution
guarantees(30%)
Trainingneedsexpressedinallareas
exceptB.4Attachmarketabletalent.

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Figure8.10 ProducerCompetencyEvaluationAreaI.PreProduction(Development)C.AssembleaProductionTeam

English
Respondents:32
Indicationoftrainingneedslowto
moderate(9%19%expressionofneed)
22%ofRespondentsindicate:C.4
Communicatejobdescriptionsasnot
reallyrequired.

French

Respondents:10
Nosignificanttrainingneedsidentified

30%indicateskill:C.4Communicate
jobdescriptionsasnotreally

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Figure8.11 ProducerCompetencyEvaluationAreaII.ProductionD.ManageProductionProcess


English Respondents:32
Trainingneedsindicatedinallcompetencies.


Moderateidentificationoftrainingneedfor:

D.9Mediateconflicts8(25%)

9%19%ofrespondentsindicatetrainingneed

in all other competencies.


















French

Respondents:10
Nosignificanttrainingneeds
identified

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Figure8.12 ProducerCompetencyEvaluationAreaII.ProductionE.ManageContracts

English




Respondents:32

Trainingneedsindicatedinallcompetencies(6%28%range)
Moderatetohighidentificationoftrainingneedsformanaging:
o E.9Internetrights10(31%)
o E.12Bridge/gapfinancingagreements10(31%)
o E.11Equityagreements10(31%)
o E.10Distributionagreements9(28%)
o E.25Ancillaryagreements8(25%)
o E.13Interimfinancingagreements8(25%)
6%to19%rangeofresponseskillisnotreallyrequiredinall
competencies
31%indicateE.1Incorporateacompanyisnotreallyarequiredskill

76 TrainingGapsAnalysisFilmandTelevisionProducers
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/Continued

ProducerCompetencyEvaluationAreaII.ProductionE.ManageContracts

French

Respondents:10
Mostsignificanttrainingneedsidentifiedformanaging:
o E.9Internetrights(50%)
o E.10Distributionagreements(40%)
Secondarylevelofneedindicatedin
o E.5Coproductionagreements(20%)
o E.12Bridge/gapfinancingagreements(20%)
o E.3Intellectualpropertyagreements(20%)
o E.11Equityagreements(20%)
o E.13Interimfinancingagreements(20%)
Responseindicatedcompetencyisnotreallyrequired
o E.1Incorporateacompany(30%)
o E.16Managetalentagreements(30%)
o E.15Managebonderagreements(30%)

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Figure8.13 ProducerCompetencyEvaluationAreaII.ProductionF.ManageFinances

English

Respondents:32
Moderateidentificationoftrainingidentifiedfor:
F.7Optimizetaxcredits8(25%)
13%19%respondentsidentifytrainingneedsinall
othercompetencies.

19%ofrespondentsidentifyF.1Establish/maintain
anaccountingsystemasnotreallyarequiredskill.

















French

Respondents:9
Nosignificanttrainingneeds
identified

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Figure8.14 ProducerCompetencyEvaluationAreaIII.Marketing&DisseminationG.PromoteProperty

English

Respondents:31
Highrateofidentificationoftrainingneeds:
G.1Develop/executemediastrategy12(39%)
G.5Promotethroughstrategicpartnerships10
(32%)
G.3Exploitmediaopportunities8(25%)
16%ofrespondentsidentifytrainingneedinallother
areas


















French
Respondents:9
Highrateofidentificationoftrainingneeds:
G.1Develop/executemediastrategy(44%)
G.2Nurturemediacontacts(44%)
G.5Promotethroughstrategicpartnerships
(44%)
11%to33%respondentsidentifytrainingneedsinall
otherareas

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Figure8.15 ProducerCompetencyEvaluationAreaIII.Marketing&DisseminationH.ExploitProperty

English

Respondents:31
Highrateofidentificationoftrainingneeds:
H.1Developanexploitationstrategy12(39%)
H.5Exploitmerchandisingopportunities12(39%)
H.6Exploitsponsorshipopportunities11(35%)
H.3Exploitdistributionopportunities10(32%)

16%to23%ofrespondentsidentifytrainingneedinall
competencies.


















French
Respondents:9
Moderaterateofidentificationoftrainingneeds:
H.1Developanexploitationstrategy(33%)
H.5Exploitsponsorshipopportunities(33%)
22%respondentsidentifytrainingneedsinall
competencies

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Figure8.16 ProducerCompetencyEvaluationAreaIV.BusinessandManagementI.Establish/MaintainIndustryRelations

English


Respondents:32
Moderatetolowidentificationoftrainingneeds:
I.4Cultivatestrategicrelations7(22%)

Skillnotreallyrequired:Responserate:
I.1Subscribetoindustrypublications10(31%)
I.2Participateinindustryassociation8(25%)
Networkthroughindustryevents6(19%)


















French

Respondents:9
Nosignificanttrainingneeds
identified

81 TrainingGapsAnalysisFilmandTelevisionProducers
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Figure8.17 ProducerCompetencyEvaluationAreaIV.BusinessandManagementJ.RunaBusiness

English
ProducerCompetencyEvaluationAreaIV.BusinessandManagementJ.RunaBusiness

Respondents:31

Trainingneedsindicatedinallcompetencies(3%23%range)
Moderateidentificationoftrainingneedsformanaging:
o J.1Developacorporatevision7(23%)
o J.2Developacorporatebusinessplan7(23%)
o J.4Respondtomarkettrendsandchanges7(23%)
o J.14Developanexitstrategy7(23%)
o J.3Establish/maintainacompanybrand6(19%)
o J.12Maximizecorporateassets6(19%)
3%to23%rangeofresponseskillisnotreallyrequiredinall
competencies

82 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

French

Respondents:10

Lowindicationoftrainingneeds
o J.7Exercisefiduciaryresponsibilities(20%)
o J.11Optimizeexploitationofintellectualproperty(20%)
o J.12Maximizecorporateassets(20%)
Moderateresponsetoskillisnotreallyrequiredinall
competencies(20%30%)

83 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Figure8.18 ProducerCompetencyEvaluationAreaV.LeadershipandCommunicationK.DemonstrateCommunicationand
InterpersonalCompetencies

English

Respondents:32

Moderatetohighindicationoftrainingneedsinallcompetencies(13%
31%range)
K.1Speakinaneffectivemanner10(31%)
K.11Negotiate10(31%)
K.3ExerciseLeadership9(28%)

K.8Writeinaneffectivemanner8(25%)
K.12Mediate8(25%)

French

Respondents:10

Lowtomoderateindicationoftraining
needs(10%20%range)
K.3Exerciseleadership(30%)

84 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications


Figure8.19 ProducerCompetencyEvaluationAreaV.LeadershipandCommunicationL.DemonstratePersonalSkills

English
Respondents:32
Lowindicationoftrainingneed
L.2Demonstratestrategicthinking6(19%)
L.10Delegate6(16%)
75%indicatethatallcompetenciesarerequired.
3%19%rangeindicatingcompetenciesarenotreallyrequired.

















French

Respondents:10
Lowindicationoftrainingneed
L.2Demonstratestrategic
thinking(30%)

85 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

C. TrainingOfferings

i. ListofTrainingSchools,Organizations,Associations
Consulted6 Schools/Colleges/Universities
1. BanffCentreforContinuingEducation Banff,Alberta
2. SAITPolytechnic Calgary,AB
National 3. RedDeerCollege RedDeer,AB
4. UniversityofRegina Regina,SK
Telefilm 5. SaskatchewanInstituteofAppliedScience PrinceAlbert
andTechnology(SIAST)
CanadianFilmandTelevisionProductionAssociation(CFTPA) 6. SaskatchewanInstituteofAppliedScience Saskatoon
andTechnology(SIAST)
BritishColumbia 7. UniversityofWinnipeg Winnipeg,MB
8. UniversityofManitoba Winnipeg,MB
9. UniversityofAlberta Edmonton,AB
Schools/Colleges/Universities
10. MountRoyalCollege Calgary
1. ArtInstituteofVancouver Vancouver 11. NorthernAlbertaInstituteofTechnology Edmonton,AB
2. ColumbiaAcademy Vancouver Other(Associations,Coops,ArtistRunCentres)
3. VancouverFilmSchool Vancouver
12. CalgarySocietyofIndependentFilmmakers Calgary
4. Langaracollege Vancouver
(CSIF)
5. CapilanoCollege NorthVancouver
13. AlbertaMotionPicturesIndustry Edmonton
6. RoyalRoadsUniversity Victoria Association
7. BritishColumbiaInstituteofTechnology Burnaby 14. PAVEDArts Saskatoon
8. VictoriaMotionPictureSchool Victoria
15. SaskatchewanFilmpoolCooperative Regina,SK
9. CamosunCollege Victoria
10. PacificAudioVisualInstitute Vancouver 16. SaskatchewanMotionPictureIndustry Regina,SK
Association
11. SimonFraserUniversity Burnaby
17. SaskFilm Regina,SK
12. GulfIslandsFilmandTelevisionSchool GalianoIsland 18. NationalScreenInstitute Winnipeg,MB
13. CentreforArtsandTechnology(CATO) Kelowna
19. ManitobaMotionPictureIndustry Winnipeg,MB
14. EmilyCarrInstituteofArtandDesign Vancouver
15. NanaimoFilmSchool Nanaimo Association
20. ManitobaFilmandSound Winnipeg,MB
16. UniversityofBritishColumbia Vancouver
21. WinnipegFilmGroup Winnipeg,MB
Other(Associations,Coops,ArtistRunCentres)
17. CineworksIndependentFilmmakersSociety Vancouver
18. SHAPESafetyandHealthinArts Vancouver
ProductionandEntertainment
19. VideoinStudios(SatelliteVideoExchange Vancouver
Society)
20. MMPIAMotionPictureIndustry NorthVancouver
AssociationofBritishColumbia

21. BritishColumbiaFilm Vancouver
22. GreaterVictoriafilmCommission Victoria
23. DirectorsGuildofBC


6
Interviewed,invitedtoparticipateinsurvey,researched.
86 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

Ontario Qubec

Schools/Colleges/Universities Schools/Colleges/Universities
1. CanadianFilmCentre Toronto 1. InstitutTrebas Montral
2. TrebasInstitute Toronto 2. Centrenationaldanimationetdedesign Montral
3. InternationalAcademyofDesignand Toronto 3. MelHoppenheimerSchoolofCinema Montral
Technology(TorontoFilmSchool) ConcordiaUniversity
4. DigitalFilmAcademy Toronto 4. LUniversitdeMontral Montral
5. HumberInstituteofTechnology&Advanced Toronto 5. EcoleduShowBusiness Montral
Learning 6. Cincours Loretteville
6. RyersonUniversity Toronto 7. MontrealRadioandTelevisionSchool Montreal
7. TorontoFilmCollege Toronto 8. CollgeOSullivan Montral
8. YorkUniversity Toronto 9. H.E.C.(TVAHECProgram) Montral
9. SenecaCollege Toronto 10. UQAM Montral
10. UniversityofToronto Toronto Other(Associations,Coops,ArtistRunCentres)
11. CanadianScreenTrainingCentre Ottawa 11. Associationdesprofessionnelsenaudio Montral
12. CarletonUniversitySchoolforStudiesin Ottawa 12. Institutnationaldelimageetduson(INIS) Montral
ArtandCulture
13. MainFilm Montral
13. SheridanCollege Oakville,Brampton,
14. ParlimageCCF Montral
Hamilton
15. Productions,realisationsindpendantesde Montral
14. QueensUniversity Kingston
Montral,Inc
15. ConfederationCollege Thunde rBay
16. Regroupementpourlaformationen Montral
16. CanadoreCollege NorthBay audiovisualduQubec
17. NiagaraCollege Welland
17. Vidographe Montral
18. FanshaweCollege London 18. Associationdesproducteursdefilmetde Montral
19. MohawkCollegeofAppliedArtsand Hamilton televisionduQubec
Technology
19. ConseildelaculturedesregionsdeQubec Qubec
20. CentennialCollege Toronto etdeChaudire Appalaches
21. ConestogaCollege Kitchener 20. Spirafilm Qubec
22. LoyalistCollege Belleville 21. Alliancequbecoisedelimageetduson Montral
Other(Associations,Coops,Artis tRun
Centres) 22. Associationdesralisateursetralisatrices Montral
duQubec
23. CharlesStreetVideo Toronto
23. CgepdeJonquire Jonquire
24. GuildofCanadianFilmComposers/Guilde Toronto
descompositeurscanadiensdemusiquede 24. AQTIS Montral

film
25. LiaisonofInde pendentFilmmakersof Toronto
Toronto
26. TrinitySquareVideo Toronto
27. WIFTWomeninFilmandTelevision Toronto
Toronto
28. FilmOntario Toronto
29. Filmbay Mississauga

87 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

AtlanticRegion

Schools/Colleges/Universities
1. CentreforArtsandTechnology Fredericton
2. UniversityofNewBrunswick Fredericton
3. NovaScotiaCollegeofArtandDesign Halifax
4. CentreforArtsandTechnology Halifax
5. NovaScotiaCommunityCollege Dartmouth
Other(Associations,Coops,ArtistRun
Centres)
6. AtlanticFilmmakersCoop Halifax
7. IslandMedia Charlottetown
8. NewBrunswickFilmCoop Fredericton
9. NewfoundlandIndependentFilmmakers StJohns,NFLD

Territories

1. AJJIITNunavutMediaAssociation Iqaluit
2. YukonFilmandSoundCommission(Reel Whitehorse
Yukon)
3. NorthernFilmandVideoFilmAssociation Whitehorse

88 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications

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