Professional Documents
Culture Documents
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.
2 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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
3 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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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AngelaBirdsell,CulturalResearchandCommunications
1.Introduction
ThisreportwaspreparedfortheCulturalHumanResourcesCouncil(CHRC)withtheassistanceofstaffof
theCHRCandtheFilmandTelevisionSteeringCommitteeoftheCHRC.Itiscomprisedoffourmain
componentsincluding;
Asurveyoftrainingneeds,resultinginatrainingneedsassessment,
IdentificationofavarietyoftrainingofferingsacrossCanada
Ananalysisandsummaryoftraininggaps,
Additionalfindings,anExecutiveSummaryandrecommendations.
ThepurposeofthereportistoassisttheCHRCinitscontributiontohumanresourcedevelopmentinthe
fieldoffilmandtelevisionproductionbyidentifyingareasofneedinpreprofessionalandprofessional
training.Thiswillinturnallowtrainingproviderstoplanprogramming,andassistfundersandpolicy
makerstoharmonizeprogramstorespondtocurrentneedsinthesector.
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AngelaBirdsell,CulturalResearchandCommunications
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.
6 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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
7 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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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AngelaBirdsell,CulturalResearchandCommunications
*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
9 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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.
10 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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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AngelaBirdsell,CulturalResearchandCommunications
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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AngelaBirdsell,CulturalResearchandCommunications
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%.
14 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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.
15 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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
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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
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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
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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
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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
AngelaBirdsell,CulturalResearchandCommunications
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
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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.
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However,thiscompetencyareawasnotconsideredapriorityareafortrainingbymostProducers
interviewed,andthisopinionisechoedinthesurvey.AmongEnglishrespondents,lowtomoderate(9%
19%)expressiontrainingneedswereindicated.Nosignificanttrainingneedswereidentifiedby
respondentsinFrench.Inbothsurveys,22%to30%ofrespondentsdidnotagreethat:C.4Communicate
jobdescriptions,wasanecessaryskill.
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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
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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.
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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
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.
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
ion
C)
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Competencies
Toronto Toronto Toronto ON&QC Ottawa Toronto
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
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Competencies
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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
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
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
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
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
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
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
59 TrainingGapsAnalysisFilmandTelevisionProducers
AngelaBirdsell,CulturalResearchandCommunications
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
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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.
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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
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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
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iv. ProducerTrainingPreferencesData
Workshop / Seminar
Workshop / Seminar
On the Job Training
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
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!
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!
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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
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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
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French
Respondents:10
Lowindicationoftrainingneeds
o J.7Exercisefiduciaryresponsibilities(20%)
o J.11Optimizeexploitationofintellectualproperty(20%)
o J.12Maximizecorporateassets(20%)
Moderateresponsetoskillisnotreallyrequiredinall
competencies(20%30%)
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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%)
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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%)
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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