Getting Real 5 - Media Development Corporation

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oadcast year, the top ten most viewed English-language documentaries garnered average minute audiences in excess of 800,000, with an episode of CBC’s Doc Zone reaching 930,000 viewers. In the French-language market, the highest rated documentary in 2010/11, Réal Giguère, l’homme derrière l’image, garnered almost 1.5 million viewers in terms of average minute audiences. The average weekly number of documentary hours viewed on the specialty services in both markets is much higher, but English-language specialty channels provide significantly more hours of both Canadian and foreign documentaries than the French-language services do. Audiences for theatrically released documentary feature films in Canada vary significantly. The major box office success stories are big budget science and nature 3D or music films. Nonetheless, Canadian documentary films about environmental and ecological topics reached the list of top ten documentary films in Canada in both 2010 and 2011. The box office receipts, however, were small in comparison to those of blockbuster 3D films. Documentary film festivals, meanwhile, continue to grow and thrive in Canada. In the spring of 2012, Hot Docs Canadian International Documentary Festival wrapped its most successful festival to date, with audience numbers reaching an estimated 165,000. The 11-day event featured 395 public screenings of 189 films on 14 screens, as well as conferences and seminars. In November 2012, the Montreal International Documentary Festival (Rencontres internationales du documentaire de Montréal–RIDM) featured 12 days of screening, events and activities. Founded in 1998, RIDM presents a selection of the year’s best documentaries from Canada and around the world for both general and professional audiences. Documentary film has a unique place in Quebec culture, and the festival’s total attendance was more than 40,000—an increase of 33% over the prior year. 14 GETTING REAL • VOLUME 5
Case Studies Documentaries are well suited to what is called “long-tail” distribution. 3 With this edition of Getting Real 5, we aim to demonstrate the breadth of markets that documentaries reach over time, while simultaneously underscoring the difficulties faced by documentary producers in reaching these markets. As the four case studies at the end of the report indicate, documentary content can be repurposed to reach the following markets: • Theatrical market • Festival and film circuit market • Community-based market • Educational market • Training market • Web The Canadian funding model is predicated on broadcaster participation: the licence fee is the lynchpin that enables access to other financing tools. Without broadcaster licence fees, it is extremely difficult to secure adequate financing, and with the loss of the Canadian Independent Film and Video Fund (CIFVF), difficult to produce for the non-broadcast market. Conclusion In light of diminished broadcaster demand, overall documentary production has declined since 2008/09. This reduction has been exacerbated by consolidation in the broadcasting sector. Broadcaster licence fees trigger the vast majority of funding programs in Canada, primarily through the Canada Media Fund (CMF). Documentary production has become increasingly dependent on this funding model to the detriment of other financing structures. The loss of programs such as the Canadian Independent Film and Video Fund (CIFVF) and the lost participation of an agency such as the Canadian International Development Agency (CIDA) have eliminated most non-broadcast funding sources and limited alternate markets for Canadian documentaries, as illustrated in the four case studies at the end of the full report. Since the publication of Getting Real 4 in 2009, several factors have altered the Canadian documentary production sector, which has resulted in a dramatic decline. Programs such as the CMF’s POV Fund (as described in the Industry Overview) represent an acknowledgement of some of the challenges faced by documentary producers. One program, however, is simply insufficient to address the systemic issues that are eroding the genre’s viability. 3 A content distribution strategy that emphasizes the success of niche content over time. Hits and middle titles have the highest frequency of viewership/purchase, but the aggregate of the “tail” (rest of the titles) is considerably large. AN ECONOMIC PROFILE OF THE CANADIAN DOCUMENTARY PRODUCTION INDUSTRY 15
Page 1 and 2: GETTING REAL An Economic Profile of
Page 3 and 4: Table of Contents List of Exhibits
Page 5 and 6: List of Exhibits Exhibit 1-1 Total
Page 7 and 8: Exhibit 3-44 Long-form Documentary
Page 9 and 10: Executive Summary Overview Since th
Page 11 and 12: It should be noted that although Fr
Page 13: Based on the data, Canadian broadca
Page 17 and 18: Industry Overview Introduction The
Page 19 and 20: schedules, the type of Canadian pro
Page 21 and 22: Canada Media Fund (CMF) The Canada
Page 23 and 24: The Standing Committee found that
Page 25 and 26: Notes on Methodology Introduction G
Page 27 and 28: ECONOMIC IMPACT 600 500 Introductio
Page 29 and 30: Exhibit 1-3: Documentary Production
Page 31 and 32: Exhibit 1-6: Export Value of Canadi
Page 33 and 34: PRODUCTION Introduction This sectio
Page 35 and 36: Exhibit 2-2: Total Independent Docu
Page 37 and 38: English-language Documentary, Singl
Page 39 and 40: Treaty Co-Production— English-lan
Page 41 and 42: French-language Documentary TV Prod
Page 43 and 44: Feature Documentaries— French-lan
Page 45 and 46: BUDGETS & FINANCING BUDGETS Trends
Page 47 and 48: The trend in per-hour budgets for d
Page 49 and 50: Exhibit 3-7: Average per-hour Budge
Page 51 and 52: French-language Treaty Co-productio
Page 53 and 54: FINANCING Introduction The overall
Page 55 and 56: English-language Single-episode Tot
Page 57 and 58: English-language Feature Total prod
Page 59 and 60: Documentary series and mini-series
Page 61 and 62: French-language Financing French-la
Page 63 and 64: French-language Series and Mini-ser
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French-language Treaty Co-productio
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With some fluctuations, by 2010/11
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Trends in Broadcaster Licence Fees
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Trends in Broadcaster Licence Fees
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The distribution of per-hour licenc
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Direct Public Funding Public fundin
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Over the past five years, CMF fundi
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From a regional perspective, in 201
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Exhibit 3-45: Number and Volume of
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Exhibit 3-49: Documentary Share of
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Exhibit 3-52: Telefilm Theatrical D
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While not a primary source of fundi
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Based on OMDC data, 27% of the tota
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Exhibit 3-62: Bell Fund, Documentar
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AUDIENCES Introduction This section
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French-language Market Proportional
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Viewing of Canadian Long-form Docum
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Documentary Programming during Peak
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Exhibit 4-8: Top Ten Documentary Fi
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Exhibit 4-10: Top Ten Canadian Docu
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Exhibit 4-13: Annual Attendance—R
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CASE STUDIES Introduction Documenta
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Production Budget The initial produ
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Case Study: Ballet Girls Original P
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are confident they can re-purpose a
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Initial Exploitation The film was r
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Case Study: Inside Disaster Haiti O
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Training Videos: The producers used
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Appendix A: Glossary of Terms Affil
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International treaty co-production
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Appendix B: Definitions of “Docum
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A large part of the data used to pr
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support are more likely to be from
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affected by the co-mingling of fact
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II. Employment Film and television
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We obtain this multiplier from Stat
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Acknowledgements DOC gratefully ack
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WWW.DOCORG.CA
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Getting Real 5 - Media Development Corporation

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