Public and Private Funding Sources • Public funding sources inclu<strong>de</strong> Industrial Research Assistance Program (IRAP), Community Futures, Science Council of B.C., Telefilm Canada New Media Fund, Canadian Heritage, Program for Export Market Development (PEMD), CANARIE, ACOA (PEI), BDI (PEI). Initiatives addressing scho<strong>la</strong>stic learning can access aca<strong>de</strong>mic funding sources in addition to general new media programs. • Investment interest in this sector is stingy and diffused—with some exception for projects/initiatives connected with gaming. (ON) 48
Digital Film and Animation Market Trends • Companies want to produce short emotion vi<strong>de</strong>os that will attract attention to their brand, products and services. They expect quality content, good stories, and excellent production values—all at a low cost. (AB, MB) There has been a gradual migration from limited animation to full animation. (NB) • Multitasking and internet viewing of vi<strong>de</strong>o is becoming habitual with younger viewing audiences, forming habits that will undoubtedly carry into the future (“3 Screen Content”: TV, computers, and mobile); consumers will continue to grow impatient with linear programming schedu<strong>les</strong>, leaning instead towards niche broadcasting. (Banff Green Paper 2008, BC) • Online access to television and vi<strong>de</strong>o is becoming increasing feasible; internet advertising has excee<strong>de</strong>d a 6% market share in both the US and Canada, and is posed to surpass the radio advertising spend. (Banff Green Paper 2008, BC) • Aggregators are mastering navigation technologies such as search and recommendation engines, allowing them to better monetize the long-tail of consumer <strong>de</strong>mand; consumers are always looking for <strong>de</strong>eper engagement to the entertainment, requiring additional supporting content sites and vehic<strong>les</strong>. (Banff Green Paper 2008, BC) Current Technology • Core art asset production occurs in either Maya or 3ds; Harmony/Toon-Boom for animation; Final Cut Pro, Adobe F<strong>la</strong>sh, and Illustrator; proprietary solutions are often <strong>de</strong>veloped for asset tracking needs. • Scripting performed in C++, Python, or Mel; Ruby on Rails and Alienbrain asset management for col<strong>la</strong>borative co-productions; OpenBSD/FreeBSD, So<strong>la</strong>ris 10. Production/Operations • Frequent local outsourcing of voice-over talent, audio services, creative writing, concept art, 2D/3D artists, and other specialist production talent. (BC, AB, MB, NB) • International outsourcing of animation frames, simple character mo<strong>de</strong>ls, set elements, and environmental objects. (BC) • From 2002-06 in B.C., women comprised only 11% of directors, 11% of Editors, 7% of writers, and 0% DOPs. On the other hand women comprised 49% of producers. (Women’s Participation, 2006) International Challenges • Internet technologies permit geographical blocking of content, limiting access to foreign markets as well as preventing incoming content. (Banff Green Paper, 2008) • Piracy is rampant, particu<strong>la</strong>rly in Asian countries, leading to retail erosion; copyright <strong>la</strong>ws are difficult to enforce leading to poor protection of intellectual properties. (BC) • Studios in India and China are starting to <strong>de</strong>mand fees simi<strong>la</strong>r to what Canadian companies are quoting, creating <strong>les</strong>s of an international threat than in previous years. The rising Canadian dol<strong>la</strong>r has further ero<strong>de</strong>d any domestic advantage. (MB, NB) 49
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