Profile 2012

Transcription

Profile 2012

Profile 2012
An Economic Report on the
Screen-based Production Industry in Canada
c2 | Profile 2012
Produced by the CMPA and the APFTQ,
in conjunction with the Department of Canadian Heritage.
Production facts and figures prepared by Nordicity Group Ltd.
Profile 2012 | 1
title goes here
The report is published by the Canadian Media Production Association (CMPA). Profile 2012 marks the
16th edition of the annual economic report prepared by CMPA and its project partners the Association
des producteurs de films et de télévision du Québec (APFTQ), the Department of Canadian Heritage, and
Nordicity Group Ltd.
Profile 2012 provides an analysis of economic activity in Canada’s screen-based production industry
during the period April 1, 2011 to March 31, 2012. It also provides comprehensive reviews of the
historical trends in production activity between the fiscal years of 2002/03 and 2011/12.
Ottawa
601 Bank Street, 2nd Floor
Ottawa, ON K1S 3T4
Vancouver
736 Granville Street, Suite 600
Vancouver, BC V6Z 1G3
APFTQ
1450 City Councillors, Suite 1030
Montréal, QC H3A 2E6
Tel: 1-800-656-7440 (Canada only)/
613-233-1444
Fax: 613-233-0073
Email: [email protected]
www.cmpa.ca
Tel: 1-866-390-7639 (Canada only)/
604-682-8619
Fax: 604-684-9294
Tel: 514-397-8600
Fax: 514-392-0232
www.apftq.qc.ca
At the CMPA:
Toronto
160 John Street, 5th Floor
Toronto, ON M5V 2E5
Susanne Vaas
Vice-president, Business Affairs &
Secretary Designate
At the APFTQ:
Claire Samson
President and CEO
Tel: 1-800-267-8208 (Canada only)/
416-304-0280
Fax: 416-304-0499
At the Department of Canadian
Heritage:
Department of Canadian Heritage
15 Eddy Street
Gatineau, QC K1A 0M5
Tel: 1-866-811-0055/819-997-0055
TTY/TDD: 819-997-3123
www.canadianheritage.gc.ca
Lynn Foran
Manager,
Film and Video Policy and Programs
Cultural Industries
Vincent Fecteau
Senior Research Analyst
Research and Policy
Cultural Industries
Katka Selucky
Senior Policy Analyst
Film and Video Policy and Programs
Cultural Industries
The Department of Canadian Heritage contributed to the funding of this report.
Its content represents the opinions of the authors and does not necessarily
represent the policies or the views of the Department of Canadian Heritage
or of the Government of Canada.
2 | Profile 2012
Nordicity Group Ltd.
Peter Lyman, Senior Partner
Dustin Chodorowicz, Partner
Kristian Roberts, Manager
Nordicity is a leading international
consulting firm providing strategy and
business, economic analysis, and policy
and regulation solutions to private
and public sector clients in the culture,
communications and information
technology industries.
Cover design: Sarolta Csete
Design: Parable Communications
Translation: Louise F. Larkin
Printing: The Lowe-Martin Group
Contents
At a Glance: Screen-based Production in Canada . . . . . 4
1. Screen-based Production in Canada . . . . . . . . . . . 6
Film and Television Production . . . . . . . . . . . . . . . . . 7
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Employment and Gross Domestic Product (GDP) . . . . . . . 8
Export Value . . . . . . . . . . . . . . . . . . . . . . . . . 9
Provinces and Territories . . . . . . . . . . . . . . . . . . .10
Convergent Digital Media Production . . . . . . . . . . . . . .12
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Employment and GDP . . . . . . . . . . . . . . . . . . . .13
Household adoption of video platforms . . . . . . . . . . .13
2. Canadian Film and Television Production . . . . . . . 15
Total Canadian Film and Television Production . . . . . . . . .17
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Employment and GDP . . . . . . . . . . . . . . . . . . . .18
Language . . . . . . . . . . . . . . . . . . . . . . . . . .19
Genres . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Financing . . . . . . . . . . . . . . . . . . . . . . . . . .30
Audiovisual Treaty Coproduction . . . . . . . . . . . . . . .31
Television Production . . . . . . . . . . . . . . . . . . . . . 34
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Employment . . . . . . . . . . . . . . . . . . . . . . . . .37
Types . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Genres . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Budgets . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Language . . . . . . . . . . . . . . . . . . . . . . . . . .40
Canadian Content Points . . . . . . . . . . . . . . . . . . .42
Financing . . . . . . . . . . . . . . . . . . . . . . . . . .43
Broadcaster Licence Fees . . . . . . . . . . . . . . . . . .45
Broadcaster Spending . . . . . . . . . . . . . . . . . . . .46
Canada Media Fund . . . . . . . . . . . . . . . . . . . . 48
Audiences . . . . . . . . . . . . . . . . . . . . . . . . . .54
Theatrical Production . . . . . . . . . . . . . . . . . . . . .58
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Employment . . . . . . . . . . . . . . . . . . . . . . . . .61
Language . . . . . . . . . . . . . . . . . . . . . . . . . .61
Genres . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Budgets . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Financing . . . . . . . . . . . . . . . . . . . . . . . . . .64
Canada Feature Film Fund . . . . . . . . . . . . . . . . . .65
National Box Office Trends . . . . . . . . . . . . . . . . . .69
Box Office by Linguistic Market . . . . . . . . . . . . . . . .71
Top Films by Language of Presentation . . . . . . . . . . . .72
Home Video and Television Market Share . . . . . . . . . . .73
3. Foreign Location and Service Production . . . . . . . 75
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Employment and GDP . . . . . . . . . . . . . . . . . . . . .79
Provinces and Territories . . . . . . . . . . . . . . . . . . . .80
Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Country . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
4. Broadcaster In-House Production . . . . . . . . . . . 82
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Employment and GDP . . . . . . . . . . . . . . . . . . . . .85
Provinces and Territories . . . . . . . . . . . . . . . . . . . .86
Notes on Methodology . . . . . . . . . . . . . . . . . 87
Profile 2012 | 3
C anad i an F i l m and T e l e v i s i o n P r o d u c t i o n
t a glance: a
Screen-based Production in Canada
The screen-based production industry in Canada is a major source of economic activity and jobs for Canadians
across the country. The industry comprises film and television production as well as convergent digital
media production.
The film and television production segment comprises three key sectors:
1. The Canadian Film and Television Production sector is the largest of the key sectors. It can be further subdivided into two subsectors: Television Production and Theatrical Production. Canadian production comprises films and television programs made
largely by independent production companies, although it also includes television programs made by production companies affiliated
with Canadian broadcasters. All of the television programs and films in the Canadian production sector are certified as Canadian
content by either the Canadian Audio-Visual Certification Office (CAVCO) of the Department of Canadian Heritage or the Canadian
Radio-television and Telecommunications Commission (CRTC).
2. The Foreign Location and Service Production sector is the second-largest segment and largely comprises feature films and television
programs filmed in Canada by foreign producers or by Canadian service producers on behalf of foreign producers. The majority of
foreign location and service production is made by producers based in the United States (U.S.); however, approximately 10% to 15%
of the production activity in this sector is made by Canadian producers.
3. The Broadcaster In-House Production sector includes television programs made by Canadian television broadcasters in their own
facilities, and comprises primarily news, sports and current affairs programming.
The screen-based production industry also includes Convergent Digital Media Production, which is an emerging sector. Convergent
digital media production comprises screen-based content and applications for digital media platforms (e.g., video games, interactive
web content, on-demand content, podcasts, webisodes, and mobisodes), which are associated with films and television programs.
Global production statistics in Profile 2012 such as total film and television production in Canada do not include figures for convergent
digital media production.
Total film and television production in Canada
Canadian film and television production
2,956
3,000
5,893
6,000
5,355
4,988
5,000
4,970
4,917
5,001
5,579
5,120
2,500
5,046
2,077
4,559
Total volume ($ millions)
2,000
2,429
2,450
2,491
2006/07
2007/08
2008/09
2,437
2,458
2009/10
2010/11
2,256
4,000
3,000
2,024
2,003
2003/04
2004/05
1,500
1,000
2,000
500
1,000
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada
and Association of Provincial Funding Agencies.
•
•
•
•
1
$5.89 billion in production volume 1
5.6% increase in production volume from 2010/11
$2.23 billion in export value
132,500 full-time equivalent jobs (FTEs)
Production volume or volume of production refers to the sum of production
expenditures (i.e., production budgets).
4 | Profile 2012
0
2002/03
2005/06
Source: Estimates based on data collected from CAVCO and CRTC.
•
•
•
•
•
•
•
•
$2.96 billion in production volume
20.3% increase in volume from 2010/11
$2.58 billion in television production
$381 million in theatrical film production
663 television series
47 mini-series
87 theatrical feature films
66,400 FTEs
2011/12
At a G l anc e : Sc r e e n - b a s e d P r o d u c t i o n i n C anada
Foreign location and service production
2,000
1,914
1,904
Broadcaster in-house production
1,874
1,200
1,770
1,800
1,675
1,669
1,600
1,462
1,445
1,433
1,094
1,100
1,508
997
1,000
1,400
900
1,200
800
1,300
1,000
800
1,139
1,147
2006
2007
1,248
1,262
2010
2011
1,184
1,102
1,043
991
700
600
500
400
600
300
400
200
200
0
100
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
0
2002
2003
2004
2005
2008
2009
Source: Association of Provincial Funding Agencies.
Source: Estimates based on data from CRTC and CBC/Radio-Canada.
•
•
•
•
•
•
•
•
•
•
10.6% decrease in production volume from 2010/11
97 theatrical feature films
78 television series
57 MOWs, mini-series, pilots and other types television
programs
• 37,700 FTEs
1.1% increase in volume from 2010/11
$725 million in conventional television expenditures
$537 million in specialty and pay television expenditures
28,400 FTEs
Convergent digital media production*
• $34.6 million in production volume
• 217 projects
• Average project size: $159,000
• 800 FTEs
* Convergent digital media production includes content developed for digital media platforms and integrated with a traditional audiovisual product (typically a television series)
in order to enhance or deepen the audience experience of screen-based content.
T h e F i lm and T e l e v i s i o n M a r k e t i n C anada
• Population of Canada (2012): 34.9 million1
• Per-capita volume of film and television production in Canada
(2011/12): $169
• Number of private households (2011): 13.3 million1
• Number of movie-theatre screens in Canada (2010): 2,8681
• Number of paid theatre admissions in Canada (2010): 112.2 million1
• Number of television services available in Canada (2011): 7022
• Canadian television services: 4802
• Non-Canadian television services: 2222
• Percentage of households subscribing to multi-channel television
programming services (2011): 90%2
• Number of subscribers to multi-channel television programming
services (2011)*: 11.8 million2
• Cable-television and Internet protocol TV (IPTV) subscribers*:
8.5 million2
• Direct-to-home satellite (DTH) and multipoint distribution
systems (MDS) subscribers: 2.9 million2
• Digital television penetration rate among multi-channel households
(2011): 80%3
•
Sources: 1. Statistics Canada, 2. CRTC, 3. Mediastats.
* Includes an estimate of subscribers to broadcasting distribution undertakings that did not report financial and operating data to the CRTC in 2011. This estimate is not
included in the statistics for cable, Internet protocol TV (IPTV) and direct-to-home (DTH) satellite television.
Profile 2012 | 5
1 . Screen-based Production in Canada
In 2010/11, the screen-based production industry in Canada experienced a healthy 10.6% increase in
the total volume of production, which was largely on account of a significant rise in FLS production.
In 2011/12, the industry continued to grow: the total volume of production expanded by 5.6% to a
ten-year high of $5.9 billion. In 2011/12, however, the industry’s overall growth was almost entirely
due to higher levels of Canadian production.
While FLS production dropped by 10.6% to just under $1.7 billion, all other industry segments experienced
increases in production activity. Broadcaster in-house production was 1.1% higher in 2011/12; however, it was
Canadian production, and in particular Canadian television production, that underpinned another successful
year of growth for the industry.
Canadian television production increased 21.3% in 2011/12, to a ten-year high of just under $2.6 billion. While
both the English- and French-language markets contributed to this increase, it was English-language fiction
television production that really fuelled the rise in activity. In 2011/12, the volume of English-language fiction
television production climbed by 41.4% to just under $1.1 billion. A large portion of this increase was due to
higher average hourly budgets, rather than more projects.
Canadian theatrical production also reached a ten-year high, climbing by 14.1% to $381 million. As was the
case with Canadian television production, both language markets contributed to the increase: English-language
production increased by 15.4%, while French-language production rose by 11.2%. Most of the increase in the
volume of Canadian theatrical production was due to higher budgets, since the number of projects actually
decreased in 2011/12. With these higher budgets came an influx of foreign financing. Indeed, the increase in
production volume ($47 million) in 2011/12 was nearly equivalent to the increase in the level of foreign financing
of Canadian theatrical production ($55 million).
Sc r e e n - b a s e d P r o d u c t i o n i n C anada
Film and Television Production
Vo l u m e
Exhibit 1-1 Total volume of film and television production in Canada
Canadian television
Canadian theatrical
Foreign location
and service
6,000
5,355
5,000
4,988
4,970
4,917
5,001
Broadcaster in-house
5,893
5,579
5,120
5,046
4,559
4,000
1,799
2,124
2,128
1,696
1,896
2,231
2,131
2,576
2,066
$ millions
1,825
3,000
278
327
360
179
2,000
1,914
1,904
997
2002/03
334
323
298
1,770
260
371
1,445
1,508
1,462
1,669
1,433
1,043
1,094
991
1,139
1,135
1,184
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
381
1,874
1,675
1,102
1,248
1,262
2009/10
2010/11
2011/12
1,000
0
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, and the Association of Provincial Funding Agencies.
Notes: Some totals may not sum due to rounding.
Exhibit 1-2 T otal volume of film and television production in Canada,
real inflation-adjusted 2011 dollars
6,000
Nominal dollars
5,811
5,893
Real 2011 dollars
5,632
5,742
5,595
5,500
5,353
5,380
5,340
5,289
5,893
$ millions
5,073
5,579
5,000
5,355
5,120
5,001
4,500
4,988
4,970
5,046
4,917
4,559
4,000
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, the Association of Provincial Funding Agencies and Statistics Canada.
Profile 2012 | 7
Exhibit 1-3 Total volume of film and television production in Canada, share by segment, 2011/12
Canadian television 44%
Canadian theatrical 6%
Foreign location
and service
28%
Broadcaster in-house
21%
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, and the Association of Provincial Funding Agencies.
Notes: Some totals may not sum due to rounding.
Empl oy m e nt and G ro s s D o m e s t i c P ro d u ct ( G D P )
Exhibit 1-4 Number of full-time equivalent jobs (FTEs) generated by total film and
television production in Canada
160,000
Spin-off jobs
140,000
140,300 138,900
123,900
130,700 130,000
Direct jobs
134,800
124,400
120,000
FTEs
100,000
85,100
84,300
75,200
80,000
79,300
78,900
132,500
78,900
80,400
52,100
120,100
81,800
75,500
130,000
72,900
60,000
40,000
55,200
54,600
2002/03
2003/04
20,000
0
48,700
51,400
51,100
53,000
48,900
47,200
51,100
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, the Association of Provincial Funding Agencies, Statistics Canada, and
Conference Board of Canada.
Note: See the Notes on Methodology section for a description of the job-estimation methodology.
8 | Profile 2012
Exhibit 1-5 Summary of the economic impact of film and television production in Canada, 2011/12
Canadian production
Employment (FTEs)
Direct
787
631
2,896
821
656
3,014
40,300
22,900
17,200
80,400
1,531
870
654
3,055
Labour income ($ millions)
1,478
GDP ($ millions)
1,537
2,282
1,375
974
4,631
66,400
37,700
28,400
132,500
3,010
1,657
1,285
5,952
GDP ($ millions)
3,819
2,196
1,630
7,645
GDP ($ millions)
Employment (FTEs)
Total
52,100
14,800
Total
11,200
26,100
Employment (FTEs)
Spin-off
Broadcaster inFLS production house production
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, the Association of Provincial Funding Agencies, Statistics Canada and
Conference Board of Canada.
Note: See the Notes on Methodology section for a description of methodology.
E x p o r t Val u e
Export value tracks the value of international financial participation in the film and television production
industry in Canada. It includes foreign presales and distribution advances for all projects certified by CAVCO;
estimates of presales and distribution advances for non-CAVCO-certified productions; and the total value of
FLS production in Canada.
Exhibit 1-6 Export value of film and television production in Canada
Canadian television
2500
2,345
359
2000
72
Canadian theatrical
2,305
2,276
271
102
192
98
$ millions
251
1500
27
1,914
2,032
1,959
1,741
1000
Foreign location and service
225
1,713
27
28
1,904
1,462
2003/04
2004/05
367
1,754
1,848
28
42
116
85
1,874
1,770
1,669
440
64
255
267
252
1,904
1,914
37
1,433
2,231
1,445
1,508
2008/09
2009/10
1,675
1,874
500
0
2002/03
2005/06
2006/07
2007/08
2010/11
2011/12
Source: Estimates based on data collected from CAVCO and the Association of Provincial Funding Agencies.
Notes: Some totals may not sum due to rounding. See Notes on Methodology for a detailed definition of export value.
Profile 2012 | 9
Provinces and Territories
Exhibit 1-7 Total volume of film and television production in Canada, by province and territory
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
Ontario
1,915
1,805
1,951
1,951
1,792
1,960
1,903
1,929
2,118
2,568
British Columbia*
1,157
1,550
931
1,379
1,401
1,683
1,338
1,402
1,714
1,580
($ millions)
2011/12
Quebec
1,381
1,185
1,240
1,130
1,247
1,212
1,346
1,291
1,349
1,355
Alberta
199
115
118
138
179
179
181
152
137
106
Nova Scotia
139
131
117
135
156
93
151
107
88
91
Manitoba
82
111
95
80
124
107
55
72
67
71
Saskatchewan
84
40
71
58
73
82
101
33
44
49
Newfoundland and
Labrador
New Brunswick
Prince Edward Island
Total
6
8
7
22
7
12
12
40
44
44
16
16
27
18
19
22
30
19
18
23
10
6
2
5
3
6
2
1
1
4
4,988
4,970
4,559
4,917
5,001
5,355
5,119
5,046
5,579
5,893
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada and the Association of Provincial Funding Agencies.
Note: Various provincial film agencies in Canada also publish statistics for film and television production activity using tax and marketing data in each
province. Their statistics may differ from those in Profile 2012 due to such differences as data collection periods (fiscal vs. calendar year) and production
activity reported on the basis of location of spend.
Note: Some totals may not sum due to rounding.
* Includes the Territories (Yukon, Nunavut and Northwest Territories).
Exhibit 1-8 S
hare of total volume of film and television production in Canada,
by province and territory, 2011/12
Ontario, 44%
Prince Edward Island, <1%
New Brunswick, <1%
Newfoundland and Labrador, 1%
Saskatchewan, 1%
Manitoba, 1%
Nova Scotia, 2%
Alberta, 2%
British Columbia*, 27%
Quebec, 23%
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada and the Association of Provincial Funding Agencies.
10 | Profile 2012
Exhibit 1-9 T otal direct and spin-off full-time equivalent jobs (FTEs) generated by film and television
production in Canada, by province and territory
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Ontario
45,000
42,400
44,800
44,400
39,700
41,800
40,000
40,700
43,400
51,300
British Columbia*
31,700
42,500
24,900
36,400
35,600
40,700
31,700
32,700
39,500
36,000
37,900
Quebec
48,100
42,200
42,800
38,100
41,000
38,000
41,100
37,500
38,800
Alberta
6,200
3,500
3,500
4,000
4,900
4,500
4,200
3,700
3,200
2,300
Nova Scotia
4,100
3,900
3,400
3,600
4,100
2,400
3,800
2,800
2,200
2,200
Manitoba
1,800
2,300
1,900
1,600
2,500
2,200
1,100
1,200
1,200
1,200
Saskatchewan
2,300
1,200
1,900
1,400
1,900
1,900
2,300
800
900
900
Newfoundland and
Labrador
100
100
100
400
100
100
100
700
700
700
New Brunswick
400
400
600
400
400
400
600
400
400
400
Total
400
400
0
400
0
400
0
0
300
300
140,300
138,900
123,900
130,700
130,000
134,800
124,400
120,100
130,000
132,500
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, Association of Provincial Funding Agencies and Statistics Canada.
Notes: Some totals may not sum due to rounding. See Notes on Methodologyfor a description of the job-estimation methodology.
Exhibit 1-10 Direct full-time equivalent jobs (FTEs) employed in film and television production in
Canada, by province and territory
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Ontario
20,200
18,900
20,000
19,700
17,800
19,000
18,000
18,200
19,400
22,700
British Columbia*
12,700
16,900
9,900
14,400
14,200
16,500
12,700
13,000
15,700
14,200
Quebec
15,900
13,800
14,000
12,400
13,500
12,700
13,600
12,300
12,700
12,300
Alberta
2,200
1,200
1,200
1,400
1,700
1,600
1,500
1,300
1,100
800
Nova Scotia
1,700
1,600
1,400
1,500
1,700
1,000
1,600
1,200
900
900
Manitoba
1,000
1,300
1,100
900
1,400
1,200
600
700
700
700
Saskatchewan
1,000
500
800
600
800
800
1,000
300
400
400
Newfoundland and
Labrador
100
100
100
200
100
100
100
400
400
400
New Brunswick
200
200
300
200
200
200
300
200
200
200
100
100
0
100
0
100
0
0
100
100
55,200
54,600
48,700
51,400
51,100
53,000
48,900
47,200
51,100
52,100
Total
Source: Estimates based on data collected from CAVCO, CRTC, CBC/Radio-Canada, Association of Provincial Funding Agencies and Statistics Canada.
Notes: Some totals may not sum due to rounding. See Notes on Methodology for a description of the job-estimation methodology.
Profile 2012 | 11
Convergent Digital Media Production
The digital media production sector consists of Canadian and non-Canadian individuals and companies that
create digital media content and experiences that range across platforms: from mobile devices, to computers, to
television screens. Digital media production varies greatly: from applications used in passing, on a person’s daily
commute, to rich and immersive experiential content supported by multi-million dollar budgets. As audiences
expand their use of digital devices (i.e., computers, smartphones, tablet devices) to find, access and enjoy screenbased content, digital media production will become increasingly important to the audiovisual experience.
In 2011/12, several Canadian-produced digital media products achieved significant international recognition. For
example, a graduate student from the University of Montreal won a 2011 Indie Game Award in the “Best Student
Game” category for FRACT, a first-person puzzle game set in an abstract world inspired by electronic music.2
Also, several National Film Board of Canada productions were nominated for Webby Awards in 2011, including
Highrise/Out My Window, The Test Tube with David Suzuki and GDP: Measuring the Human Side of the Canadian
Economic Crisis.3 Highrise/Out My Window also won an International Digital Emmy Award for “best digital nonfiction program.” 4
Canada’s digital media production industry continued to grow in 2011/12, particularly in the area of mobile application development. Toronto-based Polar Mobile was tapped as one of Canada’s most promising emerging
software companies by PricewaterhouseCoopers. Meanwhile a former employee of Electronic Arts in British
Columbia founded the mobile game studio, Genius Factor (creator of the Gravity Well app).
One key segment of the digital media production industry is the production of convergent digital media.5
Convergent digital media production refers to the digital media components of television projects. Such
components are typically standalone products that relate to, extend, and/or enhance the associated television
property. This type of product, though not dependent on, is often stimulated by the stipulations of the Canada
Media Fund (CMF) with respect to the expenditures of broadcasters’ performance envelopes. As defined by
the CMF’s Performance Envelope Program Guidelines 2012-2013, a convergent digital media product must
be associated with a standard television project, must be made available for the Canadian public via a digital
network (e.g. internet, mobile and wireless services) and must be “rich and substantial.”
Vo l u m e
Convergent digital media production is, of course, only one relatively small aspect of Canada’s wider digital
media industry. While no industry-wide survey was conducted in 2011, there are signs of vibrant industry
activity. For example, the games-development portion of the digital media production industry alone – which
comprised some 348 companies – generated over $1.7 billion in economic activity and employed 15,700
Canadians in 2011.6 Convergent digital media production, as a segment of the wider digital media industry,
yielded $34.6 million in production volume in 2011/12.
2
Independent Games Festival, “2011 Independent Games Festival Announces Student Showcase Winners,” press release, downloaded from
http://igf.com/2011/01/2011_independent_games_festiva_12.html on November 18, 2012.
3 National Film Board of Canada, “NFB nets five Webby Awards nominations,” press release, April 13, 2011, downloaded from http://onf-nfb.gc.ca/en/
press-room/press-releases-media-kits/?idpres=20249 on November 18, 2012.
4 National Film Board of Canada, “National Film Board of Canada interactive documentary wins International Digital Emmy,” press released, April 4, 2011,
downloaded from http://onf-nfb.gc.ca/en/press-room/press-releases-media-kits/?idpres=20233 on November 18, 2012.
5 Profile 2010 presented statistics for Canada’s digital media content creation sector. These statistics were based on a survey of digital media companies in
Canada that derived more than 50% of their 2008 revenues from digital media creator activities. Profile 2012, in contrast, presents statistics for convergent
digital media production. This is a new data series for measuring digital media production activity in Canada for which only two years of data is available at
this time.
6 Entertainment Software Association of Canada, Canada’s Entertainment Software Industry In 2011, May 2011.
12 | Profile 2012
Exhibit 1-11 Convergent digital media production
2010/11
Total volume of production
$
27.6 million
$
126,000
Number of projects
2011/12
$
34.6 million
$
159,000
160
Average project budget
217
Source: Estimates based on data from Bell Fund, CMF and Ontario Media Development Corporation.
Empl oy m e nt and G D P
Exhibit 1-12 Summary of the economic impact of convergent digital media production, 2011/12
Direct
Spin-off
Total
Employment (FTEs)
390
410
800
Labour income ($ millions)
25.9
15.3
41.2
GDP ($ millions)
27.3
31.1
58.4
Source: Estimates based on data from Bell Fund, CMF, Ontario Media Development Corporation, Statistics Canada and Conference Board of Canada.
H o u s e h o ld ad o pt i o n o f v i d e o platf o r m s
There was a sharp rise in the percentage of Canadians using the Internet to watch video (e.g., television programs
or video clips) in 2011. At the same time, the percentage of Canadians watching television over the Internet or
using their cellphones to watch video also increased in 2011.
Exhibit 1-13 Adoption rates for Internet video, Internet television and cellphone video
English-language
70%
French-language
68
64
Internet
video*
34
33
Internet
television
programming**
12
Cellphone
video*
60%
52
51
Share of total population 18+
50%
49
42
30
31
31
21
22
14
13
10%
2005
26
26
16
0%
37
30
30%
20%
44
38
40%
2006
2
1
2007
9
5
5
2
2008
2
2009
8
4
2010
2011
Source: Media Technology Monitor 2011 (see CRTC, Communications Monitoring Report 2012, pp. 111 and 114).
* Used in the past month
** Watched a TV program or clip from a TV program available on the Internet
Profile 2012 | 13
In the English-language market, the usage of the Internet for watching television programming was on par with
the use of personal video recorders (PVRs) in Canada in 2011. While the share of Canadians watching video
on their cellphones was above 8% in 2011, the share watching television programming on their cellphones was
much lower: 3% in the French-language market and 4% in the English-language market. The use of tablet devices
for watching television programming was also still quite low in 2011 at under 3%.
Despite the fact that Netflix only launched its service in Canada in September 2010, by fall 2011, 10% of
Canadians reported that they already held a subscription to the over-the-top video streaming service for films
and television programming.
Exhibit 1-14 Percentage of Canadians using new video-distribution platforms, 2011
35%
Personal video recorder
23%
34%
Watch TV programming on the
Internet*
33%
12%
Watch video on a cellphone*
8%
4%
Watch TV programiming on a
cellphone*
3%
3%
Watch TV programming on a tablet
device*
English
2%
French
Netflix (National - all languages)
10%
0%
5%
10%
All languages
15%
20%
25%
30%
35%
40%
* Used in the past month
10%
Netflix (National - all languages)
Watch TV programming on a tablet device*
Watch TV programiming on a cellphone*
3% 2%
4% 3%
Watch video on a cellphone*
English
5%
French
All languages
7%
12%
20%
8%
Watch TV programming on the Internet*
34%
Personal video recorder
35%
0%
14 | Profile 2012
10%
20%
67%
33%
58%
23%
30%
40%
50%
60%
70%
80%
2. Canadian Film and Television
Production
Canadian film and television production includes all film and television production made by Canadian
production companies. Most Canadian production is made by independent production companies,
although broadcaster-affiliated production companies7 also account for some production in this sector.
Canadian film and television production includes television programs and films with certification from
the Canadian Audio-Visual Certification Office (CAVCO) and/or the Canadian Radio-television and
Telecommunications Commission (CRTC). This sector excludes broadcaster in-house production: that
is, television programming such as news, sports and public affairs programming, produced by Canadian
broadcasters.
Highlights from 2011/12
• The volume of Canadian film and television production jumped
by 20.3% to an all-time high of $2.96 billion.
• Children’s and youth production rose by 24.9% to a ten-year
high of $451 million, after falling by 18.7% in 2010/11.
• Canadian film and television production generated 66,400 FTEs
of employment in Canada, including 26,100 FTEs directly in film
and television production roles.
• Documentary production increased by 14.6% to $369 million.
• Canadian film and television production generated GDP of
$3.82 billion for the Canadian economy, including $1.54 billion
in production-industry GDP and $2.28 billion in spin-off GDP.
• The sharp increase in Canadian film and television production
was largely driven by increases in the English-language market,
where production volume rose by 23.6% to $2.17 billion.
• French-language production increased by 9.5% to $750 million.
• The production of lifestyle programming increased by 29.7%
to $297 million.
• Production in the variety and performing arts genre decreased
4.1% to $165 million.
• Production in the magazine-programming genre rose by 10.6%
to $94 million, following a 26.7% drop in 2010/11.
• Canadian animation production also recovered strongly,
increasing by 46.5% to $208 million, after dropping by 36.6%
in 2010/11.
• Canadian film and television production in the fiction genre
increased by 23.4% to $1.56 billion.
7Affiliated
production companies are production companies in which a Canadian broadcaster owns or controls at least 30% of the (voting) equity. CRTC, “Guide to the
Canadian Program Certification Application Process,” CRTC, downloaded at http://www.crtc.gc.ca/canrec/eng/guide1.htm#s9b on November 30, 2012.
C anad i an P r o d u c t i o n // t ota l c a n a d i a n pr o d u cti o n
Higher levels of production volume in both the television and theatrical sub-sectors helped push the overall
volume of Canadian film and television production to an all-time high of just under $3 billion in 2011/12.
While the contribution to this increase was broadly based across different genres and language markets, it was
television-fiction production, in particular, that was largely responsible for the overall increase in volume in
this sector.
In the five years leading up to 2011/12, the annual volume of Canadian film and television production had
essentially stayed in the range of $2.4 billion to $2.5 billion, as annual increases in one sub-sector were typically
offset by decreases in the other (Exhibit 2-1). In 2011/12, however, both sub-sectors and both language markets
displayed strong synchronized increases in production volume, foreign financing and other private Canadian
financing (Exhibit 2-27).
All of the key genres, except variety and performing arts, posted higher levels of production volume in 2011/12,
with most of these increases originating in the television sub-sector. The fiction genre – the largest genre of
Canadian production – broke out after five years in which it, too, had stayed at around $1.2 billion in annual
production volume (Exhibit 2-5). The overall volume of fiction production rose by $296 million to an all-time
high of $1.56 billion in 2011/12. And while fiction production in the theatrical sub-sector was virtually
unchanged at $302 million, production in the television sub-sector rose by 30.4% to $1.26 billion.
Statistics presented later in this report show that this sharp rise in television-fiction production in 2011/12 was
due less to higher numbers of television series than to higher average budgets in the English-language market.
The production of prime-time Canadian dramas such as Saving Hope, Rookie Blue and Bomb Girls underpinned
the higher levels of Canadian television production, which, in turn, helped attract greater numbers of Canadian
television viewers to Canadian programming, and offered the potential for increased exports of Canadian
programming to other markets.
Along with international sales and audience appeal, Canadian fiction television and theatrical production also
garnered considerable international critical acclaim in 2012. Monsieur Lazhar received an Oscar nomination
for Best Foreign Language Film. The Canada-U.S. mini-series, The Kennedys was nominated for ten Primetime
Emmy Awards and won four. Meanwhile, the long-running Canadian serial, Degrassi, received an Emmy
nomination for Outstanding Children’s Program for the second consecutive year.
Children’s and youth production bounced back from a sharp drop in 2010/11, rising by 24.9% to $451 million
in 2011/12 (Exhibit 2-8). Children’s and youth production in 2011/12 was higher than it had been in any of the
past ten years, surpassing its previous peak in 2009/10. In both 2009/10 and 2011/12, this genre enjoyed a boost
from higher-than-normal levels of theatrical production – a type of production that was very limited for this
genre prior to 2006/07.
Documentary production also rose after two consecutive years of decline. Its production volume increased by
14.6% to $369 million, largely due to the rise in television production (Exhibit 2-12). Over the past decade, virtually
all documentary production was in the television sub-sector. During the past decade, the annual volume of
theatrical documentary production never exceeded $24 million and averaged half of that level.
Canadian animation production also recovered in 2011/12. After dropping by 36.6% in 2010/11 to a ten-year
low of $142 million, it rebounded to $208 million (Exhibit 2-22). Higher levels of children’s and youth animation
production in both language markets helped to underpin the sharp rebound. However, over the longer term, the
steadily rising levels of overall children’s and youth production did not translate into higher levels of animation
production activity. The volume of animation production in 2011/12 – including both television and theatrical
production – was at virtually the same level ($208 million) it stood at in 2002/03 ($207 million).
16 | Profile 2012
The increased level of Canadian film and television production in 2011/12 was fuelled by higher levels of both
foreign financing and other private Canadian financing. The former increased by $73 million in 2011/12 and
accounted for 9% of total financing, while the latter grew by $41 million and accounted for 10% of total
financing (Exhibit 2-27). Canadian distributors also increased their investment in Canadian films and television
programs, with a view to international sales. In total, these three sources added $265 million in financing to
Canadian film and television production, bringing the total value of their combined annual investment to
$943 million.
Total Canadian Film and Television Production
Vo l u m e
Exhibit 2-1 Volume of total Canadian film and television production
2,956
3,000
2,500
2,429
2,450
2,491
2006/07
2007/08
2008/09
2,437
2,458
2009/10
2010/11 2011/12
2,256
2,077
2,024
$ millions
2,000
2,003
1,500
1,000
500
0
2002/03
2003/04
2004/05
2005/06
Source: Estimates based on data collected from CAVCO.
Note: Canadian production includes CAVCO-certified film and television production, and an estimate for CRTC-certified television production.
Profile 2012 | 17
Employment and GDP
Exhibit 2-2 Number of full-time equivalent jobs (FTEs) generated by total Canadian film
and television production
80,000
58,500
Spin-off jobs
63,100
60,000
56,600
66,400
Direct jobs
61,700
60,500
58,000
54,400
57,200
60,000
FTEs
35,500
34,300
40,000
36,400
38,300
40,300
37,400
36,700
33,000
35,200
34,700
20,000
0
23,000
22,300
21,400
23,600
24,800
24,300
23,800
22,800
22,500
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
26,100
2011/12
Source: Estimates based on data from CAVCO, Statistics Canada and Conference Board of Canada.
Exhibit 2-3 Summary of economic impact of total Canadian film and television production, 2011/12
Employment (FTEs)
Direct
Spin-off
Total
26,100
40,300
66,400
1,478
1,531
3,010
GDP ($ millions)
1,537
2,282
3,819
See the Notes on Methodology section for a description of methodology.
18 | Profile 2012
L ang u ag e
Exhibit 2-4 Volume of total Canadian film and television production, by language
2,956
3,000
37
Other languages
French
2,429
2,500
2,256
2,077
$ millions
2,000
English
77
498
2,024
2,003
109
49
500
527
2,450
2,491
18
2,437
2,458
28
16
684
685
29
42
660
634
672
1,739
1,774
1,801
1,725
2006/07
2007/08
2008/09
2009/10
750
53
572
1,500
2,170
1,000
1,503
1,414
1,428
2003/04
2004/05
1,631
1,756
500
0
2002/03
2005/06
2010/11 2011/12
Profile 2012 | 19
Genres
Fiction (drama and comedy)
Exhibit 2-5 Total volume of fiction production
1,561
1,400
Theatrical
Television
302
1,200
1,000
1,194
1,142
1,051
$ millions
273
800
987
1,233
1,224
282
297
356
1,265
1,172
1,192
226
310
299
163
302
600
1,260
400
868
749
824
838
2004/05
2005/06
952
928
945
2007/08
2008/09
882
966
200
0
2002/03
2003/04
2006/07
2009/10
2010/11 2011/12
Exhibit 2-6 Volume of fiction production, by language, 2011/12
Other languages
1%
$11 million
$274 million
French-language
17%
20 | Profile 2012
$1.28 billion
English-language
82%
Exhibit 2-7 Number and share of fiction projects, by type, 2011/12
Mini-series 4%
Theatrical films 25%
69
10
Total
number
of projects:
272
59
TV movies 22%
110
TV series 40%
24
Other TV programming* 9%
* Other TV programming category includes single-episode television programming and television pilots.
Children’s and Youth
Exhibit 2-8 Volume of children’s and youth production
500
Theatrical
400
300
300
4
Television
367
369
6
16
324
307
280
451
40
56
361
17
13
1
282
444
$ millions
1
200
405
361
296
279
282
2003/04
2004/05
352
311
306
395
344
100
0
2002/03
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
2,956
3,000
2,429
2,500
2,256
2,450
2,491
2,437
2,458
Profile 2012 | 21
Exhibit 2-9 Volume of children’s and youth production, by language, 2011/12
Other languages
4%
$17 million
$322 million
English-language
71%
$111 million
French-language
25%
Film and television production can be grouped into two categories: live action and animation. A more detailed look
at the breakdown of children’s and youth production reveals that a large share of the English-language production
can be traced back to the fact that most animation production in the genre is originally produced in English. The
relatively low volume of animation production originally produced in French can, in part, be attributed to the fact
that animation is a highly exportable commodity, and therefore, there is an incentive to make the original version in
English for dubbing or subtitling into other languages.
Exhibit 2-10 Volume of children’s and youth production, by language and category
2010/11
2011/12
Live Action
Animation
Total
Live Action
Animation
English-language
182
108
291
151
171
322
French-language
63
5
68
94
17
111
($ millions)
Other languages
Total
Note: Some totals do not sum due to rounding.
22 | Profile 2012
Total
0
2
2
16
1
17
245
116
361
267
189
451
Exhibit 2-11 Number and share of children’s and youth projects, by type, 2011/12
Theatrical films
10%
13
TV movies
5%
6
Other TV programming*
6%
Total
number
of projects:
132
8
105
TV series
80%
* Other TV programming category includes single-episode television programming and television pilots. Note: Some totals may not sum due to rounding.
Documentar y
Exhibit 2-12 Total volume of documentary production
500
Theatrical
Television
421
400
356
310
360
6
427
11
24
369
362
10
4
21
322
20
9
1
$ millions
300
384
383
12
200
377
309
356
332
374
408
416
341
313
349
100
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
Profile 2012 | 23
Exhibit 2-13 Volume of documentary
production, by language, 2011/12
Exhibit 2-14 Number and share of documentary
projects, by type, 2011/12
Other
languages
1%
French-language
25%
TV movies
13%
Theatrical films
3%
61
15
$5 million
$91 million
Total
number
of projects:
455
$273 million
165
TV series
36%
English-language
74%
Lifestyle
500
Exhibit 2-15 Total volume of lifestyle production, by language
French-language
$ millions
229
200
100
0
81
61
217
168
2010/11
24 | Profile 2012
English-language
297
300
Other TV programming*
46%
* Other TV programming category includes single-episode television
programming, mini-series and television pilots.
400
214
2011/12
Exhibit 2-16 Number and share of lifestyle projects, by type, 2011/12
TV series
92%
Other programming*
8%
97
8
Total
number
of projects:
105
* Other TV programming category includes single-episode television programming, television movies, mini-series and television pilots.
Variety and Performing ar ts
Exhibit 2-17 Total volume of variety and performing arts production
200
190
172
157
150
143
129
142
126
165
133
$ millions
117
100
50
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Profile 2012 | 25
Exhibit 2-18 Volume of variety and performing arts production, by language, 2011/12
French-language
57%
$94 million
$4 million
Other languages
2%
$68 million
English-language
41%
Exhibit 2-19 Number and share of variety and performing arts projects, by type, 2011/12
Other
TV programming*
44%
39
Total
number
of projects:
88
49
* Other TV programming category includes single-episode television programming, mini-series and television pilots.
26 | Profile 2012
TV series
56%
Magazine Programming
Exhibit 2-20 Total volume of magazine programming production
180
163
160
156
158
154
148
134
140
117
$ millions
120
116
100
94
85
80
60
40
20
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Exhibit 2-21 Volume of magazine programming production, by language
160
158
3
Other languages
French-language
English-language
140
117
120
116
3
100
94
$ millions
119
85
80
91
90
60
76
40
20
0
35
22
26
2008/09
2009/10
94
10
2007/08
2010/11
2011/12
Profile 2012 | 27
Animation
Exhibit 2-22 Total volume of animation production
300
255
250
234
207
$ millions
200
200
224
220
212
208
194
142
150
100
50
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
Exhibit 2-23 Volume of animation production, by genre, 2011/12
Children’s
and youth
91%
$189 million
Total
animation
production:
$208 million
$19 million
Other genres
9%
28 | Profile 2012
2011/12
Exhibit 2-24 Total number of hours of animation television production
500
452
412
400
377
369
364
347
344
Hours of production
321
300
276
283
2002/03
2003/04
200
100
0
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Exhibit 2-25 Volume of animation television production, by language
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Englishlanguage
177
152
215
183
223
192
171
184
124
160
Frenchlanguage
6
17
11
15
23
16
18
25
9
26
($ millions)
Other
languages
Total
19
15
6
13
4
12
4
13
2
1
201
184
231
210
249
220
193
222
135
187
Profile 2012 | 29
P rov i nc e s and T e r r i t o r i e s
Exhibit 2-26 Volume of Canadian film and television production, by province and territory
($ millions)
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12 2011/12
share
of total
Ontario
797
875
782
934
824
937
1,005
1,055
1,140
1,422
48%
Quebec
762
759
733
821
882
836
861
923
841
928
31%
British
Columbia
13%
257
220
276
302
440
421
340
220
256
381
Nova Scotia
65
57
68
58
75
50
57
53
40
52
2%
Manitoba
29
16
28
33
72
38
40
44
41
48
2%
Newfoundland
and Labrador
1
3
2
15
2
7
6
30
37
37
1%
Alberta
82
53
57
38
59
89
92
81
65
35
1%
Saskatchewan
67
27
37
38
58
51
73
15
27
31
1%
New Brunswick
8
8
19
10
10
16
14
14
10
15
1%
Prince Edward
Island
9
5
1
3
2
5
0
0
0
3
<1%
Territories*
0
0
1
3
3
1
1
2
1
2
<1%
2,077
2,024
2,003
2,256
2,429
2,450
2,491
2,437
2,458
2,956
100%
Total
Notes: Some totals may not sum due to rounding. Various provincial film agencies in Canada also publish statistics for film and television production activity using
tax and marketing data in each province. Their statistics may differ from those in Profile 2012 due to such differences as data collection periods (fiscal vs. calendar
year) and production activity reported on the basis of location of spend.
* Territories include Yukon, Nunavut and Northwest Territories.
F i nanc i ng
Exhibit 2-27 Financing for Canadian film and television production
2007/08
2008/09
2009/10
2010/11
2011/12
%
$ millions
%
$ millions
%
$ millions
%
$ millions
%
$ millions
Private broadcaster licence fees
19
476
22
541
19
461
21
509
18
536
Public broadcaster licence fees
11
268
9
221
8
201
7
179
8
222
Federal tax credit
11
262
10
241
10
232
10
237
10
296
Provincial tax credit
14
347
14
353
18
446
18
437
19
552
Canadian distributor
8
205
8
197
6
157
9
218
12
369
Foreign
9
225
11
264
9
216
8
204
9
277
10
242
11
275
13
307
11
282
10
303
Canada Feature Film Fund
3
68
3
65
3
67
3
65
2
58
Other public*
3
68
2
61
3
62
3
72
2
45
Canada Media Fund
Other private**
Total
12
291
11
272
12
289
10
256
10
297
100
2 450
100
2 491
100
2 437
100
2 458
100
2 956
Source: Estimates based on data obtained from CAVCO, CMF and Telefilm Canada.
* Other public includes financing from provincial governments, and other government departments and agencies.
** Other private includes financing from production companies (excluding the tax credit contribution), independent production funds, broadcaster equity, and other
Canadian private investors.
30 | Profile 2012
A u d i ov i s u al T r e at y C o p ro d u ct i o n 8
Audiovisual treaty coproduction is production developed jointly by production companies in two or more treaty
nations. It is founded on the principle of reciprocity whereby partnering companies share economic risk, ownership,
creative control and benefits from their respective governments pursuant to the terms of a treaty.
The Government of Canada currently has coproduction agreements with 53 partner countries. Treaty coproduction
is an important avenue through which Canadian and foreign producers are able to combine their creative, technical
and financial resources to coproduce films and television programs that benefit from national status in each of the
partnering countries.
Partnering production companies can take either a majority or minority participation position in a coproduction
project, depending, in large part, on the proportion of financing each producer brings to the project.
Exhibit 2-28 Audiovisual treaty coproduction with Canada, majority vs. minority Canadian production
Volume of production (global budget)
700
600
Majority
54
40
45
40
43
32
26
400
405
24
28
27
24
27
26
370
354
334
300
324
270
258
200
191
201
292
251 249
219
189
191
175 176
186
171
131
100
0
39
43
36
Minority
45
35
500
$ millions
Majority
44
40
Number of projects
Minority
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
Source: Telefilm Canada.
Note: Statistics as of September 2012.
8The
Canadian share of audiovisual treaty coproduction volume (or the Canadian share of coproduction budgets) is already included in Canadian production
volume figures throughout this report.
Profile 2012 | 31
Exhibit 2-29 Total volume of audiovisual treaty coproduction with Canada
Canadian share of budgets
99
700
Foreign share of budgets
88
84
600
71
$ millions
500
400
300
Number of projects
66
70
66
64
60
Total budgets
545
281 264
50
560
606
464
308 298
200
446
205
241
328
275
173 178
248
232
351
455
207
189
500
235
463
258
265
544
280 264
205
100
0
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
Note: Statistics as of September 2012. Some totals may not sum due to rounding.
Exhibit 2-30 Canada’s total number and volume of audiovisual treaty coproduction, English-language
500
65
450
62
$ millions
50
44
Total global budgets
45
42
37
534
461
284
250
370
150
62
48
300
200
Number of projects
53
400
350
381
250
173 169
158
202
268
174
193
397
231
367
227
342
212
463
433
259
215
202
255
208
181
154
148
120
100
50
0
2002
2003
2004
2005
2006
32 | Profile 2012
2007
2008
2009
2010
2011
Exhibit 2-31 Canada’s total number and volume of audiovisual treaty coproduction, French-language
140
Number of projects
34
120
26
175
100
23
22
22
22
106
$ millions
17
80
60
104
72
69
84
70
59
2002
2003
30
25
2004
2005
56
66
67
35
32
0
55
48
24
80
88
84
48
20
13
99
72
40
16
15
42
33 34
33
24
2006
2007
2008
2009
2010
24
2011
Note: Some totals may not sum due to rounding. Statistics as of September 2012.
Exhibit 2-32 Audiovisual treaty coproduction partner countries, 2002-2011
Canadian share
of budgets
Number of projects
Total volume ($M)
France
265
1,501
676
45
United Kingdom
199
1,246
711
57
Australia
24
127
57
45
Germany
20
325
163
50
Ireland
16
274
80
29
Philippines
11
62
45
73
Japan
8
22
9
41
Singapore
8
44
24
55
South Africa
8
83
37
44
Brazil
5
16
9
54
Other bipartite
80
381
211
55
Multipartite*
74
853
293
34
718
4,934
2,315
47
Total
$M
%
Note: Total volume refers to the global budget rather than only the Canadian portion of the budget. Statistics as of September 2012. Some totals may not sum due
to rounding.
* Multipartite production includes audiovisual treaty coproduction projects where Canada has two or more partner countries.
Profile 2012 | 33
C anad i an P r o d u c t i o n // te l e v isi o n pr o d u cti o n
Television Production
Canadian television production includes the production of television series, mini-series, TV movies
(including movies-of-the-week [MOWs] and feature-length television programs), single-episode television
programming and television pilots. It consists of productions that are certified as Canadian content by
either CAVCO or the CRTC.
Television production is produced across various genres, including fiction (i.e., drama and comedy),
children’s and youth, documentary, lifestyle, magazine programming, and variety and performing arts. This
sector excludes broadcaster in-house production: that is, television programming, such as news, sports
and public affairs programming, produced by Canadian broadcasters.
Canadian television production has long been popular in the French-language market, where prime time
series such as Les Parent regularly garner audiences in excess of one million viewers. In recent years,
Canadian television drama in the English-language market has also attracted larger audiences. Prime time
dramas such as Saving Hope, Rookie Blue and Bomb Girls have begun to enjoy audience success both in
Canada and, in some cases, in international markets as well.
• Canadian television production rose by 21.3% to an all-time
high of $2.58 billion.
• Canadian television production generated 57,900 FTEs,
including 22,800 FTEs directly in the production of
Canadian television programs.
• The volume of television series production increased by
23.4% to an all-time high of $2.21 billion; the number
of television series produced by Canadians also increased,
from 631 to 663.
• The increase in Canadian television production was largely
due to higher levels of production in the English-language
market, where the volume of production was up by 24.8%.
• The volume of French-language television production also
increased, but at a slower rate of 9.5%.
• Production in other languages tripled in volume: from
$9 million to $27 million.
• Average per-hour budgets in the English-language market
were higher in the fiction, lifestyle, and variety and
performing arts genres; but lower in the documentary,
34 | Profile 2012
and children’s and youth genres. The average budget for
English-language fiction programming rose to just under
$1.5 million per hour.
• In the French-language market, the average per-hour
budgets for programming in all genres except fiction and
documentary were higher.
• The average per-hour broadcast licence fee for Englishlanguage Canadian fiction productions was $253,000; for
French-language productions, the average was $107,000
per hour – albeit on a much lower average budget.
• Financing from Canadian distributors increased by 84.9%
to $342 million – a five-year high.
• The Canada Media Fund (CMF) made financial contributions
of $303 million to support $1.19 billion in television
production volume in 2011/12.
The Canadian television sub-sector had a landmark year in 2011/12. Not only did the volume of production
reach an all-time high, but several Canadian prime-time drama series surpassed the one million audience
threshold. Canadian television programs also garnered significant international critical praise, while
expanding their reach on broadcasting services outside of Canada.
After a decade of relatively modest growth and some instances of year-over-year declines, the Canadian
television sub-sector experienced broadly based gains in production in both of the major language
markets. Both English-language and French-language production experienced significant growth in
2011/12 (Exhibit 2-41).
The sharp growth in 2011/12 amplified, in several respects, the trends that the sub-sector experienced over
the last decade. First, there was the trend to higher-budget television series. While the annual number of
television series fluctuated from a low of 631 to a high of 724 (Exhibit 2-36), during the ten-year period,
2002/03 and 2011/12, the volume of television series production rose from $1.37 billion in 2002/03 to
$2.21 billion in 2011/12 – an increase of 61% (Exhibit 2-35). In contrast, the number and volume of TV
movies and mini-series were lower than ten years earlier.
Another trend within the Canadian television sub-sector in recent years was the emergence of the fiction
and lifestyle genres as leading sources of growth in production volume. The fiction genre led all other
genres in terms of percentage growth over not only the last ten years, but also the last five years. And
given that it is, by far, the largest genre by volume, it contributed the vast majority of the volume increase.
Between 2007/08 and 2011/12, for example, nearly three-quarters of the overall increase in volume of
Canadian television ($448 million) was in the fiction genre (Exhibit 2-37).
Although the data for the volume of production in the lifestyle genre only became available in 2009/10,
the proliferation of Canadian lifestyle programming on specialty television services offers clear evidence
that the genre gained ground in recent years. The available data also suggest that the lifestyle genre was
growing rapidly and fast becoming another key genre within the Canadian television production sub-sector.
In 2011/12, the volume of lifestyle production grew by 29.7% to reach $297 million (Exhibit 2-37).
In some genres, the higher levels of production were accompanied by higher average budgets. The average
budget of English-language fiction programming climbed in the last few years. By 2011/12, it was back
at $1.5 million per hour – a level it last reached in 2008/09 (Exhibit 2-39). Average budgets for Englishlanguage children’s and youth programming also climbed steadily over the last six years. They rose from
a ten-year low of $556,000 per hour in 2005/06 to $1 million per hour in 2010/11, before dipping back to
$927,000 in 2011/12. In the French-language market, the average budgets in most genres were relatively
stable over the past decade: they fluctuated within relatively tight ranges, rather than displaying any clear
upward or downward trends (Exhibit 2-40).
In terms of international broadcast sales, Canadian children’s and youth programming continued to
perform strongly in 2011/12. Mr. Young, Johnny Test and Joe & Jack are just a few of the Canadian series
that were picked up by children’s broadcasters around the world, including Disney channels.9 Broadcasters
outside of Canada also continued to recognize the high quality and audience appeal of Canadian
programming in other genres, particularly the lifestyle genre. Property Brothers, Top Chefs, Ice Pilots,
Love It or List It, and Design DNA are just some of the Canadian lifestyle programs that were sold into
international territories in 2011/12.10
9
Jeremy Dickson, “Disney XD gets more Mr. Young,” Playback, April 11, 2012; Jordan Twiss, “Johnny Test renewed for sixth season,” Kidscreen,
April 17, 2012; Jordan Twiss, “CCI’s Joe and Jack racks up new sales,” Kidscreen, May 3, 2012.
Ng See Quan, “Property Brothers heads south for season three,” Playback, May 24, 2012; Jordan Twiss, “Renewals and distribution round-up:
Top Chefs and Ice Pilots,” Playback, May 22, 2012; Etan Vlessing, “HGTV U.S. picks up another Canadian home design show,” Playback, November 28, 2011;
Emily Claire, “Beyond sells Canuck titles across Europe,” Playback, July 7, 2011.
10Danielle
Profile 2012 | 35
Canada has also been active of late in the format sales market. Endemol acquired the worldwide rights to
the Canadian singing competition, Canada Sings;11 while FremantleMedia acquired the worldwide rights
to the Canadian cooking competition, Recipe to Riches.12
The evidence of international sales in 2011/12 corresponds with the recent trends borne out by the
production financing statistics presented in this report, which also point to Canadian producers’
increasing international focus over the past five years. Between 2007/08 and 2011/12, the combined value
of financing from foreign sources and Canadian distributors (which can also distribute Canadian
television programs outside of Canada) increased by 56.0%, from $336 million to $524 million (Exhibit
2-46). The combined value of foreign financing and distribution advances accounted for 20% of the total
financing of Canadian television production. In the English-language market, the share was close to 27%
(Exhibit 2-48).
Meanwhile, in terms of domestic financing, Canadian conventional broadcasters’ spending on independent
Canadian programming was virtually flat during the 2011 broadcasting year (September 1, 2010 to
August 31, 2011), even though Canadian specialty television services increased their expenditures by
$91 million (Exhibit 2-51). The spending pattern seen in 2011 was an extension of this longer-term trend
over the previous five years, whereby specialty television services accounted for most, if not all, of the
growth in spending on independent production. Despite these increased expenditures on independent
production, Canadian broadcasters also spent $82 million on programming produced by affiliated
production companies in 2011, or nearly one dollar for every ten dollars they spent on independent
Canadian production (Exhibit 2-52).
The quality of Canadian programming, particularly high-end prime time drama, was further evident in
the domestic audience statistics for the 2012 broadcast year (September 1, 2011 to August 31, 2012). The
2012 broadcast year marked the first time that seven prime time Canadian television shows in the Englishlanguage market cracked the one million mark in terms of average minute audience (AMA)13. Saving Hope
led the way with an AMA of 1,658,000 (Exhibit 2-70). Television shows Battle of the Blades and Bomb Girls
joined long-running Canadian series, Rookie Blue, Flashpoint, The Listener and Republic of Doyle to round
out this group of seven. Aggregate audience data (which lags the program-specific data by one year),
however, continued to show that Canadian television programming held no more than a 22% audience
share in the 2011 broadcast year – down from 34% in 2009 (Exhibit 2-69).
In the French-language market, all of the top ten shows surpassed one million in AMA (Exhibit 2-72)
during the 2012 broadcast year. Several long-standing series such as Yamaska, Toute la vérité and La
Promesse were joined in the top ten by new series such as O’, Destinées and Trauma. The aggregate audience
data from the 2011 broadcast year showed that Canadian programming continued to garner over 60% of
the overall audience and over three-quarters of the audience in the documentary, children’s and youth,
and variety and performing arts genres (Exhibit 2-71).
11
Barry Walsh, “Endemol picks up global format rights for Canada Sings,” RealScreen, November 22, 2011.
Walsh, “Recipe to Riches goes international,” Playback, February 29, 2012.
13 Average Minute Audience (Aged 2+) – the number of viewers, aged two and over, tuned to the average minute of a program.
12 Barry
36 | Profile 2012
Vo l u m e
Exhibit 2-33 Total volume of Canadian television production
3,000
2,576
2,500
$ millions
2,000
1,799
2,131
2,128
2006/07
2007/08
2,231
2,066
2,124
1,896
1,825
1,696
1,500
1,000
500
0
2002/03
2003/04
2004/05
2005/06
2008/09
2009/10
2010/11
2011/12
Source: Estimates based on data collected from CAVCO. Note: Canadian television production includes CAVCO-certified television production
and an estimate for CRTC-certified production. Canadian television production also includes productions for non-theatrical release.
Empl oy m e nt
Exhibit 2-34 Number of full-time equivalent jobs (FTEs) generated by Canadian television production
57,900
60,000
Direct jobs
50,600
50,000
47,500
55,400
Spin-off jobs
49,600
FTEs
49,100
33,600
28,800
54,200
50,400
40,000
30,700
53,600
30,100
30,600
49,500
35,100
32,500
32,900
29,800
30,000
19,300
19,500
2009/10
2010/11 2011/12
30,000
20,000
10,000
0
19,900
18,700
19,500
19,800
2002/03
2003/04
2004/05
2005/06
21,800
21,100
21,300
2006/07
2007/08
2008/09
22,800
Profile 2012 | 37
Types
Exhibit 2-35 Volume of television production, by type
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
1,367
1,336
1,371
1,320
1,497
1,586
1,743
1,655
1,788
2,207
TV movies
179
159
221
362
346
302
240
155
156
158
Mini-series
145
64
78
62
103
96
88
118
66
79
Other TV*
109
138
154
152
186
143
159
138
114
132
1,799
1,696
1,825
1,896
2,131
2,128
2,231
2,066
2,124
2,576
($ millions)
Series
Total
* Other TV category includes single-episode television programming and television pilots.
Exhibit 2-36 Number of television projects, by type
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Series
683
645
683
715
710
724
717
642
631
663
TV movies
114
87
134
175
204
176
164
109
104
96
Mini-series
60
59
55
44
45
40
43
47
42
47
Other TV*
370
420
453
406
374
381
370
358
270
290
1,227
1,212
1,325
1,340
1,334
1,321
1,294
1,156
1,047
1,095
Total
* Other TV category includes single-episode television programming and television pilots.
Genres
Exhibit 2-37 Volume of television production, by genre
($ millions)
Fiction
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
868
749
824
838
952
928
945
882
966
1,260
Children’s
and youth
296
279
282
306
361
311
352
405
344
395
Documentary
309
332
377
356
374
408
416
341
313
349
Lifestyle
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
229
297
161
Variety and
performing
arts
129
143
126
117
142
133
183
157
164
Magazine
156
134
148
163
154
158
117
116
85
94
41
59
68
115
149
190
217
165
23
20
1,799
1,696
1,825
1,896
2,131
2,128
2,231
2,066
2,124
2,576
Other*
Total
n.a. – data not available.
* Prior to 2010/11, lifestyle programming was included in the other genre category.
38 | Profile 2012
Exhibit 2-38 Share of total volume of Canadian television production, by genre, 2011/12
Children’s
and youth
15%
Documentary
14%
Lifestyle
12%
Variety and
performing arts
6%
Magazine
4%
Fiction
49%
Other
1%
B u dg e t s
English-Language Production
Exhibit 2-39 Budgets of English-language Canadian television production, by genre
$ 000s per hour
Fiction
Average
Median
Children’s and youth
Average
Median
Documentary
Average
Median
Lifestyle
Average
Median
Variety and performing arts
Average
Median
Magazine
Average
Median
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
1,597
1,272
1,404
1,104
1,315
1,179
1,348
1,250
1,515
1,520
1,615
1,523
1,515
1,257
1,325
1,350
1,207
1,190
1,497
1,508
664
510
611
456
722
550
556
462
611
638
607
420
820
496
781
624
1,006
443
927
597
257
218
288
237
302
250
310
229
322
252
324
244
334
291
384
260
340
281
334
300
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
279
289
327
316
431
325
366
230
343
261
439
350
478
255
396
295
476
318
367
262
412
257
614
400
65
49
70
54
82
56
115
60
75
34
80
42
101
55
---
---
n.a.
n.a.
‘--’ – Data not reported due to the size of the sample of projects.
n.a. – Data not available.
Note: Calculations exclude the foreign budgets of treaty coproductions.
Profile 2012 | 39
French-Language Production
Exhibit 2-40 Budgets of French-language Canadian television production, by genre
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
$ 000s per hour
Fiction
Average
Median
Average
Median
Documentary
Average
Median
Lifestyle
Average
Median
Average
Median
Magazine
Average
Median
495
417
458
363
456
363
526
493
501
450
520
510
520
376
494
466
520
521
437
412
215
127
281
160
238
121
189
151
213
155
209
115
243
179
239
167
199
148
307
163
203
151
220
176
207
172
239
199
209
171
223
190
234
189
235
204
248
213
208
171
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
104
79
117
79
158
141
192
158
197
141
174
130
192
143
278
150
311
168
216
167
218
157
246
189
39
34
41
35
55
41
48
40
58
37
57
46
49
46
96
58
75
47
109
69
Note: Calculations exclude the foreign budgets of treaty coproductions.
L ang u ag e
Exhibit 2-41 Volume of Canadian television production, by language
2,600
2,576
Other languages
French
27
English
2,400
2,200
2,000
1,800
1,799
77
$ millions
1,400
43
46
77
1,600
448
2,128
25
39
1,896
1,825
1,696
2,131
2,231
16
2,066
22
2,124
643
9
580
561
539
571
587
502
464
422
1,200
1,000
1,906
800
600
1,275
1,197
2002/03
2003/04
1,315
1,351
2004/05
2005/06
1,546
1,550
1,635
2006/07
2007/08
2008/09
1,473
1,527
2009/10
2010/11
400
200
0
40 | Profile 2012
2011/12
Exhibit 2-42 Volume of Canadian television production, by language, 2011/12 share
French
25%
Bilingual and
other
1%
English
74%
Exhibit 2-43 Volume of Canadian television production, by genre and language
($ millions)
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
Fiction
English
French
Other
Total
675
153
40
868
622
126
0
749
645
166
12
824
677
162
0
838
762
190
0
952
738
180
10
928
774
171
0
945
702
179
1
882
756
208
1
966
1,070
189
1
1,260
English
French
Other
Total
246
41
9
296
213
44
22
279
245
32
5
282
255
38
13
306
289
68
4
361
252
47
12
311
273
76
4
352
312
80
13
405
278
64
2
344
282
96
17
395
Documentary
English
French
Other
Total
210
79
20
309
227
84
21
332
279
79
19
377
235
100
21
356
270
87
16
374
314
86
8
408
324
89
3
416
249
90
2
341
229
83
1
313
259
85
5
349
Lifestyle
English
French
Other
Total
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
n.a.
168
61
0
229
217
81
0
297
English
French
Other
Total
42
82
6
129
45
66
32
143
44
77
5
126
44
67
6
117
51
88
3
142
50
77
6
133
77
100
6
183
77
74
6
157
67
92
5
164
64
93
4
161
Magazine
English
French
Other
Total
65
89
2
156
57
76
2
134
48
97
3
148
53
107
3
163
44
109
1
154
35
119
3
158
22
91
3
117
26
90
0
116
10
76
0
85
0
94
0
94
37
4
0
41
33
26
0
59
55
13
1
68
87
27
2
116
130
19
0
149
160
30
0
190
164
53
0
217
107
58
0
165
18
4
0
23
14
6
0
20
Other genres*
English
French
Oher
Total
Source: Estimates based on data collected from CAVCO. Note: Some totals may not sum due to rounding.
* Prior to 2010/11, lifestyle programming was included in the “Other genres” category.
n.a. - Data not available.
Profile 2012 | 41
canadian C o nt e nt P o i nt s
CAVCO and the CRTC use the Canadian content points scale to certify television programs and films, so
that Canadian broadcasters can then use them to meet their Canadian television exhibition requirements. In
general, the number of Canadian content points increases as the share of key creative positions occupied by
Canadians increases. To qualify as Canadian content, a television program or film (that is not an audiovisual
treaty coproduction) must obtain a minimum of six points; the maximum number of points a television program
or film can obtain is ten.
Exhibit 2-44 Television production, by Canadian content points (excludes audiovisual treaty coproduction)
10 points*
8 or 9 points
6 or 7 points
100%
Share of total volume of television production
(based on dollar volume)
80%
68
60%
75
77
75
75
77
82
88
81
77
40%
11
20%
11
22
0%
2002/03
8
8
11
9
14
10
15
2003/04
15
2004/05
16
2005/06
14
2006/07
9
7
9
7
5
2007/08
2008/09
2009/10
9
2010/11
15
2011/12
* Includes productions that received the maximum number of eligible points. For example, productions that scored 7 out of 7 points are included in data covering
10 out of 10 points.
For more information on the Canadian content points scale, please visit: www.canadianheritage.gc.ca/cavco.
42 | Profile 2012
Exhibit 2-45 Volume of Canadian television production, by province and territory
($ millions)
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12 2011/12
share
of total
Ontario
710
758
714
734
731
829
959
962
1,005
1,227
48%
Quebec
658
575
642
721
758
715
731
688
717
770
30%
British
Columbia
15%
208
206
265
258
398
356
287
194
218
374
Nova Scotia
61
49
62
48
54
46
47
44
29
52
2%
Manitoba
23
15
26
32
63
34
40
44
28
41
2%
Newfoundland
and Labrador
1
3
2
15
2
6
5
30
37
36
1%
Alberta
59
51
56
37
54
80
92
78
62
35
1%
Saskatchewan
63
27
37
38
58
42
58
11
17
22
1%
New Brunswick
8
8
19
10
10
16
11
13
10
14
1%
Prince Edward
Island
9
5
1
3
2
5
0
0
0
3
<1%
Territories*
0
0
1
0
0
1
1
2
1
2
<1%
1,799
1,696
1,825
1,896
2,131
2,128
2,231
2,066
2,124
2,576
100%
Total
Note: Various provincial film agencies in Canada also publish statistics for film and television production activity using tax and marketing data in each province. Their
statistics may differ from those in Profile 2012 due to such differences as data collection periods (fiscal vs. calendar year) and production activity reported on the
basis of location of spend.
F i nanc i ng
Canadian television production is financed through a variety of private and public sources within Canada, as
well as foreign broadcasters, distributors and other private investors. Production in the English-language and
French-language markets typically displays different average financing structures. Similarly, different genres of
television production also display varying average financing structures.
Exhibit 2-46 Financing of Canadian television production
Federal tax credit
Provincial tax credits
Foreign
Canada Media Fund
Other public*
Other private**
Total
%
2007/08
$ millions
%
2008/09
$ millions
%
2009/10
$ millions
%
2010/11
$ millions
%
2011/12
$ millions
22
12
11
14
7
9
12
2
11
100
468
265
242
298
150
186
242
44
232
2,128
24
10
10
14
7
10
12
1
11
100
536
221
229
306
160
234
275
29
242
2,231
22
10
10
18
6
8
15
1
10
100
457
201
207
366
130
157
307
26
215
2,066
24
8
10
18
9
8
13
2
9
100
500
177
216
372
185
164
282
32
196
2,124
21
9
10
18
13
7
12
<1
10
100
532
221
269
467
342
182
303
12
248
2,576
Source: Estimates based on data obtained from CAVCO and CMF. Note: Some totals may not sum due to rounding.
** Other private includes financing from production companies, independent production funds, broadcaster equity and other Canadian private investors
Profile 2012 | 43
Exhibit 2-47 Financing of Canadian television production, by genre, 2011/12
Fiction
Children’s
and Youth
% $ millions
%
$ millions
Private
broadcaster
licence fees
12
152
13
Public
broadcaster
licence fees
7
91
Federal tax credit
10
Provincial tax
credits
Canadian
distributor
Documentary
Variety and
Performing Arts
% $ millions
%
$ millions
53
27
95
21
7
30
5
18
128
10
40
10
18
223
24
95
19
242
13
9
111
7
Canada Media
Fund
13
159
Other public*
<1
4
Other private**
12
100
Foreign
Total
Magazine
All Genres†
%
$ millions
% $ millions
34
36
34
21
532
25
41
25
24
9
221
36
11
18
12
12
10
269
17
60
18
29
15
14
18
467
53
7
23
1
1
0
0
13
342
26
8
26
0
0
4
4
7
182
14
57
18
64
14
23
0
0
12
303
1
5
3
10
2
2
0
0
<1
12
149
9
37
5
16
8
12
8
7
10
248
1,260
100
395
100
349
100
161
100
94
100
2,576
Source: Estimates based on data obtained from CAVCO and CMF. Note: Some totals may not sum due to rounding.
†
Includes certain genres not listed in the table; therefore, row amounts do not sum.
Exhibit 2-48 Financing of English-language Canadian television production
2007/08
% $ millions
2008/09
% $ millions
2009/10
% $ millions
2010/11
% $ millions
2011/12
% $ millions
22
344
24
386
21
315
22
339
20
8
125
6
94
6
86
5
69
5
88
Federal tax credit
10
149
8
137
10
142
10
152
10
194
16
249
16
261
18
269
18
277
19
353
9
137
9
152
8
122
12
179
18
334
Foreign
12
185
14
223
10
152
10
158
9
164
Canada Media Fund
11
157
11
183
14
203
12
183
10
199
2
31
1
21
2
25
1
19
<1
7
11
174
11
178
11
159
10
152
10
196
100
1,550
100
1,635
100
1,473
100
1,527
100
1,906
Other public*
Other private**
Total
372
Source: Estimates based on data obtained from CAVCO and CMF.
44 | Profile 2012
Exhibit 2-49 Financing of French-language Canadian television production
2007/08
% $ millions
2008/09
% $ millions
2009/10
% $ millions
2010/11
% $ millions
2011/12
% $ millions
22
117
25
146
25
140
27
160
24
157
25
135
22
129
20
116
19
112
21
138
Federal tax credit
15
83
15
86
11
63
11
64
11
72
9
49
8
47
16
92
16
93
17
108
1
8
1
6
<1
3
<1
2
<1
3
Foreign
<1
1
1
7
<1
2
<1
3
2
13
Canada Media Fund
97
16
83
16
90
18
100
16
94
15
Other public*
2
13
1
7
<1
2
3
16
1
8
Other private**
9
51
11
61
9
53
7
43
8
48
100
539
100
580
100
571
100
587
100
643
Total
Source: Estimates based on data obtained from CAVCO and CMF.
B ro adca s t e r L i c e nc e F e e s
Exhibit 2-50 A
verage per-hour licence fees paid by Canadian broadcasters for Canadian television
programming, 2011/12
English
French
107
Fiction
253
36
Children's and youth
139
42
Documentary
85
107
Lifestyle
184
91
Variety and
Performing Arts
Magazine
149
69
n.a.
0
50
100
150
200
250
300
$ 000s per hour
Source: Estimates based on data obtained from CAVCO for a sample of 2011/12 projects.
n.a. – Data not reported due the size of the sample of projects.
Profile 2012 | 45
B ro adca s t e r Sp e nd i ng
Exhibit 2-51 Expenditures on Canadian independent production by private Canadian broadcasters
900
Private conventional television
Pay television
800
749
613
633
$ millions
600
487
500
430
300
766
153
705
700
400
849
Specialty television*
109
122
34
517
126
38
503
145
138
58
146
176
154
75
143
65
77
64
40
628
30
200
291
331
354
2003
2004
68
410
425
2006
2007
494
496
2008
2009
537
324
100
0
2002
2005
2010
2011
Source: Data obtained from the CRTC.
* Includes CBC/Radio-Canada’s specialty television services.
Notes: Some totals may not sum due to rounding. Spending on Canadian independent production programming refers to programming and production expenses of
conventional television licensees, and Canadian program amortization of specialty and pay television licensees.
Segments of the Canadian
B r oa d c a s t i n g I n d u s t ry
The Canadian broadcasting industry comprises three key segments. The conventional television
segment includes private and public broadcasters that maintain over-the-air infrastructure to
broadcast to households, although the vast majority of Canadian households now receive
conventional television signals via cable or satellite television providers. Pay television services
are only available via cable or satellite television providers. They typically feature premium
programming such as recently released films and do not earn revenue from advertising;
instead they rely on subscription or transactional payments (i.e., pay-per-view or video-ondemand services) from subscribers. Specialty television services are also only available
via cable or satellite television providers. The specialty television services segment includes
sports, 24-news, movies, arts and other thematic channels that earn revenue from a combination
of subscription fees and advertising.
46 | Profile 2012
Canadian broadcasters license original and repeat programming from both independent Canadian production
companies as well as broadcaster-affiliated production companies (production companies in which broadcasters own
or control at least 30% of the (voting) equity).
Exhibit 2-52 Expenditures by private Canadian broadcasters* on broadcaster-affiliated production
($ millions)
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
37
28
44
49
55
50
49
39
19
36
Private conventional broadcasters
Specialty* and pay television services
n.a.
n.a.
n.a.
43
36
40
37
40
44
46
Total
n.a.
n.a.
n.a.
92
92
90
86
79
63
82
Source: CRTC.
n.a. – Data not available.
Private Television Broadcasting Revenues
Exhibit 2-53 Total revenue of private Canadian broadcasters*
6,000
5,886
Pay television
4,896
5,000
4,000
5,067
5,610
5,076
4,642
3,934
4,131
2,153
4,368
2,147
3,596
2,171
2,138
1,971
$ millions
2,143
3,000
2,049
2,066
2,146
856
807
1,893
482
2,000
333
350
1,000
0
384
547
596
696
410
1,370
1,535
1,681
1,812
2002
2003
2004
2005
2,017
2,178
2,333
2,409
2006
2007
2008
2009
2,656
2010
2,877
2011
Profile 2012 | 47
Exhibit 2-54 Total profit before interest and taxes (PBIT) of private Canadian broadcasters*
1,200
Pay television
1,092
161
1,000
888
647
582
$ millions
600
370
178
200
664
108
113
117
613
656
8
101
137
125
85
90
448
140
86
299
80
112
242
760
91
233
400
11
798
800
448
530
547
643
740
791
329
193
0
-117
-200
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
* includes CBC/Radio-Canada’s specialty television services.
Canada Media Fund
The Canada Media Fund (CMF) is a public-private partnership between the Government of Canada and cable and
satellite distributors. The CMF has a mandate to support the creation of Canadian convergent digital content
across multiple platforms, including television, and leading-edge new media applications, as well as experimental
content applications or software for the Internet, wireless and other emerging digital platforms.
The CMF was officially launched on April 1, 2010, to respond to changes brought about by new technologies
and evolving consumer demand. It replaced the former Canadian Television Fund (CTF) and the Canada New
Media Fund.
During its inaugural fiscal year of operation, 2010/11, the CMF launched a new slate of programs, with an
overall program budget of more than $350 million for screen-based media across two funding streams: the
Convergent Stream and the Experimental Stream. The Convergent Stream provides financial support to
screen-based projects with television content and content or applications for at least one additional digital
media platform. The Experimental Stream funds the creation of innovative digital media content and
software applications. This section provides an overview of the screen-based production supported by the
CMF’s Convergent Stream.
48 | Profile 2012
Volume
Exhibit 2-55 Total volume of Canadian screen-based production with CMF contributions
1,192
1,200
Contribution
Other financing*
1,056
1,003
1,000
943
880
869
817
$ millions
800
764
733
889
659
749
600
568
509
440
628
497
668
721
627
400
200
0
255
219
236
249
252
242
275
307
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
282
303
2010/11 2011/12
Source: CMF.
* Other financing includes contributions from production companies, broadcasters, other government sources and distributors.
Jobs Generated by CMF-Suppor ted Production
Exhibit 2-56 Number of full-time equivalent jobs (FTEs) generated by CMF-supported production
30,000
Direct jobs
27,900
Spin-off jobs
25,000
22,600
22,300
26,200
23,800
22,800
24,300
23,900
20,800
19,100
20,000
16,900
FTEs
15,900
15,000
13,700
13,500
14,400
13,800
14,700
14,500
12,600
11,600
10,000
5,000
0
8,800
2002/03
8,200
8,900
9,400
9,000
9,400
10,300
7,500
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
9,600
11,000
2010/11 2011/12
Source: Estimates based on data from the CMF, Statistics Canada and Conference Board of Canada.
Profile 2012 | 49
Hours of Television Production
Exhibit 2-57 Number of CMF-supported hours of television production, by genre
2002/03
Documentary
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
1,000
739
810
837
798
806
761
821
715
828
750
596
782
717
681
693
646
639
695
812
Drama (i.e., fiction)
532
441
472
525
549
480
580
610
659
613
Variety and
performing arts
Total
273
367
313
197
270
217
223
352
422
549
2,555
2,142
2,376
2,276
2,297
2,195
2,210
2,422
2,491
2,801
2008/09
2009/10
2010/11
2011/12
Source: CMF.
Contributions to Television Production
Exhibit 2-58 CMF contributions to television production, by genre
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
$ millions
Documentary
50
45
46
48
52
53
55
61
56
64
58
41
45
46
46
49
49
55
54
57
136
126
134
146
144
131
162
178
160
159
Variety and
performing arts
Total
10
8
10
8
10
9
10
13
13
23
254
219
236
249
252
242
275
307
282
303
Percent of total
Documentary
20%
20%
20%
19%
21%
22%
20%
20%
20%
21%
23%
19%
19%
19%
18%
20%
18%
18%
19%
19%
53%
58%
57%
59%
57%
54%
59%
58%
57%
53%
Variety and
performing arts
Total
4%
4%
4%
3%
4%
4%
4%
4%
5%
8%
100%
100%
100%
100%
100%
100%
100%
100%
100%
100%
Source: CMF.
50 | Profile 2012
CMF-suppor ted Convergent Digital Media Production
Exhibit 2-59 CMF-supported convergent
digital media projects, by language, 2011/12
Other
languages
12%
English-language
47%
Exhibit 2-60 Volume of CMF-supported
convergent digital media production, by
language, 2011/12
Other
languages
13%
English-language
48%
22
$2.9 million
83
$11.1 million
Total
volume of
production:
$23.0 million
Total
number of
projects:
177
$9.0 million
72
French-language
41%
French-language
39%
Source: CMF.
Source: CMF.
Exhibit 2-61 CMF contributions to convergent digital media production, by television genre, 2011/12
Drama
26%
$2.4 million
Documentary
24%
$2.2 million
Total
contributions:
$9.1 million
$0.4 million
Variety and
performing arts
4%
$4.1 million
Children’s
and youth
45%
Source: CMF.
Profile 2012 | 51
A u d i ov i s u al T r e at y C o p ro d u ct i o n
Exhibit 2-62 Audiovisual treaty coproduction with Canada in the television sub-sector*
300
Number of projects
78
66
54
250
54
50
45
$ millions
200
45
368
185 183
254
122
155
225
132
94
28
189
234
162
109
113
254
145
146
142
203
126
99
252
38
310
195
268
150
100
42
357
121
110
109
88
50
0
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
Note: Some totals may not sum due to rounding. Statistics as of September 2012.
Exhibit 2-63 Volume of audiovisual treaty coproduction in the television sub-sector, by genre
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
171
30
57
27
51
7
105
97
101
158
146
190
41
59
31
48
73
48
33
138
23
196
131
135
132
106
182
103
55
Total
368
42
254
225
203
268
252
357
310
234
254
Total volume of production
($ millions)
Drama (fiction)
Documentary
Number of projects
Drama (fiction)
12
5
4
--*
7
6
10
5
8
6
Documentary
47
27
31
--*
21
22
33
23
22
14
18
22
17
--*
17
17
23
14
8
8
Total
78
54
54
50
45
45
66
42
38
28
14.3
6.0
12.7
--*
15.0
16.2
10.1
31.6
18.3
31.7
Documentary
1.2
1.0
1.3
--*
1.5
2.2
2.2
2.1
1.5
1.6
7.7
8.9
7.7
--*
7.7
6.2
7.9
7.4
6.9
5.3
Overall
4.7
4.7
4.2
4.1
6.0
5.6
5.4
7.4
6.2
9.1
Average project budgets
($ millions)
Drama (fiction)
Note: Total volume refers to the global budget rather than only the Canadian portion of the budget. Statistics as of September 2012.
* Statistics suppressed due to confidentiality.
52 | Profile 2012
Exhibit 2-64 C
anada’s total number and volume of audiovisual treaty coproduction, television
sub-sector, English-language
300
Number of projects
54
50
250
37
$ millions
200
150
35
36
36
32
31
149
220
208
100
110
225
126
107 102
163
158
81 82
78 79
2004
2005
215
151
244
137
136
124
107
114
100
94
22
182
178
259
28
295
329
79
50
0
2002
2003
2006
2007
2008
2009
2010
2011
Exhibit 2-65 Canada’s total number and volume of audiovisual treaty coproduction, television
sub-sector, French-language
100
Number of projects
28
80
19
109
17
73
14
60
14
$ millions
12
10
9
10
63
6
45
40
36
45
46
30
48
30
20
16
18
29
27
19
16
10
0
2002
2003
2004
2005
27
17
2006
2007
17
10
2008
19
14
8
7
2009
9
10
10
3
2010
8
2011
Profile 2012 | 53
Exhibit 2-66 Audiovisual treaty coproduction partner countries, television sub-sector, 2002-2011
Number of
projects
Total volume
($M)
$M
%
France
197
813
353
43
United Kingdom
Country
154
667
382
57
Australia
21
120
53
44
Ireland
12
249
62
25
Philippines
11
62
45
73
Germany
11
117
34
29
83
Singapore
8
29
24
Brazil
5
16
9
54
South Korea
5
24
9
39
South Africa
4
55
27
49
Other bipartite
35
184
86
48
Multipartite*
37
389
119
31
Total
500
2,725
1,203
44
Note: Total volume refers to the global budget rather than only the Canadian portion of the budget. Statistics as of September 2012.
Some totals may not sum due to rounding.
A u d i e nc e s
Top-Rated Television Programs
Exhibit 2-67 Top ten television series in Canada,
2012 broadcast year*
Program (country of origin)
Average Minute
Audience (000s)
Exhibit 2-68 Top ten Canadian-produced
television series, 2012 broadcast year*
Program (language market)
Average Minute
Audience (000s)
1. Big Bang Theory (U.S.)
3,481
1. Saving Hope (English)
1,658
2. Grey's Anatomy (U.S.)
2,476
2. Rookie Blue (English)
1,477
3. C.S.I. (U.S.)
2,262
3. Flashpoint (English)
1,427
4. The Mentalist (U.S.)
2,128
4. Les Auditions de Star Académie (French)
1,399
5. Two and a Half Men (U.S.)
2,064
5. Battle of the Blades (English)
1,252
6. NCIS (U.S.)
2,022
6. Bomb Girls (English)
1,252
7. Missing (U.S.)
2,000
7. Yamaska (French)
1,238
8. Bones (U.S.)
1,997
8. Toute la vérité (French)
1,217
9. NCIS: Los Angeles (U.S.)
1,965
9. La Promesse (French)
1,148
10. House (U.S.)
1,941
10. O' (French)
1,146
Source: CMF Research (BBM Canada), 2012.
* September 1, 2011 to August 31, 2012. Television series include all
television projects – in the drama, documentary, children’s and youth,
and variety and performing arts genres – with more than three episodes
televised during a single broadcast year.
Note: The list of top television programs is based only on television
programs in the CMF-supported genres (drama, children’s and youth,
documentary, and variety and performing arts).
54 | Profile 2012
* September 1, 2011 to August 31, 2012. Television series include all
television projects – in the drama, documentary, children’s and youth,
and variety and performing arts genres – with more than three episodes
televised during a single broadcast year.
Note: The list of top television programs is based only on television
programs in the CMF-supported genres (drama, children’s and youth,
documentary, and variety and performing arts).
English-Language Market
Exhibit 2-69 T elevision audience share of Canadian programming, English-language market,
peak-viewing period
Broadcast year
2006
2007
2008
2009
2010
Drama (fiction)
15%
13%
12%
13%
16%
2011
15%
Documentary
55%
48%
49%
49%
35%
35%
52%
30%
43%
45%
46%
44%
32%
25%
31%
29%
20%
19%
All TV genres
34%
29%
31%
34%
22%
22%
Exhibit 2-70 T op ten Canadian television series in the English-language market,
2012 broadcast year*
Program
Average Minute
Audience
(000s)
1. Saving Hope
1,658
2. Rookie Blue
1,477
3. Flashpoint
1,427
4. Battle of the Blades
1,252
5. Bomb Girls
1,252
6. The Listener
1,140
7. Republic of Doyle
1,048
8. The Firm
975
9. Arctic Air
965
10. Rick Mercer Report
871
* September 1, 2011 to August 31, 2012. Television series include all television projects – in the drama, documentary, children’s and youth, and variety and
performing arts genres – with more than three episodes televised during a single broadcast year.
Note: The list of top television programs is based only on television programs in the CMF-supported genres (drama, children’s and youth, documentary, and variety
and performing arts).
Profile 2012 | 55
Traditional vs. Online Television Viewing
In 2011, Canadians (2+) spent an average of 28.5 hours per week watching television via
traditional methods. Canadians (18+) also reported that they spent, on average, 0.7 hours per
week watching television on the Internet. Among typical weekly users (18+) of Internet television,
the average rate of viewing was four times higher, at 2.8 hours per week.
Average weekly hours of television viewing in Canada, traditional television*
vs. Internet television
Traditional television viewing* (all persons 2+)
Internet TV usage - total population (18+)
30
Internet TV usage - typical weekly user (18+)
28.5
28.0
26.8
26.6
26.5
25
Average weekly hours
20
15
10
5
1.9
0
0.2
0.2
2007
1.5
2008
0.5
0.7
0.5
2009
2.8
2.4
2.0
2010
2011
* Traditional television viewing includes television viewing via over-the-air signal reception, cable, satellite or multipoint distribution systems.
56 | Profile 2012
French-Language Market
Exhibit 2-71 T elevision audience share of Canadian programming, French-language market,
peak-viewing period
Broadcast year
2006
2007
2008
2009
2010
Drama (fiction)
61%
56%
52%
55%
52%
2011
48%
Documentary
77%
71%
74%
77%
74%
76%
66%
72%
63%
75%
81%
76%
93%
93%
79%
84%
85%
87%
All TV genres
65%
68%
66%
67%
63%
62%
Exhibit 2-72 Top ten Canadian television series in the French-language market, 2012 broadcast year*
Program
Average Minute
Audience
(000s)
1. Les Auditions de Star Académie
1,399
2. Yamaska
1,238
3. Toute la vérité
1,217
4. La Promesse
1,148
5. O'
1,146
6. Les Parent
1,141
7. Destinées
1,118
8. Trauma
1,115
9. Apparences
1,069
10. Providence
1,042
* September 1, 2011 to August 31, 2012. Television series include all television projects – in the drama, documentary, children’s and youth, and variety and
performing arts genres – with more than three episodes televised during a single broadcast year.
Note: The list of top television programs is based only on television programs in the CMF-supported genres (drama, children’s and youth, documentary, and variety
and performing arts).
Profile 2012 | 57
C anad i an P r o d u c t i o n // the atric a l pr o d u cti o n
Theatrical Production
Canadian theatrical production (or theatrical-release production) includes feature films and short films14
made with movie theatres as the primary venue for initial release to the public. In recent years, many
Canadian theatrical films such as Starbuck, Take this Waltz, Goon and Resident Evil: Retribution, have
had strong box office runs and earned critical acclaim.
• Canadian theatrical production rose to a ten-year high of
$381 million.
fiction feature films with budgets of $10 million or higher
increased from 6% to 8%.
• A total of 100 theatrical films were produced by Canadians,
down from 114 in 2010/11.
• Ontario-based productions accounted for 51% of the total
volume of Canadian theatrical production.
• Canadian producers made 87 feature-length theatrical films.
• Public sources accounted for approximately one-half (53%)
of total financing of Canadian theatrical-release films. The
Canada Feature Film Fund (CFFF) alone accounted for 15%
of all financing.
• Canadian theatrical production generated an estimated
8,600 FTEs of employment in Canada, including 3,400 FTEs
employed directly in theatrical production.
• All three language groupings – English, French and other
languages – experienced increases in theatrical production
in 2011/12. English-language production increased by
15.3% to $264 million; French-language production
increased by 9.2% to $107 million; and production in other
languages rose from $7 million to $10 million.
• The average budgets of fiction feature films were higher in
2011/12. For fiction feature films originally shot In English,
the average budget rose from $4.4 million to $5.4 million;
for French-language fiction feature films, the average
budget increased from $3.0 million to $3.4 million.
• The share of fiction feature films with budgets over $5 million
decreased slightly: from 28% to 26%, although the share of
• Foreign financing of Canadian theatrical films jumped from
$40 million in 2010/11 to $95 million in 2011/12. The
share of financing from foreign sources more than doubled:
from 12% to 25%.
• English- and French-language production displayed
somewhat different financing models. Foreign sources
accounted for 30% of the total financing of Englishlanguage production, but only 12% of the financing of
French-language production. Meanwhile, direct public
funding (i.e., Telefilm’s CFFF and public funding by
provincial agencies) accounted for 16% of financing of
English-language production, but 41% of financing of
French-language production.
The rather uneven nature of Canadian theatrical production meant that this sub-sector was subject to much more year-to-year
fluctuation than the Canadian television sub-sector over the past decade. Nevertheless, in recent years higher production volumes
– in large part due to larger-budget feature films – helped maintain the annual volume of Canadian theatrical production above
$330 million for the past three consecutive years.
Despite a drop in the number of theatrical feature films produced by Canadians, the volume of Canadian theatrical film
production rose by 14.1% to a ten-year high of $381 million (Exhibit 2-73). The rise in production volume and the drop in the
number of projects pointed to higher average budgets. In fact, the average budget of fiction feature films originally shot in English
increased to a ten-year high of $5.4 million in 2011/12; the average budget for fiction feature films originally shot in French rose
from $3.0 million to $3.4 million (Exhibit 2-81).
14 The
feature film category includes all films 75 minutes and over in length; the short film category includes films 74 minutes and under in length.
58 | Profile 2012
The share of fiction feature films with budgets of $10 million or higher was also on the rise again in recent years. In
2008/09, only one percent of Canadian fiction feature films had a budget of $10 million or higher (Exhibit 2-83).
In 2009/10, this share rose to 5%; in 2010/11, it was 6%. In 2011/12, the share of Canadian fiction feature films
in this high-budget cohort rose to 8% – a share last reached in 2005/06.
The growth of the Canadian theatrical sub-sector was also relatively broad based in 2011/12. Both key language
markets experienced strong growth (Exhibit 2-76). What is most interesting about the increase in the Canadian
theatrical production volume was that it was partly fuelled by an increase in foreign financing. The foreign
financing of Canadian theatrical production more than doubled in both dollar terms, from $40 million to
$95 million, and percentage terms, from 12% to 25% in 2011/12 (Exhibit 2-85). And it appears that this influx
of foreign financing was not confined to English-language production, where the increase was comparable to
the whole sub-sector. Production in French also saw its foreign financing climb from 2% of total financing
to 12% (Exhibit 2-86).
The influx of foreign financing demonstrates that Canadian films attracted more interest from foreign distributors
in 2011/12. For example, larger-budget films such as Resident Evil: Retribution would have attracted considerable
distribution interest from outside Canada. These larger-budget films could not only affect the sub-sector’s
overall financing statistics, but also the overall volume of production.
Audiovisual treaty coproduction has always played an important role in Canada’s theatrical sub-sector.
Over the past decade it has typically accounted for between one-third and one-half of the total volume of
production.15 Audiovisual treaty coproduction in the theatrical sub-sector also continued to grow in 2011.
Although it remained below the levels reached in 2007 or 2003, it climbed from a ten-year low in 2008
(Exhibit 2-89). In 2011, 22 feature films were produced through coproduction treaties. These 22 feature films
had global budgets of $289 million and Canadian budgets of $170 million. In terms of Canadian budgets,
audiovisual treaty coproduction in the theatrical sub-sector reached its highest level since 2004 and remained
under the ten-year peak of $186 million, reached in 2003.
Despite the growth in production activity, Canadian films were unable to gain market share at the Canadian box
office in 2011, where foreign films continued to exert competitive pressure for screens. Overall, 115 Canadian
films earned $28 million in box office revenue in theatres in Canada in 2011 (Exhibit 2-93 and Exhibit 2-95), or
2.8% of the total box office of just over $1 billion (Exhibit 2-94).
In the French-language market,16 strong box office runs from films such as Starbuck, Le Sens de l’humour and
Gerry were not enough to lift overall box office share. The box office share of Canadian films was 13.4% in 2011,
the same as in 2010 (Exhibit 2-96). In the English-language market, three Canadian films – Barney’s Version,
Breakaway and Incendies – earned more than $1 million in box office revenue; however, the overall market share
of Canadian films dropped below one percent for only the third time in the last ten years (Exhibit 2-96).
Although Canadian films in the English-language market found the theatrical window to be very competitive,
they fared better on television-release platforms. In comparison to a 0.9% box office share, Canadian films
accounted for 2.2% of viewing of all films on specialty television, 7.1% of viewing of all films on conventional
television and 7.4% of viewing of all films on pay television (Exhibit 2-102). On the television-release platforms
in the French-language market, Canadian films’ share of viewing of all films was lower than their share in
the theatrical window, but still higher than the shares held by Canadian films in the English-language market
(Exhibit 2-103).
15Audiovisual
treaty coproduction statistics are reported on a calendar-year basis, while production volume statistics are reported on a fiscal-year basis;
any calculation of share is, therefore, only an approximation.
16In Canada, the French-language market refers to all films presented in French. This includes films for which the original language of production was
French, as well as other films dubbed into French, or presented with French subtitles. The English-language market refers to all films presented in
English (original language, dubbed or subtitled).
Profile 2012 | 59
Vo l u m e
Exhibit 2-73 Total volume of Canadian theatrical production
400
327
300
381
371
360
334
323
298
278
$ millions
260
179
200
100
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
Note: The feature film category includes all films 75 minutes and over in length; the short film category includes films 74 minutes and under.
Exhibit 2-74 Number of Canadian theatrical films produced in Canada on an annual basis
140
Feature film
123
Short film
120
Number of films
100
80
113
112
113
7
9
13
12
114
16
92
77
6
82
100
13
8
15
61
60
5
106
40
103
84
71
111
100
98
87
67
56
20
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
Note: The feature film category includes all films 75 minutes and over in length; the short film category includes films 74 minutes and under.
60 | Profile 2012
Empl oy m e nt
Exhibit 2-75 Number of full-time equivalent jobs (FTEs) generated by Canadian theatrical production
Direct jobs
Spin-off jobs
10,000
9,600
9,200
8,000
8,900
7,800
7,700
6,300
5,400
6,000
FTEs
8,600
7,800
5,800
5,600
4,700
8,100
4,700
4,800
4,900
5,200
4,700
3,800
4,000
2,900
2,000
3,100
3,800
3,600
3,000
3,200
2006/07
2007/08
3,500
2,500
1,900
0
2002/03
2003/04
2004/05
2005/06
2008/09
2009/10
3,100
3,400
2010/11
2011/12
L ang u ag e
Exhibit 2-76 Volume of Canadian theatrical production, by language
English-language
French-language
Other languages
400
300
278
6
10
327
70
32
323
298
$ millions
0
50
95
200
10
334
7
4
114
5
78
381
371
360
260
107
98
2
100
92
179
3
63
100
228
281
252
224
217
193
264
229
166
113
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Source: Estimates based on data collected from CAVCO. Note: Some totals may not sum due to rounding.
Profile 2012 | 61
Exhibit 2-77 Number of theatrical films, by language
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
English
Feature film
Short film
Total
51
5
56
39
9
48
36
4
40
57
2
59
69
3
72
63
3
66
63
10
73
66
7
73
55
10
65
52
8
60
French/Other
Feature film
Short film
Total
20
1
21
28
6
34
20
1
21
27
6
33
37
4
41
40
6
46
37
3
40
45
5
50
43
6
49
35
5
40
Grand Total
77
82
61
92
113
112
113
123
114
100
Note: Feature film category includes films 75 minutes and over in length; the short film category includes films 74 minutes and under.
Genres
Exhibit 2-78 Volume of Canadian theatrical production, by genre
($ millions)
Fiction
Other genres
Total
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
273
302
163
356
282
297
226
310
299
302
5
26
15
4
16
26
34
61
35
79
278
327
179
360
298
323
260
371
334
381
Source: Estimates based on data from CAVCO.
Exhibit 2-79 Number of Canadian theatrical films, by genre
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
Fiction
Other genres
Total
73
68
51
83
98
89
88
91
83
70
4
14
10
9
15
23
25
32
31
30
77
82
61
92
113
112
113
123
114
100
Exhibit 2-80 Theatrical documentary films
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
Volume ($ millions)
24
6
4
10
12
11
21
9
20
Number of films
12
6
8
14
17
17
22
20
15
Note: Data for documentary films is included in the ‘Other genres’ category in the overall breakdown of theatrical production by genre.
62 | Profile 2012
2011/12
B u dg e t s
Exhibit 2-81 Budgets of theatrical feature films (fiction genre only)
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
($ millions)
English
Average
Median
French
Average
Median
Total*
Average
Median
4.4
3.5
4.8
2.2
3.1
1.5
4.4
2.1
2.9
2.0
3.9
2.1
2.5
1.4
4.2
1.5
4.4
3.1
5.4
2.4
2.7
2.4
3.2
3.0
3.6
4.1
3.3
3.5
3.1
3.2
2.8
1.6
2.7
2.1
2.8
2.0
3.0
2.6
3.4
2.7
3.9
3.0
4.5
2.8
3.2
1.9
4.2
2.7
3.0
2.1
3.5
2.0
2.6
1.7
3.6
1.7
3.8
2.9
4.6
2.4
Notes: Calculations exclude the foreign budgets of audiovisual treaty coproductions.
* including other languages
Exhibit 2-82 Average budgets of CFFF-supported theatrical feature films (fiction genre only)
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
($ millions)
3.9
3.0
3.6
English
French
All languages
6.8
4.8
5.9
6.3
4.9
5.8
5.4
3.8
4.7
3.8
3.6
3.7
5.9
4.0
5.1
4.6
4.0
4.3
4.1
4.2
4.2
4.7
4.0
4.4
4.5
4.0
4.3
Notes: Calculations exclude the foreign share of audiovisual treaty coproduction budgets in which Canada was a minority partner.
Exhibit 2-83 Theatrical feature film projects, by budget size (fiction genre only)
$10,000,000 and over
$5,000,000 to $9,999,999
Share of total number of theatrcial feature films in fiction genre
100%
80%
6
26
5
27
4
$2,500,000 to $4,999,999
$1,000,000 to $2,499,999
8
22
25
5
11
19
27
8
22
18
18
23
22
17
33
19
22
6
24
22
22
37
29
25
28
39
20%
0%
1
15
19
22
27
40%
7
19
22
16
60%
2
under $1,000,000
22
25
2002/03
2003/04
31
2004/05
29
26
27
2005/06
2006/07
2007/08
2008/09
24
23
23
2009/10
2010/11
2011/12
Source: Estimates based on data collected from CAVCO. Note: Budget calculations exclude the foreign budgets of audiovisual treaty coproductions.
Profile 2012 | 63
Exhibit 2-84 Volume of Canadian theatrical production, by province and territory
($ millions)
2011/12
share of
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
total
Ontario
Quebec
Saskatchewan
British Columbia
Manitoba
New Brunswick
Newfoundland and
Labrador
Nova Scotia
Alberta
Territories*
Total
87
117
68
200
93
109
46
93
136
196
51%
104
4
49
6
0
185
0
14
1
0
92
0
11
2
0
100
0
44
2
0
124
0
43
8
0
121
11
65
5
0
130
15
53
0
3
235
3
26
1
1
124
11
37
13
0
158
10
7
7
1
41%
3%
2%
2%
<1%
0
4
24
0
0
278
0
8
1
0
0
327
0
5
1
0
0
179
0
10
1
3
0
360
0
21
5
3
0
298
1
3
9
0
0
323
2
10
0
0
0
260
0
9
3
0
0
371
0
11
2
0
0
334
1
0
0
0
0
381
<1%
0%
0%
0%
0%
100%
F i nanc i ng
Exhibit 2-85 Financing of Canadian theatrical production
2007/08
% $ millions
Private broadcaster
licence fees
Public broadcaster
licence fees
Federal tax credit
Foreign
Canada Feature Film Fund
Other public*
Other private**
Total
2008/09
% $ millions
2009/10
% $ millions
2010/11
% $ millions
2011/12
% $ millions
2
7
2
5
1
4
3
8
1
5
1
6
15
17
12
27
2
18
100
3
20
49
55
39
68
24
59
323
<1
5
18
14
12
25
12
12
100
1
12
47
37
30
65
32
31
260
<1
7
21
7
16
18
10
20
100
1
25
80
27
58
67
36
74
371
1
6
19
10
12
19
12
18
100
2
21
65
33
40
65
39
60
334
<1
7
22
7
25
15
9
13
100
1
28
85
28
95
58
33
50
381
Source: Estimates based on data obtained from CAVCO and Telefilm Canada.
64 | Profile 2012
Exhibit 2-86 Financing of Canadian theatrical production, by language
English-language
2009/10
2010/11
French and other languages
2011/12
2009/10
2010/11
2011/12
$
%  millions
$
%  millions
$
%  millions
$
%  millions
$
%  millions
Private broadcaster
licence fees
1
2
3
7
2
4
1
2
1
1
<1
1
Public broadcaster
licence fees
<1
1
<1
1
0
0
<1
<1
1
1
<1
<1
Federal tax credit
8
19
8
18
8
21
5
6
3
3
5
6
21
52
19
43
22
58
23
27
21
22
23
26
7
18
11
25
8
20
8
9
8
8
7
8
Foreign
21
53
17
38
30
79
4
5
2
2
12
14
Canada Feature Film
Fund
18
45
18
41
12
33
18
22
23
24
21
25
3
7
3
8
4
10
24
29
32
33
20
24
21
53
21
49
14
37
17
20
10
11
11
12
100
252
100
229
100
264
100
119
100
105
100
116
Other public*
Other private**
Total
$
%  millions
Source: Estimates based on data obtained from CAVCO and Telefilm Canada.
C anada F e at u r e F i lm F u nd
The Canada Feature Film Fund (CFFF), established in 2000 and administered by Telefilm Canada, is the federal
government’s main program for the support of the Canadian theatrical feature film industry and the single
largest source of financing for Canadian theatrical production.
In 2011/12, the CFFF provided approximately $88 million in financial support to the development, production,
distribution and marketing of Canadian feature films. Out of this $88 million total, Telefilm Canada provided
$58 million in production financing to Canadian feature films.
Profile 2012 | 65
Exhibit 2-87 Total Canadian feature film production volume with CFFF contributions
CFFF production funding
Other financing*
300
261
250
221
$ millions
200
185
171
188
163
212
175
179
110
112
65
67
201
147
150
153
101
130
99
99
100
147
142
50
0
70
73
2002/03
2003/04
55
48
2004/05
2005/06
64
2006/07
68
2007/08
2008/09
2009/10
65
58
2010/11 2011/12
* Other financing includes contributions from production companies, broadcasters, other government sources and distributors.
Note: Total budgets exclude the foreign portion of coproduction budgets for which Canada is a minority partner.
Exhibit 2-88 Number of Canadian theatrical feature films that received financial support from
the CFFF, by language
English-language
50
French-language
48
47
44
43
Number of films
40
43
41
43
19
17
20
32
31
18
47
19
16
17
21
30
12
13
20
30
23
10
0
2002/03
2003/04
66 | Profile 2012
26
20
2004/05
29
28
20
18
2005/06
27
26
2006/07
2007/08
2008/09
2009/10
2010/11 2011/12
Audiovisual Treaty Coproduction
Exhibit 2-89 Audiovisual treaty coproduction with Canada in the theatrical sub-sector
Number of projects
300
30
28
25
250
22
21
17
$ millions
200
308
186
170
196
221
177
96
289
186
166
150
100
18
16
352
Total global
budgets
106
120
115
81
79
2003
118
113
69
76
2004
2005
2006
2007
119
111
77
99
53
45
2002
229
190
122
148
50
0
22
19
2008
2009
2010
2011
Source: Telefilm Canada. Note: Some totals may not sum due to rounding. Statistics as of September 2012.
Exhibit 2-90 Canada’s total number and volume of audiovisual treaty coproduction,
theatrical sub-sector, English-language
25
200
180
22
17
325
15
13
177
160
140
8
8
$ millions
148
135
182
161
Total global
budgets
180
101
92 88
111
137
102
102
88
110
80
70
60
71
63
60
49
48
40
38
20
0
219
237
148
80
40
15
13
11
120
100
Number of projects
23
2002
2003
2004
2005
2006
2007
15
2008
2009
2010
2011
Source: Telefilm Canada. Note: Statistics as of September 2012.
Profile 2012 | 67
Exhibit 2-91 Canada’s total number and volume of audiovisual treaty coproduction,
theatrical sub-sector, French-language
60
6
5
8
4
8
Number of projects
14
8
7
6
5
72
50
70
53
Total global
budgets
48
61
40
$ millions
66
30
38
41
33 33
47
38
53
29
27
23
20
18
16
25
22
19
15
15
10
9
9
0
28
35
27
20
2002
2003
32
2004
2005
2006
2007
2008
2009
2010
2011
Statistics as of September 2012.
Exhibit 2-92 Audiovisual treaty coproduction partner countries, theatrical sub-sector, 2002-2011
Country
Number of projects
Total volume ($M)
$M
%
France
68
688
323
47
United Kingdom
45
579
329
57
Germany
9
205
128
63
Italy
4
50
36
72
Japan
4
6
3
60
South Africa
4
27
10
35
Belgium
4
23
10
43
Ireland
4
25
18
74
Australia
3
9
4
42
Switzerland
3
13
6
43
Other bipartite
33
121
70
58
Multipartite*
37
464
174
38
218
2,209
1,112
50%
Total
Note: Total volume refers to the global budget rather than only the Canadian portion of the budget. Statistics as of September 2012. Some totals may
not sum due to rounding.
68 | Profile 2012
N at i o nal B ox Off i c e T r e nd s
While Canadians are able to access a growing array of digital distribution platforms, including cable and satellite
video-on-demand (VOD) services, iTunes and Netflix, the statistics in this section show that Canadians still
like to go to the movies.
Exhibit 2-93 Box office revenues in Canada, by origin of production
1,200
Canada
1,000
U.S.
Other foreign
1,007
945
957
24
33
903
41
800
$ millions
920
834
832
46
35
858
34
1,030
32
1,001
28
26
28
600
830
866
780
400
713
734
763
815
889
954
864
200
0
91
57
82
75
63
67
80
84
43
2002
2003
2004
2005
2006
2007
2008
2009
2010
109
2011
Source: Motion Picture Theatre Associations of Canada (MPTAC). Note: Some totals may not sum due to rounding.
Exhibit 2-94 Share of total box office revenues in Canada, by origin of production
Canada
Share of Canadian box office revenues, by origin of production
100%
2.6
U.S.
Other foreign
3.5
4.6
5.5
4.2
3.3
2.9
3.3
90.5
86.4
85.5
88.3
88.9
88.6
88.3
6.0
9.0
9.0
7.6
7.8
8.7
8.3
2003
2004
2005
2006
2007
2008
2009
3.1
2.8
80%
60%
87.8
92.7
86.3
40%
20%
9.7
0%
2002
4.2
2010
10.9
2011
Source: Motion Picture Theatre Associations of Canada (MPTAC). Note: Some totals may not sum due to rounding.
Profile 2012 | 69
Exhibit 2-95 Number of films playing in theatres in Canada, by origin of production
800
Canada
U.S.
737
Other foreign
700
612
600
Number of films
537
500
85
566
564
113
105
530
99
99
629
624
112
122
115
608
116
590
111
304
400
295
300
258
247
256
312
257
299
282
242
200
318
100
0
194
184
197
202
218
205
203
210
2002
2003
2004
2005
2006
2007
2008
2009
237
2010
2011*
Source: Motion Picture Theatre Associations of Canada (MPTAC).
* Beginning in 2011, MPTAC expanded its coverage of the theatrical market in Canada in order to capture a broader range of releases than in previous years.
In particular, MPTAC’s statistics now include a larger number of feature films with a limited release.
70 | Profile 2012
B ox Off i c e b y L i ng u i s t i c M a r k e t
Historically, Canadian films have displayed contrasting box office performance patterns in Canada’s two major
language markets. In this section, we examine separately the box office statistics for theatres in Canada’s Frenchlanguage and English-language markets.17
Exhibit 2-96 Box office revenues and market share at theatres in Canada, by linguistic market
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
French-language market
($ millions)
Box office of Canadian films
Box office of foreign films
Total box office of films
Canadian films’ share
15.2
107.0
122.2
12.5%
26.5
118.0
144.5
18.3%
30.0
106.7
136.7
21.2%
37.4
101.1
138.5
27.0%
22.3
108.1
130.4
17.1%
20.8
107.6
128.5
16.2%
17.4
108.5
125.9
13.8%
27.0
118.0
145.0
18.5%
20.1
129.8
149.9
13.4%
19.8
127.3
147.1
13.4%
(Number of films playing in
theatres in Canada)
Canadian films
Foreign films
All films
Ratio of foreign to Canadian films
52
262
314
5.0
68
289
357
4.3
86
298
384
3.5
80
302
382
3.8
79
344
423
4.4
84
328
412
3.9
79
293
372
3.7
78
316
394
4.1
74
293
367
4.0
76
279
355
3.7
English-language market
($ millions)
Box office of Canadian films
Box office of foreign films
Total box office of films
Canadian films’ share
8.9
814.0
822.9
1.1%
6.8
805.4
812.2
0.8%
12.1
754.1
766.2
1.6%
8.1
687.4
695.5
1.2%
12.5
703.2
715.7
1.7%
6.9
722.2
729.1
1.0%
8.5
786.0
794.5
1.1%
6.8
855.0
862.0
0.8%
12.1
867.9
880
1.4%
8.1
845.8
853.9
0.9%
(Number of films playing in
theatres in Canada)
Canadian films
Foreign films
All films
Ratio of foreign to Canadian films
60
395
455
6.6
56
362
418
6.5
67
377
444
5.6
62
388
450
6.3
57
413
470
7.2
63
438
501
7.0
72
436
508
6.1
71
422
493
5.9
70
406
476
5.8
76
568
644
7.5
17  In
Canada, the French-language market refers to all films presented in French. This includes films for which the original language of production was French,
as well as other films dubbed into French, or presented with French subtitles. The English-language market refers to all films presented in English (original
language, dubbed or subtitled).
Profile 2012 | 71
T o p F i lm s b y L ang u ag e o f P r e s e ntat i o n
Exhibit 2-97 Top ten films presented in the
English-language market, 2011
Box office
receipts*
($ millions)
Title
Exhibit 2-98 Top ten films presented in the
French-language market, 2011
Country
of origin
Box office
receipts*
($ millions)
Title
Country
of origin
1. Harry Potter and the Deathly Hallows: Part 2
36.6
UK
1. Harry Potter and the Deathly Hallows: Part 2
6.7
UK
2. Transformers: Dark of the Moon
27.6
US
2. The Smurfs
5.7
US
US
3. Bridesmaids
20.4
US
3. The Adventures of Tintin
5.2
4. Pirates of the Caribbean: On Stranger Tides
20.2
US
4. Pirates of the Caribbean: On Stranger Tides
4.3
US
5. The Hangover 2
18.6
US
5. The Twilight Saga: Breaking Dawn
4.1
US
6. The Twilight Saga: Breaking Dawn
18.2
US
6. Fast Five
3.9
US
7. Fast Five
16.8
US
7. Starbuck
3.3
Canada
8. Thor
16.3
US
8. Le sens de l'humour
3.3
Canada
9. The King's Speech
15.4
UK
9. Cars 2
3.2
US
10. The Smurfs
13.7
US
10. Transformers: Dark of the Moon
3.1
US
* Box office receipts earned between January 1 and December 31, 2011.
This amount may under-represent a particular films’ total box office
receipts, if the film played in Canadian cinemas across two calendar years.
films presented in the English-language
market, 2011
films presented in the French-language
market, 2011
Box office
receipts*
($ millions)
Original
language of
production
Box office
receipts*
($ millions)
Original
language of
production
1. Barney's Version
2.90
English
2. Breakaway
1.88
English
1. Starbuck
3.36
French
2. Le sens de l'humour
3.34
3. Incendies
1.12
French
French
3. Gerry
1.88
4. Hobo with a Shotgun
French
0.52
English
4. Monsieur Lazhar
1.65
French
5. The Whistleblower
0.27
English
5. Café de Flore
1.49
French
6. Starbuck
0.15
French
6. Funkytown
1.26
French
7. Café de Flore
0.14
French
7. Sur le rythme
0.93
French
8. The Bang Bang Club
0.13
English
8. Incendies
0.93
French
9. Monsieur Lazhar
0.11
French
9. Frisson des collines
0.77
French
10. Gerry
0.08
French
10. L’appât
0.66
French
Title
72 | Profile 2012
Title
H ome Video and Television Market Share
While the movie-theatre window represents a key platform for the distribution of feature films, other platforms
such as home video rental and sales (i.e., Blu-ray Disc and DVDs), and various television-release windows
(i.e., VOD, pay-per-view, specialty and pay television, and conventional television) also account for a large share
of the overall audience for any given feature film. In fact, these post-theatre platforms often account for the
majority of viewing and revenues earned by a feature film. The statistics in this section indicate the market share
held by Canadian feature films on home video and television platforms, and therefore, present a more complete
picture of Canadian films’ market share within Canada.
Exhibit 2-101 Market share of Canadian feature films in Canada, home video vs. theatrical box office
Home video sales (share of total copies)
Home video rentals (share of total copies)
Theatrical box office (share of box office receipts)
5.0%
4.2
4.0%
3.4
3.2
3.1
2.8
3.0%
2.8
3.3
2.9
2.8
2.6
2.0%
2.0
1.8
1.5
1.0%
0.0%
1.3
1.2
1.2
1.3
1.0
2006
2007
2008
2009
2010
2011
Source: Department of Canadian Heritage analysis of data from Nielsen VideoScan (sales) and Rentrak Corporation (rentals).
Note: Home video sales market share based on share of top 3,000 feature film titles that had theatrical release; home video rentals market share based on share
of top 800 feature film titles that had theatrical release. Market shares are based on the share of total copies.
Profile 2012 | 73
Exhibit 2-102 Market share of Canadian feature films exhibited in English in Canada, television
windows vs. theatrical box office
12%
Conventional TV (share of total views)
Pay television (share of total views)*
Specialty TV (share of total views)
10%
8.0
8%
7.4
6.7
6.7
6%
7.5
7.1
5.6
5.2
4%
6.9
4.9
3.9
3.9
3.1
3.0
2.2
2%
0%
1.0
1.1
2007
2008
1.4
0.9
0.8
2009
2010
2011
Source: Department of Canadian Heritage analysis of data from BBM Canada.
Note: For the television markets, the total number of views was estimated by dividing the total number of minutes spent watching a feature film by the average
duration of the film. Only feature films that had a theatrical release were considered in this analysis. Market shares are based on total views.
* Excludes video-on-demand.
Exhibit 2-103 M arket share of Canadian feature films exhibited in French in Canada, television
windows vs. theatrical box office
Conventional TV (share of total views)
Pay television (share of total views)*
Specialty TV (share of total views)
20%
18.5
18%
16.2
16%
13.8
14%
12%
10.7
11.5
11.3
10%
8%
8.7
8.4
8.0
10.8
9.8
9.4
8.8
7.3
6%
13.4
13.4
7.6
7.7
8.2
4.9
4%
2%
0%
2007
2008
2009
2010
2011
Source: Department of Canadian Heritage analysis of data from BBM Canada.
Note: For the television markets, the total number of views was estimated by dividing the total number of minutes spent watching a feature film by the average
duration of the film. Only feature films that had a theatrical release were considered in this analysis. Market shares are based on the share of total views.
* Excludes video-on-demand.
74 | Profile 2012
3 .Foreign Location and Service Production
The foreign location and service (FLS) production sector largely comprises feature films and television
programs filmed in Canada by foreign producers or Canadian service producers. The majority of FLS
production is made by U.S. producers; however, approximately 10% to 15% of the production activity in
this sector is made by Canadian producers.
During the past five years, Canada’s FLS production sector has generated numerous films that achieved
successful global box office runs. Some recent Hollywood films shot in Canada included Twilight: Breaking
Dawn, The Vow, and Mission: Impossible – Ghost Protocol. Canada has also become a destination for
the filming of several American television series and mini-series, including Supernatural, Covert Affairs,
and Fringe.
.
• The total volume of FLS production in Canada dropped by 10.6%
to $1.68 billion.
• There was a total of 232 FLS production projects in Canada –
a 4.0% increase over 2010/11.
• FLS production activity fell as the Canadian dollar appreciated.
• FLS production generated employment for 37,700 Canadians
on an FTE basis, including 14,800 direct FTEs in film and television
production and a further 22,900 spin-off FTEs.
• FLS production generated GDP of $2.20 billion for the Canadian
economy, including $821 million in production-industry GDP
and $1.38 billion in spin-off GDP.
• British Columbia accounted for 66% of all FLS production volume
in Canada.
• Feature film production accounted for one-half of the total
production volume, and 42% of projects.
• US producers accounted for 79% of all FLS projects.
F o r e i g n L o cat i o n and S e r v i c e P r o d u c t i o n
After two consecutive years of relatively strong growth – in the face of a rising Canadian dollar – Canada’s overall
level of FLS production experienced a retreat of 10.6%, as production volume dropped from $1.87 billion in
2010/11 to $1.68 billion in 2011/12 (Exhibit 3-1).
Canada’s level of FLS production volume was well below the levels achieved in the early 2000s – on both a
nominal- and real-dollar basis. On a nominal-dollar basis, FLS production was 12% lower in 2011/12 than
at its ten-year peak of $1.91 billion in 2002/03. On a real-dollar basis, FLS production in 2011/12 was 27%
off from its 2002/03 peak (Exhibit 3-2).
While there was a long-term decline in the real value of Canada’s FLS production between 2002/03 and
2011/12, it is important to keep in mind that this decline took place during a period of strengthening
currency and heightened competition from other jurisdictions. Between 2002/03 and 2011/12, the Canadian
dollar appreciated by 52%, rising from US$0.65 to US$0.99; yet, the real value of FLS production dropped
by half that rate, 27% (Exhibit 3-2).
Canada’s ability to mitigate the effects of the rising dollar is a testament to the quality of its crews and
infrastructure and the ability of provincial governments to respond quickly with enhanced incentives for
foreign producers. The skill and experience of Canadian crews means that FLS projects are more likely to
be completed in an efficient manner in Canada. The enhanced incentives introduced by many Canadian
provinces over the last five years have also helped to maintain Canada’s competitiveness in the increasingly
globalizing location-production market.
Underneath the topline trends in Canada’s FLS production, there were some interesting longer-term shifts in
the nature of production, which reflected Canada’s maturation as global centre for FLS production. Firstly,
while FLS production steadily declined in real value between 2002/03 and 2011/12, there was a clear move
towards more geographic concentration of production within Canada. Over that ten-year period, Canada’s
three major production centres – British Columbia, Ontario and Quebec – increased their combined share
of Canada’s total FLS production from 93% to 98% (Exhibit 3-5).
But even within Canada’s major production centres, there was a shift towards even further concentration.
British Columbia was the largest beneficiary of this concentration. In 2002/03, it accounted for 47% of
the total FLS production across the three major production centres; by 2010/11, its share was up to 73%
(Exhibit 3-5).
This increased concentration of FLS production in British Columbia may have been, in part, linked to the
second long-term trend: the shift to more television series production in Canada’s FLS sector. Between
2002/03 and 2011/12, Canada gained greater traction in the television series segment. This was, arguably, a
positive shift, since television series production is often considered much less prone to year-to-year volume
swings. Between 2005/06 and 2011/12, the number of FLS television series shot in Canada nearly tripled,
increasing from 28 to 78 (Exhibit 3-7). Over that same six-year period, the volume of television series
production nearly doubled – increasing from $380 million to $703 million (Exhibit 3-6).
Given the fact that many television series run for several years, Canada’s gradual shift towards being a
host for this type of FLS production should help moderate the effects of the more one-off nature of feature
film production. The television series sub-segment may, arguably, be less competitive than the feature film
segment. While, it is common for Hollywood feature films to consider shooting locations outside of North
America, it is rare that an American television series would be shot outside of North America, in fact, they
rarely shoot outside of the US.
In a bid to restore its level of FLS production to the volumes reached in the early 2000s, Ontario expanded
its tax credit in June 2009 beyond qualifying labour expenditures to also include non-labour expenditures
(an all-spend tax credit). This initiative appears to have helped the province buck the trend towards lower
76 | Profile 2012
FLS production levels in Canada. FLS production in Ontario shot up by 71% in 2011/12: from $224 million
to $382 million (Exhibit 3-5). Much of the increase in Ontario’s FLS production came from the arrival of
higher-budget feature films. While the number of feature films shot in the province was unchanged at 15,
in 2011/12, the value of those 15 feature films’ budgets rose from $34 million in 2010/11 to as much as $206
million in 2011/12.18
Quebec has always experienced significant fluctuations in its annual volume of FLS production. In part,
this may have been due to the province’s focus on feature films and MOWs. Quebec also introduced an allspend tax credit in 2009. However, after experiencing a doubling of its FLS production volume in 2010/11,
it would appear that production levels retreated by 35% to $157 million in 2011/12 (Exhibit 3-5). In Quebec,
the loss or cancellation of just a small number of big-budget feature film projects can substantially shift the
province’s overall volume of FLS production numbers. In fact, while the number of feature films shot in the
province only dropped from 17 in 2010/11 to 14 in 2011/12, the volume of feature film production more
than halved, from $172 million to $70 million.19
While British Columbia consolidated its position within Canada’s FLS market over the last decade, it was not
completely immune to the effects of the rising Canadian dollar and global competition. In 2011/12, British
Columbia’s FLS production volume fell by 19.2%, to just over $1.1 billion (Exhibit 3-5). Reductions in the
volume of feature film production played a role in the decline in British Columbia; however, lower levels
of television production also contributed to the decrease. Despite the dropping level of FLS production,
British Columbia’s volume of television series production remained relatively stable. The annual number of
television series shot in the province (including pilots) remained at 45 in 2011/12, even while the volume of
television series production declined from $513 million to $466 million.20
The trends in FLS production in British Columbia and Canada’s other major FLS production centres also
reflect the country’s prominence as a destination for computer animation and visual effects (VFX). In 2011,
numerous leading feature films engaged Canadian computer animation and VFX studios. Harry Potter and
the Deathly Hallows: Part 2, Men in Black 3, Sherlock Holmes: A Game of Shadows and The Smurfs all had
part of their computer animation and VFX created in Canada.21 As more and more feature films incorporate
computer animation and VFX, Canada’s position in this aspect of production may become more important
to the year-to-year trends in production volume. The location-shooting of big-budget feature films will
always be an important contributor to Canada’s overall FLS production volume; however, the industry’s
potential for growth is likely to come from its ability to attract more television series production, and
computer animation and VFX work.
18  Nordicity
calculations based on data supplied by Ontario Media Development Corporation.
calculations based on data from Société de développement des entreprises culturelles.
20  Nordicity calculations based on data from BC Film+Media.
21  BC Film Commission, “Production Credits,” downloaded on November 13, 2012 at http://www.bcfilmcommission.com/production/production_credits.php
19  Nordicity
Profile 2012 | 77
Vo l u m e
Exhibit 3-1 Total volume of foreign location and service production
2,000
1,914
1,904
1,874
1,770
1,675
1,669
1,462
$ millions
1,500
1,445
1,433
1,508
1,000
500
0
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Exhibit 3-2 Total volume of foreign location and service production vs. Canadian dollar
Value of Canadian dollar (right axis)
2,500
110
2,000
100
1,500
90
1,000
80
500
70
0
2002/03
2003/04
2004/05
2005/06
2006/07
Source: Bank of Canada and Association of Provincial Funding Agencies.
78 | Profile 2012
2007/08
2008/09
2009/10 2010/11
2011/12
60
U.S. cents per C$
Volume ($ millions)
Total volume (real 2011 dollars) (left axis)
Empl oy m e nt and gdp
Exhibit 3-3 Number of full-time equivalent jobs (FTEs) generated by foreign location
and service production
60,000
53,900
Direct jobs
Spin-off jobs
53,200
50,000
44,500
44,300
39,700
40,000
32,700
FTEs
43,700
37,200
32,300
24,100
22,600
37,700
35,900
27,000
26,900
30,000
35,100
26,500
21,300
21,800
13,800
14,100
2007/08
2008/09
22,900
20,000
10,000
0
21,200
2001/02
20,900
2002/03
15,600
17,400
2003/04
2004/05
14,600
2005/06
17,500
2006/07
17,200
14,800
2009/10
2010/11
Source: Estimates based on data from the Association of Provincial Funding Agencies, Statistics Canada and Conference Board of Canada.
Exhibit 3-4 Summary of the economic impact of foreign location and service production, 2011/12
Employment (FTEs)
Direct
Spin-off
Total
14,800
22,900
37,700
787
870
1,657
GDP ($ millions)
821
1,375
2,196
Source: Estimates based on data from data from the Association of Provincial Funding Agencies, Statistics Canada and Conference Board of Canada.
Profile 2012 | 79
P rov i nc e s and T e r r i t o r i e s
Exhibit 3-5 Volume of foreign location and service production, by province and territory
($ millions)
British Columbia
Ontario
Quebec
Nova Scotia
Manitoba
Territories*
Alberta
Yukon
Saskatchewan
Newfoundland and
Labrador
Prince Edward
Island
New Brunswick
Total
2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12
830
1,236
567
973
861
1,174
900
1,092
1,364
1,102
549
340
521
455
288
350
206
225
224
382
399
193
261
99
125
120
211
122
240
157
52
51
36
61
63
29
80
43
31
22
34
79
54
34
38
56
2
15
11
8
0
0
0
4
3
5
6
0
0
2
50
0
n/a
37
54
24
20
7
4
<1
0
2
<1
n.a.
n.a.
n.a.
n.a.
0
1
1
0
0
23
<1
n.a.
13
9
n.a.
0
1
0
0
0
0
0
0
0
0
0
0
0%
0
0
1,914
n.a.
0
1,901
0
0
1,462
0
0
1,670
0
0
1,433
n.a.
0
1,770
n.a.
10
1,445
n.a.
0
1,508
n.a.
n.a.
1,874
n.a.
n.a.
1,675
n.a.
n.a.
100%
n.a. – Data not available or suppressed for confidentiality.
Types
Exhibit 3-6 Total volume of foreign location and service production, by type
Feature films
2,000
1,914
TV series
TV other (e.g., MOWs, mini-series)
1,904
1,874
1,770
1,800
1,675
1,669
1,600
1,400
1,462
1,445
1,433
1,508
989
933
1,163
$ millions
1,200
789
833
1,096
1,012
1,000
667
742
675
800
417
600
466
320
400
200
0
380
519
605
720
703
507
446
186
228
260
228
222
2006/07
2007/08
2008/09
2009/10
2010/11
509
274
2002/03
2003/04
353
2004/05
80 | Profile 2012
2011/12
share of
total
66%
23%
9%
1%
<1%
<1%
<1%
<1%
<1%
278
2005/06
139
2011/12
Exhibit 3-7 Annual number of foreign location and service projects, by type
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
Feature films
n.a.
61
52
87
74
103
89
53
66
97
TV series
n.a.
30
37
28
32
62
57
61
76
78
TV other*
n.a.
75
66
92
56
63
71
67
81
57
Total
211
166
155
207
162
228
217
181
223
232
Note: Totals are based on available data and make no allowance for unavailable data.
n/a - Data not available or reported.
* E.g. MOWs, mini-series.
C o u nt ry
Exhibit 3-8 Number of foreign location and service projects, by country of copyright
Number of projects
United States
France
United Kingdom
Germany
Other
Canada*
Total
2007/08
2008/09
2009/10
2010/11
2011/12
165
158
139
6
1
1
2
4
14
37
228
4
4
14
36
217
4
4
18
15
181
194
7
4
1
1
16
223
183
8
5
2
7
27
232
72%
3%
1%
2%
6%
16%
100%
73%
0%
2%
2%
6%
17%
100%
77%
1%
2%
2%
10%
8%
100%
87%
3%
2%
<1%
<1%
7%
100%
79%
3%
2%
1%
3%
12%
100%
Percentage of total
United States
France
United Kingdom
Germany
Other
Canada*
Total
* Canadian projects in the FLS sector include projects made by Canadian producers primarily for foreign audiences, or as part of international co-ventures.
International co-venture production includes films and television programs made as international coproduction, but outside of the auspices of an audiovisual
coproduction treaty.
Profile 2012 | 81
4. Broadcaster In-House Production
Broadcaster in-house production (“in-house production”) refers to television programs made internally
by private conventional television broadcasters, CBC/Radio-Canada, and specialty and pay television
services. In-house production largely comprises news and sports programming, but can also include
productions in other genres.
Highlights from 2011
• In-house production increased by 1.1% during the 2011 broadcast year (September 1, 2010 to August 31, 2011) to over
$1.26 billion.
• Private and public conventional broadcasters reduced their
in-house production by 0.7%, while pay and specialty television
services increased their in-house production by 3.7%.
• In-house production supported 28,400 FTEs in Canada, including
11,200 FTEs employed by Canadian broadcasters directly on
in-house production.
• The sector generated an estimated $1.6 billion in GDP for the
Canadian economy, including $656 million of GDP directly in
the broadcasting industry.
• Ontario accounted for the majority (61%) of the total volume of
in-house production.
• All the provinces and territories except Nova Scotia and British
Columbia experienced an increase in in-house production.
• Alberta led all provinces in terms of growth of in-house production,
with a 3.3% increase in 2011.
B r o adca s t e r In - H o u s e P r o d u c t i o n
Higher volumes of in-house production at Canadian specialty television services helped propel overall
in-house production to a ten-year high of $1.26 billion during the 2011 broadcast year (Exhibit 4-1). This
continued a long-term trend in this sector whereby growth in in-house production spending by specialty and
pay television services augmented relatively static spending in the conventional television segment, resulting
in steady annual growth in the overall volume of in-house production.
In-house production at Canadian pay and specialty television services totalled $537 million in 2011, up by
$19 million, from $518 million in 2010 (Exhibit 4-1). The bulk of the increase in in-house production in the
pay and specialty television segment can be traced back to higher expenditures by specialty television services.
Canadian specialty television services accounted for 87% of the total increase in 2011, as their expenditures
rose by $16.5 million.
In fact, over the last decade, the steady increase in the volume of in-house production was almost entirely
due to the growth of the specialty television segment. Between 2002 and 2011, the overall volume of in-house
production at broadcasters increased by $265 million, an average annual rate of 2.7% (Exhibit 4-1). Specialty
and pay services accounted for $237 million of that increase, or 89% of the total increase. Indeed, the vast
majority of that growth in the specialty and pay television segment was, in fact, concentrated in the much
larger specialty television segment.
The majority of the increase in in-house production in the specialty television segment was due to the expanding number of services. Between 2002 and 2011, the number of licensed specialty television services rose from
98 to 162.22 Still, approximately one-half of the growth in in-house production in the specialty television segment was on account of higher levels of in-house production at news and sports services, which do not rely on
independently produced programming. Between 2002 and 2011, Canada’s six largest sports and news services
(TSN, Sportsnet, CTV News Channel, CBC News Network, RDI and Le Canal Nouvelles) posted a combined
increase of $93 million in their expenditures on in-house production.
In 2011, the increase in in-house production at Canadian specialty television services was, in general, broadly
based; however, the largest increases did still occur at the major news services. CTV News Channel, CBC
News Network, Business News Network, RDI and Le Canal Nouvelles all posted increases in their expenditures on in-house production.23 The Weather Network and the entertainment news channel E! also posted
significant increases in in-house production.24 The launch of the Sun News Network in April 2011, on its own,
added approximately $7.5 million to total in-house production in the specialty television segment in 2011.
These increases in in-house production at Canada’s news services were offset somewhat by decreases in
in-house production at Canada’s largest sports television service, TSN, and Canada’s largest music video service,
MuchMusic.25 Évasion and Travel + Escape also posted significant decreases in their levels of in-house production.26
In the conventional television segment, broadcasters reduced their in-house expenditures by $5 million in 2011,
to a total of $725 million (Exhibit 4-1). Indeed, over the past decade, there was little, if any, growth in in-house
production at conventional broadcasters. The level of in-house production expenditures in 2011 ($725 million)
was at virtually the same level as it was in 2003 ($723 million) and below the ten-year peak of $753 million
reached in 2004.
In 2011, there was no specific source of the slight decline in in-house production. News programming continued to
comprise the vast majority of in-house production at conventional broadcasters, accounting for approximately
$500 million in volume in 2011.27 Sports programming, particularly at CBC/Radio-Canada, also accounted
22CRTC,
Pay Television, PPV, VOD and Specialty Services: Statistical and Financial Summaries (with amortization 2002-2006, 2007, p.2; and
CRTC, Pay Television, Pay-Per-View, Video-On-Demand and Specialty Services: Statistical and Financial Summaries 2007-2011, 2012, p.2.
Individual Pay Television, Pay-Per-View, Video-On-Demand and Specialty Services: Statistical and Financial Summaries 2007-2011, 2012.
24Ibid.
25Ibid.
26Ibid.
27CRTC, Conventional Television: Statistical and Financial Summaries 2007-2011, 2012, pp. 7 and 19.
23CRTC,
Profile 2012 | 83
for a large share of conventional broadcasters’ in-house production; this genre accounted for approximately
$160 million in volume in 2011.28
Over the long-term, the migration of sports programming to specialty television services clearly kept a lid on
the growth in in-house production at conventional broadcasters. Between 2002 and 2011, expenditures on
Canadian sports programming at private conventional broadcasters fell from $25 million to under $1 million.29
Conventional broadcasters continued to be important sources for local news in 2011; however, even local
news in the conventional television segment struggled over the past decade, in the face of competition from
the Internet. In real-dollar terms, private conventional broadcasters’ expenditures on the production of news
programming fell by 9.2% between 2002 and 2011.30 This decrease in news production reflected, in part, the
competitive pressures of the Internet and the migration of news audiences to specialty television news outlets.
Vo l u m e
Exhibit 4-1 Total volume of broadcaster in-house production, by segment
1,400
Conventional TV
1,200
$ millions
1,000
997
1,043
Specialty and pay TV
1,139
1,094
697
723
1,262
730
725
518
537
2010
2011
1,102
991
800
600
1,147
1,248
1,184
717
717
717
422
430
468
461
2006
2007
2008
2009
641
753
691
400
200
0
300
320
341
301
2002
2003
2004
2005
Broadcasting year ending
Source: Estimates based on data from CRTC and CBC/Radio-Canada.
28Ibid.
29CRTC,
Television: Statistical and Financial Summaries 1998-2002, 2003, p. 7; and CRTC, Conventional Television: Statistical and Financial Summaries 20072011, 2012, p. 7.
calculations based on data from Statistics Canada, Consumer Price Index; CRTC, Television: Statistical and Financial Summaries 1998-2002,
2003, p. 7; and CRTC, Conventional Television: Statistical and Financial Summaries 2007-2011, 2012, p. 7.
30Nordicity
84 | Profile 2012
Empl oy m e nt and gdp
Exhibit 4-2 Number of full-time equivalent jobs (FTEs) in broadcaster in-house production
35,000
Spin-off jobs
30,000
28,000
29,200
Direct jobs
29,700
29,600
28,900
29,000
28,800
26,400
28,400
26,200
25,000
FTEs
20,000
17,000
17,700
18,000
18,000
17,500
17,500
16,000
17,600
17,200
15,900
15,000
10,000
5,000
0
11,000
11,500
11,700
2002
2003
2004
10,400
2005
11,600
11,400
11,300
10,300
11,400
11,200
2006
2007
2008
2009
2010
2011
Source: Estimates based on data from CRTC, CBC/Radio-Canada, Statistics Canada and Conference Board of Canada.
See the Notes on Methodology section for a description of the job-estimation methodology.
Exhibit 4-3 Summary of the economic impact of broadcaster in-house production, 2011
Employment (FTEs)
Direct
Spin-off
Total
11,200
17,200
28,400
631
654
1,285
GDP ($ millions)
656
974
1,630
Source: Estimates based on data from CRTC, CBC/Radio-Canada, Statistics Canada and Conference Board of Canada.
Profile 2012 | 85
Exhibit 4-4 Broadcaster in-house production, by province and territory
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2011
share of
total
Ontario
569
589
648
563
680
674
692
649
754
764
61%
Quebec
220
233
246
210
239
258
273
245
268
270
21%
British Columbia*
69
92
87
96
93
90
91
88
92
92
7%
Alberta
67
63
61
63
65
67
68
64
69
71
6%
Nova Scotia
22
23
14
16
17
15
14
12
18
17
1%
Saskatchewan
16
13
12
13
16
18
18
16
17
17
1%
Manitoba
19
15
13
13
14
13
13
12
15
15
1%
New Brunswick
8
8
8
8
8
7
7
5
8
8
1%
Newfoundland and
Labrador
5
6
5
8
5
6
6
9
7
7
1%
1
1
1
1
1
1
1
1
1
1
<1%
997
1,043
1,094
991
1,139
1,147
1,184
1,102
1,248
1,262
100%
($ millions)
Total
Source: Estimates based on data collected from CRTC, CBC/Radio-Canada, and Statistics Canada.
Note: Some totals may not sum due to rounding. See the Notes on Methodology section for a description of methodology.
86 | Profile 2012
Notes on Methodology
Estimates of Canadian Production
The estimates of Canadian production are based on data from CAVCO. In order to account for the CAVCO
application lag (applicants have up to 42 months to apply to CAVCO), Nordicity applied a gross-up factor of
10% to the raw CAVCO statistics for 2011/12. This rate of 10% was based on historical rates of under-coverage
observed in the CAVCO statistics during the last ten years.
Estimates of CRTC-Certified Canadian Television Production
The estimates of Canadian television production include an estimate of CRTC-certified television production.
Research conducted by Nordicity and the Department of Canadian Heritage indicate that CRTC-certified
television production accounts for an estimated 13.5% of total Canadian production; this rate is used in Profile
2012 to estimate the total volume of CRTC-certified production.
Revisions to Historical Statistics
Due to the 42-month application lag at CAVCO, it is possible that the data from CAVCO may not provide a
comprehensive indication of production volume until up to four years after the end of a particular fiscal year.
As a result, the Canadian production statistics reported in Profile 2012 for the previous three years (2008/09,
2009/10 and 2010/11) have been revised to reflect all currently available CAVCO data.
Canada Media Fund
The statistics reported for the CMF include data for Convergent Stream production supported by the
CMF in 2010/11 and 2011/12. The data for prior years correspond with production supported by the Canadian
Television Fund.
In-house Production
A complete set of provincial statistics were not available for private broadcaster in-house production in the
Prairie Provinces and Atlantic Canada. For the Prairie Provinces, Nordicity developed estimates based on
the historical shares observed in the CRTC statistics prior to 2001 – before the CRTC began to suppress the
provincial statistics. The breakdown of private broadcaster in-house production among the provinces in Atlantic
Canada was also based on the development of estimates. Because no historical data existed, each province’s
share of Atlantic Canada’s total GDP was used as the proxy variable for the estimate.
Convergent Digital Media Production
Profile 2010 presented statistics for Canada’s digital media content creation sector. These statistics were based on
a survey of digital media companies in Canada that derived more than 50% of their 2008 revenues from digital
media creator activities. Profile 2012, in contrast, presents statistics, for the first time, for convergent digital
media production.
Profile 2012 | 87
The convergent digital media production statistics are derived from the collection of funding data from
convergent digital media production funding agencies in Canada (i.e., CMF, Bell Fund and provincial funding
agencies). Projects funded by more than one agency are counted only once in the derivation of the estimate of
production volume and tabulation of the total number of projects.
The collection of the data for convergent digital media production began in 2011, therefore only two years of
data is available at this time.
Export Value
Export value tracks the value of international financial participation in the film and television production
industry in Canada. Export value includes foreign presales and distribution advances for all projects certified
by CAVCO; estimates of presales and distribution advances for non-CAVCO-certified productions; and the
total value of FLS production in Canada. Export value as opposed to just exports better reflects the nature of
film and television production in Canada. It acknowledges that film and television productions are intangible
products and portions of the copyright can be exported to foreign countries. It also accounts for the budgets of
productions shot in Canada, even when the copyright is held by a foreign entity.
Direct Jobs Multiplier
Nordicity calculated the number of direct jobs by estimating the share of total production volume that was paid
as salary and wages and then divided this estimate by an estimate of the average salary of an FTE in the film and
television production industry.
Nordicity multiplied total production volume by 50%, to estimate the portion of production that was paid as
salary and wages. This assumption of 50% is based on data provided by CAVCO on the average portion of
production budgets comprised of Canadian labour expenditures.
The average FTE salary assumption for 2011/12 was $56,543. Nordicity developed the average FTE salary
assumption based on data from Statistics Canada’s 2006 Census. Nordicity makes annual adjustments to the
average FTE assumptions based on data from Statistics Canada’s Survey of Employment, Payroll and Hours for
annual changes in the average hourly wage of employees paid by the hour in Canada (see Statistics Canada,
CANSIM Table 281-0030).
Average FTE salary
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
$45,203
$45,474
$46,793
$47,869
$48,922
$50,488
$52,305
$53,404
$54,578
$56,543
Source: Nordicity calculations based on data from Statistics Canada, Census 2006, and Statistics Canada, Survey of Employment, Payroll and Hours, CANSIM
Table 281-0030.
88 | Profile 2012
Spin-off Jobs
The number of spin-off FTEs is equal to the sum of indirect and induced FTEs.
Indirect Jobs Multiplier
Nordicity used a multiplier of 1.17 to estimate the number of indirect jobs. That is, for every direct FTE
in the film and television production industry, 1.17 additional FTEs were employed in other industries
supplying goods and services to film and television production.
Nordicity obtained this multiplier from Statistics Canada’s 2004 multiplier tables. The multiplier is based
on the ratio of indirect and direct jobs generated per $1 million dollars of output in the industry group,
Motion Picture and Video Production, Distribution, Post-Production and Other Motion Picture and Video
Industries, which is the closest industry grouping to film and TV production (and excludes exhibition).
Induced Jobs Multiplier
Nordicity applied a multiplier of 0.17 to estimate the number of induced FTEs attributable to film
and television production. That is, for every direct and indirect FTE generated by film and television
production, an additional 0.17 FTE was employed in other industries in the Canadian economy because
of the re-spending of income by the direct and indirect workers.
Nordicity derived the induced-jobs multiplier by using the ratio of the total-GDP multiplier (1.87) and
indirect-GDP multiplier (1.54) derived by the Conference Board of Canada and applied to its analysis of
the economic impact of the Canadian cultural industries in Valuing Culture: Measuring and Understanding
Canada’s Creative Economy (2008). To adopt this approach Nordicity assumed that the GDP-to-FTE ratio
for induced jobs was equal to that for indirect jobs.
Provincial Jobs Estimates
To estimate the number of direct FTEs in each province, Nordicity used a similar approach to that used to derive
the national estimates of direct FTEs. However, Nordicity adjusted the average FTE salary in each province to
reflect general differences in economy-wide wages across the provinces.
Thus, for provinces where the average wage in the provincial economy across all industries was higher than
the national average, Nordicity used a higher average FTE salary to estimate the number of direct jobs. The
adjustment was equivalent to the province’s overall wage premium or discount compared to the national average.
The provincial wage adjustment factors are presented in the table below. An adjustment factor of greater than
one indicates that average wages in the provincial economy are higher than the national average.
To estimate the number of indirect jobs, Nordicity used the provincial-level indirect-job multipliers available
from Statistics Canada. These multipliers are based on the ratio of indirect and direct jobs generated per
$1 million dollars of output in each province in the industry group, Motion Picture and Video Production,
Distribution, Post-Production and Other Motion Picture and Video Industries.
Profile 2012 | 89
Provincial adjustment factor for average FTE salary
Alberta
British Columbia and
Territories
Manitoba
New Brunswick
Newfoundland and
Labrador
Nova Scotia
Ontario
Quebec
Saskatchewan
2002/03
2003/04
2004/05
2005/06
2006/07
2007/08
2008/09
2009/10
2010/11
2011/12
1.015
1.028
1.037
1.057
1.073
1.091
1.134
1.122
1.126
1.125
1.005
0.903
0.903
1.008
0.901
0.921
1.003
0.916
0.917
0.998
0.924
0.926
1.011
0.922
0.931
1.008
0.920
0.925
1.005
0.934
0.907
1.013
0.939
0.908
0.999
0.934
0.906
0.986
0.945
0.906
0.929
0.908
1.049
0.807
0.960
0.909
0.944
0.917
1.051
0.807
0.947
0.915
0.959
0.926
1.045
0.829
0.948
0.926
0.972
0.934
1.036
0.832
0.951
0.942
0.980
0.927
1.028
0.823
0.945
0.950
0.988
0.925
1.020
0.835
0.948
0.958
0.969
0.884
1.010
0.825
0.945
0.996
0.955
0.868
0.992
0.864
0.984
1.019
0.959
0.901
1.001
0.856
0.971
1.025
0.987
0.903
1.001
0.860
0.972
1.029
Source: Nordicity calculations based on data from Statistics Canada, CANSIM, table 281-0030.
Nordicity then summed the estimated number of indirect FTEs and compared this total to the national estimate
of total spin-off FTEs employed by the film and television production industry in Canada. Nordicity calculated
the differential between these two numbers and then allocated the difference across the provinces in proportion
to each province’s share of the national total of indirect FTEs.
Economic Impact of Production
Labour Income
Direct production industry labour income was derived by multiplying the number of direct FTEs by the
average production-industry FTE cost of $56,543. The estimate of spin-off labour income was derived by
multiplying the number of spin-off FTEs by an economy-wide average FTE cost of $38,000.
Gross Domestic Product
Economic modelling of the overall economic impact of film and television production, using Statistics
Canada’s input-output tables, indicates that direct GDP in the film and television production industry is
equal to approximately 1.13x total labour income. This ratio was multiplied by our estimate of direct labour
income to arrive at an estimate of direct GDP in the film and television production industry. For broadcaster in-house production, we used a rate of 1.17, which better reflected the higher rate of profitability in
the Canadian broadcaster industry.
Similar economic modelling (also based on Statistics Canada’s input-output tables and analysis found in
Conference Board of Canada’s Valuing Culture: Measuring and Understanding Canada’s Creative Economy)
points to a GDP-wage relationship of 1.49 for the spin-off impact. We used this ratio to derive an estimate
of spin-off GDP by multiplying our estimate of spin-off labour income by 1.49.
90 | Profile 2012

Profile 2012

Transcription

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