2012-2013 ANNUAL REPORT

Finding Stuff Out

Finding Stuff Out is a show that gives kids what they want: answers to the questions that matter to them! Each episode answers questions from real kids like "Do plants think?”, "Why do we have to eat?" and "Why can’t everything be solar-powered?"

Star Académie

Star Académie is a show about a performing arts school under the supervision of “principal” René Angélil. Candidates must live at the Académie where they’re trained to become professional performers.

Smarty Plants

A luscious exploration of the natural world, Smarty Plants effortlessly integrates hard core science with a light hearted look at how plants behave, revealing a world where plants are as busy, responsive and complex as we are.

Performance Envelope

The objective of the Performance Envelope Program is to encourage partnerships between broadcasters, television producers, and digital media producers to create convergent content that Canadian audiences can consume at any time and on the device of their choice. This program is part of the CMF’s Convergent Stream so projects funded through this program must include content to be developed for distribution on at least two platforms, one of which must be television. Through this program, the CMF allocates funding envelopes to English and French broadcasters in an amount that reflects their track record of supporting and airing Canadian programming. Broadcasters commit these funds to Canadian projects but the actual funding is paid directly to the producer according to a payment schedule. For further details, please consult the Performance Envelope Calculations appendix.

Performance Envelope commitments

In 2012-2013, Performance Envelope funds were fully committed. A total of 91 broadcasters received envelopes, a record high, as the CMF promoted diversity through the  introduction of a “new entrant” mechanism whereby eligible independent broadcasters were allocated $50K each to allow them to meaningfully contribute to projects and begin earning credit toward building an envelope allocation in future years.  The performance envelope program’s funding to budget ratio was 4.2 to 1, unchanged from last year. Results for 2012-2013 showed marginal contraction in all performance envelope key indicators compared to last year’s record highs. Many performance envelope projects utilized funds from the CDMI program to finance second screen components, consequently, 98.5% of 2012-2013 performance envelope funds were directed toward television projects.

Commitments 2012-2013

   TV  DM  Total Convergent 
Funding ($M) 266.1 4.1 270.2
Total Budgets triggered ($M) 1,116.8 14.3 1,131.1
Number of projects 430 115 436
Number of television hours 2,527 n.a. 2,527

Commitments 2010-2011 and 2011-2012

   TV   DM   Total Convergent 
2010-2011 2011-2012 2010-2011 2011-2012 2010-2011 2011-2012
Funding ($M) 266.7 273.1 4.6 5.5 271.3 278.6
Total Budgets triggered ($M) 966.9 1,154.4 12.6 18.3 979.5 1,172.7
Number of projects 392 443 90 133 410 447
Number of television hours 2,352 2,629 n.a. n.a. 2,352 2,629

Note: A convergent project contains a television component and a second platform component. Only funded components count towards the total number of projects. A funded television and a funded digital media component equal one convergent project.

Performance Envelope broadcasters' use of genre allocations

The final percent share of Performance Envelope funding by genre can vary from the Board-approved shares set at the outset of the year since 50.0% of Performance Envelope allocations to broadcasters are deemed Flex amounts that can be directed to any of the 4 CMF-supported program genres. Beginning in 2012-2013, broadcaster ownership groups and individual broadcasters with total allocations of under $2.0M, both languages combined, were granted 100% genre flexibility while spending caps were waived on affiliated and in-house productions, as well as documentaries meeting 2 out of 4 essential requirements.

In the English market during 2012-2013, drama comprised 62.5% share of envelope funding, 1.4 share points higher than its allocation, children’s & youth at 18.9% share showed 1.5 share points slippage, variety & performing arts at a 5.0% share was 3.0 share points above its allocation while documentary at 13.6% share was 2.9 share points below its allocation.  In the French market, drama’s 50.3% share of envelope funding was 4.7 share points below its allocation, children’s & youth at 20.9% share was 3.9 share points higher than its allocation, documentary at 20.9% share showed a 1.1 share point decrease whereas variety & performing arts at 7.9% share was 1.9 share points above its allocation.

Genre shares of commitments 2012-2013

  Program Allocation by Genre
($M)
Genre % Share Allocation Commitments by Genre ($M) Genre % Share Commitments Share Point variance by Genre vs. Original Share
English Market          
Children's & Youth 37.1 20.4 34.2 18.9 -1.5
Documentary 30.0 16.5 24.6 13.6 -2.9
Drama 111.0 61.1 113.2 62.5 1.4
Variety & Performing Arts 3.6 2.0 9.0 5.0 3.0
Total English PEs 181.7 100.0 181.0 100.0 0.0
French Market          
Children's & Youth 15.2 17.0 18.6 20.9 3.9
Documentary 19.6 22.0 18.7 20.9 -1.1
Drama 49.1 55.0 44.8 50.3 -4.7
Variety & Performing Arts 5.4 6.0 7.1 7.9 1.9
Total French PEs 89.3 100.0 89.2 100.0 0.0
Total 271.0   270.2    

 

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