A – Overview

 Overview copia

Overview copia

CTF funding for French-language productions outside Quebec (FLPOQ) is administered by Telefilm Canada.

The Canadian Television Fund (ìCTFî or ìthe Fundî) supports a high volume of distinctively and identifiably Canadian broadcast programming, reflecting Canadian culture, stories and themes.These productions are in
English, French and Aboriginal languages and include documentary, childrenís and youth, variety and
performing arts, and prime-time dramatic programming. The Special Initiative for French-language productions outside Quebec was a new CTF initiative for 2004- 2005 that was administered by Telefilm Canada.The

Initiative is designed to encourage official minoritylanguage production in Canada by companies located outside the province of Quebec who produce primarily in French.The spirit and intent of this Initiative is to ensure that stories from French-language communitiesoutside of Quebec are told on Canadian television.

For that reason, the Initiative is only available to applicants and productions which, at the CTFís sole discretion, are clearly products of those French communities. Applicants wishing to apply to this Initiative must also meet all other CTF terms, conditions and regulations as outlined
in the Main Document of the CTF Guidelines. Please refer to the Main Document for 2005-2006.

B – Essential Requirements

Essential Requirements

Essential Requirements

All French-language productions from outside Quebec applying for CTF participation must meet the Fundís Essential Requirements, presented in Section 1.3 of the Main Document of the 2005-2006 CTF Guidelines.The
essential requirements are as follows:

1. The project speaks to Canadians about, and reflects, Canadian themes and subject matter.

2. The project will be certified by the Canadian Audio-Visual Certification Office (ìCAVCOî) and has achieved 10/10 points (or the maximum
number of points appropriate to the project), as determined by the CTF using the CAVCO scale.

3. Underlying rights are owned, and significantly and meaningfully developed, by Canadians.

4. The project is shot and set primarily in Canada.

Further detail on these Essential Requirements and exceptions is provided in separate modules of these Guidelines for drama, documentary, childrenís and youth programming, and variety and performing arts
programming.These modules include additional important information, including full definitions of the genres.

Please refer to the Main Document, Section 1.3.1, for details respecting the application of the Essential Requirements to official treaty co-productions.

C – Eligible Applicants

Eligible Applicants

Eligible Applicants

To be deemed eligible, an Applicant who wishes to obtain funding under the FLPOQ Special Initiative: ï Must operate and have its head office outside Quebec for at least three years (unless the company is an emerging one) and with its major shareholder residing outside Quebec for at least three years;

ï Must use French as the original language of production for the majority of its production slate; ï Must have produced, solely or in co-production
with other eligible Applicants, three programs originally in the French language.These programs must have been broadcast on Canadian television within the last four years.The CTF may use its discretion and allow for a smaller number of programs to have been produced, if there is ample evidence that the production company is an emerging one.The CTF may look at the production companyís owners and/or producerís track record to see if their experience has largely been in producing in the French language;

ï Must demonstrate with its business plan as well as with its development and production slate that the Applicant is in the business of producing projects mainly using French as the original language of production;

ï Cannot be a broadcaster-affiliated company (as defined in the Main Document);

ï Must meet the eligible Applicant requirements in Section 6 of the Main Document;

ï Must have initiated and meaningfully participated in the projectís development. Furthermore, the Applicant must exercise full control of the creative, artistic, technical and financial aspects of the project and hold all copyrights to the project; and ï Must hold all copyrights to the production on a permanent basis and also retain an ongoing financial interest in the project.

D – Eligible Projects

 Eligible Projects

Eligible Projects

Projects eligible for the Special Initiative: ï The Applicant must be able to prove that either the screenwriter or the director resides outside
Quebec. Allowance can be made, on a case-by-case basis, for a Quebec resident to co-direct or cowrite the project if it can be demonstrated that the individualís contribution will foster the development of francophone talent outside Quebec.

ï Without limiting the generality of the foregoing, the project concept, treatment, research report and outline must be written and submitted in

ï In the case of co-productions with a company not eligible for the French-Language Production Outside Quebec Special Initiative, the eligible Applicant must have initiated the project and must own at least 75% of the copyright in the production.

ï In the case of co-productions with a company not eligible for the French-Language Production Outside Quebec Special Initiative, the eligible Applicant, if he initiated the project and owns between 51% and
74% of the copyright in the production, can only apply to the Special Initiative for a portion equal to his share of the co-production budget.

E – Eligible Genres and Genre Allocations

The CTF supports the following programming genres: drama, documentary, childrenís and youth programming, and variety and performing arts programming.The definition of each of these genres is contained in the Guideline modules.

Within this Special Initiative, the CTF has allocated funding by program genre, as follows:

This breakdown does not imply that the envelopes are definitive, but rather represents preliminary expenditure targets within the framework of the Special Initiative.

The CTF retains the right to adjust these objectives, based on the quality of the submissions and level of demand.

G – Licence Terms and Conditions

Licence Terms and Conditions

Licence Terms and Conditions

Licence agreements must meet the CTFís Licence Fee Requirements and Conditions, presented in Section 7.5 of the Main Document of the 2005-2006 CTF Guidelines. Only the portion of the licences within the
Term will be used for the purposes of triggering CTF funding and for calculating evaluation grid points. Licences that commence within the Term but extend beyond it are pro-rated to match the maximum Term
set for each genre.

H – Combining CTF Envelope Resources with the FLPOQ Special Initiative

Broadcasters may also twin their performance envelopes with their Special Initiative funding. In this case, for purposes of calculating the CTFís licence fee threshold and licence fee top-up contribution to the
broadcaster performance envelopes, the CTF will pro rate the production budget according to the amount of financing the production will receive from the broadcaster performance envelopes relative to the total
CTF production financing (combined FLPOQ initiative and the broadcaster performance envelopes). For example: if the participation from a broadcasterís performance envelope represents 60% of the CTFís overall contribution, the production budget will be pro rated at 60% of the performance envelope and 40% of the Special Initiative.

Thus, calculations relative to the CTFís licence fee threshold and the licence fee top-up portion will be based on the applicable requirements for the performance envelopes for the relevant portion of the budget and the other portion of the budget will follow the requirements relative to the FLPOQ Special


Calculations relative to the Evaluation Grid (see Section K of this document) will be based on the overall production budget.




Performance ratio measures the projected audience relative to the Special Initiative contribution. For series renewals, the past performance of the series is used. For new programs,Telefilm Canada relies on projections based on audience numbers obtained by a similar program in the same genre for a similar type of broadcaster.

Furthermore, a project which has a low projected audience nevertheless could still receive points in this section if the funding requested from the Special Initiative is relatively low.

Within the framework of this section,Telefilm Canada favours projects which demonstrate originality and creativity in both content and genre.These qualities are assessed in terms of subject matter, themes, issues and narrative elements.The track record of the creative team
behind the project is also a significant consideration. addition,Telefilm Canada assesses the appropriateness of the size of the budget relative to the creative material.To ascertain if the budget level is adequate,
Telefilm Canada also considers such elements as special effects, the number of on-location shoots, casting, and so on.

Finally, in order to reach larger Canadian audiences, Telefilm Canada favours projects able to demonstrate a
high level of cultural diversity.




A “documentary” is defined as a non-fiction representation of reality that contains the following elements:

• Informs and engages in critical analysis of a specific topic or point of view;

• Provides an in-depth treatment of the subject;
• Is meditative and reflective;

• Is primarily designed to inform but may also entertain;
• Treats a specific topic over the course of at least
30 minutes (including commercial time);

• Requires substantial time in preparation, production
and post-production;

• Has an original narrative and visual construction
(which may include scenes of dramatic re-enactments);

• Has enduring appeal and, therefore, a long shelf life.

1. Auteur Point of View/Creative Documentaries (POV) The LFP makes a distinction between “Factual Documentaries” as described above and “Auteur Point of View/Creative Documentaries” (POV).

Point of View Documentaries

The LFP has special incentives and guaranteed spending levels for POV documentaries in order to protect this important form of cultural expression.

The LFP will make a discretionary evaluation when deciding which projects meet the spirit and intent of the POV definition. As a starting point, the LFP will apply a very narrow and traditional interpretation of the above documentary definition. In all cases, the filmmaker’s approach as much as the subject will determine a project’s eligibility. Specifically, the LFP will look at: • Who the filmmaker (or filmmaker team) is. Her/his track record and/or film background, regardless of whether they are an emerging or experienced filmmaker.
• The intent of the filmmaker in making the film.
• The research that has gone into the project.

• The production and post-production crew that is crafting
the piece.

• In the case of arts auteur documentaries, how experimental
is the filmmaker’s approach.

• The budget and the cost of the production.

• That it is a single work (or in rare situations – a limited

• Whether the project is licensed to air in a broadcast strand recognized or formatted for POV documentaries (e.g. “Rough Cuts”, “Witness”, “The View From Here”,”Herstory”, “Doc en Stock”, and “L’Œil ouvert”).

• Generally, a POV documentary is not: – A docu-drama, docu-soap, reenactment or performance piece with people playing themselves
or with professional actors; – A factual project;
– A profile or biography; – Segmented or capsular one-off or series;
– A video “diary” of social events (e.g. a series on “graduations” or “family reunions”); – A project dependent on light “information” format;
or – “Surveillance” television.

2. Limited Series Throughout this document, special consideration is given
for “limited series”. A limited series is generally six or less episodes and will always handle a subject matter in its entirety and in a manner which results in a conclusion. As such, the intention is that the limited series will
not be renewed.

3. Ineligible Programming Projects presenting information primarily for its entertainment value are not considered to be documentaries.
These include such ineligible types of programming as “how-to” (e.g. gardening shows, cooking shows, home decorating shows, etc.), lifestyle and human interest programming.

“How-to” Programming

"How-to" Programming

“How-to” Programming

“How-to” programming presents information or explores topics in order for the viewer, for example:

• to learn the methodology for accomplishing a task, project, or the like;

• to understand the manner in which an issue or situation can be resolved (e.g. improve one’s finances or marital relations, help students deal with bullying and peer pressure, etc.);

• to gain a view or understanding towards achieving an objective;

• to receive information which enhances his/her skill development in a field; or

• to receive tips on how to accomplish tasks.

The presentation of the information above may be superficial or in-depth. Typically, “how-to” programming will be directive in approach and will draw conclusions for the viewer to aid them in fulfilling one or all of the
points above and, as such, is results-oriented. As well, such programming often features a demonstration element(s) to illustrate how to achieve resolution of the matter at hand. Often, “how-to” programming will incorporate tips (either verbal or with on-screen supers) in order to condense information for the ease of consumption of the viewer.

Lifestyle Programming

“Lifestyle” programming presents information or explores topics in a manner which emphasizes the practical information aspect of the subject matter. While the programming is informative, it typically addresses topics in a superficial way such that depth of insight and critical analysis/commentary is rudimentary or absent. Usually, lifestyle programming reflects the aspirations of the viewer.

Like “how-to” programming, lifestyle programming often focuses on subject matter in which accomplishing practical objectives is illustrated, discussed, or explored. Practical information is shared with the primary goal of helping to achieve those objectives and thus, the aspirations
of the viewer. Unlike “how-to” programming, lifestyle programming usually has a less linearly structured manner of conveying the information.

Lifestyle programming often contains elements of other ineligible genre forms (e.g. travelogue, how-to, reality television). The inclusion of these forms, while typically necessary to explore the subject matter in the desired manner, is indicative of an approach designed primarily for entertainment and the receipt of information with practical utility.

Human Interest Programming

Human interest programming presents information or explores topics in a manner which emphasizes, purposefully or not, the entertainment and recreational enjoyment aspect of the subject matter. Like lifestyle programming, it typically addresses topics in a superficial way such that depth of insight and critical analysis/commentary is rudimentary or absent.

Human interest programming shares many of the same attributes as lifestyle programming, but, usually, with less of an emphasis on practical information and ideas. Instead, human interest programming serves as a window for viewers to experience and see people, places, and
events through an unchallenging and usually sympathetic portrayal designed to offer general awareness of a topic. Human interest programming usually focuses on topics of entertainment, social, and cultural interest. Note: A documentary which includes elements from
ineligible formats, be they in a large or small proportion to the total program time, may be considered ineligible.


Vector of Business Teamwork

Vector of Business Teamwork

All documentary projects applying for CTF participation must meet the Fund’s Essential Requirements, presented in Section 1 of the Main Document of the 2003-2004 CTF Guidelines. In order of importance, the essential requirements and exceptions are as follows:

1. The project speaks to Canadians about, and reflects, Canadian themes, subject matter or point of view.

• Documentaries whose eligibility relies on Canadian themes or subject matter, regardless of content and are Factual documentaries (e.g. science,
architecture, arts, history, social issues, medicine, etc.) must feature and focus on themes, subjects and/or events which are relevant to Canadians and must acknowledge and make prominent the use of
Canadian experts, knowledge, talent, opinions or concepts.

• Documentaries applying to either the EIP or the LFP and whose eligibility relies on point of view (as defined above), regardless of content, must provide perspective, context and interpretation of relevant
international events, themes or subjects, as seen through the eyes of a Canadian independent auteur filmmaker or creative team whose project
provides, in the way the story is told on screen, a clear Canadian view of such events, themes or stories.

2. The project has 10/10 points (or the maximum number of points appropriate to the project), as determined by the CTF using the CAVCO scale.

3. Underlying rights are owned, and significantly and meaningfully developed, by Canadians.

4. The project is shot and set primarily in Canada. The project may be shot and set in a non-Canadian location provided that it is integral to the story being told.

Please refer to the Main Document, Section 1.3.1 for details respecting the application of the Essential Requirements to international treaty co-productions.

Equity Investment Program

Equity Investment Program

Equity Investment Program

Each of the criteria in the following EIP Evaluation Grid, as well as how the Grid is used by the EIP in the evaluation of projects, is described in Section 7.2 of the Main Document.

Tie-breaker Screens
Should two or more productions have the same ranking score and be competing for the last remaining funds in an envelope, the LFP will use the following screens to objectively select from among them:
1. Priority will be given to the production with the highest
broadcaster priority rating;

2. If there is still a tie, priority will be given to series
renewals; and finally,

3. Should a tie still remain, the LFP will distribute the available money on a pro-rata basis among the tied projects and offer producers the option of taking a lesser amount than requested.

1. In the Broadcaster Interest section of the EIP Evaluation Grid, the EIP pro-rates the points awarded
by the LFP for licence fees above the minimum threshold.
For all applicants across Canada, the EIP utilizes the same base for calculating these points as outlined above for Toronto and Montreal productions.
Alternatively, the EIP allocates funds towards regional targets of expenditure and provides a regional bonus within the evaluation grid.

2. Broadcaster-affiliated productions will be capped at the licence fee ranking point level obtained by twothirds of the independent productions for the purpose of this ranking criterion.


Licence agreements for documentary programming must meet the CTF’s Licence Fee Requirements and Conditions, presented in Section 4.3 of the Main Document of the 2003-2004 CTF Guidelines. New for the 2003-2004 Guidelines, the CTF is standardizing its approach regarding the maximum time period of all broadcast windows (the Term) for the purposes of calculating ranking and evaluation grid points. (see Section 4.3.3 in
the Main Document). The Term commences upon delivery of the production to the first broadcaster. Only those licences within the following term and language requirements will be attributed points within the LFP’s ranking grid and the EIP’s evaluation grid.Term* 6 years Language Version* Both English and French-language D. L