http://bellfund.ca/annual-reports/2010/en/home.html

2010 Highlights

·         $11,133,214 was invested in the production of 83 cross-platform television and interactive digital projects

·         $860,575 was invested in the development of 22 projects

·         $122,000 sponsored 22 professional development activities across the country

1997-2010 Highlights

·         $93,222,308 invested in Canada’s cross-platform industry

·         $86,072,915 has been invested in the production of 614 cross-platform television and interactive digital projects

·         $6,291,833  has been invested in the development of 175 projects

·         $857,560 sponsored 149 professional development activities across the country

The Board of Directors salutes its Vice Chair and Treasurer for the past decade, Chris Frank, as he retires from his various duties this year.  Thanks to Bell TV’s contributions to the Bell Fund and his dedicated participation in Bell Fund activities, the Fund has invested $93 M in 938 cross-platform television and interactive digital media projects, since 1997.

Some $350 million in funding support will be distributed, officials describe, through two main streams. The combined CMF is funded partly by Heritage Canada, and partly from cable and satellite TV distributors like Rogers, Telus and Bell.

The new fund does not represent a new source of cash for the industry, as it unites two existing funds, the Canadian Television Fund and Canadian New Media Fund, but the working pot of funds has been expanded, the government describes.

Read more about the CMF announcement at nextMEDIA-source

“After the media financing doldrums of 2009, this money and leap of faith towards digital audiences couldn’t come at a better time,” said FanTrust president Catherine Warren. FanTrust provides funding strategy and business development for companies interested in this opportunity and other multiplatform financing. “This is a boost for next-gen producers as well as traditional TV producers looking for ways to finance novel digital video formats. Our entertainment clients need funders willing to take new risks and help them serve new fans.”

The IPF is inviting proposals for online drama series at its application deadline of March 31, 2010. Regulations for applicants will be minimal in order to encourage maximum innovation and experimentation. Projects must be webcast on Canadian-owned websites as a “first window” to ensure more Canadian content for Canadian portals. Some of these projects may serve as pilots for traditional television drama, while others may develop their own dedicated online communities and audiences.

As the sources of financing for web video without a broadcast license are very limited, the IPF support is intended to stimulate the growth of new forms of content. This unique contribution to independent producers will help them to explore the potential for high quality, story driven drama with new and innovative narrative forms. “Our ultimate goal is innovation,” said IPF Executive Director Andra Sheffer. “We want to be there as part of the scene – not replace TV, just add to the mix.”

As a leading supporter of Canadian drama, the IPF will experiment in partnership with web content developers to determine how good story-telling translates to other platforms. “We will help develop best practices to take advantage of the opportunities that the digital platforms provide for new production styles, processes, formats and business models,” said Charles Ohayon, Chair of the Board of the IPF.

The Independent Production Fund was established in 1991 and has invested over $50M in 229 television drama series and over 300 professional development projects.

View the application guidelines

View the IPF news release

A recent survey of broadcasters and television and new media producers indicated a common theme: less is sometimes more when it comes to interactive content associated with television programs. “Some of the most successful, revenue-generating digital properties today are produced on small budgets in tight timeframes,” said FanTrust President Catherine Warren, a longstanding member of the Bell Fund Board and Communications Chair. “This special funding program comes at a critical time in the industry when nimble and simple are the new keys to interactive prosperity.”

The average budget for Bell Fund interactive projects has been approximately $400,000. This new pilot program will encourage the production of relevant, high quality, modestly budgeted interactive projects and determine the longer-term feasibility of the program. It may also help develop viable business models with content that is more accessible to international markets – a lesson learned from the Bell Fund bliki “How to make money with multi-platform digital media”.

Read the full Bell Fund press release.

Welcome to the FanTrust guide to digital success – Setting Your Digital Resolutions for 2009. December is traditionally a time for reflection and goal-setting, both personal and professional. Though you know what it takes to reach your goals for, say, losing weight (less eggnog, more yoga) or having fun (more eggnog, less yoga) –what if you’re venturing into uncharted business terrain?

Over the last two weeks, we’ve walked you through short, simple exercises – complete with case studies and success stories – intended to spark transformation in your company or division with overall corporate and business goals; digital capacity; market niche and fan engagement strategies.

With more than two decades of experience in digital media, FanTrust can help you grow your digital lines of business. Our hope is to leave you inspired and invigorated for a happy, healthy digital business in 2009.

All the best!

Week 4: Put Your Ideas into Action

Like any resolution, intention without action is useless. In this December blog series, FanTrust has helped your company to articulate digital goals for 2009; identify the niche value offered to your fans; and better understand your fan base. In this final blog, we discuss the need for a digital action plan.

No doubt you’ve identified many digital aspirations for the New Year. A long term vision prioritizes these goals, and assesses the time, financing, man power and strategic partnerships needed to achieve them.

To get started, ask the following questions for each digital goal or project you’ve identified:

• How will I define digital success? New audiences? Direct revenues? New or strengthened business partnerships? Is the project monetizable?
• What are the financial costs associated with this digital venture? Be sure to factor in time for planning, business meetings, securing necessary funding, etc.; employee/ executive time vs. third-party outsourcing.
• What funding/ financing options are available for this project? Canadian content producers can tap into several funding sources; entertainment companies can also underwrite projects through sponsorships, strategic partnerships or smart money. FanTrust can help you select and pursue the best options.
• What is the ROI for this digital project? Is the cost of implementing an idea justified by the payback: market exposure, revenue generation or social impact?

Answering these questions will help you set priorities and benchmarks for success. You’ll know you’ve achieved your goals when you track your results against pre-set, concrete, measureable targets. Good luck for a prosperous 2009!

FanTrust is a full service management consultancy laser-focused on digital entertainment.  We deliver a comprehensive range of services in all areas of new media and multiplatform development, production and distribution – as well as corporate strategy and business development to position your entertainment company in our digital age. For a full list of FanTrust services, visit the Impact + Clients section of our website.

An ICE 2008 advisory board member and presenter, FanTrust President Catherine Warren recently sat down with ICE Cubes host and producer Alan Sawyer to share her thoughts about the digital ABC’s – audience, business and content – including:

• How audiences are changing entertainment content and the business of entertainment
• Aggregating fans to monetize online content
• Developing a profitable digital strategy (property-specific or corporate)
• Raising capital for multiplatform IP
• What the gaming industry can learn from the TV industry, and vice versa

To listen to the podcast, visit the ICE Cubes player.

ICE 2008

http://www.ice08.com/

FanTrust’s “Top 3” GDC picks:

Early Stage Funding for Gaming Start Ups

Why: Entertainment media companies are witnessing a boom in VC funding opportunities– for both content and technology. Media and entertainment firms have experienced strong financing gains across the spectrum – seed, early-stage and expansion stage. The sector saw one-year VC dollar gains of 60% from 2005 to 2006, and new funds are cropping up regularly.

Angel investors, individuals who tend to take smaller stakes in early-stage companies, are also growing more organized. Since 2002, the amount that angels have invested has grown by three times that of VC firms’ growth.

Despite an influx of available financing, competition is fierce and the bar is set high. In his GDC session, Matthew Le Merle, CEO of VC firm Gameplay Holdings and co-president the world’s largest angel investor network will address the strategies and collaterals that independent developers and gaming start-ups need to include in their investment pitches in order to capture the attention, imagination and dollars of early stage funders.

We’re hoping he’ll discuss: TheFunded.com and its until-recently anonymous founder raised a rallying-cry amongst startups frustrated by their dealings with funders – simultaneously raising the ire of many VC firms who felt they were misrepresented.

We’d love to hear Le Merle’s take on TheFunded.com; and to get his thoughts on the proper understanding, expectations and attitude both sides must hold in order to keep the honeymoon alive in the funder/start-up relationship.

Date/ Location: Wednesday (February 20, 2008) 9:00am-10:00am, Room 2018, West Hall

Self-Censoring Potential Content Risks for Global Audiences: Why, How and When

Why: In a recent FanTrust blog, I discussed the differences between teenaged digital media audiences in China and North America, and how a digital entertainment strategy for China must go beyond simple translation and subtitling. The blog focused on participatory culture – the differences in how North American and Chinese audiences engaged with entertainment properties, and one another, online. But companies looking to export their entertainment properties to China must also consider the political landscape and broader cultural contexts.

Tom Edwards, Principal Consultant of Washington-based Englobe Inc. and former Senior Geopolitical Strategist at Microsoft, will educate attendees on how to avoid a revenue and image backlash by localizing games for global markets, using real-world case studies.

We’re hoping he’ll discuss: How to successfully develop and execute a content risk assessment for multiplatform properties.

Date/Location: Thursday (February 21, 2008), 12:00-1:00pm, Room 2002, West Hall

How Wikipedia is Like a Multiplayer Game

Why: The most exciting – and successful – multiplatform properties that FanTrust clients finance and build all share one common trait – multiplayer gameplay (think “The Lost Experience” or “Regenesis”).

“There’s no such thing as a puzzle that’s too hard” when audiences work together, explains Thomas Wallner, Xenophile President and Regenesis creator. The more difficult the puzzle, the greater the sense of audience satisfaction and fan loyalty when the clues are finally solved.

GDC session presenter Elonka Dunin exemplifies this phenomenon. By day, she is General Manager of Online Community with MMOG developer Simutronics Corp. By night, she’s a CIA code-breaker, coordinating tens of thousands of visitors to her personal website, elonka.com, to research and solve the CIA’s mysterious Kryptos sculpture and other “famous unsolved codes.”

We’re hoping she’ll discuss: What makes Wikipedia so addictive to its core community, whether hackers and code breakers view their activities as gameplay – and what lessons and strategies game development companies can apply to ensure fanatic participation and audience co-participation.

Date/Location: Friday (February 22, 2008), 2:50-3:10pm; Room 2004, West Hall

The BC Film Digital Readiness Program allows eligible TV, film and new media production companies to undertake creative, business and market development to develop a company-wide digital entertainment strategy or specific multiplatform projects. Applicants must work in consultation with a BC Film-approved industry expert or consultant who will provide advice, direction and assistance in the process.

The program, launched last year, injected seed money for BC’s film, television and new media companies to secure the necessary vision, knowledge and contacts for profitability in digital media. Several FanTrust clients have benefited from program funds to reach new audiences, markets, and platforms – retaining the FanTrust consulting team to build their digital entertainment strategy, define their value proposition, understand digital revenue-generating opportunities, identify business development prospects, negotiate the best deal terms and target funding and financing sources.

Full BC Film Digital Readiness Program guidelines are available online.

To discuss how FanTrust can work with your company to build digital expertise, strategic partnerships, digital revenues and fans as a BC Film Digital Readiness Program consultant, contact FanTrust President Catherine Warren, cath[at]fantrust.com