Leading the TV nominees – which include Television Series, Movies for Television and Mini-Series – is North of North, which garnered nominations for Outstanding Directorial Achievement in Comedy Series for Danis Goulet, Best Production Design – Comedy or Family Series for Andrew Berry, Best Picture Editing – Comedy or Family Series for Marianna Khoury & Sam Thomson, and Best Sound Editing – Comedy or Family Series  for Mark Dejczakiwskyj, Ed Douglas, Brent Pickett, Jean Bot, Rob Hegedus. Other series with multiple nominations include The Handmaid’s Tale, Dino Dex, The Office Movers, Cross, Ruby and the Well, Bet, Children Ruin Everything, in addition to TV movie If I Go Missing.

Nominations for Feature Film, Documentary and Short Film as well as the short-list for the Jean-Marc Vallée DGC Discovery Award, will be released following the DGC Awards juries on Sept. 13.

Find the full list of nominees here:

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN DRAMATIC SERIES

Jean-François Asselin – Plan B, Episode 6

Adam Kane – Billy the Kid, A Debt Collected

T.J. Scott – Saint-Pierre, Queen Bee

Alba Gil – Sight Unseen, Family Matters

Alexandra La Roche – House of David, The Song of Moses

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN COMEDY SERIES

Alyson Richards – Children Ruin Everything, Sleepovers

Danis Goulet – North of North, Bad Influences

Zoe Hopkins – Small Achievable Goals, Good Sex

Sebastian Cluer – The Office Movers, Trini-T Moving

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FAMILY SERIES

Jacquie Gould – Bet, First Blood

Samantha Wan – Gangnam Project, Bye, Bye, Bye

Michelle Morgan – Heartland, Fork in the Road

J.J. Johnson – Jane, Pan troglodytes

Felipe Rodriguez – Ruby and the Well, I Wish I Could Land a Sweet Deal

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN MOVIES FOR TELEVISION OR MINI-SERIES

Bronwen Hughes – So Long, Marianne (So Long, Leonard)

Danishka Esterhazy – Sniper: The Last Stand

Ryan Landels – Sugarplummed

Felipe Rodriguez – Terror Comes Knocking: The Marcela Borges Story

Alicia K. Harris – I Will Survive: The Gloria Gaynor Story

BEST PRODUCTION DESIGN – DRAMATIC SERIES & MINI-SERIES

Élisabeth Williams – The Handmaid’s Tale, Exodus

Jennifer Morden – Black Mirror, Common People

Elisa Sauvé – Cross, The Good Book

Chad Krowchuk – House of David, The Song of Moses

BEST PRODUCTION DESIGN – COMEDY OR FAMILY SERIES

Andrew Berry – North of North, Top of the World

Shayne Fox – What We Do in the Shadows, Headhunting

Diana Magnus – The Z-Suite, In with the New

Shayne Fox – Overcompensating, Scary Monsters and Nice Sprites

Brian Verhoog – The Office Movers, Familia

BEST PICTURE EDITING – DRAMATIC SERIES

Stephen Philipson – Long Bright River, Blind Spot

Aaron Marshall – The Handmaid’s Tale, Exodus

Roslyn Kalloo – Cross, Hero Complex

Maxyme Tremblay – From, When We Go

Bridget Durnford – Dark Winds, Náá’tsoh (Big Eyes)

BEST PICTURE EDITING – MOVIES FOR TELEVISION AND MINI-SERIES

David Trevail – Sniper: The Last Stand

Aren Hansen – ‘Twas the Date Before Christmas

Julia Blua & Pete Watson – Terror Comes Knocking: The Marcela Borges Story

Jason Irvine – The Wish Swap

David Cain – If I Go Missing                       

BEST PICTURE EDITING – COMEDY OR FAMILY SERIES

Marianna Khoury & Sam Thomson – North of North, Top of the World

Mike Fly – Children Ruin Everything, Feelings

Pauline Decroix – Son of a Critch, Happy 1990

Kyle Martin – Shoresy, Brooks Barrelmen

Heath Fashina – Dino Dex, Super Dinos 

BEST SOUND EDITING – DRAMATIC SERIES

Joseph Bracciale, Dashen Naidoo, Jack Madigan, Kelly McGahey, Kirk Starkey, Josh Brown – Motorheads, Pilot

Adam Stein, Brent Pickett, Kelly McGahey, Ryan Allam, Ayaz Kamani – From, Shatter

Jane Tattersall, Brennan Mercer, David McCallum, Krystin Hunter, Dustin Harris, David Caporale, Nadya Hanlon, Abby Austria – The Handmaid’s Tale, Execution

Dustin Harris, Nathan Robitaille, Krystin Hunter, Craig MacLellan, Spencer Clerk – Silo, Into the Fire

Brent Pickett, Robert Warchol, Jean Bot, Joe Mancuso – Law & Order Toronto: Criminal Intent, Tango Romeo

BEST SOUND EDITING – MOVIES FOR TELEVISION OR MINI-SERIES

Dave Johnson, Janice Ierulli, Kevin Banks, Mark Shnuriwsky, Matthew Hussey, Sue Fawcett – Wynonna Earp: Vengeance

Bruce Fleming, Steven Blair – If I Go Missing

Raiza Rodrigues – The Killer is Calling

Raiza Rodrigues, Ryan Birnberg – A Kidnapping in Amish Country

Bruce Fleming, Deanna Marano – A Season to Remember                

BEST SOUND EDITING – COMEDY OR FAMILY SERIES

Mark Dejczakiwskyj, Ed Douglas, Brent Pickett, Jean Bot, Rob Hegedus – North of North, Top of the World

John Loranger, Matthew Hussey, Scott Donald, Sue Fawcett, Abigail Neale – Bet, Game On

Dave Johnson, Mark Shnuriwsky, Janice Ierulli, Dave Fritz, Sue Fawcett – Ruby and the Well, I Wish I Could Land a Sweet Deal

Kevin Banks, Josh Brown, Richard Calistan, Rob Hegedus, Ethan Horbay, Kayla Stewart – The Way Home, Smoke on the Water

Sean Karp, Cailey Milito – Dino Dex, Chickenosaurus Rex: Part 2 

The post DGC unveils TV awards nominees led by ‘North of North’ appeared first on Broadcast Dialogue.

With 55% of English-language Canadian PNI (Programs of National Interest) programming funded by large private broadcasters like Bell, Rogers and Corus Entertainment over the past decade, the Nordicity analysis indicates that those Canadian programming contributions are falling in line with broadcaster revenue.

“Any decline in PNI contributions is a function of broadcaster revenue, and data provided by the large ownership groups confirm a decline in their aggregate revenue from 2013 to 2023,” the report states. “The decline in large ownership group revenue in the English-language services is 24% in current dollars; and consequently, PNI contributions have declined 23%.”

The analysis says under current CRTC regulatory mechanisms, a further decline of $194 million or 23% is projected over five years – from $216 million in 2023 to $167 million by 2028.

“On average, every dollar that broadcasters put into production gets multiplied six times over with global licencing, tax credits and other sources of financing,” said DGC National Executive Director Dave Forget. “When domestic financing is reduced by $200 million, that’s more than a billion dollar blow to our cultural industry.”

The DGC is cautioning that with the CRTC now considering changes to how PNI programming is funded as part of efforts to modernize the broadcasting system under the Online Streaming Act, it doesn’t want to see the downturn in financing that followed a previous policy change in 1999. The organization says financing for scripted storytelling, children’s television, and feature documentary programming declined by 26% in five years after the rules governing “under-represented programming” were watered down.

“It will always be easier for broadcasters to buy American dramas, instead of taking the risk to tell original Canadian stories, but our stories are the most important projects to make and protect,” said Forget. “The government has been clear on the importance of protecting Canadian storytelling and, this time around, we have the advantage of being able to learn from history and avoid the mistakes of the past. The current Commission has an opportunity to head off a disastrous blow to our industry and culture, and build a modern, robust system that guarantees audiences a vibrant, diverse range of original Canadian programming for decades to come.”

The CRTC’s upcoming hearing on defining Canadian programming in the audio-visual sector is set to begin March 31.

The post DGC analysis projects 23 per cent decline in PNI funding by 2028 appeared first on Broadcast Dialogue.

The Directors Guild of Canada (DGC) has announced the winners of the 23rd Annual DGC Awards, presented online Monday. The Queen of My Dreams led the film categories with director Fawzia Mirza tying with We Forgot to Break Up director Karen Knox for Outstanding Directorial Achievement in Feature Film. The Queen of My Dreams also tied for the win in the Best Production Design (Limited Budget) category, alongside the drama Kipkemboi. Series capturing multiple awards included What We Do in the Shadows, Fellow Travelers, Halo, and Bones of Crows, which picked up two honours apiece. Kaniehtiio Horn, who wrote, directed and starred in thriller Seeds, was recognized wtih the Jean–Marc Vallée DGC Discovery Award. Nicole Close won this year’s DGC Impact Award, presented in recognition of outstanding service and leadership to the production community at large. Find the full list of winners here.

The Alberta Media Production Industries Association (AMPIA) has handed out the 2024 Rosie Awards. Multiple award winners included Julian Black Antelope, who was named Best Host and Best Screenwriter, Documentary under 30 Minutes for Secret History: Women Warriors “Ladies First”; and Patrick McLaughlin, who picked up both Best Cinematographer, Scripted Over 30 Minutes and Best Cinematographer, Documentary, Under 30 Minutes. Cody Lightning comedy Hey Viktor!, short film Crow, and documentaries Magic Hours and Legends of the Pony Express also secured multiple wins. Find the full list of winners here.

ACTRA Manitoba will host its 7th annual awards on Nov. 23. Productions garnering multiple performance nominations include CTV’s Acting Good; Sony Pictures’ Sniper: Rogue Mission; and indie film Melaleuca. Find the full list of nominees here.

The Weather Network says it has seen a 94% average increase in measured audience in the last 12 months amongst those aged 25-54, following its adoption of Numeris’ Enhanced TV Audience Measurement (TAM) solution. Announced this spring, Numeris’ Hybrid Linear TV measurement incorporates Return Path Data (Big Data) from Set-Top-Boxes (STBs) to TAM data (Panel data). With a full year of data now available, Numeris says the solution offers more granular and stable measurement, expanding the effective sample size, 2+, by over 25,000. The Weather Network says the enhanced methodology has substantiated significantly greater reach of its content. Read more here.

Prime Video has unveiled the trailers for two new Canadian Original docuseries set for release this November. In Cold Water: The Shelter Bay Mystery is a three-part series that recounts the  investigation into the drowning of school teacher Laura Letts-Beckett while on a fishing vacation in the Canadian Rockies, set to premiere on Nov. 12. Hard North streams Nov. 29, following a diverse group of young Canadians as they embark on a challenging mission to build a life in the vast and unforgiving Canadian wilderness. Created by Paul Kilback (Tornado Hunters, Mysteries from Above, Life Below Zero Canada), the eight-episode series following aspiring homesteaders Matty Clarke in Lake St. John, NL; Margot Bossus in Plata Trap-Line, Rogue Range, Yukon; Billy Rioux in Gaspé Peninsula, Que.; and couple Emily Veilleux and Gilbert Chookomoolin in Peawanuck, ON. 

MEDIAPRO Studio U.S. & Canada unveiled the first projects born of its recent North American expansion during a special panel at MIPCOM Cannes 2024. The studio’s upcoming slate includes the series Witness 36, a spy thriller created by Daniel Burman and featuring Evan Katz as showrunner; the remake as an English-language series of Juan José Campanella film Son of the Bride; Screaming Ball of Chaos, a bank robber comedy created by Juliet McDaniel, and I Love the Prime Minister, a half-hour comedy set in Canada with Matt Hastings as showrunner. Films include Mother Wolf, a family drama starring Melissa Leo, and the feature film adaptation of Is There No Place on Earth for Me?, written and directed by John Turturro. In non-fiction content, the docuseries Hollywood Homicide: Robert Blake stands out, a true crime series produced by the late actor’s son; and the U.S. adaptation of the studio’s hit game show format Catch Me If You Can, with Antony Carbone as showrunner.

Media Technology Monitor (MTM) has released a new report exploring co-viewing in detail. It finds half of online Canadians (50%) co-view multiple times a week and three quarters (76%) say they do it at least once a month. Those aged 35-49 are most likely to co-view (73%). While co-viewing is more common in multi-person households, MTM also finds that three in 10 of those who live alone (30%) still do it weekly. The TV set is by far the most common screen on which people co-view content – more than four-fifths of co-viewers (82%). Over half (53%) said it was the only screen they use.

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