Future of Entertainment & Gaming

FUTURE OF ENTERTAINMENT & GAMING

The Future of Canada’s Film Industry with TIFF’s Joana Vicente

By making space for everyone's stories. By including the storyteller in the development of the film and for the industry — at all levels — to acknowledge that the point of entry into the industry has long been monitored, if you will, by the same people so it's important to make space for others to decide what gets made, where resources go, and so on. TIFF talent development programmes, our Share Her Journey initiative, now in its fifth year, and our recently announced Every Story fund are committed to amplifying equity-seeking voices, particularly from Black, Indigenous, People of Colour, and LGBTQ2S+ creators. At TIFF we know that there are systemic barriers to the filmmaking experience and that not every story gets told. We need to create the resources, support, and learning to make space for these stories.

What role does digital transformation play in terms of accessibility for those who physically can’t make it to a film festival?

It's been quite a learning experience with the digital platform. In 2020, we had to pivot and be resourceful to keep audiences engaged

and be present in the industry, so our digital platform started there and it was very well-received. It engaged audiences for TIFF 2021 who otherwise may not have had the opportunity to travel to Toronto. And this year, we kept it as part of TIFF, while still having many in-person screenings, to keep our new audiences engaged and to help ensure that those who cannot travel to Toronto for COVID issues in their own regions could still experience TIFF. It makes good business sense and it's TIFF's opinion that digital will be a part of festivals from now on.

In your opinion, where do you see the film industry headed?

The film industry is resilient. Right now, we're in a time where the industry is in flux. We're seeing a paradigm shift from traditional theatrical exhibition to streaming but also a great focus on content. We look forward to a more inclusive universe of storytellers and hope the consolidation still allows for a healthy, diverse, and creative ecosystem. We also believe people will always love coming together to experience the magic of theatrical exhibition. TIFF Bell Lightbox will always provide a curated and state-of-the art space for that.

Northern FanCon

An exclusive three day entertainment convention for pop culture lovers, featuring celebrity guests, cosplayers, games, filmmaker workshops, artists, vendors, comics, and more in beautiful northern British Columbia. September 24-26, 2021

The Ottawa International Animation Festival North America’s largest film event dedicated to animation, with 12 days of films and talks from industry leaders.

What’s the best way to achieve diversity in film?

Joana Vicente, Executive Director and Co-Head of the Toronto International Film Festival (TIFF), tells Mediaplanet about the future of Canada’s booming film industry and how to achieve diversity and accessibility in the industry.

innovatingcanada.ca

P HOTO CREDIT: GEORGEPIMENTEL

We look forward to a more inclusive universe of storytellers and hope the consolidation still allows for a healthy, diverse, and creative ecosystem.

Reimagining the Future of Entertainment at The Creative School

Creativity is at the heart of innovation, inspiring change, and fostering diversity. As the world emerges from the pandemic while also undergoing a social revolution, it's a pivotal time to rethink the entertainment industry — and creativity must be at the forefront.

But what is creativity, exactly? According to Charles Falzon, Dean of The Creative School at Ryerson University, “Creativity is a mix of innovation, design thinking, entrepreneurial thinking, and the ability to make change happen.”

Creativity as a concept is multifaceted, and so is The Creative School. With its innovative and transdisciplinary approach, the faculty is equipping the next generation of leaders in entertainment and beyond.

Embracing creativity, collaboration, and lateral thinking

The Creative School is home to nine leading schools in media, communication, and design, three transdisciplinary hubs focused on innovation and entrepreneurship, and a robust international network.

A leader in higher education, The Creative School prepares students for the future of work including opportunities to learn from global perspectives, entrepreneurial skills, sustainable practices, and innovative audience engagement strategies.

“The Creative School is about the future of media and creative industries in Canada,” says Falzon. “We’re bringing people from various fields together to think more boldly about the future.”

Many global organizations are drawn to The Creative School as a way to connect with its diverse hub of forward-thinking

innovators. Louis-Etienne Dubois, Director of The Creative School’s Future of Live Entertainment Lab (FOL!E), focuses on developing sustainable solutions to support the future of live entertainment. This includes an innovative industry collaboration with partner Cirque du Soleil.

“From Cirque’s stand point, partnering with us is about being able to draw from so many disciplines and expertise,” says Dubois. “There’s this unique relationship where we can pool our heads and our resources, and try to do something different.”

Creating immersive experiences through a transdisciplinary approach

An exciting new addition to The Creative School, The Conduit, offers students access to a leading-edge esports and video games research lab and underscores the importance of transdisciplinary approaches to learning and skills development.

“There isn’t a single discipline that doesn’t connect to the video games industry,” says Dr. Kristopher Alexander, Director of Research at The Conduit and RTA Media professor of video games. “So many disciplines — from fashion, journalism, and media production to interior design, project management, and law — connect to video games.”

Video games and esports are booming industries. With a growing focus on engaging live audiences — like the Travis Scott virtual concert on popular online video game Fortnite that attracted 12.5 million viewers

— and storytelling through gaming, the need for collaboration and creativity is clear.

The future is creative

The future of entertainment is also closely connected to entrepreneurship, and The Creative School’s Innovation Studio is devoted to entrepreneurship and innovation in the creative industries.

“We have several discipline-focused incubator spaces with students and industry members working on projects that push the boundaries within their respective domains,” says Ramona Pringle, Director at the Innovation Studio.

The faculty also has a recovery cohort, an initiative to support creators, innovators, and entrepreneurs as they rebuild the creative economy post-pandemic.

Whether it’s tackling audience engagement, sustainability, or inclusivity, The Creative School’s students are always innovating.

If you’ve played video games, chances are many of them were developed in one of Canada’s 700 video game studios. The gaming industry in Canada is huge — $4.5 billion huge. That’s the contribution to the country’s GDP and it employs almost 50,000 people directly and indirectly.

“Per capita, Canada is one of the strongest spaces for video game development in the world and stands among some of the other top developers in the space including the U.S. and Japan,” says Jayson Hilchie, President and CEO of the Entertainment Software Association of Canada.

but that has now doubled,” says Hilchie. “While there's still some uncertainty postpandemic, the innovation that's coming out of the game industry will continue to power our digital transformation.”

Next-level success

together in person, we quickly found connection with family and friends through video games. Playing video games has quickly become an essential activity for those looking to be entertained and keep in touch with friends and family, which is why studios around the world have mobilized accordingly, says Matthieu Dupont, Studio Manager at Gameloft Montreal.

A recent study by NPD Group Canada indicated that 58 percent of adult video game players were spending more time playing during the pandemic and 80 percent of teens spent more time playing games with their friends. Perhaps more surprising is that almost two thirds of adults and 78 percent of teens reported improved mental health from playing video games.

Accelerating

digital transformation Like no other event before it, the pandemic has accelerated the digital transformation of our work and personal lives. The video game industry boomed during the pandemic because game developers could easily work remotely and a digital marketplace foundation already existed, where game makers could sell their products online without having to worry about storefronts and physical products.

“Prior to the pandemic, digital sales of video games hovered around 40 percent,

It’s not luck that has made Canada one of the world’s premier developers of video games. The winning combination is industry dedication and a supportive government policy environment that creates space for success. Some of the best creative and technical gaming talent globally is here. This includes domestic talent as well as bright minds from around the world who understand Canada’s reputation in video game development and seek out employment here.

“We wouldn’t be where we are without intelligent, world-class government policies such as the Canada Media Fund and the federal government’s Global Talent Stream program, competitively placing Canada among other top countries around the world,” says Hilchie.

Maintaining connection through games COVID-19 reminded us of our need for social connection. And when we couldn’t be

The gaming industry in Canada is vibrant and dynamic, with huge growth potential. But continued success depends on a pipeline of homegrown talent. Hilchie believes we need a rethink of our education system, so young people have foundational skills in computer science before they go on to post-secondary programs, much like we do for other sciences and math.

Aside from computer programmers, engineers, and digital and creative artists, there's also a need for project managers, historians, accountants, and marketers.

“If you love video games, there's enormous opportunity in Canada to build a fulfilling, lucrative career,” says Hilchie.

Per capita, Canada is one of the strongest spaces for video game development in the world.

This article was sponsored by the Entertainment Software Association of Canada.

Learn more about Canada’s booming video game industry at theesa.ca

The Creative School at Ryerson University is a disruptor in media, design, and creative industries and is a place where students learn, transform, and reimagine creativity.

Tania Amardeil

This article was sponsored by Ryerson University

Learn more about The Creative School’s incredible work at ryerson.ca/ the-creative-school

Ken Donohue

P H O T O S C O U R T ESY OF RYERSON UNIVERSITY

Hamilton-Mehta Productions’ FUNNY BOY

The Canadian Film Industry Is Evolving and Telefilm Is Leading the Way

Telefilm Canada’s ever-evolving approach continues to support and promote the Canadian film industry, ensuring that Canadian films succeed at home and abroad.

The Canadian film industry dates back to the late 1800s and the rise of filmmaking itself. Over the years, our country has produced many incredible films, notable directors, and world-renowned actors, producers, and writers.

Canadian films are often financed with a mix of government funding and incentives, broadcaster investment, and film distributors. Central to supporting the industry’s development is Telefilm Canada, an organization that finances and promotes Canadian productions through its various funds and programs.

Key supporters of the Canadian film industry

As a Government of Canada Crown corporation in the Canadian Heritage portfolio, Telefilm supports dynamic companies and creators by providing financial support to Canadian film projects and by promoting and exporting Canadian content at festivals, markets, and events — regionally, nationally, and globally.

“Telefilm is the primary federal funding agency for the film industry,” says Christa Dickenson, Telefilm’s Executive Director and CEO. “We also administer the funding programs of the Canada Media Fund, which is basically anything to do with television and digital media, and we certify coproduction treaties on behalf of the government.”

Telefilm is a catalyst for talent at all career stages. Its support has enabled thousands of writers, directors, producers, distributors, cast, and crew to develop careers throughout Canada on productions in both official languages as well as in Indigenous languages.

timely modernization

Telefilm’s

To best direct this support and to fairly represent the diversity of Canadian filmmakers, Telefilm has worked hard to evolve

The Talent Fund Supports the Next Generation of Emerging Filmmakers

Tania Amardeil

The Talent Fund is a private donation fund dedicated to the discovery, development, and promotion of Canada’s next generation of emerging filmmakers and content creators through Telefilm Canada’s Talent to Watch program. It relies on philanthropic donations from corporations, along with the generosity of individual donors from across the country. It was created by Telefilm in 2012 as a way of diversifying the industry’s sources of financing.

Supporting emerging talent in a competitive industry

By supporting the production of first feature films, the Talent Fund has a direct impact on the health and economic prosperity of the Canadian audiovisual industry, while generating significant financial benefits for the entire cultural sector.

“The Talent Fund has produced more than 150 projects since its inception and has raised over $17 million to date,” says Sandi Treliving, Talent Fund's Advisory Committee Chair. “Those funds support up-and-coming directors, writers, and producers.”

By supporting emerging filmmakers and their productions, the Talent Fund directly encourages and stimulates Canada’s thriving audiovisual industry. It also plays an active role in supporting new voices in the film industry. “We provide opportunities for new talent to break into a competitive scene,” says Treliving.

Giving a voice to creators from underrepresented communities

A passionate mental health advocate, Treliving is a director on the CAMH Foundation Board and a founding funder of womenmind, a new CAMH initiative that supports female scientists researching women’s mental health. She has an innate understanding of the power of supporting and encouraging people to tell their stories.

“We get to hear stories from all different corners of this beautiful country, and we’ve been successful in support of women and filmmakers from underrepresented communities including the Black, Indigenous, People of Colour, and LGBTQ2S+ communities,” she says. “Filmmakers from Talent to Watch are the future of entertainment.”

with the times and to stay relevant. Recently, the organization has made some major improvements. These include redefining the decision-making process of its Production Program, ensuring that its selection process for funding new projects is more equitable.

“We shifted away from what had been a 10-year infrastructure called the Success Index, which was a mathematical formula we used for scoring. It made sense 10 years ago, but things have changed,” says Dickenson. “The new scoring system is about cultural resonance and audience engagement.”

Telefilm has also been working consciously to be more inclusive. “We’re committed to fostering and supporting an industry that’s representative of all of Canada,” says Dickenson. “That means racialized people, Indigenous communities, people with disabilities, people from official language minority communities, the LGBTQ2S+ community, and women.”

Better together

Dickenson has over three decades of experience spanning broadcast television, technology, telecommunications, and interactive digital media, having worked at CTV, CPAC, Rogers, and Interactive Ontario — making her the perfect person to spearhead Telefilm’s modernization and also to facilitate productive partnerships between government, for-profit organizations, and not-for-profits.

“The three working together always has stronger results,” she says. “Collaboration is an opportunity to share resources, to lean in on each other’s strengths, and to gain each others’ insights.”

The future of Canadian film is bright. “Post-COVID, filmmakers will continue looking for creative ways to continue production,” says Dickenson. “And Telefilm will be there to support them along the way.”

To learn more about Telefilm and its driving goal of bringing Canadian creativity to the world, visit telefilm.ca

For Treliving, it all comes down to the power of storytelling. “It’s all about the stories of our shared human experiences,” she says. “That’s what connects Canadians from coast to coast.”

And Canadian filmmakers are desperate to share their stories with the world. “They need encouragement, financial support, and someone to believe in them,” says Treliving. “I’m proud to be associated with CAMH and the Talent Fund, as they each are highlyrespected Canadian institutions that focus on the universal need to create connection, enhance compassion, and inspire change, in their own way.”

To learn more about how the Talent Fund is shaping the future of Canadian filmmaking, visit thetalentfund.ca

This page was sponsored by Telefilm Canada.

Tania Amardeil

Sandi Treliving Advisory Committee Chair, Talent Fund

Telefilm is a catalyst for talent at all career stages. Its support has enabled thousands of writers, directors, producers, distributors, cast, and crew to develop careers throughout Canada.

PHOTO CREDIT: TIM COURTNEY

PHOTO CREDIT: HELEN

TANSEY

Prepare for an Exciting Career in

Aweather app on a smartphone, a racing game on a video game console, and an ultrasound imaging device in a hospital are all digital media products. Digital media is a blend of technology and content, and building digital media products requires teams of professionals with technical, artistic, analytical, and production coordination skills.

Coming up on its 15th year, the Master of Digital Media (MDM) program is helping students gain these skills and find careers in the digital media workforce. Program graduates earn a master's degree from the Centre for Digital Media in Vancouver that's designated by its four partner institutions (the University of British Columbia, Simon Fraser University, the Emily Carr University of Art + Design, and the British Columbia Institute of Technology).

The 16-month program engages students through coursework and projects to develop essential skills for building, managing, and leading digital media projects. Students enter the program with proven skills as developers, programmers, artists, designers, or project managers and are placed on complementary teams to produce project deliverables and learn new skills from their teammates.

Project-based, practical program

“Our program launched when the first iPhone had just been released, so it's always changing and evolving to meet the needs of what's happening in the industry,” says faculty member Dr. Rachel Ralph. “There are a few similar programs in the world, but they're not exactly the same. We're very project-based — it's a very practical master’s program and really connected to industry.”

For example, the Foundations of Game Design course helps shape what students will need to know later in the program and in their careers. Game design has spread beyond entertainment into other industries with the popularity of gamification. This is the use of typical elements of game playing — like scoring points or competing with others — to other applications.

For instance, Dr. Ralph was recently involved in creating a simulation for the Justice Institute of British Columbia for students training to be fire investigators.

“There's gamification because they have to find the clues, but it’s all within the process of how they would actually do it in real life,” says Dr. Ralph. “It's not as dangerous, because you're not going into a live burn scenario and there's more chance for trial and error. It increases the opportunity to learn.”

The Creation of Successful Concept Artists at Max the Mutt

What is concept art? For any visual undertaking, whether it's a video game, animated film, or live action, choices about the style of characters, environments, and props must contribute to the end goal — communicating the writer or director’s vision, offering inspiration to the whole creative team, and helping to tell the story.

Concept artists work with authors, directors, art directors, and other concept artists to establish the tone and style of a game, live action, or animated film. Good research skills plus verbal and written communication skills are part of the job description.

Max the Mutt (MTM)'s four year Concept

In addition to the foundations of digital media, students learn soft skills, such as how to work on a team and how to work with clients, says faculty member Jason Elliott. In the final semesters, students work together to solve a specific problem for a real industry client. “I think that’s the number one thing that separates us as a program: our emphasis on project-based, real-world learning,” says Elliott. “We send a callout to industry to find a diversity of projects for students to work on. Then they collaborate and work with the client and solve the problem.”

Career opportunities in many fields

The digital media industry is growing throughout the world and what MDM graduates learn prepares them to meet the needs of a new and expanding market. This includes entertainment as well as industries not typically associated with digital media, such as health, government, and education. Elliott says graduates find careers in the creative industries, such as animation and gaming, as well as almost any other field, including doing UX design for software companies or creating content for e-learning modules or live events.

“The MDM program is a unique place to build a great network around the gaming industry. Due to its project-based philosophy and the connections made, I was able to take my career to the next level as a Skill Game Designer for FIFA at Electronic Arts," says Santiago Sotomayor, a 2020 graduate of the MDM program.

Mutt’s four-year

Art diploma program teaches students all of this in addition to related skills, including modelling and texturing, storyboarding, background design and painting, layout, and matte painting. The added magic ingredient at MTM is an emphasis on professionalism, including taking direction and meeting deadlines, which makes grads ready for the work world.

MTM cares about providing a foundation that will enable grads to build their careers.

2018 Concept Art graduate Van Lawrence Ching applies these skills every day in his role as a concept artist and environment artist with 13AM Games, which is currently releasing Dawn of the Monsters. “My education from MTM gave me a tremendously solid

foundation and base to do this work,” says Ching.

Ubisoft Toronto Art Director Patrick Ingoldsby has worked with many MTM graduates over the years. “We've hired talented graduates from MTM and continue to be impressed with the calibre of skill, education, and reliability of the artists,” he says. “MTM, as an art college, has a keen understanding of the creative talents and skills that are required in the real world.”

Good concept art is a requirement for all visual entertainment arts, and good concept artists will continue to be in demand.

Anne Papmehl

Want to join the 2022 Master of Digital Media program? Visit thecdm.ca

Jason Elliott

Faculty Member, Centre for Digital Media

Dr. Rachel Ralph Faculty Member, Centre for Digital Media

This article was sponsored by the Centre for Digital Media

Abigail Cukier

I think that’s the number one thing that separates us as a program: our emphasis on project-based, real-world learning.

PHOTO COURTESY OF CENTRE FOR DIGITAL MEDIA

PH OT O C O U RTESY OF MAX THE MUTT