Vol. 133, No. 35 — August 28, 1999

COMMISSIONS

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

NOTICE TO INTERESTED PARTIES

The following notices are abridged versions of the Commission's original notices bearing the same number. The original notices contain a more detailed outline of the applications, including additional locations and addresses where the complete files may be examined. The relevant material, including the notices and applications, is available for viewing during normal business hours at the following offices of the Commission:

— Central Building, Les Terrasses de la Chaudière, 1 Promenade du Portage, Ground Floor, Hull, Quebec K1A 0N2, (819) 997-2429 (Telephone), 994-0423 (TDD), (819) 994-0218 (Facsimile);

— Bank of Commerce Building, Suite 1007, 1809 Barrington Street, Halifax, Nova Scotia B3J 3K8, (902) 426-7997 (Telephone), 426-6997 (TDD), (902) 426-2721 (Facsimile);

— Place Montréal Trust, 1800 McGill College Avenue, Suite 1920, Montréal, Quebec H3A 3J6, (514) 283-6607 (Telephone), 283-8316 (TDD), (514) 283-3689 (Facsimile);

— The Kensington Building, Suite 1810, 275 Portage Avenue, Winnipeg, Manitoba R3B 2B3, (204) 983-6306 (Telephone), 983-8274 (TDD), (204) 983-6317 (Facsimile);

— 530-580 Hornby Street, Vancouver, British Columbia V6C 3B6, (604) 666-2111 (Telephone), 666-0778 (TDD), (604) 666-8322 (Facsimile);

— C.R.T.C. Documentation Centre, 55 St. Clair Avenue E, Suite 624, Toronto, Ontario, (416) 952-9096 (Telephone), (416) 954-6343 (Facsimile);

— C.R.T.C. Documentation Centre, Cornwall Professional Building, Room 103, 2125 11th Avenue, Regina, Saskatchewan S4P 3X3, (306) 780-3422 (Telephone), (306) 780-3319 (Facsimile).

Interventions must be filed with the Secretary General, Canadian Radio-television and Telecommunications Commission, Ottawa, Ontario K1A 0N2, together with proof that a true copy of the intervention has been served upon the applicant, on or before the deadline given in the notice.

Secretary General

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

DECISIONS

The complete texts of the decisions summarized below are available from the offices of the CRTC.

99-234 August 16, 1999

Masset-Haida Television Society
Masset and Haida, British Columbia

Approved — Renewal of the the Class 3 licence for the cable distribution undertaking serving the above-noted communities, from September 1, 1999, to August 31, 2006.

99-235 August 16, 1999

Mica Creek Community Club
Mica Creek, British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-236 August 16, 1999

Ocean Falls Television Society
Ocean Falls, British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-237 August 16, 1999

Misty Isle TV Society
Queen Charlotte City; Skidegate and Sandspit, British Columbia

Approved — Renewal of the Class 3 licences for the cable distribution undertakings serving the above-noted communities, from September 1, 1999, to August 31, 2006.

99-238 August 16, 1999

Strata Corporation K 353
Rivershore Subdivision (Kamloops), British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-239 August 16, 1999

Frank Johnson
Rivers Inlet (Oweekeno Village), British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-240 August 16, 1999

Sun Country Cablevision Ltd.
Salmon Arm, British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-241 August 16, 1999

Lake Broadcasting Corp.
Sorrento, Eagle Bay, Pinantan Lake, Paul Lake, Balmoral, Carlin, Notch Hill and White Lake, British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted communities, from September 1, 1999, to August 31, 2006.

99-242 August 16, 1999

Gretsinger Cablevision Limited
Spences Bridge, British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-243 August 16, 1999

Sun Peaks Mountain Resort Association
Sun Peaks Resort (at Tod Mountain), British Columbia

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-244 August 16, 1999

Padlei Co-operative Association Limited
Arviat, Nunavut

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-245 August 16, 1999

Sanavik Co-operative Association Limited
Baker Lake, Nunavut

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-246 August 16, 1999

Katudgevik Co-operative Association Limited
Coral Harbour, Nunavut

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-247 August 16, 1999

Kekertak Co-operative Association Limited
Gjoa Haven, Nunavut

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-248 August 16, 1999

Pangnirtung Cable T.V. Ltd.
Pangnirtung, Nunavut

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-249 August 16, 1999

Kissarvik Co-operative Association Limited
Rankin Inlet, Nunavut

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-250 August 16, 1999

Tetlit Service Co-operative Limited
Fort McPherson, Northwest Territories

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-251 August 16, 1999

Gardtal Holdings Ltd.
Fort Smith, Northwest Territories

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-252 August 16, 1999

Inuvik TV Limited
Inuvik, Northwest Territories

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-253 August 16, 1999

Northwestel Cable Inc.
Fort Resolution; Norman Wells; and Yellowknife, Northwest Territories, and Watson Lake, Yukon Territory

Approved — Renewal of the Class 3 licences for the cable distribution undertakings serving the above-noted communities, from September 1, 1999, to August 31, 2006.

99-254 August 16, 1999

Cameron Bell Consultancy Ltd.
Trans-Canada Highway, British Columbia

Approved — Administrative renewal for the broadcasting licence for the radio programming undertaking serving a section of the Trans-Canada Highway in British Columbia from September 1, 1999, to November 30, 1999.

99-255 August 18, 1999

Canadian Broadcasting Corporation
Etzikom, Alberta

Approved — Decrease in the effective radiated power for CBCA-TV-1, from 27 000 watts to 16 000 watts.

99-256 August 18, 1999

Hagensborg T.V. Society
Hagensborg, British Columbia

Approved — Addition of a transmitter for the distribution of "The Arts and Entertainment Network" and power increase for the distribution channel for CHAN-TV from 5 to 10 watts.

99-257 August 18, 1999

Native Communication Inc.
South Indian Lake and Waterhen Indian Reserve, Manitoba

Approved — Addition of a transmitter at South Indian Lake and one at Waterhen Indian Reserve.

99-258 August 18, 1999

Shaw Cablesystems Ltd.
Nanaimo, Cedar, Gabriola and Ladysmith, British Columbia

Approved — Authorization to alter the signal of The Sports Network in order to broadcast certain commercials or public service announcements.

99-259 August 18, 1999

UMG Cable Communications Inc.
Brockville, Ontario

Approved — Application to carry only one local CBC service, CKWS-TV-2 Prescott, at Brockville.

99-260 August 18, 1999

North Superior Broadcasting Ltd.
Wawa and Michipicoten, Ontario

Approved — Addition of a low-power transmitter at Michipicoten.

99-261 August 18, 1999

Power Broadcasting Inc.
Kingston and Oshawa, Ontario

Renewed — Broadcasting licences for the radio programming undertakings CFFX Kingston, CKDO and CKGE-FM Oshawa, from September 1, 1999, to February 29, 2000.

99-262 August 18, 1999

Power Broadcasting Inc.
Drummondville, Quebec

Renewed — Broadcasting licence for the radio programming undertaking CJDM-FM Drummondville, from September 1, 1999, to February 29, 2000.

99-263 August 18, 1999

Power Broadcasting Inc.
Kingston, Brighton and Prescott, Ontario

Renewed — Broadcasting licence for the television programming undertaking CKWS-TV Kingston and its transmitters CKWS- TV-1 Brighton and CKWS-TV-2 Prescott, from September 1, 1999, to February 29, 2000.

99-264 August 18, 1999

Corporation of Northern Village of Salluit
Salluit, Quebec
Corporation of Northern Village of Akulivik
Akulivik, Quebec

Renewed — Broadcasting licences for the radiocommunication distribution undertakings noted above from September 1, 1999, to August 31, 2000.

99-265 August 18, 1999

Wawatay Native Communications Society
Sioux Lookout, Ontario

Renewed — Broadcasting licences for the television and radio networks broadcasting programming of interest to native groups in northern Ontario, from September 1, 1999, to February 29, 2000.

99-266 August 18, 1999

Open Learning Agency
Burnaby, British Columbia

Renewed — Broadcasting licence for the English-language educational television programming undertaking broadcasting educational programming to serve British Columbia, from September 1, 1999, to February 29, 2000.

99-267 August 18, 1999

1093641 Ontario Limited
Newmarket, Ontario

Renewed — Broadcasting licence for the radio programming undertaking CKDX-FM Newmarket, from September 1, 1999, to February 29, 2000.

99-268 August 18, 1999

Pelmorex Radio Inc.
Kapuskasing; Sudbury; Timmins, Hearst and Kapuskasing, Ontario

Renewed — Broadcasting licences for the radio programming undertakings CKAP Kapuskasing, CHYC and CHNO Sudbury, as well as CKOY Timmins and its transmitters CHOH Hearst and CHYK Kapuskasing, from September 1, 1999, to February 29, 2000.

99-269 August 18, 1999

Eabametoong Cable TV Inc.
Eabametoong (Fort Hope), Ontario

Mocreebec Development Corp. Ltd.
Moosonee, Ontario

Renewed — Broadcasting licences for the cable distribution undertakings noted above, from September 1, 1999, to February 29, 2000.

99-270 August 19, 1999

Ram River Cablesystems Ltd.
Bow Island, Alberta

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-271 August 19, 1999

Ram River Cablesystems Ltd.
Brooks and Taber, Alberta

Approved — Renewal of the Class 2 licences for the cable distribution undertakings serving the above-noted communities, from September 1, 1999, to August 31, 2006.

99-272 August 19, 1999

Regional Cable TV (Western) Inc.
Chetwynd; Clinton; Hudson Hope; Lytton; MacKenzie; Princeton; Savona and Tumbler Ridge, British Columbia

Approved — Renewal of the Class 3 licences for the cable distribution undertakings serving the above-noted communities, from September 1, 1999, to August 31, 2006.

99-273 August 19, 1999

Akudlivik Cooperative Association
Akulivik, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-274 August 19, 1999

Vision Dufour inc.
Baie-Sainte-Catherine and surrounding areas, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-275 August 19, 1999

Télécâble Provincial inc.
Bury, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-276 August 19, 1999

Télécâble Provincial inc.
Saint-Romain, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-277 August 19, 1999

Télécâble Provincial inc.
Wottonville, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-278 August 19, 1999

L'Association coopérative de Inoudjouac
Inukjuak, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-279 August 19, 1999

L'Association coopérative d'Ivujivic
Ivujivik, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-280 August 19, 1999

Payne Bay Fisherman's Cooperative Association
Kangirsuk, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-281 August 19, 1999

9056-7074 Québec inc.
Manseau, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-282 August 19, 1999

Misti-Câble Télévision inc.
Mistissini, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-283 August 19, 1999

L'Association coopérative de Povungnituk
Puvirnituq, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-284 August 19, 1999

L'Association coopérative de Koartak
Quartaq, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-285 August 19, 1999

Câblevision TRP-SDM inc.
Saint-Éloi, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-286 August 19, 1999

Câblevision TRP-SDM inc.
Saint-François-Xavier-de-Viger, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-287 August 19, 1999

Câblevision TRP-SDM inc.
Saint-Paul-de-la-Croix, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-288 August 19, 1999

Câblevision TRP-SDM inc.
Sainte-Françoise, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

99-289 August 19, 1999

Câblevision TRP-SDM inc.
Sainte-Rita, Quebec

Approved — Renewal of the Class 3 licence for the cable distribution undertaking serving the above-noted community, from September 1, 1999, to August 31, 2006.

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CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 1991-125-1

Following a request from the Canadian Association of Broadcasters for more time to review the following application, the Commission hereby extends the deadline for receipt of interventions from August 23, 1999, to September 8, 1999.

Across Canada
Vision TV: Canada's Faith Network/Réseau Religieux Canada (Vision)

To amend its broadcasting licence for the national specialty television service known as Vision TV. Vision proposes to provide up to 20 hours per week of local programming and seeks an amendment to its licence to allow the insertion of up to 12 minutes per hour of local advertising in this local programming. Vision is currently authorized to distribute up to 12 minutes of advertising material during each clock hour, but such material is limited to national advertising. The proposed change would not alter the total amount of advertising permitted each hour. The licensee proposes to alter its existing condition of licence No. 9 by replacing 9(c) with the following:

9(c) The licensee is authorized to distribute local and national advertising material.

Deadline for intervention: September 8, 1999

August 19, 1999

[35-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 1999-134

1. Cameron Bell Consultancy Ltd.
Vancouver, British Columbia

For authority to change the contours by relocating the transmitter approximately 19 km from the existing site, to reduce the effective radiated power to 27 watts and to renew the broadcasting licence to December 31, 2000.

Deadline for intervention: September 20, 1999

August 16, 1999

[35-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 1999-135

Definition of a Canadian Program — Clarifications and Proposed Revisions

1. In Public Notice CRTC 1999-97 dated June 11, 1999, entitled Building on Success — A Policy Framework for Canadian Television, the Commission announced that it would seek public comment on several matters related to Canadian programs.

2. This public notice calls for comments concerning proposed revisions to the Commission's definition of a Canadian program, defined in the Television Broadcasting Regulations, 1987, the Pay Television Regulations, 1990, and the Specialty Services Regulations, 1990. These revisions follow the Commission's review of the comments received pursuant to Public Notice CRTC 1998-59, which sought the views of the public about all aspects of the current definition.

3. The Commission received interventions from 37 parties during the round of comments that ended on July 20, 1998, and 26 during the second round, terminating on August 17, 1998. The Commission appreciates the high quality of the submissions it received during this public process and wishes to thank all parties for their views and participation. The Commission considered all of the submissions in reaching the modifications proposed herein. The full public record of all submissions is available at Commission offices.

4. The proposed definition of a Canadian program is set out in Appendices I and II to this document. Appendix I deals with live action and continuous action animated productions; some of the provisions of Appendix I apply also to other forms of animation. Appendix II sets out the remaining criteria for other forms of animation.

5. The proposed definition consolidates the criteria established in Public Notices CRTC 1984-94 and 1988-105, and the clarifications regarding production packages outlined in Public Notice CRTC 1987-28. Following consideration of comments from the public, the regulations will be amended to include the final wording. The amendments will come into force on September 1, 2000.

6. The majority of the revisions in the proposed definition clarify the wording of the current definition and reflect the interpretations that have been developed and used by the Commission over the past 15 years. The Commission will consider whether the practices described in these revisions should be continued following the receipt of comments.

7. The following are the areas of material change on which comments are sought:

— Short Interstitials: Productions of less than five minutes in duration, which consist predominantly of stock or existing footage, would no longer be certified.

— Advance Rulings and Preliminary Recognitions: These would no longer be issued.

— Producer: Producers would have to be prepared to submit, upon request, an independent legal opinion confirming that the financial and creative control of the production is in their hands.

— Series: At least 60 percent of the episodes would have to qualify as Canadian on their own for the entire series to receive accreditation.

— Old Productions: Pre-1984 productions would not be subject to the expenditure requirements.

— Sports Events: There would be a requirement for at least one Canadian to fill a major on-screen position.

— Dramatic Programming Credit: The existing 150 percent credit would become unavailable to the largest multi-station ownership groups, as announced in Public Notice CRTC 1999-97. International co-ventures and co-productions of live action and continuous action animated drama would no longer be eligible. Live action programs that fail to achieve ten points, even if a Canadian fills each position utilized, will not be eligible for the credit. Series would have a single two-year period for each airing of each cycle of the series, commencing with the air date of the first episode of the cycle.

— Stock Footage (Interpretation Notes): Except for documentaries, foreign-produced stock footage would be limited to less than 50 percent of the running time of the program.

— Animation: The minimum Canadian expenditure levels for services and post-production/lab work would be 75 percent, and the key animator would have to be Canadian.

8. Canadian programs already certified by the Commission or the Canadian Audio-Visual Certification Office of the Department of Canadian Heritage (CAVCO) will continue to be recognized for CRTC certification.

The certification process

9. Several producers and their associations proposed that all, or at least some, of the Commission's administration of its accreditation function be transferred to CAVCO. This body also provides recognition for Canadian programs in administering the Canadian Film or Video Production Tax Credit. However, in making this suggestion, interveners made it clear that this should occur only if, among other changes, CAVCO were to make administrative modifications to ensure the timely processing of applications.

10. Alternatively, parties proposed that the criteria used to determine if productions are Canadian be harmonized between the Commission and CAVCO. This would have the effect of simplifying the application process for program producers.

11. In deliberating on these proposals, the Commission has noted the following:

— CAVCO's mandate under the Income Tax Act is to ensure that programs are Canadian for tax credit purposes. It takes great care in deciding which productions are successful in triggering such credits. Under its guidelines, current events, public affairs programs, talk shows, game shows and sports events, among others, are ineligible for recognition as Canadian. Extensive documentation is required to establish Canadian copyright and ownership, company eligibility and the commercial exploitation of productions in eligible genres.

— In comparison, the objectives to be furthered by the Commission under the Broadcasting Act (the Act) are very broad, and the Commission is empowered to make regulations prescribing what constitutes a Canadian program to further them. None of the genres mentioned above is excluded by the Commission from certification as Canadian, and the documentation required to support applications is typically far less complex than that submitted to CAVCO.

— The transfer of authority to CAVCO to determine which programs are Canadian would entail the abandonment of one of the Commission's mandates under the Act, and such a step may well be inconsistent with the Act. Delegation to CAVCO would entail the assignment to others of the administration of several Commission policies.

12. Based on the above, the Commission has concluded that the unification of the certification processes of two agencies with significantly different mandates, or the complete harmonization of the definitions that are based on those different mandates, is impractical. However, it notes that since 1984 it has adopted numerous CAVCO definitions and interpretations, where appropriate, and is taking the opportunity to clarify these in this notice. The Commission is confident that the publication of these clarifications will underscore the similarities between CAVCO's guidelines and the Commission's definition, making the application process less complex for producers that deal with both.

The ten-point system

13. Several organizations and guilds recommended the raising of the minimum of six points assigned to key creative positions to eight or more. Others expressed the view that the current minimum strikes an appropriate balance between "cultural" and "industrial" objectives.

14. The Commission agrees with the latter position, and notes that the six-point minimum conforms to CAVCO's guidelines.

The special recognition process for co-ventures

15. Two producers' associations recommended that the Commission's practice of awarding "special recognition" to co-ventures be abolished, because these productions limit the "shelf space" for the broadcast of truly Canadian programs.

16. These are internationally co-produced projects that are not encompassed by the treaties signed by Canada with, to date, 52 countries. Official treaty co-productions are administered jointly by Telefilm Canada and CAVCO.

17. Broadcasters opposed this recommendation, pointing out that the recognition of co-ventures as Canadian provides additional flexibility to producers seeking foreign financing.

18. In the past, the Commission has certified only six or seven co-ventures per year and, at this rate, the special recognition (or "SR") process does not seriously reduce access to broadcasters' schedules for other types of productions. The Commission will continue the special recognition process for co-ventures, as modified in Appendix I to this notice, in recognition of the importance of maintaining a range of methods for Canadian producers to finance their programs.

Call for comments

19. The Commission invites written comments that address the issues and questions set out in this notice. The Commission will accept comments that it receives on or before September 20, 1999.

August 19, 1999

APPENDIX I

Material excluded from recognition

— Infomercials and other forms of advertising material

— Public service announcements

— Promotional and corporate videos/films, such as those produced by groups and businesses for public relations reasons, recruitment, etc.

— Pornography

— Program segments of less than five minutes in duration comprised predominantly of stock footage.

Advance rulings/preliminary recognitions

The Commission will issue final recognition or special recognition, as the case may be, to any licensee, producer or property rights holder, where the program satisfies the requirements of the definition of a Canadian program. The production must be under way, with all key creative personnel under contract and committed budgets in place. Applications for advance rulings or for preliminary recognitions will no longer be accepted. The clarifications described below should ensure that the requirements for recognitions are well understood by interested parties.

Station and network productions

To be recognized as Canadian, programs produced solely by licensees must meet the Canadian program recognition criteria stipulated in this notice. However, unless requesting the drama credit, licensees need not apply for recognition or submit production information for such productions, except where specifically requested to do so by the Commission. If the Commission makes no such request, programs produced solely by licensees shall be deemed to be Canadian.

The criteria for the recognition of Canadian programs do not apply to news and public affairs programs produced solely by licensees. Such programs shall be recognized as Canadian.

Recognition by CAVCO

The Canadian content certification given by the Minister of Canadian Heritage, upon recommendation by Telefilm Canada or CAVCO, will also constitute recognition for Canadian programs by the Commission.

Criteria: recognition for Canadian programs

I. Basic Definition of a Canadian Program

The Commission will recognize as a Canadian program, a live, videotape or film production, that meets the following:

A. Producer: the producer controls and is the central decision-maker of the production from beginning to end, and must be Canadian. Additionally, all those fulfilling producer-related functions must be Canadian. The producer must be prepared to demonstrate full decision-making power through the submission of ownership documents, contracts or affidavits upon request. The producer must be prepared to submit, upon request, an independent legal opinion confirming that financial and creative control of the production is Canadian.

Exemptions will be considered for non-Canadians to receive courtesy or vanity credits for producer-related functions as described in the current CAVCO guidelines. However,

— The remuneration to the Canadian producer must exceed the aggregate remuneration of foreign executive producers.

— Foreign executive producers must limit their time on the set to 25 percent of principal photography, and their role solely to that of observers.

The duties of foreign executive-producers shall be limited to non-creative, non-production related functions, such as arranging foreign distribution and financing (the CAVCO guidelines provide a fuller description of the "individual production-related positions and screen credits").

The Commission, however, will not adopt CAVCO's exemption for the writer credit.

B. The point system: A live action or continuous action animated production (a separate point system applies to other forms of animation: see Appendix II) must earn a minimum of six units of production or points based on the following key creative functions being performed by Canadians:

— Director — two points

— Writer — two points

— Leading performer (or first voice) — one point

— Second leading performer (or second voice) — one point

— Head of Art Department — one point

— Director of Photography — one point

— Music composer — one point

— Picture Editor — one point

Notwithstanding the above, at least one of the director or writer positions and at least one of the two leading performers must be Canadian.

Determination of leading performers will take into account billing, screen-time and payment. In non-dramatic productions, the second lead must have at least 50 percent of the screen time and 50 percent of the remuneration of the principal lead, plus billing similar to the principal lead. Individuals not meeting these criteria will be considered as filling minor roles.

In category 7, 8, and 9 programs (Drama, Music & Dance, Variety) the leads will be the performers. In other program types, the leads will usually be the host, narrator, commentator, moderator, quizmaster, etc.

The host of a documentary is normally compensated; the subject is not. In a documentary series, the same subject is not usually prominent in every episode; the host is.

Productions in which non-Canadians are the only leading performers will not be accepted as Canadian, and the addition of Canadians in minor roles will not be sufficient for a production to qualify.

Under exceptional circumstances, upon application the Commission may recognize as a Canadian program a production in which the positions of either:

(a) director and writer are non-Canadian, or

(b) both leading performers are non-Canadians,

as long as all other key creative functions are filled by Canadians.

Interpretation notes may be found in section X below.

C. Expenditures:

Services Costs — At least 75 percent of services must be paid to Canadians. Services costs are the total costs remaining after excluding the following from total expenditures:

— Remuneration for Canadian producers

— Remuneration for key creative personnel eligible for points

— Post-production/lab costs

— Accounting and legal fees

— Insurance brokerage and financing costs

— Indirect expenses

— Contingency costs, and

— Purchased goods, such as film/videotape supplies.

In particular, services expenditures include the remaining costs after subtracting the costs for the producer, "key" creative personnel, post-production/laboratory costs, goods purchased and other costs not directly related to production.

Post-Production/Lab Costs — At least 75 percent of post-production/laboratory expenses, except those attributed to the picture editor, must be paid for services provided in Canada by Canadians or Canadian companies.

The Commission may require audited statements and/or affidavits in support of an application. Where the Commission has not developed specific descriptions and interpretations, those detailed in the CAVCO certification guidelines may be used.

II. Series

Recognizing that the production elements of a series of programs may vary and that some of the episodes, if considered individually, could fall below the minimum requirements of the point system, the Commission will examine a series in its entirety and will grant it recognition if, on an overall average, it meets the minimum requirements (60 percent).

For the present purposes, a "series" means two or more programs produced by the same production company/producer, having the same title, the same duration of episodes, a common theme, situation, or set of characters, and completed within a 12-month period.

In order for a licensee to claim Canadian program recognition for any episodes in a series which might not meet the six-point Canadian program recognition criteria, at least 60 percent of the series episodes must exceed such criteria and are broadcast or otherwise distributed at equitable times.

Each episode in a live action or continuous action animated series must fulfil the mandatory writer or director rule and the leading performer requirement (minimum of three points). Each episode in an animated series must fulfil the mandatory scriptwriter and storyboard supervisor or director rule, the first or second voice or performer requirement, and the key animator/ animation (person and location) [minimum of three points].

The 150 percent dramatic programming credits are unavailable to productions that require the application of the series averaging rule in order to obtain accreditation.

Episodes that are ineligible for recognition for any reason will not be segregated from the remainder of the episodes.

III. Pre-1984 Productions

The Commission will grant recognition to productions that were completed prior to April 15, 1984, for which credible evidence is provided that:

— the producer was Canadian; and

— the production would have qualified under the point system, had it been in effect when the production was completed.

The expenditure rules will not be applied.

Productions certified under the pre-1984 definition will continue to be recognized as Canadian.

IV. Sports Events

Live or live-on-tape productions of sports events or tournaments will be considered Canadian where a Canadian production company has production control and provides the commentators, whether the event takes place inside or outside Canada; in the latter case, the production would qualify only where Canadian-based teams or athletes participate in these events or tournaments. One of the major on-camera personalities (commentators, analysts, hosts) must be Canadian.

In the case of broadcasts of sports events originating outside Canada, involving non-Canadian teams or athletes and for which a commentary is provided by a Canadian commentator in a language other than English, one-quarter (25 percent) of the program time attached thereto shall be deemed to be Canadian.

Other types of sports programs are assessed for recognition as Canadian under the point system.

V. Music Videos

A. Definition of a Canadian Music Video:

Music videos, the short film or videotape productions or concert excerpts (clips) not produced primarily for the particular program in which they are presented, which normally contain one musical selection with visual material, will be considered as Canadian where they meet the requirements of item 5 below, as well as those of one of 1, 2, 3 or 4 below.

1. They meet at least two of the following audio conditions (a) through (e):

(a) the music is or lyrics are performed principally by a Canadian;

(b) the music is composed entirely by a Canadian;

(c) the lyrics are written entirely by a Canadian;

(d) consists of a live performance that is wholly recorded in Canada;

(e) the performance was recorded after September 1, 1991, and a Canadian who has collaborated with a non-Canadian receives at least 50 percent of the credit as composer and lyricist according to the records of a recognized performing rights society;

2. or is an instrumental performance of a musical composition that meets the conditions set out in 1(b) or (c) above;

3. or is a performance of a musical composition that a Canadian has composed for instruments only;

4. or has already qualified as a Canadian music video under the regulations previously in effect; and

5. and meets at least one of the following conditions (a) through (c):

(a) the video director or producer is Canadian;

(b) the video production facilities are located in Canada; and

(c) the video has already qualified as a Canadian selection under regulations previously in effect.

All forms of Canadian short performances, including commercial music videos that appear outside music video programs and logged as category 8(b) [Music Video Clip] need a recognition number from the Commission.

B. Music Video Programs:

For programs consisting predominantly of music videos and in some cases including a host and other programming elements, Canadian program recognition will be awarded if all elements other than the music videos qualify as Canadian, and a minimum of 30 percent of the music videos are Canadian.

This last provision does not apply to music specialty services.

VI. Dubbing

Where a program is not a Canadian program and is produced in an official language of Canada or a native Canadian language, and the audio portion of that program is converted into the other official language of Canada or a native Canadian language by a process of lip synchronization done in Canada, using Canadian resources, one-quarter (25 percent) of the program time attached thereto shall be deemed to be Canadian.

Where a program is not a Canadian program and is produced in a language other than an official language of Canada or a native Canadian language, and the audio portion of that program is converted into an official language of Canada or a native Canadian language by a process of lip synchronization done in Canada, using Canadian resources, one-half (50 percent) of the program time attached thereto, to a maximum of 50 hours during each six-month reporting period, shall be considered as Canadian.

VII. Special Recognition for Co-Ventures

Co-ventures are defined as international co-productions not included under the treaties administered by Telefilm Canada. They include all ventures with co-producers of any foreign country that does not have a film or television production treaty with Canada, and ventures with co-producers of any treaty country, where such ventures are not specifically covered by any treaty. The key function in these co-ventures is that of the producer.

Such co-ventures will qualify for special recognition and will be given 100 percent Canadian program credit when broadcast or otherwise distributed by a licensee of the CRTC, even though some of the producer functions are performed by non-Canadians, where co-venture agreements and other documentation substantiate that the Canadian production company:

— has no less than an equal measure of decision-making responsibility with other co-venture partners on all creative elements of the production, and

— is responsible for the administration of not less than the Canadian element of the production budget.

The application for Canadian recognition must be made by the Canadian production company and must be accompanied or supported by signed agreements between the co-venture partners. Such co-venture agreements will be kept confidential.

The decision-making responsibility for the production will be deemed to be in the hands of a Canadian production company when that company:

— has sole or co-signing authority on the production bank account: for co-ventures shot entirely in Canada, the production bank account must be in Canada; for those shot partially in Canada, a Canadian bank account would be required for that portion of the production shot in Canada; in the case of co-ventures shot entirely outside Canada, there must be a Canadian bank account for payment of the Canadian elements of the program;

— has financial participation in the production and the entitlement to profit sharing; beginning on September 1, 2000, the Canadian production company must retain a financial participation position of at least 25 percent and a 25 percent share of the profits; beginning on September 1, 2001, the Canadian production company must retain a financial participation position of at least 50 percent and a 50 percent share of the profits;

— is at financial risk and/or has budgetary responsibility;

— has no less than an equal measure of approval over all elements of the production with the co-venture partners, regardless of the number of foreign persons fulfilling the functions of executive producer or producer.

With regard to points and expenditures, a co-venture with a co-producer from a Commonwealth or French-language country, or a country with which Canada has a film or television production treaty, will be considered as qualifying for Canadian program special recognition where, in addition to meeting the foregoing requirements, it attains five points, and at least 50 percent of the costs for services are paid to Canadians, and at least 75 percent of post-production and laboratory costs (except for picture editor) must be paid for services provided by Canadians or by Canadian companies, in Canada. Notwithstanding the above, the director or the writer and at least one of the two leading performers must be Canadian. All other considerations for recognition of a Canadian program apply to such a co-venture.

Any other co-venture will be required to meet the same points and expenditure minimum requirements as a domestic production.

VIII. Production Packages

A "production package" means two or more co-productions or co-ventures, undertaken by a Canadian production company together with one or more non-Canadian production companies, where a production that qualifies as a Canadian production, with minor foreign involvement, is matched with a foreign production, with minor Canadian involvement.

The Commission will be prepared to accept as Canadian, production packages on the following conditions:

(a) The Canadian copyright for both productions must be held by Canadians;

(b) The budgets of both Canadian and foreign productions must be approximately equal;

(c) Co-production agreements/contracts between the Canadian production company and foreign producers must be submitted to the Commission with the applications;

(d) The Canadian production company must have equity interest and profit sharing in the Canadian and foreign productions;

(e) The Canadian and foreign productions must be licensed to the same Canadian programming licensee. Canadian program credit may not be claimed by any Canadian licensee for the production with the minor Canadian involvement, unless and until the Canadian production has been broadcast;

(f) All productions in a production package must fall within the same program category;

(g) Production package programs are acceptable only in the categories of drama, variety, documentary and children's. Animated productions are excluded;

(h) Matched (or twinned) productions must be approximately equal in duration;

(i) Matched (or twinned) productions must receive equitable scheduling on the same Canadian station or network; and

(j) Ten-point productions in production packages will not also qualify for the dramatic programming credit of 150 percent.

While these conditions do not contain a requirement that the production with major Canadian involvement receive exposure in the other country involved, the Commission would expect that the Canadian co-producer would include such an arrangement in his agreement with the non-Canadian co-producer.

IX. Dramatic Programming Credit

Subject to a condition of licence to the contrary, the Commission will award a 150 percent time credit for a live action or continuous action animated drama carried by a licensee, which meets the following criteria:

(a) is produced by a licensee or a Canadian production company after April 15, 1984;

(b) is recognized as a Canadian program (receives a "C" number from the Commission) and achieves ten points;

(c) is broadcast between the hours of 7:00 p.m. and 11:00 p.m., or, in the case of a dramatic program intended for children, at an appropriate children's viewing time; and

(d) contains a minimum of 90 percent drama content.

Each licensee will receive a dramatic programming credit for each showing of a drama occurring within a two-year period from the date of first showing. Series will have a single two-year period for each cycle of the series, commencing with the air date of the initial episode from that cycle.

Programs that fail to achieve ten points, even if each applicable position is filled by a Canadian, will not be eligible for the credit.

X. Interpretation Notes

A. Canadian production company:

A "Canadian production company" is a licensee of the CRTC or is a Canadian company which carries on business in Canada with a Canadian business address, which is owned and controlled by Canadians and whose principal business is the production of film, videotape or live programs for distribution on television or in theatrical, industrial or educational markets.

B. Point System:

In productions where not all of the key creative positions are utilized, and there are less than six points possible, recognition will be granted if Canadians perform all key creative functions.

Points will only be awarded in respect of a particular position if all persons sharing the duties of that position are Canadian.

C. Producer:

The producer is expected, inter alia, to be involved in acquiring and developing the story, selecting and engaging the key creative personnel, budget preparation, financing, control of expenditures and distribution of the production.

D. Writer:

The term "writer" includes screenwriter, script writer and, in the case of animation, story board supervisor, where applicable.

Each individual involved in the preparation of the screenplay must be Canadian. This means that all the individuals engaged in developing the screenplay, from the outline or treatment through the various drafts and dialogue polishes to the final shooting script, must be Canadian, or the principal writer is a Canadian individual and the screenplay for the production is based on a work authored by a Canadian and the work is published in Canada.

The Commission will examine credits, such as the following, to assess the qualification for this position:

— Story Editor (Executive, Senior, Junior)

— Creative Consultant

— Story Consultant, Executive Story Consultant

— Creative Producer

E. Head of Art Department:

The Head of the Art Department will generally be the Production Designer in a live action or continuous action animated production. If there is no production designer, the Art Director will be considered Head of the Art Department.

F. Director of Photography or Technical Director:

If there is no Director of Photography the equivalent is chief camera operator. The Lighting Director is accepted as a Technical Director on videotape productions.

G. Music composer:

The point is awarded only if a Canadian has been assigned to compose the original music for the production. The rearrangement of existing music, even if it is Canadian, utilizes the position but does not earn the point. Existing stock, library or archival music may be used in addition to the original music, but must be predominately Canadian. The position of music director is not accepted as a music composer.

H. Picture Editor:

Means Film Editor. The positions of Sound or Music Editor will not be acceptable in the place of Picture Editor. For video productions, the equivalent to Picture Editor is the Off-line Editor.

I. Other matters:

Productions, excluding documentaries, that are made up predominantly of existing footage (stock, archival, library, B-roll, etc.) produced by a foreign producer will not qualify as Canadian, even if assembled or edited in Canada with Canadian narration.

Neither the repackaging nor the adaptation of existing foreign productions or program segments will qualify as Canadian or as Canadian documentaries. Such repackaging involves some or all of:

— Excerpts from a previous original foreign production;

— The use of a significant portion of the original foreign production in essentially unedited chunks;

— The mention of the original foreign production in the credits.

Productions that have not used repackaging entail the more intense editing of stock footage. Relatively short portions are carefully selected from a variety of sources to illuminate and develop the subject.

APPENDIX II

ANIMATION

Criteria: recognition for Canadian animated programs (other than continuous action animation)

I. Types of Animation

Animation refers to the process of creating the appearance of motion through the use of inanimate or still elements in the many forms of traditional animation, and through the use of digital synthesis in computer-assisted or computer-generated animation.

A. Computer animation:

Computer-assisted animation

Through this technique, pre-existing animated material is revised with the assistance of computer technology.

Computer-generated animation

Through this technique, animated movement is generated principally or wholly through digital image synthesis by means of computers and computer programs.

B. Traditional animation:

For these purposes, traditional animation is of two kinds: frame-by-frame or continuous.

Frame-by-frame animation is the process of filming or otherwise recording a series of poses of figures, objects or shapes, or drawings each slightly displaced from the preceding poses, or of drawing them in sequence on successive frames of recording material, one or more frames at a time, so that when the film is projected or the recording played, the figures, objects, shapes or other elements give the illusion of movement.

The process of continuous animation involves moving figures, objects or shapes by means of mechanical or other devices to give the illusion that they are moving on their own.

The Commission will treat continuous action animation as live action and continue to use the definition of Canadian program outlined in Appendix I above.

Among the many types of traditional animation are the following:

1. Cell animation

Cell is the name given to the transparent celluloid material on which drawings are made in the film technique of cell animation. This kind of animation is usually done by exposing one or more frames of film or other recording material for each cell.

2. Puppet animation

This type of animation can be of two kinds. In the first, sometimes referred to as stop-motion animation, two- or three-dimensional figures rather than drawings or paintings are recorded frame by frame.

In the second, the animation is continuous, controlled by a puppeteer with the movement of the figures occurring in "real time". The latter is subject to the same criteria as live action.

3. Pixillation animation

This is a technique of animation using live-action shots of real people in real locations to achieve the effect of having actors jump, jerk or twitch as if they were being animated. There are three ways of obtaining this effect:

(a) by editing single frames from live-action shots and omitting intervening film material;

(b) by posing actors as if they were puppets and taking single-frame photographs of each pose; and

(c) by taking one frame at a time during normal action (speed-up) or slowed-down action (normal).

4. Camera-less animation

This technique involves drawing or painting directly on film frames.

5. Other forms of traditional animation

Other types of traditional animation, less commonly used, include the pin-screen, silhouette, anaform and sand (drawing and form) techniques. The Commission will treat these types generally as frame-by-frame animation.

II. The Inapplicability of Certain Sections of Appendix I

The criteria outlined in Appendix I apply to both live action and animated productions, except in the following areas:

— the point system, including the mandatory positions;

— the dramatic programming credit; and

— the interpretation notes regarding the Head of the Art Department, the Director of Photography and the Music Composer.

These criteria are described below, as they apply to animated productions (excepting continuous action animation).

III. The Assessment of Animated Productions

Computer-assisted animation is dealt with in the same way as traditional animation. This can, depending on the nature of the production, involve either the criteria for frame-by-frame animation or those for continuous animation (i.e., live action in which case it will be dealt with under the provisions of Appendix I above).

Computer-generated animation will be dealt with on a case-by-case basis, generally in accordance with the rules for frame-by-frame animation.

Sometimes productions include mixes of animation and live action. In these cases, productions will be assessed according to the criteria of the predominant format, unless the minor format exceeds 20 percent, when both sets of rules will be used.

IV. The Point System

An animated production must earn a minimum of six units of production or points based on the following key creative functions being performed by Canadians or, where applicable, in Canada:

— Director — one point

— Scriptwriter and storyboard supervisor — one point

— First or second voice (or first or second leading performer) — one point

— Design supervisor — one point

— Layout and background (location) — one point

— Key animator (person) and key animation (location) — one point

— Assistant animation In-Betweening (location) — one point

— Camera operator (person) and operation (location) — one point

— Music composer — one point

— Picture Editor — one point

Determination of first and second voice (or first or second leading performer) may take into account billing, screen time, number of lines and payment.

Where the point is assigned to a person or persons, the point will be awarded only if all of those sharing the duties of that position are Canadian; where the point is assigned to a location, it will be awarded only if all of that function is performed in Canada.

In productions that employ a scriptwriter but no storyboard supervisor (or vice versa), the point will be awarded if the person or persons performing that function is or are Canadian.

The Commission will, for most types of animation, consider it mandatory that the following persons or locations or both be Canadian:

— Director or the combination of scriptwriter and storyboard supervisor (persons);

— Key animator, and key animation (location) [excluding pixillation];

— First or second voice (or first or second leading performer); and

— Camera operator (person) and operation (location), for pixillation only.

V. Dramatic Programming Credit

The Commission will award a 150 percent time credit for an animated dramatic production other than a continuous action production carried by a licensee, other than those private conventional television licences held or controlled by a group licensed to operate in several provinces with a potential reach of more than 70 percent of the audience in their language of operation, which meets all of the following criteria:

— that it is produced by a Canadian licensee or an independent production company after July 15, 1988;

— that it is recognized as a Canadian program (receives a "C" number) and achieves the points for each key creative function utilized in the production (the principal use of stock music — even if Canadian — means the function applies, but the point will not qualify as Canadian); and

— that it is broadcast

Each licensee will receive a dramatic programming credit for each showing of an animated dramatic production occurring within a two-year period from the date of first showing. Series will have a single two-year period for each cycle of the series, commencing with the air date of the initial episode from that cycle.

Co-productions and co-ventures do not qualify for the dramatic programming credit, as the producer functions, by definition, are shared between Canadians and non-Canadians.

Taking into account that in animated productions the number of qualifying functions may vary, depending on the type of animation, as well as on the particular production, the Commission will allow a 150 percent Canadian dramatic programming credit not only for animated dramatic productions other than continuous action productions that meet all ten criteria, but also for those for which not all ten functions are required, as long as the functions that do apply all qualify as Canadian.

VI. Descriptions of the Various Functions in Animated Production

A. The following functions are eligible to receive points:

Director: The director has overall control of the artistic and creative aspects of the production; establishes the instructional workbook for the production from script and storyboard; times the action and supervises the creative and technical aspects of the work in the various stages of production; provides shot-by-shot and frame-by-frame, details of the camera movement and shot punctuation (done by preparing the timing of each individual scene at the storyboard stage); prepares the bar-sheets, or exposure sheet instructions for the animator.

The above may also be done in collaboration with or by the key animator or animation director.

Scriptwriter: The scriptwriter provides the written treatment; outlines the continuity of the story, dialogue or action and the parts the various characters will play in it; elaborates upon the script during the process of visual development at the storyboard stage.

Storyboard Supervisor: The storyboard supervisor, co-operating with the writer, or instead of the writer (depending on the type of production and studio organization) creates visual development running parallel to the written text in pictures; determines the flow of action from one scene to another; creates a series of drawings with the associated continuity showing the major action and scene changes.

First or Second Lead Voice: Leading or second-leading actor reading a character voice.

Design Supervisor: The design supervisor is responsible for the style, the visual character, the colour theme and colour continuity; develops the tones of the backgrounds, figures and textures; can sometimes create the actual characters jointly with the director; prepares visual proportion charts of the characters to safeguard uniformity during the production. (This position is also referred to sometimes as the art director or the character designer.)

Layout (location): The layout artist, working from the storyboard, outlines the graphic organization in the form of line drawings of background environment and staging of action for the animators' and background artists' reference. The layout artist also draws up camera field references. In feature work the layout artist will also provide a detailed tonal rendering for the background department. (A related position is that of the poser. However, the poser is an animator whose work is preliminary and ephemeral and is not part of the final print.)

Background (location): Provides finished backgrounds for individual scenes of a film.

Key Animator/Animation (person and location): The animator is primarily responsible for the creative vitality of the production, draws the key phases of movement that determine the life and expression of the characters; creates the movement of figures or objects; roughs out the timing path or sequence of the animation; and provides on dope sheets technical information to the camera operator about the order in which individual animation phases should be photographed. The animator depicts extremes of movement to provide key drawings and sets the style and character of the sequence. The key animator's work is part of the final print. (This position is sometimes also referred to as the animator.)

Assistant Animation/In-Betweening (location): The assistant animators and in-betweeners complete the breakdown drawings and in-between work, once the key characters or figures have been determined by the animator and the animation has been done. Breakdown drawings are the main drawings between the key animation drawings that help to define the path of action. In-between drawings are done after the main path of action breakdown drawings are completed.

Camera Operator and Operation (person and location): The camera operator operates the camera for the purpose of recording the sequences of cells and backgrounds according to instructions from the director.

Music Composer: The music composer writes the music or lyrics, or both, specifically for the production.

Picture Editor: The picture editor assembles individual shots and sequences in continuity and fits them to the various soundtracks; provides the sound effects track; analyses the characteristics of the music or dialogue track; provides information to animators in terms of timed film frames; supervises the dubbing, the separate sound tracks; and liaises with laboratories to obtain prints.

B. While the following functions play a significant role in animation, no points are attached to them:

Tracer/Photographer: This function involves copying the animated line drawings onto acetate sheets, or doing the equivalent via electronic means.

Opaquer: This function involves the application of paint to the inked-in outlines of acetate drawings or cells, or doing the equivalent via electronic means.

Animation Director: For large feature productions the function of animation director is sometimes created to supervise the animation of an entire sequence. For television specials and series, the animation director will sometimes be responsible for supervising the whole production (see director).

Attached to the notice are two charts:

— Chart 1 — Overview of Point System and Mandatory Position/Location Requirements

— Chart 2 — Canadian Expenditure Requirements

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CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 1999-136

1. Across Canada
Alliance Atlantis Communications Inc. (Alliance Atlantis)

For authority to acquire a 47.85 percent voting interest in Sportscope Television Network Ltd. (Sportscope), licensee of the national English-language specialty programming undertaking devoted exclusively to sports programming. The transfer would be effected through the transfer of the 682,576.36 common shares, currently held by Mr. Keith Campbell, the trustee, representing 47.85 percent of the voting interest of Sportscope to Alliance Atlantis. The transaction would not result in a change of effective control as Mr. John Levy, through Levfam Holdings Inc. and 1240412 Ontario Limited, will continue to own the remaining 52.15 percent of the voting interests in Sportscope.

Deadline for intervention: September 27, 1999

August 20, 1999

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NOTICE:
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