Vol. 134, No. 21 — May 20, 2000

COMMISSIONS

CANADA CUSTOMS AND REVENUE AGENCY

INCOME TAX ACT

Revocation of Registration of a Charity

The following notice of proposed revocation was sent to the charity listed below revoking it for failure to meet the parts of the Income Tax Act as listed in this notice:

"Notice is hereby given, pursuant to paragraphs 168(1)(b), 168(1)(c), 168(1)(d) and 168(1)(e) of the Income Tax Act, that I propose to revoke the registration of the charity listed below and that by virtue of paragraph 168(2)(b) thereof, the revocation of the registration is effective on the date of publication of this notice in the Canada Gazette."

Business Number	Name/Address
888020245RR0001	V. T. WILLIAMS EVANGELISTIC ASSOCIATION, SCARBOROUGH, ONT.

NEIL BARCLAY
Director
Charities Division

[21-1-o]

CANADA CUSTOMS AND REVENUE AGENCY

INCOME TAX ACT

Revocation of Registration of Charities

The registered charities listed below have amalgamated or merged with other organizations and have requested that their registration be revoked. Therefore, the following notice of proposed revocation has been sent to them, and is now being published according to the requirements of the Income Tax Act:

"Notice is hereby given, pursuant to paragraph 168(1)(a) of the Income Tax Act, that I propose to revoke the registration of the charities listed below and that by virtue of paragraph 168(2)(a) thereof, the revocation of the registration is effective on the date of publication of this notice in the Canada Gazette."

Business Number	Name/Address
107886046RR0001	RENFREW COUNTY BOARD OF EDUCATION, PEMBROKE, ONT.
118959998RR0001	HOLY FAMILY HOSPITAL, VANCOUVER, B.C.
119103034RR0001	PRINCE COUNTY HOSPITAL, SUMMERSIDE, P.E.I.
134373323RR0001	SUSSEX HEALTH CENTRE SERVICES INC., SUSSEX, N.B.
139433155RR0001	CHARA HEALTH CARE SOCIETY, VANCOUVER, B.C.
887093599RR0001	CENTRACARE SAINT JOHN, INC., SAINT JOHN, N.B.
887145191RR0001	THE CHARLOTTE COUNTY HOSPITAL, SAINT JOHN, N.B.
887147791RR0001	SAINT JOHN REGIONAL HOSPITAL, SAINT JOHN, N.B.
887157592RR0001	GRAND MANAN HOSPITAL LTD., NORTH HEAD GRAND MANAN, N.B.
887665396RR0001	ST. JOSEPH'S HOSPITAL, SAINT JOHN, N.B.
890342330RR0001	THE FUNDY HOSPITAL ASSOCIATION LIMITED, BLACKS HARBOUR, N.B.

NEIL BARCLAY
Director
Charities Division

[21-1-o]

CANADIAN INTERNATIONAL TRADE TRIBUNAL

INQUIRY

EDP Hardware and Software

The Canadian International Trade Tribunal (the Tribunal) has received a complaint (File No. PR-2000-003) from Canadian Computer Rentals (the complainant), of Etobicoke, Ontario, concerning a procurement (Solicitation No. 05005-9-0492/C) by the Department of Public Works and Government Services (the Department) on behalf of Elections Canada. The solicitation is for the lease or rental of IT equipment. Pursuant to subsection 30.13(2) of the Canadian International Trade Tribunal Act and subsection 7(2) of the Canadian International Trade Tribunal Procurement Inquiry Regulations, notice is hereby given that the Tribunal has decided to conduct an inquiry into this complaint.

It is alleged that the Department improperly found the complainant's proposal to be non-compliant.

Further information may be obtained from: The Secretary, Canadian International Trade Tribunal, Standard Life Centre, 15th Floor, 333 Laurier Avenue W, Ottawa, Ontario K1A 0G7, (613) 993-3595 (Telephone), (613) 990-2439 (Facsimile).

Ottawa, May 9, 2000

MICHEL P. GRANGER
Secretary

[21-1-o]

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);

— 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, 405 De Maisonneuve Boulevard E, 2nd Floor, Suite B2300, Montréal, Quebec, H2L 4J5, (514) 283-6607 (Telephone), 283-8316 (TDD), (514) 283-3689 (Facsimile);

— C.R.T.C. Documentation Centre, 55 St. Clair Avenue E, Suite 624, Toronto, Ontario M4T 1M2, (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);

— C.R.T.C. Documentation Centre, Scotia Place Tower Two, 19th Floor, Suite 1909, 10060 Jasper Avenue, Edmonton, Alberta T5J 3R8, (780) 495-3224 (Telephone), (780) 495-3214 (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.

2000-144 May 9, 2000

Prince George Community FM Stereo Society
Prince George, British Columbia

Approved — Increase in the effective radiated power for CFPG-FM Prince George from 73 watts to 151 watts.

2000-145 May 9, 2000

Image Wireless Communications Inc.
Saskatoon East and Veregin, Saskatchewan

Approved — Addition of transmitters at Saskatoon East and Veregin.

2000-146 May 9, 2000

Canadian Broadcasting Corporation
St. John's and Clarenville, Newfoundland

Approved — Addition of an FM transmitter at Clarenville.

2000-147 May 9, 2000

Canadian Broadcasting Corporation
Moncton and Campbellton, New Brunswick

Approved — Addition of an FM transmitter at Campbellton.

2000-148 May 9, 2000

Cole Harbour Community Radio Society
Cole Harbour, Nova Scotia

Approved — Broadcasting licence for an English-language FM community radio programming undertaking at Cole Harbour, expiring August 31, 2006.

2000-149 May 9, 2000

Radio Nord inc.
Val-d'Or, Quebec

Approved — Reduction of the level of spoken word programming broadcast from 40 percent to 20 percent.

2000-151 May 10, 2000

Les Communications Matane inc.
Matane, Quebec

Approved — Broadcasting licence for a French-language FM radio programming undertaking at Matane, expiring August 31, 2006.

2000-152 May 10, 2000

Donald E. Mabee, on behalf of a company to be incorporated and to be known as Newsong Communications
Saint John, New Brunswick

Approved — Application for an English-language specialty FM radio programming undertaking at Saint John, expiring August 31, 2006.

2000-153 May 10, 2000

The Sports Network Inc.
Across Canada

Approved — Suspensive conditions of licence for The Sports Network.

2000-154 May 10, 2000

Tri Tel Communications Inc.
Iroquois Falls, Ontario

Approved — Change in frequency for CJWL-FM Iroquois Falls from 104.9 MHz (channel 285LP) to 101.1 MHz.

2000-155 May 11, 2000

Anthony Zwig, on behalf of a company to be incorporated
Belleville, Ontario

Approved — Broadcasting licence for an English-language FM radio programming undertaking at Belleville, expiring August 31, 2006.

2000-156 May 12, 2000

Radio Communautaire MF Lac Simon inc.
Lac-Simon (Louvicourt), Quebec

Approved — Increase in the effective radiated power for CHUT-FM Lac-Simon from 8 watts to 102 watts.

2000-157 May 12, 2000

Fort St. James Television Society
Fort St. James, British Columbia

Approved — Licence amendment to allow the licensee to add transmitters at a new site and to make changes to the television services offered.

2000-158 May 12, 2000

Showcase Television Inc.
Across Canada

Renewed — Broadcasting licence for the English-language specialty programming undertaking Showcase, from September 1, 2000, to February 28, 2001.

2000-159 May 12, 2000

Life Network Inc.
Across Canada

Renewed — Broadcasting licence for the English-language specialty programming undertaking Life Network, from September 1, 2000, to February 28, 2001.

2000-160 May 12, 2000

591810 B.C. Ltd.
Across Canada

Renewed — Broadcasting licence for the English-language specialty programming undertaking Life Network, from September 1, 2000, to February 28, 2001.

2000-161 May 12, 2000

CHUM Limited
Across Canada

Renewed — Broadcasting licence for the English-language specialty programming undertaking Bravo!, from September 1, 2000, to February 28, 2001.

2000-162 May 12, 2000

MovieMax! Ltd.
Western Canada

Renewed — Broadcasting licence for the English-language pay television programming undertaking MovieMax, from September 1, 2000, to February 28, 2001.

2000-163 May 12, 2000

Lifestyle Television (1994) Limited
Across Canada

Renewed — Broadcasting licence for the English-language specialty programming undertaking known as "WTN," from September 1, 2000, to February 28, 2001.

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-42

Certification for Canadian Programs — A Revised Approach

This document sets out the Commission's determinations on revisions to the definition of a Canadian program. As of September 1, 2000, the revised definition will be used to assess compliance with conditions of licence, and other regulatory requirements pertaining to the programming of conventional television broadcasting, pay television and specialty television services.

The criteria that are used to define a Canadian program are set out in two appendices attached to this document. Appendix I sets out the criteria by which live action productions and continuous action animated productions (which are treated as live action) will now be evaluated. Some of the provisions of Appendix I also apply to some forms of animation. Appendix II sets out the remaining criteria for other forms of animation.

1. In Public Notice CRTC 1999-135 dated August 19, 1999, the Commission called for public comment on proposed clarifications and revisions to the definition of a Canadian program.

2. In response to the proposals in Public Notice 1999-135, the Commission received interventions from 27 parties. The Commission appreciates the high quality of the submissions it received during this public process and wishes to thank all participants for their views and contributions. The Commission considered all of those comments in making its final determinations. A record of all submissions is available at Commission offices.

3. The new definition emerging from this process will be incorporated by reference in the Television Broadcasting Regulations, 1987, the Pay Television Regulations, 1990, and the Specialty Services Regulations, 1990. A public notice announcing proposed amendments to those Regulations for the purpose of incorporating the new definition will be issued in the near future. The definition incorporates the criteria established several years ago in Public Notices 1984-94 and 1988-105, and includes as well the clarifications regarding production packages set out in Public Notice 1987-28. The revisions are designed in part to clarify the current definition and in part to reflect interpretations established by the Commission over the past 15 years. The remainder of this notice outlines the areas of material difference between the old and new definition:

(a) Interstitials: In Public Notice 1999-205 dated December 23, 1999, the Commission announced that productions of less than five minutes in duration that meet the criteria for Canadian certification applicable to longer programs will be considered as Canadian programs without individual certification. As a result, applications for certification of such productions will no longer be required, unless specifically requested by the Commission.

(b) Advance rulings and preliminary certifications: These have rarely been requested by producers, and will no longer be issued.

(c) Producers: Producers may be required to submit, upon request, an independent legal opinion confirming that the financial and creative control of the production is in the hands of Canadians. This request will be made only in exceptional cases, and the financial ability of the applicant to supply such an opinion will be taken into account in weighing the need to request that one be submitted.

(d) Series: for an entire series to receive Canadian certification, at least 60 percent of the total number of individual episodes must qualify on their own as Canadian. Also, the entire series must attain an average of six points per episode.

(e) Old productions: programs produced before April 15, 1984, will not be required to meet the expenditure requirement criteria.

(f) Sports events: at least one major on-screen position must be filled by a Canadian.

(g) Co-ventures: beginning on September 1, 2000, a 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, these levels will rise to at least 50 percent.

(h) The current dramatic program credit: consistent with Public Notice 1999-97, as of September 1, 2000, the existing 150 percent time credit for drama will cease to be available to the largest multi-station ownership groups as identified in that notice. At the time of licence renewal, the Commission will discuss with the remaining television licensees whether the existing credit should be maintained, in light of their individual circumstances.

International co-ventures and co-productions of dramas that fulfil the criteria will be eligible for the 150 percent credit. Programs that fail to achieve ten points, even if a Canadian fills each position utilized, will not be eligible for the credit. A series will be eligible for the credit for each airing of each cycle of the series, during a single two-year period, commencing with the airdate of the first episode of the cycle.

(i) Stock footage: foreign-produced stock footage will be limited to less than 50 percent of the running time of all programs, except documentaries.

(j) Music video clips: the definition has been revised to reflect minor changes to the definition of a Canadian musical selection, contained in the Radio Regulations, 1986. Applications for the certification of music video clips have been required in the past, when they have been used by licensees as short, stand-alone "programs." Applications for the certification of music video clips with durations of less than five minutes will no longer be required and, when aired as Canadian programs on their own, music video clips must meet the music video clip criteria and be logged as Interstitials (category 12).

(k) Animation: as of September 1, 2000, the minimum Canadian expenditure levels for services and post-production/ laboratory work will be 70 percent. As of September 1, 2001, the minimum will be 75 percent. The current rule regarding key animation will be retained.

(l) Other notes: Canadian programs already certified by the Commission or the Canadian Audio-Visual Certification Office (CAVCO) of the Department of Canadian Heritage will continue to be recognized as Canadian by the CRTC.

4. The revised definition set out in Appendix I and II attached to this notice will come into effect on September 1, 2000.

Appendix I to Public Notice CRTC 2000-42

Material excluded from certification as a Canadian program (see Public Notice 1999-205)

— Infomercials, promotional and corporate videos/films, such as those produced by groups and businesses for public relations reasons, recruitment, etc. (category 14 — see Public Notice 1999-205).

— Other forms of advertising material.

Programs generally recognized as Canadian without formal certification

Programs produced solely by a licensee and which meet the Canadian program certification criteria set out in this appendix and Appendix II to this notice will be recognized as Canadian. Licensees need not apply for such certification or submit production information for such productions unless the drama credit is requested, or unless the Commission requests that licensees do so. This practice will also be applied to Interstitials (category 12) and Public Service Announcements (category 13) that meet the criteria and are not produced solely by a licensee.

News and public affairs programs produced solely by licensees are automatically recognized as Canadian programs, and not subject to the certification criteria.

Final certification

The Commission will issue final certification ("C" number) or special recognition ("SR" number) to a licensee, producer or property rights holder, where the program meets the definition of a Canadian program. The production must be underway, with all key creative personnel under contract and committed budgets in place.

Certification by CAVCO

Programs certified as Canadian by the Minister of Canadian Heritage on recommendation by Telefilm Canada or CAVCO will also be recognized as Canadian by the Commission.

Criteria: certification for Canadian programs

I. Basic definition of a Canadian program

The Commission will certify a Canadian program, a live videotape or film production, that meets the requirements listed in sections A, B and C, set out below:

A. Producer

Must be Canadian, must control and be the central decision-maker of a production from beginning to end. The producer must be prepared to demonstrate full decision-making power by submitting, upon request, ownership documents, contracts or affidavits. The producer must also submit, upon request, an independent legal opinion confirming that financial and creative control of the production is Canadian. Any person fulfilling a producer-related function must be Canadian.

By exception to this rule, non-Canadians may receive courtesy or vanity credits for producer-related functions as described in the current CAVCO guidelines, providing:

— the remuneration to the Canadian producer must exceed the aggregate remuneration to foreign executive producers, and

— 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 functions could include arranging financing and foreign distribution. The CAVCO guidelines provide a fuller description of the "individual production-related positions and screen credits". The Commission will not, however, adopt CAVCO's exemption for the writer credit.

B. The point system

A live action production or continuous-action animated production must earn a minimum of six points based on the key creative functions below being performed by Canadians. (A separate point system for other forms of animation is set out in Appendix II.)

Director — 2 points
Screenwriter — 2 points
Lead performer (or first voice) — 1 point
Second lead performer (or second voice) — 1 point
Production designer — 1 point
Director of photography — 1 point
Music composer — 1 point
Picture editor — 1 point

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

Determination of lead performers will take into account billing, screen-time and remuneration. In non-dramatic productions, the second lead must have at least 50 percent of the on-screen time (or off-screen time where narrators or interviewers are involved) and 50 percent of the remuneration of the first lead, plus billing appropriate for a second lead. Individuals not meeting these criteria will be considered as filling minor roles.

A production in which non-Canadians are the only lead performers will not be certified as Canadian. The addition of Canadians in minor roles will not be sufficient for a production to qualify.

In category 7, 8, and 9 programs (Drama and Comedy, Music and Dance, Variety) the leads will be the performers, i.e. actors, singers, dancers, etc. In other program types, the leads will usually be the host, narrator, commentator, moderator, interviewer, 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.

Upon application, where an applicant has provided compelling reasons why a production should receive certification as an exception, the Commission may certify as a Canadian program, a production in which the positions of either:

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

(b) both lead performers are non-Canadians,

as long as Canadians fill all other key creative functions.

Interpretation notes may be found in section X below.

C. Expenditures

Services costs represent the total cost of a production, minus the costs listed below. At least 75 percent of services costs must be paid to Canadians.

— Remuneration for producer(s) and co-producer(s) [except for producer-related positions],

— Remuneration for key creative personnel eligible for points,

— Post-production/laboratory costs,

— Accounting and legal fees,

— Insurance brokerage and financing costs,

— Indirect expenses,

— Contingency costs,

— Goods purchased, such as film/videotape supplies, and

— Other costs not directly related to production.

Post-Production/Laboratory Costs. At least 75 percent of such expenses must be paid for services provided in Canada by Canadians or Canadian companies. This does not include costs attributed to the picture editor.

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

II. Series

A series means a program with two or more episodes produced by the same production company or producer. The principal photography for all the episodes must be completed within a 12-month period. The program must have a title, theme, and situation or set of characters common to each episode. Each episode must have the same duration.

The production elements of a series can vary, and some individual episodes might not meet the minimum requirements of the point system. The Commission has therefore determined that, in order for a licensee to claim Canadian certification for any episodes in a series which might not meet the six-point requirement,

— at least 60 percent of the series' episodes must meet or exceed this requirement;

— are broadcast or otherwise distributed at equitable times; and

— the entire series must attain an average of six points per episode.

For live action or continuous-action animated series, each episode must meet the two mandatory requirements for writer or director, and first or second lead performer (minimum of three points). For animated series, each episode must fulfil the three mandatory requirements for scriptwriter and storyboard supervisor or director, first or second voice/performer, and key animation (location) [minimum of three points].

The 150 percent dramatic program credit is unavailable to productions that require the application of the series averaging rule (60 percent) to obtain Canadian certification.

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

III. Pre-1984 productions

Canadian certification will be granted to productions that were completed prior to April 15, 1984, if credible evidence is provided that the producer was Canadian, and that 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-to-tape productions of sports events or tournaments will be considered Canadian if a Canadian production company exercises control over the production and provides the commentators. If the event takes place outside Canada, the production would qualify only if Canadian-based teams or athletes participate. Additionally, in all cases one of the major on-camera personalities (commentators, analysts or hosts) must be Canadian.

One quarter (25 percent) of the program time of broadcasts of sports events originating outside Canada, involving non-Canadian teams or athletes, shall be recognized as Canadian if a Canadian producer or production company provides a commentary in a language other than English.

Other types of sports programs are assessed under the point system and the expenditure rules.

V. Music video clips

Definition of a Canadian music video clip:

Music video clips are short films, videotape productions or concert excerpts (clips) not produced primarily for the program in which they are presented, and which normally contain one musical selection with visual material. Music video clips played in their entirety will be considered as Canadian where they meet the requirements of item 5 below, as well as one of the requirements or elements set out in paragraphs 1, 2, 3, or 4, below.

1. The music video clip meets 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) a live performance that is wholly recorded in Canada; and

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

3. The music video clip is a performance of a musical composition that a Canadian has composed for instruments only;

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

5. The music video clip 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 been qualified as a Canadian selection under regulations previously in effect.

To be considered Canadian, all performances exceeding five minutes in length, including commercially released music videos appearing outside music video clip programs and logged as category 8(b) [music video clips], require a certification number from the Commission.

In order to be certified, a Canadian music video clip must be played in its entirety. It will not be credited if played in part as an opening, a bridge or a closing, or as a backdrop for program credits.

Music video programs:

Canadian program certification will be awarded to programs consisting predominately of music video clips and, in some cases, including a host and other programming elements, if all elements other than the music video clips qualify as Canadian, and a minimum of 30 percent of the music video clips are Canadian. This provision is not applicable to music specialty services.

VI. Dubbing

Where a foreign program 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, by using Canadian resources, 25 percent of the program time shall be recognized as Canadian.

Where a foreign program 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, by using Canadian resources, 50 percent of the program time (to a maximum of 50 hours during each six-month reporting period), shall be recognized 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. These include all ventures with co-producers of a foreign country that does not have a film or television production treaty with Canada. These also include ventures with co-producers of a treaty country, where such ventures are not specifically covered by a treaty. Even where some of the producer functions are performed by non-Canadians, certification of the program as Canadian is possible.

When broadcast or distributed by a licensee of the CRTC, such co-ventures will qualify for special recognition if 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.

An application for Canadian certification must be submitted by the Canadian production company and must be accompanied by signed agreements or contracts between the co-venture partners. Such agreements or contracts will be kept confidential.

The decision-making responsibility for the production will be considered 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 is required for the portion of the production shot in Canada. In the case of co-ventures shot entirely outside Canada, a Canadian bank account must exist, 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 has budgetary responsibility; and

— has at least 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.

A co-venture involving a co-producer from a Commonwealth or French-speaking country, or a country with which Canada has a film or television production treaty, may be considered for special recognition. Canadian certification will be granted if, in addition to meeting the foregoing requirements, the program attains five points, at least 50 percent of the costs for services are paid to Canadians, and at least 50 percent of post-production and laboratory costs (except for picture editor) are paid for services provided in Canada by Canadians or by Canadian companies. Notwithstanding the above, the director or the writer and at least one of the two lead performers must be Canadian. All other criteria for certification of a Canadian program apply to such co-ventures.

Any other co-venture will be required to meet the same point and expenditure minimum requirements as a domestic production (i.e. six points and 75 percent expenditure rules).

VIII. Production packages

A "production package" is defined as 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 with minor foreign involvement that qualifies as a Canadian production, is matched with a foreign production with minor Canadian involvement.

A "twinning" involves matching a fully Canadian production with a foreign production, with virtually no Canadian involvement other than a financial one.

The Commission will be prepared to accept production packages and twinnings as Canadian, under 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, within 15 percent;

(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 financial participation and profit sharing (at least 20 percent) in the Canadian and foreign productions;

(e) a broadcaster may receive credit for a production with fewer Canadian elements, if it broadcasts the production with more Canadian elements at an equitable time;

(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 and comedy, 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 qualify for the dramatic program credit of 150 percent.

While there is no requirement that the production with major Canadian involvement receive exposure in the other country, the Commission expects that the Canadian co-producer would include such an arrangement in his agreement with the non-Canadian co-producer.

IX. Dramatic program credit

Live action or continuous action animated dramas broadcast by a licensee may be awarded a 150 percent time credit. In order to qualify, a drama must meet 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" or "SR" number from the Commission) and achieves ten points;

(c) is broadcast between the hours of 7 p.m. and 11 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.

A licensee will receive a 150 percent credit for each showing of a qualifying drama within a two-year period from the date of the first program broadcast. Series will be eligible for the credit for a single, two-year period for each cycle of the series, commencing with the broadcast of the first episode of that cycle. As announced in Public Notice 1999-97, as of September 1, 2000, this credit will become unavailable to the largest multi-station ownership groups as identified in that notice.

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

X. Interpretation notes

A. Citizenship/Date of Landing: A Canadian is a person who is a Canadian citizen as defined in the Citizenship Act, at the time of the commencement of the person's duties in relation to the production, and for the entire course of the filming or taping and post-production. Also eligible are permanent residents (landed immigrants who are not yet Canadian citizens) who have received their "Record of Landing" Certificate at the time described above.

B. Canadian production company: A Canadian production company is defined as a licensee of the CRTC, or a Canadian company carrying on business in Canada, with a Canadian business address, 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.

C. Point System: In productions where some of the key creative positions are not utilized, and fewer than six points are therefore possible, certification will be granted if Canadians perform all key creative functions.

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

D. Producer: The producer is expected, among other things, 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.

E. Writer: Writer is defined to include screenwriter, script writer and, in the case of animation where applicable, storyboard supervisor.

All individuals involved in any stage of developing the screenplay (including outline or treatment, various drafts, dialogue polishing, and final shooting script) must be Canadian, or alternatively, the principal writer must be Canadian, and the screenplay must be based on a work authored by a Canadian and published in Canada.

To assess the qualification for this position, the Commission will examine on-screen credits, including the following:

— Story editor (executive, senior, junior)

— Creative consultant

— Story consultant, executive story consultant

— Creative producer

F. Production designer: For a live action or continuous action animated production, the art director will be considered equivalent to production designer.

G. Director of photography or technical director: If there is no director of photography, the equivalent is chief camera operator. The position of lighting director is equivalent to technical director for videotape productions.

H. Music composer: The point is awarded only if a Canadian has been commissioned to compose the original music specifically 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. The position of music director is not accepted as equivalent to music composer.

I. Picture editor: Means film editor. The positions of sound or music editor will not be acceptable in the place of picture editor. For videotape productions, the equivalent to Picture Editor is the off-line editor.

J. Other matters:

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

Existing foreign productions or program segments will not be certified as Canadian or as Canadian documentaries by repackaging or adapting them by using some or all of the following:

— excerpts from an original foreign production;

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

— mention of the original foreign production in the credits.

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

Appendix II to Public Notice CRTC 2000-42: Animation

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

I. Types of animation

Animation is the process of creating the illusion of motion through the use of inanimate or still images. Animation can be produced using either traditional methods or digital synthesis in computer-assisted or computer-generated animation.

A. Computer animation

(i) Computer-assisted animation: Refers to the technique of revising existing animated material using computer technology.

(ii) Computer-generated animation: Refers to the technique of generating animated movement principally or wholly through digital image synthesis using computers and computer programs.

B. Traditional animation:

Traditional animation is referred to as either "continuous" or "frame-by-frame."

(i) Continuous action animation refers to the process of filming real figures, shapes or objects as they are manipulated using mechanical or other devices. When the film or the recording is played, the rapid projection of the multiple images gives the illusion of movement.

For the purpose of Canadian program certification, continuous action animation will be treated in the same manner as live action programs, and will continue to be subject to the definition of Canadian program outlined in Appendix I.

(ii) Frame-by-frame animation refers to the process of filming or otherwise recording a series of poses of figures, objects or shapes, or drawings, each slightly displaced from the preceding pose, or of drawing them in sequence on successive frames of recording material, one or more frames at a time. When the film is projected or the recording is played, the rapid projection of the multiple images gives the illusion of movement.

Among the many types of traditional animation are the following:

1. Cell animation: "Cell" refers to a single piece of transparent celluloid material on which a drawing is made and subsequently recorded, exposing one or more frames of film for each such cell.

2. Puppet animation: Puppet animation is accomplished by two methods. In the first method, sometimes referred to as stop-motion animation, the manipulation of two- or three-dimensional figures is recorded frame-by-frame. In the second method, real figures controlled by a puppeteer are filmed continuously in real time. This latter form of animation is subject to the same criteria as live action programs.

3. Pixillation animation: This technique uses live action shots of real people in real locations, manipulated to achieve the effect of having actors jump, jerk or twitch as if they were being animated. The three ways to obtain this effect are:

(a) by editing live action film to remove single frames;

(b) by taking single-frame photographs of actors posed as puppets; 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: Less common forms of traditional animation include pin-screen, silhouette, anaform and sand (drawing and form) techniques. The Commission will generally consider these styles to be 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 services and post-production/lab expenditure requirements (will rise from 65 percent to 70 percent starting September 1, 2000, and to 75 percent starting September 1, 2001),

— the dramatic program credit, and

— the interpretation notes regarding the production designer and the director of photography.

The criteria set out below apply to animated productions (excepting continuous action animation).

III. The assessment of animated productions

Depending on the nature of the production, computer-assisted animation is assessed using either the criteria for frame-by-frame animation or those for continuous action animation/live action which are set out in Appendix I. Computer-generated animation is assessed on a case-by-case basis, generally using the criteria for frame-by-frame animation.

Sometimes productions include mixes of animation and live action. The Commission will approach such productions on the basis of the following considerations:

A documentary on or including animation will be dealt with as a documentary under the live action criteria; a documentary exclusively in animation form will be dealt with as an animated production.

Non-documentary productions with scenes combining live action and animation in each of those scenes will generally be considered as live action for purposes of applying the point system. Productions combining different forms of traditional animation or less commonly used forms of traditional animation, will be dealt with on a case-by-case basis according to the most applicable scheme for traditional animation (e.g. cell, puppet, pixillation or camera-less).

Productions that mix animation and live action will be assessed according to the criteria of the predominant format. If the minor format exceeds 20 percent, both sets of criteria will be used.

IV. The point system

To be certified as Canadian, an animated production must earn at least six points based on the following key creative functions being performed by Canadians, or, where applicable, in Canada, or both. In the case of camera operator (person) and operation (location), both must be met to earn the point.

Director — 1 point
Scriptwriter and storyboard supervisor — 1 point
First or second voice (or first or second lead performer) — 1 point
Design supervisor — 1 point
Layout and background (location) — 1 point
Key animation (location) — 1 point
Assistant animation/in-betweening (location) — 1 point
Camera operator (person) and operation (location) — 1 point
Music composer — 1 point
Picture editor — 1 point

Determination of first and second voice (or first and second lead performer) may take into account billing, on-screen time (or off-screen time for voices), number of lines and payment.

Where the point is assigned to a number of persons rather than an individual, 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 scriptwriters or storyboard supervisors, but not both, the point will be awarded only if all persons performing the function 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 animation (location) [excluding pixillation];

— first or second voice (or first or second lead performer); and

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

V. Dramatic program credit

A 150 percent time credit will be awarded for an animated dramatic production (other than continuous action animation) that meets all of the following criteria:

— is produced by a Canadian independent production company or licensee of the CRTC after July 15, 1988;

— is certified as a Canadian program (receives a "C" or "SR" number from the Commission) and achieves ten points;

— that is broadcast

— contains a minimum of 90 percent dramatic content.

The Commission will grant a 150 percent time credit each time a certified animated dramatic production is broadcast within a two-year period from the date of the first broadcast. A licensee will receive the credit for an animated series for a single two-year period for each cycle of the series, commencing with the broadcast of the first episode of that cycle. As announced in Public Notice 1999-97, as of September 1, 2000, this credit will become unavailable to the largest multi-station ownership groups as identified in that notice.

VI. Descriptions of the various functions in animated productions

A. The following functions are eligible to receive points:

(i) 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 by preparing the timing of each individual scene at the storyboard stage; and prepares the bar-sheets or exposure sheet instructions for the animator.

These functions may also be performed in collaboration with or by the key animator or animation director.

(ii) 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; and elaborates upon the script during the process of visual development at the storyboard stage.

(iii) Storyboard supervisor: Depending on the type of production and studio organization, the storyboard supervisor (either in co-operation with or instead of the writer) creates a series of pictures to illustrate the development of the story in parallel with the written text; determines the flow of action from one scene to another; and creates a series of drawings with associated continuity showing the major action and scene changes.

(iv) First or second voice: Lead or second lead actor reading a character voice.

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

(vi) Layout (location): Working from the storyboard, the layout artist 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. The poser, however is an animator whose work is preliminary and ephemeral and does not form part of the final print.)

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

(viii) Key animation (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.)

(ix) Assistant animation/in-betweening (location): The assistant animator and in-betweener 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 completed. 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.

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

(xi) Music composer: The point is awarded only if a Canadian has been commissioned to compose the original music specifically 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. The position of music director is not accepted as equivalent to music composer.

(xii) 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:

(i) Tracer/Photocopier: The tracer/photocopier copies the animated line drawings onto acetate sheets or does the equivalent using electronic methods.

(ii) Opaquer: The opaquer applies paint to the inked-in outlines of acetate drawings or cells, or does the equivalent using electronic methods.

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

CHART 1

OVERVIEW OF POINT SYSTEM AND MANDATORY POSITION/LOCATION REQUIREMENTS

The following chart summarizes current and new guidelines for explanatory purposes only.

POSITIONS (not all positions are eligible for points)	MANDATORY REQUIREMENTS (in addition to meeting minimum point requirements)	ELIGIBLE POINTS Live Action	ELIGIBLE POINTS Animation
PRODUCER(S)/CO-PRODUCER(S)	Must be Canadian (exceptions for international co-ventures)	N/A	N/A
EXECUTIVE PRODUCER(S)	Must be Canadian (some exemptions available)	N/A	N/A
DIRECTOR(S)/CO-DIRECTOR(S)	For live action, at least one of the	2	1
WRITER(S)/STORY CREATOR(S) — and storyboard supervisor (for animation) — or choreographer (for dance productions) — for live action, (a) all the writers must be Canadian, or, (b) the principal writer and the author of original work on which production is based must be Canadian	director or writer positions must be filled by Canadians For animation, the director or the combination of scriptwriter and storyboard supervisor must be Canadian	2	1
PRODUCTION DESIGNER(S) [live action]/ DESIGN SUPERVISOR(S) [animation]	N/A	1	1
PICTURE EDITOR(S)	N/A	1	1
MUSIC COMPOSER(S) (cannot be replaced by use of, or rearrangement of existing music)	Point earned if Canadian is commissioned to compose original music specifically for a production	1	1
DIRECTOR(S) OF PHOTOGRAPHY (Film)/or TECHNICAL DIRECTOR(S) [Video]	N/A	1	N/A
FIRST LEAD PERFORMER (live action) SECOND LEAD PERFORMER — For performance categories (7, 8, 9) the leads will be the performing artists, not the host (unless the host also performs) — For other program types (including documentaries, sports, magazines, talk shows, game shows, etc.), leads will usually be the host, narrator, commentator, moderator, interviewer, quizmaster, etc.	The first lead or second lead performer must be Canadian	1 1	N/A N/A
FIRST or SECOND VOICE/PERFORMER (Animation)	At least one of the first or second voices/ performers must be Canadian	N/A	1
CAMERA OPERATOR(S) AND OPERATION (persons and location) [for pixillation only]	Persons and location must be Canadian	N/A
CAMERA OPERATOR(S) AND OPERATION (persons and location) [for all other animation]	N/A	N/A	1
LAYOUT AND BACKGROUND (location)	N/A	N/A	1
KEY ANIMATION (location) [does not apply to pixillation]	Location must be in Canada	N/A	1
ASSISTANT ANIMATION/IN-BETWEENING (location)	N/A	N/A	1
MAXIMUM POSSIBLE POINTS	10	10

— To earn points for person — position must be filled/shared by Canadians

— To earn points for location — work must take place in Canada

— Special rules for series, sports events, and music videos

CHART 2

CANADIAN EXPENDITURE REQUIREMENTS

The following information summarizes current and new guidelines.

subject	PRODU- CER/ KEY CREA- TIVE PERSON- NEL (excluded)	SERVICES Minimum percentage of total services that must be paid to Canadians	POST- PRODUC- TION/ LABORA- TORY Minimum percent of total post-production/ Laboratory that must be done in Canada by Canadians	GOODS PUR- CHA- SED AND OTHER INDI- RECT EX- PENSES (excluded)
LIVE ACTION (DOMESTIC)	N/A	75 percent	75 percent	N/A
ANIMATION (DOMESTIC)	N/A	65 percent until August 31, 2000 70 percent starting September 1, 2000 75 percent starting September 1, 2001	65 percent until August 31, 2000 70 percent starting September 1, 2000 75 percent starting September 1, 2001	N/A
Foreign co-ventures with co-producers from Commonwealth, French-speaking or treaty countries	N/A	50 percent	50 percent	N/A
Foreign co-ventures with co-producers from "non-treaty" countries	N/A	75 percent	75 percent	N/A

Producer and Key Creative Personnel Costs

Include remuneration and related fringe or employee benefits, travel and living for the producer and all key creative personnel, i.e. those positions that are eligible for points. These positions are assessed via citizenship and/or points and are excluded from the expenditure requirements.

Services

Services expenditures include the remaining costs after subtracting the costs for the producer, key creative personnel, post-production/laboratory, goods purchased and other costs not directly related to production. Generally, services include the "non-key" creative personnel (i.e. production labour, executive producers), rentals and acquisition rights.

Post-Production/Laboratory

This includes all costs for the post-production, including laboratory work, sound recording, sound and picture editing (but excludes the costs for the picture editor).

Goods Purchased and Other Expenses not Related to Production

These costs include the costs of all goods purchased, and those indirect costs (costs not directly related to production), such as corporate overhead, financing, interest, legal, insurance, auditing, contingency, distribution and publicity, etc.

Notes:

Canadian expenses are all expenses (remuneration, fringe or employee benefits, travel and living) paid to or in respect of Canadians (or permanent residents with landing certificates issued prior to the commencement of the production) or for services rendered by Canadian companies in Canada. This includes travel and living expenses for Canadians, even if spent outside of Canada.

Non-Canadian expenses are those expenses paid to or in respect of non-Canadians, or paid to non-Canadian companies. This includes any remuneration (and fringe/employee benefits) paid to non-Canadians, even if earned in Canada. This also includes travel and living expenses for any non-Canadians involved in the production, whether spent inside or outside of Canada.

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-60

Renewal of Radio and Television Network Undertaking Licences Due to Expire in the Year 2000

The Commission hereby announces that it has received licence renewal applications for the following radio and television network undertakings. These licences will expire on August 31, 2000.

Western Canada and Territories Region

Radio Network Undertakings

1. Rogers (Alberta) Ltd.
Calgary, Alberta

To broadcast the hockey games of the Calgary Flames for the 2000-2001 to 2002-2003 seasons.

2. Aboriginal Multi-Media Society of Alberta
Edmonton, Alberta

3. WIC Radio Ltd.
Vancouver, British Columbia

To broadcast the Vancouver Canucks games of the week.

Television Network Undertaking

4. CKPG Television Limited
Prince George, British Columbia

Deadline for intervention: June 14, 2000

May 10, 2000

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-61

Renewal of Radiocommunication Distribution Undertaking Licences Due to Expire in the Year 2000

The Commission hereby announces that it has received licence renewal applications, some with amendments, for the following radiocommunication distribution undertakings. These licences will expire on August 31, 2000.

Atlantic and Quebec Region

1. Andrew O'Brien
Cape Broyle, Newfoundland

2. Canadian Broadcasting Corporation
Hopedale, Makkovik, Nain and Postville, Newfoundland

3. Corporation of Northern Village of Kangiqsualujjuaq
Kangiqsualujjuaq (Ungava Bay), Quebec

Western Canada and Territories Region

4. Cormorant Community Council
Cormorant, Manitoba

5. Pikwitonei Community Council
Pikwitonei, Manitoba

6. Sandy Bay Television Co-op Ltd.
Sandy Bay, Manitoba

7. Thicket Portage Community Council
Thicket Portage, Manitoba

8. Eastend Community T.V. Association Inc.
Eastend, Saskatchewan

9. Elrose T.V. Club
Elrose, Saskatchewan

10. Shaunavon T.V. Association Inc.
Shaunavon, Saskatchewan

11. Bassano T.V. Association
Bassano, Alberta

12. Harvey Bulldog
Boyer River Indian Reserve, Alberta

13. Dedilea Shih Communications Society
Bushe River, Alberta

14. Dene Tha Communication Society
Chateh, Alberta

15. Fishing Lake Metis Settlement
Fishing Lake Metis Settlement, Alberta

16. Tache Gondihe Society
Meander River, Alberta

17. Oyen and District Television Association
Oyen, Alberta

18. The Pincher Creek Community Centre Hall Society
Pincher Creek, Alberta

19. The Alexis Creek Community Club
Alexis Creek, British Columbia

20. Twin Valley T.V. Association
Allison Creek and Hayes Creek, British Columbia

21. The Tulcoal Unity Club
Apex Mountain, Coalmont, Tulameen and Tulameen/Coalmont, British Columbia

22. City of Armstrong and the Corporation of the Township of Spallumcheen
Armstrong, British Columbia

23. Ash-Creek Television Society
Ashcroft and Cache Creek, British Columbia

24. North Thompson Yellowhead T.V. Association
Avola and Blue River, British Columbia

25. Canadian Broadcasting Corporation
Bamfield, Bella Bella, Bella Coola, Blue River, Field, Fort Nelson, Gold River, Hagensborg, McBride, Pemberton, Purden Lake/Sinclair Mills, Sayward, Tofino, Ucluelet and Valemount, British Columbia

26. Regional District of Fraser-Fort
George Bear Lake, British Columbia

To renew and to amend the broadcasting licence by deleting the distribution of WXYZ-TV (ABC), WDIV-TV (NBC), WTVS-TV (PBS) and WJBK-TV (CBS) Detroit, Michigan; and by adding the distribution of KOMO-TV (ABC), KING-TV (NBC), KCTS-TV (PBS) and KIRO-TV (CBS) Seattle, Washington, received via satellite.

27. The Kootenay Lake TV Society
Blewett, Crawford Bay and Willow Point, British Columbia

28. Fraser Canyon Television Association
Boston Bar and North Bend, British Columbia

29. Boswell District
Farmers' Institute Boswell, British Columbia

30. The Bralorne T.V. Society
Bralorne, British Columbia

31. Brisco Recreation Commission
Brisco, British Columbia

32. Burns Lake & District Rebroadcasting Society
Burns Lake, Burns Lake/Decker Lake/Tintagel and Ootsa Lake, British Columbia

33. Burton T.V. Society
Burton, British Columbia

To renew and to amend the broadcasting licence by deleting the distribution of the Learning and Skills Television of Alberta Limited (ACCESS); and by adding the distribution of CBMT (CBC) Montréal, Quebec.

34. Shaw Cablesystems Company
Charlie Lake, British Columbia

35. Canadian Broadcasting Corporation
Chetwynd, Fort St. John, Pouce Coupe and Taylor, British Columbia

36. Chetwynd Communications Society
Chetwynd and Hasler Flats, British Columbia

37. Clinton and District TV Society
Clinton, British Columbia

38. Southern Cortes Community Association
Cortes Island, British Columbia

39. Dawson Creek Hypervista Communications Association
Dawson Creek, British Columbia

40. Dease Lake Broadcast Society
Dease Lake, British Columbia

41. Columbia Electoral Area "A" Television Rebroadcasting Society
Donald Station, Moberly and Blaeberry, British Columbia

42. Enderby Television Syndicate
Enderby, British Columbia

43. Canadian Broadcasting Corporation
Fort Fraser, Fort St. James and Vanderhoof, British Columbia

44. Greenwood Board of Trade
Greenwood, British Columbia

45. Skeena T.V. Association
Hazelton, South Hazelton and New Hazelton, British Columbia

46. Hixon Community Association
Hixon, British Columbia

47. Western Forest Products Limited
Holberg, British Columbia

48. Canadian Broadcasting Corporation
Houston, Burns Lake, Moricetown and Smithers, British Columbia

49. Houston-Smithers Rebroadcasting Society
Houston, Smithers, Telkwa and Topley, British Columbia

50. Kemano Community Association
Kemano, British Columbia

51. Keremeos-Cawston-Olalla Television Society
Keremeos, Keremeos/Cawston and Olalla, British Columbia

52. Kitchener Television Society
Kitchener, British Columbia

53. South Cariboo Communications Inc.
Lillooet, British Columbia

54. Logan Lake T.V. Society
Logan Lake, British Columbia

55. Lumby and District TV Association
Lumby, British Columbia

56. Mr. Daniel S. Boyle
Mackenzie, British Columbia

57. Malakwa Community Centre Association
Malakwa, British Columbia

58. Robson Valley Entertainment Association
McBride, British Columbia

59. Percy Joe
Merritt (Shackan Indian Reserve), British Columbia

60. Peace River Regional District
Moberly Lake and North Pine, British Columbia

61. Moyie Community Association
Moyie, British Columbia

62. Arrow Lakes T.V. Society
Nakusp, British Columbia

63. Area "H" North T.V. Society
New Denver, British Columbia

64. Lillooet-Camelsfoot T.V. Association
North Lillooet, Pavilion and Fountain Reserves, British Columbia

65. Slocan Valley T.V. Society
Passmore and Winlaw, British Columbia

66. Pavilion Lake Residents and Property Owners Association
Pavilion Lake, British Columbia

67. The Peachland Communications Society Peachland, British Columbia

68. Coast Mountain Communications Inc.
Pemberton, British Columbia

To renew and to amend the broadcasting licence by deleting the distribution, in encrypted mode, of the following television programming services:

Source	Channel	Transmitter Power (Watts)
WTOL-TV (CBS) Toledo, Ohio	7	20
WTVS (PBS) Detroit, Michigan	9	20
The Sports Network (TSN)	10	20
WDIV (NBC) Detroit, Michigan	11	20
CHAN-TV (CTV) Vancouver, British Columbia	12	20
CITV-TV (IND) Edmonton, Alberta	13	20

69. Port Renfrew Community Association
Port Renfrew, British Columbia

70. Canadian Broadcasting Corporation
Princeton, British Columbia

71. Hamilton Mountain Television Society
Quilchena, British Columbia

72. Alexandria Community Hall Society
Rimrock, British Columbia

73. The Savona Community Association
Savona, British Columbia

74. The Bridge River Community Recreational Society
Shalalth, South Shalalth and Seton Portage, British Columbia

To renew and to amend the broadcasting licence by adding the distribution, in non-encrypted mode, of The Sports Network (TSN) on channel 11 with a transmitter power of 10 watts.

75. Eagle Valley Arts Council
Sicamous, British Columbia

76. Silver Creek Community Association
Silver Creek, British Columbia

77. 16 Mile Television Society
Sixteen Mile, British Columbia

78. McLeese Lake Recreation Commission
Soda Creek and McLeese Lake, British Columbia

79. Lake Broadcasting Corp.
Sorrento, Blind Bay, Shuswap Lake Estates, Magna Bay, Cedar Heights, Little Shuswap Lake, Lee Creek, Scotch Creek, Celista, Anglemont, Eagle Bay, Squilax, North Shore of Shuswap and Little Lakes, British Columbia

80. Spences Bridge Community Club
Spences Bridge, British Columbia

To renew and to amend the broadcasting licence by deleting the distribution of The Family Channel; and by adding the distribution of King-TV (NBC) Seattle, Washington.

81. West Coast Community T.V. Association
Tofino and Ucluelet, British Columbia

82. Regional Cable TV (Western) Inc.
Tumbler Ridge, British Columbia

83. The Valemount Entertainment Society
Valemount, British Columbia

84. Wells Best Seniors Association
Wells, British Columbia

85. Canadian Broadcasting Corporation
Aklavik, Fort Franklin (Deline), Fort Good Hope, Fort McPherson, Fort Providence, Fort Resolution, Fort Simpson, Fort Smith, Hay River, Inuvik, Norman Wells, Rae-Edzo, Tuktoyaktuk and Yellowknife, Northwest Territories; Arviat (Eskimo Point) Cambridge Bay and Kugluktuk (Coppermine), Nunavut

86. Hay River Community Service Society
Hay River, Northwest Territories

87. Kakisa Broadcasting Society
Kakisa, Northwest Territories

88. Mr. Archie Wetrade
Rae Lakes, Northwest Territories

89. Wrigley Community Radio Society
Wrigley, Northwest Territories

90. Atta Suvaguq Society
Arctic Bay, Nunavut

91. Canadian Broadcasting Corporation
Baker Lake, Cape Dorset, Gjoa Haven, Igloolik, Iqaluit, Pangnirtung, Pond Inlet, Rankin Inlet, Resolute Bay and Taloyoak (Spence Bay), Nunavut

92. Issatikpaluk Radio Society
Whale Cove, Nunavut

93. Canadian Broadcasting Corporation
Dawson, Elsa, Faro, Mayo, Watson Lake and Whitehorse, Yukon Territory

94. Keno Community Club
Keno City, Yukon Territory

95. Teslin Community Association
Teslin, Yukon Territory

Deadline for intervention: June 14, 2000

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-62

Atlantic and Quebec Region

1. Canadian Broadcasting Corporation
Grand Falls, Newfoundland

To add an FM radio transmitter at Grand Falls to offer the programming of CBN-FM St. John's Radio Two. The transmitter will operate on frequency 90.7 MHz (channel 214C1) with an effective radiated power of 57 000 watts.

2. Canadian Broadcasting Corporation
Halifax and Middleton, Nova Scotia

To add CBH-FM-1 to the list of transmitters of CBH-FM Halifax.

Ontario Region

3. Bea-Ver Communications Inc.
Chatham, Ontario

To add a low-power FM transmitter at Chatham operating on the frequency 92.9 MHz (channel 225LP) with an effective radiated power of 50 watts.

Western Canada and Territories Region

4. Native Communication Inc.
Sherridon, Manitoba

To add a transmitter at Sherridon operating on the frequency 93.5 MHz (channel 228LP) with an effective radiated power of 23.1 watts to rebroadcast CINC-FM Thompson.

5. Image Wireless Communications Inc.
Warmley, Saskatchewan

To amend the broadcasting licence of its (MDS) radiocommunication distribution undertaking.

6. Lake Louise Community Association
Lake Louise, Alberta

To amend the broadcasting licence of the radiocommunication distribution undertaking serving Lake Louise by requesting authority to add the transmitters CFLL-TV-1 and CFLL-TV-2 which distribute, in non-encrypted mode, the television programming services of CFCN-TV (CTV) and CICT-TV (IND) Calgary.

7. Canadian Broacasting Corporation
Kelowna, British Columbia

To amend the broadcasting licence of CBU-FM Vancouver.

8. Novus Entertainment (B.C.) Inc.
Vancouver (part of), British Columbia

To change the authorized service area of the cable distribution undertaking serving part of Vancouver (Concord Pacific Place), by including the Greater Vancouver Regional District.

Deadline for intervention: June 14, 2000

May 10, 2000

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-63

Atlantic and Quebec Region

1. Acadian Communications Limited
Chéticamp, Nova Scotia

To add transmitters to distribute the encrypted (scrambled) signals of Country Music Television (CMT), The Discovery Channel and WGN-TV Chicago, Illinois.

2. Golden West Broadcasting Ltd.
Moose Jaw, Saskatchewan

Deletion of the conditions of licence related to operation in the Specialty format, and the replacement of them with the following new condition of licence: The licensee shall not operate the station within the Specialty format as defined in Public Notice CRTC 1995-60, or as amended from time to time.

3. Golden West Broadcasting Ltd.
Winkler, Saskatchewan

Deletion of the current condition of licence related to format, and application of two new conditions of licence, as follows: The licensee shall operate the station within the Specialty format as defined in Public Notice CRTC 1995-60, or as amended from time to time. The licensee shall ensure that a minimum of 33 percent of all music broadcast be drawn from categories other than 21 (Pop, Rock and Dance) and 22 (Country and Country-Oriented).

4. Logan Lake T.V. Society
Logan Lake, British Columbia

To make a variety of changes to the television and radio services available from the radiocommunication distribution undertaking serving Logan Lake. The changes are as follows: The addition and deletion of the television programming services and channel as noted in the notice. The addition of the non-encrypted television programming services as noted in the notice. The addition of the non-encrypted radio programming services as noted in the notice.

Deadline for intervention: June 16, 2000

May 12, 2000

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-64

Télécâble St-Marc-des-Carrières inc.
Saint-Marc-des-Carrières, Quebec

The Commission announces that it has approved, by Letter of Authority A00-0031 dated April 14, 2000, a change to the effective control of Télécâble St-Marc-des-Carrières inc., licensee of the cable distribution undertaking serving Saint-Marc-des-Carrières, through the transfer of all the shares held by Télécâble St-Marc-des-Carrières inc. to Câble-Axion Québec inc.

May 12, 2000

[21-1-o]

CANADIAN RADIO-TELEVISION AND TELECOMMUNICATIONS COMMISSION

PUBLIC NOTICE 2000-65

Practices and Procedures for Resolving Competitive and Access Disputes

Increasing demands have been placed upon the Commission and its resources in recent years in resolving competitive disputes arising under both the Telecommunications Act and the Broadcasting Act. Processes that allow for the speedy resolution of such disputes are essential if the Commission is to minimize the strain on its resources and, more importantly, if it is to achieve its objective of fair and sustainable competition. Accordingly, building upon the practices that it has adapted over the years, the Commission has developed a framework (described in this notice) that provides for a variety of procedures to ensure the fair, effective and timely resolution of disputes.

May 12, 2000

[21-1-o]

NATIONAL BATTLEFIELDS COMMISSION

PUBLIC NOTICE

Fee Schedule for Certain Services at National Battlefields Park

Notice is hereby given that The National Battlefields Commission, pursuant to its contractual authority conferred by the Act respecting the National Battlefields at Quebec, 7-8 Edouard VII, chap. 57, and its amendments, has established a new fee schedule for certain special services in National Battlefields Park, in order to take into consideration increases in the cost of services and remain competitive. Access to National Battelfields Park remains free. The fee schedule will go into effect on or about June 1, 2000, or once necessary facilities are in place. Fees have been established in accordance with federal government policy on user fees based on equity principles, on the basis of fees charged for similar services by other institutions and in such a way as to ensure access to the greatest number of people.

Public Services

For the following services:

— Interpretation Centre

— Martello Tower No. 1 — exhibition

— Discovery Pavilion — exhibition

— Educational Activities

— Guided bus tour

— Guided tours

Prices will vary from $2.75 to $6.50, depending on age groups and services. Family and package rates will also be offered.

Fees for group activities at Martello Tower No. 2, involving participation in an organized mystery meal, will be from $18.00 to $44.95, depending on the type of meal chosen and the age group.

Parking

In some properly designated and equipped areas, the cost of parking will be from $1.00 to $1.50 an hour and $5.00 to $6.00 a day, depending on the area. Such area would include the Montcalm parking lot (west of the park), the Discovery Pavilion and Laurier parking lots, parking on George VI Avenue (from Wolfe Avenue to Grey Terrace) and on Taché and de Bernières Avenues (south side).

It should be noted that revenues generated in this way will be reinvested in National Battlefields Park to allow for the continuation of some services.

Interested persons may express their opinions regarding the fees in writing to The National Battlefields Commission, citing the Canada Gazette and the date of publication of this notice. Such correspondence should be forwarded to Michel Leullier, Secretary, National Battlefields Commission, 390 de Bernières Avenue, Québec, Quebec G1R 2L7, or send by facsimile to (418) 648-3638 or by electronic mail : m.leullier@videotron.ca.

April 20, 2000

MICHEL LEULLIER
Secretary

[21-1-o]

NOTICE:
The format of the electronic version of this issue of the Canada Gazette was modified in order to be compatible with extensible hypertext markup language (XHTML 1.0 Strict).