President’s Message

In 2010, the IPF launched itself into the future when it disrupted itself. The IPF was radicalized. To the wonder and amazement of some, the IPF decided to eliminate its funding of traditional television drama and redirect its efforts to finance a new form of content – drama series for any demographic, created and designed for digital platforms. Web series. Digital originals. Scripted digital drama. The name, like the content and the quality, has evolved in a few short years. Now, the IPF has made 100 web series possible, and invested $11 M in this content.

Why do we do this? What have we accomplished?

The IPF has provided an invaluable opportunity to nurture new storytelling talents and digital first creators. They have developed skills, experimented and proven themselves. Actors, directors, producers and creative teams and crews have experienced the flexibility of this new content form. They have created communities to share learnings, collaborate and promote each other’s success. They interact directly with their audiences, getting to know them, establishing bonds on social networks and developing content inspired by their fans. The stories they tell are different, riskier, more diverse, unrestricted by traditional gatekeepers and the limitations of broadcast television formats. And they do this on budgets that are challenging but realistic, encouraging innovation and a determined focus on quality content and production values.

Broadcasters have discovered content that can complement their traditional programming and are able to reach new audiences which exist online. They are testing content online with this new form of tv “piloting”, but now with direct audience feedback which determines the viability for repurposing on other platforms. International digital platforms are connecting their audiences with libraries of Canadian content. Advertisers and brands have discovered creative new ways to reach their target audiences through popular scripted digital drama series. A range of stakeholders are benefitting from IPF-funded content.

So, there are many substantial reasons why the IPF encourages and funds original dramatic series for digital platforms. Although we continue to search for quantitative measures of success, audience numbers, views, downloads, sales and revenues, we are very aware of the indirect impacts and success stories that our funding has made possible. We are providing an opportunity and a stepping stone into the future of great storytelling.

As always, my thanks to my colleagues on the Board of the IPF and the management team and staff. Their insights, perspectives and lively debates keep us proactive and committed.

Charles Ohayon