Well, web series are no longer a secret. There has been a flurry of activity in Canada and internationally in the past year. New funding sources for these digital firsts and new platforms to host them are like pop-up shops — try them out, see if there is a market, get out of there fast if it doesn’t work. Creators and their teams are pushing hard to be discovered, to attract and retain audiences, and to transform their digital creativity into viable businesses. Specialty platforms are discovering their niches and how to focus on the audiences they are designed for. Traditional broadcasters are plunging into original content created for their digital channels. Rights, territories, exclusivity, unions, formats – TV issues have invaded and challenged the digital world.
The IPF started funding the mysterious new drama web series format in 2010. With a lot of imagination, risk-taking innovation and a little money, the IPF had a vision of the future, where content is created for any platform, where great content attracts great audiences. The IPF inspired nearly 200 creators each year since, to apply for funding to the IPF, in order to realize their creative dreams. Over $13M has been invested in 114 web series funded by the IPF. When you get 900,000 views for an episode, like the animated series People Watching has done, you know you are doing something right. When you get nominated for an Emmy Award, like The Amazing Gayl Pile has done, you know you are doing something right. When you win acclaim and awards across Canada and internationally, like Marc-en-peluche has done, you know you are doing something right.
So many new talents have been discovered and encouraged. Knowledge gaps are being filled – just check out BE DISCOVERED! a publication of the IPF designed for producers to maximize their “findability” by search engines. The IPF has sponsored training and promotion and marketing events and supported producers and creators to reach their goals.
In 2010 when the IPF turned its focus to web drama content, another private Fund, the Cogeco Fund, accepted the existing IPF mandate to fund television drama series. Now, 8 years later, the Cogeco Fund has returned this TV production mandate to the IPF, along with their annual BDU contributions from Cogeco Communications. In 2018, the IPF is THE private fund focused on supporting drama series for any platform.
I am very pleased that board member Jon Taylor has agreed to take the role of IPF Chair in 2018. I have served in this role for a decade, since 2007 and will share my experiences and insights with the new Chair. The Board of Directors of the IPF is taking a serious look at the future of the IPF and the roles it can play in our entertainment industry. We are always looking for the next new thing and how we can help the industry excel. My thanks to my colleagues on the Board, and the management team, for taking the risks to propel us all forward and for all their support for the past 10 years.
Charles Ohayon