Convergent Stream

The Convergent Stream supports the creation of multi-platform Canadian productions. They must include content intended for distribution on at least two platforms, one of which must be television, and the other, a digital media platform. More specifically, through this stream the Canada Media Fund (CMF) enables the development and production of television shows and related digital media content in four underrepresented genres: drama, documentary, children’s and youth, and variety and performing arts. The required digital media components must comprise rich and substantial interactive content and can include games, rich interactive media such as web series, ebooks, and social media projects, for example. The Convergent Stream is designed to support access to Canadian-produced content, anytime, anywhere, on the device of the user’s choice.

The stream comprises a number of different programs and incentives designed to encourage the creation of content from all regions of Canada and in the variety of languages spoken by Canadians. The majority of funding in this stream is disbursed through the Performance Envelope Program.

Convergent Stream Funding

In 2013-2014, the CMF provided $305.6M in funding for the production of 475 convergent projects generating almost 2,600 hours of new content. Funding has declined by 5.1% compared to 2012-2013. Total 2013-2014 television funding at $281.6M showed a 6.2% decline from 2012-2013.  Funding to digital media components rose by 9.4% although the number of projects dropped by 10 compared to 2012-2013, evidence of larger budgets in 2013-2014 production. Digital media budgets topped $200K on average, the result of a significant gain over the last two years. This gain occurred over all genres. Total convergent budgets triggered were 1.1% lower than in 2012-2013. The funding budget ratio stayed the same as last year at 3.7 to 1.0, a sign of industry health. 

English Drama received the greatest share of funding among the supported genres at 55.0%, with Children's & Youth at 21.8%, Documentary at 18.0%, and Variety & Performing arts at 5.2%. Children’s & Youth average budgets have increased to a four-year high in both English and French. English Drama has shown three years of stability at over $1.6M per hour. English Documentary is at around $320K per hour in 2012-2013 and 2013-2014. English Variety & Performing arts is volatile due to the appearance of big-budget competition series in 2011-2012 and 2013-2014.  English and French Drama and Diverse digital media components are the source of the $2.0M growth in funding from 2012-2013 to 2013-2014, which included $1.8M in Diverse digital media commitments. A total of $9.0M of English digital media funding came from the Convergent Digital Media Incentive (CDMI). Funding to English Documentary digital media components have continued to command the largest share of funding, at 35.7% of English commitments in 2013-2014. Documentary second screen component budgets totaled $9.2M.In the French market, Drama received 50.8% of overall French funding; Documentary was at 24.9%, Children's & Youth at 16.8%, and Variety & Performing arts at 7.5%. French drama reported a gain of $1.8M in funding over 2012-2013. Over the last three years, French Variety & Performing arts and Children’s & Youth showed growth in average budgets, rising to $225K and $158K per hour respectively this year. French digital media components received an injection of $4.4M in funds from CDMI. Aboriginal average television budgets have reached a four-year high of $192K per hour.

Convergent Summary Production: 2012-2013 and 2013-2014

Convergent Summary Production: 2010-2011 and 2011-2012

Average Television Budget per Hour Trends

Average Digital Media Budget Trends

Convergent Project CMF Funding/Production Budget Ratio

Second Platform

In 2013-2014, projects were deemed convergent if the television program met one of the following three conditions:

• it was complemented by one or several digital media (DM) components;
• it was made available on a digital distribution platform non-simultaneously with its original broadcast (non-simultaneous streaming); or
• it was made available on a CRTC-licensed video-on-demand (VOD) service.

Following two years of growth, the share of funding going towards convergent projects with DM components has  dipped slightly over all languages, with a greater drop in French (-3.0 points) than in English (-2.1 points). The $2.0M growth in DM funding would seem to belie this new trend. Given that the share of the number of projects with DM components has stayed the same compared to last year, it suggests funding to television with second screen components has declined compared to television with digital distribution or VOD availability. All funded Aboriginal and Diverse language projects used DM as their second platform. Most convergent projects with DM components received more funding than those with other second platforms, hence, convergent projects using DM comprised a higher percentage share of CMF funding than the percentage share of the number of convergent projects.

Average Digital Media Budget

Digital Media as Second Platform Funding

Digital Media as Second Platform trends by number of projects

Sources of financing for Convergent Stream projects

Television

Television Financing - English

Television Financing - French

Digital Media

Digital media components had fewer financing partners than television. Broadcasters provided more than the minimum trigger required, on average, broadcaster contribution made up 21.2% of digital media budgets.

English

In English DM projects, the CMF was the dominant contributor overall (58.2%). English broadcasters overall provided 20.7% of digital media financing. Provincial funding including tax credits added 11.2% of financing. Private funds provided significant contributions at 5.2%. English producer investment in digital media projects mirrored television levels at 2.3%.

French

Private funds played an important role in French digital media financing, providing 24.0% of support. French broadcasters accounted for 25.0% of digital media financing, whereas CMF was the primary financier at 48.2%. French producer investment was comparatively small, overall around 1.0%. Provincial support was negligible in French digital media, contributing 1.2% on average.

Digital Media Financing  - English

Digital Media Financing  - French

Digital Media Component Types: 2013-2014