Category Archives: TV

Videotron’s illico iPad app: Cool, but hardly revolutionary

Version 2.0 of Videotron’s illico iPad app was finally published on the Apple App Store on Wednesday, almost two weeks after it was announced in a big press conference at Quebecor HQ in which it was described as a revolutionary thing that would change TV forever.

As I explain in stories for The Gazette and Cartt.ca, the app doesn’t have any specific features that are particularly revolutionary, but it does bring everything together into one package. Using one interface, people can stream 70 live TV channels (assuming they’re subscribed to them), check out various free video-on-demand titles or watch programs from the Club Illico subscription video service. You don’t have to remember which program is available using which service. Just search for it and the application will find it.

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CTV News Montreal set gets refresh with video walls

New video monitors installed behind the anchor desk on either side.

New video monitors installed behind the anchor desk on either side.

If you’ve been watching CTV News Montreal this week — and ratings data suggest you probably have — you may have noticed something new: monitors installed behind the anchor desk on either side of the cityscape background (and, in fact, cutting it off a bit). It’s the first really noticeable refresh of the set since the new studio was inaugurated three years ago.

The purpose is mainly to have graphics to show behind anchors in close-up shots, a cooler version of the over-the-shoulder graphic.

A behind-the-shoulder graphic, with no green-screen required

A behind-the-shoulder graphic, with no green-screen required

“We added these over the weekend in the hope of making the set look a little more contemporary,” explains Dave Maynard, CTV Montreal’s Manager of Operations and Production. “When we built the set in 2011 (yes almost 3 years now), I remember looking at the twin set of nine monitors on either side of the anchors and thinking ‘damn, I should have budgeted for monitor walls.'”

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Bob Babinski resigns as City Montreal Executive Producer

Bob Babinski was hired at City Montreal a year and a half ago.

Bob Babinski was hired at City Montreal a year and a half ago.

16 months after being hired as the first man in charge of City TV’s new station in Montreal, Bob Babinski is leaving. He announced the news on Twitter on Saturday:

https://twitter.com/BobBabinski/status/475299052893257729

I spoke with him shortly after that post, and you can read his reasons in this story, which should appear in Monday’s Gazette.

The decision was announced to staff at the station on Friday, just after the broadcast of Breakfast Television. This was by design, Babinski told me, “to have the least impact on staff.”

Babinski said it was “a difficult day yesterday.”

While he said he’d been thinking about it for a while, as one does for decisions like his, he called his bosses to make it official earlier this week, the same week those bosses were busy with Rogers’s upfront presentations, giving advertisers a taste of what is to come for the fall season.

I talked with Babinski on Tuesday at the Montreal satellite event for the upfront, and he said nothing about wanting to leave. He explained that he didn’t want word to leak out before making the announcement to his staff. That announcement, which shocked everyone, was made in the presence of Jordan Schwartz, Rogers Media’s VP of in-house production and Babinski’s boss, who is visiting to help tweak the morning show a bit. (The first minor tweaks to the format should be apparent on Monday’s show.)

Schwartz tweeted this somewhat cryptic message just before midnight on Friday night:

And this more direct one on Saturday:

Schwartz told me later that he was sad to see Babinski go, but “in my head I always expected this day. I didn’t know if he’d want to stay for the day-to-day-to-day.”

There was the thought of whether there was something Rogers could do to make Babinski happier in his position, Schwartz said, but “I heard it in his voice that it was the right call.”

Schwartz said “I thought that he was a gentleman in the timing that he picked,” because it’s at the beginning of summer and gives them time to find someone new before the fall.

Manuel Fonseca, the managing producer of local programming at City Vancouver, takes over as interim executive producer in Montreal until they find a permanent replacement. Schwartz didn’t want to put a timeline on that, but said he’ll look for someone “as soon as possible.”

“I need a change”

So why is Babinski leaving? Simply put, “I need a change,” he said, emphasizing that the decision was entirely his and to the disappointment of his superiors.

Babinski said the first year and a half was about hiring new talent, setting up a TV station from scratch, and developing a new show. As we enter the second seasons of Montreal Connected and Breakfast Television, his job is becoming more administrative, doing things like coordinating content from the network. “While that’s extremely important, that stuff is less close to my heart,” he said.

So, in the middle of summer, he’s leaving and will go back to being a freelancer.

He won’t be entirely disconnected from Rogers, he said. Without giving too many details, he said he will be working with the company to produce programming related to hockey, as Rogers begins finding ways to recoup that $5.2-billion investment in NHL rights over 12 years. It will definitely be an off-air role, though. The former CBC sportscaster says his on-air days are behind him.

Babinski also told me he plans to go back to pursuing his “basic passion” of training others to be better broadcasters. He wants to expand the stuff he’s been doing there and apply it to other industries, helping corporate executives become better public speakers, for example. Again, not too many details because he doesn’t want to tip his hand before it’s all figured out.

He remains in his job until Friday, June 13. He’ll be spending his last week doing his job as usual, and preparing files for a transition to a new boss.

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NFL will push local CTV newscasts to 7:30pm Sundays this fall

The scheduling conflict was obvious the moment Bell Media announced last December that it was picking up Sunday afternoon NFL games at 4pm from City: If the games go from 4pm to 7pm (or 7:30pm), then the 6pm local newscast is going to have to move, at least in the eastern part of the country.

On Thursday, as Bell Media did its upfront presentation to advertisers in Toronto (you can see the fall primetime schedule here), we got some details of what’s going to happen: The Sunday evening newscast won’t be cancelled, but it will be chopped to half an hour and pushed to 7:30pm, sandwiched between the NFL game and the 8pm airing of ABC’s Once Upon a Time.

That’s the case in the eastern time zone, at least. In Atlantic Canada, there’s no conflict because the NFL games will air on CTV Two, which doesn’t have Sunday evening newscasts. In the Central time zone (Manitoba, and Saskatchewan in the winter), the news will air for half an hour at 6:30pm (the Sunday evening newscast is already half an hour long in these areas). And in Mountain and Pacific time zones, since the game ends at 5:30 and 4:30pm respectively, the evening news is unaffected.

This schedule only takes effect during the NFL season. The first disrupted Sunday is Sept. 4, and the last will be at the end of January. (Early playoff rounds also conflict, but the Super Bowl airs in primetime, so it won’t bump local news.) After that, the schedule returns to normal and the news goes back to being an hour at 6pm.

The Sunday evening newscast has some special features to fill that hour of time on what is usually a slow news day. Sunday Bite and Power of One could just take a break for five months, be moved to other days or be shortened and integrated into the shorter newscast.

One of the consequences of this move in Montreal is that it leaves only Global with a 6pm local newscast on Sundays during the NFL season. (CBC doesn’t have a 6pm newscast Sunday because that’s when it airs movies.) The station might take advantage by putting its best foot forward on those Sunday evenings in a bid to attract more viewers for the rest of the week.

Please make better Canadian Super Bowl ads

Speaking of CTV and the NFL, the network is starting a contest, with the Canadian Marketing Association, to encourage Canadian advertisers to create their own must-see Super Bowl ads.

Super Bowl Sunday is the one day of the year where Canadians actually want to watch U.S. ads, because of the hype around them. But while some U.S. advertisers also buy ads on CTV’s simulcast, many don’t, and we get much lower quality ads as a result. CTV’s heavy rotation of promo ads for its programs have also been frustrating viewers with their repetitiveness.

So we have a contest, whose rules haven’t been defined yet, but whose prize seems to be a free ad during the Super Bowl in Canada.

It’s unlikely to reverse the tide. Even if there’s one ad that Canadians would want to watch — and there have been some in recent years — and the U.S. commercials are posted online within seconds of their airing (and often well before that), most Canadians who care still prefer to watch the U.S. commercials live.

Shaw Media to rebrand Twist, Mystery channels

As part of its fall upfront presentation to advertisers, Shaw Media announced on Wednesday that it is launching two new specialty channels before the end of the year. Though what the press release doesn’t say is that these are actually rebrands of existing channels.

Twist becomes FYI

Twist TV, a lifestyle channel whose schedule includes reality shows like Till Debt Do Us Part, Extreme Makeover: Home Edition and I don’t know how many shows devoted to weddings and bride-ness, will be rebranded FYI this fall. FYI is “geared towards a younger, upscale audience” and “offers contemporary lifestyle programs” aimed at millenials. “FYI hosts a hub of modern lifestyle programming featuring health and wellness and food and fashion.”

FYI will effectively be a Canadian version of an American channel by the same name. A&E Networks is rebranding its Bio channel to FYI as of July 8. The U.S. channel has already announced what some of its new shows will be. The list includes Epic Meal Empire, a half-hour 16-episode show starring Montreal’s Epic Meal Time. (I don’t know if this will be considered a Canadian program.)

The U.S. rebrand also brings up the question of what happens to Biography Channel Canada, owned by Rogers, which shares branding with the U.S. version, and gets shows like Gangsters: America’s Most Evil, Mobsters, Women Behind Bars, Celebrity Close Calls, Celebrity Ghost Stories and My Ghost Story from its U.S. counterpart. Without a supply of fresh content, it too could be headed toward a rebrand.

Twist began as Discovery Health Canada in 2001. When the U.S. network turned into the Oprah Winfrey Network 10 years later, the Canadian Channel was morphed into Twist. (Corus rebranded a different channel, Viva (formerly CLT) into OWN Canada.)

The history of the channel means FYI remains tied to Discovery Health’s CRTC licence conditions, which requires it to air programming “devoted entirely to useful, practical, reliable and entertaining programming related to health, wellness and medicine.”

Whether Twist and FYI fit into this definition depends, I guess, on your definition of “wellness”. If reality shows about getting married or fashion or home renovations qualify, then I guess so.

FYI will also be bound by other licence conditions, limiting the amount of sports, drama, comedy, movie and music video programming combined to 10% of the schedule. There’s no limit on the number of reality shows, formal or informal educational shows, or entertainment magazine programs.

FYI must also ensure that at least half its schedule (and half its primetime schedule) is Canadian programs.

According to CRTC figures, Twist made $1.76 million in ad revenue in 2012-13, had 2.2 million subscribers and had a 60 per cent pre-tax profit margin, employing a staff of 10. It’s clearly not in financial trouble, though I guess Shaw believes it can boost those ad figures by targetting a younger audience.

Mystery becomes Crime + Investigation

The other rebrand seems less dramatic on the surface, but involves a much bigger change in programming. Mystery, the channel whose schedule is half Law & Order reruns (plus whatever shows Shaw owns that it can pretend fit into this category), will become “Crime + Investigation” in December.

“Crime + Investigation strives to engage viewers’ minds and crime solving skills, drawing the audience into investigations by offering a behind-the-scenes look at gripping, unforgettable crime stories,” reads the press release.

This is also a case of a Canadian channel copying a U.S. brand. Crime & Investigation is also owned by A&E. Its programming features reality shows following law enforcement and investigators.

If “CI” follows the U.S. version, this will mean dropping most of its drama reruns and replacing them with justice reality shows. And that would make it very similar to Investigation Discovery, formerly Court TV Canada, a Bell-owned channel that’s doing the same thing.

First licensed in 2000 as “13th Street”, Mystery is “devoted to mystery and suspense programming. The service will nurture and encourage short-form Canadian mysteries. It will provide a wide assortment of genre-specific programs including movies, television series, short films and documentaries that will focus exclusively on the delivery of entertaining programming on suspense, espionage and classic mysteries.”

Whether law and order reality shows fit into this definition is a matter of interpretation. The channel has limits on comedy, professional sports and music video programming, but is otherwise free to air what it wishes as long as it fits the nature of service.

Mystery was co-owned with Quebecor until 2012, when Shaw bought it out. As part of that deal, Shaw promised the CRTC to devote some funding to scripted dramas and other so-called programs of national interest until 2017. The dramas wouldn’t have much of a home on the new channel, but that money could also be spent on long-form documentaries.

In the latest CRTC financial numbers, Mystery had $6.5 million a year in advertising revenue in 2012-13, a staff of 11, about 2 million subscribers (growing steadily over the past five years) and a very healthy 47 per cent profit margin.

Global Montreal has a new virtual set

Global Montreal updated its set this week. The change is mostly virtual, since everything but the desks and the talent are inserted virtually.

The anchor desk got a paint job so it’s less grey and more blue-green, and the logo is now white on dark blue instead of black on a cloudy light blue.

The virtual part of the set is also redesigned, with diagonal pillars, a darker floor, more virtual windows, and in some shots the words “Global” and “Montreal”.

The old set looked like this in January 2013:

Camille and Richard

I find it still looks a bit unrealistic, too spacious considering how small the studio actually is. But it’s the substance that matters, not the style, right?

Andrew Chang leaving Montreal for new job at CBC

Andrew Chang

Andrew Chang

When CBC Montreal detailed the 10 jobs being affected as a result of the latest round of budget cuts, nine of those changes were well explained, but one remained mysterious, described only as a “reassignment”.

Now we know who it involves, though still not what the new assignment is. Andrew Chang announced on Wednesday’s newscast that he will be leaving Montreal for a new job at CBC. He said he couldn’t say where he’s going or what he’ll be doing when he gets there.

Chang has been at CBC Montreal for 10 years. (He started around the same time I worked there briefly. I remember because CBC user accounts for me and him were started at the same time, with the expectation that we’d both be around for a while. That wasn’t so in my case, though casual workers and interns for years would use my name to login to CBC’s systems, causing me to have some strange mythology there even in the years before this blog.)

After doing many different jobs at CBC, including being a reporter, he took over the anchor desk in 2009 with Jennifer Hall (now at CBC News Network) after Michel Godbout left. Though he was a young choice, Chang was instantly comfortable in the new position, able to mix gravitas of serious news and lightheartedness of news that wasn’t so serious. And though he was a hard worker, he never seemed to take himself too seriously.

Debra Arbec will continue to host the evening news on CBC Montreal solo. CBC tells me they’re not looking for a co-anchor for her.

Chang is expecting his first child in about a week (give or take the usual uncertainty with pregnancies). He’ll go on paternity leave, fill in as host of The Current for a week, and then go on to his new assignment.

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TSN to expand to five channels, install cameras at TSN Radio stations

TSN Radio 690's new studio on René-Lévesque Blvd. You may start seeing it on TV soon as TSN looks for more daytime programming for its additional channels.

TSN Radio 690’s new studio on René-Lévesque Blvd. You may start seeing it on TV soon as TSN looks for more daytime programming for its additional channels.

Even though it won’t have a lot of NHL hockey games to fill them with, TSN is planning to expand from two to five channels this fall to allow it to broadcast more sports programming.

Along with that move comes a desire for more programming, and in addition to more live sports and different time zones for SportsCentre, they’re going to add “local hockey programming generated by production expansion at TSN Radio stations in Toronto, Ottawa, Montreal, Winnipeg and Edmonton.”

TSN tells me that this will mean installing television cameras at those TSN Radio stations. “We will announce specific programming details later this summer, but we are looking to build on the success of our TSN Radio programming and integrate new content on TSN channels,” said Greg McIsaac of their PR department.

Currently, TSN2 airs televised versions of the Mike Richards morning show and Dave Naylor afternoon show from TSN Radio 1050 in Toronto (at least when it doesn’t have live events that are more important). After the expansion to five channels, we could see similar things done to Montreal’s TSN shows like Mitch Melnick’s afternoon drive show, or the morning show with Shaun Starr, Elliott Price and Rick Moffat. The details won’t be announced until later, so we don’t know if this will be a daily thing, or weekly, or maybe just Habs pregame shows. Lots of possibilities are in the air. But what we do know is that TSN Radio 690 personalities should expect to see their faces on TV more often.

TSN’s need for additional channels became clear during the first round of the NHL playoffs, when it had a Raptors game and two NHL playoff games airing simultaneously. The Raptors were the priority, pushing the Boston-Detroit game to TSN2. The New York Rangers-Philadelphia game, which was originally scheduled to air on TSN2, had no place to go, so TSN cut a quick deal with Rogers to air the game on Sportsnet 360. Once TSN expands to more channels, this won’t be necessary.

Of course, TSN loses NHL playoff games starting next season, but as its president tells the Globe and Mail, there are hundreds of hours of programming in other sports that it can’t air live because it doesn’t have the space. Sports like tennis are particularly hard, because in early rounds you might have one or two feeds showing big stars, then one or two others showing Canadians. Channels quickly fill up.

The big question will be about carriage. Most major distributors have added TSN2, but some still don’t have it. And putting three more channels, all in HD, takes up a lot of bandwidth that is in short supply these days. We can assume that Bell will be quick to add the extra channels, and maybe Shaw as well, but for cable providers like Rogers, Cogeco and Videotron, the decision might be harder to take.

The addition of more channels with more content will also likely coincide with demands from TSN for higher wholesale fees from distributors. According to CRTC data released last week, TSN gets an average of $2.57 a month from its 9.07 million subscribers (this includes TSN and TSN2), which is a very high fee for a specialty channel. In 2009, it was $0.87 per subscriber per month on average. As its deals with distributors come up for renewal, it’s demanding much higher subscription fees. And distributors will pass those costs along, either by raising their rates overall or by pushing TSN into premium packages that will start costing a lot more.

In other words, TSN is getting better, but we’re still the ones who are going to have to pay for it.

ICI est là: Ethnic TV station posts its programs on YouTube

When the cooperative local ethnic television station ICI launched last fall, its website wasn’t a primary consideration. I asked its manager about posting its original programming online, but he was more concerned about getting the transmitter up and getting that programming on the air first.

Four months later, ICI has started making its programs available online in the simplest and most effective manor: By posting them to YouTube. Over the past two weeks, 171 videos have been posted, representing almost all of its local original programming, which makes up almost all of its schedule (it has only a couple of non-original programs, the Portuguese soap opera Bem-Vindos a Beirais, the dated OMNI cooking show South Asian Veggie Table, and the religious show Il est écrit).

The episodes are posted in their entirety, and for the moment anyway are without any restrictions or (additional) ads.

Being a television station that produces its own programming (or, more accurately, works with producers who create programming and sell their own ads for it) means there’s a lot more freedom to get video out without being stuck with geoblocking or custom video platforms.

Posting to YouTube is easy, offloads bandwidth costs, and is versatile, employing all of YouTube’s features from automatic captions to website embedding.

The videos show that, for the most part, ICI is doing what it promised. Many of its shows have left the confines of the green-screen studio and gone out into the field. Those that are shot in studio have unrealistic virtual sets where even the tables aren’t real, but they’re still better than anything we saw on CJNT.

Most of the shows still consist of dry interviews that demonstrate how little experience many of the people involved, particularly in front of the camera, have with television. But they’re improving. The shows are becoming more watchable as each week goes by.

The big question will be how long they can keep this up.

CBC Montreal lays off news director Mary-Jo Barr, promotes reporter Catherine Cullen

Mary-Jo Barr when I met her in 2009.

Mary-Jo Barr when I met her in 2009.

The drastic job cuts at CBC now have at least one local face. Mary-Jo Barr, news director for English services in Montreal, was let go this week as her position has been eliminated.

“I am restructuring the management team here at CBC Montreal,” Shelagh Kinch, Managing Director for English services in Quebec, wrote to me via email. “The News Director and Current Affairs Program Manager positions have been removed and we have created one new position — Managing Editor. This new position is responsible for all News and Current Affairs content and programs.”

“Helen Evans has agreed to take on this role. With over 20 years in programming at CBC, she has done an excellent job as Current Affairs Program Manager leading daily and weekly current affairs programming on Radio (Daybreak, Radio Noon, Homerun, All in A Weekend, Quebec AM and Breakaway) and on TV with Our Montreal.”

“Meredith Dellandrea will also have an expanded role as Content Manager, Arts and Digital. She will continue to be responsible for Canada Writes, CBC Music, Cinq a Six and network programs (A Propos and Wiretap). Meredith will also have a larger role with cbc.ca/montreal for all non-news content.”

Barr’s legacy at CBC Montreal includes various revamps of their newscast, and the hiring of people like Frank Cavallaro and Debra Arbec. The fact that both of them came out of CTV is not a coincidence. Barr herself worked at CTV Montreal before moving to CBC.

Barr did not respond to a request for comment. I’ll update this if she does.

Catherine Cullen goes to Ottawa

Catherine Cullen looking at me suspiciously, because she knows better than to trust me when I have a camera.

Catherine Cullen looking at me suspiciously, because she knows better than to trust me when I have a camera.

In happier news, CBC Montreal is losing another employee, but for a more Facebookable reason: reporter Catherine Cullen is leaving the Maison Radio-Canada to join the network’s parliamentary bureau in Ottawa. Cullen made the announcement Thursday on social media.

Cullen, who I know because we were classmates at Concordia in 2005, started working for the CBC soon after that, first in radio, then quickly scoring a coveted permanent job at a company notorious for dragging along casual workers for years. She moved into TV because that’s what happens to people who are pretty and have a lot of charisma. She became a national reporter based in Montreal, where she regularly got to interact on national TV with her idol and secret crush Peter Mansbridge.

Like me, Cullen is originally from Pierrefonds, but she spent most of her youth in Ottawa. She studied media at what was then called the University of Western Ontario before doing the journalism diploma program with me at Concordia.

Cullen starts in Ottawa on Monday.

UPDATE: The headline for this post originally said that Barr had been “fired”. A couple of people at CBC asked me to change that because they felt it was inaccurate to say so. I disagree. I think it’s an accurate, if harsh, word to use to describe someone having their employment terminated involuntarily. In fact, that’s the very definition of the word.

But in the interest of not leaving people with the wrong impression, I’ll say she was laid off. But whether you say fired or laid off or let go or shuffled out of a job, the end result is the same: CBC has redone its management structure in Montreal, and Barr is no longer part of that plan, so she is no longer a CBC employee.

(While I’m at it, I don’t know if Cullen’s new job is technically a promotion either. But it’s definitely an upward career move for her, which is why I describe it that way.)

ICTV vs. MYtv: Taking sides in the fight over Videotron’s community television channel

A complaint by a group of Montreal activists against Videotron is taking on a greater significance as groups are lining up on both sides of a battle for control over Videotron’s community television service.

Last month, I wrote about ICTV, a group headed by people associated with CKUT Radio McGill and others formerly associated with Concordia’s CUTV.

After that article appeared, I was contacted by someone who wanted to set up a meeting with Isabelle Dessureault, the president of MAtv, who wanted to clear up any misconc… let’s just call a spade a spade, wanted to drive the discussion a bit more to Videotron’s favour.

Dessureault confirmed that the CRTC is not moving forward with the Videotron application for an English-language version of the MAtv community television channel, and that this process could delay the launch of that channel by a year or more. MYtv on ice became the basis for another story in The Gazette.

There was also the matter of a lawyer’s letter to ICTV from Videotron ordering it to retract statements about the company that it considered defamatory. (It doesn’t directly threaten legal action, but certainly suggests that would be the next step. Videotron confirmed the letter was sent but said “Quebecor Media is studying its options.”) ICTV refused, saying the CRTC process was the place to settle their differences of opinion.

Since then, two important organizations have backed the two sides of this battle.

ELAN backs MYtv

The English Language Arts Network, a group that supports anglophone artists in Quebec, has decided to back Videotron instead of ICTV. Executive Director Guy Rodgers and President Peter MacGibbon lay out their argument in this opinion piece published last week in The Gazette. The arguments boil down to two main points:

  1. ELAN prefers a more professional, high-quality model of community television in which artists are paid for their work instead of volunteers working for free. It believes Videotron’s model is better than ICTV’s in this regard
  2. ELAN believes that ICTV’s proposal for a single multilingual television channel would not be as good as Videotron’s proposal for two channels, one in each language.

The ICTV folks took ELAN’s stance in the measured, respectful way one expects from Montreal’s activist community: Writing an open letter with the headline “ELAN betrayed our communities by selling out community TV to PKP’s Vidéotron.” It accuses ELAN of being intentionally misleading and of supporting a “segregationist” idea of community television.

ELAN’s opinion makes sense when you consider that it represents artists, such as independent television producers, rather than the community at large. Its view has to be taken in that context. It doesn’t make them evil, and I got no impression whatsoever during their community meetings over this issue that they discouraged other people from expressing their views on the matter, nor do I think they’ve sold out to Videotron.

CACTUS backs ICTV

The other voice to take a stand here is CACTUS, the Canadian Association of Community Television Users and Stations. The group’s executive director, Catherine Edwards, presents her group’s views in this Gazette opinion piece, which was published alongside ELAN’s.

CACTUS believes in general that community television should be taken out of the hands of cable companies, and that even if there was once a reason for cable to control community television channels, technology has made that reason obsolete.

Edwards argues that community television should be in the hands of the community, not the cable companies.

CACTUS also opposes dividing community channels by language. Among the reasons for being against this are that doing this divides the two communities, leaves no place for third languages, and allows cable companies to double the amount of money they can keep in house rather than give over to Canadian content funds.

Friends of Canadian Broadcasting also has a page with one-sided information collecting comments in favour of ICTV.

The case vs. the policy

One important thing to consider in this whole affair is the difference between whether Videotron is properly following the CRTC’s community television policy and whether that community television policy is properly written to begin with.

The policy has been revised numerous times, the latest in 2010. But there’s a lot of ambiguity there. For example, the key part of community television is community access programming, but the CRTC sets only two criteria for such programming: That the idea come from a member of the community not employed by a cable company, and that this person be involved with the programming in a significant on-camera or off-camera role.

That leaves a lot of loopholes. What if the person is an employee of a company related to a cable company? Can the cable company claim copyright over the programming produced this way?

CACTUS, ICTV and others take exception to the fact that community TV channels run by cable companies are exclusive to customers of those companies. But the CRTC has chosen not to require open distribution of such community channels.

The community television policy could change soon. The CRTC has begun a year-long process of reviewing television policy, and the cable companies and CACTUS will undoubtedly be lending their voices to that process. Until then, though, the ICTV vs. Videotron complaint will be judged on existing policy.

Videotron wants to change … kinda

In my discussions with MAtv president Isabelle Dessureault and general manager Steve Desgagné, they have been trying their best to appear reasonable about this issue. They say Videotron is trying its best to be representative of the community, that it doesn’t reject proposals for community TV programs unless they fail to meet the criteria, and that despite this dispute they are open to proposals from ICTV members. (They note that they have yet to receive any.)

Videotron admits it has gotten some things wrong, most significantly its failure to properly represent the anglophone community in Montreal (an error it is trying to fix with the MYtv application). Dessureault also says MAtv will reform some of the ways it presents information to the public, by changing its end-of-show credits to emphasize the contributions from the community and by volunteers. It also plans to create an annual report for the public that outlines their accomplishments for the year.

And Videotron plans to, by the end of the year, set up an advisory committee for MAtv that would provide feedback on programming. (It had already planned to set up such a committee for MYtv once it was approved.)

Dessureault also said MAtv will be launching a new project in June that will facilitate community contributions to television. The concept is a bit fuzzy to me, but involves a website where people can contribute ideas and content, which will then be given to someone to turn into TV shows or documentaries. The purpose is to allow people to contribute without having to commit to running a weekly show.

But on the fundamentals, there are no changes planned. Most programs are still being produced by Videotron, and Videotron retains control over programming.

Community programming isn’t easy

Dessureault stresses that getting communities involved with community TV isn’t easy, though they’re trying.

ICTV, however, argues that it has the resources to make it work. It points to CKUT, a radio station where volunteers fill an entire week’s worth of airtime without the need for repeats. It believes it can do the same on television.

The money issue

The big issue here, of course, isn’t access, it’s money. ICTV could produce hours of video and post it to YouTube. But unless it wins its battle at the CRTC, it won’t get the millions of free cable money needed to pay for it.

Cable companies have community TV channels because they’d have to spend the money anyway, and otherwise it would be outside of their control.

There’s a conspiracy theory floating around (and has been expressed by commenters on this blog) that Videotron and others use community TV for monetary profit, by charging their own community TV channels for technical services.

Dessureault says MAtv’s finances are audited, both internally and by the CRTC, and attempts to cook the books wouldn’t succeed. But she does admit that MAtv does use some of its money to pay for things provided by Quebecor. MAtv shares human resources staff with Videotron, for example, to reduce costs. It also pays rent to TVA for production space (though at “well below market rates,” Dessureault said). Dessureault said these things are a very small portion of MAtv’s budget, which she said goes mainly to programming.

The CRTC has access to MAtv’s finances, and its experts are sticklers for attempts by big companies to take liberties with finances in order to reduce their obligations. So I seriously doubt that Videotron would get away with, say, overcharging MAtv for Internet access or rent in order to suck away some of its budget.

But there’s a legitimate question to be raised over whether such expenses should be paid for by the cable company, separate from the 2% of revenues it can allocate to community programming.

That, too, may be an issue if the CRTC decides to review its community television policy.

Until then, it will be judging Videotron based on its compliance with the current policy, and that policy leaves a lot of room for interpretation.

The CRTC is accepting comments on ICTV’s complaint against Videotron until 8pm ET on April 22. You can file comments using this form. Note that all information submitted, including contact information, becomes part of the public record.

Further reading

Note: A slightly edited version of this post was published on the opinion page of The Gazette on April 23.

Former CTV sales manager Tony Ecclissi hired at TVA Sports

Tony Ecclissi

Tony Ecclissi, who found himself without a job at CTV Montreal when his position of general sales manager was eliminated last summer, has found a new job, doing sales for TVA Sports.

Described in a TVA Sports memo filled with hockey metaphors as “our new top-line player”, Ecclissi spent more than 20 years on the sales team at CFCF and before that with CBC in Montreal. At TVA Sports, he’ll be part of a new dedicated (but small) team that will be trying to make money off all the NHL games that the network will add next season.

“I have been recruited as a sales consultant / representative to help generate sales, introduce new clients and use my experience to help the Sales Director build an effective, knowledgeable and enthusiastic sales team,” Ecclissi tells me. “This is an exciting challenge, it’s like starting up a new company.”

Election night projections the networks got wrong

Rigueur, rigueur, rigueur.

Those words were uttered by TVA’s Pierre Bruneau on election night in 2007, after Radio-Canada had earlier incorrectly projected that Liberal leader Jean Charest had lost his seat in the election that swept the Action démocratique du Québec to official opposition status and ended the political career of André Boisclair. TVA held off on calling the race for that seat, and reaped the benefits.

The TV networks make big deals of their “decision desk” teams, the computers, political analysts and experts who wait until they’re absolutely sure that a race can be called before making a decision. That care is counteracted by the race to be the first to declare the result of the election.

But surely the chance of being embarrassed, as Radio-Canada’s Bernard Derome was in 2007, by calling even a single seat wrong would be enough to ensure that they always get it right.

Not so much.

On Monday night, all three local English TV stations with elections specials made more than one incorrect call. And, to their shame, I caught them on my PVR.

8:33: CBC calls Lévis for Liberals

CBC Lévis

Simon Turmel was one of a few Liberals to steal seats away from the CAQ in the Quebec City region. Or at least that’s what CBC seemed to think, announcing the gain with Turmel sitting in a seemingly comfortable lead of more than 1,100 votes.

But not quite. When the night was over, the CAQ’s Christian Dubé won the riding by 1,943 votes.

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Bravo renews English version of 19-2 for second 10-episode season

The cast of 19-2. (Photo: Bell Media)

The cast of 19-2. (Photo: Bell Media)

So it looks like 19-2 is as much of a success adapted in English as it had in the original French. Bell Media announced on Tuesday that the Montreal-set cop series will be renewed for a second 10-episode season.

The French series, created by and starring Réal Bossé and Claude Legault, debuted in 2011 on Radio-Canada to critical and ratings success. It was praised in particular for the realistic portrayal of police officers. Bossé and Legault spent time with Montreal police to learn what life is really like on the job.

Fans of the French series have had to show patience, though. Because of various delays, the series has only aired 20 episodes (two 10-episode seasons) in three years. A fourth season is only slated to air in January 2015.

Bell’s press release doesn’t give an idea of when Season 2 of 19-2 would air.

The English 19-2 was originally ordered as a pilot for CBC, but was picked up by Bravo when CBC passed on it, a decision the public broadcaster is hopefully regretting. It’s basically a shot-by-shot remake, with nearly identical plot, the same characters (except for Bossé’s Nick Berrof, who becomes Nick Barron, played by Adrian Holmes), same music and same cinematographic style. The actors are different (with the exception of Benz Antoine, who plays the alcoholic cop Tyler), and Podz, the director whose mark is so clearly felt in the French version, is not behind the camera in the English one. Still, the English version is as compelling as the French one, and worth watching even for those of us who already know what’s going to happen next.

19-2 is the first English drama in forever that is clearly set in Montreal. This leads to some odd things we just have to accept, such as the fact that even though Montreal is a French city and French signs are everywhere, nobody ever actually speaks the language or even has a strong accent. There are also the occasional geographical head-scratchers.

But it’s fun to see our fair city on the small screen in English without the producers trying to tone down its character so it can pass for any American city.

Bell has qualified 19-2’s first season run on Bravo as a big success, reaching an average of 190,000 viewers a week, making it the No. 3 show on the network. The series got a boost the first week with a day-after airing on CTV, and I wouldn’t be surprised if we see the season rerun on the main network similar to what it did for Space’s Orphan Black.

Assuming Season 2 of the English series goes the same way the French one does, it’ll be a roller-coaster plot-wise, starting the first episode with a school shooting (in the French version, the school shooting scene was done as a 13-minute continuous take, though it’s not clear if the English version will repeat that experiment and Podz is going to direct it again in English) and ending with a big reveal where … well, I won’t spoil it for you.

Bell also notes that the English series, produced by Sphère Média Plus and Echo Media, will be going to Cannes to be shopped to international broadcasters around as part of the MIPTV conference there next week.

The first nine episodes of 19-2 are available for viewing at Bravo.ca. The first season finale airs Wednesday, April 2, at 9pm on Bravo.

Videotron finally joins the iPhone club

One of many ads in Saturday papers announcing Videotron's introduction of the iPhone.

One of many ads in Saturday papers announcing Videotron’s introduction of the iPhone.

Three and a half years after launching its mobile network, Videotron has finally solved its biggest issue: Until now, you couldn’t get a plan with an iPhone.

At first, the problem was technological. The frequency spectrum Videotron acquired in the 2008 auction was in the 1700 MHz band (called the Advanced Wireless Services band), and the iPhone wasn’t compatible with that band. It wasn’t just an issue for Videotron — it also prevented the iPhone from being compatible with the T-Mobile network south of the border.

That changed last year, when Apple introduced a model of the iPhone 5 that was compatible with AWS and the T-Mobile and Videotron networks. By last fall, people could get their hands on an iPhone 5 and by adding a Videotron SIM card make it compatible with the carrier’s network.

After that, the issue stopped being a technological one and started being a legal one. Videotron didn’t have a deal to sell the iPhone, so the best it could do was encourage people to buy it at Apple stores and install a Videotron SIM card themselves.

A couple of weeks ago, in a brief and understated email (whose contents were strictly regulated by the terms of the deal between Videotron and Apple), the company announced it would start selling iPhones on March 28. On March 29, full-page ads came out in all the papers announcing the iPhone 5s was now available at Videotron retail outlets.

Not only does this mean that Videotron can join the big guys, but also that it can stop pretending that non-Apple products are just as good as Apple ones. Without the iPhone, Videotron pushed Android apps and devices, including the Google Nexus One, which was the hot new thing when the network launched. Parent company Quebecor did its best to wipe the iPhone out of its universe, even going so far as to push producers of fictional shows on TVA to replace characters’ iPhones with Android devices (Quebecor downplayed this as something similar to product placement).

All the while, it remained impatient, hoping that Apple would soon deem Videotron worthy of inclusion.

Illico TV app now available

On Monday Tuesday, Videotron will announce that the Illico TV app is available for iPhone users. The application allows subscribers to Videotron’s television service to access live TV channels and free video-on-demand shows on their iPhones. And for the most part, they can do this regardless of who their carrier is.

Using the app, which was added to the Apple app store on Friday, requires authenticating with Videotron to prove that you’re a Videotron cable TV customer, which gives you access to channels you subscribe to, including a bunch of live channel feeds.

One exception to the rule is RDS, which is the most expensive channel to get the rights to. You can access RDS’s live feed, including Canadiens games, only if you’re also a Videotron mobile customer as well. This is the result of the rights agreement between Videotron and RDS (owned by Bell Media). RDS sells its mobile rights through the mobile carriers.

Videotron’s iPhone app doesn’t allow purchases, so you can’t buy video-on-demand movies. The reason for this is simple math: Apple’s required percentage take of in-app purchases is so high (30%), that Videotron can’t make any money selling content this way.

The Illico Club Unlimited subscription video-on-demand service is also not available yet on the iPhone app.

New prices

Something that’s already making headlines is the prices that Videotron is using to sell them. Videotron is offering unlimited calling and 4GB data for $75 a month, while the Big Three are offering $110 a month for the same plans. Additionally, it’s offering the iPhone at an almost $500 discount for a 24-month plan. That means more than $20 a month of your iPhone plan with Videotron will be going just to pay off the discount you got for your device.

It’s almost as if Videotron has been waiting for this day for years.