Author Archives: Michael Korican

About Michael Korican

A long-time media artist, Michael’s filmmaking stretches back to 1978. Michael graduated from York University film school with Special Honours, winning the Famous Players Scholarship in his final year. The Rolling Stone Book of Rock Video called Michael's first feature 'Recorded: Live!' "the first film about rock video". Michael served on the board of L.I.F.T. when he lived in Toronto during the eighties and managed the Bloor Cinema for Tom and Jerry. He has been prolific over his past eight years in Victoria, having made over thirty-five shorts, won numerous awards, produced two works for BravoFACT! and received development funding for 'Begbie’s Ghost' through the CIFVF and BC Film.

Funding for Docs in Canada

Posted on by
Reply

The Shaw Media-Hot Docs Funds have announced a submission window for Canadian documentaries:

  • The Fall 2012 round for applications will open on Wednesday, September 19, 2012
  • Final deadline for applications: Wednesday, October 17, 2012 at 5:00 pm

Shaw Media-Hot Docs Completion Fund

$3,000,000 available: The Shaw Media-Hot Docs Completion Fund is a grant program that will provide financial support of up to $100,000 (limited to a maximum of 20% of a project’s budget) for production companies to complete specific projects.

Shaw Media-Hot Docs Development Fund

$1,000,000 available: The Shaw Media-Hot Docs Development Fund is a loan program designed to help producers get specific projects developed, researched, written and/or packaged and ready for market.

The Fall and Rise of the Mediascape

Posted on by
Reply

Ever since 2004, I’ve pictured the mediascape as a brick wall.

A brick wall falling apart.

In slow motion.

Brick by brick.

Movies and TV first began appearing on the Internet in 2004. No one quite knew how to make money with media on the web but no one could deny that people were spending more and more time there. And less and less time on traditional media.

Since then, this trend has accelerated. More channels and fragmented audiences have meant smaller budgets and increased competition. How is the independent filmmaker to finance their work?

The bricks continue to fall.

As the dust begins to settle,
is that a glimmer of blue sky I see?