Production Q&A

What are the main professional associations in Quebec City?

• AQTIS 514 IATSE (Quebec Alliance of Image and Sound Technicians)

• ARRQ (Quebec Directors Guild)

• SARTEC (Society of Radio, Television and Film Authors)

• UDA (Union of Artists)

These associations represent and defend the interests of film and television professionals.

How to prepare grant applications

The first funding applications are the most difficult. For beginners, the hardest part is often preparing the project budget and adapting the presentation to the different types of partners being approached.

Financial partners receive large numbers of applications, and competition is fierce. It is therefore essential to provide all the information and documents requested, avoid including superfluous elements, and comply with presentation standards: length of texts, number of copies, etc. It goes without saying that the application must be clear, demonstrate the feasibility of the project, and show the filmmaker's ability to see it through to completion. The presentation of applications must also be impeccable. Pay particular attention to the layout and the quality of the English.

As mentioned above, arts councils are concerned with professional artistic practice, exploration of the medium, advancement and promotion of the discipline, and artistic career development. From their perspective, creative independence is paramount. For them, this means that artists and their work should not be subject to external constraints such as the length of a television broadcast window, the choices of a producer, commercial trends, etc. This perspective will therefore influence the jury or selection committee members' review of applications. 

Artist-run centre committees take a similar approach in managing their service assistance programs. They usually require less documentation than arts councils, but are concerned with the independent nature of the project and the filmmakers' artistic approach.

Public funding programs that grant investments and funds related to television broadcasting or “commercial” broadcasting have a different perspective. To support a project, jury members must be convinced of the skills and talents of the creative team (producer, screenwriter, director, cinematographer, editor, principal performers) as well as the project's potential in terms of audiences and distribution/broadcast markets, marketing strategies, etc.  

For sponsorship or service requests that are not specifically designed for artistic and film projects, it is best not to overwhelm the recipient with details that he or she may not fully understand. What matters is that the person understands what is being asked of them, for what purpose, and what is being offered in return. They must see the benefit: direct visibility, goodwill among their customers and in their community, shared values with the filmmakers and the project, etc.

Artist-run centers offer their members useful information and advice on grant applications, budget preparation, and documentation. 

To get more than just answers to a few questions, it is best to make an appointment in advance. Similarly, to obtain a letter of support or sponsorship from an artist center, it is best to find out how they operate first. Generally, centers have set dates during the year for receiving applications.

Can I self-produce my film?

Specialized school programs, professional development workshops offered in the field, and hands-on experience are all ways to learn the production trade. Among the responsibilities of a producer, it is generally the administrative and legal aspects that seem the most difficult.

Depending on the scope and requirements of the project, directors who are ready to self-produce may find it beneficial to partner with another person in the production or to hire a more experienced production manager. Artist-run centres such as Les Films de l'Autre in Montreal offer a production environment that meets these needs while preserving the filmmaker-producer's full editorial and creative control. Some independent production companies are also open to working with filmmakers under co-production models that promote this full control. 

Where can I find resources, networks, and opportunities for emerging filmmakers?

• Kinö Québec : A movement that offers opportunities for creation and dissemination for the next generation, promoting experimentation and learning through practice.
• Kinomada : Organizes intercultural creative workshops in Quebec City and internationally, open to beginners and experienced artists alike.
• Media arts artist centers: Offer material resources, advice, documentation, training, collective projects, and networking.

Where can I find funding and resources for my project?

Local sources for new talent :

• Première Ovation - Cinéma (Quebec City, managed by SPIRA)

Sources of funding for film, television, and multiplatform production:

• SODEC 
• Telefilm Canada
• Canada Media Fund
• Bell Fund, Independent Production Fund, Rogers Group of Funds
• National Film Board of Canada
• Quebec City Financial Incentives

Note: Major public funds are generally aimed at producers rather than directly at filmmakers. They often operate on a recoverable investment model, with strict eligibility criteria (company status, licenses, financial arrangements, etc.).

I need help managing my production. What do I need to know?

Producer responsibilities : Administrative and legal management, grand applications, subsidies, budget preparation, cost monitoring. 

Practical tools: Use Telefilm Canada's standard budget as a reference.

Tip: Depending on the scope of the project, it may be a good idea to partner with an experienced individual or artist collective that can offer production support while allowing the filmmaker to retain creative control.

What steps must be taken to obtain the necessary rights and authorizations?

• Written consent from everyone appearing in the film(release of rights);
• Appropriate contracts for all performers, including extras (often through the UDA);
• Written authorization for any work, archive or document included in the film (visual, audio, text, etc.), obtained from the rights holder (author, publisher, rights holders);
• Sample contracts and receipts are available to guide you in drafting these documents.

Who can support me in my professional development?

SPIRA offers annual training sessions for its members, as well as master classes, group projects and networking activites.

Other artist-run centers and organization in the region also offer workshops, creative labs and mentoring opportunities.