SHAW TV VANCOUVER...SHAW TV: ACC CHECKLIST for Provide name and full contact information for yo Outline information about your group as it relates to the proposal. Is the content specific

SHAW TV: ACC

SHAW TV VANCOUVER

ACCESS AND COMMUNITY TELEVISION

INFORMATION PACKAGE

SHAW TV: ACCESS AND COMMUNITY TELEVISION UPDATED October 2014

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SHAW TV VANCOUVER


INFORMATION PACKAGE – October 2014


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SHAW TV: ACC

CHECKLIST for

Provide name and full contact information for yo

Outline information about your group as it relates to the proposal.

Is the content specific to a city or area? Give outline

What is the objective of the show or series?

Define the general format of the show or series.

If a series, outline details of what will be covered in the series including a breakdown of each episode.

Provide a detailed production resume of relev

Provide list of equipment used or what is required for production or packaging, or provide production company information.

Provide a list of other production personnel (resumapplicable) they will need to attend.

Detailed list of on-air personnel, resumes, related video experience.

Details if you will require any use of Shaw facilities, equand if any of your crew has been work shopped on Shaw equipment as a volunteer on another production.

If you are totally independent in the production of your program, provide brief details onbe putting the program together, home studio, shooting on location, own cameras, editing at home etc..

Pilot or video samples (not required, but helpful) clearly labeled with title, name and contact info.

Submit completed application to Ava Leevia email [email protected]

Read and understand information for Community A

Read and prepare Clearances fo


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CHECKLIST for ACCESS PROGRAMMING PROPOSAL

(details on page 16)

Provide name and full contact information for yourself and/or group

Outline information about your group as it relates to the proposal.

Is the content specific to a city or area? Give outline

What is the objective of the show or series?

Define the general format of the show or series.


Provide a detailed production resume of relevant experience and previous productions.

Provide list of equipment used or what is required for production or packaging, or provide production

Provide a list of other production personnel (resumes, related experience) and what workshops (if applicable) they will need to attend.

air personnel, resumes, related video experience.

Details if you will require any use of Shaw facilities, equipment including cameras, edit bays, studio and if any of your crew has been work shopped on Shaw equipment as a volunteer on another

If you are totally independent in the production of your program, provide brief details onbe putting the program together, home studio, shooting on location, own cameras, editing at home


Submit completed application to Ava Lee-Chin, 900-1067 West Cordova St. , Vancouver, V6C 3T5 or

Read and understand information for Community Access Programmers, (pages 8, 9

Read and prepare Clearances for Television Airing (pages 10-14) if required.

ACCESS PROGRAMMING PROPOSAL


ant experience and previous productions.

Provide list of equipment used or what is required for production or packaging, or provide production

es, related experience) and what workshops (if

ipment including cameras, edit bays, studio and if any of your crew has been work shopped on Shaw equipment as a volunteer on another

If you are totally independent in the production of your program, provide brief details on how you will be putting the program together, home studio, shooting on location, own cameras, editing at home


1067 West Cordova St. , Vancouver, V6C 3T5 or

9 & 15).

SHAW TV: ACC

Access Information Package

Background Information – Community TelevisionRole of Community Television

Cable License Classes

Class 1, 2, 3

Regional Licensing Model

Local Community Television Programming

Definition

% of Programming

General

Access Programming As Part of Local Community Channel Programming

Definition

% of Programming

Exhibition (exhibition of Access programming)

General

Promotion of Access Opportunities

Additional information related to CMunicipal Council and Public Affairs Programming

TV Corporations

Self-promotional Messages on the Community Cha

Links Related to Overview

Community Television Broadcasting GuidelinesCanadian Broadcast Standards Council

Canada’s Broadcasting Codes

Violence on television

Portrayal of men and women

Fairness and accuracy in the news

Controversial public discussion

Human rights

CAB Code of Ethics: Mature Subject Matter

Watershed

Use of Coarse Language

Materials Susceptible of Offending View

Viewer Advisories

Clearances for Television Airing Introduction

Creative Materials

Documentation

The Ephemeral Exception

Parental Consent for Minor Children

Copying Programs

Sample Clearance Form

Copyright Board of Canada & The Canadian Copyright Act

Links

The Society of Composers, Authors, and Music Publishers of Canada (SOCAN)

Performing Rights

The Role of SOCAN

A SOCAN License

Neighbouring Rights

Links

Sample: Copyright Clearance Form

Sample: Individual Performance Release

Canadian Defamation Law Introduction Canadian Defamation Law Libel and Slander Links


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Access & Community Television Information Package – October 2014

Community Television …………………\.………. …….………………………….05

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As Part of Local Community Channel Programming …………………….………….

Exhibition (exhibition of Access programming) …………………….………….05

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itional information related to Community Television …………………….………….0

Public Affairs Programming ………………….…………….0

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essages on the Community Channel ………….…………………….0

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Community Television Broadcasting Guidelines ………..………………….0 ………….…………………….0

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Materials Susceptible of Offending Viewers

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Canadian Copyright Act …………………………

The Society of Composers, Authors, and Music Publishers of Canada (SOCAN) …………………………

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SHAW TV: ACC

Submitting a Show Idea or Program Proposal to Shaw TV

Copyright Clearance The Application Process

Show Guidelines (for approved shows)Production Planning and Execution

Production and Staging

Audio Production

Lighting

Content Production

Graphics

Post-production Editing

Show Packaging for Shaw TV

Formatting Tapes

Packaging for On-Air Broadcast

Standard Packaging Guidelines

Labeling

Cue Sheeting

0Signal

Sample: Cue Sheet

Video Standards

Videotape Standards

Video Standards

Access Facilities Guidelines and Appropriate Use of Equipment

Security – Building and Keys

Safety

Authorized Use of Equipment

Equipment Failure

Conduct

General Housekeeping

Shaw TV Vancouver Policies and Procedures OverviewHave an idea for a program? Request for airtimes for a produced program

Request for training Request for equipment access

Equipment booking policies

Camera equipment guidelines

Editing equipment guidelines

Booking mobiles and other equipment

Program delivery

Shaw TV Program Application


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Program Proposal to Shaw TV …………………………….1

Copyright Clearance …………….………………….1The Application Process …………………………

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Access Agreement ……………………………. …………………………

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Shaw TV Vancouver Policies and Procedures Overview …………………….………….

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Request for airtimes for a produced program …………………….………….

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SHAW TV: ACC

Background information

CRTC POLICY: Access by citizens to the community channel has always been a cornerstone of the Commission’s policy. The factor that most distinguishes the content of community programming from conventional television services is the ability of community programming to turn the passive viewer of television into an active participant. From this participation flows programming of a nature that is as varied aExcerpt from Broadcasting Public Notice CRTC 2002

Current CRTC policies: http://www.crtc.gc.ca/eng/archive/20

ROLE OF COMMUNITY TELEVISION

The role of the community channel should be primarily of a public service nature, facilitating selffree and open access by members of the community.

1. Engender a high level of citizen participation and community invol

2. Actively promote access and the availabili

3. Provide feedback mechanisms, such as advisory boards, to en

4. Seek out innovative ideas and alternative views.

5. Provide a reasonable, balanced opportunity for the expression of differing vieconcern.

6. Reflect the official languages, ethnic and Aborigin

7. Provide coverage of local events.

8. Publicize the program schedule.

CABLE LICENSE CLASSES

Class 1 License Systems serving 6,000 or more subscribers

Class 2 License Systems serving 2,000 or more, but fewer than 6,

Class 3 License Systems serving fewer than 2,000 subscribers

Regional Licensing Model Under any regional licensing model, the original licensed areas will generally be retained for regulatory purposes to ensure that the smaller localities served under the current license will continue to be served witchannels, even if the cable company obtains approval for a regional license. LOCAL COMMUNITY TELEVISION PROGRAMMING

Definition

Local community television programming, as defined in the produced by the licensee in the licensed area or by members of the community from the licensed areain another licensed area within the same municipality % of Programming

Class 1 + 2 licensees: 60% minimum weekly content of localphanumeric bulletin boards; including

Class 3 licensees: alphanumeric bulletin boards of license. General

1. Local community television programs

2. No distribution of foreign or commercial pr

3. No financial payment in exchange for the distribution of government or publ

4. Complementary programming may be distriincludes: community programs produced by oinformation material; National Film Board productions; children's programs;provided by the Provincial Education Question Period portions of the House of Com(Public Notice CRTC 1985-151)

5. Generally, no professional major league sports produced by companies generally engaged in the production of such programs


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Background information – Community Television

OVERVIEW CRTC POLICY: ACCESS & COMMUNITY TELEVISION

Access by citizens to the community channel has always been a cornerstone of the Commission’s policy. The factor he content of community programming from conventional television services is the ability of

community programming to turn the passive viewer of television into an active participant. From this participation flows programming of a nature that is as varied as the imagination and skills of the participants.

Broadcasting Public Notice CRTC 2002-61 (Ottawa, 10 October 2002)

http://www.crtc.gc.ca/eng/archive/2010/2010-622.htm

The role of the community channel should be primarily of a public service nature, facilitating self-expression through free and open access by members of the community. The community channel should:

a high level of citizen participation and community involvement in community programming.

the availability of related training programs.

rovide feedback mechanisms, such as advisory boards, to encourage viewer response

ive ideas and alternative views.

rovide a reasonable, balanced opportunity for the expression of differing views on matters of public

eflect the official languages, ethnic and Aboriginal composition of the community.

local events.

ublicize the program schedule.

000 or more subscribers

t fewer than 6,000 subscribers

00 subscribers

, the original licensed areas will generally be retained for regulatory purposes to ensure that the smaller localities served under the current license will continue to be served with distinct community channels, even if the cable company obtains approval for a regional license.

OCAL COMMUNITY TELEVISION PROGRAMMING

Local community television programming, as defined in the Broadcasting Act (the Act) is reflective of theproduced by the licensee in the licensed area or by members of the community from the licensed areain another licensed area within the same municipality.

60% minimum weekly content of local community television programming (including (live) council meetings)

alphanumeric bulletin boards may be included in minimum 60% requirement if allowed by terms

ity television programs must receive scheduling priority.

foreign or commercial programs.

financial payment in exchange for the distribution of government or public service information material

omplementary programming may be distributed by Class 2 and 3 licensees. Complementary programming community programs produced by other cable television licensees; government or publ

information material; National Film Board productions; children's programs; educational progprovided by the Provincial Education Authority; alpha-numeric services such as Broadcast News;Question Period portions of the House of Commons or provincial legislatures; and multicultural programs

151).

professional major league sports produced by companies generally engaged in the production

Access by citizens to the community channel has always been a cornerstone of the Commission’s policy. The factor he content of community programming from conventional television services is the ability of

community programming to turn the passive viewer of television into an active participant. From this participation

expression through

vement in community programming.

courage viewer response.

ws on matters of public

, the original licensed areas will generally be retained for regulatory purposes to h distinct community

eflective of the community, produced by the licensee in the licensed area or by members of the community from the licensed area, and produced

al community television programming (excluding

quirement if allowed by terms

ic service information material.

Complementary programming government or public service

educational programs not services such as Broadcast News; the

and multicultural programs

professional major league sports produced by companies generally engaged in the production

SHAW TV: ACC

ACCESS PROGRAMMING AS PART OF LOCAL COMMUNITY TELEVISION PROGRAMMING

Definition

Programs produced by members of the community, either assisted or % of Programming

Class 1 and Class 2 licensees:

Exhibition

• Licensees shall devote a minimum of 30% of the programming aired during each broadcast week to the broadcasting of access programs until 31following minimums: 35% in the 2011 broadcast year, 40% in the 2012 broadcast year and 45% in the 2013 broadcast year.

• Effective 1 September 2014, licensees shall devote a minimum of 50% of the programming aired during each broadcast week to the broadcast of access programs.

http://www.crtc.gc.ca/eng/archive/2010/2010(note the slightly different link, this was an amendment)

Exhibition of access programming

17. As noted above, BDUs that choose to operate a community channel must devote at least 30% of the programming to access programs. Where demand exists, that minimum rises to 50%. In other words, under the current policy, a conditions set out in Public Notice

http://www.crtc.gc.ca/eng/archive/2010/2010

General

1. Scheduled throughout the broadcast day, including the peak viewing period (7:00 p.m. to 11:00 p.m.)generally, the ratio of original to repeat programsprogramming.

2. Licensees should consult members of the community to determine the mix, scope and types of programs that best serve the needs and interests of the community at large, through formal advisory boards feedback from volunteers.

3. Should reflect the official languages, as well as the multicultural and Aborigin

4. The Commission will explore in licensing and licence renewal processes appropriate commitments to captioning and program description, commensurate with

NOTE: the Commission notes that while access programs are a central element of community programming, licenseeproduced programs may be equally valuable.

PROMOTION OF ACCESS OPPORTUNITIES

The licensee is to actively promote access

Class 1 and Class 2 licensees are required to undertake the aavailability of access programming and methods by which proposals can be made


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AS PART OF LOCAL COMMUNITY TELEVISION PROGRAMMING

rograms produced by members of the community, either assisted or unassisted by the licensee

Licensees shall devote a minimum of 30% of the programming aired during each broadcast week to the until 31 August 2011, after which licensees shall broadcast the

following minimums: 35% in the 2011 broadcast year, 40% in the 2012 broadcast year and 45% in the

Effective 1 September 2014, licensees shall devote a minimum of 50% of the programming aired during oadcast week to the broadcast of access programs.

http://www.crtc.gc.ca/eng/archive/2010/2010-622-1.htm (note the slightly different link, this was an amendment)

ogramming

that choose to operate a community channel must devote at least 30% of the programming to access programs. Where demand exists, that minimum rises to 50%. In other words, under the current policy, a BDU may not refuse access requests that meet the terms and conditions set out in Public Notice 1992-39 until it has met the 50% minimum requirement.

http://www.crtc.gc.ca/eng/archive/2010/2010-622.htm

cheduled throughout the broadcast day, including the peak viewing period (7:00 p.m. to 11:00 p.m.)ratio of original to repeat programs is the same for access as for local community

icensees should consult members of the community to determine the mix, scope and types of programs that best serve the needs and interests of the community at large, through formal advisory boards

uld reflect the official languages, as well as the multicultural and Aboriginal communities

he Commission will explore in licensing and licence renewal processes appropriate commitments to captioning and program description, commensurate with the resources of each licensee.

NOTE: the Commission notes that while access programs are a central element of community programming, licenseeproduced programs may be equally valuable.

PROMOTION OF ACCESS OPPORTUNITIES

to actively promote access opportunities, and the availability of related training programs

are required to undertake the annual distribution of a billing insert promoting availability of access programming and methods by which proposals can be made.

AS PART OF LOCAL COMMUNITY TELEVISION PROGRAMMING

Licensees shall devote a minimum of 30% of the programming aired during each broadcast week to the icensees shall broadcast the

following minimums: 35% in the 2011 broadcast year, 40% in the 2012 broadcast year and 45% in the

Effective 1 September 2014, licensees shall devote a minimum of 50% of the programming aired during

that choose to operate a community channel must devote at least 30% of the programming to access programs. Where demand exists, that minimum rises to 50%. In other

cess requests that meet the terms and until it has met the 50% minimum requirement.

cheduled throughout the broadcast day, including the peak viewing period (7:00 p.m. to 11:00 p.m.); ommunity

icensees should consult members of the community to determine the mix, scope and types of programs that best serve the needs and interests of the community at large, through formal advisory boards and/or

al communities.

he Commission will explore in licensing and licence renewal processes appropriate commitments to .

NOTE: the Commission notes that while access programs are a central element of community programming, licensee-

availability of related training programs.

nnual distribution of a billing insert promoting

SHAW TV: ACC

ADDITIONAL INFORMATI

MUNICIPAL COUNCIL AND PUBLIC AFFAIRS PROGRAMMING

Live coverage of municipal council or other community government proceedings programming. Live coverage of municipalof the community channel’s responsibility and will count as local community television programming TV CORPORATIONS

TV corporations are not-for-profit corporations that areprovides that the primary activity of the corporation is to produce community television programming and/or operate a community television channel that is reflective of the community they represent. Board methe local community and the corporation must hold an annual meeting where all members of the corporation are invited to participate and to vote.

SELF PROMOTION

Class 1 and Class 2 licensees: a maximum the community channel:

1. A minimum 75% of weekly promotional time must be made available for

a. non-related Canadian programming undertakings for the promotion of th

b. the promotion of the community

c. unpaid Canadian public service announcements

2. A maximum 25% of weekly promotional time may be made available for

a. the promotion of related programming undertakings, discretionary programming serprogramming packages

b. customer service informat

c. channel realignments

d. cable FM service

e. additional cable outlets

3. A related programming undertaking is defined as one in whichcontrols more than 10% of the total shares issued and outstanding

LINKS RELATED TO OVERVIEW

Overview interpreted from:

POLICY FRAMEWORK FOR COMMUNITY BASED MEDIA

http://www.crtc.gc.ca/eng/com100/2010/r100826.htm

Current CRTC Community Television Policy

http://www.crtc.gc.ca/eng/com100/2010/r100826.htmBroadcasting Public Notice CRTC 2002-61 (Ottawa, 10 October 2002)

http://www.crtc.gc.ca/eng/archive/2002/pb2002replaces Community Channel Policy - Public Notice CRTC 1991

Additional documents referenced in CRTC 2002

CABLE TELEVISION COMMUNITY CHANNEL STANDARDS

Public Notice CRTC 1992-39 (Ottawa, 1 June 1992)

http://www.crtc.gc.ca/eng/archive/1992/PB92

COMPLEMENTARY PROGRAMMING ON THE COMMUNITY CHANNELPublic Notice CRTC 1985-151 (Ottawa, 18 July 1985)

http://www.crtc.gc.ca/eng/archive/1985/PB85

POLICY ON VIOLENCE IN TELEVISION PROGRAMMINGPublic Notice CRTC 1996-36 (Ottawa, 14 March 1996)

http://crtc.gc.ca/eng/archive/1996%5CPB96 Additional reference:

BROADCASTING DISTRIBUTION REGULATIONS

http://www.crtc.gc.ca/Eng/LEGAL/BDU.HTM


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ADDITIONAL INFORMATION RELATED TO COMMUNITY TELEVISION

MUNICIPAL COUNCIL AND PUBLIC AFFAIRS PROGRAMMING

Live coverage of municipal council or other community government proceedings cannot be considered access ive coverage of municipal council meetings and other government proceedings is an important aspect

of the community channel’s responsibility and will count as local community television programming

profit corporations that are incorporated under a provincial or federal charter which provides that the primary activity of the corporation is to produce community television programming and/or operate a community television channel that is reflective of the community they represent. Board members must be drawn from the local community and the corporation must hold an annual meeting where all members of the corporation are

maximum of two minutes per hour may be used for self-promotional messages

minimum 75% of weekly promotional time must be made available for:

related Canadian programming undertakings for the promotion of their respective services

f the community channel

an public service announcements

maximum 25% of weekly promotional time may be made available for

the promotion of related programming undertakings, discretionary programming serprogramming packages

customer service information

channel realignments

additional cable outlets

related programming undertaking is defined as one in which a BDU licensee or an affiliate controls more than 10% of the total shares issued and outstanding.

POLICY FRAMEWORK FOR COMMUNITY BASED MEDIA

http://www.crtc.gc.ca/eng/com100/2010/r100826.htm

http://www.crtc.gc.ca/eng/com100/2010/r100826.htm 61 (Ottawa, 10 October 2002)

http://www.crtc.gc.ca/eng/archive/2002/pb2002-61.htm#40 lic Notice CRTC 1991-59, 5 June 1991)

dditional documents referenced in CRTC 2002-61:

CABLE TELEVISION COMMUNITY CHANNEL STANDARDS

39 (Ottawa, 1 June 1992)

http://www.crtc.gc.ca/eng/archive/1992/PB92-39.htm

MING ON THE COMMUNITY CHANNEL 151 (Ottawa, 18 July 1985)

http://www.crtc.gc.ca/eng/archive/1985/PB85-151.HTM

POLICY ON VIOLENCE IN TELEVISION PROGRAMMING 36 (Ottawa, 14 March 1996)

rchive/1996%5CPB96-36.htm

BROADCASTING DISTRIBUTION REGULATIONS (including community channel) http://www.crtc.gc.ca/Eng/LEGAL/BDU.HTM

ITY TELEVISION

considered access council meetings and other government proceedings is an important aspect

of the community channel’s responsibility and will count as local community television programming.

ated under a provincial or federal charter which provides that the primary activity of the corporation is to produce community television programming and/or operate a

mbers must be drawn from the local community and the corporation must hold an annual meeting where all members of the corporation are

promotional messages on

eir respective services

the promotion of related programming undertakings, discretionary programming services and

a BDU licensee or an affiliate – or both –

SHAW TV: ACC

SHAW TV: INFORMATION FOR COMMUNITY

COMMUNITY TELEVISION BROADCASTING GUIDELINES

Shaw TV is defined as a cable television communityTelecommunications Commission: CRTC

Shaw TV operates within the general broaestablished by Canada’s Broadcast Standards Council (CAB Code of Ethics, CAB Violence Code, CAB Sex Role Portrayal Code, and RTNDA Code of (Journalistic) Ethics). CBC Radiowhich are useful. From a legal perspective we must ensure access programming complissues including but not limited to copyright and defamation (libel and slander).

Programming on Shaw TV is not definedelements included in the content of any program. This would include material which promotes community events and/or services, including sponsorship and contra advertising. CANADIAN BROADCAST STANDARDS COUNCIL

The CBSC was created in 1990 by the Canadian Association of Broadcasters (CAB) to oversee the selfsystem of codes and standards created by Canada’s broadcast industry.

The CBSC is an independent, non-governmental organtelevision broadcasters and specialty television services. The voluntary codes administered by the CBSC reflect the industry’s commitment to respect community standards for programming. They inc

1. The CAB Code of Ethics

2. The CAB Sex-Role Portrayal Code

3. The CAB Violence Code

4. The RTNDA Code of (Journalistic) Ethics

Link

The Canadian Broadcast Standards Councilhttp://www.cbsc.ca/english/index.php CANADA’S BROADCASTING CODES

The CBSC administers several voluntary codes on behalf of Canada’s private broadcasters. In brief,issues including:

Violence on television

Television programs broadcast in Canada may not glamorize or show gratuitous violence (violence unnecessary to the development of the plot, characters or theme). Programming containing violence intended for adults may air only after 9:00 p.m. The rules on violent content in children’s programming are even stricter.

The portrayal of men and women

Programming must respect the intellectual and emotional equality of men and women and may not demean either sex. Broadcasters must be careful when making use of gender stereotypes in their programming.

Fairness and accuracy in the news

News and public affairs issues have to be Broadcast journalists will respect the dignity, privacy and well

Controversial public discussion

Controversial public issues must be treated faibe full, fair and proper.

Human rights

All programming must respect human rights and must be free of abusive or unduly discriminatory comment. CAB CODE OF ETHICS: MATURE SUBJECT MATTER

“Mature Subject Matter” relates to programming which may offend some viewers through its content, visual images, language and/or themes.

The Watershed

The Watershed marks the start of the late evening viewing period, defined as running from 9

Television content which contains material

content or coarse or offensive language) must be aired after the Watershed.

Use of Coarse Language


8

SHAW TV: INFORMATION FOR COMMUNITY ACCESS PROGRAMMERS

COMMUNITY TELEVISION BROADCASTING GUIDELINES

Shaw TV is defined as a cable television community channel under regulatory (Canadian Radio-Television andCRTC) licensing.

within the general broadcasting environment and also complies with voluntary guidelines established by Canada’s Broadcast Standards Council (CAB Code of Ethics, CAB Violence Code, CAB Sex Role Portrayal Code, and RTNDA Code of (Journalistic) Ethics). CBC Radio-Canada also provides Journalistic Standards which are useful. From a legal perspective we must ensure access programming complies under Canadian laws for

copyright and defamation (libel and slander).

Programming on Shaw TV is not defined in commercial terms, although there may be commercial or ‘forelements included in the content of any program. This would include material which promotes community events and/or services, including sponsorship and contra advertising.

ADCAST STANDARDS COUNCIL

The CBSC was created in 1990 by the Canadian Association of Broadcasters (CAB) to oversee the selfsystem of codes and standards created by Canada’s broadcast industry.

governmental organization and includes nearly all of Canada’s private radio and television broadcasters and specialty television services. The voluntary codes administered by the CBSC reflect the industry’s commitment to respect community standards for programming. They include:

Role Portrayal Code

The RTNDA Code of (Journalistic) Ethics

The Canadian Broadcast Standards Council

CANADA’S BROADCASTING CODES

ers several voluntary codes on behalf of Canada’s private broadcasters. In brief,

Television programs broadcast in Canada may not glamorize or show gratuitous violence (violence unnecessary to evelopment of the plot, characters or theme). Programming containing violence intended for adults may air only

p.m. The rules on violent content in children’s programming are even stricter.

t the intellectual and emotional equality of men and women and may not demean either sex. Broadcasters must be careful when making use of gender stereotypes in their programming.

News and public affairs issues have to be reported fairly and accurately and must not focus on irrelevant factors. Broadcast journalists will respect the dignity, privacy and well-being of everyone with whom they deal.

Controversial public issues must be treated fairly. Open-line shows may be provocative but on-air commentary must

All programming must respect human rights and must be free of abusive or unduly discriminatory comment.

: MATURE SUBJECT MATTER

Mature Subject Matter” relates to programming which may offend some viewers through its content, visual images,

The Watershed marks the start of the late evening viewing period, defined as running from 9:00 p

Television content which contains material “intended exclusively for an adult audience” (containing sexually explicit

content or coarse or offensive language) must be aired after the Watershed.

S PROGRAMMERS

Television and

with voluntary guidelines established by Canada’s Broadcast Standards Council (CAB Code of Ethics, CAB Violence Code, CAB Sex Role

es Journalistic Standards ies under Canadian laws for

in commercial terms, although there may be commercial or ‘for-profit’ elements included in the content of any program. This would include material which promotes community events

The CBSC was created in 1990 by the Canadian Association of Broadcasters (CAB) to oversee the self-regulating

and includes nearly all of Canada’s private radio and television broadcasters and specialty television services. The voluntary codes administered by the CBSC reflect the

ers several voluntary codes on behalf of Canada’s private broadcasters. In brief, the codes cover

Television programs broadcast in Canada may not glamorize or show gratuitous violence (violence unnecessary to evelopment of the plot, characters or theme). Programming containing violence intended for adults may air only

t the intellectual and emotional equality of men and women and may not demean either sex. Broadcasters must be careful when making use of gender stereotypes in their programming.

reported fairly and accurately and must not focus on irrelevant factors. being of everyone with whom they deal.

air commentary must

All programming must respect human rights and must be free of abusive or unduly discriminatory comment.

Mature Subject Matter” relates to programming which may offend some viewers through its content, visual images,

p.m. to 6:00 a.m.

(containing sexually explicit

SHAW TV: ACC

Television programming which contains broadcast prior to the Watershed hour of 9accompanied by viewer advisories.

Materials Susceptible of Offending Viewers

Programming which is not “intended for adult audiences” accompanied by viewer advisories if it containslanguage, or other material susceptible of offending viewers”

Viewer Advisories

To assist consumers in making their viewing choices,

1. mature subject matter or scenes with nudity

2. sexually explicit material

3. coarse or offensive language

4. other material susceptible of offen

Sample Viewer Advisories

"The following program contains scenes of coarse language and is not suitable for younger children."

"The following program contains sexually explicit material intended for adult audiences. Viewer discretion is advised."

"The following program contains sexually explicit material. Viewer discretion is advised."

"The following program contains scenes of violence, coarse language and

discretion is advised."

"The following program deals with mature subject matter and is intended for adult audiences. Viewer discretion is

advised."

"The following program deals with mature subject matter and con

discretion is advised."

CLEARANCES FOR TELEVISION AIRING

INTRODUCTION

All creative materials that are used on programming which is to air on television must have been cleareairing.

Creative Materials


9

contains “coarse or offensive language intended for adult audiences” broadcast prior to the Watershed hour of 9:00 p.m. Even when broadcast after 9:00 p.m., the programming

ending Viewers

“intended for adult audiences” may be aired prior to the Watershed. It must, however, be accompanied by viewer advisories if it contains “mature subject matter or scenes with […] coarse or offensive

r material susceptible of offending viewers” which is unsuitable for children.

To assist consumers in making their viewing choices, a viewer advisory should be aired when programming includes

t matter or scenes with nudity

coarse or offensive language

other material susceptible of offending viewers


tains sexually explicit material intended for adult audiences. Viewer discretion is advised."

"The following program contains sexually explicit material. Viewer discretion is advised."

"The following program contains scenes of violence, coarse language and nudity intended for adult audiences. Viewer


"The following program deals with mature subject matter and contains scenes of nudity and coarse language. Viewer

CLEARANCES FOR TELEVISION AIRING

used on programming which is to air on television must have been cleare

“coarse or offensive language intended for adult audiences” must not be

, the programming must be

may be aired prior to the Watershed. It must, however, be “mature subject matter or scenes with […] coarse or offensive

when programming includes:


tains sexually explicit material intended for adult audiences. Viewer discretion is advised."

nudity intended for adult audiences. Viewer


tains scenes of nudity and coarse language. Viewer

used on programming which is to air on television must have been cleared for television

SHAW TV: ACC

Creative materials encompass original literary, artistic, musical and dramatic works

1. books, poetry, newspapers, dictionaries, manuals, catalogues, magazines, pamphlets, scripts

2. computer software, paintings, drawings, design trade

3. dramatic works, photographs, films, videos

4. lyrics, musical works, choreography

Creative materials can also be a complex mix of sources whereyou tape a dance performance, you might need clearances from the composer(s) of the music, the performerthe music, the dancer(s) and the choreog

Documentation

You must acquire all clearances in writingdocumented and verbal agreements are notand keep them on file, although the clearances do not need to be submitted

It is recommended that you always have a written clearance on file for anyone you vidclearance should define whether they are giving rights for the full interview only, whether they are providing permission for the interview to be edited, whether the interview can be used for promotional purposes, and when and where the interview can be aired.

The Ephemeral Exception

The Copyright Act does allow a programming undertaking to record and reproduce for broadcast aperformance or work providing the following criteria are met. The programming undertaking:

1. must be authorized to communicate the performance to the public by telecommunication;

2. must make the reproduction itself, for its own broadcasts;

3. must not combine the reproduction with all or part of another recording, performance or work;

4. must not use the reproduction in advertisements intended to sell or promote;

5. must destroy the reproduction 30 days after it is made;

6. must keep a record of the dates of repro

Parental Consent for Minor Children

Parental consent is always required when videotaping minor children. A minor child is a child who has not reached the age of majority in that province.

18 Alberta, Manitoba, Ontario, Prince Edward Island, Quebec, Saskatchewan

19 British Columbia, New Brunswick, Newfoundland/Labrador, Northwest Territories, Nova Scotia, Nunavut, Yukon Territories

Only the parent or legal guardian has the authority to provide a cleaprincipal’s permission for taping a school event is not sufficient.

Copying Programs

Once the appropriate clearances are on file for anydecision as to whether a copy of the episode additional copyright issue associated with complimentary copies provided

Sample Clearance Form

The sample clearance form (reference page acquire as flexible a clearance as you can, i.e. if you acquire the rights for one airing only, you would not be able to rebroadcast the episode with this segment.

Musicians unions will have very specific clearance arrangements

COPYRIGHT BOARD OF CANADA & THE CANADIAN COPYRIGHT ACT

The Copyright Board of Canada is an econom

1. establish the royalties to be paid f

2. supervise agreements between users and licensing bodies

3. issue licenses when the copyright owner cannot be located


10

original literary, artistic, musical and dramatic works, and can include:

newspapers, dictionaries, manuals, catalogues, magazines, pamphlets, scripts

software, paintings, drawings, design trade-marks, sculptures, architectural works, engravings

dramatic works, photographs, films, videos

lyrics, musical works, choreography

a complex mix of sources where one single clearance is not sufficient.you tape a dance performance, you might need clearances from the composer(s) of the music, the performer

the choreographer(s).

in writing from the appropriate parties for any broadcast use. Clearance must be documented and verbal agreements are not acceptable. Shaw requires that producers acquire written clearances

the clearances do not need to be submitted unless requested.

It is recommended that you always have a written clearance on file for anyone you videotape for an interview. The clearance should define whether they are giving rights for the full interview only, whether they are providing

r the interview to be edited, whether the interview can be used for promotional purposes, and when and

The Copyright Act does allow a programming undertaking to record and reproduce for broadcast aperformance or work providing the following criteria are met. The programming undertaking:

must be authorized to communicate the performance to the public by telecommunication;

must make the reproduction itself, for its own broadcasts;

mbine the reproduction with all or part of another recording, performance or work;

must not use the reproduction in advertisements intended to sell or promote;

must destroy the reproduction 30 days after it is made;

must keep a record of the dates of reproduction and destruction of such performances or works.

when videotaping minor children. A minor child is a child who has not reached

Manitoba, Ontario, Prince Edward Island, Quebec, Saskatchewan

British Columbia, New Brunswick, Newfoundland/Labrador, Northwest Territories, Nova Scotia, Nunavut, Yukon Territories

Only the parent or legal guardian has the authority to provide a clearance for a minor child. A teacher or school principal’s permission for taping a school event is not sufficient.

on file for any creative materials used in a show, it is then the producer’scopy of the episode will be made available to a show participant. There is generally no associated with complimentary copies provided for personal use (viewing) by the recipient.

(reference page 12) can be adapted as appropriate for the situation/show.acquire as flexible a clearance as you can, i.e. if you acquire the rights for one airing only, you would not be able to

is segment.

ery specific clearance arrangements – they will provide you with any information needed.

& THE CANADIAN COPYRIGHT ACT

is an economic regulatory body empowered to

establish the royalties to be paid for the use of copyrighted works

supervise agreements between users and licensing bodies

when the copyright owner cannot be located

, and can include:

newspapers, dictionaries, manuals, catalogues, magazines, pamphlets, scripts, maps

marks, sculptures, architectural works, engravings

e is not sufficient. For example, if you tape a dance performance, you might need clearances from the composer(s) of the music, the performer(s) of

Clearance must be acquire written clearances

eotape for an interview. The clearance should define whether they are giving rights for the full interview only, whether they are providing

r the interview to be edited, whether the interview can be used for promotional purposes, and when and

The Copyright Act does allow a programming undertaking to record and reproduce for broadcast a public

must be authorized to communicate the performance to the public by telecommunication;

mbine the reproduction with all or part of another recording, performance or work;

duction and destruction of such performances or works.

when videotaping minor children. A minor child is a child who has not reached

British Columbia, New Brunswick, Newfoundland/Labrador, Northwest Territories, Nova Scotia, Nunavut, Yukon Territories

rance for a minor child. A teacher or school

creative materials used in a show, it is then the producer’s There is generally no

for personal use (viewing) by the recipient.

can be adapted as appropriate for the situation/show. It’s useful to acquire as flexible a clearance as you can, i.e. if you acquire the rights for one airing only, you would not be able to

they will provide you with any information needed.

SHAW TV: ACC

The Canadian Copyright Act recognizes three main rights:

1. The right to produce or copy the musical work (such as sheet music).

2. The right to reproduce the musical work, including mechanical rights (suchreproductions) and synchronization rights (such as music in films, videos, and multimedia productions).

3. Performing rights, which are the rights to perform a work in public (such as a live concert, a recording or any other type of public performance) and the right to communicate to the public by telecommunication (a broadcast).

Links

The Copyright Act http://www.cb-cda.gc.ca/info/act-e.html

Copyright Law In Canada http://www.trytel.com/~pbkerr/copyright.html

THE SOCIETY OF COMPOSERS, AUTHORS, AND MUSIC PUBLISHERS OF CANADA (SOCAN)

SOCAN deals exclusively with performing rights. All other rights are handled by the copyright owners or by other organizations.

Performing Rights

The performing right gives copyright ownersperform, or to authorize the performance in publi(broadcast on television or radio) their works. In return for payingperforming rights in musical works on behalf of its members.

For the telecommunication by cable systems, SOCAN has a blanketperforming rights. The tariff provides that aleach cable system operator is licensed accorda monthly basis.

The Role of SOCAN

SOCAN provides a link between the musicthe purchaser the right to listen to it in private. The public performance of these musical works is subject to copyright law and therefore requires a SOCAN license

SOCAN is the Canadian copyright collective for the public performance of musical works. performing rights of their members (composers, lyricists, songwriters and their publishers) and those of affiliated international societies by licensing the uselicense fees and distributes royalties to the creators and publishers of the musical works performed in Canada and around the world.

SOCAN works with their clients to determine what kinThe licensing cost is dependent on a range of factorsthe seating capacity of the venue and the performances and telecommunication to the public of copyrightrepertoire.

A SOCAN License

A SOCAN license entitles the licensee to use the musical works contained in SOCAN's rerecognizing the work of those who create and publish it. tape/CD player, jukebox, video or karaoke, and a license is required whether the live performers are paid

Neighbouring Rights

Copyright also protects neighbouring rights in sound recordings and reproduction rights relating to sound recordings and musical works. The SOCAN license

administer other rights pertaining to music

Agency) and AVLA (Audio Visual Licensing Agency),Education / Industry Associations.

Links SOCAN www.socan.ca CMRRA www.cmrra.ca AVLA


11

recognizes three main rights:

The right to produce or copy the musical work (such as sheet music).

The right to reproduce the musical work, including mechanical rights (such as cassette and digital audio reproductions) and synchronization rights (such as music in films, videos, and multimedia productions).

Performing rights, which are the rights to perform a work in public (such as a live concert, a recording or any pe of public performance) and the right to communicate to the public by telecommunication (

http://www.trytel.com/~pbkerr/copyright.html

ETY OF COMPOSERS, AUTHORS, AND MUSIC PUBLISHERS OF CANADA (SOCAN)

with performing rights. All other rights are handled by the copyright owners or by other

The performing right gives copyright owners of musical works (lyricists, composers, songwriters) the sole right to authorize the performance in public (in concert or in a club) or to communicate by telecommunication

(broadcast on television or radio) their works. In return for paying their royalties, SOCAN administers these performing rights in musical works on behalf of its members.

For the telecommunication by cable systems, SOCAN has a blanket licensing tariff applicable in relation to The tariff provides that all telecommunication of music and non-broadcast channels carried by

cable system operator is licensed according to a single fee structure, payable by each cable system operator on

music and the music user. The purchase of a CD or other recording only gives the right to listen to it in private. The public performance of these musical works is subject to copyright

license.

Canadian copyright collective for the public performance of musical works. They adminmembers (composers, lyricists, songwriters and their publishers) and those of affiliated

international societies by licensing the use of their music in Canada. The society licenses music users, collectroyalties to the creators and publishers of the musical works performed in Canada and

to determine what kind of licensing arrangement is required and what the cost will be.on a range of factors including where and how the musical work is being performed,

and the nature of the event. SOCAN licenses only apply for the public performances and telecommunication to the public of copyright-protected musical works contained within SOCAN's

to use the musical works contained in SOCAN's repertoire in a particular way, recognizing the work of those who create and publish it. A license is required whether the music is live or played on a

ayer, jukebox, video or karaoke, and a license is required whether the live performers are paid

Copyright also protects neighbouring rights in sound recordings and reproduction rights relating to sound recordings license does not cover these uses. A list of organizations, including those that

administer other rights pertaining to music such as the CMRRA (Canadian Musical Reproduction Rights

Agency) and AVLA (Audio Visual Licensing Agency), is available on the SOCAN website under Resource &

as cassette and digital audio reproductions) and synchronization rights (such as music in films, videos, and multimedia productions).

Performing rights, which are the rights to perform a work in public (such as a live concert, a recording or any pe of public performance) and the right to communicate to the public by telecommunication (such as

ETY OF COMPOSERS, AUTHORS, AND MUSIC PUBLISHERS OF CANADA (SOCAN)

with performing rights. All other rights are handled by the copyright owners or by other

of musical works (lyricists, composers, songwriters) the sole right to communicate by telecommunication

their royalties, SOCAN administers these

licensing tariff applicable in relation to broadcast channels carried by

payable by each cable system operator on

a CD or other recording only gives the right to listen to it in private. The public performance of these musical works is subject to copyright

administer the members (composers, lyricists, songwriters and their publishers) and those of affiliated

music users, collects royalties to the creators and publishers of the musical works performed in Canada and

what the cost will be. where and how the musical work is being performed,

only apply for the public ined within SOCAN's

pertoire in a particular way, whether the music is live or played on a

ayer, jukebox, video or karaoke, and a license is required whether the live performers are paid or not.

Copyright also protects neighbouring rights in sound recordings and reproduction rights relating to sound recordings does not cover these uses. A list of organizations, including those that

Reproduction Rights

the SOCAN website under Resource &

SHAW TV: ACC

www.avla.ca

SAMPLE: COPYRIGHT CLEARANCE FOR ACQUIRED PROGRAMMING

(COPYRIGHT HOLDER’S LETTERHEAD)


12

COPYRIGHT CLEARANCE FOR ACQUIRED PROGRAMMING

COPYRIGHT CLEARANCE FOR ACQUIRED PROGRAMMING

SHAW TV: ACC

(DATE) (COPYRIGHT RECIPIENT’S NAME, COMPANY ADDRESS

RE: COPYRIGHT CLEARANCE FOR SERIES NAM

On behalf of COPYRIGHT HOLDER BUSINESS NAME

series to COPYRIGHT RECIPIENT BUSINESS NAME

NAME for broadcast in North America/ Canada/ British Columbia/ Vancouver titles(s) of television series, or clearance for all produ

COPYRIGHT HOLDER BUSINESS NAME is the sole owner and copyright homusic, performance and mechanical rights to these productions have been cleared for broadcast in Canadian markets. COPYRIGHT HOLDER BUSINESS NAME

airings (as appropriate) of each television series forclearance coverage.

(Signatory Signatory title COPYRIGHT HOLDER BUSINESS NAME)

SAMPLE

PERFORMANCE RELEASE


13

(COPYRIGHT RECIPIENT’S NAME, COMPANY ADDRESS)

SERIES NAME

COPYRIGHT HOLDER BUSINESS NAME, I hereby extend copyright clearance for the following television COPYRIGHT RECIPIENT BUSINESS NAME. These rights are exclusive to COPYRIGHT RECIPIENT BU

for broadcast in North America/ Canada/ British Columbia/ Vancouver (as appropriate):

titles(s) of television series, or clearance for all product produced by copyright holder

is the sole owner and copyright holder for the above television programs; all music, performance and mechanical rights to these productions have been cleared for broadcast in Canadian

OPYRIGHT HOLDER BUSINESS NAME grants copyright clearance rights for unlimited airings/ number ofof each television series for beginning date of clearance coverage to end date of

SAMPLE: INDIVIDUAL PERFORMANCE RELEASE

, I hereby extend copyright clearance for the following television COPYRIGHT RECIPIENT BUSINESS

lder for the above television programs; all music, performance and mechanical rights to these productions have been cleared for broadcast in Canadian

unlimited airings/ number of end date of

SHAW TV: ACC

PROGRAM NAME PARTICIPANT’S NAME (please print)

AFFILIATION (band name, company name, organization, etc.)

TYPE OF PARTICIPATION (live performance, live interview, etc.)

LOCATION: I have participated as indicated on the above television program (the “Program”). In consideration of my appearance on the Program, I hereby grant permission to you to use my appearance in connection with the Program. I agree that my participation in the Program may be deleted at your sole discretion. I consent to the use of my name, likeness, voice and biographical material in connection with the Program publicity and related institutional promotional purposes. I expressly release you, your agentsclaims that I may have for invasion of privacy, defamation, copyright or any other cause of action arising out of the production, distribution, broadcast or exhibition of the Program. Signature of Participant: Mailing Address: ___________________________________________________________ Tel: If the participant is a minor, add the following: I represent that I am a parent (guardian) oshall both be bound thereby. Signature of parent (guardian): Name (printed): ___________________________________________________________ Mailing Address: __________

INTRODUCTION

The common law protects every person from harm to their reputation by false and derogatory remarks about their person, known as defamation. In addition, alincludes slander and libel, where slander


14

(band name, company name, organization, etc.)

I have participated as indicated on the above television program (the “Program”). In consideration of my appearance on the Program, I hereby grant permission to you to use my appearance in connection with the Program.

n the Program may be deleted at your sole discretion. I consent to the use of my name, likeness, voice and biographical material in connection with the Program publicity and related institutional promotional purposes. I expressly release you, your agents, employees, licensees and assigns from and against any and all claims that I may have for invasion of privacy, defamation, copyright or any other cause of action arising out of the production, distribution, broadcast or exhibition of the Program.

___________________________________________________________

Fax: e-mail:

If the participant is a minor, add the following:

I represent that I am a parent (guardian) of the minor who has signed the above release and I hereby agree that we

___________________________________________________________

___________________________________________________________

CANADIAN DEFAMATION LAW

law protects every person from harm to their reputation by false and derogatory remarks about their In addition, all Canadian provinces have libel and slander legislation

slander is verbal defamation and libel is printed defamation.

I have participated as indicated on the above television program (the “Program”). In consideration of my appearance on the Program, I hereby grant permission to you to use my appearance in connection with the Program.

n the Program may be deleted at your sole discretion. I consent to the use of my name, likeness, voice and biographical material in connection with the Program publicity and related institutional promotional

, employees, licensees and assigns from and against any and all claims that I may have for invasion of privacy, defamation, copyright or any other cause of action arising out of the

___________________________________________________________

f the minor who has signed the above release and I hereby agree that we

___________________________________________________________

_________________________________________________

law protects every person from harm to their reputation by false and derogatory remarks about their slander legislation. Defamation

SHAW TV: ACC

Defamation tort law protects your actual reputation, not your feelings about what your reputation should be.

DEFAMATION LAW

The major points of defamation law in Canada are as follows:

1. Defamation is an unusual tort (or body of law)defamation was intentional or the result of negligence. Defamatory material is presumed to be false malicious.

2. Defamation must be a direct attack on an actual reputation, not an alleged reputation that they deserve. A judge will assess the statement against the evidence of the victim's reputation in their community.

3. The remarks must be harmful or defamatorystatements are clearly defamatory, otargeted by the remarks. What may be a mildly offensive remark to onedefamation to another. The judge will consider the situation of the person defamed in assessing the claim of defamation.

4. The defamatory remark must be clearly aimed at the plaintiff. General inflammatory remarks aimed at a large audience would not qualify as the remarks must be clearly pointed at a specific person.

5. The defamatory remarks must be somehow conveyed to a parties causes no damage to reputation because there are no otWith libel, the damage is presumed as it is published. With essential to the claim. Damages have to beimputes

a. the commission of a crime

b. the unchaste status of a woman

c. a "loathsome disease"

d. a professional incompetence

6. Citizens are entitled to make "fair commentA good example of this is a letteeven go so far as to presume motiveonly that the imputation of motives is reasonable under the circumstancecomment must reflect an honestly held opinion based on proven fact andSome provinces have enacted laws which give their citizens varying rights to "fair comment."

LIBEL AND SLANDER

The difference between slander and libel is that libel is the written or otherwise published, public defamation of a person or entity such as an organization or company, while slander is the spoken false defamation of a person or entity.

Slander can also include bodily gestures while libel can include published photographs.

While the right to fairly criticize people or entities and publicly share information is one of the hallmarks of personal freedom, it is illegal to malign the reputation of another through

LINKS Canadian Defamation Law www.duhaime.org/LegalResources/TortPersonalInjury/tabid/348/Defamation-Law.aspx Libel and Slander

www.duhaime.org/Tort/ca-defam.aspx

SUBMITTING A SHOW IDEA OR PROGRAM PROPOSAL TO SHAW TV

PLEASE PROVIDE ALL OF THE FOLLOWING INFORMATION. WE CANNOT CONSIDER NEW PROGRAM PROPOSALS WITHOUT THIS INFORMATION.

Thank you for your interest in Shaw TV.DVcam, Beta SP or specified digital submissproposal information package to assist in your planning.


15

Defamation tort law protects your actual reputation, not your feelings about what your reputation should

defamation law in Canada are as follows:

(or body of law) in that it is a "strict liability" tort. It does not matter if the defamation was intentional or the result of negligence. Defamatory material is presumed to be false

Defamation must be a direct attack on an actual reputation, not an alleged reputation that they deserve. A judge will assess the statement against the evidence of the victim's reputation in their

or defamatory and this will be assessed on a case-by-case basis. While stements are clearly defamatory, other statements may only be deemed defamatory by

targeted by the remarks. What may be a mildly offensive remark to one person may constitute serious defamation to another. The judge will consider the situation of the person defamed in assessing the claim of

The defamatory remark must be clearly aimed at the plaintiff. General inflammatory remarks aimed at a rge audience would not qualify as the remarks must be clearly pointed at a specific person.

The defamatory remarks must be somehow conveyed to a third party. Private defamation just between two parties causes no damage to reputation because there are no other persons to be impacted by the remarks.

, the damage is presumed as it is published. With slander, proof of repetition to other pamages have to be proven, except in these four exceptions when

the commission of a crime

the unchaste status of a woman

a "loathsome disease"

a professional incompetence

fair comment" on matters of public interest without fear of defamation claims. A good example of this is a letter to the editor on a matter of public concern. The author of the remarks may even go so far as to presume motives on the part of the person whose actions are being criticized provided only that the imputation of motives is reasonable under the circumstances. The rule of thumb is that the fair comment must reflect an honestly held opinion based on proven fact and cannot be motivated by malice.

ome provinces have enacted laws which give their citizens varying rights to "fair comment."

difference between slander and libel is that libel is the written or otherwise published, public defamation of a person or entity such as an organization or company, while slander is the spoken false defamation of a person or

lude bodily gestures while libel can include published photographs.

While the right to fairly criticize people or entities and publicly share information is one of the hallmarks of personal freedom, it is illegal to malign the reputation of another through slander or libel.

www.duhaime.org/LegalResources/TortPersonalInjury/tabid/348/articleType/ArticleView/articleId/76/Canadian

defam.aspx


ALL OF THE FOLLOWING INFORMATION. WE CANNOT CONSIDER NEW PROGRAM THIS INFORMATION.

Thank you for your interest in Shaw TV. We accept show ideas, independently produced videos (tape formats: or specified digital submission) and program proposals for consideration. We are attaching our

proposal information package to assist in your planning. If you have a demo available (DVD acceptable), you may

Defamation tort law protects your actual reputation, not your feelings about what your reputation should

t does not matter if the defamation was intentional or the result of negligence. Defamatory material is presumed to be false and

Defamation must be a direct attack on an actual reputation, not an alleged reputation that the victim believes they deserve. A judge will assess the statement against the evidence of the victim's reputation in their

case basis. While some by the person

person may constitute serious defamation to another. The judge will consider the situation of the person defamed in assessing the claim of

The defamatory remark must be clearly aimed at the plaintiff. General inflammatory remarks aimed at a rge audience would not qualify as the remarks must be clearly pointed at a specific person.

. Private defamation just between two her persons to be impacted by the remarks.

, proof of repetition to other people is when the defamation

" on matters of public interest without fear of defamation claims. r to the editor on a matter of public concern. The author of the remarks may

actions are being criticized provided s. The rule of thumb is that the fair

motivated by malice. ome provinces have enacted laws which give their citizens varying rights to "fair comment."

difference between slander and libel is that libel is the written or otherwise published, public defamation of a person or entity such as an organization or company, while slander is the spoken false defamation of a person or

While the right to fairly criticize people or entities and publicly share information is one of the hallmarks of personal

articleType/ArticleView/articleId/76/Canadian-


ALL OF THE FOLLOWING INFORMATION. WE CANNOT CONSIDER NEW PROGRAM

videos (tape formats: We are attaching our

If you have a demo available (DVD acceptable), you may

SHAW TV: ACC

submit the demo for review along with a general overview of the idea or procan be of further assistance.

Shaw TV is focused on the city / area and itsproposals for shows and series that represent these local viewpoints an

Please fill out the Shaw TV Program Application form (last page of this document) or program proposal that includes the key information as outlined below,

Provide the following key information:

1. Name (individual, organization or society)

2. Contact Information (email, fax

Please outline information about yourself or previous experience in television or multi

Your proposal should answer these questions and supply the following information:

1. Is the content of the proposed show

2. What is the objective of the show or

You are encouraged to include any extra material that would help videotape, background information on the topic or those

Promotion of the finished concept is key to ensuring maximumon how you can assist with publicizing your show or

Please note that if you’re proposing coverage of an event, we need at least 10 weeks notice to evaluate, technically plan for and promote the event.

Proposal Outline

1. Define the general format of the show or series: The general format defines the overall format of the show and includes the placement of the Open and Close, sponsorship blocks (if any), hosting segments, and program segments.

2. If this is a proposal for a series of shows, provide a detailed outline for each of the episodes in the proposed series: The detailed outline includes specific details of what will be covered in the series, including projected guest names, interview topics a

Production Details

1. Production Management: Please provide a detailed production resume of film/ television/ video experience for the Production Manager/ Producer, including a list of previous productions.

2. Production Facilities: Please provide a detailed list of the equipment that will be used or is required for the production or packaging of the show/seriesname).

3. Production Personnel: Please provide a detailed list of the television/ video experience and assigned

4. On-Air Personnel: Please provide a detailed list of the ontelevision/ video experiencereporter, interviewer).

Demo Video

Video samples are not initially required, but can be helpful to the review process. If you are able to provide a sample copy of the show or series, we accept DVD, DVcam or BetaSP format for review

Please clearly label both the videotape and the spineinformation.

Provide one of these two review formats:

1. Demo Video: A sample program not packaged to channel standard length of 27:30 and not including Open, Close, sponsorship spots, viewer advisories, etc.


16

for review along with a general overview of the idea or program proposal. Please let us know if we

and its people, issues, arts and entertainment, so we’re most interested in series that represent these local viewpoints and activities.

REQUIRED INFORMATION

fill out the Shaw TV Program Application form (last page of this document) or submit that includes the key information as outlined below, in writing via email,

he following key information: (individual, organization or society)

(email, fax, mailing address, and daytime phone number)

Please outline information about yourself or your organization as it relates to this proposal, includingprevious experience in television or multi-media.

Your proposal should answer these questions and supply the following information:

s the content of the proposed show or series specific to city / area?

at is the objective of the show or series ?

You are encouraged to include any extra material that would help to explain or demonstrate your idea (resume, videotape, background information on the topic or those involved, marketing ideas).

Promotion of the finished concept is key to ensuring maximum exposure to our viewers so please outline your ideas sist with publicizing your show or series.

Please note that if you’re proposing coverage of an event, we need at least 10 weeks notice to evaluate, technically

Define the general format of the show or series: The general format defines the overall format of the show and includes the placement of the Open and Close, sponsorship blocks (if any), hosting segments, and program segments.

this is a proposal for a series of shows, provide a detailed outline for each of the episodes in the proposed series: The detailed outline includes specific details of what will be covered in the series,

d guest names, interview topics and specific community events.

Production Management: Please provide a detailed production resume of film/ television/ video experience for the Production Manager/ Producer, including a list of previous productions.

Please provide a detailed list of the equipment that will be used or is required for or packaging of the show/series (if using a Production company, please include company

Production Personnel: Please provide a detailed list of the production personnel, their resume(s) of film/ television/ video experience and assigned production duties related to proposal.

Please provide a detailed list of the on-air personnel, their resume(s) of film/ television/ video experience (education and professional), and assigned duties related to proposal

Video samples are not initially required, but can be helpful to the review process. If you are able to provide a sample es, we accept DVD, DVcam or BetaSP format for review or website video link

tape and the spine of the tape case with the show or series title and your contact

Provide one of these two review formats:

ideo: A sample program not packaged to channel standard length of 27:30 and not including Open, Close, sponsorship spots, viewer advisories, etc.

Please let us know if we

so we’re most interested in

submit a separate in writing via email, fax or mail.

relates to this proposal, including any

explain or demonstrate your idea (resume,

exposure to our viewers so please outline your ideas

Please note that if you’re proposing coverage of an event, we need at least 10 weeks notice to evaluate, technically

Define the general format of the show or series: The general format defines the overall format of the show and includes the placement of the Open and Close, sponsorship blocks (if any), hosting

this is a proposal for a series of shows, provide a detailed outline for each of the episodes in the proposed series: The detailed outline includes specific details of what will be covered in the series,

Production Management: Please provide a detailed production resume of film/ television/ video experience for the Production Manager/ Producer, including a list of previous productions.

Please provide a detailed list of the equipment that will be used or is required for (if using a Production company, please include company

production personnel, their resume(s) of film/

air personnel, their resume(s) of film/ gned duties related to proposal (host,

Video samples are not initially required, but can be helpful to the review process. If you are able to provide a sample or website video link.

series title and your contact

ideo: A sample program not packaged to channel standard length of 27:30 and not including

SHAW TV: ACC

2. Pilot Program: A program packaged to standard length of 27:30, and including Open, Close, sponsorship spots, viewer advisories, etc. This is the completed version of the proposed show, or premiere episode if a series of shows.

Copyright Clearance

You should be aware that legal issues may arise if any part of your proposal is protected by copyright. Any song, music, play, or work created by an author who is alive or has not been dead for more than 50 years may possescopyright in Canada. Any person performing or recording such a work must obtain permission from the owner of the copyright before the work is performed or recorded. It is the obligation of you or your organization to ensure that all copyright and usage permissions are secured prior to production.

THE APPLICATION PROCESS:

Your access proposal – along with the many other proposals that we receive on regularly scheduled meetings. The evaluation process is based on a combination of factors including our current schedule of commitments, the perceived value of your project to our local viewers and the resources availableyour request.

We will confirm receipt of proposal materials. Although we are not able to provide a specific review timeline, we generally operate on a seasonal basis.

If we decide not to move forward with your project, you will be notified.

If we take the project under consideration, we will be in touch to begin discussions that could lead to the project’s production and telecast. This could include some format or content changesexisting telecast.

Shaw TV is a free service provided by Shaw Cablesystems. Shaw TV does not purchase television programming. There is no charge to you or your group to produce any local television or to televise youevent. Shaw TV may, however, solicit sponsorship revenues to offset the cost of producing and televising


17

Pilot Program: A program packaged to standard length of 27:30, and including Open, Close, viewer advisories, etc. This is the completed version of the proposed show, or

series of shows.

You should be aware that legal issues may arise if any part of your proposal is protected by copyright. Any song, usic, play, or work created by an author who is alive or has not been dead for more than 50 years may posses

copyright in Canada. Any person performing or recording such a work must obtain permission from the owner of the ormed or recorded. It is the obligation of you or your organization to ensure that all

copyright and usage permissions are secured prior to production.

along with the many other proposals that we receive on an ongoing basis regularly scheduled meetings. The evaluation process is based on a combination of factors including our current schedule of commitments, the perceived value of your project to our local viewers and the resources available

We will confirm receipt of proposal materials. Please be sure you have provided all the requested information.Although we are not able to provide a specific review timeline, we generally operate on a seasonal basis.

de not to move forward with your project, you will be notified.

If we take the project under consideration, we will be in touch to begin discussions that could lead to the project’s production and telecast. This could include some format or content changes, or the opportunity to be part of an

is a free service provided by Shaw Cablesystems. Shaw TV does not purchase television programming. There is no charge to you or your group to produce any local television or to televise youevent. Shaw TV may, however, solicit sponsorship revenues to offset the cost of producing and televising

your proposal or event.

Pilot Program: A program packaged to standard length of 27:30, and including Open, Close,

viewer advisories, etc. This is the completed version of the proposed show, or

You should be aware that legal issues may arise if any part of your proposal is protected by copyright. Any song, usic, play, or work created by an author who is alive or has not been dead for more than 50 years may possess

copyright in Canada. Any person performing or recording such a work must obtain permission from the owner of the ormed or recorded. It is the obligation of you or your organization to ensure that all

an ongoing basis – is evaluated at regularly scheduled meetings. The evaluation process is based on a combination of factors including our current schedule of commitments, the perceived value of your project to our local viewers and the resources available to fulfill

Please be sure you have provided all the requested information. Although we are not able to provide a specific review timeline, we generally operate on a seasonal basis.

If we take the project under consideration, we will be in touch to begin discussions that could lead to the project’s , or the opportunity to be part of an

is a free service provided by Shaw Cablesystems. Shaw TV does not purchase television programming. There is no charge to you or your group to produce any local television or to televise your event. Shaw TV may, however, solicit sponsorship revenues to offset the cost of producing and televising

SHAW TV: ACC

If your program is approved for production, technical d

PRODUCTION PLANNING AND EXECUTION

Production and Staging

1. Ensure that video levels are correct, and neither over nor under exposed.

2. Tripod shots are generally more stable than handhand-held camera work is a highly developed skill set and is best used by experienced shooters. Handshots should not be used for subjects over three feet in distance.

3. Avoid shooting interview subjects in profile, and endeavour to shoot s

4. Keep all segments visually interesting and relevant.

5. If the show or segment will be posted (edited) fshots so that there is flexibility

6. If the show or segment is live-towhich are shaky, unfocused or roving around t

Audio Production

1. Ensure that audio (sound) is not too

2. Ensure that audio is not out of sync with video Lighting

1. A television camera requires sufficient light to electronically form an image (signal) that is focused and renders all colours accurately.

a. Light levels that are too low will result in an image

b. Light levels that are too high will result in an image that is ‘hot’ and overexposed, and that also appears undefined as the effect of shadows and gradation in colour is lost.

2. Use a sun gun when needed.

3. If using more than one camera, ensure that the shots match in terms of lidarker or lighter imaging than the other.

Content Production

1. Ensure that appropriate copyright and performance clearances are acquired for any material (music, performances, art work etc.) that are

2. Ensure that you establish a consistent formatand continuity.

3. Ensure that the show is formatted, timed, labeled and

4. Include viewer advisory graphics at

Graphics

1. Name graphics (supers)

a. should be displayed with a guest’s first appearance on screen

b. should be displayed for a duration that will allow easy reading

c. should be placed at the bottom of the screen (not over faces)

d. should be an appropriate colo

e. should be an appropriate size and

2. Full-page graphics

a. should be an appropriate font, size and colour against the graphic backgroundviewing on home television screen

b. should be displayed for a duration that will allow easy reading, but not time

3. Spelling

a. always review the acc

b. be particularly diligent in ensuring


18

If your program is approved for production, please make yourself familiar with the technical details required for each program:

SHOW GUIDELINES

PLANNING AND EXECUTION

Ensure that video levels are correct, and neither over nor under exposed.

Tripod shots are generally more stable than hand-held camera and are preferable where poheld camera work is a highly developed skill set and is best used by experienced shooters. Hand

shots should not be used for subjects over three feet in distance.

Avoid shooting interview subjects in profile, and endeavour to shoot subjects straight on.

Keep all segments visually interesting and relevant.

the show or segment will be posted (edited) from a one camera shoot, take some establishing for video coverage in post production.

to-tape with no post, cutting is critical to ensure there are no camera shots or roving around the location.

audio (sound) is not too low, hollow, distorted or over-modulated.

that audio is not out of sync with video.

A television camera requires sufficient light to electronically form an image (signal) that is focused and

Light levels that are too low will result in an image that is dark, grainy and undefined

Light levels that are too high will result in an image that is ‘hot’ and overexposed, and that also appears undefined as the effect of shadows and gradation in colour is lost.

one camera, ensure that the shots match in terms of lighting. No camera should have darker or lighter imaging than the other.

appropriate copyright and performance clearances are acquired for any material (music, that are used in the production.

you establish a consistent format in planning the show open, content flow and wrap, graphics

w is formatted, timed, labeled and cue sheeted as per Shaw’s packaging guidelines

lude viewer advisory graphics at the beginning of the show as needed.

with a guest’s first appearance on screen

be displayed for a duration that will allow easy reading

the bottom of the screen (not over faces)

should be an appropriate colour to be seen over changing background visuals

should be an appropriate size and font (letter type) for easy viewing on home television screen

e an appropriate font, size and colour against the graphic background television screens

be displayed for a duration that will allow easy reading, but not for an excessive length of

the accuracy of spelling on all graphics

be particularly diligent in ensuring the correct spelling of names and titles

please make yourself familiar with the following

held camera and are preferable where possible. Good held camera work is a highly developed skill set and is best used by experienced shooters. Hand-held

ubjects straight on.

, take some establishing audience

, cutting is critical to ensure there are no camera shots

A television camera requires sufficient light to electronically form an image (signal) that is focused and

that is dark, grainy and undefined

Light levels that are too high will result in an image that is ‘hot’ and overexposed, and that also

ghting. No camera should have

appropriate copyright and performance clearances are acquired for any material (music,

in planning the show open, content flow and wrap, graphics

ckaging guidelines.

television screens

page for easy

for an excessive length of

SHAW TV: ACC

Post-Production Editing

1. Ensure that audio levels are consistent from segment to segment and standards.

2. Do not edit to or from a moving shot (zooms, tilts and pans

3. Shaky camera moves and roving unplanned pans and zooms subject should be removed or covered

4. Ensure continuity and logical progression of

5. Do not fade up from black at the

6. Use audio such as music as a bridge or background

SHOW PACKAGING FOR SHAW TV

Formatting Tapes

1. Lay black on the entire tape, starting the time

2. Start the program at the one hour mark

3. (01:00:00:00 is the first on-air video/audio of the program).

4. The last video/audio of the program is at 01:27:30:00.

5. Once the time-code has been correctly installed, it will remain on the videotape as long as only Insert Mode is used in subsequent edit sessions. The start of the program should be positioned at 01:00:00:00 for each edit session.

6. Time code must be continuous and uninterrupted.

7. Please enter the time-code on the cue sheet. A time

Packaging for On-Air Broadcast

1. 00:58:30:00 to 00:59:30:00 Bars and Tonetape is reused.

2. 00:59:30:00 - 00:59:45:00 Graphic slate with the following information (***** denote mandatory fields )

a. ****** Program Name and (episode # if applicable)

b. Guests or content info

c. ****** Producer Name and phone number

d. ****** Audio Info (Channel 1 & 2 , Stereo

e. Airdate Info

3. 00:59:45:00 - 01:00:00:00 Black

4. 01:00:00:00 Time-code start of program

5. No countdown is needed.

Standard Packaging Guidelines

1. Program length: 27:30 for 30:00 format, 57:30 for 60:00 format.

2. Minimum 1:00 of synchronous black immediately following the last frame of programming.

3. Adult viewer advisory graphics as required appropriate

Labeling

Tape labels will be completed by Shaw TV as needed

Cue Sheeting

Cue sheets must be completed for each videotape and must be attached to the

case. The cue sheet includes:

1. Program Name

2. Subtitle / Description

3. Time In: time of 1st frame of program video

4. Length (27:30/57:30): length from 1st frame of program video

5. Audio Type: channel 1,2 or mix

6. First Video / Audio

7. Last Video / Audio

8. Technical Advisory

9. Producer Contact / Guest Contact

Signal


19

levels are consistent from segment to segment and within the range defined by the signal

not edit to or from a moving shot (zooms, tilts and pans) while the camera move is in progress

Shaky camera moves and roving unplanned pans and zooms that are seeking or attempting to follow a or covered in post production and should never appear in a packaged show

logical progression of all edited segments and do not cut speakers mid

Do not fade up from black at the start of a segment: audio and video should start at the same time

uch as music as a bridge or background where needed in the production.

ay black on the entire tape, starting the time-code at 00:58:30:00 at the head (start) of the tape.

our mark: time-code 01:00:00:00.

air video/audio of the program).

The last video/audio of the program is at 01:27:30:00.

code has been correctly installed, it will remain on the videotape as long as only Insert Mode sed in subsequent edit sessions. The start of the program should be positioned at 01:00:00:00 for each

Time code must be continuous and uninterrupted.

code on the cue sheet. A time-code is always written in eight digits.

Bars and Tone recorded to match the program video and audio each time the

Graphic slate with the following information (***** denote mandatory fields )

Program Name and (episode # if applicable)

Guests or content info

Producer Name and phone number

nfo (Channel 1 & 2 , Stereo)

Black

code start of program

rogram length: 27:30 for 30:00 format, 57:30 for 60:00 format.

of synchronous black immediately following the last frame of programming.

cs as required should be included prior to the show title, and

Tape labels will be completed by Shaw TV as needed based on information compiled from the cue sheet.

Cue sheets must be completed for each videotape and must be attached to the outside or inside (preferable) of the tape

e of 1st frame of program video

length from 1st frame of program video to last frame of program video

channel 1,2 or mix

Producer Contact / Guest Contact

within the range defined by the signal

while the camera move is in progress.

that are seeking or attempting to follow a a packaged show.

do not cut speakers mid-sentence.

the same time.

code at 00:58:30:00 at the head (start) of the tape.

code has been correctly installed, it will remain on the videotape as long as only Insert Mode sed in subsequent edit sessions. The start of the program should be positioned at 01:00:00:00 for each

code is always written in eight digits.

match the program video and audio each time the

Graphic slate with the following information (***** denote mandatory fields )

of synchronous black immediately following the last frame of programming.

prior to the show title, and throughout as

compiled from the cue sheet.

outside or inside (preferable) of the tape

to last frame of program video

SHAW TV: ACC

1. Video

a. the white portion of video signals gene

b. colour burst is normally at 40

c. sync pulse is normally at 40

d. the black level standard is 7.5

2. Audio

a. audio levels should generall

b. audio levels should be recorded to

c. audio recorded too low can cause n

d. audio recorded too high can cause distortion

e. audio on bars and tone should be calibrated to match wha

SAMPLE: CUE SHEET

SHOW TITLE:

Time-code: 01:00:00:00

Length: 27:30 / 57:30

First video of program

Last video of program

Technical Advisory

VIDEO STANDARDS

Videotape Standard

1. Shows will only be accepted on previously unrecorded DVCam

2. All tapes to be supplied in NTSC 29.97 standard format.

3. 4 x 3 aspect ratio to be utilized. If shot in 16:9 then letterboxed 4:3 frame is

4. The tape shall not contain any scratches which cause visible picture or audio degradation.

5. Submission of programming digitally either via ftp or via a portable drive will be consicase basis.

6. Technical specifications for digital submissions will be provided when and if needed.

Video Standards

1. Peak white at 100 IRE.

2. Blacks will not fall below 7.5 IRE for analog, 0 IRE for digital.

3. Audio not to exceed +4 Analog,

4. Video is to be free of undesirable or noticeable artifacts.

5. Reference colour bars shall be a true indication of the program's chroma, video, pedestal and phase.

6. Reference tone is to be set to 0 for analog,

7. Camera masters must be shot at 25 Mbit compression rate or highe

8. All tapes will be supplied with unbroken drop fr

9. Tape time code should start at 00:58.3

a. 1 minute of bars and tone

b. 15 seconds of slate

c. 15 seconds of black

d. Program start at 01:00.00.00

10. Program slate will contain: program name, program length, production center, audio track information.

11. Submissions must be accompanied by an accurate cue sheet

12. Label on the program box to clearly identify number, length, stereo, SAP and CC (if applicable


20

the white portion of video signals generally peak at 100 IRE divisions

colour burst is normally at 40, plus or minus 2 IRE divisions

sync pulse is normally at 40, plus or minus 2 IRE divisions

ndard is 7.5 - 10 IRE divisions

audio levels should generally peak at 0, plus or minus 1 vu

audio levels should be recorded to prevent distortion at playback

audio recorded too low can cause noise when amplified at playback

d too high can cause distortion

audio on bars and tone should be calibrated to match what the levels are on the program

SUPPLIER:

Episode Title / # :

Air Date:

Audio: 1 2 Mix Stereo

First video of program First audio of program

ideo of program Last audio of program

on previously unrecorded DVCam or Betacam SP tape stock.

All tapes to be supplied in NTSC 29.97 standard format.

io to be utilized. If shot in 16:9 then letterboxed 4:3 frame is acceptable.

The tape shall not contain any scratches which cause visible picture or audio degradation.

Submission of programming digitally either via ftp or via a portable drive will be considered on a case by

Technical specifications for digital submissions will be provided when and if needed.

Blacks will not fall below 7.5 IRE for analog, 0 IRE for digital.

not to exceed +4 Analog, -10 Digital. No distortion.

Video is to be free of undesirable or noticeable artifacts.

Reference colour bars shall be a true indication of the program's chroma, video, pedestal and phase.

Reference tone is to be set to 0 for analog, -20 for digital

asters must be shot at 25 Mbit compression rate or higher.

All tapes will be supplied with unbroken drop frame time code and control track.

ime code should start at 00:58.30.00 Header of the tape should be:

1 minute of bars and tone

te

seconds of black

Program start at 01:00.00.00

Program slate will contain: program name, program length, production center, audio track information.

Submissions must be accompanied by an accurate cue sheet

Label on the program box to clearly identify the production's name, episode, production company, reel reo, SAP and CC (if applicable

t the levels are on the program

First audio of program

Last audio of program

or Betacam SP tape stock.

The tape shall not contain any scratches which cause visible picture or audio degradation.

dered on a case by

Reference colour bars shall be a true indication of the program's chroma, video, pedestal and phase.

Program slate will contain: program name, program length, production center, audio track information.

the production's name, episode, production company, reel

SHAW TV: ACC

Digital Submissions

File type: .mov, mp4 or mpeg2 file with a bit rate of no less than 3

File Size: 1.72 GB/hour of source

Video Encoder

a. Format: QT

b. Width: 720

c. Height: 480

d. Pixel aspect ratio: NTSC CCIR 6

e. Crop: None

f. Padding: None

g. Frame rate: 100% of source

h. Frame controls: off

i. Codec type: H.264

j. Multi-pass: Off, frame reorder: on

k. Pixel depth: 24

l. Spatial quality: 75

m. Min. temporal quality

n. Average date rate: 4.096 (Mbps)

Audio Encoder

a. ACC, Stereo (L R), 48,000kHz

ACCESS


21

file with a bit rate of no less than 3 mb/s and no more than 8mb/s

Pixel aspect ratio: NTSC CCIR 601/DV

ate: 100% of source

pass: Off, frame reorder: on

date rate: 4.096 (Mbps)

ACC, Stereo (L R), 48,000kHz

ACCESS FACILITIES GUIDELINES

and no more than 8mb/s

SHAW TV: ACC

APPROPRIATE USE OF EQUIPMENT

The equipment and facilities of Shaw Cablesystems may be used only for creaprogramming. SECURITY - BUILDING AND KEYS Every individual using Shaw TV will be required to have a security card. See Vancouver policies on page SAFETY Safety is our first concern and everyone's responsibility. Safety is anconstant observation and checking of cosafety rules. Recognize unsafe acts and conditions. AUTHORIZED USE OF EQUIPMENT

Access producers and associates may only use equipment for which they are trained and authorized to use. equipment may only be used after authorization has been obtained from a staff member. own procedure for booking equipment and autcomplete details.

There is no open ended or blanket permission to use the equipment or facilities. EQUIPMENT FAILURE Programmers should understand that production equipment is subject to faiwill be made to secure substitute equipment, such equipment may not be availableproduction will have to be cancelled or rescheduled. The person responsible for the technical direction oproduction will make the final decision on cancellation. CONDUCT It is important that you represent yourself accurately to the community. Be sure to identify yourself as an access producer or access associate. ● Smoking, drinking and eating are not permitted at any time in the control rooms (mobile or studio), studios or edit bays. In addition, anti-smoking by-laws have been enacted in all the municipalities served by Shaw Cablesystems. Please check with your Program Manager or Supervisor for d ● Drinking alcoholic beverages in Shaw facilities is not permitted. ● The use of drugs or controlled substances is not permitted in Shaw facilities. GENERAL HOUSEKEEPING

1. You are responsible for tidying up after yourself and your group or productput back in its proper place, all chairs and tables returned, coffee cups and linersemptied. The use of the facilities and equipment of Only those who demonstrate a responsible attitude and a consfacilities will be permitted to continue with the Channel.

2. Any violations of the rules concerning alcohol or drugs will be cause to end your association with the Community Channels of Shaw Cablesystems.

3. There is zero tolerance for harassment of staff and fellow volunteers, including abusive language, threats, inappropriate language in person or by way of phone or e

4. As an access producer you take full responsibilitabove code of conduct.

5. Minor children must be supervised at all times and should act appropriately. Minor childrenare not to operate any Shaw equipment, this includes cameras, edit bay computerexception must be made for a special program or if you have an underage volunteer, please getthis approved prior to bringing them in.

6. Avoid taking any photos/videos on Shaw premises for either personal use or for use on social media.

This is in respect of private offices and work spaces of those in the studio and/or other Shaw floors. If

you are required to take photos/videos of areas in the Shaw building, check with a Shaw staff person

beforehand for approval. This can included edit bays, sta

should not be part of a ENG location shoot.

Violation of the code of conduct and general housekeeping will be cause for removal or access priv

Shaw TV Vancouver


22

EQUIPMENT

The equipment and facilities of Shaw Cablesystems may be used only for creating and copying Shaw TV

Every individual using Shaw TV will be required to have a security card. See Vancouver policies on page

Safety is our first concern and everyone's responsibility. Safety is an attitude. Safety is care and attention. Safety is constant observation and checking of co-workers and yourself. Follow established operating procedures. Enforce all safety rules. Recognize unsafe acts and conditions.

ss producers and associates may only use equipment for which they are trained and authorized to use. equipment may only be used after authorization has been obtained from a staff member. Each office has its

ment and authorizing bookings. A Program Manager or Supervisor can give you

There is no open ended or blanket permission to use the equipment or facilities.

Programmers should understand that production equipment is subject to failure from time to time. While every effort will be made to secure substitute equipment, such equipment may not be available and in this scenario the production will have to be cancelled or rescheduled. The person responsible for the technical direction oproduction will make the final decision on cancellation.

It is important that you represent yourself accurately to the community. Be sure to identify yourself as an access

not permitted at any time in the control rooms (mobile or studio), studios or edit laws have been enacted in all the municipalities served by Shaw Cablesystems.

Please check with your Program Manager or Supervisor for details.

Drinking alcoholic beverages in Shaw facilities is not permitted.

The use of drugs or controlled substances is not permitted in Shaw facilities.

You are responsible for tidying up after yourself and your group or production team. All equipment must be put back in its proper place, all chairs and tables returned, coffee cups and liners discarded, ashtrays

The use of the facilities and equipment of Shaw Cablesystems is a privilege, not a rightmonstrate a responsible attitude and a consistent respect for the opportunity to use the

facilities will be permitted to continue with the Channel.

Any violations of the rules concerning alcohol or drugs will be cause to end your association with the nity Channels of Shaw Cablesystems.

There is zero tolerance for harassment of staff and fellow volunteers, including abusive language, threats, inappropriate language in person or by way of phone or e-mail.

As an access producer you take full responsibility for your volunteers and as such will ensure they follow the

Minor children must be supervised at all times and should act appropriately. Minor childrenare not to operate any Shaw equipment, this includes cameras, edit bay computers etc… If anexception must be made for a special program or if you have an underage volunteer, please getthis approved prior to bringing them in. Avoid taking any photos/videos on Shaw premises for either personal use or for use on social media.

in respect of private offices and work spaces of those in the studio and/or other Shaw floors. If


beforehand for approval. This can included edit bays, stairwells, hallways etc… ie. Shaw office areas

should not be part of a ENG location shoot.

Violation of the code of conduct and general housekeeping will be cause for removal or access priv

Shaw TV Vancouver - Access Groups/Individuals

and copying Shaw TV

Every individual using Shaw TV will be required to have a security card. See Vancouver policies on page 22.

attitude. Safety is care and attention. Safety is workers and yourself. Follow established operating procedures. Enforce all

ss producers and associates may only use equipment for which they are trained and authorized to use. The Each office has its

Program Manager or Supervisor can give you

lure from time to time. While every effort and in this scenario the

production will have to be cancelled or rescheduled. The person responsible for the technical direction of the

It is important that you represent yourself accurately to the community. Be sure to identify yourself as an access

not permitted at any time in the control rooms (mobile or studio), studios or edit laws have been enacted in all the municipalities served by Shaw Cablesystems.

ion team. All equipment must be discarded, ashtrays

ablesystems is a privilege, not a right. the opportunity to use the

Any violations of the rules concerning alcohol or drugs will be cause to end your association with the

There is zero tolerance for harassment of staff and fellow volunteers, including abusive language, threats,

y for your volunteers and as such will ensure they follow the

Minor children must be supervised at all times and should act appropriately. Minor children s etc… If an

exception must be made for a special program or if you have an underage volunteer, please get

Avoid taking any photos/videos on Shaw premises for either personal use or for use on social media.

in respect of private offices and work spaces of those in the studio and/or other Shaw floors. If


etc… ie. Shaw office areas

Violation of the code of conduct and general housekeeping will be cause for removal or access privileges.

SHAW TV: ACC

Idea for a program:

- Please complete the requested information on pages 21 and [email protected]

Requests for airtime:

- If you have a program and would like us to air it thethis document and e-mail as an attachment, with some background information to [email protected].

- With single show, oneestablishing airtimes.

Requests for training:

- Requests for training TV community television orientation. Once complete pleasat [email protected] to request a workshop related to studio, field camera or editing training.The workshops we offer can viewed on our website at http://shaw.ca/shawtv/

Requests for equipment access:

- Upon completion of appropriate workshops if you would like to use equipment through Shaw TV Vancouver you will need a security card:If you are requesting a security card you will be required to provide contact information w

your current address and contact information (see page 2

complete a Criminal Record Check in order for you to have Shaw Tower security card

- If your security card is lost or stolen please report as soon as possible. There

replacement fee

- Having a security card does not allow you to bring visitors in to the building.

- When editing in the building you will need to wear your security card at all times

be provided

Equipment Booking Policies:

- All equipment bookings (camera gear, edit suites, extra equipment such as wireless mics,

lighting kits) need to be made through

- When booking you will be asked to provide a show and epis

equipment is being used for community television production

- Equipment is only to be booked and used for productions that are being produced for

community television

- We will not accept bookings beyond 4 weeks, except mobiles, see page

- Equipment bookings need to be made at least 24 hour

- Bookings will be done on a first come first serve basis

- If equipment is booked then alternative times will need to be arranged

- More information related to equipment use can be found on page 2

Guidelines

Camera Equipment Guidelines

- Panasonic (HPX-300) P2 camera can only be booked for a 24 hour period. Sony (DSRDVCams can be booked over an extended period to a

- P2 cards are not to be removed from the cameras, and users must transfer their footage when

returning from the shoot (book edit suite time if required to transfer footage to your hard drive)

- Cameras should be returned with their origina

- When taking out a camera users must complete the sign out form to confirm all equipment and

a return date and time

Edit Suite Guidelines:


23

Policies and Procedures

Please complete the requested information on pages 21 and e-mail to Ava Lee-

If you have a program and would like us to air it then please complete the form on page 21 of mail as an attachment, with some background information to

With single show, one-off requests we would like to receive and review programs prior to

Requests for training – please contact Anita Hayek at [email protected] to complete a Shaw TV community television orientation. Once complete please send an e-mail to Sandra Trotter

to request a workshop related to studio, field camera or editing training.The workshops we offer can viewed on our website at http://shaw.ca/shawtv/

Requests for equipment access: Upon completion of appropriate workshops if you would like to use equipment through Shaw TV Vancouver you will need a security card: If you are requesting a security card you will be required to provide contact information w

your current address and contact information (see page 21) and we will work with you to


If your security card is lost or stolen please report as soon as possible. There is a $26.25

Having a security card does not allow you to bring visitors in to the building.

When editing in the building you will need to wear your security card at all times

ipment bookings (camera gear, edit suites, extra equipment such as wireless mics,

lighting kits) need to be made through Ava Lee-Chin – [email protected]

When booking you will be asked to provide a show and episode # / name to confirm that the

equipment is being used for community television production

Equipment is only to be booked and used for productions that are being produced for

community television – no student productions or freelance work

cept bookings beyond 4 weeks, except mobiles, see page 23

Equipment bookings need to be made at least 24 hours in advance

Bookings will be done on a first come first serve basis

If equipment is booked then alternative times will need to be arranged

formation related to equipment use can be found on page 20 – Access Facilities

Guidelines: 300) P2 camera can only be booked for a 24 hour period. Sony (DSR

DVCams can be booked over an extended period to a maximum of 72 hours P2 cards are not to be removed from the cameras, and users must transfer their footage when


Cameras should be returned with their original settings – wireless mics, record format

When taking out a camera users must complete the sign out form to confirm all equipment and

a return date and time – also show and episode # is required

-Chin at

n please complete the form on page 21 of mail as an attachment, with some background information to ava.lee-

programs prior to

to complete a Shaw Sandra Trotter

to request a workshop related to studio, field camera or editing training.

Upon completion of appropriate workshops if you would like to use equipment through

If you are requesting a security card you will be required to provide contact information with

) and we will work with you to


is a $26.25

When editing in the building you will need to wear your security card at all times – lanyard will

ipment bookings (camera gear, edit suites, extra equipment such as wireless mics,

ode # / name to confirm that the

Equipment is only to be booked and used for productions that are being produced for

Access Facilities

300) P2 camera can only be booked for a 24 hour period. Sony (DSR-300)

P2 cards are not to be removed from the cameras, and users must transfer their footage when


wireless mics, record format

When taking out a camera users must complete the sign out form to confirm all equipment and

SHAW TV: ACC

- Edit Suites 4, 5 and, 8 with Fin24/7 on weekends

- Edit Suite 6 is available to book 24/7- please be mindful of your noise levels (audio in bays or if you are a group) around the 3rd floor

as we share space with other departments phone

- Media must not be stored on the computer drives

- Any files left on the computer drives are subject to being deleted in our monthly clean

- No Personal logins can b

“access”

Booking mobiles and other equipment:

- Request for additional equipment must be sent with a program proposal (see page 19

to [email protected]

- Request must be received one month in advance

Program Delivery: - Programs must be provided on tape

the producer accepts responsibility for faulty or defective tapes as it is not a professionformat)

- Programs must be provided three business day in advance of the established airtimes,

although subject to more time if needed (longer programs).

- If this is a new single show request an airtime will be established after the program has

been received and reviewed.

- Programs need to be delivered to Edit Bay 6

after completion of airtimes. Programs can alternatively be dropped off (9am to 5pm Monday

to Friday) or couriered to the Shaw Tower 9

Shaw Tower – 900-1067 West Cordova Street Vancouver, B.C. V6C 3T5

- Programs will be reviewed as soon as possible and may be returned if copyright is not

established or material does not conform to Canadian Broadca

restricted to the follow: unduly discriminatory material or comment which is based on matters

of race, national or ethnic origin, colour, religion, age, sex, sexual orientation, marital status or

physical or mental disability.

- Programs with coarse language will be required to have the material edited out, unless special

airtimes are arranged (after 9

the right to request that coarse language be edited out regardless of airtime.

- Programs must adhere to Canadian Defamation Law

that could be considered l

- Unless there is a problem with the program we will not send a confirmation that we have

received/reviewed the program

- We reserve the right to substitute an alternative access program if a show is not updated after two weeks.

- We do not provide copies of access programs when requested by viewers will be forwarded to access programmers

Please Note: Abuse of any of these policies or procedures may result in the loss of booking privileges


24

, 8 with Final Cut Pro are available to book 5pm to 8am on weekdays and

Edit Suite 6 is available to book 24/7 please be mindful of your noise levels (audio in bays or if you are a group) around the 3rd flooras we share space with other departments of Shaw Cablesystems, some of which are on the

Media must not be stored on the computer drives – you must use your own external drive

Any files left on the computer drives are subject to being deleted in our monthly clean

Personal logins can be set up – One main account “Access” is used and the password is

and other equipment:

Request for additional equipment must be sent with a program proposal (see page 19

[email protected]

Request must be received one month in advance.

Programs must be provided on tape – DVCam, Beta SP (If the program is provided on MiniDV the producer accepts responsibility for faulty or defective tapes as it is not a profession

Programs must be provided three business day in advance of the established airtimes,

although subject to more time if needed (longer programs).

If this is a new single show request an airtime will be established after the program has

ed and reviewed.

Programs need to be delivered to Edit Bay 6 – top shelf and will be returned to the 2


to Friday) or couriered to the Shaw Tower 9th

floor reception to the attention of Ava Lee

1067 West Cordova Street Vancouver, B.C. V6C 3T5

Programs will be reviewed as soon as possible and may be returned if copyright is not

established or material does not conform to Canadian Broadcast Codes – related to but not



physical or mental disability. http://www.ccnr.ca/english/codes/cabethics.php#Clause1

Programs with coarse language will be required to have the material edited out, unless special

airtimes are arranged (after 9pm to 6am, aired with a viewer advisory), although we reserve

the right to request that coarse language be edited out regardless of airtime.

Programs must adhere to Canadian Defamation Law – programs must not include any material

that could be considered libel or slander.

Unless there is a problem with the program we will not send a confirmation that we have

received/reviewed the program

We reserve the right to substitute an alternative access program if a show is not updated after

ovide copies of access programs when requested by viewers – request for copies will be forwarded to access programmers

Abuse of any of these policies or procedures may result in the loss of booking

al Cut Pro are available to book 5pm to 8am on weekdays and

please be mindful of your noise levels (audio in bays or if you are a group) around the 3rd floor of Shaw Cablesystems, some of which are on the

you must use your own external drive

Any files left on the computer drives are subject to being deleted in our monthly clean-ups

“Access” is used and the password is

Request for additional equipment must be sent with a program proposal (see page 19 and 21)

DVCam, Beta SP (If the program is provided on MiniDV the producer accepts responsibility for faulty or defective tapes as it is not a professional

Programs must be provided three business day in advance of the established airtimes,

If this is a new single show request an airtime will be established after the program has

top shelf and will be returned to the 2nd

shelf


eception to the attention of Ava Lee-Chin.

Programs will be reviewed as soon as possible and may be returned if copyright is not

related to but not



http://www.ccnr.ca/english/codes/cabethics.php#Clause1

Programs with coarse language will be required to have the material edited out, unless special

, although we reserve

programs must not include any material

Unless there is a problem with the program we will not send a confirmation that we have

We reserve the right to substitute an alternative access program if a show is not updated after

request for copies

Abuse of any of these policies or procedures may result in the loss of booking

SHAW TV: ACC

SHAW TV PROGRAM APPL*see page 16 of the Shaw TV Information for Access Programmers as reference

ACCESS PRODUCER INFO

Name:

Phone (home):

Email:

Name of organization, society, group or company (if applicable):

Address:

City:

PROGRAM PROPOSAL INFORMATION

IS CONTENT SPECIFIC TO A CITY OR AREA? IF SO PLEASE SPECIFY:

OBJECTIVE OF SHOW OR SERIES

PROMOTIONS OUTLINE:

IS THIS A SPECIFIC EVENT REQUEST? IF SO GIVE DETAILS:


25

SHAW TV PROGRAM APPLICATION *see page 16 of the Shaw TV Information for Access Programmers as reference

ACCESS PRODUCER INFORMATION

Phone (cell):

Fax :

Name of organization, society, group or company (if applicable):

Province:

Postal Code:

PROGRAM PROPOSAL INFORMATION

IS CONTENT SPECIFIC TO A CITY OR AREA? IF SO PLEASE SPECIFY:

(attach any other additional material):

IS THIS A SPECIFIC EVENT REQUEST? IF SO GIVE DETAILS:

SHAW TV: ACC

SHAW TV PROGRAM APPL*see page 16 of the Shaw TV Information for Access Programmers as reference

SHOW FORMAT (attach additional details if available)

PRODUCTION DETAILS (attach additional details if available)

Management:

Facilities (ie. will you require use of any Shaw resources)

Personnel:

On-Air Personnel:

Have demo video or pilot? Yes / No


26

SHAW TV PROGRAM APPLICATION *see page 16 of the Shaw TV Information for Access Programmers as reference

(attach additional details if available):

(attach additional details if available):

(ie. will you require use of any Shaw resources):

Documents

SHAW TV VANCOUVER...SHAW TV: ACC CHECKLIST for Provide name and full contact information for yo Outline information about your group as it relates to the proposal. Is the content specific