Kirk Shaw says his Insight Film Studios will produce 28 TV movies in 2006 – almost double the 17 it made last year – and all to be shot in Vancouver.

The Vancouver-based prodco is currently shooting Her Fatal Flaw, a thriller about a defense attorney, played by Victoria Pratt (Hush), who is caught up in a murder mystery in which her fiancé is the prime suspect. George Mendeluk (The Collector) is directing and Hans Wasserburger penned the script.

Shaw is producing and Stan Kamens (Secret Lives) is exec producer. Fatal Flaw wraps June 1, after three weeks, and will air on CHUM Television.

Next up is Family in Hiding, about a single mom on the run with her family from a drug dealer. Shaw again produces, with Tim Johnson – the former head of programming at Pax TV – aboard as exec producer. Timothy Bond (She) directs the script by James Kearns (John Q). The film shoots June 5-23 and will air on Lifetime and Global TV. Casting was still being finalized at press time.

Theses titles follow Mind Games and Not My Life, which both wrapped on May 18. Mind Games was directed by Terry Ingram and executive produced by Kamens for Lifetime and Global, while John Terlesky (Malevolent) directed Not My Life for Lifetime, Corus and Sun TV, with Lisa Hansen (I Accuse) exec producing. Shaw produced both.

The MOWs are separate from a slate of low-budget features being produced at Insight this year. With the Sharon Stone starrer When a Man Falls in the Forest and Sisters, starring Chloë Sevigny (Three Needles), in the can, Shaw says Insight is looking to shoot the thriller Black and the dance feature Shooting Stars in the fall, and is currently in negotiations on two other films.

Shaw says Insight can handle the load because of the internal infrastructure it has built over its nearly 20 years in business. Insight has 70 full-time staffers, three HD cams, an in-house visual FX department and 18 HD post-production suites.

‘We’ve always tried to invest in people and equipment as well so we can control production,’ says Shaw. ‘We were never caught into being dependent on a third-party supplier, so we could go into production whether we had money or not.’

Shaw says the budgets of his MOWs range between $1.5 million and $2.5 million, usually funded entirely by broadcasters and Insight.