Two years ago, director Barry Stevens presented the pitch for his film Offspring at the Toronto Documentary Forum, Hot Docs’ flagship market event. Not only did this exercise provide Stevens with a creative boost, it helped the CBC-backed production secure international cofinancing.

The Canadian Television Press Tour, which provided broadcasters an opportunity to introduce their fall lineups to press from across the country in a week-long, Toronto-based event in June, has been cancelled this year after running for the last two.

A Mac G4, Pro Tools software and a 24-channel Mackie mixing console may be enough to open the doors of a sound design and audio post-production facility these days. But to successfully establish oneself in the film and TV industries, the demands for innovative manipulation of technologies, flexibility and diversification have never been greater.

Despite attempts to appeal it, the letter of the law in the Academy of Canadian Cinema and Television’s rules and regulations has rendered the final two seasons (20 x 1 hour, equating to $25 million of production) of Salter Street Films/Cinar’s Emily of New Moon ineligible for Gemini recognition.