Film and television training is not limited to high school grads. Like a pack of Rodney Dangerfields, seasoned members of the Canadian biz, from crew members to corporate honchos, are heading back to school to help polish their skills and keep fresh in an ever-changing industry.

The Independent Film & Television Producers' Program, offered by Toronto-based Centennial College's Centre of Entrepreneurship, is open to those who have produced for other companies but want to learn the necessary marketing and distribution skills to branch out on their own.

"We combine the information our general Self Employment Assistance program has on the foundations of building a small business with very specific film and TV industry information," says Karen O'Donnell, independent producer and program advisor.

Human Resources Development Canada funds the program, and those who meet the eligibility criteria are paid to attend. In its third year, the annual workshop requires a six-week, full-time commitment in November-December from its two dozen students, and afterwards O'Donnell or a colleague performs a follow-up to monitor the producers' progress and provide advice and contact information.

O'Donnell, soon to go into production on the doc Odd Kid Out to be broadcast on TVOntario, brings in her industry acquaintances to participate in various panels. Recent participants include Gemini-winning screenwriter Donald Martin, Triptych Media cofounder Anna Stratton and CTV VP of documentaries Bob Culbert.

Reflecting changes brought on by the digital environment, this year's IFTPP curriculum will address the issues of producing for the new digital specialties and building an appropriate Internet component for broadcast programming.

"My first and foremost goal is for [the students] to get their independent producer credit," she says. "It's your own calling card, and the digital channels provide a great entry point."

The program's biggest success has been Romen Podzyhun, cofounder of diginet Movieola - The Short Film Channel, recently acquired by Stornoway Communications (pending CRTC approval). O'Donnell says Podzyhun, who remains Movieola's head of programming, is in the process of hiring three producers he met at the program.

Like Centennial, Film Training Manitoba provides workshops for experienced production professionals looking to hone their craft. Located in Winnipeg's Artspace centre, FTM was started in 1995 by the Manitoba Motion Pictures Industries Association to help develop the skills of local crews, and according to executive director Valerie Shantz, the program has made a significant contribution to the province's film industry.

"We take partial credit for [the fact that] production budget totals for 1996 were just over $15 million, and by April 2001, they had risen to over $50 million," she says. "Supporting 'offshore' production and indigenous shooting is completely related to how many crews you have and how many things you can shoot at one time."

One year ago FTM, now operating as an independent organization, expanded to include Above the Line, a program for writers, directors and producers that runs workshops throughout the year involving industry professionals from outside and within the local talent pool. Guest contributors for the program's next round include Judith Weston, renowned for her "acting for directors" classes; Jan Miller, formerly of the National Screen Institute, who will discuss pitching; and native Manitoba writer/director/producer Jim Makichuk (Greenmail, Rough Air: Danger on Flight 534).

The approximately 10 Above the Line sessions, held between November and March, span one day to one week and reflect the competitiveness of the industry. For example, admission to some of the screenwriting workshops is based on a script the potential student has submitted. Directors' sessions cover skills such as blocking, with the students benefiting not only from the wisdom of seasoned helmers, but also from the inherent networking opportunity. Tech for Non-Techs is a forthcoming camera-focused session providing directors with a greater understanding of the cinematographer's domain.

Gearing up for digital

The Canadian Film Centre has been at the forefront of production training since it was founded in 1988, and over the years has expanded and altered its offerings to take digital innovations into account. But according to Kathryn Emslie, director, film and television programmes, the CFC is careful to keep its traditional training separate from its new media division. Interactive content development is taught at the CFC's h@bitat facility, now in its fourth year of operation.

The CFC realizes that finding first-feature funding is becoming increasingly competitive, and so is helping its students become aware of ways to realistically get projects off the ground. Originating on digital formats represents one of these solutions, and one the CFC has embraced, with the last three projects produced by its alumni for the CFC Feature Film Project (The Art of Woo, Khaled and The Uncles) being shot digitally.

"Over the last couple of years we have slowly but surely built up an awareness of digital cameras and how to light for digital to make it look more like film," Emslie says. "We fold into the program the ease with which a producer, director or editor understands the tools of the trade."