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									      SHAW TV VANCOUVER
ACCESS AND COMMUNITY TELEVISION
INFORMATION PACKAGE – August 2012
                                                     SHAW TV
                                        Access & Community Television
                                    Information Package – September 2011



Background Information – Community Television                               …………………………….04
Role of Community Television                                                …….………………………….04
Cable License Classes                                                       ……….……………………….04
     Class 1, 2, 3
     Regional Licensing Model
Local Community Television Programming                                      ………….…………………….04
     Definition
     % of Programming
     General
Access Programming As Part of Local Community Channel Programming           …………………….………….05
     Definition
     % of Programming
     General
Promotion of Access Opportunities                                           …………………….………….05

Shaw TV Vancouver Policies and Procedures Overview                          …………………….………….06
Have an idea for a program?                                                 …………………….………….06
Request for airtimes for a produced program                                 …………………….………….06
Request for training                                                        …………………….………….06
Request for equipment access                                                …………………….………….06
Equipment booking policies                                                  …………………….………….06

Camera equipment guidelines                                                 …………………….………….07
Editing equipment guidelines                                                …………………….………….07
Booking mobiles and other equipment                                         …………………….………….07
Program delivery                                                            …………………….………….07



Additional information related to Community Television                      …………………….………….08
Municipal Council and Public Affairs Programming                            ………………….…………….08
TV Corporations                                                             ………………….…………….08
Self-promotional Messages on the Community Channel                          ………….…………………….08
Links Related to Overview                                                   …………………….………….08


Community Television Broadcasting Guidelines                                …………………………….09
Canadian Broadcast Standards Council                                        ………….…………………….09
Canada’s Broadcasting Codes                                                 ……………….……………….09
    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                                   ………………………….…….10
    Watershed
    Use of Coarse Language
    Materials Susceptible of Offending Viewers
    Viewer Advisories


Clearances for Television Airing                                            …………………………….11
Introduction                                                                ………………………….…….11
     Creative Materials
     Documentation
     The Ephemeral Exception
     Parental Consent for Minor Children




                                      SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                 UPDATED SEPTEMBER 2011
                                                           2
    Copying Programs
    Sample Clearance Form
Copyright Board of Canada & The Canadian Copyright Act                      ………………………….…….12
The Society of Composers, Authors, and Music Publishers of Canada (SOCAN)   ………………………….…….12
    Performing Rights
    The Role of SOCAN
    A SOCAN License
    Neighbouring Rights
    Links
Sample: Copyright Clearance Form                                            ………………………….…….13
Sample: Individual Performance Release                                      ………………………….…….14


Canadian Defamation Law                                                     …………………………….15
Introduction                                                                ………………………….…….15
Canadian Defamation Law                                                     ………………………….…….15
Libel and Slander                                                           ………………………….…….15
Links                                                                       ………………………….…….15


Show Guidelines                                                             …………………………….16
Production Planning and Execution                                           ………………………….…….16
    Production and Staging
    Audio Production
    Lighting
    Content Production
    Graphics
    Post-production Editing
Show Packaging for Shaw TV                                                  ………………………….…….17
    Formatting Tapes
    Packaging for On-Air Broadcast
    Standard Packaging Guidelines
    Labeling
    Cue Sheeting
    Signal
Sample: Cue Sheet                                                           ………………………….…….18
Video Standards                                                             ………………………….…….18
    Videotape Standards
    Video Standard


Submitting a Show Idea or Program Proposal to Shaw TV                       …………………………….19
Sample: Shaw Access Programming Proposal                                    ………………………….…….21


Access Facilities Guidelines and Access Agreement                           …………………………….22
Appropriate Use of Equipment                                                ………………………….…….22
Security – Building and Keys                                                ………………………….…….22
Safety                                                                      ………………………….…….22
Authorized Use of Equipment                                                 ………………………….…….22
Equipment Failure                                                           ………………………….…….22
Conduct                                                                     ………………………….…….22
General Housekeeping                                                        ………………………….…….22
Sample: Shaw Access Agreement                                               ………………………….…….23




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                         3
                           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
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 as the imagination and skills of the participants.
Excerpt from Broadcasting Public Notice CRTC 2002-61 (Ottawa, 10 October 2002)

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

ROLE OF COMMUNITY TELEVISION
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:
     1. Engender a high level of citizen participation and community involvement in community programming.
     2. Actively promote access and the availability of related training programs.
     3. Provide feedback mechanisms, such as advisory boards, to encourage viewer response.
     4. Seek out innovative ideas and alternative views.
     5. Provide a reasonable, balanced opportunity for the expression of differing views on matters of public
         concern.
     6. Reflect the official languages, ethnic and Aboriginal composition of the community.
     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 6,000 subscribers
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 with distinct community
channels, even if the cable company obtains approval for a regional license.

LOCAL COMMUNITY TELEVISION PROGRAMMING
Definition
Local community television programming, as defined in the Broadcasting Act (the Act) is reflective of the community,
produced by the licensee in the licensed area or by members of the community from the licensed area, and produced
in another licensed area within the same municipality.

% of Programming
Class 1 + 2 licensees: 60% minimum weekly content of local community television programming (excluding
alphanumeric bulletin boards; including (live) council meetings)
Class 3 licensees: alphanumeric bulletin boards may be included in minimum 60% requirement if allowed by terms
of license.

General
   1. Local community television programs must receive scheduling priority.
   2. No distribution of foreign or commercial programs.
   3. No financial payment in exchange for the distribution of government or public service information material.
   4. Complementary programming may be distributed by Class 2 and 3 licensees. Complementary programming
        includes: community programs produced by other cable television licensees; government or public service
        information material; National Film Board productions; children's programs; educational programs not
        provided by the Provincial Education Authority; alpha-numeric services such as Broadcast News; the
        Question Period portions of the House of Commons or provincial legislatures; and multicultural programs
        (Public Notice CRTC 1985-151).



                                    SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                UPDATED SEPTEMBER 2011
                                                          4
    5.   Generally, no professional major league sports produced by companies generally engaged in the production
         of such programs
    NOTE: Licensees in the greater Toronto, Montréal and Vancouver areas must set out their plans and commitments at licence
    renewal time as to how they will reflect the various communities within their licensed areas in these urban centres.

ACCESS PROGRAMMING AS PART OF LOCAL COMMUNITY TELEVISION PROGRAMMING
Definition
Programs produced by members of the community, either assisted or unassisted by the licensee

% of Programming
Class 1 and Class 2 licensees:
    1. A minimum of 30% access in a minimum of 60% of local community television programming in the overall
        weekly schedule
    2. In cases where requests surpass 30%,a minimum of 50% access in a minimum of 60% of local community
        television programming in the overall weekly schedule
    3. Not-for-profit community television corporations, incorporated under a federal or provincial charter, have
        guaranteed access rights:
             a. the overall community channel schedule must contain a minimum of 60% local community
                  programming
             b. within the 60% of local content, 30-50% must be access programming
             c. within that 30-50% of ‘access’ programming, 20% is guaranteed to be provided to not-for-profit
                  community television corporations (if these corporations request access)
             NOTE: This 20% is considered part of the access program requirements set out above.

Class 3 licensees: a minimum of 30% access in a minimum of 60% of local community television programming in
the overall weekly schedule.

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 programs is the same for access as for local community
        programming.
   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 and/or
        feedback from volunteers.
   3. Should reflect the official languages, as well as the multicultural and Aboriginal communities.
   4. The 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, licensee-
    produced programs may be equally valuable.

PROMOTION OF ACCESS OPPORTUNITIES
The licensee is to actively promote access opportunities, and the availability of related training programs.
Class 1 and Class 2 licensees are required to undertake the annual distribution of a billing insert promoting
availability of access programming and methods by which proposals can be made.




                                    SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                UPDATED SEPTEMBER 2011
                                                           5
                 Shaw TV Vancouver - Access Groups/Individuals
                            Policies and Procedures

Idea for a program:
        - Please complete the requested information on pages 19 and 21 and e-mail to
            anita.hayek@sjrb.ca

Requests for airtime:
      - If you have a program and would like us to air it then please complete the form on
          page 21 of this document and e-mail as an attachment, with some background
          information to anita.hayek@sjrb.ca
      - With single show, one-off requests we would like to receive and review programs
          prior to establishing airtimes.

Requests for training:
      - Requests for training – please contact Anita Hayek at anita.hayek@sjrb.ca to
          complete a Shaw TV community television orientation. Once complete please send
          an e-mail to jim.reis@sjrb.ca to request a workshop related to studio, field camera or
          editing training.

Requests for equipment access:
      - 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 with your current address and contact information (see page 23) and we
          will work with you to 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 is a
          $26.25 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 –
          lanyard will 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 Susan Kam – susan.kam@sjrb.ca and
          copied to Jim Reis - jim.reis@sjrb.ca.
      -   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
      -   We will not accept bookings beyond 4 weeks, except mobiles, see page 7
      -   Equipment bookings need to be made at least 24 hour 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
      -   More information related to equipment use can be found on page 22 – Access
          Facilities Guidelines




                           SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                     UPDATED SEPTEMBER 2011
                                               6
Camera Equipment Guidelines:
      -  Panasonic (HPX-300) P2 camera can only be booked for a 24 hour period. Sony
         (DSR-300) 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 returning from the shoot (book edit suite time if required to transfer
         footage to your hard drive)
      -  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

Edit Suite Guidelines:
        -   Edit Suites 5, 7, 8 with Final Cut Pro are available to book 5pm to 8am on weekdays
            and 24/7 on weekends
        -   Edit Suite 6 is available to book 24/7
        -   Media must not be stored on the computer drives – you must use your own external
            drive
        -   Personal logins can be set up through jim.reis@sjrb.ca or susan.kam@sjrb.ca

Booking mobiles and other equipment:
      -  Request for additional equipment must be sent with a program proposal (see page
         19&21) to anita.hayek@sjrb.ca
      -   Request must be received one month in advance.

Program Delivery:
        -   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 professional
            format)
        -   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.
                                                                                                       nd
        -   Programs need to be delivered to Edit Bay 6 – top shelf and will be returned to the 2 shelf
            after completion of airtimes. Programs can alternatively be dropped off (9am to 5pm Monday
                                                            th
            to Friday) or couriered to the Shaw Tower 9 floor reception to the attention of Tim Tremain
            and Ava Lee-Chin. 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 Broadcast Codes – related to but not
            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. 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
            two weeks.
        -   We do not provide copies of access programs when requested by viewers – request for copies
            will be forwarded to access programmers

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




                             SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                         UPDATED SEPTEMBER 2011
                                                    7
                  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
programming. Live 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.

TV CORPORATIONS
TV corporations are not-for-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
invited to participate and to vote.
NOTE: TV Corporations are currently specific to the Vancouver system only.

SELF PROMOTION
Class 1 and Class 2 licensees: a maximum of two minutes per hour may be used for self-promotional messages on
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 their respective services
             b. the promotion of the community channel
             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 services and
                 programming packages
             b. customer service information
             c. channel realignments
             d. cable FM service
             e. additional cable outlets
     3. A related programming undertaking is defined as one in which a BDU licensee or an affiliate – or both –
        controls 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.htm
Broadcasting Public Notice CRTC 2002-61 (Ottawa, 10 October 2002)
http://www.crtc.gc.ca/eng/archive/2002/pb2002-61.htm#40
replaces Community Channel Policy - Public Notice CRTC 1991-59, 5 June 1991)

Additional documents referenced in CRTC 2002-61:
CABLE TELEVISION COMMUNITY CHANNEL STANDARDS
Public Notice CRTC 1992-39 (Ottawa, 1 June 1992)
http://www.crtc.gc.ca/eng/archive/1992/PB92-39.htm
COMPLEMENTARY PROGRAMMING ON THE COMMUNITY CHANNEL
Public Notice CRTC 1985-151 (Ottawa, 18 July 1985)
http://www.crtc.gc.ca/eng/archive/1985/PB85-151.HTM
POLICY ON VIOLENCE IN TELEVISION PROGRAMMING
Public Notice CRTC 1996-36 (Ottawa, 14 March 1996)
http://crtc.gc.ca/eng/archive/1996%5CPB96-36.htm

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




                                      SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                  UPDATED SEPTEMBER 2011
                                                             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 and
Telecommunications Commission: CRTC) licensing.
Shaw TV operates 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
issues including but not limited to copyright and defamation (libel and slander).
Programming on Shaw TV is not defined 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
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 self-regulating
system of codes and standards created by Canada’s broadcast industry.
The CBSC is an independent, non-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:
     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 Council
http://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, the codes cover
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 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 discussion
Controversial public issues must be treated fairly. Open-line shows may be provocative but on-air commentary must
be 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




                                   SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                              UPDATED SEPTEMBER 2011
                                                        9
The Watershed marks the start of the late evening viewing period, defined as running from 9:00 p.m. to 6:00 a.m.
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.
Use of Coarse Language
Television programming which contains “coarse or offensive language intended for adult audiences” must not be
broadcast prior to the Watershed hour of 9:00 p.m. Even when broadcast after 9:00 p.m., the programming must be
accompanied by viewer advisories.
Materials Susceptible of Offending Viewers
Programming which is not “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
language, or other material susceptible of offending viewers” which is unsuitable for children.
Viewer Advisories
To assist consumers in making their viewing choices, a viewer advisory should be aired when programming includes:
         1.   mature subject matter or scenes with nudity
         2.   sexually explicit material
         3.   coarse or offensive language
         4.   other material susceptible of offending viewers
         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 nudity intended for adult audiences. Viewer
         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 contains scenes of nudity and coarse language. Viewer
         discretion is advised."




                                      SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                   UPDATED SEPTEMBER 2011
                                                              10
                                     CLEARANCES FOR TELEVISION AIRING
INTRODUCTION
All creative materials that are used on programming which is to air on television must have been cleared for television
airing.
Creative Materials
Creative materials encompass original literary, artistic, musical and dramatic works, and can include:
    1. books, poetry, newspapers, dictionaries, manuals, catalogues, magazines, pamphlets, scripts, maps
    2. computer software, paintings, drawings, design trade-marks, sculptures, architectural works, engravings
    3. dramatic works, photographs, films, videos
    4. lyrics, musical works, choreography
Creative materials can also be a complex mix of sources where one single clearance 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
the music, the dancer(s) and the choreographer(s).
Documentation
You must acquire all clearances 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
and keep them on file, although 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
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 a public
performance 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 reproduction and destruction of such performances or works.
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 clearance for a minor child. A teacher or school
principal’s permission for taping a school event is not sufficient.
Copying Programs
Once the appropriate clearances are on file for any creative materials used in a show, it is then the producer’s
decision as to whether a copy of the episode will be made available to a show participant. There is generally no
additional copyright issue associated with complimentary copies provided for personal use (viewing) by the recipient.
Sample Clearance Form
The sample clearance form (reference page 12) 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
rebroadcast the episode with this segment.
Musicians unions will have very specific clearance arrangements – they will provide you with any information needed.




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                 UPDATED SEPTEMBER 2011
                                                           11
COPYRIGHT BOARD OF CANADA & THE CANADIAN COPYRIGHT ACT
The Copyright Board of Canada is an economic regulatory body empowered to
    1. establish the royalties to be paid for the use of copyrighted works
    2. supervise agreements between users and licensing bodies
    3. issue licenses when the copyright owner cannot be located
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 (such as cassette and digital audio
       reproductions) 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 (such as
       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 owners of musical works (lyricists, composers, songwriters) the sole right to
perform, or 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
performing rights. The tariff provides that all telecommunication of music and non-broadcast channels carried by
each cable system operator is licensed according to a single fee structure, payable by each cable system operator on
a monthly basis.
The Role of SOCAN
SOCAN provides a link between the music and the music user. The purchase of a CD or other recording only gives
the 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. They administer the
performing rights of their members (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, collects
license 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 kind of licensing arrangement is required and what the cost will be.
The licensing cost is dependent on a range of factors including where and how the musical work is being performed,
the seating capacity of the venue 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
repertoire.
A SOCAN License
A SOCAN license entitles the licensee 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
tape/CD player, jukebox, video or karaoke, and a license is required whether the live performers are paid or not.
Neighbouring Rights
Copyright also protects neighbouring rights in sound recordings and reproduction rights relating to sound recordings
and musical works. The SOCAN 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




                                    SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                         12
Agency) and AVLA (Audio Visual Licensing Agency), is available on the SOCAN website under Resource &
Education / Industry Associations.
Links
SOCAN
www.socan.ca
CMRRA
www.cmrra.ca
AVLA
www.avla.ca

SAMPLE: COPYRIGHT CLEARANCE FOR ACQUIRED PROGRAMMING




(COPYRIGHT HOLDER’S LETTERHEAD)




(DATE)

(COPYRIGHT RECIPIENT’S NAME, COMPANY ADDRESS)




RE: COPYRIGHT CLEARANCE FOR SERIES NAME



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

COPYRIGHT HOLDER BUSINESS NAME 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
markets. COPYRIGHT HOLDER BUSINESS NAME grants copyright clearance rights for unlimited airings/ number of
airings (as appropriate) of each television series for beginning date of clearance coverage to end date of
clearance coverage.




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                        13
(Signatory
Signatory title
COPYRIGHT HOLDER BUSINESS NAME)

       SAMPLE: INDIVIDUAL PERFORMANCE RELEASE

PERFORMANCE RELEASE


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 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.


Signature of Participant:


Mailing Address:                      ___________________________________________________________


Tel:                                            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
shall both be bound thereby.


Signature of parent (guardian):


Name (printed):                       ___________________________________________________________


Mailing Address:                      ___________________________________________________________




                                           SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                       UPDATED SEPTEMBER 2011
                                                                14
                                          CANADIAN DEFAMATION LAW
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, all Canadian provinces have libel and slander legislation. Defamation
includes slander and libel, where slander is verbal defamation and libel is printed defamation.
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) 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 and
        malicious.
    2. 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
        community.
    3. The remarks must be harmful or defamatory and this will be assessed on a case-by-case basis. While some
        statements are clearly defamatory, other statements may only be deemed defamatory by the person
        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
        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 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.
        With libel, the damage is presumed as it is published. With slander, proof of repetition to other people is
        essential to the claim. Damages have to be proven, except in these four exceptions when the defamation
        imputes
             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 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.
        Some 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 slander or libel.

LINKS
Canadian Defamation Law
www.duhaime.org/LegalResources/TortPersonalInjury/tabid/348/articleType/ArticleView/articleId/76/Canadian-
Defamation-Law.aspx
Libel and Slander
www.duhaime.org/Tort/ca-defam.aspx




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                UPDATED SEPTEMBER 2011
                                                          15
                                                 SHOW GUIDELINES

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 hand-held camera and are preferable where possible. Good
           hand-held camera work is a highly developed skill set and is best used by experienced shooters. Hand-held
           shots should not be used for subjects over three feet in distance.
    3.     Avoid shooting interview subjects in profile, and endeavour to shoot subjects straight on.
    4.     Keep all segments visually interesting and relevant.
    5.     If the show or segment will be posted (edited) from a one camera shoots, take some establishing audience
           shots so that there is flexibility for video coverage in post production.
    6.     If the show or segment is live-to-tape with no post, cutting is critical to ensure there are no camera shots
           which are shaky, unfocused or roving around the location.

Audio Production
    1.     Ensure that audio (sound) is not too low, hollow, distorted or over-modulated.
    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 that is dark, grainy and undefined
                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 lighting. No camera should have
           darker 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 used in the production.
    2.     Ensure that you establish a consistent format in planning the show open, content flow and wrap, graphics
           and continuity.
    3.     Ensure that the show is formatted, timed, labeled and cue sheeted as per Shaw’s packaging guidelines.
    4.     Include viewer advisory graphics at the beginning of the show as needed.

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 colour to be seen over changing background visuals
                e. should be an appropriate size and font (letter type) for easy viewing on home television screens
    2.     Full-page graphics
                a. should be an appropriate font, size and colour against the graphic background page for easy
                    viewing on home television screens
                b. should be displayed for a duration that will allow easy reading, but not for an excessive length of
                    time
    3.     Spelling
                a. always review the accuracy of spelling on all graphics




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                 UPDATED SEPTEMBER 2011
                                                          16
             b.   be particularly diligent in ensuring the correct spelling of names and titles



Post-Production Editing
    1.   Ensure that audio levels are consistent from segment to segment and within the range defined by the signal
         standards.
    2.   Do not edit to or from a moving shot (zooms, tilts and pans) while the camera move is in progress.
    3.   Shaky camera moves and roving unplanned pans and zooms that are seeking or attempting to follow a
         subject should be removed or covered in post production and should never appear in a packaged show.
    4.   Ensure continuity and logical progression of all edited segments and do not cut speakers mid-sentence.
    5.   Do not fade up from black at the start of a segment: audio and video should start at the same time.
    6.   Use audio such as music as a bridge or background where needed in the production.

SHOW PACKAGING FOR SHAW TV
Formatting Tapes
    1.   Lay black on the entire tape, starting the time-code at 00:58:30:00 at the head (start) of the tape.
    2.   Start the program at the one hour mark: time-code 01:00:00:00.
    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-code is always written in eight digits.
Packaging for On-Air Broadcast
    1.   00:58:30:00 to 00:59:30:00 Bars and Tone recorded to match the program video and audio each time the
         tape 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 should be included prior to the show title, and throughout as
        appropriate
Labeling
Tape labels will be completed by Shaw TV as needed based on information compiled from the cue sheet.
Cue Sheeting
Cue sheets must be completed for each videotape and must be attached to the outside or inside (preferable) of the tape
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 to last frame of program video
    5.   Audio Type: channel 1,2 or mix
    6.   First Video / Audio



                                   SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                         17
    7. Last Video / Audio
    8. Technical Advisory
    9. Producer Contact / Guest Contact
Signal
    1.   Video
             a.   the white portion of video signals generally peak at 100 IRE divisions
             b.   colour burst is normally at 40, plus or minus 2 IRE divisions
             c.   sync pulse is normally at 40, plus or minus 2 IRE divisions
             d.   the black level standard is 7.5 - 10 IRE divisions
    2.   Audio
             a.   audio levels should generally peak at 0, plus or minus 1 vu
             b.   audio levels should be recorded to prevent distortion at playback
             c.   audio recorded too low can cause noise when amplified at playback
             d.   audio recorded too high can cause distortion
             e.   audio on bars and tone should be calibrated to match what the levels are on the program

SAMPLE: CUE SHEET

                                                                     SUPPLIER:
 SHOW TITLE:                                                         Episode Title / # :


 Time-code:           01:00:00:00                                   Air Date:

 Length: 27:30 / 57:30                                              Audio: 1    2   Mix    Stereo

                         First video of program                                     First audio of program


                         Last video of program                                      Last audio of program


 Technical Advisory


VIDEO STANDARDS
Videotape Standard
    1. Shows will only be accepted on previously unrecorded DVCam or Betacam SP tape stock.
    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 acceptable.
    4. The tape shall not contain any scratches which cause visible picture or audio degradation.
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, -10 Digital. No distortion.
    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, -20 for digital
    7.   Camera masters must be shot at 25 Mbit compression rate or higher.
    8.   All tapes will be supplied with unbroken drop frame time code and control track.
    9.   Tape time code should start at 00:58.30.00 Header of the tape should be:
               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




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                  UPDATED SEPTEMBER 2011
                                                           18
    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 the production's name, episode, production company, reel
        number, length, stereo, SAP and CC (if applicable)
                 SUBMITTING A SHOW IDEA OR PROGRAM PROPOSAL TO SHAW TV

SAMPLE: SHAW ACCESS PROGRAMMING PROPOSAL
Thank you for your interest in Shaw TV. We accept show ideas, independently produced videos (tape formats:
DVcam or Beta SP) 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 submit the demo for review along
with a general overview of the idea or program proposal. Please let us know if we can be of further assistance.
Shaw TV is focused on the city / area and its people, issues, arts and entertainment, so we’re most interested in
proposals for shows and series that represent these local viewpoints and activities.
Please submit your proposal in writing via email, fax or mail. Provide the following key information:
         1.   Name (individual, organization or society)
         2.   Contact Information (email, fax, mailing address, and daytime phone number
Please outline information about yourself or your organization as it relates to this proposal, including any
previous experience in television or multi-media.
Your proposal should answer these questions and supply the following information:
          1. Is the content of the proposed show or series specific to city / area?
          2. What 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
on how you can assist 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
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 and specific community events.
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/series (if using a Production company, please include company
              name).
         3.   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.
         4.   On-Air Personnel: 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 (host,
              reporter, 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 spine of the tape case with the show or series title and your contact
information.
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.
         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.




                                    SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                        19
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 possess
copyright 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 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
your 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 changes, or the opportunity to be part of an
existing 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 your event. Shaw TV may,
    however, solicit sponsorship revenues to offset the cost of producing and televising your proposal or event.




                                    SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                        20
SAMPLE: SHAW ACCESS PROGRAMMING PROPOSAL




SHAW ACCESS PROGRAMING PROPOSAL

EVENT:

PRE-EVENT PROMOTION:

NAME OF ACCESS PRODUCER SUBMITTING PROPOSAL:

GROUP OR ORGANIZATION REPRESENTED:

PHONE NUMBERS: DAY                         EVENING                       ALTERNATE:

FAX #:                      E-MAIL:

STORY TOPIC:

BRIEF DESCRIPTION OF THE EVENT, SERVICE OR IDEA:




EVENT OR SERVICE DATE(S):

EVENT OR SERVICE LOCATION(S):


POTENTIAL INTERVIEWEES:

NAME:                                                 CONTACT #’S:

NAME:                                                 CONTACT #’S:


COMMENTS:



To be completed by SHAW staff

Date received by Shaw TV:                             Staff signature:

Follow-up assigned to:

                                      Shaw Cablesystems G.P.
                                      (local contact information)




                              SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                        UPDATED SEPTEMBER 2011
                                                 21
                                       ACCESS FACILITIES GUIDELINES

APPROPRIATE USE OF EQUIPMENT
The equipment and facilities of Shaw Cablesystems may be used only for creating and copying Shaw TV
programming.

SECURITY - BUILDING AND KEYS
Every individual using Shaw TV will be required to have a security card. See Vancouver policies on page 6.

SAFETY
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.

AUTHORIZED USE OF EQUIPMENT
Access producers and associates may only use equipment for which they are trained and authorized to use. The
equipment may only be used after authorization has been obtained from a staff member. Each office has its
own procedure for booking equipment and authorizing bookings. Your Program Manager or Supervisor can give you
complete 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 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 of the
production 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.

GENERAL HOUSEKEEPING
    1.   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
         emptied. The use of the facilities and equipment of Shaw Cablesystems is a privilege, not a right.
         Only those who demonstrate a responsible attitude and a consistent respect for the opportunity to use the
         facilities will be permitted to continue with the Channel.
    2.   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 details.
    3.   Drinking alcoholic beverages in Shaw facilities is not permitted.
    4.   The use of drugs or controlled substances is not permitted in Shaw facilities.
    5.   Drinking alcoholic beverages is not permitted on any location production. Being under the influence of
         alcohol, drugs or controlled substances is not permitted on any location production.
    6.   Operating any Shaw equipment while under the influence of alcohol or any drug is not permitted.
    7.   Any violations of the rules concerning alcohol or drugs will be cause to end your association with the
         Community Channels of Shaw Cablesystems.




                                    SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                               UPDATED SEPTEMBER 2011
                                                         22
                                         ACCESS AGREEMENT
   I acknowledge that I have carefully read the Shaw TV “Access Facilities Guidelines” document and I
         accept and agree to the provisions contained therein, and will abide by these guidelines.



Please print clearly

Name:

Address:

Contact information:
Email:                                                                    FAX:

Phone/voicemail:                                                 Cell/pager:

Drivers License #

Emergency Contact Information (someone we may contact in an emergency):

Name                                                             Phone




Do you have any physical or medical condition that would prevent you from carrying out the physical
requirements of the job or that would pose a hazard to yourself or others ?

              Yes                                               No



Background check: a background check is required for all community access programmers using Shaw facilities on a regular basis.
      Cancellation of privileges: Shaw reserves the right to discontinue access privileges at any time, with or without cause.




Signature:                                                                Date:


Signature:                                                                Date:
             for Shaw TV




                                     SHAW TV: ACCESS AND COMMUNITY TELEVISION
                                                 UPDATED SEPTEMBER 2011
                                                           23

								
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