Media production co-ops exist to enable artists to create works that allow them to express themselves and tell their stories. A co-op provides tools, experience and community to nurture the independent voice of media artists. To be involved with filmmaking requires strong commitment, long hours and many sacrifices. Co-ops provide the infrastructure, but it is people working together towards a shared vision that gets a film made.
As I spent more and more time on productions I realized that I wasn't spending enough time at home and I was missing out on watching my children grow up. I didn't want to leave the co-op, but I needed to find a new role where I could stay involved, but not damage my family. For a while it seemed that Tony and I were always at the co-op... with Tony seeming to be there all the time. Tony balanced his life by beginning his partnership and marriage with Cathie Leblanc and I learned to say (politely), "no." I began to focus more on policy and the physical infrastructure of the co-op and Cathie was able to bring her warmth, enthusiasm and empathy to revitalize all of us and bring the members closer to the co-op.
Being President and serving on the board of the co-op was a wonderful experience. The highlight has always been working with Tony Merzetti. With his unique combination of technological skill, financial ability, creative vision, and perseverance, Tony has been able to overcome whatever obstacles that the co-op has faced. Things haven't always been easy. There have been financial cuts, turbulent board meetings, and contentious policy issues. I always tried to keep the big picture in view. How could we make the co-op better? What do people need to tell their stories?
The Independent Film and Video Alliance of Canada represents the film, video, new media and distribution media arts co-operatives across Canada. It is an amazing organization that works through consensus to lobby for more support of the media arts and to allow artists from across the country to network with each other. I was lucky enough to attend the IFVA AGM in Montreal in 1992 and was elected to the board of the IFVA in 1995 in St. John's.
Every IFVA AGM was a wonderful experience that gave me the opportunity to meet talented artists who all are committed to creating independent media art. By sharing stories of productions, policies, workshops and people the Alliance lets us learn from others and improve what we do in our co-op. In 1999 I was proud that we were able to host the AGM in Fredericton. Being able to bring dozens of people you admire and respect from across the country into one place was a rare privilege.
Being on the board of the IFVA gave me the opportunity to talk about the changes happening in media arts from a political and technological point of view. As the tools used by media artists became more accessible, funding was also being cut. Facing the twin challenges of financial constraints and rapid technological change has forced us to look closely at what we do and how we do it.
We had to improve the training that we gave filmmakers and we had to improve the equipment as well. The first teaching experience that I had was from giving workshops for the co-op. It was a transfer of the skills that I had picked up in recording sound and editing, but it formed the basis of my teaching career. So while we thought more and more about how to move the co-op into digital editing, I began working more with computers and teaching other people how to create things using filmmaking principles combined with new technology.
I love teaching. It provides the same thrill of working on a shoot or helping someone with their film. The technology starts to disappear and you work toward telling a story with the tools that you have at hand. So while I taught people how to use the technology, I was also talking with Tony a lot about how we could start to integrate this stuff into the coop.
Having seen co-ops go heavily into debt with digital editing system caused Tony and I to be careful with our enthusiasm. Tony wouldn't let the co-op go into debt. So he began the long process of creating budgets, filling out applications and meeting with people to secure the funds so we would be able to operate within our means, but also to increase the range of tools that filmmakers would be able to use.
The first digital editing system that we were able to get was the ProTools sound editing system. It came in near the end of the post-production of "Echoes in the Rink." We were also lucky enough to be able to have one of my students, Peter Lockhart, do a work term placement at just the right time. Peter was an important and talented addition to the post-production team and is still involved and on the board of the coop.
The experience with the ProTools system allowed us to finish off a number of films that had been lingering in postproduction. We saw a difference right away. The process began again with grant applications with Tony doing the bulk of the work. While we had an ACOA report that Scott Lutes had completed years earlier that recommended digital non-linear editing systems, the problem was in securing the funding for purchasing the system.
From the time of the report to the time we started applying for funds much had changed. We no longer had the NFB lab, the prices had dropped dramatically on the systems, and a new video format, MiniDV had appeared and rapidly taken hold. The funding wheels slowly turned on our Media 100 application and the desire to move more quickly (but responsibly) into the digital realm was growing.
With some changes in provincial funding we were able to purchase a MiniDV camcorder. The tradition of filmmakers giving back to the co-op was also continued with Tony Sekulich helping out with purchasing an iMacDV. The other part of the funding for the iMac came from "Echoes in the Rink," which had begun with funds from a television sale of Errol Williams previous film "A Darker Side." Money from "Echoes" also improved the infrastructure of the co-op by purchasing the fax machine and photocopier amongst other things.
So finally, after years of waiting and hard work, we have a Media 100 at the co-op. Unfortunately I'm not there now. I've moved to the Annapolis Valley where I'm a producer / instructor with the Production School House in Windsor, Nova Scotia. I get to work with another group of amazing and talented people. Helping them tell their stories using new tools and techniques. It's a great job and I love going in to work every day. It gives me a great balance between production and instruction.
I used to be afraid of leaving the film co-op. What would happen? I'd first walked through the doors almost two decades ago... more than half of my life... what would happen without me? Over the last few years I worried less. I saw people like Peter and Cathie come in. I saw more people doing the work. I saw the policies working and new crews developing. I saw Tony relaxing more. So the board is strong, the policies are strong, and the membership is vital and growing. Everything would be fine without me.
So while the co-op is doing well with people and equipment, I can't say that I'm completely happy. I don't miss the board meetings and policy discussions. I do miss being able to go out for a beer and some great conversation after the board meeting. But most of all I miss being able to walk down and see Tony and Cathie whenever I want. So I'm not there, but I'm working away at projects and I know that I'll work with Tony some more, except now with a sharper focus on the project, and less on policy. It's going to be a lot of fun. So keep telling your stories and making the co-op better and better. I'm looking forward to seeing your stories.