SCAN, the new aid structure for audiovisual creation

DGEN - dispositif SCANInvited by FIFO, on Tuesday 3rd February, the DGEN (Economy and Digital Directorate-General) presented festival attendees with its new aid structure for audiovisual and digital creation: the SCAN, Support for Audiovisual and Digital Creation. This aid, that remplaces APAC, is aimed as much at amateurs as professionals. It has been operational since 1st January 2015 and the first committee will take place in March 2015. Karl Tefaatau, director of the DGEN, responds to our questions.

 What incited the DGEN to create SCAN ?

SCAN exists because or thanks to FIFO. Indeed, discussions at the digital encounters that took place during previous editions of the Festival were more than fruitful, we spent a lot of time addressing the subject of business convergence. We therefore decided to create a structure which proposed to fund two types of sectors: digital and local audiovisual production. Professionals have also for some time been asking for a reform of the old APAC text. Indeed, the sector experienced difficulties surviving without public aid. It was becoming necessary to review the system whilst heading toward professionalism and a better organisation of the sector. For example, since the start of these works, the technicians have formed an association to be stronger, and thus have someone capable of speaking on behalf of them both with public officials and producers. We have also helped out with tariffs for technical services for audiovisual professionals so that some are not ‘exploited.’ There are more technicians than producers, they must not be neglected. We have therefore listened to the professionals but we have also taken it further by putting our own objectives forward.

What are they exactly?

We rely very much on rigour which is very important. Today many projects do not come to fruition as they lack preparation. The SCAN is certainly more restricting regarding the file preparation but in this way we shall ensure good project evaluation, coherence and realistic financing. The budget must be closely scrutinised, enabling us to have a good analysis of economically viable projects that could lead to production.

We try to guide people towards professionalism and help them to materialise their project. Our main objective remains to have a maximum of productions to fund.

What are the qualities of the local audiovisual sector?

Our sector is multidisciplinary, and we can harness it externally. Indeed, when big foreign productions arrive, the fenua (territory) can provide cameramen who can be a sound engineer, as well as a boom operator. In France, that is not the case: a sound engineer is only a sound engineer, they are very specialised. In Tahiti, it’s a small market but the technicians are capable of fulfilling several positions. That is our strength. In addition, with SCAN, we want to show our skill in terms of audiovisual project management. There are many co-productions in Tahiti with American or mainland structures, with SCAN, the message is : ‘the territory has its own aid structure, it is an incentive, including for external productions.’ Indeed, if the latter want to benefit from SCAN, they are obliged to go into partnership with a local producer. It is a way of highlighting and boosting our local structures.

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Suliane Favennec