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Goldi Productions Ltd. is owned by husband-and-wife team, Joan Goldi and John Goldi csc, long-time Canadian filmmakers, who are outdoor enthusiasts, naturalists, and history buffs.

Joan and John Goldi csc have traveled to many parts of Canada over the last 30 years to make international award-winning films and television programs covering a wide range of topics, including outdoor subjects, survival training, the North, First Nations people, social issues, Canadian history, geography, engineering, science, and environment.

Goldi Productions has won 136 international Awards and Honours
(including 41 Platinum, Gold and Silver Medals) for its film, television,
and video production work, in competition with the best producers and productions from around the world.

Joan and John started as high school teachers, served as CUSO volunteers in East Africa for two years, taught in Toronto high schools, and spent 14 years in Canada's North West Territories, first as teachers in remote Inuit and Dene communities for six years, and later as filmmakers in Yellowknife, NWT.

They traveled all over the north, in every season of the year by canoe, boat, small plane, snowmobile, and dogsled. They often traveled  with Inuit and Dene families on extended trips in all seasons, on camping trips that involved hunting expeditions for caribou, seals, bear, and geese. They frequently lived in tents at -40 Celsius, and shot from helicopters - with the door off -  in the Arctic in January and February.

They moved their office back to the Toronto area in 1988, and since then have traveled across Canada several times shooting and producing Canadian programs for television and Canadian Government departments.

All the programs produced by Goldi Productions Ltd. have been aired on television. Canadian broadcasters include CBC Network and regional broadcasters, Radio-Canada, History Television, The Discovery Channel, Life Network, ACCESS Alberta, BC Knowledge Network, and the Saskatchewan Communications Network. Programs produced for television have been seen in many countries.

Go to Our Documentary Innovations 1
Go to Our Documentary Innovations 2


As well, we are pleased that hundreds of educational film and video professionals from hundreds of Boards of Education and Public Libraries from across Canada, have placed countless copies of our films and videos about Canada and Canadians in thousands of schools and libraries across Canada, helping us to fulfill our company motto:


More copies of our Canadian heritage and outdoor safety films and videos can be found in Canadian schools, libraries, government, and corporate offices than those of any other Canadian documentary producer.

Producer/Screen Writer/Special FX Avid and Final Cut Pro Editor: Joan Goldi:

As Producer, Joan Goldi has done the coordination of production for all Goldi Productions projects.

She has done the principal research and writing on almost all the film and video productions done by Goldi Productions since 1979.

Joan Goldi pursued university studies leading to an Hon. B.A. in Geography, and a B.Ed., at the University of Toronto.

Unlike the vast majority of other producers - who hire talented people to work for them - she has done indispensable "hands on" craft work, in the field, and in the editing suite, on every production she has ever done.

As well as being a highly experienced computer geek - she bought the first IBM PC in 1981 - she keeps our company's 5 production computers humming, and our Avid and FC Pro suites in tip top shape.

She alone keeps the huge web of Goldi Productions internet websites functioning technically.


She had TWO...

Suzuki had One, CBC Witness had One, Discovery had One: At the world's largest science documentary festival, hosted by the French Service of the CBC, in Montreal, PQ, Joan Goldi was the only English-language producer (out of 27 from around the world) to have TWO programs "Selected for Show," both from her cable television series "Outdoor Adventure Canada."

"A terrific documentary!
Just a terrific documentary! Absolutely fascinating!"

- on "The Saskatchewan Will Never Die"

by Ron Santora, Program Director, PBS Buffalo, WNED.


Go to Program Innovations

Go to What Her Viewers Said

Far from being just a superb techie, she is also a talented Avid and Final Cut Pro Editor, and has done all the special effects, titling, supers, and credits for all Goldi Productions programs.

Joan has served as a juror in the script writing and documentary categories, for selecting Canada's Best, for the Genie Awards.

Above on the battlefield at Fish Creek, Saskatchewan, in her usual role in approving a shot, or when she shoots her cinematographer husband when he is doing an on-camera hosting piece.

Below the reverse angle where her husband did his standup, overlooking the battlefield. The Canadian troops of General Middleton swarmed down the hills on the immediate left, as the Métis and Indians who were dug in along the right side of the creek fired up at them.

John Goldi csc.

John Goldi csc has shot all our programs (since 1978) including the much-praised videography featured in "Outdoor Adventure Canada."

(See below)

(The 'csc' designation is the top honour bestowed by the Canadian Society of Cinematography, the national association of professional film and television cameramen, "for outstanding achievement as a cinematographer".)

John has served as a juror for the CSC's annual documentary cinematography awards and was also a juror for the Genies which honour the Best in Canadian Theatrical Motion Pictures.

(Picture of Red-throated Loon, shot by John Goldi csc, on cover of CSC's monthly magazine. He has been a photographer since February, 1953, when he took his first photograph. If you want to see it, and the camera he used, click below.)

Go to the Making of a Master Cinematographer

Executive, Off and On-line Avid & FC Pro Editor: John Goldi has edited all Goldi Productions films and videos since 1979 (over 100 programs). He was the Supervising Editor on the 26 part series, "Outdoor Adventure Canada" and did the recut, finecut, and the video and audio post-production and onlines for all programs in that series. He did all the music editing.

Writer: As the offline and online editor, John Goldi is constantly re-writing scripts to make personalities, picture, sound, and music fit better together.

On pet projects, like "The Boer War" and "Ipperwash," he was the lead writer.

He is the author of the "Canadian Anglo-Boer War Museum" and ""


Coming Back Alive series of programs, shot across Canada to promote outdoor safety and survival in all seasons for everyone who works or plays on land or or the water, outdoors

Ipperwash: A Canadian Tragedy, a one-and-a-half hour season opener for CBC's the Passionate Eye, in 2005, on the police shooting, in 1995, which resulted in the death of Dudley George, the only Canadian killed by police in a land claims dispute in the 20th century.

For many months after September 1995, we were the only media allowed inside Camp Ipperwash.

As a direct result of our personal intercession, on December 8, 1995, the Ontario SIU (Special Investigations Unit) agreed to reopen its investigation into the police shooting, just the day before it was to hold a press conference announcing it was closing down the file with no charges being laid against any policeman.

We insisted the SIU reopen the file, offering to be facilitators in communication with the people inside beleaguered Camp Ipperwash - where all the principals involved in the shooting were, the overwhelming number of whom the SIU had never talked to.

The SIU agreed to our offer, and cancelled their scheduled press conference for December 11.

When we got the SIU officers cleared to enter - the first government people allowed inside the camp in over five months - we filmed them doing their work.

As a direct result of their new investigation, charges were laid against a police officer for illegally shooting and killing a First Nations protester, Dudley George.

Only then did the other media became interested again, in reporting on the Ipperwash story.

For the previous nine months the media had bought and propagated the police line that "the Indians had shot first and we only returned fire in self-defence."

As a journalist, who later got a medal for his stories on Ipperwash, told us, more than a little defensively, "You can't really blame us for the blinders and the lapse. You know, we journalists depend heavily on the police for access and for scoops. We didn't want to jeopardize that."

Systemic Racism: So for the previous nine months the First Nations men, women, and children of Ipperwash had been vilified, by the media - overwhelmingly white - and as a result, by the public at large, as little more than rowdy Indian thugs who got exactly what was coming to them.

We are proud that without our direct intervention there would have been no charges laid against any police officer, there would have been no court case - where the judge ruled the police had deliberately killed Dudley George and many officers were lying on the stand - and no Ipperwash Inquiry into the shooting. And no resulting announcement that the Indians had no guns, were not guilty of anything, while conversely the police had shot without provocation and lied to cover up the fact.

Web site produced - The Canadian Anglo-Boer War Museum

Web site produced - Canada's First People series

Web site produced -

Web site produced - Coming Back Alive

Web site produced - Revenir Vivant


    - Production of a four hour special documentary: "The Great Anglo-Boer War: The Canadian Experience", commissioned by HISTORY TELEVISION to commemorate the 100th anniversary of Canada's first ever military expedition overseas to fight in a foreign war.

    - Production of a web site to remember Canada's participation in the Anglo-Boer War in South Africa.

    This is one of the few television projects selected by the Canadian Government's Millennium Bureau to become a Canadian Millennium Partnership Project to celebrate Canada and Canadians at the start of a new Millennium.

    In an unheard-of accomplishment, Joan and John Goldi did all phases of production on the four hour television series, from research, writing, location work, and shooting, and all the offline and online editing, of picture, voices, effects, and music.

    Go to Four International Gold Medals

We thank our project sponsors and participants for allowing us to pursue our primary passion:

For this program we did the most exhaustive research ever done on Canada's Boer War sites in South Africa, spending two months and driving 11,000 kms to all the places Canadians fought there from 1899-1902.

We were amazed to discover that after 100 years there was still no Canadian signage of any kind, on any of these locations. We submitted a massive proposal to Parks Canada, the Historic Sites and Monuments Board, and to Sheila Copps, Minister of Canadian heritage to rectify this situation.

We were pleased to receive a personal letter from Stéphane Dion, Minister of Canadian Heritage, notifying us that as a result of our initiative the Canadian Government would post the first Historic Sites and Monuments signs at locations we had suggested.

They will become Canada's first Historic Sites & Monuments historic markers on the African Continent.

Go to Stéphane Dion's Letter
Go to Our South African Discoveries




Great Canadian Parks - The Discovery Channel

In 1995 we were one of five Canadian producers picked by the Discovery Channel to compete in each creating a one hour pilot program to select the winning producer for "Great Canadian Parks."

Neophyte Discovery executives - brought in from CBC and sports networks - had no idea of the best program presentation format to use for their new Canadian heritage series, and thought this was the best way to get input from creative people who knew what they were doing, in order to find the best producer for the series.

Goldi Productions was picked, to do a pilot, at the very last minute, when Joan Goldi, during chit-chat at an evening function, pointed out to John Pannikar, Discovery's executive producer on the series, that all four National Parks he and Trina McQueen had picked, for a "Canadian signature series" competition, were west of Saskatchewan... The daring duo - who had spent all their lives in Toronto - had left out nine provinces and territories, most of Canada, and most of the population...

John, clearly discomfited by the awkward revelation, spoke to Trina McQueen; the next morning we had our pilot to help Discovery restore some semblance of balance and credibility.

Trouble was, we had no park... and all the good, spectacular and famous ones - Banff, Jasper, Yoho, Pacific Rim, and Prince Albert (of buffalo and Grey Owl fame) - were - obviously - gone... As well as our hope for any ratings...

In desperation, we picked two local, adjoining National Parks in Ontario: Bruce and Fathom Five at Tobermory, neither of which anyone had ever heard of... (OK, we admit it; we found them by looking at a Parks Canada brochure...)

Yipes! Who would even want to see our program? Against Canada's most spectacular national parks, we were sure to be a very poor 5th out of 5, in the ratings... But we had no choice, but to make the best of it...

Clearly, we would lose the popularity contest, hands down, among viewers... And this was a job aimed to get the best ratings...

We would have to ingratiate ourselves at Discovery with our hard work and innovation, since we didn't have a hope at winning the ratings game. We believed doing a good and conscientious job was what it was all about...

Worse yet, it was early spring. The place was frozen up, and empty; not a flower, not a bird, not an animal, was to be seen, or heard, anywhere, and the air date was - horrors - July 1st... literally only weeks away... It felt like days... (John clearly didn't think it was possible for us to pull it off, but we assured him, if not ourselves...)

And we were going to start investigating, researching, and shooting, in a park which was devoid of people. So we were faced with having to bring all our camera subjects from Toronto to "people the Park." Which we did. Or we would have had nothing, or nobody, to shoot.

We were determined not to fail the trust Discovery had placed in us.

In what would become the most astounding accomplishment of our career, we started dreaming up our pilot on "Bruce/Fathom Five," under all these fatal restrictions, when the other shows - John Pannikar informed us - had been in the can for months, and were already well along in editing...

How we did it, and created a great program model, to showcase Great Canadian Heritage Sites, and blend in an educational message in a seamless way, using experts, in a viewer-attractive presentation, is a truly amazing story.

Oh, and we had no "host," or time to find one... And for the "show design" we envisioned, this was absolutely key...

So John Goldi yanked our summer office PA, away from her computer - she'd only been a week on the job - dragged her into the back yard, pumped her up, and screen tested her by making her walk and talk to his camera. After 15 minutes, he said, "You're our on-site host for the Discovery pilot." She was blown away by his confidence in her, but rose magnificently to the challenge, and did a superb job that made our hearts glow, and our show shine.

She was, we have absolutely no hesitancy whatsoever in saying, decidedly superior, as a Parks television host, in every way to all the other would-be hosts, presenters, or walk on celebrity hopefuls, that the other pilots made use of.

Where the others were missing entirely, or stodgy, awkward, staged, mannered, or doddery, she was present everywhere, throughout the show, engaging, natural, genuine, totally believable, and managed to convince every person she interviewed in the field, and the audience that watched, that she really cared for what the experts had to show her. Everywhere she pumped them with intelligent questions that viewers would want answered. The experts universally glowed under her on-camera questioning.

And we delivered on time.

Unfortunately Discovery programmed our pilot into the worst possible time slot, on the warm July 1st, holiday weekend, when all the viewers we wanted were far from their TV sets, partying and barbecuing in the back yard, off at the cottage, or watching fireworks.

(We had complained, ahead of time, to John Pannikar, but, for reasons that entirely escaped us, he said those factors would have no impact whatsoever on the TV watching numbers... Eh! In fact we're sure Discovery did it on purpose, as protection, so that if our show was a disaster, there were no viewers around to see the debacle...)

In spite of the disastrous obstacles we faced, on every side, on this job, our show on unknown parks still won the third highest ratings of the five, finishing handily above the other two pilots, Pacific Rim and Prince Albert, and respectably close to the others.

Frankly, we thought our show, in spite of not having the Rocky Mountains, the Pacific, bison herds, or Grey Owl, was the best of them all, on numerous levels, for a variety of reasons.

And the Winner is... Clearly the executive officers at Discovery were more than a bit impressed too, because Trina McQueen and John Pannikar picked our pilot, our "host-based model," our program's presentation format, structure, balance of elements, and approach, as the "pilot model of choice" to copy in shooting and editing the subsequent Discovery series "Great Canadian Parks."

They took our pilot, but not us - the creative team...

In the end, "Great Canadian Parks" looked exactly like our pilot, and nothing, at all, like the pilot of the producer who got the contract to make the series.

In fact their pilot "host," had only been a "book end presenter," and only did a couple of lone stand-ups, on a railway track somewhere - we swear he was not even in the park he was hyping... So he did no interactions with the park; his presence was an artificial intrusion...

Worse, he did no on-site host interactions with "park experts," and people on location, at all, which was the heart and soul of our pilot, a technique that was then slavishly copied holus bolus from us to become the norm in Great Canadian Parks.

Though they did replace our terrifically informed, engaging, and enthusiastically bright young woman host, with a doddery old fart, who, it turned out, was an old friend of Trina's, and who ended up reciting the same script for every show. He must have repeated "Love it to death" 20 times in every program...

But then Trina was notoriously up front about the kinds of talent she would hire. At one public meeting of producer hopefuls, after she asked them for support for getting a broadcast license for Discovery, she sternly and loudly, admonished those in front of her - her brashness took everyone aback - not to get their hopes up. "I'm only going to work with producers I like." Heads turned; she had forgotten to mention merit...

And, we confess, she didn't know us at all, except by our work, which she clearly thought enough of, to brazenly appropriate it for her friends, as if it was her right to do so...

(As the Globe's television critic John Doyle repeatedly says, "Television is a racket.")

Oh, and our summer office PA? Only weeks later, she parlayed her powerful hosting debut on our pilot into a top Producer's job at Life Network on one of its leading shows. Clearly TV executives there, were blown away by what they saw in our show... Shows what good coaching from a pro, can do with an office temp...

Over the next year or two, our 22 minute Outdoor Adventure Canada heritage shows would meet some of the Parks 1-hour spectaculars on the US film and television festivals competition circuit. In one memorable, but typical contest, one Parks show Discovery was very fond of sending - because they thought it was better than the others - met head on with two of ours and a host of other programs from the best producers around the world.

The American jury gave our Canada-specific heritage programs, BOTH the GOLD and the SILVER, and Discovery went home empty... again... (In fact at three different international US film and television festival competitions, others of our programs took both the Gold and the Silver.)

Trina McQueen of Discovery would say publicly that she was pleased that "Great Canadian Parks" "averaged" 100,000 viewers (in the first broadcast).

Astonishingly, during the week that the Olympics were on,
which siphoned away all the viewers,
our "Outdoor Adventure Canada" program
"A Whale of a Tail" - in its encore presentation - got 237,000 viewers

OUTDOOR ADVENTURE CANADA: A Series of 26 Half-Hour Television Programs

-We created, produced, and shot "OUTDOOR ADVENTURE CANADA", (1996-97) which to date has won 79 international television awards (including 27 Gold & Silver Medals in just over a year) for 66% of its programs (17 episodes). At three different festivals, three of our silver medals were beaten by three of our Golds competing in the same category. The show also won outstanding ratings and wonderful viewer mail.

"Outdoor Adventure Canada" grew out of the Goldis' desire to pass on to others the deep enjoyment they have had in exploring Canada's fascinating outdoors, and listening to the many stories that Canadians have to tell about themselves. "Outdoor Adventure Canada" embodies Goldi Productions Ltd.'s motto,


by providing Canadians with an entertaining and informative documentary series that is unabashedly and proudly Canadian.

This series was selected (1996) from among 251 "extremely high-quality submissions" from television producers from across Canada, by a committee of the Canadian Independent Film and Video Fund and Atlantis Broadcasting,  as one of only 10 series to be developed for possible production. Our series, "Outdoor Adventure Canada" was one of the few which was finally selected for production. It went to air on Life Network.

Said Jan Platt, our executive producer for Life Network, "So many of the shows that look great on paper turn out to be disappointments once produced, but your series, which thrilled us so much in your proposal, turned out even better than we could ever have hoped."

With great and heartfelt thanks from us all, to JAN PLATT, a founding partner of Atlantis, the first Canadian to accept an Academy Award (an Oscar) for drama, a person unreservedly respected and admired throughout our industry, and whose inspiration and love for Canada brought "Outdoor Adventure Canada" to Life.

Producer/Screen Writer: Joan Goldi. (See Above)

Director/Cinematographer: John Goldi csc. The much-praised videography featured in "Outdoor Adventure Canada" was all done by cinematographer John Goldi csc. (See Above)

Executive & On-line Editor: John Goldi was the Supervising Editor on the series, and did the recut, finecut, and the video and audio post-production and onlines for all programs in "Outdoor Adventure Canada" .

Offline Editors: Gina Binetti, Bill Crocker, Sandra Gabriel, Christa Schadt. Without their hard work, unstinting good humour, and love for the people in these shows, "Outdoor Adventure Canada" would not have glowed as brightly as it now does.

Music Written & Performed by: David Woodhead: Well-known performing musician in Canadian folk music circles, composer and performer of many pieces in the Perry Music Library, former member of the band of the late, great Stan Rogers, one of Canada's most famous folk musicians. David did virtually all the music for the series. Its excellence is a large contributing reason for the outstanding viewer response to all those programs.

Production Assistants: Allan Canney, Katherine Colbourn, Annabelle Forde, Matt Smith, Peter Van

Webmasters: Sam Fleischman, Matt Smith, Catherine Herrera, Mark de Leon, MIke Perez, Alex Mok

Our Secondary Passion We don't always work. Our secondary passion is Wayfarer dingy racing which we do two twice a week. Some15 - 20 Wayfarers turn out every Tuesday and Thursday at the Toronto Sailing & Canoe Club from May to October. These enthusiastic group of people make up the most active members of the Canadian Wayfarer Association which also holds two day regattas on most summer weekends in Ontario, Michigan, and Ohio (20 to 30 boats).

Our boat, a one-design of wood, was built in England in 1956. We are the fourth owner. It belonged for decades to an American dinghy champion. Most Wayfarers are now made of fiberglass.

Information about the Canadian Wayfarer Association can be found at The Whiffle is the association's magazine and newsletter which carries information on all the activities, regatta results, and lists of Wayfarers for sale - from $2500 to $3000 race-rigged. A truly family fleet of men and women, our youngest racers are 10 and 11 and our oldest is 88!


Some 16 films shot in the Canadian arctic (1979 -1997)
"My Land is My Life" 1986

- We produced our first one-hour television documentary film on Dene (Sub-Arctic) First Nations people, which:

- won a Bronze Plaque at the Houston International Film & Television Awards, (behind National Geographic's Silver, and a PBS Gold),

- was premiered on Parliament Hill in Ottawa, and before the European Parliament at Luxembourg,

- was placed in Canadian Embassies around the world, and

- was made into one of Canada's first interactive CD ROMs by the Canadian Government, which it then installed in the British Museum, and the Canadian Museum of Civilization. It was the centerpiece of the Secretary of State's "Bravo Canada" trailer display that traveled across Canada.

-We funded and produced a film presenting northern First Nations family life as a positive role model for aboriginal young people, ("Dene Family" 1981), that was shown on Sesame Street, won First Prize at the American Indian Film Festival in San Francisco, and can be found in hundreds of schools and libraries across Canada.

The British Columbia Department of Education requested our permission to allow the film to be used as the centerpiece of an instructional video to teach BC teachers how to approach teaching social studies material in a sensitive way.

- We documented on film, for Esso Resources of Calgary, Alberta, the massive, two year, $800 million dollar, Norman Wells Oilfield Expansion project, (1983-85) which involved building six huge islands of rock in the middle of the Mackenzie River to serve as oil derrick support platforms to get at the historic oilfield  below the river bed. Most of this construction, and filming, was done in January and February when temperatures were regularly at -30 and -40 degrees Celsius. The film won a Canadian Film and Television Association Award in 1985.

- In "The Norman Wells Pipeline" we documented on film, for Interprovincial Pipe Line, of Edmonton, Alberta, the two year construction of Canada's first ever arctic pipeline, (1984-86) mostly shot in January and February, at -30 and -40 degrees Celsius, in the North West Territories. Most of this construction again was done in January and February when temperatures were brutally cold. Frostbite and cameras that froze up were routine occurrences we had to work around.

Both film projects firmly established Esso Resources Canada and Interprovincial Pipe Line as world leaders in developing environmentally sensitive construction procedures to protect the fragile sub-arctic environment. Enthused the President of IPL, after seeing the program, "You two know more about pipeline construction in arctic permafrost than most of my engineers!"


Other Projects


We produced a series of programs that feature young people exploring the history and geography of their cities and regions. The series is widely used in Canadian classrooms to give students (grades 5 to 9) an overview of Canada and it's story.

Four of our films, including the "Exploring Canadian Communities Series, were voted into the Top Ten of the "100 Most Highly Recommended Programs", by a committee of the leading educational film and video buyers from across Western Canada. This was at a marketing showcase where 32 major distributors (we were the smallest one there) were showing thousands of the latest international video programs during a week of previewing at Banff, AB, in 1991. Our one-hour television documentary "My Land is My Life" was voted #3. (By comparison, National Geographic placed 2 programs in the Top Ten, the NFB one, and CBC and TVO none.) Surprised organizers informed us that no producer or distributor had ever placed that many programs before into the Top Ten.


Programs from our Outdoor Safety series of 5 films are found in daily use in every Canadian province and US state. These programs have been credited with saving countless lives all over North America. They are used by the Canadian Coast Guard and the Department of National Defence to teach their people survival skills in Canada's outdoors. Cold Water the Silent Killer became the North American standard for all audiences, on how to treat and prevent hypothermia from cold water. The Coast Guard assures us that there is not a child in the Maritime Provinces that has not seen this film. The Coast Guard commissioned us to remake/update our film in exchange for their right to use it in their safety programs. This new program, "Cold Water, Deadly Killer" has won several medals at American international film & video festivals, including a Gold Plaque at Chicago's International Film & Video Communications Festival, where competitors came from 23 countries.


We have produced and shot many other projects for broadcasters, industry, public service organizations, industry, and education. As well, we have worked as cinematographer, sound, production, and editing crews on CBC projects, and productions for other companies.


We have been motion picture, television, and video distributors for twenty three years. For information on productions currently distributed by Goldi Productions Ltd., see Videos For Sale.
Copyright Goldi Productions Ltd. - 1996, 1999, 2005, 2011