Fonds consists of audiovisual material created or compiled during production as well as 14 folders of written documentation related to the production of the film. It consists largely of interviews with Shatner, members of his family and associates, portions of previous roles portrayed by Shatner, as well as reminiscences from other prominent actors such as Leonard Nimoy, Kate Mulgrew, Patrick Stewart and Jason Alexander. There is also extensive footage of Shatner at his ranch, hosting his annual charity horseshow, touring his childhood home and McGill University, and his attempts to save the wild horses of Santa Cruz Island.
The content of this fonds is housed on several different video and audio formats: such as Betacam SP(small) and (large), Hi-8, VHS, U-Matic tape (¾ in.), audiocassette tape and DAT audio tape. Much of this audio and video material was used in the production of the final “cut” of the documentary, and content is represented across several of these formats, with audio content found in both audio and video formats.

The fonds consists of textual documents and audiovisual materials that relate to the filming and production of “Champions for Change.” The textual materials include synopsis and scripts, tape logs, shot lists, transcripts and interview transcripts. A number of the tapes (including #3, #9, #10, #16, #17, #20 and #21) are not transcribed. The audiovisual materials are 26 videotapes, including master copies of the three-part series “Champions for Change,” the master dub tape, and additional footage of interviews with key individuals. The individuals interviewed include Chantal Benoit, Jeff Adams, Chantal Petitclerc, B. MacPherson, Kristine Bacharach, Travis Engen, Dan Gangier, Eric Gagnon, and Rebecca Borneman. The tapes also include stock footage and B-roll shots.

Fonds consists of textual and audiovisual material relating to the production of the movie "Manufacturing Consent: Noam Chomsky and the Media", released in 1992, and the companion book by Mark Achbar published in 1994. The filmmakers chose to capture
the majority of their work on film, rather than video, for several reasons. Firstly, during the 1980’s, video resolution was significantly lower than film negative and in an effort to ensure the image resolution was high film was chosen as the predominant medium.
As well, the NFB (National Film Board) was equipped primarily for film shooting, processing and editing. Finally, the motivation to participate in film festivals, which wanted film rather than video, compelled the filmmakers to use film as their medium. Some small format video, captured using rented broadcast quality video gear, was used for long talks or events which would have been uneconomical to shoot in film. The audiovisual material includes original camera negatives, audio and video tapes and sound bites used as research material and in the making of the film as well as some post-production rough cuts, alternative versions and promotional material relating to the distribution of the film and subsequent video. The textual material includes pre and post-production materials as well as production logs and graphical materials. Much of the post-production material relates to the promotion of the film and the media coverage of the film and of Noam Chomsky.