Screen Africa - May 2013

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empowering industries and broadening economic participationthe dti Customer Contact Centre: 0861 843 384

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NEW SOUTH AFRICAN FILM: Tony Kgoroge and Fana Mokoena in Black South-Easter, which screens at the Cannes Film Festival.

Big SA presence at Cannes

At the time of going to press 17 South African filmmakers – all members of the DFA (Documentary Filmmakers Association) and sponsored by the Department of Trade & Industry (the dti) – were attending the Hot Docs documentary film festival in Toronto, Canada, with additional support from the National Film and Video Foundation (NFVF).

Another South African filmmaker and DFA member, Mayenseka Baza, attended Hot Docs as the winner of its Blue Ice Programme. Baza’s attendance at the festival was fully sponsored by Hot Docs.

The DFA delegation was led by Teboho Pietersen (Pietersen

Productions CC) and Ryley Grunenwald (Marie-Verite Films). Others in the delegation were Mlamleli Maki (Underdog Productions); Jean Meeran (Team Tar Baby cc); Tshegohatso Molete (Happy Brown Babies Productions); Nicole Schafer (Thinking Strings Media Production); Francois Verster (Undercurrent Film and Television); Patricia Van Heerden (Public Nature Media); Odette Geldenhuys (Frank Films); Michael Lee (Cultu Vista); Nicky Newman; Arya (Amber) Lalloo (Urucu Media); Johanna Mavhungu (MLB Media Solutions); Nadine Cloete (Ma’Engere Film Productions); Ncqaba Ngoyi (MsomiPuisano); Louise Van Hoff (Okuhle Media) and Joe Mogotsi (I and Eye Production).

Said Pietersen: “Attending Hot Docs is incredibly valuable for filmmakers as it provides a great perspective of the industry. Documentary filmmakers operate on passion but sometimes that

DFA’s Hot Docs adventure

The South African film industry is set to make a big splash at the Cannes International Film Festival (15 to 26 May), with a large contingent of filmmakers based at the South African Stand, official screenings of new feature films Blitz Patrollie and Black South-Easter, the signing of an MoU (memorandum of understanding) with Kenya, a co-production forum with treaty countries and networking functions.

South Africa’s participation at Cannes is coordinated and hosted by the National Film and Video Foundation (NFVF), which has scheduled a ‘South Africa Day’ for Saturday, 18 May. This includes a presentation of the local industry by the NFVF and the Department of Trade & Industry (which provides financial incentives for filming in South Africa), and a networking function at Rado Plage.

Says NFVF Communications & Public Affairs manager Naomi Mokhele: “Our tagline for Cannes 2013 is ‘New markets, new investments’. As part of ‘South Africa Day’ we will be signing the MoU with Kenya, a country that is really keen to work with South Africa. We are also holding a co-production forum with three of our treaty co-production countries – Australia, Ireland and New Zealand.

“On 19 May we will have the South African Focus, previously referred to as the South African Line-up, where we will showcase several films. These include Gog Helen, Klein Karoo, A Lucky Man, Jimmy in Pink, Pretville, Fanie Fourie’s Lobola, A Small Town Called Descent, Durban Poison, Hear Me Move, Angel of the Skies, and Khumba. We have invited sales agents, distributors and film festival directors to the

event.” The South African Stand is

located at stand number 120 at the Village International Pavilion.

Mokhele continues: “The look and feel of the stand is the same as last year. We offer boardroom space for South African filmmakers, as well as three meeting rooms, computers and internet facilities. Filmmakers wanting to screen their films can opt to do so in the screening area or in the boardroom.”

She notes that the NFVF is sponsoring 10 filmmakers to go to Cannes this year.

The Film and Publication Board (FPB) is partnering with the NFVF, which whom it has a MoU, to attend Cannes.

Says the FPB spokesman Prince Mlimandlela Ndamase: “We are not new to Cannes but have not attended for several years. As part

A number of exciting titles from around the world have been secured for the upcoming 34th edition of the Durban International Film Festival (DIFF), including Denis Côté ‘s Vic and Flo Saw a Bear, which won the Alfred Bauer Award at Berlinale 2013, Wong Kar Wai’s The Grandmaster, which opened the Berlinale, and The Forgotten Kingdom, the first film to come out of Lesotho.

Says newly appointed DIFF manager Peter Machen: “We have also secured Laurence Anyways from Canadian prodigy Xavier Dolan, as well the Italian film Il

Futuro which stars Rutger Hauer as a retired former action hero. In addition, we have secured the South African première of Evil Dead, the much anticipated remake of Sam Raimi’s 1981 cult horror film.”

Commenting on the special focuses planned for DIFF 2013, which runs from 18 to 28 July, Machen, a well known film critic and arts journalist who was previously a programme consultant to DIFF, continues: “Last year was the first time in many years that we didn’t have a gay-themed section at DIFF. The reason for this is simply that there

were virtually no gay-themed submissions in 2012 and in fact very few films made with gay content or subjects. This year things are very different and gay issues are extremely prevalent, both in cinema and in the world at large. As such, DIFF 2013 will feature a special focus on sexual diversity, with screenings of films from around the world which explore gay and lesbian themes themes.”

He notes that there will also be a focus on the current wave of Zombie cinema, which DIFF has entitled Zombie Fest!

– continued on page 5



Exciting titles for DIFF

BroaDcasT, fiLm, TV, commerciaLs, new meDia & TecHnoLoGy news www.screenafrica.com VoL 25 – may 2013 r35.00

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SCREENAFRICA

Cannes – the very name conjures up stars in the eyes – stars of the big screen, that is. Unquestionably the most hyped of all the international film festivals, each year Cannes attracts the biggest names in Hollywood and European cinema. Its Red Carpet is the most sought after in all of film festivaldom by glamourous screen goddesses and starlets, all vying to outdo each other in the latest designer gowns and bedazzling jewels. The backdrop of a scenic harbour exclusively populated by millionaires’ yachts, as well as the famous beachfront promenade, La Croisette, with its long line of 5-star hotels, all adds to the exciting atmosphere.

There’s no doubt about it – Cannes as a film festival (and as a town on the French Riviera) – sparkles. And, in among all that sparkle, from 15 to 26 May, will be a large contingent of South African film industry go-getters, as the lead front page story reveals. The South African Stand, a home away from home, is hosted by the National Film and Video Foundation, which will also coordinate meetings for South Africans and present a line-up of local films. Also part of the South African presence will be classification body, the Film and Publication Board, as well as the Department of Trade & Industry, which offers attractive financial incentives for foreigners wanting to shoot in South Africa. This issue of Screen Africa will be distributed at Cannes.

For any readers wanting to be ‘spaced out’, read Ian Dormer’s fascinating article about Mars One, a reality show to end all others, taking place as it will, on Planet Mars! This multi-year television show, still in its planning stages, is the brainchild of Dutch engineer and entrepreneur, Bas Lansdorp.

In late May, the continent’s leading satellite and telco conference, SatCom Africa, will unfold at Johannesburg’s Sandton Convention Centre. In this issue you will find several interesting articles about the activities in Africa of leading global satellite operators, as well as two South African companies that provide satellite transmission services.

Another highly recommended read is Martie Bester’s article about The Devil’s Lair, the only South African film selected to screen at Hot Docs, North America’s leading documentary festival in Toronto. This chilling film takes the viewer into the criminal underbelly of the notorious Cape Flats.

The May issue of Screen Africa traditionally includes a special feature on South Africa’s thriving post-production sector. As part of this, Andy Stead takes a look at how the world of post-production has changed since the 1970s.

Joanna sterkowicz

Glitz, glamour… and films!

From tHE EDItor

w w w . s c r e e n a f r i c a . c o m

May 2013 | SCREENAFRICA | 5

of our partnership with the NFVF, we are sending a small delegation to Cannes this year to engage with filmmakers and distributors and explain to them how classification works in South Africa.

“Normally FPB only engages with filmmakers when they submit their final products to us for classification so this visit to Cannes is a way of trying to connect with them before that stage. We want to get across that classification is also an economic issue – if your film receives a high rating then your audience will be more limited.”

DFO

The Durban Film Office (DFO) is attending Cannes for the first time, to market the Durban FilmMart (DFM), a joint programme of the DFO and the Durban International Film Festival (DIFF).

Says the DFO’s Toni Monty: “Now in its 4th edition, DFM is well established as an important South African market. By attending Cannes we hope to promote DFM and DIFF, concretise existing relationships and identify new partners going forward.

“We will host a DFM cocktail in partnership with the KZN Film Commission and will meet with existing and potential DFM partners, promoting DFM projects in development and those that have been completed and have had theatrical releases.”

The DFO will also be looking for new

opportunities to profile Durban as a production destination and for opportunities for its local filmmakers to co-produce with treaty countries.

Official screenings

For the first time the NFVF has organised official screenings for two South

African films at Cannes, the noir thriller Black South-Easter

and the comedy Blitz Patrollie. The latter will be screened on Friday 17 May at 16h00 at the Arcades 2 screening venue, just outside the Paleis des Festivals, while the former screens on Monday 20 May at 16h00, at the same venue.

Black South-Easter, which is the feature film debut of director Carey McKenzie, stars Tony Kgoroge, Fana Mokoena, Yu Nan, Deon Lotz, Thomas Gumede and Zolani Mahola.

Says producer Tendeka Matatu of Ten10 Films: “This is an all important market screening for us as this kind of support is key to helping us in our international sales endeavour. We already have a sales agent attached to the film, Richard Guardian for Lightning Entertainment, who has put together a sales strategy and will be promoting the film to distributors throughout the market.”

Producer of Blitz Patrollie, Isaac Mogajane of Diprente Films, is excited to see how the world responds to this 100% South African action comedy film: “Having Blitz Patrollie screen at the Cannes Film Festival represents a great opportunity for us as it will allow us to get sales agents and hopefully a few buyers to view the film during the festival which could result in some foreign sales.”

At Cannes, Diprente Films will package two new projects with international potential – Corpsemen (working title), a horror film, and Parts of a Whole, a dark psychological thriller.

Big SA presence at Cannes DFA’s Hot Docs adventure

“For the first time there will also be a special repertory section at DIFF, which provides a focus on classic cinema, to be presented and curated by a leading internationally acclaimed filmmaker. Finally, in an unusual move for film festivals which tend to shy away from celebrating American films – for fairly obvious reasons – DIFF 2013 will present a focus on American Independents due to the strong showing of indie films from the US,” says Machen.

The DIFF team has received a large batch of South African screeners, with more expected. According to Machen, submissions from the rest of Africa remain relatively sparse, although the Nigerian Nollywood model is becoming increasingly popular in the African films submitted to the festival.

“Whether this is a good thing or not remains a difficult question to answer,” he continues. “It does mean, however, that there is a gradually expanding glut of middling films coming out of Africa, many of which are clearly built on the premises of television production rather than cinema.”

To source films for DIFF 2013, Machen has attended the Rotterdam and Berlinale festivals and will be attending this month’s Cannes Film Festival together with DIFF programmer Jack Chiang.

“DIFF is also one of the few large-scale international film festivals with an open submission process and we receive hundreds of films from around the world, all of which are watched by our team of reviewers,” explains Machen. As to whether there will be any marked

changes to the 2013 edition of DIFF, Machen says: “Given the fact that there is a new team heading DIFF, and that the festival has been running incredibly successfully for the past decade, it would be foolish to make any major changes this year. So, festival guests and visitors can expect more of the same spread of quality films from South Africa and around the world.

“The only two new additions are the inclusion of a marquee for the public to relax in between films, and the opening-up of DIFF’s closing party to the public, who will, for the first time, be able to purchase tickets to this high-profile event.”

The DIFF 2013 festival hub will be at the Blue Waters Hotel, which reportedly worked ‘wonderfully’ last year.

Exciting titles for DIFF

| CONTINUED FROM pAgE 3

passion can be compromised when we don’t recognise the potential for our films to reach a wider audience. At international festivals like this we begin to learn how to merge our art with business so that we can be sustainable as filmmakers and continue making more films.”

DFA member and the driver behind the Hot Docs delegation, Pascal Schmitz, noted that this is the second year that the dti supported the delegation through its EMIA (Export Marketing & Investment Assistance) scheme.

Explained Schmitz: “Last year we were able to send 14 filmmakers to Hot Docs. That mission proved so successful that this year we took it up a notch and added new layers. The EMIA scheme is for overseas markets to try and promote exports from South Africa so it has a decent budget. Consequently, the South African delegation was able to make a real impact at Hot Docs. Last year our delegation was the biggest at Hot Docs as it was this year.”

Schmitz negotiated a 30-second spot on the South African delegation to be shown before each and every screening at Hot Docs.

“I also took ad space on www.africafilms.tv, Enrico Chiesa’s distribution platform for African content. There is now a special space on the website for South African documentaries. This website also features in the 30-second Hot Docs spot. Production of the spot was sponsored by the NFVF,” commented Schmitz.

A special South African cocktail party was convened by Hot Docs on Tuesday 30 April.

Neil Brandt, whose film The Devil’s Lair was the only project from South Africa

selected for screening at Hot Docs, was a panelist on the ethics and co-production conference sessions.

EMIA

In 2011 Schmitz came up with the idea of accessing the EMIA scheme for attending overseas film festivals and markets and spent the year researching the scheme.

“I put in the first applications on behalf of the DFA delegation in 2012. You have to be a member of the DFA to qualify and you need to get tax clearance from SARS (South African Revenue Services). The dti funded the South African stand at Hot Docs, as well as travel and accommodation.

“I must stress that the NFVF has been a critical partner for us as they paid for visas and travel insurance, as well as the one-minute promotional video featuring South African projects at Hot Docs. In addition they took out an ad in the special magazine catalogue that the dti paid for which detailed the projects. This was distributed on the stand.”

To prepare the 2013 delegation for Hot Docs, Schmitz compiled a detailed report back from the 2012 event and circulated it among the DFA membership.

TRUE CINEpHILE: peter Machen

WHAT’S Up DOC!: The DFA delegation at Hot Docs

BELLY FULL OF LAUgHS: A scene from the new comedy Blitz Patrollie

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2013 has seen a flurry of activity at Johannesburg-based facilities company Sasani Studios, as SABC2 soapie Muvhango moved out of Studios 2 and 5 and back to the SABC, in order to make way for SABC3’s soapie Isidingo.

“This switchover of soapies required a lot of preparation to deal with the challenging logistics from a production and technical perspective. The production companies and our engineers did a truly remarkable job,” says Sasani CEO Eileen Sandrock. “In addition we have built extra storage areas outside both Studios 2 and 5.

“There have been several other changes at Sasani, including the upgrading of our control room to accommodate the new Grass Valley LDK8000 cameras. These cameras were purchased as part of our migration to HD (high definition) and are switchable between HD and SD (standard definition). This is necessary for our purposes so as to accommodate different client requirements. For instance, both Muvhango and Isidingo are SD productions.

“The upgraded control room now has multi viewer technology linking to our new

GVG router. New LED monitors were installed and the areas were split to allow for better functionality. We also improved the aesthetics of the rooms.”

Sandrock notes that on 1 April, Sasani completed the renovations and construction of the Big Brother Africa house, as required by client M-Net to prepare for the eighth season of this popular reality show. Sasani has hosted every season of Big Brother Africa barring the inaugural one.

“We have laid 326 linear metres of camera tracks in the Big Brother Africa house, to capture all the action 24/7. Sasani also handles post-production on the series via our shared storage system and tapeless workflow,” explains Sandrock.

Sasani provides services to e.tv’s long-running drama series, eKasi: Our Stories, in terms of equipment supply and managing the post-production.

“It’s been a wonderfully active and exciting time at Sasani. We saw the business run at capacity here and there throughout the year, and we look forward to a busy time ahead,” concludes Sandrock. – Joanna Sterkowicz

Broadcast Operations, a solutions-based provider of broadcast production facilities and engineering services based in Cape Town, purchased an AJA Video Systems

FS2 frame synchroniser and format converter for its coverage of the 2013 BRICS (Brazil Russia India China South Africa) Summit in Durban in March.

Says Broadcast Operations’ James Middleton: “As we provide mobile uplink and broadcast facilities throughout Africa and around the world, the FS2 is used in a variety of roles – down conversion, aspect ratio conversion and audio track mapping.

“The FS2 was used extensively in our coverage and distribution of the BRICS Summit for the European Broadcasting Union (EBU). This involved providing pool coverage to world broadcasters and each broadcaster had different language and format preferences. The FS2 enabled us to change the audio channel allocation and output format to suit each broadcaster.”

According to Middleton, a key advantage of the FS2 is the front panel interface. “This allows us to control the setup of the unit directly without having to use a computer interface. In a live TV environment this direct control is a benefit.”

He believes that the biggest selling point

of the FS2 is its flexibility. “One box does it all. Having two

independent channels in a single unit is another benefit. We would have liked additional SDI video outputs on the unit, but that’s a minor point. It’s become a tool that I would not do without,” says Middleton.

The FS2 is capable of simultaneously working with two independent streams of 3G/HD/SD 10-bit broadcast quality video and two independent groups of 16-channel AES audio. Each FS2 video channel supports virtually any input or output – analogue component or composite, 3G/HD/SD-SDI, Dual Link (1.485Gb), fibre and HDMI I/O. A fibre I/O option allows fibre cable runs of up to 10km to be connected directly to the FS2 without the need for separate fibre to SDI conversion.

Touchvision is the South African distributor for AJA Video Systems.

At the time of going to press 80% of the exhibition space had been sold for the 2013 edition of the biennial advanced technology trade fair, Mediatech Africa, which runs at Johannesburg’s Coca-Cola Dome from 17 and 19 July. Mediatech Africa showcases the latest innovations, technologies and products in the media and entertainment industry.

Confirmed exhibitors in the content creation and broadcast sectors include Touchvision, African Union Communications, Atos, Concilium Technologies, Gencom, Inala Technologies, Jaycor International, Mac Africa, Macro Video, Media Cloud, Movie Vision, Neotel, Penmac Audio Visual, Questek Advanced Technologies, Telemedia, Case Connection, Movie Mart / Media Film Service, Phoenix Fire and Etere.

“Mediatech Africa is the only real event of its kind that provides a good forum to network with virtually the whole broadcast industry. It’s an opportunity to build relationships and introduce customers to product specialists who can talk in detail about topical technologies and the solutions to address their current and future needs,” says Steve Alves, MD of Concilium Technologies, who is exhibiting again this year.

After the NAB Show in April in Las Vegas,

Alves is excited about showcasing new products from Harris Broadcast, Ross Video, Telecast and Prodys, to name a few, along with some interesting additional products from other partners.

Inala Technologies has confirmed support from all of its international principles which include Harmonic, Miranda, Tektronix, Pebble Beach, TVLogic, Aviwest, Riedel, ENPS, TSL, MOG and Broadpeak, who are travelling from South Korea, Europe and the US.

Says Inala’s Colin Wainer: “Inala Broadcast is putting together an exhibition of the latest products that broadcasters, producers, cinema owners and post-production professionals can look forward to seeing. We invite the industry to take the opportunity of meeting with product expertise from our highly regarded guests at the Inala Technologies stand.”

Visitors to Mediatech Africa are likely to be captivated by live outdoor sound demos and will have ample opportunities to network and rub shoulders with key players in the industry. They are invited to join in on a spread of training presentations and technology workshops.

Visitors are invited to register free at www.mediatech.co.za before 7 July to avoid paying R50 at the door. – Carly Barnes

Big moves at Sasani

Covering the BrICS Summit

mediatech Africa latest

soapie switchoVer: DOp Leon Kriel and Isidingo director Raymond Sargeant in Studio 2

techNology oN show: Mediatech Africa 2011

Magic iN a boX: In the control room

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Twelve South African wildlife and natural history filmmakers will have the chance to pitch their projects to a panel of international commissioning editors and funders at the 2013 Wild Talk Africa Wildlife Film Festival and Conference, which takes place in Durban from 23 to 26 July.

Says Wild Talk Africa’s Christopher Mason: “We are inviting all producers and filmmakers with good ideas to propose their pitches to us by 6 June, the submission deadline. The 12 strongest proposals will then get the chance to pitch to the international panel in our Open Pitching Sessions, where they stand the chance of furthering their projects. Commissioning editors will critique and comment on each pitch.

“For those that don’t make the final 12 selection, we are offering speed pitching sessions so that everyone should get the chance to pitch, subject to available time slots. In the past these speed sessions have been super popular.”

All documentary formats and all natural history subjects are eligible to submit.

At past Wild Talk Africa pitching sessions, panels have included commissioning editors from Animal Planet, NHK Japan

Broadcasting Corporation, BBC NHU, National Geographic, SABC, NFVF, Smithsonian Networks, NHU Africa and more.

One-on-one meetings with commissioners attending Wild Talk Africa can also be arranged.

All those interested in submitting proposals must send a one page project summary; a photograph from the production; a short bio on the filmmaker/producer; and the name and contact details of person pitching.

“It is also advisable to submit a short sample reel, five minutes maximum, of the work-in-progress. This can be a promo, sizzle reel, or clips from your development and research,” explains Mason.

Proposals must be emailed to [email protected].

Mason notes that tips and information on how to pitch like a professional are available on www.wildtalkafrica.com on the FREE RESOURCES page.

Meanwhile, entries have been rolling in for Wild Talk Africa’s awards component, the ROSCARS, affectionately known as the ‘Rhino Oscars’.

Mason continues: “The ROSCARS are the

ultimate recognition of wildlife and natural history filmmakers in Africa and recognise filmmakers for their outstanding contribution to the continued growth and advancement of this essential genre

of film.”Winners will be announced at

a high profile black-tie gala event to be held during Wild Talk Africa.

Rocket Science, a Johannesburg-based solutions and consulting company, known for storage and workflow solutions for post-production and broadcast, recently added three new region partners to its solution offering, namely Bright Technologies, Rorke and Cantemo Portal.

Solution architect Nuno Martins says: “These new partnerships allow us to diversify our solution offering to the video world. Bright Technologies offer us a new way to manage large central storage volumes and with the BrightDrive technology, we are able to prolong and improve the performance of these environments.

“We see the need for technology such as Rorke in the high speed network storage category to cater for less complicated but throughput dependent workflows, such as the 4k video workflow. While we work extensively in storage workflows for post-production and broadcast, we are also trying to change the way people work in these fields.”

Martins notes that in many traditional post-production houses the typical way to work with assets and storage has always been to simply add more storage. This becomes costly and eventually customers

have to decide between online storage or investing in backup storage.

“The partnership with Cantemo allows us to offer a true digital asset management system that integrates directly into most non-linear editing systems, as well as automates the moving of assets through the production workflow. This means we can advise our customers on how to recycle their assets through their storage platforms to deep archive.

“Rocket Science advocates a smarter way of working and is focused on workflows and solutions. We are not about box dropping or simply supplying equipment; we are about building seamless integrated solutions that deliver,” concludes Martins.

In August 2010, the EBU (European Broadcasting Union) published its Loudness Recommendation EBU R128, which tells how broadcasters can measure and normalise audio using Loudness meters instead of Peak Meters (PPMs) only, as has been common practice.

EBU R128 is the result of two years of intense work by the audio experts in the EBU PLOUD Group, led by Florian Camerer (ORF). The Recommendation was designed to solve the problem of fluctuating audio levels in radio and television. This relates not only to the sharp changes in levels when programmes go into commercial breaks and back again, but also the varying levels between programmes and channels.

Many big European broadcasters are adapting their workflow to R128 and now South Africans will be able to hear the EBU’s Camerer explain the Recommendation in

detail during the Africa Loudness Summit, which takes place at Mediatech Africa 2013 (17 – 19 July, Coca-Cola Dome, Johannesburg).

The Africa Loudness Summit is presented by Asikhule.

Day 1: Loudness: war and peace is targeted at everyone involved in both the production and distribution businesses. This session will cover the origin and development of ‘the loudness wars’; the current challenges in production and distribution; and the emergence of the ITU (International Telecommunications Union) Recommendation BS.1770 and R128.

Day 2: Loudness: a broadcaster perspective is aimed specifically at broadcasters and will cover R128 in an environment where analogue tape is not yet fully displaced by digital workflows.

Day 3: Loudness: a producer perspective

is targeted at audio mix engineers, as well as production and post-production teams involved in audio aspects of drama, documentaries, inserts, interstitials,

commercials and other audio content.To register for the Africa Loudness

Summit go to www.asikhule.com or email [email protected].

A really ‘wild’ pitch

maximising workflows

Africa Loudness Summit unpacks EBU r128

speed pitchiNg: Filmmakers punting their projects at Wild Talk Africa 2011

solutioN architect: Nuno Martins

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While most modern companies and organisations recognise the vital importance of implementing brand building strategies and initiatives in support of service and product success, many are still limited by budget constraints.

However, through implementing innovative strategies that are less costly, these companies can still enforce a major brand impact on the public imagination, argues dr carla enslin, national academic navigator at Vega School of Brand Leadership, an educational brand of the Independent Institute of Education.

The competitive nature of contemporary business dictates that committing to brand building is not a financial decision, but a company imperative. A brand is built in all of a company’s activities, and at every point of contact with all stakeholder and target market groups across the value chain.

Companies today form part of a transparent social media system that is always ‘on’ and constantly evolving. Every contact experience matters in influencing what people think, feel and believe about a brand.

A good example is how Capitec Bank

promises that clients will always know what they get and know what they pay for. The implication is that every system and process in the business of Capitec is engineered to deliver on this promise.

As such, a business is involved with its brand in all of its activities with the ultimate purpose of business being to deliver on a brand promise.

Brand experts should not constrain their strategies to traditional media channels and advertising, but rather consider using other channels available to reach target markets and deliver on brand objectives. When targeting audiences, brand experts need to look at how their identified consumers live life: what spaces and places do they move in? What interests and passions do they have?

If a brand planning team accurately identifies these factors and needs, they will be able to identify unconventional opportunities that are genuinely engaging, add value to people’s lives and are possibly lower cost contact vehicles.

Consider how OUTsurance conceived their traffic points-men strategy. Instead of buying a static billboard, they invested in a service which helps motorists while still getting their message across in a meaningful way.

Red Bull also pursues many alternative avenues to classical mass-market

sponsorship, such as the Redbull Flugtag, which challenges participants to create human-powered flying machines, which are launched from a 6m high ramp to plunge into water below. The brand purpose is brought to life with a ‘if you can build it, you can fly it’ challenge and the off – and online coverage generates high impact for the brand.

Kulula often employs unconventional contact ideas that succeed to build the brand and to stimulate word-of-mouth, like their ‘most South African flight’ initiative. South Africans were required to motivate what makes them unique and why they should be one of the 189 South Africans to make it onto this one-hour flight. The unconventional strategy succeeds to break through the clutter of typical airline advertising to connect with South Africans in an original brand-relevant way.

By initiating a brand strategy that aligns with ideal state of mind and space or place where the brand wishes to connect with people, companies will fulfil its purpose, and in turn, create a meaningful and sustainable relationship with their target market.

Branding on a Budget

report on the South African commercials industry

Dr Carla Enslin

ADCEtErA |

The new commercial for Toyota RAV4, which premiered on South African television in mid-April, was directed by AK of Johannesburg-based production house Spitfire Films.

In the spot, which was conceived by Draftfcb, two competitive friends try to outdo one another. When one friend tricks the other into not buying the car of his dreams, he is understandably annoyed at having been duped. And so the camaraderie and competitive friendship continues…

“The Toyota RAV4 TVC (television commercial) was incredibly challenging from a logistical point of view as it was mostly outdoors and dealing with nature, coupled with limited time and resources,” says producer Liesl Karpinski.

Tian van den Heever, creative director at Draftfcb describes AK as a skilled movie-maker and a great story teller. “AK doesn’t just get the job done – he adds an element of excitement and the unexpected.”

Another recent TVC produced by Spitfire Productions was Vodacom Errol, directed by Nicholas Hester.

“In the ad a man is hen pecked by his wife. No matter how hard he tries to escape her, by driving further and further to get out of range, he just cannot manage because Vodacom’s cellular network coverage is so good. This commercial was extremely challenging as we had less than one week to produce it,” explains Karpinski.

Last year AK directed the spectacular Investec ad, which follows a man in search of the longest surf ride of his life. He finds it

in the most unlikely place, the Amazon Jungle.

“Produced by Rob Neuhold, the ad illustrates that opportunity is everywhere – it depends on our mind set and willingness to seek and look at things from a different angle,” comments Karpinski.

All the above commercials represented new clients for Spitfire.

Karpinski continues: “Our aim is to generate repeat business from new clients.

We focus on delivering high end TVCs with strong concepts. And we’re glad to say that as a new kid on the block we are holding our own in a highly volatile market.”

Toyota RAV4Investec

Vodacom Errol

tV hit By ‘Spitfire’

Good retail TV needs to make you sit up and take notice. It should disrupt your viewing and seat some important information – what is being advertised, how much it costs, where you can get it, and for how long. The retail ad, first and foremost, has to sell.

But like a brand ad, it can create talkability and liking.

That said there are different retail TV strategies adopted by various brands. These can be dependent on budgets, the complexities of business requirements, as well as simple issues such as what they are actually selling.

The role of retail TV in advertising depends very much on whether the brand solely uses retail advertising, or if there is brand and retail advertising simultaneously.

If it is to be an integrated campaign the brand communication announces, and the retail demonstrates and sells while playing a supporting role. The retail ad should have the same ‘triggers’ as the brand ad – be it the music, language or artwork and, due to higher frequency, offers greater exposure. It is essential that the tonality of the brand and retail ads are consistent so that there isn’t a disconnect as the brand could appear schizophrenic.

Then, there are brands that exclusively use a retail TV strategy. These are largely template based, without the high-end

trimmings. They very simply convey product and price, highlighting the destination, usually with limited availability, in order to create urgency to get shoppers into the store.

There are sometimes other reasons for shortened validity. The prices advertised can be ‘deep’ discounted, and the brand cannot afford to keep that price for a long period; or, for instance, to prevent competitors from commissioning ads to beat promotional pricing. Often frowned upon by marketing purists due to the lack of personality and production value, these ads are extremely hard working in their cost efficiency, lead times and notability and the fact that they move loads of product.

But there is also the hybrid or ‘bretail’ (as we call it) strategy. This ‘merges’ brand and retail TV. Here, brands create products that are their own intellectual property, and that cannot easily be challenged. They are high energy; good production; conceptual; and normally great entertainment with the pricing and, of course, destination built in.

The investment in the production of the ‘bretail’ ad is justified by the fact that it can be flighted over long periods of time even if the price point requires changing.

Retail TV advertising is certainly not easy to define. It can be complex, intricate, beautiful, hard, loud, subtle, funny, but one thing is for sure – it’s never, ever easy.

tV commercialS: Brand VerSuS retail

| ADCEtErA


Rocket Science

By Matthew Rowland (executive creative director and managing partner, SWIPE, Draftfcb South Africa’s shopper marketing specialists)


DoCUmEntAry |

Riaan Hendricks, director of The Devil’s Lair, is closely connected to the world of the film as the characters and the community were his peers during his

younger years. Craig Martin, one of Hendricks friends,

took the director to meet an offender who had been badly beaten by the community after being found with one Mandrax tablet. After that, the man resolved that he would find a weapon to take revenge for the brutal illegal assault on him. And so Hendricks met Braaim again, the man who would became the main character in The Devil’s Lair.

Nice Time Kids

“Braaim was my first childhood friend in Mitchell’s Plain. But life has since pushed us in different paths. I soon learnt that he is a drug dealer and the leader of the Nice Time Kids. From there, a natural progression of trust and storytelling ensued,” says Hendricks.

“It eventually resulted in a film that toys with society’s sense of morality – and more importantly, adds a new dimension to the discussion of where the real social problems can be found that results in the cycles of crime and violence that destroys family

structures, and ruins our communities.”The film explores the fallen nature of man

who, when given the opportunity to take another man’s life and get away with it, will do it. The tagline of the film, ‘Fastest lives the longest’, said by Braaim, captures best what the film is really about. At its heart the film articulates the heart of a killer at conflict for a failed plotted murder,” says Hendricks.

Filming in the Flats

It is well known in South Africa that the Cape Flats is an economic wasteland. “Unemployment is high and racism between nationalities is rife. Drug usage is highest there compared to the rest of South Africa. It’s also the place with the highest murder rate in the country,” mentions Hendricks.

“Many times in the past I’ve been asked by the community to make a film about life in the area. They know me as a filmmaker and are quite familiar with some of my work.”

Hendricks moved freely in and out of the drug dealer’s house due to his familiarity with the leader of the gang, but protocols

still had to be put in place to ensure Hendricks’ safety during the six months of filming.

Hendricks mentions that it is dangerous to move around without being known in the Cape Flats as every suspicious person could become a victim, which meant that he was solely responsible for the filming of the movie.

“Due to the risky nature of the film it was practically impossible to have crew members. Filming had to be intuitive. Space for physical movement was limited.

Lights had to be as practical as possible, and I used a lot of natural light.”

Shooting the movie took place during a time when two rival gangs wanted Hendricks’ main character dead. “This came with its own problems. And being observed by the rival gangs from hills on either side of the valley where the filming took place further added to the dramatic tension of getting the job done,” says Hendricks.

‘Safety’ behind the lens

“The veil of the camera does offer protection. In a sense it communicates the distance of realities between the characters and the camera person. It was about the only form of physical protection there was during filming. Furthermore, we took the calculated risk of being visible and identifiable in public.”

After much research, Hendricks used a Panasonic AG-AF 101 camera. “It had the ideal weight and it functions perfectly in low light. The option for interchangeable lenses made it even more artistically appealing.”

Hendricks’ greatest moment of cinematic

pleasure was to arrive at the point where the characters understood that his entire purpose at this phase of their life depended on them ignoring him. “This resulted in unobtrusive, unpretentious, unrehearsed, raw documentary material that probably has never been filmed before.”

Producer Neil Brandt and director Riaan Hendricks hope the film kick starts a real discussion about the root causes of crime in South Africa, which are related to poverty, lack of opportunity and the resulting breakdown of family structures.

Funding and festivals

“The screening of The Devil’s Lair at Hot Docs is important as the festival is one of the world’s A-list documentary festivals and programmers and broadcasters from around the world track films that screen there,” says Brandt. “It’s a great way to start the festival life of the film, and we hope that many more will follow.”

He continues: “Festivals are important because you get to interact directly with audiences and this is a valuable part of the filmmaking experience as you have to take responsibility for your ideas in the public domain.”

It took about 18 months to raise the finance for the film, which came in bits and pieces. The Durban FilmMart was an important piece of the puzzle of raising finance, together with friends at the IDFA (International Documentary Film Festival Amsterdam) Summer School and the IDFA Forum.

The Devil’s Lair is the opening night film at the Encounters Documentary Film Festival in South Africa in June this year and is also in competition at the Durban International Film Festival in July 2013.

“You would never have been allowed to film these things if we did not grow up together.” – braaim, March 2013

noble and streetwise film cuts to the boneThe Devil’s Lair, a South African feature documentary set in the Cape Flats in Cape Town had its world premiere at the prestigious Hot Docs Documentary Film Festival in Canada, the only local movie that featured on this significant international stage.

By Martie Bester

UNOBTRUSIVE, UNpRETENTIOUS, UNREHEARSED: Braaim, the main character of The Devil’s Lair

Collective Dream Studio


FILm |


After Jaco Snyman worked on the set of Mad Max: Fury Road in Namibia last year for six months assisting Odd Studio with the construction and

application of the prosthetics for the rebooted sci-fi action adventure, Kite producer Greig Buckle phoned Snyman and asked for his help with the movie which commenced shooting in February this year.

After a meeting with Buckle and art director Willie Botha, Snyman started his preparation for creating the prosthetics the filmmakers had requested. Having worked on the Oscar-nominated film District 9 in 2009, primarily assisting Weta Workshop and applying special make-up effects for South African actor Sharlto Copley’s character Wikus van der Merwe, Snyman is not a newcomer to the extreme art of prosthetics and special make-up effects.

As one of only a handful of artists in this line of work in South Africa, Snyman has been in the business for over 15 years after completing his initial training at Pretoria Art School and then studying further in California at Elegance International School of Makeup.

Now, after working with Graham Press at The Creature Shop in Johannesburg, Snyman has started his own company called Dreamsmith.

The green light

After initial production on Kite was halted when American director David R. Ellis passed away shortly after arriving in the country, South African-born, Los Angeles-

based Ralph Ziman (Jerusalema) was appointed to take over the helm and Snyman could start work on this highly anticipated project on which an almost all-South African crew worked.

“I read the script and watched the anime that sparked the idea for the movie as reference for my work. However, the end product is not as violent as the original, but still exciting enough to require lots of fake blood and awesome prosthetics,” says Snyman.

As Kite is set in a post-apocalyptic world in which fight scenes occur between several characters, Snyman had to provide very intricate prosthetics for the characters portrayed by local actors Terence Bridgett, Jaco Muller and Lionel Newton.

Life cast

“Terence Bridgett came in for a life cast which lasted for several hours. The life cast of his head and hands was made from Body Double, a type of silicon. After that I did a cast in M1, which is like plaster of Paris, and is a positive cast, a duplicate of the original mould,” says Snyman.

The texture of the skin is done in extreme detail, with pores and wrinkles visible to the naked eye, an exact replica of Bridgett’s face – almost more lifelike than the real person.

“Terence was great with the life cast. Sometimes people become claustrophobic during the process because only the nose cavities are not covered in Body Double. The entire process of making a person’s

head takes about half an hour to 40 minutes,” explains Snyman.

“When the silicon is set, plaster bandage is applied to maintain the shape of the head because the silicon is flexible. A silicon putty is applied around the edges to keep the mould in place.”

During the silicon cast, the trick is to prevent air bubbles from forming, a process which is extremely difficult to execute as one bubble could ruin the entire process.

“If air is trapped and a bubble forms all the detail of the person’s mould is destroyed,” mentions Snyman. And because of demanding time constraints and the expense of the material that is used, this mistake must be prevented at any cost.

Skin

The silicon is semi-translucent to resemble skin and Snyman mixes tiny red fibres, called flocking, in it until it takes on a reddish tint. These fibres represent the subdermal layer of the skin.

“It is extremely difficult to achieve the right shade. Paint is then applied, but if the flocking is not done with great caution the colours become too solid and are no longer translucent, losing the appearance of the skin. So the base colour has to be perfected before tint is applied,” Snyman elaborates.

He then plans a colour system and mixes the silicon until he achieves the exact same skin colour and calculates the formulas to put into the moulds. He works from photos of the actors to embody them perfectly.

Snyman is an expert in the application of

make-up as the colour of someone’s skin comprises of various shades in places and has to be matched with exact precision. The base colour can’t be lightened during the make-up process as it becomes more opaque instead of transparent, so it is better to start with a lighter shade.

Hair and make-up

Snyman used real human hair for Bridgett’s thick mane, and he had to thread each strand individually with a felting needle. As Bridgett had a beard as well, Snyman had to work extra long hours threading thousands of pieces of hair into place.

During the make-up phase, Snyman used an airbrush technique to achieve the desired skin colour with its multiple layers.

League of his own

“My experience on Kite was awesome. It was wonderful working with so many passionate people and to get the opportunity to build such amazing ‘actor duplicates’ or dummies and other prosthetic effects. I am happy that everything turned out so well.”

Snyman’s painstakingly produced lifelike replicas of Bridgett and Muller puts him in a league of his own and adds more local flavour to an international production which is sure to make headlines across the world.

Kite is currently in post-production and is due for release in 2014.

SA prosthetics

on Kite

The live action adaptation of Yasuomi Umetsu’s hit Japanese anime

movie Kite starring Samuel L. Jackson and India Eisley as the lead

actors was filmed over five weeks in Johannesburg in South Africa

recently. Local specialist make-up effects artist Jaco Snyman and his

team were responsible for all the prosthetics in the movie, which add

another dimension of wonder to this special project.By Martie Bester

faciNg a challeNge: A life cast of Terence Bridgett made from Body Double

Skin tones are done using the flocking technique Hair and make-up is added


By Martie Bester

| wILDLIFE

Fighting for survival

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Jonah Hull was covering the 2010 FIFA World Cup when he heard about a rhino cow in the Tugela Valley in KwaZulu-Natal that had just survived

an awful attack by rhino poachers. “During a sort of a lull period in the

World Cup we went and covered this shocking and moving story,” says Hull.

Two years later, in May 2012, Hull and filmmaker Clifford Bestall travelled through South Africa and Mozambique for 17 days, filming The Last Rhino, which exposes the poaching industry from Africa to Asia.

Shocking

The name of the film could be prophetically chilling as 1 600 rhino have been lost since the slaughter began in 2008. If measures are not implemented soon, the demise of one of the greatest wonders in the animal world could be imminent.

Rhino horn, mostly used as a fad during drug – and alcohol-fuelled parties, especially in countries such as Vietnam, is falsely punted as a sex aid, a body rejuvenating substance and even a cure for cancer. However, the reality is that rhino horn has the same chemical composition as that of a human fingernail.

The Last Rhino uses the cow, since christened Thembi, as the springboard for exposing the underbelly of poaching. “The attack on Thembi was one of the first of the new wave of rhino poaching attacks by helicopter using a chainsaw and, fundamentally, very powerful tranquiliser drugs,” comments Hull.

He continues: “These were supplied; it then began to transpire, by corrupt vets who were the only people who had access to this kind of potent drug called M99, which is a thousand times more powerful than morphine.”

“Thembi had had her horn crudely butchered off her face, so she was hideously injured and disfigured.

“Her calf fled in terror during the attack and was discovered dead a week later having run in fear through the bush looking for Thembi. He followed and found his mother’s scent and died, as it happened, in the place where he had been born four weeks previously.”

Solution

There is obviously a very passionate debate around the issue of rhino poaching and what to do about it as Hull mentions. “And there are different sides which pretty violently disagree with one another.”

As to whether there is a solution to end this massacre, Hull responds, “Yes, there’s got to be an answer. And there is probably more than one answer. Arguably legalising the trade in rhino horn is one of those answers and if it were allowed to be tried it might well prove successful. But a lot of powerful forces are against it, not least governmental ones, not least the powerful elites in Vietnam and not least of course the Trade Records Analysis of Flora and Fauna in Commerce (Traffic).”

As the organisation that oversees the trade in endangered species, Traffic is not in favour of legalising the trade of rhino horn.

“Their point of view is that one should concentrate on creating public awareness campaigns around poaching in places such as Vietnam, actually showing people who use rhino horn for sometimes very trivial vanity-driven reasons that they are actually killing animals to do it. They believe that most people don’t realise that, which is probably true,” says Hull.

But while the so-called stakeholders struggle to come to an agreement, the rhino has a limited time to wait and a lot of time has been lost. At the moment, Hull emphasises, the rhino as species has a finite life span.

When the poaching scourge started relatively slowly in 2008, there has been a 20% year on year rise in the killing of rhinos. Last year, double the number of rhino was killed than in 2011.

“During the 17 days of filming last year, it was very clear to me that this issue was going to be closely followed by a great

many people because the welfare of the rhino has become part of the zeitgeist of this country,” says Hull.

Fascinating

“Making the movie was fascinating on many more levels than just conservation. It was fascinating in terms of the illegal trade of rhino horn in places such as Vietnam and in terms of the corruption and collusion within the conservation sector of South Africa, especially of vets.

“Trained to protect animals, these were the very people who were allowing for them to be killed,” comments Hull.

However, Hull is quick to emphasise the people who are doing everything in their power to save the rhino. “The documentary was fascinating too especially the incredible passion and compassion and intensity with which people breathe, conserve and

protect rhinos.”Last year, Hull and Bestall went back to

find Thembi. Her owners were excited to tell the filmmakers that Thembi was pregnant again against all odds, as rhino rely very much on their horns and sense of smell during mating rituals and for protection. “It was massively unlikely that she would ever find a mate, but she did,” mentions Hull.

They found her in good health. Sadly, a week later, her calf died of pneumonia.

However, Hull says there is still hope. “Thembi is still a cow of birthing age and fertile and if she could do it once she will do it again.”

Although Hull is and will always remain a hard news journalist, he concludes: “It was an amazing experience to do something that matters to the people who worked day and night and cared so much about the fact that we bothered to come and tell their story.”

Fact

Meanwhile, the slaughter of one of this continent’s most prized natural assets continues. On 14 March 2013, it was reported that a total of 158 rhino had been poached since the beginning of the year. Of those, 116 rhino had been killed in the Kruger National Park, which borders Mozambique.

surViVor: Thembi, the de-horned rhino cow in The Last RhinoIn 2010, when rhino

poaching was just beginning

to make headlines in South

Africa, hard news journalist

Johan Hull of Al Jazeera

English unearthed a tragic

story about a mother rhino

and her calf that would

inspire the hard-hitting

documentary The Last Rhino,

which screened at the 2013

recent Jozi Film Festival in

Johannesburg.


FILm |

gerard Butler: Acting is in his blood

“it’s interesting how the worst day in your life can actually become the most important day of your life when you look back.”

Gerard Butler, the star of hit movies such as 300, PS I Love You, RocknRolla, The Ugly Truth, Law Abiding Citizen and Machine Gun Preacher plays the role of Mike Banning in Olympus Has Fallen, a disgraced former bodyguard who has to save Benjamin Asher, the President of the United States (played by Aaron Eckhart) after Asher is taken hostage by a brutal group of North Korean terrorists.

Known for his diverse roles and relentless physical and mental preparation, Butler originally studied law and worked as an intern in a top law firm in his home country Scotland. But his dream had always been acting, a dream that he never tired of pursuing until he landed his first role at the age of 25 in London.

“Acting had always been in my soul,” said Butler, referring to his career in law which ended abruptly. “It’s interesting how the worst day in your life can actually become the most important day of your life when you look back.”

Talking about Olympus Has Fallen, the actor mentioned that: “The movie mixes up many different things besides acting, such as fight sequences and the action itself, and focusing on the training the role requires while explosions and gunfire happen around you.

“It is always a cool thing to pick up more skills in specialist training and to get to study a certain ‘culture’ like the Secret Service. You learn many things and then at the end of the day you are able to make a movie which is entertaining in so many ways.”

Butler tries to produce almost all the movies he works on now. “Olympus Has Fallen was very hands-on because we really thought we had a great idea with the original script. Between the director, Antione Furqua and myself we strived to make the movie as organic and real and terrifying to truly make the audience believe that what was happening on screen could really happen.

How to take a bullet for someone

In preparation for his role, Butler watched a lot of documentaries about the the Secret Service, the Special Forces and what it takes to be a Secret Service agent. “I learnt about things that one does not necessarily take into account, such as their tactical training, their improvisational techniques, their initiative and the incredible endurance and preparation that it takes to be in that position in the first place. I learnt what it really means to take a bullet for someone.”

Butler mentioned that they were surrounded by Secret Service agents during filming so he could learn how they think and speak and what their attitudes about life are, their feelings about politics and about the people they represent. “Most importantly I realised what their attitude is in a war situation where they have to go in and move through a lot of exceptionally

trained and highly skilled ruthless terrorists.”

For the fight sequences Butler did a lot of training with the Navy Seals and martial art experts trying to bring a fresh blend of fighting to the screen which was brutal and effective but sometimes quite humorous too.

A sneak peak

The final track of the movie Hannibal would be the soundtrack of Butler’s life. Revealing

a slice of his soul, he referred to the song Vide cor Meum by Irish composer Patrick Cassidy: “When I heard that music I thought that it came straight from God. Sometimes I feel that any luck that I’ve had in my career and the synchronicities in my life come from God. That music, with its sadness and joy, is a reflection of my life, which has been a life of sadness and joy, some failures and also some great victories.”

Heroes of the silver screen: Gerard Butler and Aaron Eckhart

actiNg iN his soul: Screen Africa’s Martie Bester with gerard Butler

who bliNKs first? Rick Yune and Aaron Eckhart in a scene from Olympus Has Fallen

Hollywood heavyweights Gerard Butler and Aaron Eckhart visited South Africa recently to promote their new movie, the action thriller Olympus Has Fallen, which keeps audiences nailed to their seats. Martie Bester spoke to the stars about the movie, some of their thoughts on life and on portraying convincing silver screen characters with talent, focus and integrity.

Aaron Eckhart: A visionary actor

Since gaining worldwide recognition in Steven Soderbergh’s critically acclaimed film Erin Brokovich in 2000, Aaron Eckhart’s career took off as he portrayed diverse characters in movies such as Thank You for Smoking (for which he received a Golden Globe nomination), district attorney Harvey Dent/Two Face in The Dark Night and The Pledge, The Core and Rabbit Hole.

“I mostly attribute the success of Olympus Has Fallen to director Antoine Fuqua who made Training Day; one of the best films I think has ever been produced. I have tremendous respect for him and his moviemaking ability, he can tell a story, he pushes his actors outside of themselves, he is demanding and has a great track record.

“Playing the president was fantastic because I have tremendous respect for the office of the presidency. I had to go into the mind space of the president, to make a decision quickly about hundreds of millions of people’s lives. In the role I was trying to exude a certain demeanour that portrayed integrity and honesty,” Eckhart continued.

Check mate

“Of course the White House is the ultimate prize for a terrorist and once you get that prize the chess game is over. The challenge for me as an actor was to keep up the intensity in the scenes where I was sitting on my butt tied to a railing while everyone else was running around and having fun. I was losing the feeling in my arms and was getting hit in the face. I had to be convincing in my role as the leader of the United States.

“It was very difficult to keep up the intensity of the role to make it real for the audience. I had Melissa Leo next to me and I could look in her eyes and listen to her. I didn’t have to act with her; I think we played well off each other.”

Utilising all the senses

Great visionaries, hardworking people who go beyond their natural talent and actors who are courageous, inspire Eckhart.

“Actors who have a no-holds barred ethic to their work are inspiring, who only care about their characters and are willing to go to any length to realise those characters. When I act, I try to experience as fully with my five senses as is possible the reality of the situation,” he said.


| FILm

how has your bacKgrouNd shaped you for filMMaKiNg?Having been raised around a lot of West African women, I was always surrounded by lots of drama. You can’t travel through any West African country and not be blessed with an abundance of experiences. The need for self-expression is an integral part of that.

you were borN iN Nigeria but haVe worKed iN loNdoN aNd MoNtreal – why did you settle iN south africa?I attended film school in London and lived and worked in Canada for a couple of years but all along, felt a strong desire to return to South Africa, where I first started a family. It’s like my second home. The easy access to vital film industry skillsets means I can do a better job of telling the stories that abound around us.

how do you shoot a feature filM with No budget?Guerrilla filmmaking entails a passionate filmmaker deciding to make a film without any visible budget. Robert Rodriguez’ El Mariachi, which was made for under $10 000 and grossed over $2m globally, remains a big

inspiration for no-budget filmmakers. However, the chances of getting a low-to-no-budget film picked up for distribution are leaner today.

what was it liKe shootiNg iN icelaNd where Much of your New feature docuMeNtary, OUT OF AFRICA – QUEST FOR THE NORTHERN LIGHTS, was shot?Our decision to travel around Iceland in the thick of winter would have been considered suicidal a few years ago, considering the unpredictability of weather patterns. But modern technology means improved navigation and transport. I travelled with a crew of five Icelandic men in a modified truck, known locally as the ‘Super Jeep’. Its specially fitted wheels can mount glaciers and snowcapped mountains. We mounted

glaciers and walked behind the cascade of a waterfall; we mounted mini peninsulas; drove through a barren frozen tundra for hours on end; dipped in a mineral rich warm nature bath; witnessed a geyser erupt from the bosom of the earth; snacked on dried fish; rode and ate a meal made from the Icelandic horse. Most of all, we shot some truly breathtaking images at various frame rates on the RED Epic camera, which forms an integral part of the film, where we sought out the magical Northern Lights on a nightly basis. I can’t wait for the film’s global release!

you’Ve worKed oN Music Videos, coMMercials aNd a feature filM. which is your faVourite?Music videos are always fun and lighthearted. Corporates and commercials are more regimented as often there is an agency and / or client ‘3rd eye’ around the corner, making sure they are getting their money’s worth. Long form is what I enjoy the most. If you are seeking creative fulfillment like me, then long form is the way to go, not forgetting you still have to earn a living.

i belieVe you are curreNtly iN ‘hollywood deVelopMeNt hell’ with two of your screeNplays? Selling a screenplay to a major Hollywood studio means having that screenplay sit on a shelf collecting dust while rewrites, recasting and all sorts of re-works are ordered on the script. This can sometimes continue for years on end…

what will you be up to at the caNNes filM festiVal?Mostly networking and trying to find distribution for my film and co-production deals for other projects in development.

DirectorSpeak

richard ArabomeRichard Arabome is the director of the feature documentary Out of Africa – Quest for the Northern Lights

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tELEVISIon |

Mars One will chronicle Mars exploration from the suspense of selecting astronauts, to the drama of preparing them for space travel, to

boarding the spaceship, taking off and establishing a permanent outpost on Mars.

The Mars One project is very real. With global partners like Paragon Space Development, MDA Corporation, Surrey Satellite Technology, Thales Alenia Space and Astrobotic Technology, the establishment of a human settlement on Planet Mars by 2023 is possible.

According to the proposed timeline, Mars One will send a lone cargo-filled Dragon capsule to Mars in 2016 to test its ability to land safely using rockets in its

sidewalls. Rovers launched in 2018 and 2021 will corral five more un-manned capsules, placing all six in a row that the first four astronauts can connect into a habitat when they arrive. All being well, four more crew members will join the colony in 2025.

In order to raise the estimated $6bn required to fund such an ambitious project, Bas Lansdorp says that it hopes to capitalise on vast public interest by selling global broadcasting rights to the mission.

“The revenue generated by the London Olympics was almost enough to finance a mission to Mars,” Lansdorp said. “We believe that if we can make this happen it will be much bigger than the Olympic Games.”

Massive TV show

In effect the entire mission, from the early stages of planning, to the selection of the crew, to the landing and construction of the settlement, would be a massive reality TV show. The Mars One selection process for the astronauts who will participate in the mission has already begun.

“It is a worldwide search for the best candidates and about six groups of four people will be selected in 2015,” Lansdorp explained in an interview with ABC. “From that time on they will be full-time employees of Mars One and they will learn about the hardware, medical skills and how to construct and repair plus grow their own food.”

Lansdorp says he is expecting over a million applications from prospective Mars One astronauts from around the world. After several application rounds designed to narrow the field and ensure that candidates are qualified, Mars One intends to broadcast the national selection process worldwide, with viewers picking the eventual winners.

“We feel the selection of the first people to go to Mars should be a democratic process; we want to ask the audience: ‘Who do you want as your ambassador to Mars and your envoy for mankind?’”

the greatest show not on Earth!By Ian Dormer

With the globe still

battling the recession and

financial recovery, space

travel is not at the top of

everybody’s mind… or

budget. But the urge to

explore is part of human

nature – it’s in our blood,

and no-one is pushing

more than Dutch engineer

and entrepreneur, Bas

Lansdorp. Mars One is an

ambitious global project

whose mission objective

is to establish a human

settlement on Planet

Mars, funded through a

multi-year reality TV show.


SOS

the SABC needs its independence now!

By Carol Mohlala

TV signals from outer space?

The orbits of Earth and Mars carry them to the same side of the Sun once every two years, at which point the distance between them totals roughly 55 million kilometres. At the opposite ends of their orbits – when Mars is one side of the Sun and Earth the other – this stretches to around 400 million kilometres.

As communication and digital TV signals travel at the speed of light, this means that it can take between three and 22 minutes for the information to reach the other end. A phone call would not be practical, but there would be no limitations to email, texting or ‘WhatsApping’ with the Mars residents. It’ll just take at least six minutes for you to get your reply. Both voicemail and video messages are also easily workable options.

The astronauts will be able to use the internet, but can only surf ‘real time’ on a number of websites that are downloaded from Earth on the Mars habitat web server. Every astronaut will have access to his favourite websites that way. Other websites will be extremely impractical because of the delay.

The settlement will broadcast images of

daily life back to Earth 24/7 so that everyone can see what the astronauts are up to. Of course, they will be delayed by anything from three to 22 minutes so they will be as close to live as it will get!

This expanse means the Mars astronauts will have to be very self-sufficient. Should they send down a: ‘Houston, we have a problem!’ message, Houston might not even know about it until 22 minutes later. Even so, we would not be much help: currently their fastest rocket will be scheduled to arrive six months after the fact.

This trip is one-way, as getting back to Earth is too difficult.

“We want a team of people who have a fulfilling life on Earth but who want to explore a new planet,” says Lansdorp.

Just one person will get to make the first boot print on Mars – the TV audience will decide who.

“The people must decide, because in a thousand years people will still know who the Neil Armstrong of Mars was,” concludes Lansdorp.

Who says the television industry is dead? It’s alive and well and totally off this planet!

The idea to turn the South African Broadcasting Corporation (SABC) from a state broadcaster into a public broadcaster was initially meant to guarantee the SABC’s independence. During the negotiations between the National Party (NP) and the African National Congress (ANC) in the apartheid era, the ANC campaigned for an independent SABC, arguing that it was essential for a democracy. Nineteen years down the line, in a democratic South Africa, we have an SABC that has lost its credibility and independence.

The SABC faces three major challenges: ministerial interference, lack of leadership and financial instability. These have resulted in cyclical problems.

Ministerial interference is due to the powers assigned to the Minister of Communications in the SABC’s Articles of Association. They give the minister the right to appoint the three top posts at the SABC (GCEO, COO and CFO). This is a serious problem primarily because the GCEO is the editor-in-chief; this means that the minister has direct control of SABC editorial affairs. The independence of the SABC relies on this changing. It is the SABC board that should appoint the SABC executives.

Since 2007 the SABC has struggled to secure strong and independent leadership. As far back as 2007, the broadcaster has been without a permanent GCEO, CFO and COO. At present it only has a permanent GCEO. The recently resigned SABC board failed on numerous occasions to make informed decisions and was consistently rocked by allegations of corrupt practices and irregular, sometimes unlawful, decision making. Even though the board struggled at times to perform in a unified fashion, the possibility should be considered that the reason why the SABC has struggled for so long to permanently appoint the top executives is because of the powers given to the minister in the Articles of Association.

The instability of the SABC leadership has worsened its financial crisis. During the 2008/2009 financial year the SABC lost close to R1bn and was forced to seek government guarantees of R1.47bn. Among the government guarantee conditions, the SABC was expected to reduce headcount and increase the programming budget. However, the SABC has not met the the explicit government condition that the wage bill be shrunk through a reduction of the headcount by over 600. Instead the SABC has cut down on its core business: programming. This explains the repeats of The Cosby Show and MacGyver!

The solutions to the never ending SABC crisis are complex, but it’s evident that the SABC needs its independence now. Perhaps the starting point should be the review of broadcasting policy. With the ICT Policy Review in the pipeline, the following suggestions might be helpful in delivering SABC to its independence:

• An amendment to the Articles of Association;• The development of SABC’s own Charter;• Ensuring the appointment of leadership at both board and executive

levels which is experienced, enthusiastic and committed to realising the public broadcasting values entailed in the SABC’s own Charter; and

• Reconstituting the SABC into a Chapter 9 institution that is accountable directly to South Africans through Parliament. This reconstitution would, at least at institutional level, wrest the SABC from undue political and commercial influence, enable the broadcaster to be held more directly accountable by the public it serves and, in so doing, prioritise the realisation of the SABC’s public mandate.

South Africa needs an SABC that works.

Carol Mohlala is the Coordinator of the SOS: Support Public Broadcasting Coalition. Follow them on Twitter @soscoaliton and on Facebook. Visit: www.soscoalition.org.za.


SAtELLItE CommUnICAtIonS |

Back in October 1957, when the Soviet Union launched the world’s first ever satellite – Sputnik 1 – as part of its space programme, it prompted a space race with the US.

Now, over five decades on, satellite operators in the broadcast, communications and broadband spheres are involved in a different kind of space race – the race for television viewers, internet connectivity and

telephone and data conversations.Satellites, once the exclusive domain of military activities such as espionage and navigation, are now a mainstay of

daily life providing television, telecommunications and weather reports and used for emergency services, vehicle tracking and GPS (global positioning system) navigation.

SatCom Africa is focused specifically on the needs of the African continent and aims to bring together end-users and suppliers of satellite technology to find cost effective and reliable solutions. It expects in the region of 2 000 delegates and visitors to the event.

Most of the leading satellite operators are already active in Africa and are constantly looking at ways of expanding their services in the region as they regard it as a growing and dynamic market. Hundreds of television channels are delivered to African homes via satellite, and increasingly satellite is being used as an efficient, alternative way of accessing the internet on the continent.

For more information about SatCom Africa visit:http://www.terrapinn.com/exhibition/satcom-africa/index.stm.

For the recent Africa Cup of Nations soccer tournament held in South Africa, GlobeCast was given the responsibility of sending the pictures of each match to every corner of the globe in high definition (HD) MPEG-4.

Says Asma Hassan, GlobeCast Africa booking and operations manager: “We provided a Ku band world and unilateral feed in HD MPEG-4 from each site, for use by rights-holding broadcasters covering the event.

“In total we had four uplink sites around the country, with Soccer City in Johannesburg hosting the opening and closing ceremonies of the tournament. This uplink moved to the Royal Bafokeng Stadium in Rustenburg in between the opening and closing ceremonies.

“Our other uplink sites were stationed at the Mbombela Stadium in Nelspruit, the Moses Mabhida Stadium in Durban and the

Nelson Mandela Bay Stadium in Port Elizabeth.”

GlobeCast used EUTELSAT 10A to send the world feed into Europe, from where worldwide distribution was done through the GlobeCast teleports in London and Paris.

“In addition, working with our colleagues in Europe, we distributed the world feed on AsiaSat 5 to Asia and on Intelsat 805 to the Americas, with a back-up world feed on EUTELSAT 7A to Europe,” explains Hassan.

GlobeCast provided a coordinator at each venue as well as two engineers on match days. Although the company has its own SNG (satellite news gathering) trucks, it brought in additional equipment from GlobeCast offices in Europe to complement local infrastructure.

Ongoing jobs for the Johannesburg GlobeCast team include the uplinking of 24-hour African channels onto BSkyB’s UK platform.

Says Martin Brasg, GlobeCast’s African business development director: “South African FTA (free-to-air) commercial broadcaster e.tv decided to broadcast its eNCA news channel to the UK. GlobeCast picks up the eNCA signal from the studio in Johannesburg and using our domestic and international fibre networks deliver it to our teleport in the UK. From there it is uplinked onto the BSkyB platform to enable European audiences to watch the channel.

“We are also uplinking TVC, the Nigerian 24-hour news channel, onto the same

BSkyB platform for the Nigerian diaspora market in Europe. GlobeCast supplied and installed an uplink at the TVC studios in Lagos and sends the signal to London for uplink onto the BSkyB platform.

Brasg notes that GlobeCast is also facilitating transmission for Blessing TV, a religious broadcaster in Botswana.

“Blessing TV went live with a 24-hour channel on 15 April. They send us their content, which is time-delayed, and we send it out from our play-out centre. The signal then goes onto Intelsat 28 for delivery onto a FTA DTH (direct to home) platform. This satellite covers sub-Saharan Africa,” comments Brasg. – Joanna Sterkowicz

the space race

Delivering content to the world

To coincide with SatCom Africa, the continent’s leading satellite and telco conference ( 27 to 30 May) and exhibition (28 to 29 May) scheduled to run at Johannesburg’s Sandton Convention Centre (SCC), this issue of Screen Africa features a special focus on satellite communications.

eye iN the sKy: A Eutalsat satellite orbits Earth

oN target: globeCast covering the Africa Cup of Nations

News upliNK: The TVC studio


2013 started with a big bang with South Africa hosting the Africa Cup of Nations in January. Telemedia provided unilateral facilities for pay-TV broadcaster SuperSport at all the main venues and services were also provided for Radio Connectivity for RNA (Angola’s national broadcaster), as well as a complete virtual studio and satellite uplink which was supplied at very short notice for RTI, the national broadcaster of Cote d’Ivoire.

February saw the start of the Super Rugby season and Telemedia is providing C-Band satellite services for SuperSport at the venues in Cape Town, Port Elizabeth, Durban, Bloemfontein and Pretoria.

Says Telemedia managing director Peter Bretherick: “This is the first time that all matches have been transmitted in high definition using C-Band. Some weekends the demand has been for three matches from three totally different venues and it becomes quite an undertaking to find sufficient satellite capacity. It should be understood that each high definition contribution channel running 8PSK DVB-S2 still requires a bandwidth of 18MHz. Three venues therefore means 54MHz, which in most cases exceeds the whole transponder and is often difficult to come by for occasional use on Saturdays.”

Bretherick notes that Telemedia purchased a new vehicle, which is stationed in Cape Town, to transport the C-Band uplink equipment. This vehicle will remain in Cape Town for the duration of the Super Rugby Season together with the Ku-Band

vehicle which is already there. March saw the BRICS (Brazil Russia India

China South Africa) Conference in Durban and Telemedia had to change its ‘sporting hat’ to provide services for the many international news agencies covering the events at the Durban ICC and Zimbali Resort, as well as covering the Presidential visits for Central Chinese Television in Pretoria and Durban.

“Central Chinese Television presented quite a challenge in that we had to return signals to Shanghai and this was achieved by two different routings. In Pretoria we went Ku-Band via the EBU (European Broadcasting Union) circuit and in Durban we went direct to Beijing via IS 20 C-Band,” explains Bretherick.

South Africa’s national soccer team played the Central Africa Republic in the 2014 World Cup Qualifier at Cape Town Stadium and Telemedia provided unilateral transmissions for Sport Five in France and for the world feed to AFNEX. This was returned by satellite from Paris on the C-Band distribution of AFNEX to many of the African Countries, including Central Africa Republic.

The CAF Champion’s League Game at Orlando Stadium and the CAF Confederation Cup at Atteridgeville Stadium were both handled by Telemedia and were uplinked using satellite capacity from SES WS. The signals were delivered to SuperSport in high definition for their HD Sports Channels on the DStv bouquet for live coverage.

“Telemedia services are not only used in South Africa but our engineers regularly travel to Lesotho and Botswana, not only for SuperSport Africa soccer matches but also to provide coverage for cultural events or of Parliament and Legislature openings throughout the country,” comments Bretherick.

At present, Telemedia has a fully redundant Ku-Band flyaway kit in Zambia that was used every weekend in April for soccer in Ndola for feeding back to

SuperSport Africa for the Africa Channels of DStv. This kit is about to be transported to Zimbabwe for many of the sports events occurring this month.

“As the year continues, it looks like on many occasions Telemedia is working to capacity. Our engineers generally are putting in multiple shifts particularly over the weekends, which is why we are thankful for their hard work and dedication,” concludes Bretherick.

Satellite activities on a roll

| SAtELLItE CommUnICAtIonS

oN the sceNe: Telemedia Hummer covering Nelson Mandela’s hospital stay

dished up: providing services for SuperSport


SAtELLItE CommUnICAtIonS |

Satellite should play a much bigger role in Africa in terms of delivering television and ICT services, according to Ibrahima Guimba-Saidou, head of the Africa division at global satellite operator SES.

“Our goal is to remove the language barriers that exist in Africa through satellite so that local content production can increase and cross borders. Producers should create programmes in their own language and do an international version as well so that it can be broadcast in other parts of Africa.

“There is a definite need for more satellite television services in Africa because there are only three at the moment – MultiChoice, Canal and TopTV. Together with our local partner Telemedia, SES aims to bring more channels into Africa and to democratise access to satellite,” says Guimba-Saidou.

He notes that when people say they are ‘bridging the digital divide’ they are really only bringing pipelines into urban areas.

“This means they are not increasing the subscriber base across the rural areas – they’re only enhancing the service in urban areas. So it’s not really bridging the digital divide, especially considering that 60% of the population in many African countries is rural.

“There has been a 10 point gain in

internet usage in Africa, resulting in an additional point in GDP (gross domestic product). I believe that most African countries could get to double digit growth in internet usage,” comments Guimba-Saidou.

He advocates the use of economies of scale in Africa, suggesting that there should be two types of STBs (set-top boxes) – one for DTT (digital terrestrial television) and one for internet usage.

Guimba-Saidou explains: “Africa is in the process of migrating to DTT so why not connect viewers to the internet at the same time with a separate STB and WiFi. There should be a minimum fee for the STBs because if you give people things for free then they tend not to look after them.

“SES has been in fruitful discussions with governments in Africa regarding the use of satellite to complement DTT in remote and

rural areas. I can report that several African countries are now considering a DTT / satellite hybrid. I think DTT should be done regionally to minimise migration costs as well as the costs of producing local content.”

A common perception that Guimba-Saidou frequently encounters is that satellite is more expensive than fibre. He responds: “People who say that are not comparing apples with apples. If you look at fibre in South Africa in terms of investment versus how many people will benefit, it’s only about 5% of the population. With satellite, the benefit is for the whole country and it’s instantaneous, from day one.

“With satellite the cost per user is much cheaper than with fibre. And, you don’t have to dig up roads or be subject to cable theft. When fibre is laid it’s close to other

pipes so the fibre network can be dug up by mistake and then it takes weeks to repair.”

There are currently 10 SES satellites covering Africa and delivering 525 channels into one million homes. According to Guimba-Saidou, SES-5 is the only satellite in Africa that has a unique characteristic in that it connects various linguistic groups in Africa. Not only can Lusophone audiences be reached on SES – 5 but it also provides access to Anglo, Franco and Arabic Africa.

Other SES satellites covering Africa include SES-4, which is primed for Francophone Africa and has French broadcaster Canal as its anchor client. Astra 2F and Astra 2G complement each other to cover West Africa, with coverage expanded all the way to Angola and including DRC (Democratic Republic of Congo). – Joanna Sterkowicz

The world’s third largest satellite operator, Eutelsat Communications, will increase its resources over Africa and the Indian Ocean by 50% between mid-2012 and mid-2015 through an extensive in-orbit investment programme. “This includes the two satellites successfully launched at the end of 2012 and three under construction for launch before

mid-2015,” says Rodney Benn, Eutelsat’s regional vice president for Africa. “One of the satellites to be launched is EUTELSAT 3D, which will be positioned at 3° East with four footprints, including wide coverage in Ku-band across sub-Saharan Africa and resources in C-band and Ka-band. The scheduled launch is 14 May.”

According to Benn, one third of the

Eutelsat fleet offers services over Africa and equates to 10 satellites which provide entire coverage of the continent. He notes that 29 of Eutelsat’s 30 satellites are concentrated on a geostationary arc between positions 15° West and 70° East. This enables Eutelsat to develop concerted major expansion programmes that optimise investment and synergies across Africa, as well as Europe, the Middle East and Central Asia.

“Broadcasting television is Eutelsat’s largest market in Africa and the Indian Ocean Islands. Last year, the number of television channels broadcast in Africa by our satellites rose by 18% to almost 700. Our fleet broadcasts more than 50% of the 1 300 satellite television channels over Africa. “In fact, the range of channels broadcasting across sub-Saharan Africa via the EUTELSAT 16A satellite recently increased with the launch of Eurochannel, the international TV channel dedicated to European films and series. The channel has signed a new five-year contract for capacity and services with us,” he says. Eurochannel has joined a digital platform uplinked by Eutelsat and comprises over 20 TV channels. It broadcasts programmes subtitled in English, French and Portuguese,

with terrestrial head ends its principal target. Benn continues: “We also support our customers in the development of satellite-based triple-play services, which we believe can propel the penetration of digital services in Africa and the Indian Ocean.

“Last May we opened IP Easy, an internet services platform for the general public, on the African coverage of the EUTELSAT 16A satellite. IP Easy is a platform that operators can easily incorporate into the reception of television programmes broadcast from this orbital position to extend their offers.”

Eutelsat is also active in terms of Africa’s migration from analogue terrestrial broadcasting to DTT (digital terrestrial television). It supported the first DTT pay-TV initiatives in Africa with the StarTimes / NTA service launched in 2010 in Nigeria.

“South Africa, Kenya and Nigeria, amongst others, have announced their intention to move all their public television services to DTT by the end of 2015. Our aim is to offer our resources and experience to these schemes in order to ensure a seamless transition by feeding TNT transmitters and complement reception coverage in rural areas with direct-to-home services,” concludes Benn.

Crossing borders in the sky

Expanding Africa’s broadcast footprint

as good as gold: EUTELSAT 16A

africa taKes off: SES-5 satellite on way to launch pad

COpY

RIg

HT

THA

LES

ALE

NIA

SpA

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| SAtELLItE CommUnICAtIonS

African nations are making good progress towards the implementation of the Digital Broadcasting switchover, which the International Telecommunication Union has set for 2015.

The switch to digital signals will provide improved reception quality and enable the delivery of larger channel line-ups and enhanced multimedia applications such as video-on-demand. Switching from analogue to DTT (digital terrestrial television) signals also allows for the more efficient use of spectrum, as frequencies formerly used by analogue broadcasts can be redeployed for wireless networks that are critical in supporting national economic growth.

Satellite serves a crucial role in the content delivery chain for analogue distribution and will play an equally critical role in DTT delivery throughout the continent, though the ways in which satellite links are utilised will vary from country to country.

“The transition to digital is a complex process, and we continuously engage with

our customers to better understand their distribution strategies,” said Grant Marais, Intelsat’s regional vice president of Africa Sales. “Intelsat can offer African customers a number of different technical approaches to broadcast distribution based on their individual needs and circumstances.”

Operators are increasingly looking for ways to assist broadcasters with alternative options to avoid spending millions of dollars upfront on the roll-out of inadequate DTT solutions. While terrestrial distribution is very expensive, satellite offers flexible network architectures that support immediate requirements and provide the platform to scale up infrastructure over time.

Typically, satellites carry DTT signals from multiplexing facilities, where packages of television channels are bundled together, to

the digital transmission towers that deliver the signals into homes. For customers who do not live near broadcast towers, the satellite signals can be beamed directly to private residences, thereby ensuring a 100% penetration without the need to deploy and power additional broadcast towers.

Through these solutions, countries and licence holders can create a more attractive channel line-up by creating a bouquet of state and non-state broadcast channels by leveraging content already carried on Intelsat satellites, including many of the most popular regional and global television

channels. Intelsat’s fleet of more than 50 satellites and expansive IntelsatOneSM fibre network also allow state broadcast channels to be exported around the world.

“With more than 20 satellites serving the continent, Intelsat’s commitment to African businesses, governments and consumer communities is unparalleled in terms of the coverage and depth of our services. Satellite is a critical part of the content delivery chain for digital transmission, just as it is for analogue distribution historically, and Intelsat looks forward to continue supporting the digital television transition across Africa,” says Marais.

Satellite’s critical role in Dtt growth

digital traNsitioN: Intelsat 20: the most recent launch for Africa

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Neal Watson, Johan Prinsloo, Ronsley Kubie and Nkululeko Thobela (GlobeCast Team)

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Nick Quintal, Mario Lucueva and Giancarlo Ballossino (SuperSport Team)

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Protea Electronics (Pty) Ltd

18 APRIl 2013 CMR GOlF CluB, MARAISBuRG

1st place team prize: Rob van de Werken (Ericssen) and Brendon Hargroves (Coleske Artists)

longest drive sponsored by atlas studios (hole 5): Warren Clarke

2nd place team prize: Steve Harris (Blade) and Allan Otto (LaserNet)

longest drive sponsored by Mango (hole 16): Adriaan Smit

3rd place prize: Grant Randall (Lasernet) and Neil White (SBSS)

longest drive sponsored by three cities (hole 7): Wesley Raleigh

4th place team prize: Eban Jansen (SABC) and Kyle Suttie (GlobeCast)

lucky draw sponsored by concilium technologies: Alan Mendes (Concilium) presents award to Sean Jefferis (Blade) on behalf of Shaun Froneman

Kyle Suttie (GlobeCast Africa)James Garden (right) presents prize to Brendon Hargroves

5th place team prize: Alistair Goble and Wesley Raleigh (Etana)

The Telemedia crew Mark Boyle (SuperSport) drinking that shotTelemedia’s James Garden setting up a shot on the 18th hole

Telemedia’s JP Meeser and “Mr Divesh” with Screen Africa’s Chinaka Iwunze and Ayushie Rajkumar

Martin Smookler from Nates Audio Visual with Screen Africa’s Simba Nyamukachi

Doris Mthombeni and Jonathan Gimpel

Joey Rasdien

Ellen Oosthuizen

Going... going...gone!

Marianne Schaefer and Carly Barnes punking out

Off to the 19th hole

The Protea team catch up on some news at the Screen Africa hole

ETANA Isuarance’s Wesley Raleigh, Neal Sundström, ????, Alistair Goble and Chris Ghelakis

A ‘Happy Gilmore’ attemptFore!!! Counting the scores Gangnam style The 19th hole

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radio and teLeviSion BroadCaSting SoLutionSPO Box 1853, Rivonia, 2128, South AfricaTel: +27 (0)11 803-3353/4 Fax: +27 (0)11 803-2534

E-mail: [email protected] www.telemedia.co.za

C o n n e C t i n g t h e i n d u S t r y

two lucky draw prizes sponsored by peermont Metcourt hotel:

GUIDELINESand age categoriesfor films

CLASSIFICATION We inform you choose

The Film and Publication Board, helping you make informed choices on the films you watch, games you play and publications you read.

Tel:

012 661 0051

www.fpb.org.za

16SNVL

X1810V

PG

SV

@FPB_ZAfilm and publication board

A

Means all ages category and means it is suitable for all.

7-9 PG

Means that material in not suitable for children under the age of 7. A parent or caregiver may decide if the material is appropriate for children their care from ages 7-9, if it is of particular entertainment or educational value for such children. Children from the ages of 7-9 years may not be allowed to watch a film classified 7-9 unless accompanied by an adult.

10-12 PG

Means that material in not suitable for children under the age of 10. A parent or caregiver may decide if the material is appropriate for children to decide whether or not a child in their care from ages 10-12, if it is of particular entertainment or educational value for such children. Children from the ages of 10-12 years may not be allowed to watch a film classified 10-12 unless accompanied by an adult.

X18

Means only a holder of a licence to conduct the business of adult premises, set out in section 24 of the Act, may distribute the film to persons older than eighteen or exhibit such content to such person within such premises.

P

Prejudice – material may contain scenes or language of prejudice of strong impact, if clearly disapproved of, and if justified within context, or if used in aneducational or historical context.

SV

Sexual violence –material may contain occurrences of actual moderate to strong sexual violence, if justified by context.

18

Means that the material is not suitable for person under 18 years.

V

Violence –material may contain strong to very strong violence justified by context.

16

Means that the material is not suitable for persons under the age of 16.

L

Language –material may contain instances of very strong language justified by the context.

D

Substance abuse –material may contain strong impact instances of substanceabuse if justified by context.

N

Nudity –material may contain instances of strong impact nudity if justified by context.

S

Sexual activity – material may contain occurrences of strong or even very strong implied sexual activity.

XX

Means the material may not be distributed or exhibited in public by anyone and also not in the adult premises set out in the section 24 of the act. In the case of child pornography it may also not be possessed anywhere.

H

Horror – any scenes of very strong horror must be justified by context.

PGMeans all ages category but cautious sensitive viewers and indicates that parents and caregivers are in the best position to decide whether or not a child in their care may view film or DVD for home entertainment purposes.

16SNVL

X1810V

PG

SV

A

16 SN

16 H

18 V

Film & Publication Board (FPB)


PoSt-ProDUCtIon |

The film and television industry as we know it in South Africa blossomed in the late 1970s with the advent of television and the demand for

commercials and programming. Prior to that cinema had been the only real outlet, but now new and unique services and skills are required.

As virtually all acquisition in the 1970s was on 16mm or 35mm film, the need to telecine, transfer and grade was essential. The SABC (South African Broadcasting Corporation) in its wisdom installed chains of photo conductive devices.

While the SABC was reluctant to change, commercial producers were unhappy with the quality of transfers and began using a Rank Cintel device brought into South Africa by a local advertising agency. At this time a local facility, Video RSA, commenced business and offered services to the industry at large. This led the way to several post-production facilities – some affiliates of overseas facilities houses – setting up business in South Africa.

As the capital cost of equipment was exceptionally high and had a limited lifespan due to technology advances, only the large well-funded facilities could provide this service. Therefore their offering was of a high standard technology-wise and a full service covered telecine transfers; online editing on tape (remember the

CMX?); complete audio post-production; and delivery copies.

Often the film was edited by a specialised editing company and then transferred to tape if it was for television, but more and more the demand was for selected rushes to be transferred to tape and then edited.

Enter non-linear

When non-linear editing was introduced some facilities acquired suites. I have scary recollections of editing a 22-part programme for an American network on newly released EMC2 edit suites during my stay at a major facilities house.

This was not to be the trend, however, and non-linear editing became the domain of specialised editors with their own systems, which included Avid, Lightworks and Final Cut Pro (EMC2 seemed to simply fade away). Footage was digitised, edited on the system of choice, and an EDL (edit decision list) then went to the facilities house for an online edit.

Together with the revolution in acquisition technology and the emergence of high quality digital cameras overtaking the traditional film route, so the non-linear editing systems began to provide increased quality and effects capabilities at a lower cost. This allowed editors to complete an

edit suitable for submission to broadcasters.

As cameras have developed over a short span of time from a three-tube, low resolution composite video camera to the likes of an ARRI Alexa 4K HD (high definition), so too has editing equipment evolved with most non-linear systems now able to provide final HD material.

Large facilities

So what about the large post-production facilities? They are now deprived of film rushes to keep their expensive telecine units operating and are experiencing a decrease in the volume of online editing due to technology developments in offline editing equipment. All this coupled with a general reduction in workload and budgets due to lack of commissions from broadcasters and ad agency belt-tightening begs the question: is the large facilities house still a sustainable model with its hefty

rental and salary bills?It’s a tricky one, and the questions

currently being asked are those asked several years ago when I was in the facilities business. How to recapture market share, continue offering much needed services and make a profit for shareholders / investors?

Let’s consider the pure editing companies. There is a long list of both large and small boutique styled specialised companies (some with quite numerous staff numbers) and others with just an editor and assistant. These companies all have one thing in common – editors – who are known for their skills in a particular genre/s, be it commercials, longform, wildlife or documentary. These companies generate business from these skills and reputations, and clients will generally seek out the same editors time after time. The need to have a large infrastructure surrounding them (as in a facility) is virtually non-existent. It’s the skills factor that overrides everything.

Bob Dylan’s prophetic lyrics could well apply to the film and television industry – the verse: ‘The line it is drawn, the curse it is cast, the slow one now will later be fast, as the present now will later be past, the order is rapidly fadin’ – is particularly apt. It applies not only to vast changes in acquisition formats, but also the role and function of post-production houses, particularly the full service facilities houses.

the times they are a changin’By Andy Stead


| PoSt-ProDUCtIon

Changing domain

With this in mind the larger facilities are unable to offer this specialised editing service as there seems little incentive for an editing company to join forces with them, although most editing companies do have recourse to a facility for various elements of their work. The problem for the facilities house comes in where the editing companies have, generally through reduced capital costs and developments in technology, acquired additional capabilities previously the exclusive domain of the facilities house.

It is not uncommon to see Flame, Smoke and other high end post-production technologies offered by editing companies. And, it is also not uncommon for the editing company to finish a commercial right up to the final mix in its own suite, the only recourse to facilities services are perhaps a Baselight grade, some animation if required and audio requirements. Even delivery to broadcasters via one of the streaming companies can happen from the edit suite.

The larger Johannesburg facilities houses can essentially be split into two areas of specialty: commercial and longform. They offer services for both genres and the choice of facilities house is generally determined by its offering, price and skills level. For those offering longform services the market is pretty stagnant. While the rebates offered by the dti (Department of Trade & Industry) and IDC (Industrial Development Corporation) funding has made a difference, the lack of commissions by, in particular, the national broadcaster generates little business and the budgets for both commercials and longform are being continually reigned in.

production option

When I was in the facilities business years ago the question asked over and over was: ‘Why not start a production company and generate our own business?’ This question is still being asked today, and indeed there is every chance that this may be a solution for some facilities, however for others the

risk of alienating their clients by encroaching on their area of business is a risk they are not prepared to take. This route may, however, work and there may well come a time where the fine line between production and post-production merges and the offering becomes one.

Whatever happens it seems that there are tough times ahead for the major facilities. The almost complete demise of film-originated work; the lower entry level into editing equipment and some of the visual effects technologies; the decreasing budgets for commercials and longform; as well as a general decrease in workflow across the board, means that a lot of clever thinking will have to go into mapping the way forward, and into restructuring the large facilities model as we currently know it.

Will this change the landscape of post-production in the future? Possibly but only time will tell.

With a work space that is as creative, elegant and cool as that of aces up, it is no wonder that the company’s brilliant team often gets to play the winning hand in terms of projects, which range from design, digital production and illustration to 2D and 3D animation.

“David Theron has done some amazing illustrations that have been accepted into Migrate magazine for the Loerie Awards,” says glamorous and inspirational Liesl Karpinski, producer and owner of Aces Up.

Theron is Karpinski’s business partner and does all the illustrations for the company. He is drawing the cover for the May issue of Advantage magazine, which provides in-depth news about the media, marketing and advertising industries.

“Recently, we did a really nice piece for Continental with great 3D animation where we built the tyres completely in 3D and had them moving and everything. We’ve also been doing some work for Vodacom and Incredible Connection. Other work includes jobs in which we use everything from character animation to 3D modelling to design and illustration. And we also do a bit of live action only as part of animation projects,” comments Karpinski.

Aces Up was founded about five years ago with editing at its core, it has since moved away from editing as its core business and evolved to animation and digital to expand the business and transform it into a more prominent industry player. The animation division has been running for about 18 months and during this

time it has been Aces Up’s main focus. However, Aces Up still has a fully

operational edit suite but doesn’t represent editors on a full-time basis anymore. “We have a base of freelance editors that we use when a job requires it. It is great to be able to offer an edit suite for hire,” says Karpinski.

The company is busy with a massive project for SADAG (South African Depression and Anxiety Group). “We are working on something that is really like a piece of art. It is a fully animated public service announcement that we are producing as a show reel piece and to enter into, for example, the Loerie Awards

and Cannes. Last year Aces Up entered a music video

called It’s Magic that was made for South African award-winning group The Parlotones into the Loerie Awards after which the company was ranked third in South Africa for animation. “Being in our first year in animation and to be ranked third by the Loeries was really amazing,” says Karpinski.

She comments that It’s Magic has been the biggest project Aces Up has worked on from a demands point of view in terms of the scale of job as well as the animation and the rendering that went into the project.

Aces Up uses After Effects, Maya, Flash,

Final Cut Pro, Avid and 3D Studio Max when creating magic and the specialist team consists of Theron (2D animation, design and illustration), Gigh Zack (3D animation) and Ed van Blerk (design and illustration).

“I love my job in its entirety,” says Karpinski. “My job is my life. I love the people who are here, the little family that we have and the freedom to our disposal within clients’ boundaries.”

Ever changing and evolving, Aces Up is building its street cred and with all the aces up its sleeve, much more magic will undeniably dazzle the industry, audiences and clients alike. – Martie Bester

Excellence in diversity

“Non-linear editing became the domain of specialised editors with their own systems, which included Avid, Lightworks and Final Cut Pro (EMC2 seemed to simply fade away). Footage was digitised, edited on the system of choice, and an EDL (edit decision list) then went to the facilities house for an online edit.”


PoSt-ProDUCtIon |

Eban Olivier is somewhat of an editing systems expert, being familiar with AVID, FCP and Lightworks, and even offers certified courses on the subject.

Says Olivier: “I learned very early on that editing is perhaps the most powerful tool in the filmmaking process – after the freedom of imagination in the script process, the tyranny of budget and the fallibility of human beings in production.

“Back in the day I used to own a Steenbeck film editing machine and a picture-synchroniser, and cut features on film. Then I moved onto non-linear editing and AVID and found it a fantastic tool.”

When Apple’s FCP came onto the scene it dominated the post-production scene for a few years, before spectacularly self-destructing earlier this year.

“I know Apple has promised all manner of fixes for FCP,” continues Olivier, “but they have proved beyond doubt that they cannot be trusted, by ditching the pro grading suite, Colour, for instance.

“Recently AVID has made a big comeback with Media Composer 6 running in a super fast 64bit environment with a ton of cool new stuff. However, if you are starting out, AVID is an expensive tool, but I

would not trust or invest in any Apple post-production tools right now.”

Travelling ‘Light’

Enter Lightworks! Why should you be interested? Well, Lightworks is free.

“What is Lightworks?” asks Olivier. “In the first edition of The Guerilla Film Makers Handbook back in 1994, I interviewed a Lightworks editor. Back then AVID and Lightworks were neck-and-neck in the non-linear market. Lightworks is a professional tool with an incredible pedigree and heritage. Not convinced? Well The King’s Speech was cut on Lightworks, so if it’s good enough for a Best Film Oscar winner, I suggest it’s good enough for any of us.”

Using it feels very logical, like editing on film, according to Olivier. Plus it has all the bells and whistles of many new digital tools. It is a professional tool, not a semi-professional or domestic tool that has been dressed up. So expect to invest time in learning how to use it.

It seems that the guys who released Lightworks for free plan to make money selling plug-ins, which is a smart tactic in

today’s world. They have also committed to keeping Lightworks free. And, it’s Open Source, so it will be very interesting to see what evolves.

Revamp

“Apple recently revamped its signature video editing software with Final Cut Pro X,” explains Olivier. “It is leaner and faster than previous iterations of the software. The new interface also makes the software more intuitive and accessible to new users. Innovative new features such as background rendering and the magnetic timeline set the standard for future generations of video editing applications.

“But Apple is also losing its existing pro-market in the app-based prosumer market that they were the first to storm. Put yourself in the shoes of the Apple development team; you have in the region of 10 000 FCP Studio 3 packages sold over the past three years, while your app store sells 10 000 Editing Apps a day to aspiring, ‘wanna-be’ prosumer video editors.”

Olivier believes the release of FCP X was the end of FCP. “In its defence it’s a super cool little app to use when you are on a

16-hour flight to Los Angeles. But in a professional studio environment it falls down flat.

“I have always been a fan of AVID (not the price point though), but it is a sure-fire product – you always see the improvement in the architecture and design year in and year out. I believe that its Audio Systems (Pro Tools) is one of the strongest tools they have in the current market. I swear by AVID when it comes to live broadcast mixing and multi-track recording.”

Open Source

Olivier admits that he ‘played a bit’ with an Open Source version of Lightworks recently. “I have to say well done! Open Source platforms always end up with a ‘community’ and community members seem to be loyal on any given day. The software interaction lived up to the reviews I read and I found it easy and self-explanatory to navigate through the offering. I believe with a bit more cleaning up that this could possibly be the FCP of seven years ago!”

the editor’s choiceThere are three systems that come to the fore when choosing an editing suite to create the magic that is the film business. AVID, FCP (Final Cut Pro) and Lightworks are still plying their trade around the world, each offering its own creative uniqueness. Indeed, each of these systems is in use in South Africa and form essential elements in the complex post-production process.

By Andy Stead

a suite choice: Eben Olivier

Aces up


PoSt-ProDUCtIon |

general post

editorsresearchersanimatorsvisual effects artistspost-producerspost-supervisorsstoryboard artistssound engineerswriters directors

supplying the finest freelance post-production & creative crew to the film and television industry

Now offering editing facilities, available to dry-hire or as part of a full service package. Conveniently situated in the Blade building with access to high-end finishing and other facilities

contact Griffith on 0860 111 553 / 076 225 9173 or [email protected] for information on our full service and facilitation services

[email protected] tel: 0860 111 553 fax: 011 706 7949 after hrs: 076 225 9173

www.generalpost.co.za

General Post

general post in Johannesburg is an agency that supplies freelance digital media and post-production personnel and creative crew to the film and television industry.

Kirsty Galliard, managing director of General Post, is enthusiastic about the talent she has on her books and is proud of the many milestones that have been achieved by editors, researchers, illustrators and storyboard artists, 3D animators, compositors, post supervisors and workflow experts, directors, writers and sound engineers – all consummate professionals who are at the very top of their game.

Galliard is especially proud of Masibongi Mtshali who is working as an assistant editor on the reality TV show MasterChef South Africa. “Masibonge started as an intern here in 2011 and I am so chuffed that he is working on MasterChef now,” she says. “Apparently he is doing really well there.”

General Post runs the annual South Africa’s Next Top Filmmaker competition that offers young filmmakers the opportunity to break into the world of television broadcast production. “It looks like we might get a much bigger

sponsorship, which will allow us to run the competition on a larger scale than in previous years. Usually entries open in May but we are pushing it out for a couple of months in terms of waiting to see whether the sponsorship will materialise.

Galliard continues: “If we get the sponsorship, it will mean that there will be a lot more opportunities for youngsters to be mentored.”

Expanding on the success of 2011’s winners of the competition, Sbu Zuma and Sihle Ngcamu, Galliard mentions that they are both working in the industry. “Sbu is a junior director and DOP at Quizzical Pictures while Sihle is also working there and doing very well.” 2012 finalists Mondli Magenuka and Nompumelelo Tshabalala are working in the industry too.

Galliard, who is just as much the professional as the superb talent she has on her books, is justifiably delighted with her team of industry professionals who deliver some of the best work in the South African filmmaking industry. – Martie Bester

top industry talent

Kirsty galliard


| PoSt-ProDUCtIon

Cape Town-based searle street post subtitled, top and tailed and oversaw all broadcast and online deliverables on the eight feature length documentaries documentaries and the 37 shorts which form part of the land-mark Why Poverty? series, produced by Steps International in Cape Town.

Says Searle Street’s Heino Henning: “Three of the Why Poverty? films – Solar Mamas, Land Rush and Poor Us – have been shortlisted for the One World Media Awards. It was a wonderful opportunity to be part of this award-winning series of films, which was recently recognised by the Peabody Awards. Why Poverty? not only entertains, but also educates and aims to change the world into a better place. We are immensely proud to have been part of a project of this magnitude and worldwide reach.”

Searle Street received the whole Why Poverty? series in various stages of completion and handled the colour grading and editing on some of them. All the films had to be branded with the Why Poverty? logos and other title elements. Every film was broadcast by a total of 69 international broadcasters, resulting in Searle Street Post doing the various language subtitles. They also supplied the final broadcast material for all the films.

Searle Street has done DI (digital intermediate) on Triggerfish Animation’s stereoscopic 3D animated feature films, Adventures in Zambezia and Khumba.

Henning explains: “Firoza Rahim, the post producer on these projects, and colourist David Grant have had a long and fruitful working relationship with the team at Triggerfish Animation. We believe that the combination of the quality of our work, our talented and experienced team of artists and producers and the treasured client relationships attract these and other high profile projects.”

He notes that the DI process for a stereoscopic project is not vastly different

to that of the traditional 2D workflow. “Stereoscopic films rely on two films being shown at the same time. The 3D glasses one wears isolate these two streams of footage for the left eye and the right eye. During the initial phase of the DI, we focused on the footage for the left eye and completed the colour grading and titles. This effectively is the 2D master used in traditional cinemas. We then combined the right eye’s footage, put the glasses on and re-graded the colours to ensure that the 3D film looks the same as the 2D version.”

Adventures in Zambezia and Khumba are just two of a very impressive list of projects handled by Searle Street Post, which

includes Long Walk to Freedom, Zulu, Strike Back 3, Mary and Martha, Die Wonderwerker and De Heineken Ontvoering.

“In the very short space of two years Searle Street Post has managed to penetrate the South African market in a serious way. We have serviced all the big international feature and TV productions. In addition we’ve worked with the top commercial directors in the country. The craft award that we won for Keith Rose’s Allan Gray spot Time Flies speaks volumes of our passion and creativity in the commercials sector,” concludes Henning.

Award-winning animation and visual effects post-production studio blackginger recently finished work on a number of local and international commercials as well as working on an animated episodic web series for the Halo 4 game.

“The new local Johnnie Walker commercial features some very organic photographic imagery which relied heavily on post-production to create a natural organic feel,” says Marc Bloch, owner of BlackGinger.

The company has also completed a series of fully animated spots for Clover and has just finished work for clients such as Windhoek, VW, Standard Bank, Nedbank, Mercedes, Engen, Wimpy, Toyota and many more.

Currently, BlackGinger is working on an international series of almost fully animated commercials for Cif cleaning products after having completed a number of them last year.

According to Bloch, 90% of BlackGinger’s work comes from local and international commercials and the rest being series, film, print or live events.

In terms of feature work, the company

has received international recognition. In 2011 BlackGinger won a Best Visual Effects award at the 2011 Asian Film Awards in conjunction with Technicolor Beijing, MPC London and Loki Effects in Canada.

And for the reboot of the television series Knight Rider, the company produced more than 100 composite shots.

“We have a full finishing and grading environment with Flame, Flint and Baselight

plus a large animation team using Softimage XSI, Houdini, ZBrush and proprietary tools. Our compositing, clean-up and roto department uses Nuke, Hiero and After Effects. We also have edit facilities for which we freelance from a pool of editors or dry hire the suite,” adds Bloch.

BlackGinger offers everything related to post-production plus on-set supervision, conceptual art, previs and creative and

technical problem-solving. “We specialise in visual effect and animation and jobs that are more technically and creatively challenging.”

According to Bloch BlackGinger is constantly upgrading existing equipment. “We have invested heavily in our infrastructure so we are quite committed to the gear that we have in place, but we are constantly evaluating new technology.”

He continues: “A great challenge when doing bigger VFX and animation projects is taking a process that is inherently very technical, involving many people and creating something that is visually natural and organic.”

Bloch mentions that at the moment the biggest challenge is budgets, which is felt industry wide. “Post-production is very heavy on capital expenditure so creating high-level work for small budgets is becoming harder and harder.”

BlackGinger employs almost only specialist staff so that the company has teams that consist of individuals who are excellent in the areas in which they specialise. “This means that there is a general high level of skill across all the teams, which allows for more effective mentoring and growth.”

The best part of working at BlackGinger is “definitely doing good work, whether it is good conceptually or technically. Doing technically challenging work is always rewarding as it often takes you out of your comfort zone and teaches you a lot,” concludes Bloch.

right up their street!

Spicy talent delivers the goods

The Baselight suite at Searle Street post

grab shots from Allan gray Legend (top) and Stimorol Mega Mystery


PoSt-ProDUCtIon |

ON-SET DAILIES I DIGITAL DAILIES I CUTTING ROOMS I VFX I ON-LINE I S3D POST I DI I GRADING I DOLBY ACCREDITED SOUND STUDIOS I MASTERING I THEATRICAL DIGITAL DELIVERIES

+27 11 799 7800www.refinery.co.za [email protected]

RECENT HIGHLIGHTS FANIE FOURIE’S LOBOLA OUT OF AFRICA I DI, AUDIO POST

STRIKE BACK SEASON 3, 4 OUT OF AFRICA I DAILIES, EDITORIAL

VERRAAIERS BOSBOK FILMS I DI, VFX

LONG WALK TO FREEDOM VIDEOVISION I DAILIES, EDITORIAL

MATERIAL TOM PICTURES I DI, AUDIO POST

VEHICLE 19 FOREFRONT MEDIA I DAILIES, EDITORIAL, DI, VFX, AUDIO POST

Refinery Ad v4.indd 1 2013/04/19 10:26 AM

Refinery

the refinery in Johannesburg is a strikingly beautiful post-production company in which larger-than-life projects regularly come to fruition. Housed in an über modern space it has a cool industrial feel with lots of natural light streaming in.

Consummate professional Tracey Williams, director of The Refinery, is excited that the rebate by the DTI (Department of

Trade and Industry) in terms of film incentive is finally starting to pay off for the post-production industry in South Africa.

“The DTI is trying to incentivise more post-production work in South Africa. While we’ve had many foreign productions coming to the country, very little of those affect the post-production industry as there has been very little growth in that area in

the past,” says Williams. “The incentive is based on requesting

foreign companies to spend more on post-production as an added benefit to the whole production. It has been a very nice incentive and with it there is a lot of interest with regards to work coming to South Africa,” adds Williams.

“In terms of the rebate, we are quoting a lot of visual effects work. So I think we are only at the beginning of its potential. We are seeing a lot of interest in what kind of post-production we can offer.”

The Refinery has had a great start to the year as it handled all the dailies and the editorial side of BBC and HBO co-production television series Strike Back Season 4. The company also did the dailies on the American co-produced futuristic feature film Kite, starring Samuel L. Jackson, and is doing some editing on the completed version of the movie.

Another foreign production for which The Refinery is processing and handling dailies is Young Ones, which was shot in Springbok in the Northern Cape and which stars Nicholas Hoult from The Hunger Games and actress Elle Fanning. “Those were all exciting and diverse projects,” comments Williams.

On the local front The Refinery is handling the post of Afrikaans feature film Musiek vir die Agtergrond (Music for the Background) produced by Sallas de Jager. The movie is due for release nationwide later this year.

The Refinery is also De Jager’s choice for

upcoming Afrikaans movie Stuur Groete vir Mannetjies Roux (Send Greetings to Mannetjies Roux), which is currently being shot.

Williams mentions that The Refinery is also working on local movie Felix, directed by SAFTA Lifetime Achievement winner Roberta Durant with an all-women writing, directing, line-producing and DoP team.

The Refinery places great emphasis on taking projects from script to screen. “On the film side we very much understand how to handle everything from acquisition to editorial to final post,” says Williams.

“We have always concentrated on that and we have always understood that the client is making a product and that we’ve got to put the right things in place in order for them to sell their product. We combine the creative with an understanding of delivery.”

Williams says these days the post-production process is less driven by tools as opposed to understanding how the process works. “It is essential to know what the client needs in contrast to necessarily acquiring new gear. The process has undergone a change in that we offer solutions relevant to the situation.

“I love the stories that people are trying to do and the process involved in making that a reality. That’s our jigsaw puzzle. It’s never the same job twice and we keep on reassessing the best way to do the best job for our clients,” concludes Williams. – Martie Bester

Client satisfaction from script to screen

A scene from the movie Fanie Fourie’s Lobola


| PoSt-ProDUCtIon

Fix It Post Production

This year, the talented team at fiX post production was nominated for a SAFTA (South African Film and Television Award) for the fifth year in a row for their editing on television drama series, Hartland.

C.A. van Aswegen, managing director, senior editor and colourist and Quinn Lubbe, senior editor, VFX artist and composer say that FiX has certain core values in place, such as never compromising on quality work. “Nothing goes out of these doors that we are not absolutely happy with,” says Van Aswegen.

Lubbe adds: “It is important that everything that goes out is as good as we can possible get it. We want to be known as the facility that goes the extra mile and we pride ourselves on a personalised service.”

In recent years, FiX’s main focus has

shifted to feature films as its core business. Currently, FiX’s most recent project, new Afrikaans movie Lien se Lankstaanskoene is showing in cinemas to rave reviews, while the romantic comedy Klein Karoo, which soared at the local box office, was also in post-production at FiX.

“It is important that we mention how well the films we have been involved in do at the box office. We are proud of the fact that the films on which we work are so popular – so we must be doing something right!” says Lubbe.

For both movies, Van Aswegen and Lubbe did various visual effects shots, an area of expertise that they are also pursuing. The filmmakers say that all the films in which they are involved contain an element of visual effects.

“Because the South African film industry is developing in leaps and bounds, people are starting to realise that visual effects are an option. Just like everything else in the industry we have to get creative because we don’t have unlimited resources. So we get clever about how we do it and we choose our shots very strategically,” mentions Van Aswegen.

Although the focus is very much on film, FiX has just completed an 18-month mammoth project which consists of six intricate installations called the Interpretive Films for the museum at Freedom Park in Pretoria, which is a memorial dedicated to the story of the African continent’s untold history and heritage.

FiX is also doing post on Bakgat 3!, the third intallment in the series of highly popular comedies which also raked in big box office earnings.

Van Aswegen is working on André Odendaal’s new film, As Jy Sing, which releases in November.

Also in the pipeline this year is Hear Me Move an English / Zulu dance film, a first for South African audiences.

FiX has been commissioned to do post on the Afrikaans feature film Die Storie van Racheltjie de Beer (The Story of Racheltjie de Beer) which is still in its development stages. “It’s going to be a big film for us and there will be many visual effects shots in the film and they will have to be absolutely photo realistic. It terms of visual effects, it will be a first for us and will help elevate the landscape of what is possible in

the local film industry,” says Van Aswegen. Apart from feature work, the company

also does post on TV dramas, sitcoms, commercials and corporates.

The team uses Final Cut Pro and has just switched to Da Vinci Resolve for grading and uses Nuendo 5.5 and Pro Tools for their sound design and final mix work. FiX Post Production houses a plush full HD 25-seater cinema room in which the final edits and audience test screenings take place.

In terms of visual effects, Cinema 4D and After Effects are the main tools used as there is good interaction between them.

Personal relationships are important to FiX. “Most of our clients are repeat clients, whom we have built a relationship with and they know we will go the extra mile for them. Their projects are important to us,” says Lubbe.

Emphasising that the success of film lies in collaboration, Lubbe and Van Aswegen strive to pass their knowledge on to their junior staff members.

“We have an open-door policy at FiX and we truly believe that sharing knowledge is the best way to grow our industry. We will always try and assist filmmakers with advice on how to best execute their vision,” says Van Aswegen.

As filmmakers with a lot of experience, passion and drive, and absolute commitment to perfection, FiX Post Production is especially proud to be part of a rapidly developing industry. “We have to continue the momentum that has begun. It is our responsibility.” – Martie Bester

Superior commitment, innovation and growth


PoSt-ProDUCtIon |

Mushroom Media

Warwick Allan, director of Mushroom Media, says: “All the suites at the company can do a range from offline to online, but we’re focusing more on finishing and grading specifically.”

He continues: “We’ve been working on a few commercials lately, we’ve just finished Baby Soft for Ogilvy, which was a fun project involving a lot of virals. A lot of campaigns have viral ads, which are shot at the same time as the TVCs, the virals are almost being finished like commercials so we did seven virals and two TVCs for the ad.”

About Baby Soft and other projects he says, “I’m working with Team Best boutique creative agency and production house, a young new production company with two cool directors, Bryan van Niekerk and Asher Stoltz.”

Adds Allan: “We’re about to start a big job for Namibian Tourism and our client is New Mission Films based in Windhoek. It is going to be quite exciting so I am sending Miriam Arndt, our junior editor to Namibia to data wrangle and pre-edit on set. And then we will do the rest of the finishing and the editing here. That’s going to be probably for the rest of the year, which is a long-term job which is fantastic.”

Allan says, “Hopefully we will do a lot of commercials and we’re hoping to work with a lot of new young directors and other established directors who want to try something new”.

He mentions: “We still do a lot of local music videos and have been busy with the record label Just Music. They have quite a lot of top local artists that they have signed recently and they are doing Just Music Sessions once a month which promos their new artists. We did Zebra and Giraffe and a new band The Anti Retro Vinyls, and in March we did a club session with Pascal and Pearce, Locknville and GoodLuck.”

The bulk of the work is quite a mix at the moment because the company is in a transition phase but “this year we are focusing very much on post, I think our knowledge of production helps us in the post world.

“We are trying to grow a new client base of commercials and directors that we do post for. I like the mixture, it keeps me on my toes and historically I’ve done a lot of stuff myself. And now I have Michelle Wilson who is freelancing so she is grading out of the grading room which is great as she has 15 years of grading experience and is considered to be one of the best in the country.”

Allan doesn’t necessarily want to get too big. “I want a tight, robust facility that can do good work.”

He mentions: “We bought a Centralised Storage System so that all four machines connect on the same storage pool and what is nice about that is we can edit here and save and close down and open it up immediately in another suite to tackle a different aspect of the job such as grade. So there is no duplication or moving of media which is quite nice because it allows us to be very quick and get the job done.

“Obviously the Da Vinci Machine was the biggest upgrade in terms of what we can actually offer with realtime RED RAW in 4K as well as other RAW formats available (ARRI and SONY F55). And we’ve just upgraded to Resolve 9. It is quite exciting times!

“In terms of digital transcoding of RED footage we’ve obviously got a RED ROCKET™, so we can do that real time, which is really nice for offline transcodes to ProRes or DNX HD for offline at another facility if the client wants.

“Creating beautiful pictures is the most rewarding thing and just trying to make people happy. That is one of Mushroom Media’s priorities, if people are loving what they are seeing it energises me to do what I am doing. I think that is important, and just the enjoyment of being around people who are creative and giving each other ideas and creating images that are powerful and beautiful… that energy of collaboration is very important and we are looking forward to collaborating with many more dynamic and creative people in the future.”

Creating beautiful pictures


| PoSt-ProDUCtIon

Pepperoni Pictures

Ever positive and enthusiastic, Riaan Stoman of pepperoni pictures has just moved offices to Bryanston and is working on several projects for local and international companies, editing and creating extraordinary visual effects for various commercials, music videos, documentaries and television shows.

The company’s most recent work includes an animated commercial for Waridtel and commercials for Hima and Bamburi cement. Along with music videos for Mastercraft, Flavour and Wizzkid.

Pepperoni Pictures specialises in editing, animation, visual effects and design. Although the bulk of the company’s work comes from agencies in Africa, Stoman also has local agencies on his books, doing commercials such as Daihatsu, Mitsubishi,

1Life Direct, Foton and Dstv.Pepperoni Pictures has done music

videos for various local and international artists, such as Lira, HHP, MiCasa, Cosmic Gate, Flavour, Dbanj, 2Face, Davido, Wizzkid and many more.

André van Rensburg recently joined Pepperoni as off-line editor. Van Rensburg has had a decade of international post-production experience in Asia and New York.

The company is currently in post with a commercial for Tigo, a Ugandan telecommunications company as well as creating title sequences for various local upcoming television shows.

“There are always budget and time restraints, but in terms of applying your imagination, the creative opportunities are endless,” comments Stoman.

He places great emphasis on client relationships, and he aims to maintain a level of friendliness and professionalism.

“Most of my clients are repeat clients and I nourish the important relationships that we build with them.”

Commenting on working in the industry, Pepperoni Pictures focuses on its strengths and expertise to get the best job done.

According to Stoman, telling great stories and delivering high-quality results have never been more fun, and judging by the imaginative interior of Pepperoni Pictures, this is where work and play merge for perfect creative and professional synergy. – Martie Bester

Breathtaking editing, animation and visual effects at play

Creativity rules!


PoSt-ProDUCtIon |

Tel: 011 454 4849Email: [email protected] / [email protected]

www.ghpp.com

Block B, Stonewedge Office Park, No.1 Wedgelink Road Bryanston, 2021

GLASSHOUSE SCREEN AFRICA.indd 1 2013/04/19 12:39 PM

Orchestra Blue

Glasshouse

“Give more than was expected, have fun doing it, but above all be utterly professional.”

This was the philosophy way back when we started orchestra blue and with our 24th birthday just around the corner. We are proud that this mindset has helped us become the oldest and (I think) longest lasting commercial post-production house in South Africa. It has been an incredibly exciting journey. I remember the early days so clearly. With every cent I had managed to borrow from the bank going towards a 35mm Steenbeck, there was nothing left to buy the important stuff, like a fridge. When we bought milk or tinned cold drinks we would have to place them on top of the aircon in

another room to keep them cold. Luckily electricity was included in the rent. The Steenbeck worked beautifully and within six months was ...No! not paid off ...made obsolete by a horrible, horrible pair of twins called ‘The U-Matics’ or as some liked to call them, ‘Pnumatics’.

Rather than wasting money on a ‘Pnumatic’ suite, we rented one and paid twice what we would have paid by purchasing it outright. What can I say? We are editors not business people. But we did learn a very important lesson that would help us grow to become one of the leading post houses in Africa: Embrace ‘change’.

Over the years the industry become smaller and smaller with budgets matching this trend but technology has gone the other way. There is now much more choice for a lot less cost.

Having embraced these new technological options we are able to deal with these budget restraints without compromising the end product – an expectation from our clients that (quite rightly) has not changed over the last quarter century.

And talking about clients, we really have been spoilt over the years. We have worked with some of the best the industry has to offer (some of whom started with us on Day 1 and are still editing with us) and it is their loyalty, support and trust that has catapulted us to where we are today.

I know it’s a bit corny but isn’t it good to know that ‘the more things change, the more things stay the same’ ...except we now have a fridge.

glasshouse post production, now 11 years old, reports a busy start to 2013. Editor Angela Whitehouse has worked on top brands like Cell C, Simba Chips, Nando’s and Ace.

Whitehouse describes the Cell C Hands commercial, which was shot by Bruce Paynter of CAB Films for ad agency Ogilvy, as ‘an incredibly interesting process’ that involved the special effects team from BlackGinger.

“This was the first time I ever started editing before the shoot,” says Whitehouse. “First up, I put together a basic edit from the director’s storyboards, from which a pre-viz was created by BlackGinger. Background plates were then shot and edited together. The hands and live action

were the final elements to be shot and then composited into approved backgrounds.

“The ad was in production for over two months, but sometimes I only had a day in between each process to edit. It qualifies as one of Glasshouse’s more challenging jobs but one that we’re very proud of.”

Editor Neil Gow has just completed his third Edgars job for the year. Edgars Beauty Extravaganza, shot by international award-winning stills photographer Justin Polkey of Film Machine, boasts a compilation of beautiful, sexy Moulin Rouge type sequences. Gow also worked on an international job for Star Beer for Nigeria shot by Bruce Paynter, as well as Nedbank Corporate, NUM and some beautiful pieces for Anglo American.

In his second year at Glasshouse, art director turned editor James O’ Sullivan, has worked on campaigns for Debonairs Pizza, Milky Lane, Fishaways, Mugg & Bean and Old Mutual.

By Graham Smith, Orchestra Blue founder

the next chapter

twenty-four years and counting


| PoSt-ProDUCtIon

The art of editing.

www.priest.co.za I facebook.com/priestpostproduction I vimeo.com/priestpostproduction

We edit the sh** out of your film and advertising work.

(and even the Vatican is willing to try someone new)

Priest

upstairs Post Production

Everything that flies out of our doors on wings of majesty dons our stamp of quality and affection, but if we had to pull a few recent jobs out of the exciting hat, I would like to comment that Matt has laid his grubby hands on the likes of Woolworths Winter 2013 and RE brand, Edgars, Mercedes, a project with Harvey J Brown, DStv and a prodigious short film by Daniel Levi.

Luke smashed out service commercials for Coke, Sprite, Jardiland, Vicks and Hoover. Making more use of his musical expertise Luke cut, spliced and diced Freshly Ground, Phphat, Diplo and a video for Haezer. He also just finished cutting a feature documentary that is being shown at Palm Springs Film Festival.

Being the only girl in the editing run doesn’t put our dear Carol at any less of an advantage for knocking out some whimsical work. She cut a heart-touching video for the Jakkals, graded the s**t out of a video for Jack Parow and went so far as to produce her very own piece for a global feminist empowerment firm titled ‘1 billion woman rising’ that gave Gangnam Style a run for its hits on the almighty interwebs.

Plain and simple, our passion is film. We see moving pictures and even the local geese grow envious to the bumps on our skin. From corporate AVs to features to viral stings, we do it all. But commercials tend to be the dough that fuels our baking of post-production to bring the bread home.

To our producers’ dismay, we are tech junkies. Love it. Crave it. Need it. I don’t want to bore you with the specifics of what drives our well-oiled engine but it’s all so shiny that Swarovski pokes their heads through our doors from time to time.

PS: “If you find yourselves lost in the woods, f**k it, build a house.”

2013 has taken off at a manic pace for upstairs post production with editor Kobus Loots featured in Shots Magazine and a selection of last year’s work celebrated by Creative Circle’s Ad of the Year Awards.

Says executive producer Ashleigh Lambson: “Our edits claimed two of the top three honours in the television category for Standard Bank Moving Forward and Ster-Kinekor Intersection.”

In February Lambson hosted a Valentine’s Day high tea event at the Cape Grace Hotel for female producers from around the country.

“We wanted to thank all the agency and production company producers who have been loyal to Upstairs in the past and to encourage further successful working relationships in the future,” explains Lambson.

Editor Emily Bussac is on maternity leave to look after baby Annabelle, while putting the final touches on Ian Gabriel’s feature film, Four Corners.

Upstairs has taken on second assistant Joe Erasmus, a cum laude film and media graduate.

“Joe joined the facility in February and has since made everyone’s lives a whole lot easier. Internships are so crucial in an industry where good editors are a highly sought after commodity. Upstairs is only too glad to equip young talent with the relevant skills,” comments Lambson.

Junior editor Mark Ash recently cut a PSA (public service announcement) for the Kidney Foundation of South Africa, directed by Norman Maake of Plank Films for agency NetworkBBDO.

Editor Greg Shaw recently cut Tiffany Break for director Peter Pohorsky and a Johnson and Johnson spot for Ola! Films’ Amy Allais. Loots has worked on the new Johnnie Walker TVC (television commercial) for Egg Films’ Kim Geldenhuys, produced by Rozanne Rocha-Gray.

Lambson notes that the Misty Cliffs studio has proved to be a huge success with directors thoroughly enjoying the change of scenery and creative atmosphere.

“Most recently Australian director Bryan Cawood visited the Misty Mountains to work on a new Outsurance campaign produced by Alison Ellard of Wink Films,” she says.

Several Upstairs projects eligible for the Loerie Awards include Pohorsky’s Chicken Licken spot (NetworkBBDO), Gabriel’s Sissy

the Specialistson the ‘Up’By Luke Apteker of priest

Boy spot (M&C Saatchi Abel), Geldenhuys’ Nedbank spot (M&C Saatchi Abel) and Bouffant’s Ster-Kinekor spot by Dean Blumberg (FoxP2).

Upstairs recently purchased three new Mac Book Pro computers, each kitted out with the latest Avid Media Composer 6.5 editing software. Joe Erasmus and Ashleigh Lambson


PoSt-ProDUCtIon |

Guillotine

Riot

A welcoming environment awaits clients as they walk into the offices of guillotine post. It’s peaceful. Somewhere the soothing sound of water can be heard and the smell of incense pervades the atmosphere.

Owner Karen Macdonald is energetic and excited as she talks about Guillotine’s recent work on commercials, such as Edgars, Vodacom, Tshwane Open, KFC/YUM Restaurants,, Cricket SA, SAB, MTN

and SA Tourism. Apart from the company’s extensive

work in the field of commercials, the facility also does AVs and animatics. “We run Avid and Final Cut Pro (FCP) and have a full-time colourist who works on FCP and colour,” says Macdonald. “At the moment he is busy grading a new series on M-Net called IsiBaya as well as Tempy Pushas, a South African television drama series on SABC1.”

In terms of other personnel, Guillotine

employs Ian Wolvaardt, a full-time editor who is very well known to many of you.

“I have a good choice of freelance editors available. They cover the spectrum from senior to junior so we are always able to meet our clients’ budgets.”

With trademark positivity, Macdonald says she loves it when a plan comes together (just like John ‘Hannibal’ Smith used to love saying on the 1980s television show, The A Team).

“There’s always a rush, there’s always a

deadline, but somehow you always make it work,” Macdonald concludes.

At the time of the interview, Guillotine was conducting interviews for another permanent editor.

IsiBaya is set against the backdrop of the taxi industry with two young lovers torn apart by a century-old feud between two powerful families and airs on Mzansi Magic on DStv Channel 107.

At the moment a ‘quirky’, ‘highly original’ and ‘fun’ ad for Engen Wimpy is screening on South African television screens. The words in quotation marks above could easily apply to Kate Grossso, owner of and producer at riot post production.

A gregarious lady with an infectious laugh, Grosso is grateful to have her editor and former business partner Gordon Midgley back.

“Now that he has returned, I’m seeing projects again, which is a blessing,” says Grosso. “At the moment we are busy with some Telkom commercials and have just finished a brand commercial for All Gold. We started the year with quite a lot of work

with Egg Films, such as a Toyota RAV4 ad in collaboration with Australia and an Engen Wimpy ad.

A local director shot the RAV4 ad and Grosso says it was great that the offline was also done in South Africa.

The bulk of Riot’s work originates from commercials. Grosso comments: “There’s an interesting mix of agency stuff happening.” Riot works on offline edit and uses Avid and Final Cut Pro. “Once we’ve done offline we try and stay involved for the online as well,” adds Grosso.

“The best part of my job is the people. Whether it’s the editor I’m working with, the production house’s producer or director or whether it is the facilities people, I love it.”

And after 25 years in the industry, still going strong, Grosso is inspired daily to make content of extraordinary value, adding her magical touch of professionalism and exuberance. – Martie Bester

making plans come together

It’s about the love for people


nAB rEPort BACK | trACKInG tECHnoLoGy

Sasani Studios

At NAB blackmagic design announced the Blackmagic Pocket Cinema Camera, a pocket-sized digital cinema camera that includes a Super 16mm sized 1080HD sensor, 13 stops of dynamic range, a built in SD card recorder for Apple ProRes, lossless compressed CinemaDNG RAW capture, and an active Micro Four Thirds lens mount.

Since the original Blackmagic Cinema Camera was launched at NAB 2012, it has been celebrated by industry professionals for its amazing film look and accurate and cinematic color. The new Blackmagic Pocket Cinema Camera has most of the features of its bigger brother, including its feature film look, but has been redesigned with a dramatically smaller size that is less than an inch thick and can be held easily in your hand.

This compact design allows the Blackmagic Pocket Cinema Camera to be used in more situations where a larger camera would not be practical. The camera can accommodate Super 16 cine lenses via MFT adapters, as the shooting experience is the same as using the same lens on a Super 16 film camera. Its super wide

dynamic range of 13 stops allows for feature film quality images with dramatically more detail retained in black and whites in the image. Once the shoot is complete, DaVinci Resolve Lite colour correction software can be used to adjust images and take advantage of this extra range in the images.

To eliminate the damage that low bit depth and high compression video storage creates, the Blackmagic Pocket Cinema Camera includes an easy to use SD card recorder that allows the full sensor dynamic range to be recorded in professional ProRes 422 (HQ) format, as well as 12 bit Log RAW lossless compressed CinemaDNG format. In addition to the regular CinemaDNG RAW format, Blackmagic Design will also be implementing a QuickTime wrapper for the open standard CinemaDNG and companion codec.

A look at nAB

Over 90 000 media and entertainment professionals from over 150 countries descended on Las Vegas in mid-April for the 2013 NAB Show. Here are some of the new technologies that were launched at the event.

Cine camera in your pocket

aJa Video systems has announced support for Avid Pro Tools HDX and Pro Tools Native platforms with the entire AJA line of KONA and Io products.

AJA supports all of the SD and HD frame rates and resolutions that ProTools currently utilises through the Avid Video Engine. Professional video products from AJA that support ProTools include KONA LHe+, KONA LHi, KONA 3 and KONA 3G, Io Express and Thunderbolt-based Io XT and T-TAP. “Avid has been tremendously successful with its Open IO initiative, and AJA was one of the first supporters on board,” said Nick Rashby, president, AJA Video Systems. “We’re pleased that our customers can now utilise the same range of popular video I/O options from AJA supported by Media Composer, via the new Avid Video Engine in Pro Tools 11,” said Dana Ruzicka, VP of Segment and Product Marketing Avid.

AJA support for Pro tools platforms


trACKInG tECHnoLoGy | nAB rEPort BACK

www.pro-sales.co.zaOFFICE. (0027) 11 462 0000 FACSIMILE (0027) 11 706 7140 EMAIL. [email protected] ADDRESS. 1 ORMONDE STREET, BRYANSTON, SOUTH AFRICA, 2023

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At NAB panasonic advanced its VariCam brand with the announcement of a third-generation model that improves upon the camera’s signature features. Off-speed shooting and film-like image production – while incorporating the company’s new AVC-ULTRA family of video codecs.

This third-generation VariCam utilises three advanced, full 1920 x 1080p wide dynamic range MOS imagers for native 1080/60p recording/operation. The camcorder boasts a true RGB imager/prism system that provides full resolution colour. With an EFP-style body, the VariCam’s 2/3” B4 lens mount enables use of native format prime lenses and servo zooms, eliminating the expensive and cumbersome workarounds required when using such optics on larger formats.

Among the camcorder’s top-level production features are real-time high frame rate, off-speed recording to 120fps in full 1080p (in AVC-Intra Class100), a wide dynamic range and 24-bit LPCM audio. A powerful colour management system provides an exceptional colour gamut, and the new log functionality provides powerful creative control over image contrast. The third-generation VariCam will have both standard P2 and Panasonic’s new microP2 slots.

Says Steve Cooperman, product manager, Panasonic System Communications Company of North America: “Our third-generation VariCam with AVC-ULTRA recording will become equally at home on the sidelines, in the jungle, or in the studio. The new VariCam will allow video professionals and rental managers to utilise all their 2/3” optics and accessories while providing new formats and higher frame rates.”

Platinum IP3 is the latest evolution in harris broadcast’s innovative Platinum router technology – bringing the industry-leading capabilities of the proven routing line to customers with even the largest system requirements.

Like the rest of the acclaimed Platinum line, the new large router integrates mixed-format video and audio routing, multiviewer functionality, mux/demux, frame sync and advanced I/O options such as MADI and fibre — all within a single, space-saving frame.

But Platinum IP3 also takes Harris Broadcast routing innovation a step further, adding new capabilities that deliver real-world benefits. These include: seamless on-air expansion to matrices beyond 2Kx2K; triple-path architecture supports integrated data for future-proof operation; redundant crosspoints that protect audio, video and multiviewer signals; clean and quiet switching capability in all matrix sizes; and highly intuitive controller for effortless setup and communications management.

Offering limitless expansion options, exceptional on-air protection and a true path to a data routing future, Platinum IP3 is ideal for operations of any size — from outside broadcast trucks that require large-scale routing, to cable headends, large national broadcasters or network hubs that require thousands of I/O.

third-generation VariCamrouter technology goes ‘Platinum’

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SL064 LaserNet_CLEARvault Half Page Vertical_ScreenAfrica.indd 1 2013/03/20 3:38 PM

laserNet

At NAB sony announced Anycast Touch, an ultra-portable and easy to use all-in-one live production solution. With no previous live production experience required, Anycast Touch is an affordable broadcasting / webcasting solution suitable for a wide range of applications.

The AWS-750 Anycast Touch is an evolution of Sony’s popular Anycast AWS-G500, launched back in 2005. Enhancing the core values of portability, flexibility and scalability, Anycast Touch offers incredible picture quality for live production. Its innovative design uses sliding double touch screen to create an intuitive interface similar to that of a tablet. Developed as an all-in-one solution, Anycast Touch eliminates the need for any of the hardware typically required for professional live streaming such as video switchers, streaming encoders, recorders, audio mixers, titlers and remote camera controllers.

Capable of 10 bit processing with an output of Full-HD (1920x1080), Anycast Touch offers clearer, more detailed pictures than similar products on the market, either in SD, HD or a mix of both. Its tilt screen function enables users to use two dual screens whereby video and audio controls are split. Anycast Touch also allows video sources to be conveniently stored in scene folders with settings including titles, logos and effects. Operators can recall the next video source just by touching its thumbnail picture. Content can be easily streamed live over the internet, LAN or other dedicated lines.

“Anycast Touch draws from the best of Sony’s innovation and heritage in live production and switcher technology,” said Chris Grey, GM, Broadcast & Content Creation Solutions, Professional Solutions Company (PSAP), Sony Corporation of Hong Kong Limited. “Its compact and easy-to-use design means it is ideal for organisations that have considered broadcasting or webcasting their events, but lack the technical expertise to do so. Available at a compelling price point, Anycast Touch also delivers cost savings for companies that currently hire rental companies for live streaming, as only one non-technical in-house person is required.”

Highly powerful and efficiently designed, ross Video’s Carbonite series of production switchers deliver unprecedented performance in a remarkably cost-effective package.

The budget priced Compact Carbonite 10 control panel has 10 source buttons and a 2-Axis joystick positioner as well as direct access buttons in the transition area for advanced media wipes and DVE transitions. Uniquely, the Carbonite 10 panel can control two MLEs via user configurable keys

The Carbonite C2 2 MLE production switcher boasts all the power and features of its bigger brothers, the C2M and C2X, yet with a more compact 16 button control panel. It is perfect for space restricted production environments.

The new Carbonite+ 2 RU processing engine includes frame synchronisation and format conversion for every input as well as increasing the number of available DVEs from four to eight. Just like Carbonite, the + frame is available with 16 or 24 active inputs, with all inputs now simultaneously capable of accepting unreferenced signals and converting SD (625 or 525) to HD 1080i format with aspect ratio choices.

the future of portable live production

Switching up performance


AUDIEnCE rAtInGS | mArCH 2013


Days of Our Lives Soap 17:30 M-F S5 1 4.5 4.5

WWE Wrestling Smackdown Spor 20:30 W W e 5.2 5.8

The Bold and the Beautiful Soap 18:00 M-F S5 1 5.4 4.5

Nam

e

gen

re

Star

t Ti

me

Day

/s

Freq

uenc

y

Cha

nnel

Mar

201

3 A

R

Feb

201

3 A

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toP foreigN shows

SaBC1

Rank programme Date genre AR

1 Generations 27/03/2012 Soap 24.5

2 Montana 13/03/2012 Dram 17.8

3 Zone 14 05/03/2012 Dram 16.5

4 ABSA Premiership: Mamelodi Sundowns vs Orlando Pirates 20/03/2012 Spor 15.1

5 Zulu News 28/03/2012 News 14.4

SaBC2


1 Muvhango 06/03/2012 Dram 14.0

2 Stokvel 25/03/2012 Sitc 9.2

3 Powerball 06/03/2012 Vari 8.8

4 7de Laan 12/03/2012 Soap 8.4

5 Muvhango – R 29/03/2012 Dram 7.5

SaBC3


1 Days of Our Lives 29/03/2012 Soap 6.5

2 Isidingo: The Need 30/03/2012 Soap 5.9

3 Isidingo – R 29/03/2012 Soap 5.6

4 MacGyver 26/03/2012 Dram 5.0

5 7de Laan – R 29/03/2012 Soap 5.0

M-net


1 Just Go With It 25/03/2012 Movi 1.3

2 Due Date 18/03/2012 Movi 1.2

3 Carte Blanche 25/03/2012 Actu 1.2

4 Red 04/03/2012 Movi 1.1

5 Big Mommas: Like Father Like Son 11/03/2012 Movi 1.1

e.tv


1 Lotto Draw Live 24/03/2012 Comp 13.5

2 Little Man 24/03/2012 Movi 12.9

3 White Chicks 17/03/2012 Movi 12.2

4 Rhythm City 29/03/2012 Dram 11.7

5 Spiderman III 18/03/2012 Movi 11.7

the toP five Programmes the cream of the local ProductioNs

Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes.

Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment.

•TelevisionUniverseestimatedat5.232millionhouseholds•Oneratingspointofallviewersrepresentsabout145590viewers

This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison.ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.

we feature the top five shows viewed for each of the channels.

The above represents a selection of programmes only and is

calculated on the total calendar month’s weighted average of

the total audience over all age groups. If you want a particular

programme included please

contact Enid Venter on +27 (0)11 339-1051 or

email [email protected]. The purpose of the

schedule is to show the types of programmes South

African audiences view, and to what extent.

3 Talk Talk 16:30 M-F S5 3 2.2 2.6

3rd Degree Actu 21:30 Tue W e 4.4 4.6

7de Laan Soap 18:30 M-F S5 2 6.1 6.3

Binnelanders Dram 18:30 M-F S5 K 0.7 0.7

Carte Blanche Maga 19:00 Sun W M 0.6 0.6

Fokus Actu 18:30 Sun W 2 4.4

Generations Soap 20:00 M-F S5 1 23.6 21.1

Gospel Gold Musi Vari Sun W2 3.6 2.8

Hectic Nine 9 Y-Ent 16:00 M-F S5 2 2.5 3.2

Inkaba Dram 20:30 M-T S4 MM 0.4 0.3

Isidingo: The Need Soap 19:30 M-F S5 3 4.1 5.1

Live Lotto Draw Quiz 21.30 W/S S2 2 6.8 6.0

Morning Live Maga 06:00 M-F S5 2 1.5 2.0

Muvhango Dram 21:00 M-T S4 2 10.4 11.3

News at Seven News 19:00 Daily D e 7.2 6.7

News at Seven on 3 News 19:00 Daily D 3 2.8 3.0

Pasella Maga 19:30 W W 2 3.4 3.8

Rhythm City Soap 18:30 M-F S5 e 9.7 8.0

Scandal Dram 19:30 M-T S4 e 10.0 8.6

Selimathunzi Vari 18:30 Wed W 1 8.0 6.3

Special Assignment Actu 21:00 Thu W 3 1.2 1.8

The Wild Dram 19:00 M-T S4 M 0.3 0.2

Top Billing Maga 20:00 Tue W 3 2.1 2.1

Villa Rosa Dram 18:00 M-T S4 K 0.8 0.9

Yo-TV Y-Ent Vari Vari D 1 1.2 1.3

Audienceratings

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AFrICA |

I remember sitting and staring as the credits for Bram Stoker’s Dracula – with Gary Oldman – crawled up the screen and I recall feeling a strange chill as I

reflected on the film’s subtle ‘psycho-occultic’ aesthetics. It had strange and disturbing visuals of shadows taking on a life of their own and showed beautiful women having all the blood sucked from their bodies, while a monotonous soundtrack played in the background. I recently experienced a similar chill and from a most unexpected narrative – Nollywood… a twisted Nollywood.

The film is called Phyllis, an experimental short thriller about a wig-obsessed psychic vampire, written and directed by Nigerian British-born artist and filmmaker – Zina Saro-Wiwa. In short, a similarly styled Nollywood thriller, but instead of blatantly scary elements, it plays with the inner psyche using the ‘not so obvious’ elements.

Says Saro-Wiwa: “My four-year-old self inspires me the most and my video art is really about going back to the sorts of questions I asked myself and the world when I was a child”.

In this instance, Saro-Wiwa shares that it was the excessive use of wigs and weaves in the Nollywood drama, Beyoncé and Rihanna starring Omotola Jalade Ekeinde and Nadia Buari that was the catalyst for her film.

“The wigs and weaves in that film were egregious and ridiculous. Wigs are everywhere in Nollywood (and in real life in Nigeria) but for some reason the wig-wearing in this film wiggled its way into my psyche and rested there. Other than

that, it was simply being in Lagos that made Phyllis happen.”

According to Saro-Wiwa, the film is also about loneliness, maybe mental illness too; a sympathetic take on the single woman even though Phyllis is a predator herself.

Saro-Wiwa goes on to talk about her ‘helpless fascination with things that are gaudy, ugly and cheap’ and how the film looks at how foreign objects and the attachments people have to them reverberate in the individuals surrounding those objects.

The genre and the audience

The 15-minute thriller is an experimental genre that uses Nollywood tropes to subvert and criticise the genre while simultaneously celebrating it. The films are low-budget, shot quickly in real homes and locations.

“Narrative is key with alt-Nollywood but the scripts are a springboard, just like in

Nollywood. But alt-Nollywood films have to complicate simplistic moral and socio-political assertions,” says Saro-Wiwa.

Phyllis was exhibited as part of her contemporary Nollywood art exhibition at Location One Gallery in Soho, New York called Sharon Stone in Abuja and generated a lot of positive reactions. The Art in America magazine picked up on the film and did an article on it. Following that, Saro-Wiwa was invited to screen Phyllis at various film festivals such as New York African Film Festival 2011 and Film Africa in London 2011.

It was also at Slink: Uganda which is a project that shows video art in traditional Ugandan video halls found in Kampala slums and recently in Johannesburg in February 2013.

The film has further generated interests on the online platform – Vimeo and Saro-Wiwa’s official website: www.zinasarowiwa.com. Even Phyllis’ stills attracted curiosity.

“I see alt-Nollywood as a universally

enjoyable genre that anyone from anywhere in the world can watch and get something from. You don’t have to have watched a Nollywood film to ‘get’ it.”

So as popular as alt-Nollywood is, outside of Nigeria, could such a genre become popular with the Nigerian / Nollywood audience?

The future of alt-Nollywood

Says Saro-Wiwa: “Nigeria invented Nollywood and invented me, so yes the Nigerian people are ready. Alt-Nollywood is just a left-field take on familiar Nollywood populist tropes.”

Another alt-Nollywood film by Saro-Wiwa is The Deliverance of Comfort, which deals with the idea of the ‘child witch’ and riffs on Nollywood’s low fi special effects. Saro-Wiwa describes this as her ‘absolute favourite thing about Nollywood’.

“I think Nollywood aesthetics are improving but it doesn’t make the films any better. To me Nollywood does not need that much more money thrown at it, it just needs to ask deeper and more challenging questions,” adds Saro-Wiwa.

She is currently gearing up to begin work on a new alt-Nollywood project and is planning to revisit Phyllis’ place of residence for this purpose.

“I feel like the day someone dresses up as Phyllis for Halloween – in a blue outfit, wearing a wig and balancing a tray on her head with three mannequins’ heads on it, I will be quietly delighted,” concludes Saro-Wiwa.

A Gothic nollywood By Chinaka Iwunze

Ever since the beginning of Nollywood, thriller has been a very popular genre – from the vengeful spirit of an occultist’s wife to a blood-thirsty river princess, not forgetting the very popular Nneka, The Pretty Serpent. It seemed Nollywood’s winning trait was to have characters that looked, dressed and acted like its average audience but engaged with and most times, defeated demons and curses. Today, the self-funding industry has grown in size, pumping out projects in different genres: sci-fi, animation, biographic and recently ‘alt-Nollywood’ or ‘alternative Nollywood’.

a hair-raisiNg tale: A scene from Phyllis


| AFrICA

The fan hooked on the wall whines irritably as it struggles to counter the raging heat waves. Dusty and dirty, the CRT monitor leans precariously on the improvised table. Scaling three walls of the room are stacks of mini DVs.

Minutes before noon, the food vendor – a humble lady with a keen, sympathetic face – peeps in past the wooden door.

“What would like for lunch today?” she asks.

The menu is generous and very convenient; for only 50 Kenyan shillings (approximately US59 cents) you can have lunch.

On the fourth wall of the room video CDs are craftily displayed and a tiny television is playing the popular film of the day. Half a metre away a line of similar businesses are lined up, as if in a sweaty queue.

Welcome to Kenya’s Riverwood film industry.

Several producers are using this small space, which measures just four square metres, to realise the unthinkable. Every week numerous films are released directly to the ever increasing consumer market. With its low budget approach, Riverwood has grown tremendously and to date has over a hundred independent producers churn out thousands of productions a year.

This industry is estimated to be worth more than one billion shillings (approximately US$11.91-million).

Riverwood employs thousands of people, either directly or indirectly. The entire industry, confined to the length of River Road in Nairobi city, consists of musicians, comedians, filmmakers, actors, video editors, camera operators and distribution merchants. Though many members double up on their roles, the industry has gained momentum and its productions are now popular across the entire country.

Says filmmaker Charles Omondi:

“Riverwood is mostly self-sustaining; one picks up a camera and shoots a story for one’s audience. Most Riverwood productions don’t target the entire nation but a section of tribes. In Riverwood it is not a matter of quality but of putting a story together with pictures.”

Omondi notes that most Riverwood productions don’t use lights, boom-mics, make-up or continuity. “It’s a case of calling up friends and making them act in scenes just to make a movie. Problems encountered are locations and transportation of crews. Consequently, Riverwood productions are generally done in one location.”

He notes that most Riverwood producers don’t know how to use the latest cameras so they stick to cameras they know. Also the cost of buying a good camera is as high as renting one.

“Riverwood films don’t go to theatres because of their quality; neither do the producers who make these movies have the time to go that route. Our filmmakers have passion but they lack a lot compared to

other African countries like Nigeria, South Africa, Tanzania and Congo, to mention a few.”

Predictably, with a sustained growth rate, this industry is gearing up to be a key player in the national economy, a matter which is on the development agenda. However, many challenges still hinder this possibility, for instance piracy and lack of technical and financial support.

It is very hard to get funding from the lending institutions to finance a film in Kenya. Banks shy away from film merchants and this has a negative impact considering that there are not many established funding organisations specifically focused on this sector.

Piracy too has dissuaded artists and producers from ambitiously engaging in film activities. With the sad trend of key film players pirating each other’s work, morale to re-invest in film has dwindled. This may be the beginning of a very unfortunate decline.

But, for those who watched all the participants who turned up for the Tusker Project Fame 3 audition, you would know, like I do, that Kenya is seething with creative talent.

With a naturally beautiful landscape and the establishment of Kenya Film Commission as a film governing, regulating and supporting body, I am still optimistic.

Kenya’s film industry is headed the right way, and in the near future, we believe it will match Nollywood, Bollywood and maybe even Hollywood.

riverwood – Kenya’s low-end multimillion dollar film industryBy Addams Mututa This article was first published in Film Biz Africa Magazine.

flowiNg productioN: Shooting a Riverwood production

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ProDUCtIon UPDAtES orDEr oF InFormAtIon 1. Title 2. Production Company 3. Director4. Genre

For FUrtHEr DEtAILS VISIt www.screenafrica.com

IN DEVELOPMENT

80 MinuteSPeriphery FilmsDir: Simon Taylor / Julia TaalFeature DramaaFriCan nightS

two oCeanS ProduCtionProd: Giselher Venzke / Bertha Spiekera Lion in the BedrooMTwo Oceans ProductionProd: Giselher Venzke / Bertha SpiekerFeatureaMaBhuBeSiInkwasi TelevisionProd: Bell CurleTV Magazineat the CreeK without a PaddLeZen CrewExec Prod: Laura TarlingDocumentaryBad MediCineTin Rage TV ProductionDir: Enver SamuelDocumentaryBaggedIzithulu ProductionsExec Prod: Donovan Mulligan / Mike WestcottShort FilmBLaSt FroM the PaStSirius FilmsProd: Ian ManlyDocumentaryBoda Boda thieveSYes That’s UsProd: James TaylerFeatureBread and waterPeriphery FilmsDir: Simon Taylor / Julia TaalFeature DocumentaryBreaKdownBollysamo Pictures / Apeiro ProductionsProd Man: Carolyn GregorowskiFeatureCaPe oF good hoPeTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureChiLdren oF FaMouS aCtiviStSCurrent Affairs FilmsProd: Jane Thandi LipmanFeature FilmChiLLi ChiCKSInternational Radio Pictures, IncKit ReynoldsTV seriesCoiLedDO ProductionsProd: Marlow de Mardt / Brigid OlënFeatureConServation & BeyondSuitePeople TVPProd: Bell CurleDocumentarydaiSyBamboo Media (PTY) LTDDir: Marguelette LouwFeature Filmdo good deSign South aFriCaConcept InteractionProd: Karl FedderkeEducationaleConoMiC tranSForMationGaonakgang Film Productions and PublicationsScript: George PhuthiyagaeDocumentaryeSCaPeCurrent Affairs FilmsProd: Jane Thandi Lipman / Beata LipmanFeature FilmeSPaFriKa PreSentS the CaPe town internationaL Jazz FeStivaL 2013Espafrika Prods / Dirs: Rashid Lombard / Yana Lombard / John Bright Documentaryex PatSCurrent Affrairs Films / French ConnectionProd: Jane Thandi LipmanDrama series

For the new City – danCe on FiLMSWiTCH / Resonance BazarProds: James Tayler / Julia RaynhamFilmForSaKenDO ProductionsProds: Marlow de Mardt / Brigid OlënFeaturegeniuSInhlakanipo FilmsDir: Dumisani Vusi NhlapoShort Filmgoue SterreSuite People TVPProd: Bell CurleTV SeriesgrizMeKTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeaturehiStoriCaL KiMBerLeySpike ProductionsProd: Steve Mueller Bsc.DocumentaryhoteL SongoLoLoThe Media WorkshopDir: Benito CarelsenComedy SeriesiiQSukuma MediaDir: Bonginhlanhla NcubeFeatureiK1 – touriStS in dangerTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureindLa LiFaP.I.M.PDir / Prod: Daniel P NxumaloDrama seriesinSiLa yenKoSiP.I.M.PDir / Prod: Daniel P NxumaloFeature (Zulu)inventing aFriCaImageworksProd: Anthony IrvingDocumentaryiyeza theatre & tv Lighting (Pty) Ltd Iyeza Theatre & TV Lighting (Pty) Ltd Prod / Dir: Cal Morris Corporate JaM SandwiCh Meerkat MediaProd / Dir: Pauli van Dyk / “MQ”, Alvine DarbouxMusic reality show Jan SMutS: an internationaL iCon ahead oF hiS tiMeTekweni TV productionProd / Dir: Sandra Herrington / Neville HerringtonDocumentaryKadu’S JourneyDO ProductionsProds: Marlow de Mardt / Brigid OlënFeaturedyingCraCySabstance ProductionsProd: Edmund MhlongoDocumentaryLeaderS oF aFriCa The expeditionary force Dirs: nicholas schofield / alexis schofieldDocumentaryLion girLDO ProductionsProd: Marlow de Mardt / Brigid OlënTV FeatureLoneLy PLanetTwo Oceans ProductionProd: Giselher Venzke / Bertha SpiekerFeatureManChe, the aFriCan Saint Get the Picture Prod / Dir: Jacky Lourens / Karin Slater Documentary MhLongo

inhLaKaniPho FiLMS Dir / Writer: Dumisani Vusi Nnhlapo FeatureMoney in the BagP.I.M.PDir / Prod: Daniel P NxumaloReality TV showMuti dot MoBiVuleka Productions.Prod / Dir: Julie Frederikse / Madoda Ncayiyana .Feature Filmnew BeginningzSukuma MediaDir: Bonginhanhla NcubeDocumentarynongoLozaCurrent AffairsProd: Jane Thandi LipmanFeature

PaLaCe oF the FaithLeSSWhite Heron PicturesDir: Themba SibekoFeaturePaSSareS (BirdiSh)White Heron Pictures / Casa De Criacao CinemaProd: Themba SibekoFeatureraF induCtion videoPanache Video ProductionsProd: Liesel EiselenCorporateroad aCCident Fund induCtion Panache Video ProductionsDir: Liesel EiselenCorporateSeBoKengMPA (Motswako)Dir: Charls Khuele / Zuko NodadaFeatureShort BuSineSS Feature with BBC / aBCCurrent Affairs FilmsProd: Jane Thandi LipmanShort Business FeaturesSirenSP.I.M.PDir / Prod: Daniel P NxumaloDrama seriesSuPerMaMaGoogelPlex ProductionsDir: Karen van SchalkwykFeatureSwanK!International Radio PicturesProd: D GillardMusicalthe 7P’S to ProPeL Change Panache video productions Prod / Dir: Liesel Eiselen Script: Dr Caren scheepersthe BLaCK BLondeSteve Radebe Post ProductionsProd: Steve RadebeFeature Filmthe BLood King and the red dragonCurrent AffairsProd: Jane Thandi Lipman / Mtutuzeli MatshobaFeaturethe BooK ShoPP.I.M.PDir / Prod: Daniel P NxumaloDrama seriesthe ConSeQuenCeDO ProductionsProd: Marlow de Mardt / Brigid OlënFeaturethe dreaded eviL eye FroM PaSt to PreSent and aCroSS CuLtureSIt’s a Wrap ProductionsDir: Eugene BothaDocumentarythe edgeInternational Radio PicturesKit ReynoldsTV Seriesthe FiLM MaKerElle Bolt ProductionsProd: Elle BoltReality Seriesthe SCoreS are inCurrent Affairs FilmsProd: Jane Thandi LipmanGame Show / Entertainment SeriesvuLture KiLLing FieLdSSuitePeople TVPBell CurleDocumentaryway to roLLBlue Ice ProductionsDir: Freddie StraussFeatureward 22 aKa SPeCiaL oPSDO ProductionsProd: Marlow de Mardt / Brigid OlënDocumentaryweLCoMe to the CLuBTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeaturewhiPLaSh Get the Picture Prod / Dir: Jacky Lourens / Meg Rickards Other Crew: Tracey Farren, Jenny Hicks Feature Film zero dietTwo Oceans ProductionProd: Giselher Venzke / Bertha SpiekerFeaturezeBraSDO ProductionsDir: Bruce BeresfordFeature

those productions in red are newly listed this month

P R O D U C T I O N U P D A T E S P R O D U C T I O N U P D A T E S


Atlas Studios Case Connection, The

Cnr. Frost avenue & owl street | Milpark | Jo’burg

t +27 [11] 482 7111 www.atlasstudios.co.za

zen FiLM Crew ManageMentZEN Film Crew ManagementProd / Dir: Laura TarlingCommercial

PRE-PRODUCTION

aFrox LPg reStaurant trainingFC Hamman FilmsDir: FC HammanTraining VideoBaBaLaSFC Hamman FilmsExec Producer: Peter ScottFeature FilmChaBeLa day SPaGrey Cloud ProductionDir: Jacques BrandInformation Videodie verhaaL van raCheLtJie de BeerBrett Michael Innes FilmsProd: Brett Michael InnesHistorical feature filmeLegy: ForSaKen in South aFriCaMarket Street ProductionsProd: Paul Van ZylShort filmgnLd FC Hamman FilmsDir: FC HammanOpening VideohoLidayS For MadMenImageworksProd: Anthony IrvingTV SeriesJuB JuB doCuMentary (working title)Baxopath MediaDir: Nolitha TshinavhaDocumentaryLet heaven waitRevolution real entertainmentProd / Dir: Deon Potgieter SitcomMandeLaSynergy FilmsDrama / DocumentaryMiStiFyGleam studios / Wilddogs productionsProd / Dir: Sonja Ter Horst / Johnny SwanepoelShort filmnationaL LiBrary oF South aFriCaPanache Video ProductionsProd / Dir: Liesel EiselenCorporate videoPSaLtedEngage EntertainmentExec Prod: Vusi Zion (previously Twala)Varietyrate My PLateInternational Radio PicturesExec Prod: Kit ReynoldsCommunity ProjectriSKCon SeCurityFC Hamman FilmsProducer: Neels SmitCorporate VideoSaFe in the CityImani Media.ComedySaint & FreedoM Fighter It’s a Wrap ProductionsDir: Eugene BothaDocumentarySi-SoLutionSInternational Radio PicturesExec Prod: Kit ReynoldsCommunity ProjectShaKeSPeare in MzanSi: a MidSuMMer night’S dreaMFireworx MediaProd: Bridget PickeringMini SeriesSLender wonder inForMation videoGrey Cloud ProductionsDir: Jacques BrandInformation VideoPgCFC Hamman FilmsDir: FC HammanMarketing VideotaLK oF the townSuitePeople TV ProductionsBell CurleTV Seriesthe BLaCK outDithakeng Projects and FilmsExec Prod: Thabang NkunyaneShort Filmthe LoSt angeLInhlakanipho FilmsDir: Vusi Dumisani NhlapoFeature Filmto Care For you aLwaySNoble PicturesProd: Claudia NobleShort Filmtrue dreaMSouth African Great Movies ProductionDir: John WaniFeature


the MeSSengerSpirit Word Ministries/Footprint Media AcademyExec Prod: Annalise Van RensburgSeriestwK agriFC Hamman FilmsProd: Odette van JaarsveldCorporate VideouaSa CongreSSFC Hamman FilmsProd: Odette van JaarsveldCorporate Videovrou SoeK BoerWest Five FilmsDir/ Prods: Maynard Kraak / Johan KrugerFeature Filmway to FreedoMTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeature FilmworKerSLiFe inSuranCeFC Hamman FilmsProd: Odette van JaarsveldMarketing Video

IN PRODUCTION

3 taLKUrban BrewTalk Show3rd degreee.tvInvestigative TV series50/50Clive Morris ProductionsCurrent Affairsa 400 year oLd BeStSeLLer – the King JaMeS verSion oF the BiBLeEugene Botha Productions / It’s a Wrap ProductionsProd: Eugene BothaDocumentaryaFrox FinanCiaL reSuLtS

FC haMMan FiLMSProd Man: Odette van JaarsveldScript: Hulette PretoriusCorporate VideoaFrox rau inSightFC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideoaLL you need iS Love 5Endemol South AfricaRealityangLo goLd aShanti SaFety SerieSSummerTime ProductionsProd / Dir: Sean GardinerCorporate VideoaBC aMeriCa newS SPeCiaL on MandeLaCurrent Affairs FilmsProd: Jane Thandi LipmanFeature News SpecialaFriCa FaCtS SeaSon 3 Lebapi ProductionsDir: Daniel MoleabatsiTV MagazineaFriCa 360eNewsNews Head: Patrick ConroyCurrent affairsaFro CaFÉ SeaSon 7Bonngoe ProductionsExec Prod: Pepsi PokaneMusic ShowaFro ShowBiz newSSABC News InternationalExec Prod: Jody-Layne SurtieTVMagazineagaPeGabaza ProductionsProd: Sarah NgubeniMagazineaLex: a hiStory FroM BeLowUhuru ProductionsDir: Rehad DesaiDocumentaryaLL aCCeSSHomebrew FilmsProd: Paul Venter/ Hannes van Wyk / Tammy Anne FortuinMagazine ShowaweSoMe aFriCaSteplite FilmsDir: Jacqui LogieTV SeriesBarBour and thorne: 60 yearS StrongOur Time ProductionsDir: Juan de MeilonCorporate VideoBBC PLanet earth LiveWild ImagesDir: James Smith, Tim Scoones, Roger WebbDocumentaryBinneLandStark FilmsDir: Danie JoubertTV DramaBoniSananiKagiso TVTalk Show

BoPSy BunnyFirefly Animation StudioExec Prod: Antony SteelShort FilmsBorder MarauderSNHU AfricaExec Prod: Vyv Simson / Donfrey MeyerWildlife DocumentaryCarte BLanChe (inSertS)Modern TimesProds: Sofia Phirippides / Jon PienaarDocumentaryChiLd geniuSeSTalent Attack TV / Fuel Media ProductionsProd: Paul LlewellynDocumentary SeriesCodeSign – CoMMerCiaL SPot For Furniture deSignerSSWITCHDir: James TaylerCommercialCooL CatSRed PepperExec Prod: Cecil BerryChildren’s ShowCortex MiningFC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideoCoMe dine with Me South aFriCaRapid BlueProd: Kee-Leen IrvineRealityCutting edgeSABC NewsCurrent Affairsdaddy’S MeSSDzunde ProductionsProd: Thandiwe MashiyaneTV Sitcomdie vierde KaBinetJan Scholtz ProductionsProd: Jan ScholtzSeriesdinner divaS2 Blonds and a Redhead FilmingExec Prod: Anne MyersCookery Seriesdiy Met riaanProd: Riaan Venter-GarforthMagazineeM PetroCheMiCaLS toP end Betta Beta Communications Prod / Dir:Tommy Doig Training ProgramexPreSSo 2Cordover Trading Prod: Paul van DeventerLifestyleeaStern MoSaiCRed Carpet ProductionsMagazine ProgrammeForMidaBeLe vroue: anneKie theronKhaki ProductionsProd / Dir: Christelle Parrott, Wynand DreyerDocumentary – kykNETForMidaBeLe vroue: CiSSy gooLKhaki ProductionsProd / Dir: Christelle Parrott, Wynand DreyerDocumentary – kykNETForMidaBeLe vroue: ina de viLLierSKhaki ProductionsProd / Dir: Christelle Parrott, Wynand DreyerDocumentary – kykNETForMidaBeLe vroue: una van der SPuyKhaki ProductionsProd / Dir: Christelle Parrott, Wynand DreyerDocumentary – kykNETFox newS ChanneL Betta Beta Communications Prod / Dir: Tommy Doig News Current AffairsFreeway FrogFirefly AnimationProd: Ant SteelAnimation ShortFrenzyRed Pepper PicturesProd: Palesa MopeliVarietygenerationSMorula PicturesExec Prod: Mfundi VundlaSoapiegood Morning aFriCa Planet Image Productions SA Prod / Dir: Wale Akinlabi TV Magazine goSPeL goLdEngage EntertainmentExec Prod: Vusi Zion (previously Twala)Music ShowgroenHomebrew FilmsProd: Jaco LoubserWildlifeheadLine 5Bitch Films TV Magazine

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uS on

SCREENAFRICA


heaven – aFriCaTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureheCtiC 99Okuhle MediaProd: Wilna van SchalkwykMagazine ShowhitaChi Power aFriCa MeduPi & KuSiLe Betta Beta Communications Prod / Dir: Tommy Doig DocumentaryhouSe CaLLIzwe Multimedia / Urban BrewProd: Annalie PotgieterLive Medical Talk ShowiMizwiLiLiUkhamba CommunicationsMusicinKaBaUrban Brew StudiosProd: John KaniTelenovelainSide StoryCurious Pictures / Discovery ChannelDir: Rolie NikiweFeatureiSedaLeGolden Effects PicturesDir: Kunle AfolayanDocumentary SeriesiSidingoEndemol South AfricaDirs: Raymond Sargent / Johnny BarbazanoDaily TV Dramait’S My BizUrban Brew StudiosReality business makeover seriesJaM SandwiCh Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas Key Crew: Cam / Sound: Jaques Marais / Mzukisi MtishiseloTV Series / Reality Music showJaM SandwiCh ivMeerkat MediaProd / Dir: Pauli van Dyk / Deon Maas TV seriesJiM iyKe: unSCriPted!Ifactory Live, Greyology Inc. & Oh Africa Exec prod: michael djaba Reality tv series (AfricaMagic)Jou Show Met eMo en wiCKuSHomebrew FilmsProd: Jaco LoubserVariety ShowJudge For you SeLFeNewsCurrent AffairsLaugh out LoudExec Prod: Rapulana SeiphemoComedyKhuMBuL’eKhayaUrban BrewProd: Enel ViljoenRealityKona The Directors Team (Pty) Ltd Prod / Dir: Laurence Lurie / Cathy Sykes TV Series – M-Net East AfricaKweLaPieter Cilliers ProductionsProd / Dir: Pieter CilliersTV MagazineLate nite newS on e.tvDiprente ProductionsProd: Tamsin AnderssonSatireLiveUrban BrewMusic ShowLive Lotto ShowUrban BrewGame ShowMaggS on MediaeNewsProd: Jeremy MaggsCurrent AffairsMaSSMart CSi rePortSummerTime ProductionsProd / Dir: Roxanne Rolando / Sean GardinerCorporate VideoMatriCS uPLoadedEducational Improvement and Study HelpExec Prod: Lisa BlakewayEducationalMgongo By SonySonyProd / Dir: James LennoxLifestyle & Entertainment

MiLLion doLLar raCeTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureMK CaMPuSHomebrew FilmsProds: Jaco Loubser / Ben HeynsStudent ShowMoFereFere LenyaLongMoja Movie FactorySitcom

Montana 2Penguin FilmsExec Prod: Roberta DurrantDrama SeriesMotSwaKoCarol Bouwer ProductionsProd: Vesko MrdjenTalk ShowMuvhangoWord of MouthProd: Pieter GrobbelaarFeatureMzanSi inSiderBonngoe ProductionsExec Prod: Pepsi PokaneTV MagazineMuSiC MoveS MeEngage EntertainmentExec Prod: Vusi Zion (previously Twala)Music ShownewS nighteNewsProd: Nikiwe BikitshaCurrent AffairsnigCoMSat – teLeviSion CoMMerCiaL SerieSSWiTCHProd: Sarah Wanjiku MuhohoCommercialnoMzaMoTom Pictures / Authentic ImagesComedyonS MenSeHomebrew FilmsProd: Jaco LoubserCurrent AffairsoxFord univerSity PreSSPlexus FilmsProd: Miki RedelinghuysCorporate VideoPaSeLLaTswelopele ProductionsDirs: Liani Maasdorp / Werner HeferTV Magazine ProgrammePhoenix riSing...the BuSineSS oF StyLePhoenix Entertainment and ProductionProd / Dir: Koketso SefanyetsoReality DocutainmentPLay More goLFFC Hamman FilmsProd Man: Odette van JaarsveldScript: Hulette PretoriusCommercialsPower CoMBat zoneMixed Motion EntertainmentDir: Dieter GottertSport ProgrammeProJeCt MvZen CrewProd: Laura TarlingMusic VideoreLigion and the anCEugene Botha Productions / It’s a Wrap ProductionsProd: Eugene BothaDocumentaryretroBouChonTunnelvizion ProductionsProd / Dir: Ruan Lotter/Hein UngererShort FilmroLLing with KeLLy KhuMaLoRed PepperProd: Cecil BarryReality SeriesrhythM CityCurious PicturesProd: Yula QuinnSoapierhythM City interaCtiveCurious Pictures / e.tvProd: Viva Liles-WilkinInteractive Platform MediarivoningoAsi-B FilmsExec Prod: Asivhanzi ‘Asi’ MathabaKidsroCKing FutureSummertime ProductionsProd: Sean Gardiner / Tanya VandenbergEducational VideoroerHomebrew FilmsProd: Jaco LoubserCooking ShowrootSUkhamba CommunicationsMusic ShowSaKegeSPreK Met theo vorSter SeaSon 4 Dirk Mostert Camera ProductionProd / Dir / Ed: Dirk Mostert / Rudi AhlstromTV MagazineSanParKS youth & ParKSFrancois Odendaal ProductionsProd / Dir: Francois OdendaalNatural History TV SeriesSa’S got taLentRapid BlueProd / Dir: Kee-Leen IrvineReality

SCandaLOchre Moving PicturesProd: Romano GorleiSoapieSChoeMan Boerdery – MooSrivierKhaki ProductionsProd / Dir: Christelle Parrott / Wynand DreyerDocumentarySeLiMatunziSikhoyana ProductionsProd: Baby Joe CorreiraVariety SeriesSeS’KhonaTswelopele ProductionsProd: Phuthi NgwenyaMagazineSharK StorieSNHU AfricaExec Prods: Vyv Simson / Donfrey MeyerWildlife DocumentaryShiz nizRed Pepper PicturesProd: Allen MakhubeleVarietyShiFtUrban BrewTalk showShoreLine 2Homebrew filmsDocumentary seriesS.i.e.S (SoCiaL iMPaCt and eMPowerMent Strategy)Penguin FilmsDirs: Roberta Durrant / James NgcoboSitcomSKwizaS 2Lillian Dube ProductionsProd: Lillian DubeSitcomSiSterhoodRed Pepper PicturesProd: Vuyo SokupaVarietySiyaKhoLwa – we BeLieveX CON FilmsDir: Munier ParkerEdutainmentSKetCh u LaterChris Morris Productions Dir: Genna LewisComedy seriesSLender wonder MJ LaBSFC Hamman FilmsProd Man: Odette van JaarsveldScript: Hulette PretoriusCorporate VideoSoCCer 411Engage EntertainmentExec Prod: Vusi Zion (previously Twala)MagazineSoCCer zoneSABCSports Head: Sizwe NzimandeMagazineSony PreSentS MgongoSonyVarietySPirit SundaeNew Wave ProductionsProd: Mishkah Roman-CassiemSpiritualStudio 53M-Net Inhouse ProductionsDir: Navan ChettyMag ProgrammeStudy MateEducational Improvement and Study HelpExec Prod: Lisa BlakewayEducationaltaSoL “oLd geezer”

Bragge FiLM & tvDir: Guy BraggeCommercialthe B-BaLL ShowSABCCommissioning Ed: Dinah MahlabegoaneVarietythe Chat rooMEclipseProd: Thokozani NkosiTalk Showthe Cheetah diarieS SerieS 4NHU AfricaExec Prod: Vyv Simson / Donfrey MeyerWildlife Documentarythe CoMMuniSt rePuBLiC oF South aFriCaJam TV, Creative South Africa, Nkhanyeti ProductionProd: Barthelemy NgwessamDocumentarythe CyPherSpoon Fed GenerationLerato LetebeleTalk showthe dr MoL ShowProd: Michael MolMagazinethe great Penguin reSCueNHU AfricaExec Prod: Vyv Simson / Donfrey MeyerWildlife Documentary

the JuStiCe FaCtoreNewsExec Prod: Debbie MeyerCurrent Affairsthe LighthouSe run – 42 MarathonS, 42 daySSummerTime ProductionsDir: Tanya VandenbergDocumentarythe reaL goBoza 7Urban BrewEntertainmentthe rudiMentaLSPeriphery FilmsProd: Simon TaylorFeature Documentarythe Story oF LittLe FootPaul Myburgh FilmProd: Paul MyburghDocumentarythe teCh rePortGreenwall ProductionsExec Prod: Nicky GreenwallMagazinethe wiLdMagic FactoryExec Prod: Bobby HeaneyDaily TV SoaptranSForMation StorieS Media Village ProductionsDir: Diane VermootenDocumentarythe tranSPorterSSukuma Media/ Reality Motion PicturesDir: Bonginhlanhla NcubeDocumentarythere are no heroeSAFDA Cape TownDir: Kyle StevensonScience FictiontoP BiLLingTswelopele ProductionsProd: Patience StevensTV MagazinetoP 10 at 10Don’t Look DownRadio / TV SimulcasttraPPer in aFriCaNHU AfricaExec Prods: Vyv Simson / Donfrey MeyerWildlife DocumentarytShiPe Borwa ManganeSe Mine Betta Beta Communications Prod / Dir: Tommy DoigDocumentaryturn it out 2Fuel Media ProductionsDir: Marvin RaftopoulosDance Reality showvKB LandBou BePerKFC Hamman FilmsProd Man: Odette van JaarsveldScript: Anton DekkerCorporate VideoviLLa roSaSpectro ProductionsDirs: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel SmitTV DramaweeKend LiveSABC NewsCurrent Affairswhen the worLd waS hereFuel Media ProductionsDir: Mzilikazi KumaloDocumentary Serieswhy are we So angry?Fuel Media ProductionsDirs: Scott Smith / Shaft MoropaneDocumentary Serieswhy Poverty?STEPS InternationalExec Prod: Don EdkinsDocumentary SerieswiCKet to wiCKetSABC3Lefa AfrikaMagazineworKerS worLd SerieSCape Town TelevisionProd: Sharon McKinnonTV SeriesworLdSouth Leago aFriKan artS FoundationDir: Sakhile GumbiDocumentaryxihLovoGrace Bible ChurchReligionyiLengeLo LaKhoProd: Nndanganeni MudauCurrent Affairszone 14The Bomb ShelterProd: Angus GibsonDrama

POST-PRODUCTION

4LiFe networKBragge Film& TVDir: Guy BraggeInfomercialsa BuShMan odySSeyOnetime FilmsProd: Richard WicksteedDocumentaryaFriCa CaLLingTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureaFrox Co2 PLantFC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideoaFrox SheQ induCtionFC Hamman FilmsProd Man: Odette van JaarsveldCommercialaLL’S FairPianoJ ProductionsProd: Pia van RensburgShort FilmaMBaSSador iiTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureaniMaL doCtor

(working title)Animal Doctor cc.Prods: Greg Simpson / Jonty ActonTV SeriesaureCon StaFF inSertSPanache Video ProductionsDir: Liesel EiselenMarketingBaLLy CuLLen gueSthouSe adPanache Video ProductionsProd: Liesel EiselenCorporateBitter rootImageworksDir: Kerry NegaraDocumentaryBLitz PatroLLieDiprente FilmsProd: Kagiso LedigaFeatureBua nneteOwami EntertainmentDir: Charles KhueleShort FilmCaLaFornia: vaLLey ChriStian SChooL tranSForMationMedia VillageProd: Diane VermootenDocumentarydear SiSterMedia VillageProd: Debbie MattheeShort Filmdragon’S FeaSt 3dNHU AfricaExec Prods: Vyv Simson / Sophie VartanWildlife DocumentaryerFSondeSImani MediaDir: Peter Heaney TV DramaFreedoM ParK inStaLLationS Kevin Harris productions / Fix Post production Prod / Dir: Nadiva SchraibmanDocumentaryFroM gun to taPeContent House/Shadow FilmsProd / Dir: Jackie Lebo / David ForbesDocumentarygetroud Met rugBy SeaSon 4Bottom Line ProductionsDir: Jozua MalherbeSerieshaLF oF a yeLLow SunBritish Film InstituteDir: Biyi BandeleFeature FilmhoMe oF the LegendS

L. duKaShe ProduCtionSProd / Dir: Lumko Dukashe / Lulu DukasheDocumentaryhong KongMedia VillageProd: Diane VermootenDocumentaryiMatu union videoFC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideointeL hiStoryBragge Film & TVDir: Guy BraggeCorporateiQiLiImpucuzekoProd: Sharon KakoraFeature



May

26 apr – 02 May 2013 Sound on SCreen MuSiC FiLM FeStivaL The Labia Theatre, Cape Town www.flamedrop.com/events

04 May aFriCan gLoBaL dJ awardS (agda) 2013 Sandton Convention Centre, Johannesburg [email protected]

09 May neoteL BroadCaSt tranSMiSSion Live deMo SABC M1 Studio, Johannesburg [email protected]

15 – 26 CanneS internationaL FiLM FeStivaL Cannes, France www.festival-cannes.fr

27 – 30 SatCoM aFriCa, BroadCaSt Show aFriCa & SuBMarine networKS worLd Sandton Convention centre, Johannesburg www.terrapinn.com

June

6 – 23 enCounterS South aFriCan internationaL doCuMentary FeStivaL Cape Town & Johannesburg www.encounters.co.za

13 – 23 LoS angeLeS FiLM FeStivaL Los Angeles, USA www.lafilmfest.com

7 – 8 ShowBiz entertainMent artS exPo Gallagher Convention Centre, Johannesburg www.seaexpo.co.za

16 – 22 CanneS LionS internationaL FeStivaL oF Creativity Cannes, France www.canneslions.com

27 – 7 Jul grahaMStown nationaL artS FeStivaL Grahamstown www.nationalartsfestival.co.za

JuLy

11 – 15 uganda FiLM FeStivaL internationaL (uFFi) Kampala, Uganda www.ugandafilmfestivalinternational.org

17 – 19 MediateCh aFriCa Coca-Cola Dome Northgate, Johannesburg www.mediatech.co.za

18 SCreen aFriCa teChnoLogy & ProduCtion ConFerenCe Northgate, Johannesburg [email protected]

18 – 28 durBan internationaL FiLM FeStivaL Durban www.cca.ukzn.ac.za

19 – 23 taLent CaMPuS durBan Durban www.cca.ukzn.ac.za

20 – 23 the durBan FiLMMart (dFM) Durban www.cca.ukzn.ac.za

iSraeL inSide (worKing titLe)Imagination Productions / Wayne Kopping FilmsDir: Wayne KoppingDocumentaryJaCK uP your ShaCKLet It Rain FilmsProd / Dir: Lee Doig TV Series JaM SandwiChMeerkat MediaDir: MQ NgubaneMusic Reality TV series

JuLiuS haS a dreaMCreative South Africa, Nkanyethi Productions,Jam TVProd: Bathelemy NgwessamDocumentaryKeMang?lmol ProductionDir: Lizzy MolotoFeature FilmLaunCh oF the aCadeMy oF young Sa SCientiStSPanache Video ProductionsProd: Liesel EiselenDocumentaryLiFe under the FLagLifeundertheflag.ComProd: Prince Angelo DoyleDocumentaryLion’S traCKTwo Oceans ProductionProds: Giselher Venzke / Bertha SpiekerFeatureLove aBove aLLFirstfruits mediaDir: Nthabiseng GamedeFeature FilmMarry – annShadow FilmsDir: David ForbesDocumentaryMaSterS oF dreaMSCurrent Affairs HambrookProd / Dir: Jane Thandi Lipman SeriesMeLodi Jazz FeStivaL 2011L. Dukashe ProductionsDir: Lumko DukasheLive Concert DvDMiCroSoFt 365Bragge film & TVDir: Guy BraggeCorporate VideonationaL heritage CounCiL eduCationaL outreaCh PrograMMePanache Video ProductionsDir: Liesel EiselenCorporate VideoPeaCe ParKSNHU AfricaExec Prods: Vyv Simson / Sophie VartanWildlife Documentary SeriesPerFeCt ShiSheBoCurious PicturesProd: Nthabiseng MokoenaCooking ShowPredatorS’ PLaygroundNHU AfricaExec Prods: Vyv Simson / Sophie VartanWildlife Documentary SeriesPurPLe townSukuma MediaDir: Bonginhlanhla NcubeDocumentaryreStyLe My StyLeCurious PicturesProd: Anita van HemertChildren’s Programmingriver oF StoneSProd: Wiseman MabuselaDocumentarySa Junior MaSterSOur Time ProductionsDir: Jaun de MeillonSport ProgrammeSCaredyKatDirty Soul ProductionsDir: Kyle LewisHorror Feature FilmSChooL e-waSte initiative/ deSCo/ inCrediBLe ConneCtionPhilip Schedler ProductionsProd: Philip SchedlerCorporateSLender wonderFC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideoSLender wonder gLaM guruFC Hamman FilmsProd Manager: Odette van JaarsveldScript: Hulette PretoriusCommercialSouth aFriCan FieLd Band Foundation ChaMPionShiPSPanache Video ProductionsProd: Liesel EiselenDocumentary

StetSon hatSFourth Dimension Films / Creative Photo ServicesDir: Neil HermannCorporate VideoStoLen tiMeProd: Eric MyeniFeaturetanzanian inveStMent oPPortunitieSBenchmark ProductionsDir: Dermod JudgeCorporate VideoteChnoLogy innovation agenCy Ceo addreSSPanache Video ProductionsProd: Liesel EiselenCorporate VideoteChnoratiTalent Attack TV / Fuel Media ProductionsDir: Maxine NelTechnology Magazine Showthe aFriKaner BroederBondIt’s a Wrap ProductionsDir: Eugene BothaDocumentarythe Cheetah diarieS SerieS 3NHU AfricaExec Prods: Vyv Simson/ Sophie VartanWildlife Documentary SeriesthoSe who Can’tQuizzical PicturesSABC Comedy Seriesto the Power oF anneFX ProductionsProd / Dir: Robert HaynesTV SeriestouChing LiveS SeaSon 3 ghanaLaunch FactoryDir: Spero PatriciosTV SeriestreaSure guardSTandem CommunicationsExec Prods: Jonas Bauer / Rola BauerFeaturetriPLe oMonarchyProd: Mosibudi PheehaFeaturetrue dreaM (revised version) South African Great Movies ProductionDir: John Wani FeaturevaLLeJo tranSForMationMedia VillageProd: Diane VermootenCorporatevehiCLe 19Forefront Media Group / Picture Tree / The Safran CompanyExec Prod: Paul WalkerFeatureveritaSMedia VillageProd: Debbie MattheeDocumentarywaLKing in viCtor’S ShoeSCurrent Affairs FilmsSA Prod: Jane Thandi LipmanFeature DocumentaryweLLBodi BizneSPlexus Films / Four Corners MediaProd: Miki RedelinghuysDocumentaryzionLetcosmartProd: Zibusiso NkomoFeature

COMPLETE

aFrox aFriCa inSight ePS 4FC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideoaFrox yearend reSuLtFC Hamman FilmsProd Man: Odette van JaarsveldCorporate VideoCLuB CuLtureBonngoe ProductionsProd: Tumi RabanyeVarietyCooKing with SiBaProd: Siba MtonganaVarietydineo’S diary: a MoguL in the MaKingNew Vision Pictures and S2 MultimediaExec prod: Dineo RanakaRealitydragon’S FeaSt 3dNHU AfricaExec Prods: Vyv Simson / Sophie VartanWildlife Documentary SeriesdurBan/reeF FueL PiPeLine Betta Beta Communications Prod / Dir: Tommy Doig Documentary

ForMidaBeLe vroue: PetroneLLaKhaki ProductionsProd / Dir: Christelle Parrott / Wynand DreyerDocumentary – kykNETForMidaBeLe vroue: Leonora vd heeverKhaki ProductionsProd / Dir: Christelle Parrott / Wynand DreyerDocumentary – kykNETgnLd aFriCa ConventionFC Hamman FilmsProd: FC HammanCorporate VideohartLandBottomline Entertainment / Fix Post ProductionMichael ModenaTV DramaiMPaCt ChriStian Media Impact Christian Media Prod / Dir: Carl Schultz TV SeriesJaM aLLey Crew vS Crew SeaSon 2Red Pepper PicturesProd: Melody XabaMusic Reality CompetitionJeruSaLeM, JeruSaLeMKhaki ProductionsProd / Dir: Christelle Parrott / Wynand DreyerDocumentary – kykNETMaSterS oF dreaMS Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman /Eric Ellena DocumentaryMentaLiSt MartiaL artS Panache Video ProductionsDir: Ryan BlumenthalTrainingMzanSi LoveFireworx MediaDirs: Myrto Makrides, Mmabatho Montsho, Neo Ntlantleng, Zamo MkhwanaziAnthology seriesoSCar PiStoriuS ABC America DocumentaryPoPCru 7th CongreSSFC Hamman FilmsProd Man: Odette van JaarsveldCorporate EventShoreLine reviSitedHomebrew filmsDocumentary seriesSing your SongDir: Susanne RostockDocumentarySPaCe, aLienS, uFo’S and reLigiouS traditionSEugene Botha Productions / It’s Wrap Productions Exec prods: Eugene Botha / Anna Teichert DocumentaryStand uP aFriCa On Air Media Dir / Story Ed: Mike Bardsley / Lex DominguezDocumentarythe BLaCK JewS and the LoSt arK oF the CovenantEugene Botha Productions / It’s a Wrap ProductionsProd: Eugene BothaDocumentaryvienna BoyS’ Choir MuSiC Study tourSummerTime ProductionsProd / Dir: Tanya VandenbergCorporate

Aces Up .........................................31AJA Video Systems ......................17Atlas Studios ................................49Blackmagic Design .........................7Blade bfx ..........................................3Boiler Room Studios ...................23 Broadcast Film & Music Africa ..47Case Connection, The ................49Collective Dream Studios ..........13Concilium technologies .................. iBCDiscop Africa ................................45dti ...................................iFCElectrosonic .......................... 15, 48Film & Publication Board (FPB) .........................26 – 27Film Publication Board (FPB)FCFix It Post Production .................35General Post .................................32Glasshouse ....................................38

globeCast ...................FdPSGuillotine .......................................40Howard Music .............................48LaserNet ........................................43Mediatech africa ........ oBCMushroom Media .........................36Obeco .............................................23Orchestra Blue .............................38Pepperoni Pictures.......................37Priest ...............................................39Pro-Sales ........................................42Refinery ..........................................34Riot..................................................40Rocket Science .............................11Sasani Studios ...............................41Sony...................................................9SOS .................................................19Telemedia .............................24 – 25Upstairs Post Production ...........39Vision Cases ..................................48

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Screen Africa relies on

accuracy of information

received and cannot be

held responsible for any

errors

or omissions which may

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updates to:

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Tribute to Ang Lee US Embassy Event

Elsie potgieter, Sue Webber, Kobus Kapp, general Denis Earp, Beth Earp and Dave potgieter

ed Van blerk was recently appointed as senior animator at Aces Up in Johannesburg. He started his career in the advertising industry doing DTp and design work after which he joined one of the country’s leading agencies where he assisted in setting up its multi-media department where he worked on South Africa’s Soccer World Cup bid. Van Blerk’s drive to find challenging assignments led him to part-time lecturing in design, animation and multi-media.

At Aces Up he is responsible for design, illustration, 2D animation, compositing and editing.

Some of the brands he worked on include Sun International, Nedbank, FNB, Vodacom, Virgin Mobile, Cell-C, Clover, Opel, Toyota and many others he can’t remember right now.

Van Blerk’s big dream is to write and direct at least one movie that at least six people watch.

Colonel Daniel Hampton (Defence Attaché from the USA), Mel Hampton, Colonel Richard Milot (Defence Attaché from Canada) and Anne Milot

Martie Bester with legendary actor Samuel L. Jackson

Olympus Has Fallen première

Hollywood stars gerard Butler and Aaron Eckhart Miss Earth South Africa 2012, Tamerin Jardine

professional SA rugby player Francois Hougaard (right) with a friend

SA electro pop duo Locnville with a friend

SAFTA Award Winners’ Dinner

Tsholofelo Moadthodi Modise

Mmabatho Ramagoshi, Jerry Mofokeng and george Leolo

Bongi Selane and Elouise Kelly

NFVF CEO Zama Mkosi and Tholi B

Bonginhlanhla Ncube (Mr B) and John Wani

Sello Molefe Mmabatho Mogomotsi

Leroy gopal and Azania Muendane (NFVF)

Thuli Thabethe

Lunga Shabalala

Vusi and Nadia Zion

ghoema Awards

Adriaan Bergh, Mr SA 2011 and Melinda Bam, Miss SA 2012

Afrikaans country singer Chereé Strydom and Afrikaans singer Snotkop

Afrikaans singer and actress Sorina with a friend

Afrikaans singer Karlien van Jaarsveld with husband Derick Hougaard

Janine van der Vyver and SA singer Steve Hofmeyr

SA singer Kurt Darren with wife Dunay Nortjé

SoCIAL |

nEw APPoIntmEnt |

pHO

TOS

BY g

ERH

ARD

MIN

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US Embassy Event

Concilium Technologies

Free registrationat www.mediatech.co.za before 7 July 2013 and avoid paying R50 at the door

Mediatech Africa

C o n f e r e n C e

SCREENAFRICAtechnology + production

Technical Sponsor

advanced technology trade show

Brought to you by Thebe Exhibitions and Sun Circle Publishers

Broadcast & Film Industry Networking Hub Production & Post Production Lighting,

Staging & Rigging Animation & New Media AV System Integration 130 Exhibitors

International Manufacturers Satellite & Signal Pro Audio & Video Outdoor Sound

Demo’s Technology Workshops & Conferences International Speakers 800 Brands

Use your unique code:AD01100

17 – 19 July 2013, Coca-Cola Dome, Johannesburg, South Africa

www.mediatech.co.za

Screen Africa - May 2013

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Transcript of Screen Africa - May 2013