LOERIES 2011

VELOCITY led the way for pro-duction companies at this year’s Loerie Awards, with Keith Rose’s Emoticon Boy receiving special attention on the night.

Although film didn’t re-ceive a Grand Prix this year, there was a strong

link for Velocity to one of the highly coveted awards.

Allan Gray marketing man-ager Tracy Hirst won a Market-ing Leadership and Innova-tion Award for her work with the company over the last ten years. Velocity has produced several of the most recognised Allan Gray adverts, including James Dean Legend, Beautiful and most recently, Time Flies.

The rankings for directors see Keith leading the way on 377.5 points, Alan Irvine from Picture Tree was in second and Giant Films director Robin Goode makes an appearance in third place, thanks to a Gold and Campaign Silver for directing the Love to Meet You advert for Drive Dry.

Emoticon Boy was recog-nised for the EMI Music Award, a special prize for the best use of licensed music in advertis-ing. Keith received an award for direction on the night, win-ning a Craft Gold for Emoticon Boy. Greg Gray, also of Veloc-

ity, won a Silver and a Craft Certificate for Voiceover for Cadbury Lunchbar.

Other adverts Velocity pro-duced which also received recognition were Return of the Craving for Nandos by Adrian De Sa Garces, Vodacom Sum-mer also direceted by Adrian, Neverending Story for Stim-orol Infinity directed by Anton Visser, Bigger for Everlast (di-rected by Keith) and Ed Mas-

ters , directed by Daniel Levy, for Tuffy.

Sister company Bouffant also did well gaining a Silver for Dean Blumberg’s The Real Mc-Coy for Santam, a Bronze for Chloe Coetsee’s Jumbled for Avril Elizabeth Homes and Erik van Wyk’s Cut the Cord for the Toyota Aygo. Velocity had a to-tal of 16 wins overall.

Peter Carr, executive pro-ducer at Velocity, said: “We just

want to say a really big thank you and well done to the agen-cies and clients that we worked with on the winning commer-cials. We are most proud of the fact that most of our direc-tors won something across the board highlighting our diversity and our dedication to the craft we like to apply to all our work.”

Egg Films had a quiet year at the Loeries compared to their stellar performance in 2010.

However, on the bright side, a quiet year for Egg translates into third place in the production company rankings. This rank-ing included a Craft Certificate and Gold Craft for Slim’s Glory for Garmin and a Silver Loerie for Jason Fialkov’s Waking Dead advert. Egg also won a Bronze for the gorgeous Kevin Fitzger-ald Memories commercial for Tracker.

Humanoid, Egg’s Johannes-burg-based sister company, received a Campaign Silver and a Bronze for Kagiso, the new Nando’s CEO, directed by Terence Neale.

Picture Tree won a Cam-paign Gold for the McDonalds Regret Tests series of adverts they did with DDB South Af-rica. They were directed by Alan Irvine.

Sunday night’s awards, hosted by Knight Rider and Baywatch star David Hassel-hof at the Cape Town Con-vention centre (CTICC), were a festive and tightly run affair. The ceremony itself was short-er than in previous years, due to a move away from enter-tainment and a focus on the awards themselves.

You can view the full list of winners as well as the full rank-ings for the directors, produc-tion companies and advertis-ing agencies at the 2011 Lo-erie Awards on page six.

VELOCITY WINS BIG AT THE LOERIES

R22.80THE LOERIES ISSUESeptember 2011 www.thecallsheet.co.za

pg4 pg6 pg12

The team behind Emoticon Boy

2

PAGE TWO PIN-UP: SCOTT SPARROW

ACTING (APM)

Scott Sparrow’s star is on the

rise following small roles in sev-eral big budget international features shot in South Africa and a reprisal of his role in Kidnap & Ransom this month.

Scott graduated from Rhodes University with a BA Honours in directing and

acting. He has starred in several local and international film and television productions.

His recent film work includes small roles in Dredd, Safehouse and in the South African ro-mantic comedy I Now Pro-nounce You Black and White. His television work consists of roles in BBc’s Beaver Falls, SKY tV’s The Runaway and most recently as Frank Egan in Kidnap & Ransom.

Scott says: “All the theatre work I am lucky to do gives me a boost when I go into film. Al-though they are two very differ-ent worlds, the one informs the other.” When asked about the features he’s worked on, Scott

enthused: “Dredd was a fantas-tic experience. I enjoyed sitting back and watching them make this film. I am a huge fan of the cinematographer Anthony Dod Mantle and felt very privileged that I got to shoot scenes with him. I felt like I had won some competition where you go and meet your hero. Sometimes on a set like this you have to make sure that you don’t get too star struck by all the people you work with and actually try and do your job right.”

on the difference between local and international feature films, Scott said: “The biggest difference between local and international films, at least the ones I have been on, is simply the budget. once you have the money I should imagine

everything else falls into place including the time that the ac-tors can prep for a shoot. the thing I enjoyed about Dredd is the rehearsals we could afford to have, so as an actor you are confident with the story and the action by the time you walk onto the set. I have only been on the low budget local films so I can’t really speak for the big-ger ones. the one thing we are not missing locally, I believe, is talent; talent in writing, crew and actors. I feel very proud walking onto the international film sets and seeing the South African crew setting the pace.”

Scott is currently filming Am-bassador 2 and Kidnap & Ran-som II, and can be seen in ac-tion with the Mechanicals.

Kate Hodges

3

4

FILMMAKING

ASPIRING screenwriters and di-rectors from South Africa will have the chance to write a screenplay for a short film that will be produced by Trigger Street Productions and will star Kevin Spacey.

One winner each from South Africa, Russia and the USA will have

a chance to have their movie

made by Kevin Spacey’s pro-duction company Trigger Street Productions. The name “Trig-ger Street” is a reference to an actual street in Spacey’s boy-hood home of Chatsworth, California where a friend of his lived on the ranch of infa-mous American cowboy actor, Roy Rogers.

The multi-Academy Award winning actor, director, pro-ducer and screenwriter said: “I want to give talented people

out there a shot at reaching their goals for the first time. Jack Lemmon once said to me – ‘If you’re doing well, send the el-evator back down’. I’ve done incredibly well and it’s because the material I found early in my career was from first-time writ-ers, first-time directors, first-time playwrights. If it weren’t for that talent I wouldn’t have a ca-reer. So if one person gets a break then the competition has been successful.”

Filmmakers are invited to sub-mit a script to the Jameson First Shot website written around the theme of a ‘legendary, humor-ous or very tall tale’. The short-listed entrants will be judged by Kevin and the president of Trig-ger Street Productions Dana Bru-netti. The nominees will then en-ter a second round where they will be asked to direct a scene selected by Trigger Street.

The winner from each coun-try will be flown to Los Angeles to shoot their script and direct Kevin Spacey. They will be sup-ported in this by Trigger Street, the company that produced The Social Network and 21. The three finalists will be voted on by the public to decide on an over-all winner.

The actor, who is also the artistic director of the Old Vic in London, has pioneered new content and distribution mod-els with the creation of Trig-gerStreet.com as an online community for unrepresented screenwriters and short film di-rectors. The site immediately took off with thousands of on-line users uploading their work, reviewing work created by their peers, and participating in online competitions and short film festivals.

Jameson Irish Whiskey are the headline sponsors of the com-petition. Howard Southern, the international marketing director for Irish Distillers Pernod Ricard,

who produce Jameson Irish Whiskey, said: “We are delighted to be working with Kevin Spacey and Trigger Street Productions on such a unique film project. Jameson First Shot perfectly em-bodies our attitude towards film; whereas public perception is of a closed and exclusive world, we want to open it up and give emerging talent the opportu-nity to be mentored by some of Hollywood’s biggest names. It’s a truly exciting proposition and we look forward to seeing three fantastic films.”

Some of the helpful tips for screenwriters on the Jame-son First Shot website include: “Write with good structure – try and write a script with a begin-ning, middle and end; Come up with a good story that you will be able to make into a short film; Make sure your short film has good shots and good sound; Enter your script by the deadline – this business is all about making deadlines; Cre-ate something that makes you stand out.”

The closing date for entries is 31 December 2011. entrants must be 25 years or older and a legal resident of South Africa, Russia or the United States.

For full details on how to en-ter plus exclusive videos and tips from Kevin Spacey and Dana Brunetti, visit www.james-onfirstshot.com

Kate Hodges

KEVIN SPACEY AND JAMESON LAUNCH FIRST SHOT

Kevin Spacey and Dana Brunetti

5

CAPE TOWN FILM STUDIOS EMERGES AS GLOBAL BRAND

INDUSTRYTHE Callsheet visited Cape Town Film Studios (CTFS), where our team was lucky enough to be given a tour by CEO Nico Dekker and general manager Ross Rayners.

NICO’S enthusiasm for the studio and for every as-pect of its running is infec-

tious and upon seeing the facili-ties – perfectly understandable. The studio is a 17,000 square me-tre complex of four soundstages, offi ces, set-production ware-houses and 37-seat grading cin-ema that is 2D and 3D enabled. It’s hard to believe the studio has only been fully operational since October 2010, particularly given the profi le of talent that’s worked there. Stars include Stephen Fry, Denzel Washington, Lena Head-ey, Ryan Reynolds, Karl Urban, Wood Harris, Olivia Thirlby and Michael B. Jordan. Ranked by The Hollywood Reporter as one of the top seven studios in the world in May 2011 and praised on Twitter by Stephen Fry during the fi lming of Working Title’s The Borrowers - the studios are start-ing to emerge as a global brand.

When Nico took over as the CEO in 2008 his objective was to contribute to a sustainable local fi lm industry that offered jobs for South Africans. Nico said: “The studio is changing the game, because there’s such a huge

difference between a studio-based fi lm and a location-based fi lm. The studio-based fi lm is a job creator, it’s a massive job-creator because of all the construction that happens. The people that would normally work on a fi lm, the normal crew, there’s a cer-tain group of people that always work. But when a studio comes in it creates hundreds of jobs, for people in carpentry and wood-work and metalwork and labour that you normally would not see on a fi lm set and that is what government wants – it’s ideal for our industry. It also of course creates longevity, the studio has been designed for one purpose; it can’t be used for other things.” This was visible on the tour of the studio, as a walk around re-veals massive industry happen-ing wherever you look, from set-design and building inside the workshops to busy construction crews on the backlot and the general maintenance required for the smooth running of such a large complex.

Nico believes that choosing to build world-class studios was the correct decision for Cape Town. He mentioned several times that during design and construction major international studios were consulted and their suggestions and recommenda-tions were used to help build a great complex. Many of the mistakes made by international studios were taken into account

during the construction of CTFS. Nico oversaw the construction of a hill on the new backlot, tak-ing only ten days to complete the complex project in order to secure a major production. He said: “We reshaped the whole site, even the big contractors said they’ve never seen any-thing being built this quickly. Ev-eryone expected it to take six weeks at least. But if we hadn’t taken just ten days to build it, they would not have been able to make the programme we have booked for the backlot”.

When asked about the future of the studio, and work on the horizon Nico revealed that there are several big productions headed to the studio, although

with negotiations at a sensitive stage, he couldn’t name any names. Nico said: “This is a jour-ney, considering the studio isn’t even a year old, we already had DNA Films’ Dredd (Kala-hari Pictures) here, we had Safe House from Universal Pictures (Moonlighting) here for selected scenes with Denzel Washing-ton. We had Chronicle (Film Af-rika), for 20th Century Fox – the fi rst time they’ve shot at studios in Africa. We’ve had Working Title’s The Borrowers (Moonlight-ing) with Stephen Fry. His tweet was major for us (Stephen Fry tweeted: Must say deeply im-pressed with brand new Cape Town Studios. Make Pinewood etc look v shabby.)”

He concluded: “Hope-fully there are still big things to come in the next ten years. The fi rst few studios, workshops and setup here was supposed to provide either a workable environment for the local and international producers or not. The question was whether they would accept it, and I think that question has been answered now. The next steps can be taken now. There have been many companies who’ve put their names down with us who want to move here perma-nently. About 140 companies have indicated they would like to come here. “

Kate Hodges

Andrew MacDonald (producer DNA Films) and Nico Dekker

6

LOERIES 2011The Callsheet has used the Lo-eries ranking system to work out the top directors, produc-tion companies and advertising agencies following the Loerie Awards which took place from 16-18 September 2011.

The director rankings were de-termined using the same sys-tem applied to every award

that had a production company and director credited. 110 points were awarded for a Gold, 40 points for a Silver, 5 points for a Bronze, 90 points for a Craft Gold and 30 points for a Craft Cer-

tificate. Campaign awards were given 1.5 times the points.

RANKING BY FILM PRODUCTION COMPANY:1 VeloCiTy FilmS2 PiCTure Tree3 eGG FilmS4 Fundi FilmS5 14 10Th STreeT6 oranGe FilmS7 hoTel de Ville8 BouFFanT9 humanoid@eGGFilmS9 Plank FilmS

RANKING BY DIRECTOR:1 keiTh roSe (Velocity Films)2 alan irVine (Picture Tree)

3 roBin Goode (Giant Films)4 TonGai FuruSa (14 10th Street)5 GreG Gray (Velocity Films)6 Slim (egg Films)7 JanneS hendrikZ (Shy The Sun)8 TerenCe neale (humanoid@eGG)8 PeTe PohorSky (Plank Films)10 adrian de Sa GarCeS (Ve-locity Films)11 dean BlumBerG (Bouffant)

OVERALL RANKING BY AGENCY: 1 FoxP22 neT#Work BBdo3 oGilVy CaPe ToWn4 ddB SouTh aFriCa5 The JuPiTer draWinG room

SouTh aFriCa (CaPe ToWn)6 TBWa\hunT\laSCariS Jo-hanneSBurG7 mCCann eriCkSon8 draFTFCB JohanneSBurG9 oGilVy JohanneSBurG10 140 BBdo

RANKING BY DIGITAL AGENCY1 helloComPuTer2 Gloo diGiTal deSiGn3 naTiVe4 Pixel ProJeCT5 PreZenCe6 diGiTal FaBriC7 leFTField8 STrike media

allan Gray marketing man-ager Tracy hirst won a market-ing leadership and innova-tion award for her work with the company over the last

ten years. With no Grand Prix for film this

year, it looks like the trend to-wards digital advertising, often by specialist digital agencies, may be gaining momentum. This raises interesting questions about what traditional production companies will do in response to the changing nature of the ad-vertising industry. keep an eye out for next month’s Callsheet Newspaper which will fea-ture an in-depth discussion on digital advertising.

The Callsheet and all at Film and event media would like to congratulate the winners and nominees, as well as the loeries organising committee for put-ting on a great show.

Staff Writer

LOERIES RANKINGS

LOERIES WINNERS

LOERIES 2011

ALL the winners in film catego-ries at the 2011 Loerie Awards that took place at the CTICC on 18 September 2011.

TELEVISION, FILM AND VIDEO COMMUNICATION: TV & CIN-EMA COMMERCIALS - SHORT FORMAT

entrant: FoxP2Title: Love To Meet You medal: Gold

entrant: ddB South africa Title: McDonalds Regret Tests medal: Campaign Gold

entrant: ogilvy Johannesburg Title: Voice Over medal: Silver

entrant: king James Title: The Real McCoy medal: Silver

entrant: mcCann ericksonTitle: Emoticon Boymedal: Silver entrant: Black river FCTitle: Kagiso, The New Nando’s CEO medal: Bronze

entrant: FoxP2 Title: The Tshabalala Account medal: Bronze

entrant: ogilvy Cape Town Title: Neverending Story medal: Bronze

entrant: Joe Public Title: Memories medal: Bronze

entrant: JWT Johannesburg Title: Bigger medal: Bronze

entrant: JWT Johannesburg Title: Mud medal: Bronze

entrant: JWT Johannesburg Title: Jumbled medal: Bronze

entrant: Saatchi & Saatchi Title: Ed Mastersmedal: Bronze

entrant: draftfcb Johannes-burg Title: Cut the cordmedal: Bronze

TELEVISION, FILM AND VIDEO COMMUNICATION: INTERNET & MOBILE COMMERCIALS

entrant: lowe Bull Cape Town Title: Your hair and nails can save the rhino medal: Bronze

TELEVISION, FILM AND VIDEO COMMUNICATION: TV TRAILERS, CHANNEL & STATION PROMOS

entrant: ireland/davenportTitle: Loved Ones Lost medal: Campaign Silver

entrant: ogilvy Johannesburg Title: Cat medal: Bronze

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S – DIRECTION

entrant: mcCann erickson Title: Emoticon Boy

medal: Craft Goldentrant: Velocity Films Title: Voice OverMedal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S – CINEMATOGRAPHY

entrant: egg Films Title: Glory Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S - ART DIRECTION

entrant: mcCann erickson Title: Emoticon Boy medal: Craft Gold

entrant: ogilvy Johannesburg Title: Voice Over Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S – ANIMATION

entrant: BlackGingerTitle: Believe in Magic Medal: Campaign Craft Certifi-cate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S - SPECIAL VISUAL EF-FECTS

entrant: Black Ginger Title: Emoticon Boy medal: Craft Gold

entrant: Sinister Studio Title: Glory medal: Craft Gold

entrant: net#Work BBdo

Title: Return Of The Craving Medal: Craft Certificateentrant: BlackGinger Title: Vodacom Summer Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S – EDITING

entrant: mcCann erickson Title Emoticon Boy Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S - ORIGINAL MUSIC & SOUND DESIGN

entrant: Velocity FilmsTitle: Voice Over Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS ABOVE 90S – DIRECTION

entrant: orange Films Title: Control medal: Gold

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS ABOVE 90S – CINEMATOGRA-PHY

entrant: orange FilmsTitle: Control Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS ABOVE 90S - ART DIRECTION

entrant: Shy the Sun Title: Alice: Madness Returns Medal: Craft Certificate

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS ABOVE 90S – ANIMATION

entrant: Shy the Sun Title: Alice: Madness Returns Medal: Craft Certificate

INTEGRATED CAMPAIGN: INTE-GRATED CAMPAIGN

entrant: Black river FC Title: The New Nando’s CEO medal: Campaign Silver

entrant: FoxP2 Title: Frank medal: Silver

entrant: FoxP2Title: Love To Meet Youmedal: Campaign Silver

entrant: ogilvy Cape TownTitle: Heartgingersmedal: Campaign Silver

entrant: TBWa\hunT\laSCariS JohanneSBurGTitle: The Voiceless Campaign medal: Campaign Gold

entrant: mcCann erickson Title: Heita South Africamedal: Campaign Bronze

entrant: ddB South africa Title: Rather Have The Party At Our Placemedal: Campaign Silver

Keith Rose Tracy Hirst

7

8

TECHNOLOGYA COMPANY in China is devel-oping a competitor for the Arri Alexa and Red Epic and it’s set to sell for around $8000.

When it comes to high-end camera equip-ment there’s only a

handful of brands modern film-makers are willing to use. Arri, ReD, Phantom, Si2K and even Canon. each come with their own price tag, and if you want to add aesthetic value to your production then chances are you’ll be spending a pretty penny in order to do so.

This is the case almost all of the time but thankfully, and I say this with bated breath, the mighty Chinese manufacturing industry has decided to come

to the aid of all those inde-pendent filmmakers who were wanting to shoot RAW footage but haven’t been able to af-ford it.

A clone camera has been designed using ReD and Arri engineering as a base from which to work. They call it the KineRAW S35 and it looks like a ReD Mysterium X, with the user interface of an Arri Alexa. But how does it shoot?

According to Gideon Furst (Media Film Services – head of Digital), “the KineRAW is still in development. The manufac-turer wants us to look at the spec sheet and make assump-tions based on that. In the real world we want to see what the camera can actually pro-duce.” MFS firmly promotes the use of the Arri Alexa range, a

camera that has proven itself a handy tool for commercials and feature films alike. How do the two compare in terms of quality output?

“The Arri Alexa offers hD and 2K resolution with a base ASA of 800. The KineRAW is set at 400 ASA and also offers 2K. But, we don’t know what the output really looks like on the KineRAW. It is pretty much un-tested. The Alexa has already proven it can get away with not offering 4K.” These are no-table attributes that leave the KineRAW in uncharted terri-tory. Would it be worth risking your entire production on an untested camera?

“We know nothing about this camera company, so we don’t know how good the sup-port would be if something had

to go wrong. Insurance com-panies may not support an unknown like KineRAW, not to mention all the bugs you could experience with such a new release.” In a nutshell the cam-era may well be an unreliable tool that could compromise a production rather than add value for money.

Although, risks have been taken with the “underdog” in the past. ReD was pretty much unheard of 10 years ago, but now the company dominates the industry. So why then wouldn’t there be room for a Chinese counterpart offering 2K RAW imagery at a fraction of the price?

Richard Muller (camera op-erator/ DIT specialist) says that, “as long as it isn’t released too soon, it will probably find a spot in the midrange market ser-vicing independent films and documentaries. But, a slightly cheaper camera often has less of an impact on the overall cost of the production. Lens-es, support gear, filters and of course digital VT all add up. In the end the camera in terms of price is of least concern.”

The KineRAW S35 comes in at around $8000 making it the cheapest RAW format camera ever released. It has a robust looking chassis, and an easy to understand user interface. It may well offer filmmakers on a small budget a real solution.

But that doesn’t deter from the fact that the company pro-ducing the camera needs to be forthcoming in making the camera available to the indus-try for testing.

“If KineRAW really wants to upstage the market lead-ers, they’ll do it by releasing a finished, battle-tested and hassle free camera,” says Richard, who has just recent-ly completed work on a 3D wildlife documentary.

KineRAW are also plan-ning to challenge the Super16 and Super8 markets with the upcoming releases of their S16 and S8 models. With the release of those models the brand may become a serious competitor in the digital cine-matography market, especial-ly as budgets are cut and the world continues to ride through the recession.

however, it would be a silly assumption to think that ReD and Arri will suffer much at the hands of this Chinese new-comer. Both brands have de-veloped a strong following and where KineRAW fails is its ability to push beyond 2K, unlike the ReD epic’s 5K, and the meager offering of up to 30fps in com-parison once again to the ReD epic’s 300fps.

For more information visit: www.kineraw.com

Jasyn Howes

ARRI/RED COMPETITOR COMING FROM CHINA

Gideon Furst

9

DOCUMENTARIESOrganisers of a biennial con-ference for documentary film-makers may rethink the format of the event after this year’s agenda proved over-ambi-tious.

The People to People (P2P) International Documentary Conference hosted 75 Afri-

can and international film mak-ers in September, up from just 15 in 2007 and 17 in 2009. But by the third day attendance levels had dwindled to a de-gree that suggests a shorter, more compact event would be more appropriate.

The P2P Conference aims to bring together film industry pro-fessionals to strengthen the role and the scope of documen-taries in Africa. The event fea-tured more than 20 seminars and panel discussions, as well as workshops where emerging filmmakers could improve their skills by taking classes led by masters of the craft.

Convenor Arya Lalloo said attendance on the first two days was encouraging, but whether it was sustainable for three days was a good ques-tion. The event was held in Johannesburg’s Atlas Studios, and by day three the cavern-ous size of the studios high-lighted the small numbers in the audience.

Several things may be done differently in future years, Arya said. “We took a very big risk in expanding the event almost beyond our capacity in the number of people invited and the number of sessions being hosted. We ran a programme that tried to cover the art, tech-nology and business of docu-mentary fairly evenly, and as an additional part of the pro-gramme we ran some master classes. I think we were ambi-tious in the number of sessions and the number of people we hosted and the areas we at-tempted to cover,” she said.

Numerous sponsors in-cluded the National Film and Video Foundation (NFVF), the Gauteng and Cape Film Com-missions, the Ford Foundation, Ster Kinekor and the Goteborg International Film Festival Fund.

The sponsors covered much of the travel costs for the in-vited filmmakers, but there was not enough organisational sup-port for the logistical team to expand appropriately.

“It’s been humbling,” said Arya. “It’s a risk and some things have panned out and some haven’t, but the mistakes are ones that are going to be learned from.”

It was too early to say what changes were likely for the 2013 conference, as the or-ganisers first needed to evalu-ate this year’s event and get

feedback from the attendees, then go back to the drawing board, Arya said.

The event succeeded in uniting some leading lights and emerging filmmakers from around the world for three days, and the conversations they had were amazing and very productive, she said.

Guests included Spanish scriptwriter Carlos Dominguez; local producer David Max Brown; Mahen Bonetti, founder of the African Film Festival; and Ryan harrington, directory of documentary programs at the Tribeca Film Institute.

The final plenary session discussed whether there is a need for a new pan-African association of documentary filmmakers. “We asked every-one to address key questions about what networks already exist for them and what are the successes and failures of those networks,” said Arya. “We asked what are the shared threats and opportunities and can we support each other in making ourselves stronger. We are asking whether an African Documentary Network would be helpful and relevant.”

Other sessions discussed the role that piracy could play in actually growing a country’s film industry, the importance of film festivals, raising funds to produce documentaries, and a talk by South Africa’s

Industrial Development Cor-poration about plans to in-crease its financial support of local documentaries.

Another session covered the decline of the SABC and its inability to serve the public properly. The public broad-caster was slated for failing in its mandate to serve con-sumers due to greed, a lack of leadership and commit-ment, and because manag-ers were appointed for politi-cal favouritism rather than for their competency.

Media consultant Libby Lloyd said the UK’s BBC spent 80% of its budget on content, 10% on distribution and 10% on overheads, Although the SABC doesn’t break down its figures, she estimates that it spends no

more than a mere 30% of its budget on buying or commis-sioning content. “If they are not prepared to spend more on content then they don’t deserve more public funding,” she said.

Libby urged the audience of film and television produc-tion professionals to become proactively involved in a re-view taking place to redefine the SABC’s strategies.

If they didn’t, the SABC might follow through with its plans to air more shows spon-sored by advertisers, where there would be no high qual-ity drama or editorial integrity because the material would be produced by advertising companies.

Lesley Stones

P2P CONFERENCE FIGHTS FOR SUSTAINABILITY

10

CREWIN a new feature that focuses on a local crew The Callsheet chatted to a talented young best boy Tobie De Haas from Silver Bullet Lighting about his work and his experience of the local film industry.

The Callsheet met with To-bie and Silver Bullet Light-ing founder Clint Howes

at The Post Office post-pro-duction facility to chat about Tobie and being a best boy in South Africa.

How did you get into the indus-try?After studying visual effects at film school, I met up with Clint and did my first day of lighting and after that I never looked back.

What do you enjoy most about the job?I think it’s the sense of ac-complishment once you’re done with the day’s shoot. You can feel that you’ve been working hard all day, you feel it in your body – you feel like you’ve earned your day’s due.

What are the biggest challeng-es of the job?Well apart from getting people to pay you... Working with dif-ferent people all the time is sometimes quite taxing. To a certain extent you can build a relationship with people you work with on a regular ba-

sis, but most of the time if it’s people you don’t usually work with you don’t really know how they work and you’ve always got to kind of figure your way around how they want some-thing done. Everyone has his own preference about exactly how to do a thing – there’s like a million different ways to do one thing.Clint added: Even with light-ing, strangely enough, one guy will light something com-pletely differently to how I would light it – and then the next gaffer will light it com-pletely different. I find that is an issue – there’s never a set way of lighting. Which is actually lekker, because it makes the job interesting.

What was the biggest/most chhallenging job you’ve worked on?Clint: I suppose the biggest is this little movie we’ve just fin-ished. Tobie interjected at this point, saying: That was prob-ably our most challenging. I suppose if you work with a very small crew, it’s all good and well but at the same time say there’s no AD, you’ve have to fill in whoever can fill in. You have to go above and be-yond, like to help out the art department, or organise things or logistics, which isn’t really our responsibility but sometimes you just have to fill in.

Do you work mostly in movies or commercials?We do mostly commercials.

Local or international?A lot of it international com-panies, but we use mostly lo-cal production companies and crew. We recently finished working on a local advert for Woolworths. But a lot of times you’ll do work for companies that you’ve never even heard of, we did a shoot for a com-pany called Ticklewood on Camps Bay beach recently. A lot of retail outlets, and cell-phone companies, we also worked on a viral campaign for Mini recently. We also try and do less high profile work for the local market, just because there’s more market and lee-way to have creative breathing room. Especially with the de-velopment of smaller cameras and DSLRs and the like, there’s a much bigger demand devel-oping for small-scale packages. There’s a demand for jobs that fall into a smaller budget cat-egory, but still deliver a quality product at the end of the day.

Do you expect season (just starting) to be a busy one?I think so, usually we get con-firmed about a week or two before we shoot if we’re lucky, but as far as I can see it’s going to be a big season – based on how busy we were last year. We were shooting back to back for most of last season. So I’m look-ing forward to it being another busy season.

Was last season affected by external factors, such as the re-cession or the World Cup?Yes, definitely. Not so much the rececession, but the World Cup definitely. It was extremely qui-et for us and for the industry as a whole during the World Cup. People it expected it to create a lot of work, but instead it was really quiet. Any war stories...We were doing a National Geographic advert (live Curi-ous) with Fly on the Wall, a re-

ally cool bunch of guys to work with. It was a five day shoot, and I happened to bring my guitar along. I was playing it one day while we were eating pizza, and one of the Fly on the Wall guys said “Hey let me re-cord that riff”. About two weeks later, the director Bryan Little called me, he said “We found this recording of your tune in between all the on set record-ings and we actually really liked it, can we use it for the ad?”. That was a really cool opportu-nity for me, that my music was featured on an international National Geographic advert.

The company has been op-erating for about seven years. You can find out more about Tobie, Clint and the Silver Bullet Lighting crew on their website.

Kate Hodges

CREW OF THE MONTH - TOBIE DE HAAS (BEST BOY)

To advertise call Makkie | 021 674 0646 | Email | makkie@thecallsheet.co.zawww.thecallsheet.co.za

the Callsheet Newspaper congratulates all the Loeries winners for 2011. So whether you

bagged a Craft Certificate or a Grand Prix, we thank you for producing another year of

sterling work. Keep flying the create flag and remember, don’t hate, create.

10

CREWIN a new feature that focuses on a local crew The Callsheet chatted to a talented young best boy Tobie De Haas from Silver Bullet Lighting about his work and his experience of the local film industry.

The Callsheet met with To-bie and Silver Bullet Light-ing founder Clint Howes

at The Post Office post-pro-duction facility to chat about Tobie and being a best boy in South Africa.

How did you get into the indus-try?After studying visual effects at film school, I met up with Clint and did my first day of lighting and after that I never looked back.

What do you enjoy most about the job?I think it’s the sense of ac-complishment once you’re done with the day’s shoot. You can feel that you’ve been working hard all day, you feel it in your body – you feel like you’ve earned your day’s due.

What are the biggest challeng-es of the job?Well apart from getting people to pay you... Working with dif-ferent people all the time is sometimes quite taxing. To a certain extent you can build a relationship with people you work with on a regular ba-

sis, but most of the time if it’s people you don’t usually work with you don’t really know how they work and you’ve always got to kind of figure your way around how they want some-thing done. Everyone has his own preference about exactly how to do a thing – there’s like a million different ways to do one thing.Clint added: Even with light-ing, strangely enough, one guy will light something com-pletely differently to how I would light it – and then the next gaffer will light it com-pletely different. I find that is an issue – there’s never a set way of lighting. Which is actually lekker, because it makes the job interesting.

What was the biggest/most chhallenging job you’ve worked on?Clint: I suppose the biggest is this little movie we’ve just fin-ished. Tobie interjected at this point, saying: That was prob-ably our most challenging. I suppose if you work with a very small crew, it’s all good and well but at the same time say there’s no AD, you’ve have to fill in whoever can fill in. You have to go above and be-yond, like to help out the art department, or organise things or logistics, which isn’t really our responsibility but sometimes you just have to fill in.

Do you work mostly in movies or commercials?We do mostly commercials.

Local or international?A lot of it international com-panies, but we use mostly lo-cal production companies and crew. We recently finished working on a local advert for Woolworths. But a lot of times you’ll do work for companies that you’ve never even heard of, we did a shoot for a com-pany called Ticklewood on Camps Bay beach recently. A lot of retail outlets, and cell-phone companies, we also worked on a viral campaign for Mini recently. We also try and do less high profile work for the local market, just because there’s more market and lee-way to have creative breathing room. Especially with the de-velopment of smaller cameras and DSLRs and the like, there’s a much bigger demand devel-oping for small-scale packages. There’s a demand for jobs that fall into a smaller budget cat-egory, but still deliver a quality product at the end of the day.

Do you expect season (just starting) to be a busy one?I think so, usually we get con-firmed about a week or two before we shoot if we’re lucky, but as far as I can see it’s going to be a big season – based on how busy we were last year. We were shooting back to back for most of last season. So I’m look-ing forward to it being another busy season.

Was last season affected by external factors, such as the re-cession or the World Cup?Yes, definitely. Not so much the rececession, but the World Cup definitely. It was extremely qui-et for us and for the industry as a whole during the World Cup. People it expected it to create a lot of work, but instead it was really quiet. Any war stories...We were doing a National Geographic advert (live Curi-ous) with Fly on the Wall, a re-

ally cool bunch of guys to work with. It was a five day shoot, and I happened to bring my guitar along. I was playing it one day while we were eating pizza, and one of the Fly on the Wall guys said “Hey let me re-cord that riff”. About two weeks later, the director Bryan Little called me, he said “We found this recording of your tune in between all the on set record-ings and we actually really liked it, can we use it for the ad?”. That was a really cool opportu-nity for me, that my music was featured on an international National Geographic advert.

The company has been op-erating for about seven years. You can find out more about Tobie, Clint and the Silver Bullet Lighting crew on their website.

Kate Hodges

CREW OF THE MONTH - TOBIE DE HAAS (BEST BOY)

To advertise call Makkie | 021 674 0646 | Email | makkie@thecallsheet.co.zawww.thecallsheet.co.za

the Callsheet Newspaper congratulates all the Loeries winners for 2011. So whether you

bagged a Craft Certificate or a Grand Prix, we thank you for producing another year of

sterling work. Keep flying the create flag and remember, don’t hate, create.

11

12

XOLISA DYESHANA- JOE PUBLIC

What was your best moment of the Loeries?Every year when Joe Public does well, lol. No, but seriously, I’d say every time we walk up onto the stage to receive acknowledgement for something we’ve sweated blood and tears to make happen. There are very few words that can truly capture that feeling.Who do you rate at the Loeries this year?Firstly, I rate everyone that wins the big ones – congratula-tions to you and keep doing great work that moves our industry forward. Lastly, I rate those that were nominated as I believe that too isn’t an easy feat. What are you currently working on? We just finished the launch campaign of the new Kaizer Chiefs kit for Nike. That was a great project and it’s been interesting seeing how the market is receiving it.Do you have any exciting projects in the pipeline? Oh we have a few, but unfortunately if I told you, I’d have to kill you.What is your background (art direction/copywriting)? Copywriting.Who was your most memorable client? Are clients going to read this? I love all my clients. Describe the Loeries weekend in one word. Madness.

VANESSA PEARSON - MCCANN ERICKSON

What was your best moment of the Loeries?The year we won two Gold Loerie awards and no one went up to collect as the team were shooting 8.ta’s launch TV commercial. And I was hit with extreme ver-tigo and doctors orders were, ‘Stay in bed, no walking”. But Andrew Human’s a nice man and all’s forgiven now :)Who do you rate at the Loeries this year?Everyone. I believe there’s great individual talent spread across the industry.Do you have any exciting projects in the pipeline?Yes. Yes. Yes. Unfortunately when they’re exciting, they’re usually also very confidential.What is your background (art direction/copywriting)My key craft is art direction but I cross over into writing and strategy too. Essential skills for anyone in a creative leadership position. Along with psycho analysis, multi-tasking, economics and NATO-like peace keeping ca-pabilities.Who was your most memorable client?The one I’m currently working on.Describe the Loeries weekend in one word.Gehenna.

MIKE SCHALIT - BBDO South Africa

What was your best moment of the Loeries?Oops, my silver tints will be showing, but hey has to be a toss up between my very first Grand Prix, an Outdoor for City Lodge back in some last century, 1987, or the huge surprise of that first Special Achievement Grand Prix three years ago. Who do you rate at the Loeries this year?Hmm, now that would be telling. But hey, anyone who manages to pick up any metal, kudos to you. You have the mettle. Acknowledgement and respect from your peers in this competitive business doesn’t come easy.What are you currently working on?Just finished Oudemeester epic with Jamie Foxx. Now in the trenches of shackland and hope with a development film for grassroots baseball. Inspiring stuff.Do you have any exciting projects in the pipeline?Gaining traction with a whole bunch through our Non-profit MAL Foundation, just launched ideas4good.com, and hosting 20 talented pdi youngsters producing a cool new youth magazine LIVE .What is your background (art direction/copywriting)?Failing as a rock musician. Writing wrongs. Thinking of things that can’t be done.Describe the Loeries weekend in one word. Hey?

TOP CREATIVE DIRECTORS ON THE LOERIES

13

MARIANA O’KELLY - OGILVY JHB

What was your best moment of the Loeries?Last year when I could fit into a dress again after hav-ing had my twins two years before.Who do you rate at the Loeries this year?Every agency that has managed to sell great legiti-mate creative work to their clients. What are you currently working on?Perfecting the basic chocolate cake. In a recent fo-cus group, 9 out of 10 people said “yum”.Do you have any exciting projects in the pipeline?I’ve just finished the MKis campaign for MK TV Chan-nel which has been one of the most exciting projects I have worked on so far. I pray there will be more of those coming our way soon.What is your background (art direction/copywriting)?Art Direction Who was your most memorable client?The brave ones. The ones that has a passion for doing things differently.Describe the Loeries weekend in one word#imissmyboys

DEVIN KENNEDY - KING JAMES

What was your best moment of the Loeries?My best moment was a couple of years ago when we won big on Allan Gray for the first time. We’ve been build-ing the brand year by year trying to do better and braver work with every campaign. So it was very gratifying when Beautiful won the Grand Prix and we picked up a few golds across the board on Allan Gray. Winning is always nice but sometimes the most important thing is not the award, but the lesson to be learnt from it. And in this case it’s that, in this game, the rewards aren’t always immedi-ate and the harder you work the luckier you get (Yes I stole that last quote from Gary Player. Sorry Gary.)Who do you rate at the Loeries this year?I don’t know if there’s a piece of work that stands out head and shoulders above the rest like in many previous years so it’s really hard to say. I’ve been asking myself the same question. Who was your most memorable client?About ten years ago we had Mavericks Revue Bar as a client and that was certainly memorable, maybe not for the right reasons. Describe the Loeries weekend in one word.Uh-oh...

PEPE MARAIS- JOE PUBLIC

What was your best moment of the Loeries?Every time our people are rewarded for the great work they pour their hearts into.Who do you rate at the Loeries this year?Anyone whose done work of true substance.What are you currently working on?An awesome new positioning campaign for one of SA’s most iconic brands, Clover.Do you have any exciting projects in the pipeline?We have quite a few on the go for our new client, FoodCorp.What is your background (art direction/copywriting)?Art Direction with an absolute love for writing.Who was your most memorable client?Our first client, Full House. They paid us R800 for their name generation, pay-off line and design. We danced around their boardroom table when they handed us the cheque. Thirteen years later, they are back for a logo evolution. Proof that good work goes a long way.Describe the Loeries weekend in one wordInspirational.

14

LOCATIONS

With so many great things to offer filmmakers South Africa remains a popular shooting destination - however one of the biggest feathers in the lo-cal industry’s cap remains the wide variety of locations we can offer international clients

Dale Bedford of amazing Spaces explained why she thinks we are such

a film-friendly destination, say-ing: “a number of internationals comment on the variety of loca-tions available in South africa. Many films or commercials that appear to be set in the U.S., Eu-rope or even the Saharan dessert have been shot here and these spaces can all be found within an hour or so of each other.

We have private homes with such varied architecture that can appear to be in Ger-many, Tuscany, Provence or even middle america as well as community and public spaces that can pass for Mex-ico or even an airport in the Czech Republic.“

South african locations have doubled up as New York, Lon-don, the Sahara Desert, Brazil and many more, all this with ex-perienced English-speaking crew and a well-established film indus-try means that companies like General electric and BMW have both shot several commercials

here. a National Geographic ad-vert from last year, Live Curious showcased the gorgeous variety of locations to be found in South Africa. Dale concluded: “Pricing

in general needs to stay low, as this keeps us competitive.”

Antoinette from The Loca-tion Corporation said: “South africa will always be one of the

top destinations to shoot in for the simple reason that you can reach such diverse locations and landscapes in less than an hour either way. South africa offers international level production companies, rigging companies, modelling and location compa-nies so we are on the same pro-fessional level as the international film industry.

With regards to the future of the industry and ensuring it re-mains attractive to international clients, Antoinette added: “We can as location companies edu-cate our location owners, on the current budgets the international clients are arriving with and what a realistic competitive price structure would be”

LOCATION, LOCATION, LOCATION

GENERAL INDUSTRYSouth Africa’s film industry seems to be almost recession-proof, and with widespread re-ports in the global media of a second, possibly more serious recession looming, this is good news for the local film industry.

ThE SoUTh african produc-ers The Callsheet spoke to all agree that the ex-

change rate and the status of rebates play a massive role in how the industry has weathered the 2008 recession. They feel these factors will also play a role if the industry is forced to ride out another economic downturn.

David Wicht, the CEo of Film Afrika, believes there are several reasons for the amount of work the local industry is do-ing despite a global slowdown. David points to the obvious

factor of good production val-ues at a reasonable price. Da-vid said: “The skills level across all departments means very few foreign crew travelling to SA which is a big saving, and often a hidden cost in other destinations.”

He added that while the Rand is strong against the Dol-lar it hasn’t strengthened as much against the australian and Canadian Dollar. at the time of going to print, the South african Rand was at over R8 to the $1, a very attractive rate for foreign investors.

The international climate with regards to rebates is also a huge contributing factor, as David pointed out the US has scaled back on rebates on the whole, while our rebate system is relatively simple compared to tax shelter rebates else-where - which are quite com-plex. In addition local co-pro-

ducers have shown ingenuity and worked extraordinarily hard to create film opportuni-ties via the use of treaty co-productions and EU financing.

David concluded: “South africa remains the lowest cost English language film destination in the world, and will continue to be so for the foreseeable future. We need to constantly up our qual-ity and grow our crew base if we’re going to remain a world leader. The rebate is critical to our success, and we need to commend the DTI [Department of Trade and Industry] for their vision and successful implementation.”

Cape Town has a world class studio complex that is attracting a variety of new productions and expands the overall offering of shoot-ing in South africa. locations remain a huge drawcard for

international productions, due to the breathtaking va-riety of locations all within a short distance of each other. a desert landscape can be found within two hour’s drive of a beach or a cityscape in South africa.

Moonlighting Films pro-ducer Genevieve Hofmeyr believes Sa will remain a desir-able destination in the event of another recession. She said: “In a major recession, more than ever, decisions are driven by cost. South africa’s cost of production has remained competitive even in the face of exchange fluctuation and a strengthening Rand. Our costs are reasonable but I believe that what makes us ultimately desirable as a filming destina-tion is that our competitive cost is coupled with great quality and exceptional production value. It is the antithesis of the concept “you get what you pay for” - in South Africa, time and time again the feedback we get is that foreign produc-ers ‘get way MORe than they pay for’. This, I think, keeps us in the game – despite world economic crises.”

Genevieve concluded: “even though there are fewer films made during a time of re-cession, they still need to be made somewhere so as long as we keep our costs down and our quality up, we will stand to participate in a larger piece of a smaller pie.”

Marlow De Mardt, co-own-er of Do Productions, is less optimistic and believes while we have experienced and will

continue to experience the effects of recessions in South Africa, there is much that we can do to counteract the ef-fects of a downturn. Marlow explained: “We’ve seen a fall-off of work and a strong rand hasn’t helped, the indie films we [Do Productions] make are very susceptible to changes in currency.”

She explained that this is due to a variety of factors, namely our geographical dis-tance from partners, the fact that broadcasters are paying less globally. She does believe that the rebates are the best thing that has happened to the industry and says the way they are managed is very ef-ficient and reliable.

Marlow cautioned that South african producers need to be more proactive about networking with international partners. She said: “We need to work harder to establish re-lationships. Times have moved, we need to understand mar-ket needs a lot better before we’re making product, and we need to be more informed. We need to narrow the gap and use a more collaborative approach when we work with our international partners.”

The consensus from the top South african produc-ers we canvassed seems to be that we can weather an-other financial crisis if we’re careful not to let prices get too high and concentrate on researching the needs of international clients.

Kate hodges

IS THE SA FILM INDUSTRY RECESSION-PROOF?

Genevieve hofmeyr

David Wicht

Amazing Spaces

Amazing Spaces Robert Bentley

Live Curious commercial

Marlow De Mardt

15

LATEST NEWSHere’s To Good Times Targets multi-lingual audiencesTHE mini-series, made up of six 45 minute episodes is Eng-lish, Afrikaans and Xhosa with English subtitles and targeted at a young South African audi-ence. It was shot with a Sony EX3 and the filmmakers ex-ploited the handheld shooting style to create a fast-paced style. The young cast and crew, mainly from City Varsity, started shooting in January 2009, and spent the next year shooting around school and work schedules. Another year in post-production means the series has just recently been finished. The dual narrative tells the story of a group of young adults dabbling with crime and a mysterious lo-cal who returns home looking for redemption.

Riaz said: “We wanted to make a show that looked at the pervading culture of vio-lence and recklessness in our youth, and the effects and re-percussions of those attitudes. We also wanted to look at the cost of redemption of those wanting to make amends for those attitudes. We loosely based the story on a lot of real incidents that took place mainly on the Cape Flats.”

How To Steal 2 Million Selected for top US Film FestivalHOW to Steal 2 Million, South Africa director Charlie Vund-la’s compelling debut feature film, has been selected for this year’s Fantastic Fest, the larg-

est genre film festival in the US. The festival runs from 22 - 29 September 2011, in Austin, Texas.

“Fantastic Fest is a hugely popular film festival so this is excellent news for everyone involved in the movie,” says Jeremy Nathan, producer of How to Steal 2 Million. “The fes-tival specialises in horror, fan-tasy, sci-fi, and action movies from all around the world. The organisers aim to choose only the best international films, so their selection is a wonder-ful accolade for How to Steal 2 Million, and especially for Charlie Vundla as this is his first feature film.”

The film tells the story of Jack (Menzi Ngubane), who has spent five long years in jail after being arrested for rob-bery. His partner in crime and best friend Twala (Rapulana Seiphemo) never got caught and Jack never talked. When he is released, Jack decides to go straight. He wants to start a construction business, but after being rejected for a loan he must find another way to get money. An opportunity presents itself when Twala sug-gests they rob a home where the take is worth R2 million. The film also stars Terry Pheto, Hlubi Mboya and John Kani.

According to Helen Kuun, CEO of Indigenous Film Distri-bution, How to Steal 2 Million performed 15% better than Jerusalema did on its opening weekend. “This is most encour-aging. It’s great to see that South African films are becom-ing increasingly popular.”

Animated Feature Zambezia Announces All-Star Voice CastTRIggERFISH Animation Studios and international sales com-pany Cinema Management group (CMg) announced to-day that voice talents Jeremy Suarez, Abigail Breslin – star of Little Miss Sunshine & Rango, Jeff goldblum, Leonard Nimoy of Star Trek fame and Samu-el L. Jackson have joined the voice cast of the 3D animated feature Zambezia. Additional voice talents include Richard E. grant , Jim Cummings and Jenifer Lewis.

Zambezia is South Africa’s first 3D animated feature of this budget and talent cali-

ber and is directed by Wayne Thornley. Executive produc-ers include greg Becker and Claire Becker of Wonderful Works, Mace Neufeld (Invic-tus, The Hunt for Red October), and Edward Noeltner of CMg. Original screenplay was penned by Andrew Cook, An-thony Silverston and Raffaella Delle Donne.

“We couldn’t be more thrilled to have these amaz-ingly talented actors give life to our colorfully animated bird characters in Zambezia,” said executive producer and inter-national sales head Edward Noeltner. “They certainly add-ed a vibrant emotional rich-

ness to the film as well as many laugh out loud moments.”

Both Zambezia and Trig-gerfish’s second 3D animated feature Khumba, the story of a little zebra born with only half its stripes, currently also in production in Cape Town, are being represented for interna-tional sales by Noeltner’s Bev-erly Hills-based CMg. In To-ronto, Noeltner and CMG’s VP Sales and Operations, Dene Anderberg, will be available for meetings in the Filmmakers’ Lounge at the Hyatt Regency.

For more on these and other stories visit www.thecallsheet.co.za

LATEST NEWSGENERAL news from the South African film and commercials industry. You can load your own stories to our website at www.thecallsheet.co.za Bruce Mac Shoots Cerelac SpotBRuCE Mac of the Fabulous Boomtown Boys has become well known for directing com-mercials featuring appealing kids and babies, with his lat-est Cerelac spot being no ex-ception. Shot through Publicis Ghana and currently flighting in over 20 countries, the com-mercial showcases a special bond between mother and baby. The commercial was

shot in sequence, using on-set editing to ensure minimum acting time from the little hero, whilst the 50mm lens spon-taneously captured all the charming moments.

Amazing Spaces Charity Challenge AMAZINg Spaces have taken on an initiative to raise money for a charity they support and have signed up to take part in an iron-distance triathlon called ‘Challenge Cape Town’.The Challenge Series is coming to Cape Town for the first time in November this year. It takes place in cities around the world throughout the year and the organisers have guaran-teed to host one in the Mother

City every year for at least five years. The triathlon consists of a 3.8km swim, a 180km cycle and a 42.2km run. The date has been set for Sunday the 6th of November.

Amazing Spaces will be splitting the course between three and have entered as a team. Julia (MD at Amazing Spaces) will be swimming, Si-mon Raubenheimer (a portfolio manager at Allan gray) will be cycling and Dale (marketing manager at Amazing Spaces) will be running.

The cut-off time is 17 hours and they’re aiming to do it from start to finish in 12. The training involved has already been gruelling and the next two months will be tough. Julia hasn’t swum since school days but says, “This Challenge is the perfect excuse to kill two birds with one stone - getting swim-ming fit again, and more impor-tantly doing something really tangible towards raising money for this great little school. I have to admit the open water scares me somewhat, especially the temperature, but it feels good to be part of something that can make a difference.” Simon is a very experienced cyclist on the other hand who’s doing this cycle as a bit of a warm up the week before his big ‘Wines to Whales’ expedition. Dale has taken to sleeping in com-pression gear and is aiming to

complain about aching knees much less in the future.

They are aiming to get each kilometre sponsored at R100 and are looking for donations. The school that this money will go to is called Simunye and it’s located in gugulethu. This school forms a small part of a much larger vision held by Nadia Lubowski and the A.L. Educational Trust. They’ve de-signed two sponsorship options for you to get involved in the project - be it through one of the options or on a more ca-sual ad-hoc basis. You can ei-ther opt for Title Sponsorship or Journey Sponsorship. For further information, please contact Dale directly.

SABC1’s Generations adopts tapeless technology Generations will be broadcast in a tapeless environment from 19 September 2011, becoming the first television show in South Africa to do so. The popular soapie will no longer utilise the current tape-based VTM Ma-chines and will instead move to a server-based mode of trans-mission which requires no tapes. The SABC is promising this will re-sult in better picture quality for viewers.

The following are some of the recurring transmission prob-lems experienced with the cur-rent tape-based system:• Picture and sound quality

degenerates as the tape is re-played.• Tapes often snap in the mid-dle of broadcast.• Tapes spooling during trans-mission.

The tapeless environment will eliminate such technical problems and thus provide the viewers with a more pleasant viewing experience.

The channel’s aim is to ex-pand the tapeless transmission scenario to cover every single title on our schedule.

“As part of the schedule improvements in October, we are continually looking for ways to improve on the ser-vices we provide to our view-ers. We are excited with the new tapeless technology and the impact it will have on the quality of the material we transmit,” says Vukile Madlala, SABC1 publicity manager.

“The introduction of the new tapeless technology reinforces SABC1 as being the authority when it comes to staying on the cutting edge of local content and delivering it.”

Correction: ARRIVE Alive – Love to Meet You on page 13 of the August 2011 Callsheet in our Loeries con-tenders spread was incorrectly titled, the advert is actually for Drive Dry and therefore should have read: Drive Dry - Love to Meet You.

ONLINE NEWS HIGHLIGHTS

ONLINE NEWS HIGHLIGHTS

Cerelac commercial

Here’s To Good Times

16

17

SHNIT SHORT FILM FESTIVAL BACK IN CAPE TOWN

SHORT FILMS

Shnit, the international film fes-tival devoted to short films is coming to Cape Town for the second time from 5-9 October 2011.

SET to take place in Cape Town’s hippest venues including The Labia The-

atre, The Grand Daddy Hotel and the Rocking The Daisies festival, Shnit is an internation-al shorts festival that showcas-es some of the most creative and cutting-edge short films from around the world.

The Cape Town satellite festival will run concurrently with legs in Berne, Switzerland; Vienna, Austria, Singapore, San Jose, Costa Rica and Co-logne, Germany. The films are selected on the basis of how contemporary, cutting edge

and high-quality they are. This year only 300-odd films were selected from over 4000 en-tries. The programme includes:

• A number of curated film programmes including ani-mated shnit, Shnit experiments, peeping Shnit, queershnit (gay and lesbian), feel good Shnit, six feet under, black and white and more

• The Shnit-OPEN interna-tional competition, in which 80 films compete.

• Specialised local pro-grammes in each host coun-try. In South Africa, this takes the form of the Kaapse Bobo-tie programme, a showcase of the best out-of-competition offerings from South Africa, as well as films by students or film-makers that show great prom-ise in years to come.

• Three international jury awards, an international au-

dience award and individual awards for each host coun-try are presented each year, for prize money totalling over R300,000.

In Cape Town, Shnit will have a presence at the popu-lar Rocking the Daisies music festival as well as at 'play-ground’ venues which will embrace art, music, collabo-ration and expression. Movies will be screened at a variety of venues in town, with the Labia Theatre hosting the bulk of the shorts that make up the festi-val programme. In addition,

Shnit shorts will be screened at Rocking the Daisies 24 hours a day. At Shnit’s Roof-top Lounge at the Grand Daddy Hotel’s Airstream trailer park and at 95 on Hout Street. 95 on Hout will be screening the more ris-que shorts on Friday and Saturday night.

Another intriguing compo-nent of the festival is the Re-altime - Cape of Storms chal-lenge. This exciting challenge will see three Cape Town film-makers creating films inspired by the theme Cape of Storms during the course of the festi-val. The films will be screened on the final night of the fes-tival and a winner will be chosen afterwards.

The international jury will in-clude South African filmmaker Oliver Hermanus (recently a winner at Cannes for Skoon-heid), while the South African jury will be made up of Akin Omotoso, Simon Hansen and Moonyeenn Lee.

The festival will be brack-eted by two special nights the opening night and the awards night at the end of the festival. Both nights will take place at the Labia. Open-ing night will preview the fes-

tival's programme, while at the end of the festival audi-ence and jury prizes will be handed out and the Real-time filmmakers will present their work.

The Cape Town leg of Shnit this year is being organised by Be Phat Motel screenwriter and producer Sean Drum-mond. Sean, who wrote the screenplay for Sweetheart, is very excited about the fes-tival, and what it means for Cape Town.

He said: “It’s a great hon-our to be part of a network representing the future of the film festival - global, interac-tive and collaborative. It’s more than just films - it’s an ex-change of culture, ideas and art. This second year in the Mother City sees our little festi-val growing bigger and better, with more shows, more venues and more local content. It’s a celebration, all about bringing the best of the world’s short cinema to South Africa, to be inspired by and learn from, and to present the best of what South Africa has to offer to the world and to the indus-try and audiences here. Long days and sleepless nights... but thanks to really great support and partners, our small but dedicated team here in Cape Town is pulling out all the stops this time around. Come and support, prepare for an audio-visual feast!”

Shnit’s official partners in-clude: Labia Theatre, Grand Daddy Hotel, 95 on Hout Street, Rocking the Daisies; with sup-port from the Cape Film Com-mission. Co-operation partners are: Be Phat Motel, RKS-Pro-ductions, Sound Events, Digi-cape, Cinemuse, Backsberg Estate Cellars, Grolsch and

Little Big Productions. Re-altime co-operation partners include: Zootee Studios, Priest Post-Production, The Monk, Sound Surgeon Studios and Fugitive VFX.

Presold Tickets are avail-able from the Labia Theatre, and weekend and day passes are available. For more in-formation visit: shnit.org and facebook.com/shnit.org

18

LOERIES PHOTOGRAPHY WINNERS

TECHNOLOGYHosted by All Amber, the Mo-bile entertainment Africa event at the glamourous one and only hotel in Cape town on 23 and 24 August 2011 provided delegates with a host of infor-mation about this constantly evolving industry.

With a raft of inter-esting speakers in-cluding Emma Kaye

from Bozza, Musa Kalenga, Russel Southwood from Bal-ancing Act, Candice Good-man from Mobitainment and Jon Hoehler from Starfish among others.

topics were far-ranging with talks on topics suchas sms gaming and the rise and rise of ebooks, delegates were never given a change to grow bored. the event was smooth-ly run, and the catering from the One and Only and Reu-bens restaurant meant the event was well-attended right through to the end of day two.

At the end of day two an App Circus was held, where several developers present-ed well-researched, well developed apps to an ex-perienced panel and eventu-ally Anna Shongwe’s presen-tation for a mobile game to combat sexual violence was overwhelmingly declared a worthy winner.

Mark Rayner from Multi-choice spoke about tV con-tent for mobile devices, re-vealing that mobile video

makes up two-thirds of the demand for mobile content. Mark pointed out that the changes in technology (larger screens, increased memory capacity) are driving growth in this direction. Fela Oke, the founder of Goldrush Entertain-ment looked at a similar topic, asking questions about the convergence of film, TV and mobile. he assessed whether traditional video formats are viable on the small screen.

Candice from Mobitain-ment discussed the growing interactivity with tV made possible by the growth of mo-bile device ownership. She discussed how brand loyalty is being built through mobile phones, and her revelations about the numbers of mobile phone users in South Africa reinforced the idea that this is very good business for brands.

One of the highlights of day one was the talk by Emma. She discussed mobile filmmaking, looking specifically at how the mobile phone can be a tool for citizen journalism. Emma introduced the room to Bozza, a project which hosts con-tent shot on mobile phones in the townships by people who live there. Following on from Emma was director Aryan Ka-ganof who produced film SMS Sugar Man using only a mobile phone - a Sony Ericsson W900i.

On day two Musa got things off to an energetic start with his talk on market-ing to the youth using mobile devices. Musa was an engag-

ing speaker, and he held the room’s attention while he talk-ed about engaging with your audience in ways that interest them in order to achieve your marketing objectives. Wesley Lynch’s talk on ebooks looked back at how the music industry has been changed by down-loads, and predicted a similar revolution in publishing. his talk prompted an interesting panel discussion at the end of the session where the hot button issue of piracy was discussed.

the afternoon talks were

around the subject of gam-ing on mobile, with a fascinat-ing look at two different ways of building communities from Mxit’s Gavin Marshall and Mo-tribe’s Vincent Maher.

the event provided a wealth of information for del-egates and the speakers were entertaining and passion-ate about their subjects. the speakers at Mobile Entertain-ment Africa were people at the cutting edge of their field, excited to share their work with like-minded people.

Andrew from All Amber said:”Naturally, we’re delighted with how Mobile Entertainment Africa was received – our in-tention is to facilitate business development and we certainly achieved that. But for us as the organisers what we’re most pleased about was the strong appetite for learning about con-tent creation and consumption on mobile devices and the buzz amongst attendees to take this to the next level. Feedback has been outstanding.”

Kate Hodges

MOBILE ENTERTAINMENT AFRICA 2011

PHOTOGRAPHYtHe Loeries photography crafts winners this year included sa-cha Waldman, Huw Morris and david Prior. CoMMUNICAtIoN desIGN: de-sIGN CRAFts - PHotoGRAPHYtitle: INJOZI Carnivale Product: iNJOZi website Medal: Craft CertificatePhotographer: Ross Garrett

PRINt CoMMUNICAtIoN: PRINt & CoLLAteRAL CRAFts - PHo-toGRAPHYtitle: Love To Meet You Product: Brandhouse Drive Dry Medal: Campaign Craft GoldPhotographer: Sacha

Waldman

title: Albino girl Product: the Edgars Shoe Affair Medal: Craft CertificatePhotographer: Sacha Waldman

PRINt CoMMUNICAtIoN: NeWs-PAPeR AdVeRtIsINGtitle: Suburbia Can’t Com-pete Product: National Geographic Kids Magazine Medal: Campaign SilverPhotographer: David Prior

PRINt CoMMUNICAtIoN: PosteRstitle: Love To Meet YouProduct: Brandhouse Drive Dry

Medal: Campaign SilverPhotographer: Sacha Waldman

title: Car PartsProduct: tracker Medal: BronzePhotographer: huw Morris

INteGRAted CAMPAIGN:

title: The Voiceless CampaignProduct: the Zimbabwean newspaperMedal: Campaign GoldPhotographer: Dirk-Jan Visser, James Oatway, Robin ham-mond

the edgars shoe Affair

suburbia Can’t Compete

Mobile entertainment Africa Panel

19

SCRIPTWRITINGScriptwriter Andrew Brittan attended the entertainment Master class in cape town which focused on comedy and Sitcom and took place from 9-15 September 2011.

“We choose to go to the moon in this decade and do the other things, not

because they are easy, but because they are hard.’ John. F Kennedy may just as well have been talking about get-ting a genuinely funny sitcom on television as he was about landing a man on the moon. If that sounds like hyperbole then consider that even the

insanely funny John Cleese and his then wife and co-writer Connie Booth spent six weeks writing each episode of the definitive Fawlty Towers.

This was the sobering and equally heartening word from Humphrey Barclay, veteran British TV producer and lynch-pin of the international enter-tainment Master Class held this September in Cape Town. Sobering because it confirmed that even the greatest talents still sweat over every single line in a script. And heartening be-cause those who’ve tried and found situation comedy such a hard nut to crack now know they share this pain with these true greats.

Because there’s no ‘unified theory of funny’, the week-long master class brought with it a crack squad of top indus-try pros, each considering comedy from another angle. Keri Lewis Brown is an ace in media trends and she profiled the new frontiers of the ever inventive British comedy indus-try including the latest innova-tions from Ricky Gervais and the Little Britain team. In turn it emerged that the Americans look at all that happens in the U.K. and typically ask ‘why do the Brits have to keep on re-inventing the wheel?’ It’s a fair question given American television’s success in creating multiple, syndicated seasons of their own comedies. Their ‘if it ain’t broke don’t fix it’ ap-proach takes a good comic formula of situation and char-acter then puts it through the machine - legions of writers to work on every element of ev-ery script; from storyline and structure to character and dialogue. It obviously works since no one was chaining us to our couches through Sein-feild, Frasier or Will and Grace. They’re funny – bottom line.

Norman A. Kurland should know. As an American agent he has represented the cre-ators and writers of everything from Cheers, to the afore-mentioned Frasier and Will and Grace. At the workshop

he spoke with great authority on what makes for success-ful and enduring comedy; he also championed the writers without whose work no sit-com would ever get out of the starting blocks, going so far as to good naturedly accuse one producer of slavery for his practice of keeping script rates as low as humanly possi-ble. And that was a novelty to the South African scriptwriters on the master class since this country has the shameful dis-tinction of practically no rec-ognized literary agents repre-senting scriptwriters. Zero. In a nation not unknown for mobi-lizing itself in every other sector there remains this glaring area of neglect. Not simply in set-ting a minimum wage but as importantly in securing good rates that reflect the worth of a good script. But who is to blame? The master class asked whether South African scriptwriters will rouse them-selves to get some mighty agent negotiating their rates and selling their talents – or whether they’ll simply revert to type and continue delivering the golden egg whilst finan-cially cutting their own throats, because they love writing any-way.

On the content front, Ger-many’s Christian Munder who is director of development for a major european channel,

looked at women in comedy from Murphy Brown to Sex And The City. Being a psychiatrist too, Mr. Munder analysed how a show like Murphy Brown is as substantial as it is success-ful. i.e. the comedy is rooted in emotional truth, is relevant and therefore endures.

The delegates to this mas-ter class were by no means all local. In fact the split was about two thirds international to one third local; broadcast-ers, writers and producers from europe to Malaysia and South Africa were all here to learn how to recognize comedy’s equivalent of The Right Stuff - then how to develop it from concept to broadcast [putting the guy on the moon].

This meant classes on com-edy of situation versus comedy of jokes and invaluable pitch-ing sessions where the expert panel actually explained their reactions instead of simply announcing ‘we’ll call you’. What constitutes a copyright-able idea or format? Which of these ideas go on to make money? What is funny to a 12 year old? All were addressed. There was even a wonderfully approachable and insightful local commissioning editor in attendance. Which suggested anything is possible.

Andrew Brittan

ENTERTAINMENT MASTER CLASSDeLeGAteS from the entertain-ment Master class which took place in cape town from 9-15 September 2011 were treated to a delicious dinner at 1800 de-gree restaurant at cape royale.

The dinner was organised by ten students currently study-ing events management

at Cape Peninsula University of Technology (CPUT), on be-half of eMC, Waterfront Studios and Film & event Media. Guests were treated to a specially designed menu.

F.I.L.M was the nominated association that the ten CPUT students supported in these events. And The National Film and Video Foundation (NFVF) kindly took headline sponsor-ship and support for this very educational and informative event that supports growth for the film and event industry. A big thank you to SHeN who kept the guests very entertained and got them dancing. This was the perfect send off to the eMC in-ternational delegates.

There were speeches by Juan-Claude Humphreys and Lance Gibbons from Film and event Media as well as by Seton Bailey from F.I.L.M.

A special thank you to all our sponsors for the event: entertain-ment Masterclass (eMC), NFVF, Victoria Junction Hotel, Cape Royale, Superior Vision and Value Logistics.

ENTERTAINMENT MASTER CLASS GALA DINNER

EMC: COMEDY AND SITCOM MODULE

eMc participants

20

21

INDUSTRY EVENTS

FILM & Event Media’s August monthly wrap party, on 25 August 2011 at the Taj Hotel, was a huge success as guests networked in the swanky Mint restaurant.

THE fi ve-star Taj, situated in Wale Street at the entrance to St George’s Mall opened

their doors to networkers who were welcomed with a delicious glass of wines and the strains of piano - played by a pianist in the corner of the lobby.

The well-attended event took place in The Mint, a gorgeously appointed restaurant that opens onto the Mall. Delicious cana-pés and snacks were circulated through the room for much of the evening.

Adstream South Africa MD Mike Smit and Loeries CEO An-drew Human addressed the crowd made up of fi lm and ad-vertising industry. Andrew pre-miered the Loeries music video, much to the crowd’s delight. We would like to thank all our sponsors: Adstream, Royale International; Croydon Wines; Panalux; Cape Film Commission and Superior Vi-sion and all the attendees who helped make this function such a successful one.

Our next wrap party will be at Grinder Films on 27 October 2011.

Visit our Facebook page to see the full gallery. Neil du Toit and Alexis Roberts

INDUSTRY EVENTS

FILM and Event Media held another successful Johannes-burg wrap party at Randlords - a gorgeous venue that looks out over the City of Gold’s skyline. The event took place on Friday 9 September 2011.

JAMESON Irish Whiskey wel-comed guests with a whis-key Mojito and made sure

the Jozi crowd had a generous supply of their favourite drink throughout the course of the evening. Randlords provided a great spread with a selec-tion of cheeses and delicious cold meats as well as tapas.

Our sponsors for the even-ing were Jameson and Ad-stream, and guests listended to speeches from Trevor La-timer from Randlords, Mike Smit from Adstream and Lo-eries CEO Andrew Human. With Andrew speaking it was no surprise that the advertis-ing agencies in the capital turned out to the function in full force.

Our Randlords function was a great success, with guests dancing to the beats from the DJ, and attracting the largest number of guests we’ve had at a networking function out-side of Cape Town. A huge thank you to all who attend-ed the event as well as to our amazing sponsors.

Our next Joburg wrap party will take place at Shine Studios on 3 November 2011.

Visit Facebook to see the full gallery.

JOZI WRAP PARTY AT RANDLORDS

Jade Hughes, Nicky Scheepers and Hillary Greve

Michelle Barrett, Carrie Barret, Holly and Yvonne

Daniel Adidwa, Iris Qacha, Olivia Kumalo and Bongani Mbatha

Candice McGee and Heidi Davis Dale Bedford and Ray Burgess

MONTHLY WRAP PARTY AT THE TAJ

Rutendo Mtutu and friends

Dawid Minnie and Mallory Ferguson Christine Metcalf and Mike Smit

Gys Styn and Martin Biddulph

Mike Smit, Adeesha Ramprith and Nathan WilliamsRudi van Schalkwyk and Anton Katz

Morris Ketwa Jo Schuter, Brent and Lauren Esch

Andrew Human

The view from Randlords

Helga Nefdt and Carla Allen

22

JOBS & OPPORTUNITIESWHY POVERTY SHORT FILMS CALL FOR SUBMISSIONSSTEPS are looking for short fi lm ideas of between one and fi ve minutes long. The shorts will be used on the web and broad-cast supporting their eight full length fi lms that are in produc-tion. as part of its cross media project WHY POVERTY. The short fi lms should challenge the preconceptions about poverty, provoke discussion and action. Thousands of fi lms have been made about pov-erty, but STEPS are looking for fresh ideas that will be unfor-gettable. As the shorts will be used to support the program-ming of the long fi lms STEPS are looking for fi lms that deal with

the following themes: mater-nal health, corruption/good governance, food security, charity vs justice, gender, so-lutions to poverty, education, inequality, urban poverty and economic justice. Interested parties must mail an idea for a fi lm in less than 10 lines, with an additional 2-3 line biogra-phy to brian@steps.co.za with a subject line – WHY POVERTY SHORTS ROUND TWO. For more information visit http://why-poverty.net

PAN AFRICAN FILM FESTIVAL CALL FOR SUBMISSIONSTHE Pan African Film Festival is currently accepting applica-tions for fi lms and videos made

by and/or about people of African descent although fi lm-maker needn’t be of African descent. Films should prefer-ably depict positive and realis-tic images and can be of any genre - drama, comedy, hor-ror, adventure, animation, ro-mance, science fi ction, exper-imental, etc. The PAFF accepts features and shorts; narratives and documentaries.

Deadline to submit fi lms for the Pan African Film Festival 31 October 2011.

$100 FILM FESTIVAL CALL FOR SUBMISSIONS

THE Calgary Society of Inde-pendent Filmmakers is pleased to present the annual $100 Film

Festival from March 1-3, 2012. The festival embodies the spirit of independent fi lmmaking and brings the experience of projected celluloid to our au-dience by only screening fi lm prints. It is the only competi-tive festival in Canada that screens exclusively on Super 8 and 16mm fi lm. The $100 Film Festival does not charge any entrance fees and pays artist honorariums for all fi lms select-ed for the festival. The select-ed fi lms will also be eligible for festival prizes.

Deadline for Entries 1 Decem-ber 2011. For more information visit www.100dollarfi lmfestival.org

UPCOMING FEATURESTroye Sivan with the cast of Spud at the Cape Town premiereOCTOBER

MIPCOM Content Market 3-6 October, Cannes, France

Eco Kids Film Initiative 3-7 October, Cape Town

Aardklop National Arts Festival 4-8 October, Potchefstroom,

North West Province

New York Showbiz Expo5 October, New York, USA

shnit International Short Film Festival

5-9 October, Cape Town

Chicago International Film Festival 6-20 October, Chicago, USA

Wildlife Film Academy 9 October-8 November, Longkloof

Studios, Cape Town

Digital Content Monetisation East 11-13 October, New York USA

Photo & Film Expo13-16 October, Coca~Cola

Dome, Johannesburg

Abu Dhabi Film Festival 13-22 October, Abu Dhabi, UAE

A State of Violence14 October, cinemas

Kenya International Film Festival21-31 October, Nairobi, Nakuru,

Kisumu, Mombasa, Eldoret, Kenya

South African Horrorfest Film 26 October-4 November, Labia,

Cape Town

Promax/BDA Africa 2011 28 October, Sandton,

Johannesburg

DIARISE

unearthed is a documentary being fi lmed in South Africa investigating possible hydraulic fracturing ‘fracking’ for natural gas in South Africa.State of Violence starring Fana Mokoena and Neo Ntlatleng

23

2012 SONY WORLD PHOTOG-RAPHY AWARDS CALL FOR EN-TRIESTHE World Photography Or-ganisation is calling for entries for the Sony World Photogra-phy Awards 2012. The Sony World Photography Awards is the world’s most comprehen-sive photography competi-tion. It includes a Professional competition, which invites entries from the world’s lead-ing photographers and ‘seri-ous enthusiasts’, and an Open competition for everyone with an interest in photography.

Each competition has been refreshed with new cat-egories for 2012. For a full list of categories, please visit the

website. A new Youth compe-tition has been launched for younger photographers under 20 years of age and the Stu-dent Focus competition will continue to support and con-nect the next generation of photography pros.

Entries for the 2012 Sony World Photography Awards close on 4 January 2012. The winner of the L’Iris D’Or Sony World Photography Awards Photographer of the Year Award will be presented with $25,000 (USD) plus Sony digital SLR camera equip-ment. The overall Open com-petition winner will receive $5,000 plus Sony digital SLR camera equipment.

For more information please visit www.worldphoto.org.

FILM TRAVEL AND TOURISM VENUES AND EVENTSSATFA gets a great number of requests from travel and tour-ism product owners who needs new videos. Register at SATFA to get a copy of these re-quests. The goal of the South-ern Africa Travel and Tour-ism Film & Video Awards is to provide a showcase for travel products and artwork to as wide an audience as possible. This is done via the opportunity offered by public screenings on the Internet and top class shopping malls.

The best fi lms and videos will be shown at popular Ster Kinekor, NuMetro and Avalon cinemas countrywide. And some of the best fi lms and videos will make it to tradi-tional television broadcasters. The very best will be entered at international fi lm festivals. hotels, B&B’s, guest houses, game lodges, holiday resorts, caravan parks, hiking routes, etc are all welcome to enter their videos.

For more information visit http://www.satfa.co.za or email tvreporter@satfa.co.za

Charl Fourie

NOVEMBERAmerican Film Market

2-9 November, Santa Monica, California, USA

Leeds International Film Festival 3-20 November, Leeds, West

Yorkshire, England

AfricaCom Conference and Expo 9-10 November, CTICC,

Cape Town

Stockholm International Film Festival

9-20 November, Stockholm, Sweden

Audio Video Appliance Expo 10-13 November, Johannesburg

Out in Africa Gay amd Lesbian Film Festival

11-12 November, Ermelo, South Africa

Tokyo Filmex International Film Festival

19-27 November, Tokyo, Japan

Landau International Film Festival 21-26 November, Landau,

Germany

M-Net Vuka! AwardsNovember, Theatre on Track

Kyalami, Gauteng

Platteland25 November, cinemas

For more, visit www.thecallsheet.co.za/diarise

Compiled by Charl Fourie

DIARISE

Humphrey Barclay speaking to delegates at the Entertainment Master Class held in Cape Town.

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OCTOBER ISSUE

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David Hasselhoff and Patricia de Lille at the 2011 Loerie Awards.