The Callsheet Issue 1 - 2020

ISSUE 01 | 2020

+ TOP STUDIOS IN SA

Your 2020 Guide to Studios and Sound Stages

+ EAR BENDING AUDIO SPACES Enter the World of Sound Studios and Audio Post-Production

+ GETTING SCHOOLED IN FILM The Lowdown on Formal Film Education

REIMAGINE YOUR CONTENT

Language, Audio & Access Services

www.contentlab.org

CONTENTS / 01

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02. Why You Should Join The Pact

06 10 14 28

04. Industry Snapshot

FILM FORECAST 2020 Katie Reynolds-Da Silva find out what lies ahead for our industry.

06. Film Forecast:

What to Expect in 2020

10. SA’s Superb Studios 14. Audio Spaces:

SOUTH AFRICA’S STUDIOSCAPES

Journey with us through the world of South African studios.

Soundbites From SA’s Top Studios

20. Getting Schooled in Film

27. Irish Macleod

celebrates 20 years in the industry

28. Location Spotlight

EAR BENDING AUDIO SPACES

Lesley Marchant beckons her ear to the sound engineers who are raising the bar.

on Drakenstein

30. SAFTAs call

for Nominations

31. Aya provides insight into micro-budget productions

32. Major Studios in South Africa

SHOOT IN DRAKENSTEIN We explore what Drakenstein has to offer the film industry.

33. Audio Spaces in South Africa

34. Directory of Advertisers

02 / SPOTLIGHT

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JOIN THE PACT TODAY! New Pact paves way for global action on climate emergency in film and media industry.

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n international movement driving collaboration around shared climate goals for companies and organisations in the creative industries was launched in time for COP25 in December 2019, after consultation with more than 50 stakeholders in 10 countries – including South Africa. The Creative Industries Pact for Sustainable Action (known as the ‘Pact’ in short) has been acknowledged and shared by the United Nations’ Sustainable Development Goals (SDGs) Knowledge Hub as well as it’s Connect4Climate’s (CFC) Film4Climate group. “This is needed now more than ever to help those who will inherit the planet build a livable future for themselves,” says Senior C4C Adviser Francis Dobbs.

WrapZERO, a local consultancy focused on sustainability in film and media production, contributed to the development of the Pact.

WrapZERO teamed up with Callsheet to do a local launch to encourage South African companies and organisations to support the Pact.

As a voluntary pledge aimed at film studios, production companies, service providers, film schools and industry organisations of all sizes, the Pact was developed to build collective action to reduce negative impacts and accelerate a cultural shift toward sustainability.

Signatories commit to support actions that limit carbon emissions, reduce waste and

support local communities, emphasising that such steps will make the creative industries more efficient, innovative and resilient.

“The Pact will be particularly important for popular longhaul film locations such as South Africa to set the scene within an international context, and to connect with like-minded stakeholders in the creative industries across

borders. As early endorsers we appreciate that the Pact requires commitment to real action from its members.

We see it as a way to foster global collaboration in a global industry to solve a global problem that requires immediate and effective local action,” WrapZERO MD Liesl Hattingh said.

The Pact provides a framework in which everyone

in the industry can participate in sustainability by working toward the pledges in their own context while simultaneously creating a way for the industry to work towards common goals, lead with a collective industry voice, and inspire widespread action.

Importantly, the Pact references internationally recognised agreements and scientific, peer-reviewed studies to ensure the industry is aligned with and committed to global environmental goals outlined by the Intergovernmental Panel on Climate Change (IPCC), World Bank, Organisation for Economic Co-operation and Development (OECD), United Nations Sustainable Development Goals (SDGs), and Paris Agreement under the United Nations Framework Convention on Climate Change (UNFCCC).

New signatories can endorse via a simple process on the Pact website, which also includes practical ideas of how to work towards the Pact’s goals and objectives.

For local resources also visit www.wrapzero.co.za

SIGNATORIES COMMIT TO SUPPORT ACTIONS THAT LIMIT CARBON EMISSIONS, REDUCE WASTE AND SUPPORT LOCAL COMMUNITIES, EMPHASISING THAT SUCH STEPS WILL MAKE THE CREATIVE INDUSTRIES MORE EFFICIENT, INNOVATIVE AND RESILIENT.

Our expertly designed and refurbished studios provide the space and amenities to meet your needs.

From still photography to moving image projects, we know studio hire.

Gold Island Studios 79 Reedbuck Crescent, Corporate Park Old Pretoria Road, Midrand, South Africa (+27) 011 314 5700

Cape Island Studios Milnerton Business Park, Koeberg Road Milnerton, 7435 Cape Town, South Africa (+27) 021 529 4210 @Island_Studios

@IslandStudiosStages

www.islandstudios.net

04 / INDUSTRY SNAPSHOT

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INDUSTRY SNAPSHOT We dig into the hot topics in the local animation, film production, festival and distribution industries.

Lithapo

May’s Kitchen © TAC Studios

FILM AND TV PRODUCTION

FESTIVALS AND RELEASES

SABC 2 LAUNCHES NEW TELENOVELA

INDIGENOUS FILMS ANNOUNCES 2020 RELEASES

Telenovelas continue unabated on SABC 2 and the month of January sees the premiere of a new one called Lithapo (Ties That Bind), which premiered on 13 January 2020. The show is produced by Quizzical Pictures and follows a young man on a quest to find his father.

Filming on Lithapo began in early October on location in QwaQwa and continues in Johannesburg.

“Telling a Sesotho story in a saturated telenovela market, we chose to tackle issues around class, sexuality, land and race head-on in the hopes that audiences would find the issues relevant, and the show entertaining, especially across the magnificent backdrop that is QwaQwa,” says Siphiwe Hlabangane, Producer at Quizzical Pictures.

Lithapo airs on Monday nights at 9:30pm on SABC 2.

2020 looks set to be another bumper year for homegrown cinema, with Indigenous Film Distribution announcing a slate of must-see local films to be released in coming months.

First is Jahmil XT Qubeka’s Knuckle City on 28 Feburary, followed by Jozua Malherbe’s Griekwastad on 27 March.

Then, Jenna Bass’s runaway TIFF hit Flatland will have its cinematic release on 10 April.

Quirky comedy Seriously Single

by Burnt Onion will release on 1 May, while The Tree, directed

by Louw Venter, opens on 28 August. Also releasing in August is The Fragile King, followed by New Material on 1 October – the much-anticipated sequel to Riaad Moosa’s Material.

YOUNG TALENT SHINES AT FILM FEST The graduates of M-Net’s

Magic in Motion internship programme and MultiChoice Talent Factory’s Academies shone bright at last year’s Joburg Film Festival, which took place from 19-24 November. Magic in Motion films Themba Lam, Moratuwa, Umqhele, Unkosikazi Wokuqala, Magenge and Isipho Sothando, as well as MultiChoice Talent Factory’s East Africa Academy films Promises and Ensulo; MTF West Africa’s Life of Bim and Dreamchaser and MTF Southern Africa’s Savannah Skies and The Painting were screened at the dedicated structure on Nelson Mandela Square in Sandton and at Kings Theatre in Alexandra.

“We’re immensely proud of our MiM and MTF graduates and the work they produce – these really are the next generation of African storytellers and their work deserves to shine at a festival like the JFF,” says MultiChoice Group Executive of Corporate Affairs, Joe Heshu.

CREATIVE PRODUCER INDABA SUBMISSIONS STILL OPEN! The Creative Producer Indaba is an offshoot of the successful Realness Residency, with both now operating under the banner of Realness Institute. The year-long professional programme will bring together 15 participants to develop the capacity of producers in Africa. It is presented in partnership with EAVE, International Film Festival Rotterdam’s IFFR Pro and Sundance Institute.

The call for submissions for both Realness Residency and Creative Producer Indaba opened on 15 November 2019 and close on 31 January 2020.

More information and application forms can be found at realness.institute or submissions@realness.institute.

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MIKE SCOTT CREATES SA’S FIRST 2D MOVIE

The Snail and the Whale is the latest from Triggerfish

TAC STUDIOS AFRICAN SERIES ON THE ROAD TO DISTRIBUTION

The African Channel’s TAC Studios’ brand new unscripted finished series My Design Rules, a home design competition series, and May’s Kitchen, an original cooking series filmed in Egypt, were created with a global aesthetic for audiences both across Africa as well as for North American and UK Pay TV. They come on hot on the heels of other recent productions from TAC Studios including Africa on a Plate, Minjiba Entertains, and World Wide Nate, which have successfully been distributed to platforms in Africa as well as globally.

Narendra Reddy, General Manager of The Africa Channel adds, “Our finished and indevelopment originals stands testament to our commitment to building and investing in talent to foster quality and excellence in media production on the continent. We anticipate engaging with local broadcast networks seeking finished shows and investment in pre-sales in content that is uniquely African with an international production aesthetic.”

Bru & Boegie - The Movie

preliminary research results on the level of transformation of the animation industry.

The results form part of an on-going research study on the absorption rate in the sector and has revealed that the professional landscape is still dominated by white males with white females a running second. This gap gives Animation SA an opportunity to direct development efforts towards black participation, more especially for black females.

The study also indicates that the majority of animation professionals are based in Gauteng, followed by the Western Cape and KZN. There are no animation professionals in the Eastern Cape, Free State, Northern Cape and the North West.

The organisation held subsequent industry

ANIMATION UPDATE ANIMATION INDUSTRY LACKS IN TRANSFORMATION On 20 November 2019, Animation SA unveiled

The Real Housewives of Johannesburg

workshops in Cape Town, Durban and Johannesburg during the month of December in order to share the research findings and engage directly with stakeholders.

ZOG NOMINATED FOR TWO ANNIES

Congratulationss to Triggerfish and the team behind Zog for receiving two Annie nominations in 2019. The adaptation of Julia Donaldson’s children’s book, the fourth collaboration between Triggerfish and UKbased Magic Light Pictures, received nominations in the Best Special Production and Best Storyboard categories.

The team has also just completed an adaptation of Julia Donaldson’s The Snail and the Whale, which premiered on BBC1 over Christmas.

Building on the success of his short film Bru & Boegie, Mike Scott continues this quirky pair’s adventures in SA’s first 2D animated feature, Bru & Boegie: The Movie.

“I was in the middle of production of Bru & Boegie – Freelance Mountain and I had the idea…,” Mike explains, “I told my buddy James Wolfaardt the idea, and he thought it was great and kept encouraging me to make it.

So, I started writing a script.”

You can watch the whole movie on YouTube, and in true Scott fashion, it’s rather tongue in cheek. “Apart from anything, I’m stoked to feature a project with so much meditation!”

SHOWMAX’S MOST WATCHED SHOWS Showmax has been growing its local film and television streaming portfolio since its launch just a few years ago, and to great success. Now operating under the MultiChoice banner, shows like Tali’s Wedding Diary and The Girl From St Agnes made waves in 2018/2019.

But the most binged show during the festive season was quite the surprise – The Real Housewives of Johannesburg! Here’s a look at the South African productions that were streamed the most in December 2019: • Trackers • The Real Housewives of Johannesburg • Being Bonang • The River • The Queen • Die Spreeus • Die Byl • The Girl From St Agnes • The Bachelor SA • Boer Soek ‘n Vrou

06 / FILM FORECAST 2020

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FILM FORECAST 2020 Leading entities in film promotion share their insights about the year ahead, their core strategies, and the roadmap towards a stronger film industry.

Uzalo

KWAZULU-NATAL FILM COMMISSION

KwaZulu-Natal Film Commission has been marketing the province over the past five years in key market segments that either have co-productions treaties, African diaspora, a consumer base for KZN content or possible skills exchange programmes.

Great achievements have been made in Nigeria, Kenya and the UK, where seven co-productions have been concluded. The building of relationships takes time and the future markets being targeted are to further strengthen its existing relationships in the African markets (Nigeria, Kenya, Tanzania, and Burkina Faso).

Research projections are that the African population will reach four billion by 2023 making it the third largest of the world’s population, of which the majority will be youth. The focus therefore for entertainment industry in the coming years will be on the African continent. There

Imbewu

have been significant strides in improving the technological connections making it easier for the entertainment industry to be accessible to the audiences.

For the diaspora market, through KZNFC’s attendance of international markets and festivals, the team has learnt that there is a huge appetite for content from the African continent, in particular South African content. They will also be present at various markets and location expos in Canada, UK and America.

The promotion efforts include hosting incoming delegates through familiarisation tours which allows foreign filmmakers to experience what the province of KZN has to offer as well as engage with possible local partners. Two to three delegations are hosted during the year – with emphasis placed on Durban International Film Festival. The other key area is hosting South African production companies outside KZN who are not familiar with the vast locations available in

THE OTHER KEY AREA IS HOSTING SOUTH AFRICAN PRODUCTION COMPANIES OUTSIDE KZN WHO ARE NOT FAMILIAR WITH THE VAST LOCATIONS AVAILABLE IN THIS DIVERSE PROVINCE, AS THEIR FUTURE PRODUCTIONS WOULD BE EASIER TO SECURE THAN FOREIGN PRODUCTION COMPANIES.

this diverse province, as their future productions would be easier to secure than foreign production companies.

Research undertaken highlight the need for customised programmes to address the challenges faced by micro budget filmmakers.

The patterns of consumer behaviour in KZN shows a need for made-for-TV content.

A programme was launched this year and eight projects were selected for development and thereafter moving into production. This is done in partnership with the SABC, who will be exhibiting the end products. Mentors have been assigned to these projects to ensure that adequate support is given to the filmmakers. This will continue in 2020 with funding set aside for this purpose.

Fiscal constraints have led to reduction in budgets and KZNFC is therefore actively pursuing partnerships to ensure that there is not a negative impact on our

FILM FORECAST 2020 / 07

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end consumer. This is a clear demonstration that KZN has the talent and is able to produce content that is profitable. Whilst the figures show that KZN has a 10% of the market share, the KZN Film Fund has attracted many productions from Gauteng and Western Cape, the impact of which will be seen in the years to come, especially in terms of the production value spend in KZN. The KZNFC currently has over 180 productions on its portfolio.

The success of Uzalo and the subsequent research on the socio-economic impact of this production has revealed that more skills are now available in KZN compared to five years ago and that the impact of such productions has a broader role to play than economic benefits but enhances the communities within which productions take place. The latest research on student retention revealed that 74% of the graduates that were funded by KZNFC stayed in the province after finishing their studies, an increase from 47% in 2015. Whilst a great improvement, this indicates that more still needs to be done to retain our graduates through increased productions.

Kandasamys - The Wedding

programmes which are critical in supporting filmmakers.

To develop skills, we require accredited training programmes which are currently lacking in SA. KZNFC is therefore investing in university-endorsed programmes in 2020 to ensure that filmmakers acquire the right skills that are recognised by industry as they will talk to the needs of the industry.

Box office research trends for SA content shows that comedy and romantic comedies dominate the sector as reflected in the success of Kandasamys: The Wedding (a proudly KZN production). The sector, is dominated by TV series (such as Uzalo, Generations). This has also been confirmed by the Broadcasting Research Council, which has shown that the local audience is on an

upward trajectory. KwaZuluNatal is already the base of two TV series, Uzalo and Imbewu, which provides sustainable job creation and nurturing of skills.

From a pure revenue earning potential, the commercial industry dominates the market and plays a crucial role in the broadcasting space. The strategy has certainly shifted and the manner in which commercials are developed has changed to one of storytelling rather than a TVC, which provides opportunities for creatives.

The shift in technology and the decreasing costs of data will have an impact on the revenue potential of film going forward as has been seen in other countries.

Kandasamys has been a massive success in the box office, employing local crew and truly understanding their market and

GAUTENG FILM COMMISSION

In the past year, the GFC concentrated on reviewing the work of the last term in preparation for the 2020 -2025 strategy. The GFC made a decision to remain a NonProfit organisation and started interrogating its renumeration costs with the aim to reduce them significantly.

Gauteng MEC for Sport, Arts, Culture and Recreation, Mbali Hlope and the Gauteng Film Commission’s board jointly announced the appointment of Shane Maja as GFC Acting CEO, effective immediately.

Shane Maja is a seasoned arts and culture professional who has over 20 years of experience in the sector. He takes on the role at GFC after serving five years as Senior Manager in the

Gauteng Department of Sport, Arts, Culture and Recreation.

He is currently working on his research report for a Masters Degree in Cultural Policy and Management at WITS University.

GFC has achieved the majority of its strategic objectives and has continued to support the emerging filmmakers. The organisation has reached 20 703 individuals and trained 2 814 individuals in the film industry. However, there is a need to strengthen the positioning of Gauteng as a preferred production destination for high budget productions as these provide highly needed job opportunities across the value chain and contribute to the Gross Geographic Product of Gauteng.

The GFC is currently developing the next Five-Year Strategy, whose purpose is to redefine its role in the industry and ensure that it actively assumes a centre stage in the film value chain in Gauteng. As a result, GFC has prioritised the establishment of two additional film post-production and research facilities within the identified Gauteng regions during the 2019/20 financial year in partnership with the Department of Sport, Art, Culture, and Recreation. This will target and enable young, previously disadvantaged filmmakers to access cuttingedge facilities to complete their projects under the guidance and mentorship of the GFC. The facilities are planned to be established in Diepsloot and within the Women’s Living Monument in Tshwane.

Part of the strategy is to leverage on strategic partnerships due to the expanding mandate for regionalising access to government services. The GFC received an additional R4-million during the adjustment process.

This additional budget assisted GFC in achieving more on their set targets, thus having a presence in major broadcasters.

08 / FILM FORECAST 2020

The GFC participates in the South African Audio-Visual Forum (SAAVF), co-ordinated by the Department of Trade and Industry. The forum comprises of all government departments and national and film agencies mandated to support the audio-visual industry.

Strategic partnerships for co-production, broadcast platforms, content distribution, and skills development will be enhanced to deliver on set objectives in collaboration with industry players and studios.

A number of significant partnerships were supported in 2018/19, in particular with MNET (Mzansi Magic); Trace TV; Black Entertainment Television (BET); and the South African Broadcasting Corporation (SABC 1 and 2) for broadcast and distribution.

Public awareness will be elevated in townships through various campaigns that promote access to GFC’s services and job opportunities within the industry. In the new administration, the GFC will implement the strategy as a critical success factor to deliver on its mandate. It will cultivate, facilitate, and

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Sea Monster is focusing on edutainment in VR, AR and serious games

enhance an environment that allows the audio-visual industry to play a meaningful role in the socio-economic development of Gauteng.

WESGRO FILM AND MEDIA PROMOTION

The Fourth Industrial Revolution requires creativity, and those trained in creativity have future proofed careers.

For example, Triggerfish is doing their third feature film and employ around 160 people.

Sea Monster is focusing on edutainment in VR, AR and serious games, specialising in training for corporates and government - from life skills to business entrepreneurial skills. They can create an engaging story that teaches people

The Garden Route Film Office is delighted in their successes in the region

and grows the economy.

In all, the FILM Cape Town campaign, website, and flattened or zero rates, has helped land more locations work and this season has lots in development.

Africa Halal Week panels included one on Animation with Dianne Makings, Producer at Tulips & Chimneys, and Festival Director of CTIAF, which has grown in leaps and bounds. It will run together with Comic Con Cape Town in May 2010.

Vanessa Sinden, Producer of Mama K at Triggerfish, also spoke on the panel which included international guest, Dr Mohammed Ghazala (ASIFA Vice President). He spoke about the future jobs in animation as he is a professor at EffatKSA and

the Annecy 60 Years of ASIFA special celebration.

Nick Hall, CEO of IESA and founder of Make Games SA, is running Africa Games Week with even more international studios attending. Esports and gaming have more eye balls than live sports, apparently!

GARDEN ROUTE FILM OFFICE

The Garden Route Film Office is delighted that their successes in the region are increasing, including the support of the business community, and are thankful that the Garden Route and Mossel Bay Municipalities have been giving stalwart guidance and even financial encouragement in this past year, enabling the organisation to move forward.

The Garden Route Film Office has signed SLA’s for this coming year with the same municipalities for the same amount of support, which is an encouragement of the highest order.

A key component going forward is also the total commitment of high-powered investors to include the development of professional sound studios with all the latest film equipment in the city of George under the banner of Destiny Africa. The Garden Route Film Office has exercised a leading and pre-dominant role in this development and it augurs well for the future of this region.

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HOT-SWAP MOVIPRO BETWEEN MOVING PLATFORMS

FC Hamman (SASC) explores the possibilities of this development for the film industry.

I

think most Producers these days embrace and understand the latest and greatest development in cutting edge technology and in utilising this knowledge, they enable any creative team to achieve their goals more cost effectively and in the process add a new moving camera look to their filmmaking.

This is where a whole new mindset and skillset, is currently coming into play with various systems like the MoviPro Hot Swappable system that can work continuously every hour of the day, using the camera between various movable platforms.

On just about all the commercial sets that we work on, there is not enough hours in the day to capture all the shots the creative team have on their shotlist. Part of creating great shots is being able to do lots of them in the shortest amount of time possible.

Well known DOP, Trevor Brown (SASC), skilfully operates a MoviPro on set. Hot swappable batteries enable you to work continuously. This same rig, clicks onto a drone in seconds.

IT MAKES TOTAL SENSE TO HAVE A MOVING CAMERA SYSTEM THAT CAN HOT-SWAP BETWEEN PLATFORMS EFFORTLESSLY. THE MOVIPRO IS THE MOST VERSATILE, ADAPTABLE, HIGH PERFORMANCE MOVING CAMERA SYSTEM EVER CREATED, YOU CAN SWING FROM EPIC ALTA DRONE SHOTS TO A FAST MOVING MOTOCRANE, TO A HANDHELD GIMBAL, RUNNING DOWN A NARROW ALLY TO A TORO ELECTRIC CAR CHASING THROUGH TRAFFIC IN SECONDS.

FC Hamman and Barnaby Mitchell partnered in offering this brand new MotoCrane Ultra on a monster Porsche to the film industry. This beast is an insanely feature packed, remote (3,66m) arm that is ahead of its competition.

Therefore it makes total sense to have a moving camera system that can hot-swap between platforms effortlessly. The MoviPro is the most versatile, adaptable, high performance moving camera system ever created, you can swing from epic Alta Drone shots to a fast moving MotoCrane, to a handheld gimbal, running down a narrow ally to a Toro electric car chasing through traffic in seconds.

I believe these amazing tools are coming more and more into play and will, when effectively integrated and utilised, produce more unbelievable cinematic shots.

However, these systems have not been around for that long

and have only been perfected over the last three to four years, enabling us to think more creatively about our shot making.

Creative people who make this mind shift, begin to approach their storytelling in a fresh, intuitive way that envelops the viewer more emotionally. Directors, Directors of Photography and Screenplay Writers who understand and embrace this will start to visualise new possibilities and inspire new ideas in creative storytelling.

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The Bello Studios

SA’S SUPERB STUDIOS South Africa’s studio offering - for feature films, TV series, stills shoots and everything in between - is now on par with the best shooting locations on the planet.

Katie Reynolds-Da Silva reports.

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arge investments from the private and public sectors have ensured that local and international clients have a wealth of studio options available to them, as well as a dedicated team of professionals to ensure every aspect of the production runs smoothly.

While the country has long been renowned for the diversity and adaptability of its natural locations, we now boast a suite

of studio options that keep the clients returning year-on-year.

Unfortunately, some studios have been heavily hit by our national broadcaster’s ongoing financial turmoil, which has wreaked havoc on cashflow, forecasting and has even resulted in the restructuring or closing of some studios. Thankfully, the industry has a steady stream of other local and international clients to focus their efforts on.

NO ROOM AT THE INN Cape Town Film Studios are currently at full capacity with two international features from Los Angeles filming as well as various high-end series - mostly from USA based production companies filming or in prep.

The studios are also hosting two series from European production companies.

“The Sound Stages are always heavily booked, but we are now also experiencing a strong demand for the studio-owned back-lot film sets, ships and film water tanks,” says CEO Nico Dekker.

“We are experiencing heavy bookings for 2020 and 2021 from high-end series as well as features. Most bookings are coming from Los Angeles based companies.”

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SILVERLINE STUDIOS

IN THE HEART OF CAPE TOWN’S WATERFRONT No stranger to large-scale productions, Silverline Studios offers comprehensive studio spaces for film and television.

Dominion S2

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ilverline Studios, a film and television facilities’ company in the heart of Cape Town, is no stranger to big-name internationals. Its recent highlights include: 1. The Trackers series, based on Deon Meyer’s best-selling novel 2. Maze Runner 3. Scorpion King 5 4. Strike Back 5. Dominion 6. Kissing Booth

7. Noughts & Crosses 8. The finale for Survivor South Africa: Island of Secrets Monde Mkhontwana, Silverline Operations Manager, also manages the onsite IT requirements. “We have a Gigabit network which can be expanded to 10 GB, to transfer files internationally, and a wireless network between the offices and all the other locations on site, so you don’t lose connectivity,” she explains.

Ingrid Williams, Silverline Office Manager, is passionate about Silverline. “We have almost 2 500 m2 of studio space, and each studio has dedicated support infrastructure, such as kitchens, make-up rooms, and offices.”

SILVERLINE HAS THREE SOUND STAGES

• Stage 1: 1 142 m2 – which is perfect for big extravaganzas like the Survivor Finales Stages 2 and 3 work perfectly for

game shows, commercials, and drama series’, and this is where the recent Trackers series was filmed: • Stage 2: 840 m2 • Stage 3: 400 m2 The new Battery Park development is right across the road, which provides us with plenty of overflow parking.”

For more information please call +27 (0) 21 409 2000, and ask for Ingrid. www.silverlinestudios.tv/facilities

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With Panalux and Island Studios working together so closely, that connection allows the team to provide an even greater service to their clients so that they can focus on how to use the space and how to light it.

Photograph by Andy Lund

outdoor studio, purpose built to offer you architectural lines and open sky. Paint or customize it any way you like.

• The Lake Houses: Any look is possible from Montana to the Caribbean, Tom Sawyer to Bruce Weber. Fishing, swimming, hiking, partying, nautical or surfer vibes.

• The Farm: 2 900 000m2 of hilly farmland run by a very production-friendly farmer!

FULL-SERVICE IN THE CITY

Studio 26, Cape Town. Photograph by Peter Schreiber

ATLANTIC STUDIOS GOES SILENT All studios are now completely soundproof and have received an updated look and feel.

• Studio Four: Floor area – 500m2, Height – 8m, Access – 15.44m x 3.64m x 7.5m • Studio Seven: Floor area – 465m2, Height – 8m to grid • Studio Eight: Floor area – 465m2, Height – 8m to grid • Studio Nine: Floor area 1200m2, Height – 8m to grid

“There is growing demand from the world’s leading streaming services like Netflix, Amazon, Apple TV, HBO Max and Disney Plus - all in the high-end and high production projects or shows, he adds.

“Long running series are making it difficult for once-off productions to get space at CTFS. So, we are experiencing an upsurge in interest and bookings stretching up to 2022.”

OPTIONS APLENTY Studio 26 was built by Photographer Peter Schreiber to offer three individual and completely different sets.

• The Open Air Studio: An

Island Studios in both Cape Town and Johannesburg offers full-service facility to a number of productions. With a range that spans commercials, music videos, and promotions across a variety of genres this is the type of production we will continue to support. With Panalux and Island Studios working together so closely, that connection allows the team to provide an even greater service to their clients so that they can focus on how to use the space and how to light it.

EXPERIENTIAL OFFERINGS TO BOOST CREATIVITY Bellovista Productions is a creative lifestyle production company working with projects

that have a strong focus on sustainability – this especially means working and supporting local creatives. The team works with a lot of local photographers, stylists and designers who showcase and shoot in house at the studios.

They have recently extended their studio, The Bello Studio, which has become a hub for this type of clientele.

Studio 1 focuses on showcasing sustainable fashion, design and lifestyle, whilst Studio 2 is the working creative studio for the local creative community used by local photographers, stylists, designers, chefs and other creatives. It is a modular space used for photo shoots, pop ups, events, workshops and exhibitions - primary designed as a platform space to develop, create and share their work.

Whilst the studio grows and becomes more flexible to adjust to the ever changing local industry needs, the team is busy in the pre-production stages of its lifestyle division which creates experiences and events for creative personal growth both locally and abroad.

Callsheet Africa readers will receive a discount on studio rental on local projects, just use the promo code #callsheetbello.

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GREENING A FILM STUDIO Studios can support sustainable production processes and practices through both its infrastructure (green building) and services (green facilities management). WrapZero offers some pointers.

Energy As a location, the largest carbon footprint contribution at a studio is most likely energy consumption, which includes electricity and generators.

Negative impact can be reduced by using energy efficient HAVC, lights and appliances.

Switch off when not needed.

Consider the installation of solar PV panels for electricity or solar water heating for hot water, and good insulation.

Water Studios typically have large roof space, which enables rainwater harvesting. Where possible this should be used on site as an alternative to potable (municipal) water. Consider if non-potable water can be used for wet downs or water scenes, or how water can be

Cape Town Film Studios

AS A LOCATION, THE LARGEST CARBON FOOTPRINT CONTRIBUTION AT A STUDIO IS MOST LIKELY ENERGY CONSUMPTION, WHICH INCLUDES ELECTRICITY AND GENERATORS. NEGATIVE IMPACT CAN BE REDUCED BY USING ENERGY EFFICIENT HAVC, LIGHTS AND APPLIANCES. SWITCH OFF WHEN NOT NEEDED. CONSIDER THE INSTALLATION OF SOLAR PV PANELS FOR ELECTRICITY OR SOLAR WATER HEATING FOR HOT WATER, AND GOOD INSULATION.

reused afterwards rather than going to waste. Install water efficient fittings and fixtures.

Waste A lot of waste is created on set and the studio can play a critical support role in effective waste management to reduce the amount sent to landfill. Ensure that there is clear guidance of where each waste stream needs to go, with sufficient space and staff to manage this. Appoint suitable service providers to handle different waste streams, such as recyclables (also for industrial waste), compostables, waste to landfill and hazardous waste.

Monitoring If you can’t measure it, you can’t manage it. Ensure that you have suitable systems in place for sub-metering to allow for accurate reporting to individual productions.

Proactive monitoring helps to identify maintenance issues and guide better standard operating procedures. This needs to include all resources used by a production such as electricity, fuel, water as well as waste per disposal type and method.

Think Like Your Client For a production, transport has a huge impact on the carbon footprint, so consider your

location to ensure that there is suitable accommodation and service providers close to the studio, and that it is easily accessible.

Future-Proof Your Facility Building new studios or doing a refit provide major opportunities to closely integrate passive building design principles and sustainable technologies to support green production practices. Include this the planning from the outset and appoint a team with relevant experience.

More info can be found on www.wrapzero.co.za

14 / RECORDING AND AUDIO POST STUDIOS

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TheWorkRoom, a Cape Town-based post studio, has worked on shows such as Chernobyl (far right) and Warrior (above). Warrior photography by Graham Bartholomew © Cinemax/HBO,

AUDIO SPACES:

SOUNDBITES FROM SA’S TOP STUDIOS When it comes to quality sound at every stage of the production process, South Africa definitely isn’t lacking in audio spaces that deliver every time. By Lesley Marchant

S

outh Africa’s audio studios have had a productive year. With streaming giants like Netflix and HBO showing a keen interest in the South African market for new original programming, and more big-budget local shoots than ever before, many of the top studios have not only expanded their staff, but expanded their offerings.

International and technological trends are ever-changing, and trying to keep up while still delivering at the highest standard is anything but easy. In fact, it’s resulting in some studios altering their business models.

For Produce Sound in Johannesburg, it’s been a big year of change: the company recently relaunched as a full-service audio agency, with a focus on more – and earlier – involvement in the creative process. Louis Enslin, Owner and Creative Director at Produce Sound, says the rebrand is enabling them to create better, more compelling content. As a result, they’ve picked up more international work and several new local clients through referrals.

“Different sound design techniques, file delivery options, immersive audio and even just brainstorming with clients helps

us to refine a project,” says Enslin.

Now, Produce Sound has had projects go from TV execution to radio to podcast, simply because they were able to get involved in the process early on and bounce ideas off other creatives.

TheWorkRoom, a Cape Townbased post studio, has also seen an impressive year of international projects. Director and Production Manager Jenna Lange says 2019 has been considerably busier than previous years. “In the past 12 months, we’ve been given the opportunity to work on wellknown shows such as Chernobyl, Warrior, Raised By Wolves, Doctor Who, Motherland, DC’s Titans

and Black Mirror,” she says.

Pressure Cooker Studios, a Full Service Audio Production House in Cape Town, has been equally busy on projects ranging from feature films (a Syfy reboot of the classic horror flick, Leprechaun) to the Disney XD animated series Supa Strikas to Semblance – Africa’s first-ever game released on the Nintendo Switch console. Clearly, it’s an exciting time. But, as the need for new content, games and media grows, South African post studios are tasked with the difficulty not only of keeping up with international trends, but of staying ahead of the curve in an ever-changing landscape.

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Sound and Motion Studios were the audio supplier of Diprente’s Queen Sono.

STREAMING SERVICES AND SOUND Sound studios in South Africa have been kept busy with a local film industry that’s only growing as streaming services engage in content wars. It’s no secret that global services like Netflix and HBO have their sights set on the South African market, and Showmax continues to produce high-quality original programming.

Post studios are feeling the effects. This past year alone, one of Rhapsody Recording’s biggest jobs was a 65-episode series for Netwerk TV, TheWorkRoom did

sound mixing for Netflix’s Black Mirror, Sound and Motion Studios has been the audio supplier of Queen Sono and Gambit film’s Blood and Water, while Sound Surfers was the audio supplier for M-Net’s runaway hit, Trackers.

Lange says there’s been a definite increase in content creation, which has resulted in an increased demand for TheWorkRoom’s services. James Matthes, owner, composer and producer at Pressure Cooker Studios, agrees that streaming services and the influx of new local programming have had a noticeable impact on the industry.

SOUND STUDIOS IN SOUTH AFRICA HAVE BEEN KEPT BUSY WITH A LOCAL FILM INDUSTRY THAT’S ONLY GROWING AS STREAMING SERVICES ENGAGE IN CONTENT WARS. IT’S NO SECRET THAT GLOBAL SERVICES LIKE NETFLIX AND HBO HAVE THEIR SIGHTS SET ON THE SOUTH AFRICAN MARKET, AND SHOWMAX CONTINUES TO PRODUCE HIGH-QUALITY ORIGINAL PROGRAMMING.

PRODUCTION MUSIC FOR PROFESSIONALS Who are we?

An independent South African music publishing company representing international and local labels.

How does it work?

Visit our website at www.synchromusic.co.za to explore our catalogue of music.

16 / RECORDING AND AUDIO POST STUDIOS

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PRESSURE COOKER OPENS NEW STUDIO After a gruelling 2-year build, Pressure Cooker Studios - a respected music and sound design house specialising in music production for film, television and advertisements - have opened their state of the art facility in the heart of the Cape Town. Home to 12 full time creatives, the facility designed by world-renowned studio designer Martin Pilchner, features two main control rooms which sandwich a main studio proper, a 7.1 post theatre with adjacent ADR booth, five writing rooms and an independent isolation booth. Pressure Cooker have proudly planted a flag in the ground for the local industry with this new home for creativity.

Pressure Cooker Studios’ 7.1 Post Production Theatre (above), and reception entrance (below).

THE KEY TO TRUST? COLLABORATION AND FLEXIBILITY. PRESSURE COOKER STUDIOS REGULARLY MEETS WITH CREATIVES ACROSS INDUSTRIES, AND PRODUCE SOUND’S REBRAND HAS ALLOWED THEM TO PARTNER WITH AN AUSTRALIAN MUSIC HOUSE AND SERVE ON THEIR COMPOSER ROSTER. WITH CONVERSATION AND COMMUNICATION COMES A PROPER UNDERSTANDING OF (AND APPRECIATION FOR) THE CRUCIAL AUDIO SIDE OF MEDIA.

“Not just from the exponential increase in work to be won,” Matthes says, “but also with an awareness towards and standardisation of delivery specifications, production pipelines and studio configurations.”

An increase in work is certainly positive, but it’s also true that streaming giants are very focussed on quantity – and that has the very real possibility of affecting quality. Greg Albert, CEO of Rhapsody Recording in Cape Town, says that in his recent experience, streaming services are expecting a whole lot in very little time. “We can only do what we can do,” he says. “It’s simply not possible to produce highquality sound for a streaming service at a quickened pace, even though that’s effectively what post studios are being asked to do.” And if there’s one thing our local sound industry isn’t willing to compromise on, it’s quality.

Enslin believes our desire for good sound is psychological: “Auditory perceptions can be classified as positive or

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negative,” he explains. “If, for example, the audio quality and execution of a simple radio advert is substandard, the listener’s perception of that brand is automatically low quality and substandard.”

Jim Petrak, the Owner, Producer and Head Engineer at Sound Surfers in Johannesburg, says that quality sound production is a collaborative but lengthy process – something that often isn’t realised. “There’s no easy way to go about it,” he says. “It’s a collaboration between good recorders, good mixers, an excellent sound supervisor and a huge team of specialists with high-end skills.”

When a good sound team consists of at least 10 to 15 highly knowledgeable individuals, and production companies don’t fully comprehend the sheer volume of work required, producing quality audio in South Africa can become a monumental

task on a significantly less monumental budget.

SOUNDING OFF ON THE CHALLENGES South Africa’s studios might make it sound easy, but producing quality audio in South Africa is no small feat. Petrak, Enslin and Lange all cite budget as the major issue. Things are simply getting more expensive.

“All of the equipment we use are produced and sold internationally,” says Lange. “Of course we want to be at the forefront of technology, but, with our exchange rate, overheads are incredibly costly to maintain.”

Surprisingly, ageism within the industry also seems to be an issue. Enslin points out that in other countries, older, more experienced editors, directors, musicians and sound designers would be more sought after, because with seniority comes

expertise. In South Africa, however, the shift seems to be towards working with peers. Of course, this could also indirectly be related to budgets: younger employees simply cost less – but vital knowledge is at risk of being lost.

“There are several excellent technicians who are a lot older, but their knowledge and skillsets haven’t been passed down to new generations,” says Albert.

“It’s entirely possible that three generations of information will be lost, and when that happens, young trainees will lack the skills needed to grow South Africa’s post industry.” And growth is inevitable – in the past 12 months alone, the team at Pressure Cooker Studios has doubled in size to keep up with the demand.

Theoretically, this should be fantastic for our sound studios, but it’s also a reality that brings its own unique struggles. In Matthes’s experience, the biggest

challenge for Pressure Cooker Studios has been trust, with international clients doubting the abilities of the relatively young South African post industry to deliver at the highest level, on time, every time. “The quality of our audio and music is increasing.

The more trust we can build with international clients shooting here, the more work will come to our shores,” he says.

The key to trust?

Collaboration and flexibility.

Pressure Cooker Studios regularly meets with creatives across industries, and Produce Sound’s rebrand has allowed them to partner with an Australian music house and serve on their composer roster. With conversation and communication comes a proper understanding of (and appreciation for) the crucial audio side of media – and moving forward with this knowledge in mind is setting our studios up for a very productive 2020.

18 / GAUTENG FILM COMMISSION

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GFC ON THE UP AND UP Nthabeleng Phora, of the Gauteng Film Commission, shares where the organisation is headed in 2020.

Firstly, tell us briefly about Gauteng Film Commission and what your goals are as an organisation in 2020?

The strategic goals of the GFC were developed as a response to the mandate of Department of Sport, Arts, Culture and Recreation (DSACR), objectives of the (NDP), the revised mandate of the Provincial Government, as well as the key macro and micro environment challenges and strategic issues that the Agency should address.

The overarching aim of the GFC is to cultivate, facilitate and enhance an environment that allows the Creative Industries to play a meaningful role in the socio-economic development of Gauteng.

festivals and market platforms to address industry challenges and identify growth opportunities for the province. These platforms enable the GFC in identifying gaps where transformation is crucial for the growth of the audio-visual sector. Film festivals and markets are also a practical learning platform for filmmakers to understand the international markets and trends of the global perspective and direction of the audio visual industry globally.

THE GFC RESPONSE TO THE OUTCOMES-BASED APPROACH

Programmes support by GFC in the fourth quarter: • The GFC will fund 2 productions, 2 projects for distribution.

• The GFC will support 2

As the creative industries form a lever for promotion of social cohesion and nation building, the GFC contributes to the provincial Outcome 14: “To promote social cohesion and nation building”. The GFC also equally considers its critical and clearly targeted role in support of Outcome 4: “Decent work and inclusive economic growth.”

Which projects will the GFC be focusing on in the first quarter of 2020?

For our financial year, it’s the fourth quarter of the year, where we are heading to the end of the fiscal.

Pretoria’s Union Buildings

audience development initiatives, reaching over 2 000 audiences.

• The GFC will also be launching the in-house research and post production facility. The facility will be available for aspiring and upcoming filmmakers that seek to complete R&D for

•

• • •

•

their projects and also use the editing suites for their pilot projects whilst trying to access funds with various funding bodies.

The GFC will support 4 training initiatives with accredited institutions.

Mentor 5 young filmmakers in this quarter.

Support 4 enterprise development initiatives.

Host public awareness campaigns in the three regions of Gauteng.

Assist with permit facilitation to over 20 productions.

International Film Festivals and markets: • Fund 4 productions, of whom their films are accepted and invited for participation at international film festivals.

The film festivals which will be attended by the young filmmakers are Sundance, Berlin International Film Festival, Kidscreen Summit.

How do festivals and film markets fit into your mandate?

Film festivals and markets form part of the identified priority programmes of the GFC. These assist the GFC to promote its services and projects funded by the entity. GFC uses film GFC will support 2 local film festivals; the RapidLion International Film Festival and Kasi to Kasi Queer Film Festival

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Local film festivals GFC will support 2 local film festivals: we are looking forward to the RapidLion South African International Film Festival and Kasi 2 Kasi Queer Film Festival.

Tell us why you have chosen to partner with these events.

The latter is a celebratory and information sharing session aimed at screening films with LGBTQ+ topics, and documentaries that seek to educate, challenge and reflect the lives of this marginalised community in townships. The purpose is to embody the idea of inclusiveness by stimulating conversation and information sharing on issues affecting but also celebrating the LGBTQ+ community. Kasi 2 Kasi Queer cinema is not just be a space where only queer identifying people meet to discuss films and issues that are important to their community, but it’s a space where parents, families and friends or allies will be provided an opportunity to share and learn through participating in film screenings, workshops and discussions. On the other hand, RapidLion Film Festival premieres the world’s highest number of films by filmmakers who were either born in Africa or are members of the African diaspora, providing a platform for all genres and lengths of films in the different sections; from feature films, to documentaries and short films. There will be films from

the rest of the world through BRICS at RapidLion, which will see films from Brazil, Russia, India, China and South Africa compete for Best of BRICS, and In-The-Spotlight, for which an international cinema great will be invited to showcase a body of work.

The projects promote social cohesion and ensuring synergy and seamless integration within communities, both projects provide cultural exchange locally and with BRICS communities the film festivals play a meaningful role in the socio-economic development and transformation in promoting the audio visual sector of Gauteng.

What are your main goals when partnering these projects, and how much success do you derive from the partnerships, particularly when it comes to marketing local Gauteng-based filmmakers and locations?

The GFC is provided with the opportunity to engage with the industry and share strategic direction for province. We understand the challenges faced by new entrants to professionals during workshops, seminars and discussions. We also use film festivals to market our talent, infrastructure and locations, taking pride in the province’s innovation to attract foreign direct investment to ease the business of film and

BY MARKETING OUR TALENT AND LOCATIONS, THE GFC TAKE PRIDE IN THE PROVINCE’S INNOVATION TO ATTRACT FOREIGN DIRECT INVESTMENT TO EASE THE BUSINESS OF FILM TO REMAIN THE WORLD-CLASS HUB FOR THE FILM AND TELEVISION INDUSTRY.

remain a world-class hub for the film and television industry. With all the GFC-supported projects, we aim to improve our industry professionals, promote facilities and existing infrastructure and ensure content creators are able to produce content that serves the interest of the consumer and using various distribution platforms for easy accessibility.

How can filmmakers take hold of the opportunity to attend festivals with GFC? Film festivals and markets application forms can be accessed on our website.

Applications should be submitted at least 5 – 6 weeks prior to the festival or market.

Any last words, or useful information that readers should know?

The GFC is looking forward to 2020, we will continue to support and promote the audio visual industry hoping for an improved contribution to the

Nan Hua Buddhist Temple

GDP. We are happy with the success of the 2019 supported projects and we look forward to engaging with applicants who wish to access our current and additional programmes which were introduced early this year, namely: Script Development, Enterprise Development as well as the Research and Post Production Hub. GFC will make 2020 a year of good and authentic African storytelling.

CONTACT GAUTENG FILM COMMISSION 35 Rissik Street, Johannesburg, 2108, South Africa Tel: +27 11 833 0409 Email: info@gautengfilm.org.za Web: www.gautengfilm.org.za

20 / EDUCATION

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GETTING SCHOOLED IN FILM These are the prestigious institutions shaping the new generation of South African film professionals. By Lesley Marchant.

AFDA (left and right)

W

ith so many incredible advancements in the film industry every year, there’s never been a better time to study film in South Africa.

More opportunities are available than ever before, and a tertiary education from one of South Africa’s reputable, internationally recognised institutions can be an invaluable asset in a highly competitive industry.

David Brown, Head of Department at AFDA Film School, says industry trends are becoming increasingly difficult to predict because of new technologies, new platforms and the new ways creative professionals work and collaborate. “An education helps future film professionals to navigate the diverse industry landscape, and to be adaptable to other creative opportunities that may come along,” he says.

But studying film is about

more than the degree at the end of it. Jaco van der Merwe, a Film Theory lecturer at Open Window Institute, says valuable relationships are built among like-minded students figuring out the filmmaking and film appreciation processes together. These relationships often lead to lifelong working partnerships. He cites Sean Drummond, Writer/Producer of Five Fingers for Marseilles, as an example. “He recently told our students that most of the people he works with today studied film with him years ago,” van der Merwe says.

The payoffs can be huge, but being a student of film certainly isn’t easy. “It’s a long road,” says Eran Tahor, Film Lecturer in CPUT’s Film Production Programme. “But learners with a degree or diploma enter the workforce with critical, conceptual and theoretical skills – and at any stage of professional

career development, those never lose their value.”

WHAT (AND WHERE) STUDENTS ARE STUDYING

In South Africa, aspiring film professionals have an array of prestigious institutions to choose from: AFDA, CPUT, Open Window Institute, the University of Johannesburg and the University of Cape Town all offer internationally recognised degrees and diplomas in film.

Students who manage to persevere are open to a world of possibilities post-graduation.

Academy of Digital Arts As the digital world becomes more integrated into society as a whole, new avenues for career choices in the film, television and commercial industries are becoming more prevalent. Enter the Academy of Digital Arts.

Founded in 2006, the Academy has grown to offer

higher education in graphics, web, gaming and concept art and offers both short and full-time professional courses for students who wish to enter these fields.

Career opportunities: Graphic design, web design and development, game and interactive media development, and concept art.

AFDA A film student at AFDA works on eight short films in 1st year, another eight in 2nd year, and two in 3rd year, ensuring extensive production experience over the course of a degree, and ample opportunity to collaborate with a cohort of like-minded peers – peers who very often go on to create their own production companies together.

Currently, AFDA offers a degree in Motion Picture

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Open Window Institute (left and right)

where students can specialise in TV Production or Film.

Career opportunities: Writing, directing, producing, sound design, cinematography, data and grading, production design, costume, make-up and styling, music media production and editing.

City Varsity CityVarsity School of Media and Creative Arts is a well-known institution for those in search of higher education courses in a variety of creative fields.

They have a Cape Town and a Braamfontein campus, as well as online course options. The School of Creative arts covers all aspects of film and media production, while the School of Social Sciences and Humanities offers a journalism programme in print and digital media.

Career opportunities: Animation, professional

CityVarsity (from left to right)

photography, sound engineering, film and TV production, multimedia design and production, professional acting for camera, sound and media technology, and motion picture make up.

CPUT The institution’s 3-year Film Production diploma syllabus covers concept development and writing, production (producing, camera and lighting and sound) and post-production. As students advance through the courses, they discover their particular field of interest and focus. A CPUT diploma prepares students to join production companies as assistants in any of these fields immediately after graduation.

Career opportunities: Commercial film production of short fiction films and long-form films, documentaries, corporate

videos, advertising, wedding films, broadcasting and film production service industries.

Open Window Institute At Open Window, the Film Arts School offers eight major subjects: Film and Television, Screen Acting, Production Design, Screenwriting, Sound Design, 3D Animation, Game Design and Motion Design.

Many students elect double majors, and all complete modules across subjects. The institution also offers a fully accredited honours degree, which sets students up to study their master’s anywhere in the world.

Career opportunities: Scriptwriting, cinematography, sound design, 3D animation, motion design, game design, production design and screen acting.

University of Johannesburg The university’s Bachelor of Arts

(Audiovisual Communication) is a holistic overview of the filmmaking process, with equal emphasis on theory and practice. In undergrad, students are required to take the set modules of Communication and Audiovisual Communication for all three years. The institution also offers an honours degree, where studies become more specialised and practical.

Career opportunities: Directing, producing, sound design, cinematography, music media production and editing.

University of Cape Town UCT’s Centre for Film and Media Studies is fast becoming one of the largest departments in the Humanities faculty. The highly specialised Screen Production and Multimedia Production degrees include weekly practical workshops, lab sessions and hands-on experience.

22 / EDUCATION

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UCT Centre for Film & Media Studies (left and right)

Courses focus predominantly on camera, editing, and sound recording and mixing, culminating in the production of a short film and a Senior Research Project.

Career opportunities: Directing, producing, sound design, cinematography, music media production and editing.

IN-SERVICE TRAINING: AS IMPORTANT AS A DEGREE

A tertiary education sets future film professionals up for success, but the significance of practical training can never be disregarded. It’s where young professionals build relationships, put theoretical knowledge to practice and see all the potential job opportunities the industry has to offer. To bridge the gap between theory and practice, it’s imperative for new graduates to spend time on set.

Until last year, Tracey Rollino offered in-service training courses through her T3

Academy of Digital Arts (left and right)

Initiative. “In my experience, if a trainee has a driver’s license, a passion and the want to learn, they will make it in the industry,” she says. And it’s entirely possible to find these traits in young people who are not necessarily film school graduates. These individuals, Rollino says, shouldn’t be turned away at the door.

Seton Bailey, CEO at the SA FILM Academy, agrees that there’s no substitute for hands-on, experiential learning via in-service training – in terms of both occupational skills and interpersonal skills.

“There will always be nuances, tiny details, quirks and idiosyncrasies that ultimately only become evident when you’re on a real, live local or international production with timelines, tensions and budgets,” he says.

Jaco Loubser, an Executive Producer at Homebrew Films, takes 10 to 20 trainees under his wing every year in partnership with the SA FILM

Academy. “It’s a way to offer access and opportunities to young professionals wanting to enter the industry,” he says. And it’s a win-win: trainees are able to learn the ins-and-outs of the industry, and production companies can find new, talented, and hardworking staff to recruit.

THE FUTURE OF FILM STUDY

In a word: bright. Van der Merwe says that moving images and media production and consumption are becoming ever more central to the evolution of culture. “If it’s a question of supply and demand, then you could argue that the audience is hungry for more – and better – moving images,” he says. And that means there’s room for more entrepreneurs and startups.

Tahor and Brown also point out that technological developments are changing the art of filmmaking in real time. “Motion capture and

VR360 storytelling are taking filmmaking to new directions, and film study programmes need to respond to this by developing new courses and space for research,” says Tahor. Brown adds that technological applications are working hard to entice a younger, tech-savvy audience into movie theatres, with some filmmakers trying to integrate the use of mobile phones into the cinema experience (most recently, this was seen on Netflix’s choose-yourown-adventure Black Mirror episode, “Bandersnatch”.)

It’s yet to be seen whether the need for this type of nonlinear storytelling exists, but one thing is clear: industry trends will be determined by the new generation of aspiring filmmakers and consumers, and South Africa’s film schools are up to the challenge of keeping their students at the forefront of filmmaking.

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ACADEMY OF DIGITAL ARTS WE TEACH CREATIVES. Founded in 2006 by a team of very passionate people, Academy of Digital Arts officially opened its doors in 2007. We’re committed to exceptional education standards, and enjoy national and international industry accreditation, as well as recognition as a centre of Higher Education registered with the Department of Higher Education.

Our international network keeps our finger on the pulse of global trends and we constantly update our techniques and technology to keep our students at the forefront of the ever-evolving digital arts.

MEET THE TEAM

FIND YOUR TRIBE. The collective consists of Academy of Digital Arts, a wellestablished, accredited academy in the heart of Cape Town offering formal tertiary education in Graphic Design, Web Design & Development, Game & Interactive Media Development and Concept Art. Short courses focus on graphic design, web design and film editing fields and also includes specialised courses in Concept Art and 3D modelling and Animation. Academy of Digital Arts also offers Customised Professional Training, tailor made training packages from design thinking, graphics and web development, to film editing, gamification technology and more. Loud Rabbits is our creative studio which combines all of the design fields to offer various design elements from marketing material and logos to games and apps, we help brands Make Some Noise!

PART OF A WIDER TRIBE. Kay Toelle Director

Daniel Petley Head of Corporate Training

Andrew Avvakoumides Head of Concept Art

Hannelore Olivier Academic Head

Carla Kirsten Short Course Advisor

Kate Hilson Head of Graphic Design

Higher Education | Accredited Higher Certificates in: Graphic Design | Web Design and Development | Game and Interactive Media Development | Concept Art Short Courses | Part-time evening classes in: Graphic Design (DTP, Photoshop, Indesign, Illustrator) | Web Courses (UX Design, Sketch and UI Design, HTML/CSS and | Responsive and more. | Film Editing Courses (Premiere Pro, After Effects) | Concept Art | 3D Modeling and Animation Photography Workshop Professional Training | Business-to-business training packages tailored to your needs: Design Thinking | Graphics and Web Development | Film Editing | Gamification Technology Loud Rabbits | We create human experiences that connect.

Illustration | Graphic and Web Design | Game Development | App Development

Kerry Hugill Head of Web

Andrew Barclay Head of Game

Jessica Lang Marketing Manager

OUR FRIENDS Academy of Digital Arts Professional creates a uniquely wellrounded educational experience for our delegates.

Sabrina Kopp Head of Short Courses

Tandiwe Sautare Registrar & Finances

SAY HELLO Address: 2nd Floor HAK House, 186A Breë street, Cape Town, 8001 Tel: +27 21 300 0298 | Email: info@ada.ac.za Website: www.ada.ac.za | loudrabbits.co.za | adaprofessional.co.za

• • • •

Media24 Old Mutual Woolworths TTRO.com

• PicknPay Clothing • Iziko Museums of Cape Town • Learning Curve (EOH)

24 / FILM REVIEW

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LES MISÉRABLES IS ANYTHING BUT MUSICAL

A provocative crime drama inspired by the 200-year-old classic by Victor Hugo, Les Misérables takes viewers deep into the world of French gangsterism, says Zubenathi Malothana.

“C

’est moi, la loi!” (I am the law!) screams Chris (Alexis Manenti), signifying his authority in this riveting film. Documentary filmmaker Ladj Ly marks his feature film debut with this provocative crime drama inspired by an

equally provocative novel with the same name written nearly 200 years ago by French author Victor Hugo.

Les Misérables tries to weave in meaning told through the lens of the underclass, connecting the novel published in 1862

through to the initial inspiration – the 2005 Paris riots and told stunning realism in 2019.

Ladj Ly carefully crafts a narrative that questions our assumptions about the city of Paris and the state of French society at large, away from the glitz and glamour of the Eiffel Tower that most are accustomed to. Les Misérables takes the audience to Montfermeil, a community in Eastern Paris and a place rife with gangsterism, lowcost housing and police brutality.

One of the most telling things about the film is how it examines the power structure of the state apparatus and citizenry. Ultimately it seeks to critique the underlying ideas around law and order under this power structure, particularly since it is practiced differently in poor, underprivileged and immigrant communities than in the communities of their more privileged counterparts.

Stéphane (Damien Bonnard) is a policeman who recently joins the Anti-Crime Squad in Montfermeil, along with experienced members Chris (Alexis Manenti) and Gwada (Djebril Zonga). Stéphane soon discovers the ongoing tensions between police, local gangs and people in general, where during an investigation of a missing cub stolen in a local circus, the boy Issa (Issa Perica) allegedly responsible is shot

by Gwada in a frantic chase.

Tensions escalate and the entire

encounter is recorded by a drone, threatening to expose the reality of everyday life in Montfermeil.

The highlight of the film in my opinion, is how Ladj Ly tells the narrative mirroring the setting arrangements of Paris, France. That is, the setting in Paris is arranged like an outside circle coming inward, something that Ladj Ly incorporates in the film by developing the characters far apart from one another, but as each passing act and sequence, the characters connect and intertwine.

The film’s cliff-hanging conclusion just completes a spellbinding cinematic presentation of high emotion, fear, and anger.

Les Misérables will premiere in South African cinemas on 17 January 2020.

LES MISÉRABLES’ ACCOLADES • Les Misérables is the official French entry for the Academy Awards for Best International Feature Film • Best Feature Film and Best Screenplay at Durban International Film Festival 2019 • Won the Jury Prize at the Cannes Film Festival 2019 • Nominated for a Golden Globe for Best Motion Picture Foreign Film

JOIN AFRICA’S PREMIER FILM EVENT

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Africa draws people.

It sparks the imagination. It inspires.

Come and experience the wealth of Africa’s film service industry, from locations and crew to talent and productions.

Sponsorship and exhibitor opportunities are also available.

Showcasing Unmatched Filming Opportunities in Africa

26 / WESGRO

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WESGRO TAKES OFF

TO EUROPE AND THE USA

Wesgro Film and Media Promotion unit will be present at Berlinale and SXSW this quarter.

BERLINALE INTERNATIONAL FILM FESTIVAL

Head of Wesgro’s Film and Media Promotion unit (FMP), Monica Rorvik, will be attending the 70 th annual Berlin International Film Festival, and the European Film Market (20-27 February).

Rorvik will be giving a talk on film-friendliness and tourism in the Western Cape. “Being part of the EFM Landmark platform on film locations for producers and commissions will highlight what our region of South Africa has to offer,” she says.

While the official programme selection for Berlinale will only be announced on 11 February, Big World Cinema and Urucu Media, two proudly Film Cape Town companies, are pleased to have made the cut as part of the 17th Berlinale CoProduction Market selection.

Additionally, three South African companies have made it to the Berlin-based and newly-expanded JETS Co-

Production Project Development Forum, including one project from Cape Town’s very own Pete O’Donoghue, Electric Juju.

For more information about this festival, visit: www.berlinale.de

SXSW

Along with Wesgro’s Leisure Tourism Content Creator and Curator, Robert Peters, FMP Officer, Lisa Mini, will be returning to this year’s South

by South West Trade Show, commonly known as SXSW, in Austin, Texas. The purpose of this outward mission is to stay abreast of new trends in tech, music, film, gaming and interactive media in order to leverage opportunities for the local industry, and to promote Cape Town and the Western Cape globally as a destination for film and media, tourism, trade and investment.

Another notable mention is that six South African artists, including AKA, who hails from Cape Town, have been invited to perform at the SXSW Music

Festival this year. This is a huge win for the South African music scene, as our artists are provided with an opportunity to perform on a global platform and broaden their horizons.

SXSW runs from 13-22 March 2020.

For more information visit: www.sxsw.com

This

is not a buriaL,

iT’s A

resurrection A f i l m by L e m o h a n g J e r e m i a h m o s e s e

ca st i ng by

U r U c U M e d i a p re se nt s “t h i s i s no t a b Ur i a l, i t ’ s a r e s Ur r e c t i o n ” M a r y t wa la M h lo n g o J e r r y M o fo k e n g wa M a k h e t h a M a k h a o la n d e b e le ts e k o M o na h e n g si ph i w e n zi Ma c a i t pa ns e g r o U w a nd M o o ny e e n n le e M Usi c by y U M i ya s h i ta so Und d e si g n by pr e s s U r e c o o k e r s t U d i o s e d i t e d by le M o h a ng J e r e Mi a h Mo sese cina M at o g ra p h y by pi erre d e Vi l l i ers le i la wa lt e r co st U M e d e si g n by na o s e r at i scre e np l ay by le M o h a n g J e r e Mi a h M o s e s e p ro d Uce d by c a i t pa ns e g r o U w a nd eli a s r i bei ro d ire ct e d by l eMo h a ng JereMi a h Mo sese

p ro d Uct i o n d e si g n by

SPOTLIGHT ON THE CAPE TOWN INDUSTRY

Cape Town’s take on Bollywood tells a story about a community’s fight against gentrification when Bhai’s Cafe, a cornerstone of the Wynberg community comes under threat from a ruthless property developer. Bhai and the community unite to square off against the property magnate, but there’s a twist!

Bhai’s daughter and the son of the property developer have fallen in love.

Set to release on Valentine’s Day 2020, the locally produced film by first-time producer Razia Rawoot, Bhai’s Cafe, will be in cinemas nationwide. The film is directed by Maynard Kraak, and stars Mehboob Bawa and Siv Ngesi, whom you may have seen in several local and international films including: Copposites (currently

This Is Not A Burial, This Is A Resurrection premiered at this past Sundance Festival

streaming on Netflix), and Mandela: Long Walk to Freedom.

This is Not A Burial, It’s A Resurrection, saw Lemohang Jeremiah Mosese in his fiction feature directorial debut, and was produced by Cait Pansegrouw and Elias Ribeiro of Urucu Media. It premiered at the Sundance Festival in January.

The film depicts Mary Twala as an elderly woman who leads a resistance movement when her village is threatened with forced resettlement due to the construction of a reservoir, igniting a new will to live for the widow, and the spirit of resilience within her community.

a great place to create Shot on location in Cape Town, Bhai’s Cafe releases in cinemas nationwide on Valentine’s Day 2020

Film banner strip 2017.indd 2

2017/03/07 10:56 AM

SPOTLIGHT / 27

www.thecallsheet.co.za

IRISH MACLEOD CELEBRATES 20 YEARS

Guy MacLeod and Farren van Niekerk, Directors of Irish MacLeod Inc, share their thoughts on their last two decades of serving the local and international film industry.

What have Irish MacLeod’s highlights been over the years?

Although we are a small firm, we punch well above our weight locally and globally and an ongoing highlight (and something we are really proud of) is that Guy is largely regarded as the top film and television lawyer in South Africa. As a result the firm boasts a formidable catalogue of clients as well as over 200 films and TV series. In terms of entertainment, a real feather in our cap is the success of some of the films we have been involved in on the international stage, such as Tsotsi and Invictus garnering Academy Awards.

How was Irish MacLeod founded and when did it begin to specialise in entertainment law?

The firm was founded in 1999.

Guy joined in 2001 as an associate and has been a director of the firm since 2003. Farren joined the firm in 2016. Until 2008 the firm was a general law firm, with a conveyancing, litigation and labour law department until Tony Irish (one of the founding partners) and Guy decided to focus the firm on sport and entertainment. With Tony’s departure to SACA full time, the firm has become even more focussed on entertainment.

As a firm, we have had great joy and seriously fun times. We have also had immense sadness when one of the partners died back in 2007. We are proudly South African and hope to be around for another 20 years at least!

Guy MacLeod(left) and Farren van Niekerk(right)

You’ve worked on some incredible productions – which of these stand out for you as memorable?

It’s hard to know where to start.

Currently we are on movie 206 which is an incredible achievement for any firm anywhere in the world. The most memorable moments are always closing the deals and cracking open that champagne. It sounds crazy, but when a US$50 million plus movie rests on us being able to close the deal, that’s a big moment and

also our favourite moment when we pull it off – often to a massive thanks from our clients. The toughest moments are the counter of the closings; when sometimes years of work with a client just don’t deliver a result. It’s a tough business but we have learnt to be as resilient as our clients.

What are some of the trends you have noticed in this sector to date?

The DTI rebate was a game changer since 2004. It’s a real pity,

IT SOUNDS CRAZY, BUT WHEN A US$50 MILLION PLUS MOVIE RESTS ON US BEING ABLE TO CLOSE THE DEAL, THAT’S A BIG MOMENT AND ALSO OUR FAVOURITE MOMENT WHEN WE PULL IT OFF – OFTEN TO A MASSIVE THANKS FROM OUR CLIENTS.

though, that it has not been embraced as positively as it should be by film producers and we have a real concern that in a few years the rebate will cease to exist as we know it or take on a very different form. While for a long time, the rebate led to an upswing in production both local and foreign, for various reasons we have seen a decline in co-productions and local films, which is a shame because it is these that provide genuine residual value and future opportunities for all South Africans. On the international front, the big films and series will keep coming and why shouldn’t they – South Africa has so much going for it.

At the same time, we have noticed a massive shift in how movies and series are financed.

5 years ago we really had to roll our sleeves up and find ways to finance projects, now everyone wants the Netflix deal. To be fair, the film and television business is in a state of flux.

The problems are global and we share the same financing challenges that our colleagues do throughout the world.

To find out more about their services, visit www.irishmacleod.co.za, or email or call them on info@irishmacleod.co.za or +27 21 462 5151. Read more about Irish MacLeod Inc’s journey on www.thecallsheet.co.za.

28 / LOCATION SPOTLIGHT

www.thecallsheet.co.za

DIVERSE DRAKENSTEIN The Drakenstein Municipality, situated in the Western Cape, is an up and coming film-friendly region with a variety of locations for producers to take advantage of.

Paarl Amphitheatre

L

ocated within the Cape Winelands, Drakenstein Municipality is a little known film destination with much to offer the discerning producer. It has continued to grow its capabilities and offerings in the hopes of becoming a significant player in the international market. The region includes Paarl, Wellington, Gouda, Saron and Simondium, and locations include towering mountains, rolling valleys and rows upon rows of vineyards – not to mention a lovely mixture of architectural styles.

Drakenstein offers a variety of architectural looks.

reserve, and the renowned Paarl Rock. In fact, these locations are some of the most popular in the region. Hidden gems include Bains kloof Mountain Pass, Du Toits kloof Mountain Pass, Drakenstein

Correctional Centre, and Paarl’s unmissable Main Street.

FILMS SHOT IN DRAKENSTEIN

In addition to its variety of locations, Drakenstein’s

public infrastructure stateof-the-art facilities and eminent municipal support come together to create an attractive, productionfriendly destination. During 2018/19, 10 film permits were granted for productions in the region, four of which were commercials or fashion shoots, and six of which were productions. In the past, large-scale productions like

TOP 5 LOCATIONS • Afrikaanse Taalmonument • Paarl Mountain Nature Reserve • Paarl and Wellington Town Halls • Paarl Amphitheatre • Paarl Rock

LOCATIONS OF NOTE

In addition to mountains, vineyards, valleys and lush green vistas, Drakenstein is home to the iconic Afrikaanse Taalmonument, the Paarl Mountain and its nature Drakenstein offers great infrastructure set against scenic backdrops.

LOCATION SPOTLIGHT / 29

www.thecallsheet.co.za

SHOOTING ON LOCATION

Vir Altyd, The Last Face and Of Kings and Prophets have shot in the region. More recently, Drakenstein has welcomed the likes of Dr Who, Origins and Motherland, as well as commercial shoots for the likes of Chevy, Daiken, Lipton, Nestle, Wrigleys and Outsurance.

As with any other Western Cape municipality, when shooting on location, it is important to apply for a film permit several weeks in advance.

This can be done through the Drakenstein Municipality, whose role includes supporting the development of the film sector

in the region, issuing permits, scouting for key municipal and iconic locations, location marketing and enabling policy and creating standards and regulations for film.

The Wesgro Creative Locations guide offers comprehensive information on Drakenstein’s locations and contacts for

CLIMATE Thanks to its proximity to the Western Cape’s coastline, Drakenstein enjoys a Mediterranean climate for the most part, with summer temperatures peaking at around 30-35 °C and winters reaching lows of 5-10 °C. Spring and Autumnal months like September and April are ideal for clear, temperate shoot days.

permit applications across a variety of sectors such as events, police, traffic and more.

This guide can be found on www.wesgro.co.za, while more on Drakenstein can be found on www.drakenstein.gov.za.

USEFUL CONTACTS Community Services: Fire Safety and Disaster Management (Secretary: Events Committee) Lucy Hoyi Tel: +27 21 807 4641 Email: events@ drakenstein.gov.za Community Services: Parks and Recreation: Paarl Mountain Nature Reserve Calvin Petersen Tel: +27 (0)82 355 0461

It offers several great wine estates as locations.

SHINE BRIGHT IN FMG 2020

PRESSURE COOKER STUDIOS

SOUND AND MOTION STUDIOS

Home to 12 full-time creatives, Pressure Cooker Studios is an edgy music and sound design house.

We aim to make everything we touch sound fantastic. Our diverse background in film, television, gaming, and commercial work means we have a wide variety of skills to draw upon.

Multi-award winning post audio studios servicing the South African, African and global audio community since 2002. Final Mix cinema stages in Cape Town and Joburg facilitating Film, TV, dedicated Foley, Sound Design, Score Recording and Sound Editorial. Theatrical, Broadcast and Surround Sound.

2019

The Filmmaker’s Guide to Africa 2020 is a premier marketing tool connecting filmmakers with international and regional producers, ad agencies, and partners. It provides updated information about South Africa and Africa’s film industry. Allow us to connect you with your target audience in our 2020 issue. Book your space early to ensure visiblity.

T: +27 21 674 0646 E: jennifer@filmeventmedia.co.za / nassa@filmeventmedia.co.za Visit thecallsheet.co.za to read our latest issue of fmg.

9th Floor, Thibault House, 2 St. Georges Mall, Cape Town, 8001 T: +27 21 419 4719 E: production@pressurecookerstudios.co.za W: www.pressurecookerstudios.co.za

Cape Town | Johannesburg | Lagos | Dar Es Salaam T: +27 21 461 9862 / +27 11 492 1201 E: info@soundandmotion.co.za W: www.soundandmotion.co.za

30 / AWARDS

www.thecallsheet.co.za

SAFTAS CALL FOR NOMINATIONS A reminder that the annual South African Film and Television Awards (SAFTAs) have opened the call for Discretionary Award Nominations for 2020.

T

he National Film and Video Foundation (NFVF), an agency of the Department of Sports, Arts, and Culture and custodian of the SAFTAs extends a call to the South African film and television industry to nominate nominees for the following awards:

LIFETIME ACHIEVER AWARD

This award is presented to an experienced individual with an extensive and outstanding contribution to South African film and television, both locally and internationally.

YOUTH ACHIEVER AWARD

This award is presented to a young

individual who has demonstrated excellence in their craft.

OUTSTANDING PERSON WITH DISABILITY CONTRIBUTOR AWARD

This award is awarded to a person with a disability who has achieved excellence in the film and television industry.

OUTSTANDING PROVINCIAL CONTRIBUTOR AWARD

This award is awarded to an outstanding individual, group or a particular initiative that has contributed significantly towards developing the film and television industry in the respective province.

EMERGING FILMMAKER AWARD

This award is awarded to a ‘newcomer’ in the film and television industry that is creating or producing brilliant work.

All nominations must include a profile of the person being nominated, a copy of their CV and must be submitted to staceyl@nfvf.co.za by 14 of February 2020.

ABOUT THE SAFTAS

The 14th annual SAFTAs will be taking place in March 2020, with final award ceremony dates still to be announced. NFVF CEO

Makhosazana Khanyile, recently highlighted changes to the entry guidelines, several of which are geared to wards the growing demand for online content such as S-VOD (e.g. Netflix and Showmax). A new category, Entertainment Programme, was also introduced for this year’s awards. It includes quizzes, game shows, talent shows, music shows, music specials, and all general entertainment. Reality Show has also been separated into two categories – Best Competition Reality Show and Best Structured or Docu-Reality Show. More information can be found on (www.nfvf.co.za).

SPOTLIGHT / 31

www.thecallsheet.co.za

AYA PROVIDES INSIGHT INTO MICRO-BUDGET PRODUCTIONS

Local Screenwriter, Director and Producer IndieKhalid shares his experience in making Aya and encourages local filmmakers to follow his lead in micro-budget productions.

T

here’s nothing like the satisfaction of completing a film, but for many filmmakers in South Africa, budgets are always a problem in getting to this point. Enter Khalid El-Jelailati, also known as IndieKhalid, who offers up practical advice straight from his latest film Aya. A story about finding love in the murky world of online dating, Aya has done well on Showmax.

To Khalid, success means delivering high quality cinematic visuals that follow and evolve the brief, while staying within schedule and never breaching the budget ceiling.

His work in the commercial industry has informed how he works. He counts among his clients local and international brands like Nissan, D’usse, Nandos and Unilever.

The local film sector is still in its infancy and doesn’t yet realise the advantages we have that can be used to further our films and the industry as a whole, says Khalid. He uses Aya as a model for micro-budget production – it was shot in three days on less than R100 000. Of course there were challenges, like schedules not lining up and, of course, budget constraints, but the fact that it took 10 days to create from concept to final product is a feat of note. The pressures of pulling this off successfully were huge and, says Khalid, “Because you play so many roles in the production, everyone

looks to you for guidance.”

He adds that despite the challenges, there is a distinct opportunity for South African producers to take hold of the online global market at the moment. Right now, he sees that we don’t really compete internationally, which is sad.

“The world doesn’t look at SA filmmakers to push boundaries and artistry.” Through Aya he hopes to create a model that local filmmakers can follow to complete their productions

despite budgetary issues.

“Start by developing artists,” Khalid says, “everything else will follow.” His philosophy is reminiscent of 80s era hip hop – “Something says I can do this even though it doesn’t exist yet.” He adds that speaking to a specific audience is always better than creating a blanket story that tries to make everyone happy. Calling his idea ‘Mixtape Filmmaking’, he says that even those without cash can

THE LOCAL FILM SECTOR IS STILL IN ITS INFANCY AND DOESN’T YET REALISE THE ADVANTAGES WE HAVE THAT CAN BE USED TO FURTHER OUR FILMS AND THE INDUSTRY AS A WHOLE, SAYS KHALID. HE USES AYA AS A MODEL FOR MICRO-BUDGET PRODUCTION – IT WAS SHOT IN THREE DAYS ON LESS THAN R100 000.

have a sustainable career. And, once a production is complete, filmmakers can build on that.

“You also don’t need to have a big-budget film to pitch globally,” he adds, saying that a R1.5-million production budget will open doors without you having to compromise on your product or be beholden to anyone. Another major asset to our industry is our experience in producing international award-winning commercials.

Mobile filmmaking, too, is lowering the barriers to entry and will ultimately allow the next generation to archive history differently, to develop voices and to make something that doesn’t cost an arm and a leg (but looks great, too).

More on IndieKhalid can be found on www.indiekhalid.com.

32 / STUDIOS AND SOUND STAGES

www.thecallsheet.co.za

MAJOR STUDIO SPACES STUDIO

WEBSITE

STUDIO

WEBSITE

Almost Famous Studio

almost-famous.co.za

Q Studios

q-studios.co.za

Atlantic Film Studios

atlanticstudios.co.za

Fleet Street Studios

fleetstreetstudios.co.za

Atlas Studios

atlasstudios.co.za

Realtime Pictures

realtimepictures.com

Buchanan Studios

buchananstudios.co.za

Red Pepper Pictures

redpepper.tv

Cape Town Film Studios

capetownfilmstudios.co.za

Roeland Street Photo Studio

roelandstreetphotostudio.com

Clive Morris Production Studio

cmproductions.co.za

Rosewater Studios

rosewaterstudios.com

Curve Space

curvespace.co.za

Roodebloem Studios

roodebloemstudios.co.za

Daylight Studio

breestreetstudios.co.za

Salt River Film Studios

saltriverfilmstudios.com

DMC Studio

dmcstudio.co.za

Sasani Studios

sasanistudios.co.za

quizzical.co.za/studio

Shine Studios

shinestudios.co.za

Foghound Studios

foghound.co.za

Silverline Studios

silverlinestudios.tv

FotoMAX

fotomax.co.za

Skyrink Studios

skyrinkstudios.co.za

Garden Route Film Studios

gardenroutefilmstudios.com

Stark Studios

starkfilms.co.za

Global Access

globalaccess.co.za

Studio 26

studio26.co.za

Grinder Films

grinderfilms.com

Studio 9

studio9rental.com

MagnaTude Studios

magnatude.co.za

Telemedia Studios

telemedia.co.za

Media Film Service

mediafilmservice.com

The Bello Studio

bellovistaproductions.com

Mr Georges Creative Studio

mrgeorgesstudio.com

The Media Hive

visuals.tv

Overberg Film Studios

overbergfilmstudios.com

The Production Works

productionworks.co.za

Panalux Studios

panalux.biz

Urban Brew Studios

urbanbrew.co.za

Phoenix Studios

phoenixstudios.co.za

Wembley Studios

wembleystudios.co.za

Photo Hire / Cine Photo Tools

photohire.co.za /cinephototools.com

White Wall Studios

whitewallstudios.co.za

Platinum Studios

platinumstudios.co.za

Zootee Studios

zooteestudios.com

Fleet Street Studios (Quizzical Pictures)

Disclaimer: Due to space constrictions in the Callsheet, we have only listed the major operational studios and audio facilities in SA. If you would like your company included in future, please contact us.

LIBRARIES, RECORDING AND AUDIO POST STUDIOS / 33

www.thecallsheet.co.za

MAJOR AUDIO SPACES STUDIO

WEBSITE

STUDIO

WEBSITE

344 Studios

344.co.za

Popsicle Studios

popsiclestudios.co.za

Arcadia Sound

arcadiasound.com

Postmasters

postmasters.co.za

Audio Militia

audiomilitia.com

Pressure Cooker Studios

pressurecookerstudios.co.za

Backbeat Productions

backbeatproductions.co.za

Produce Sound

produce.co.za

Big Leap

bigleap.co.za

Pulse Music

pulsemusicny.com/cape-town

Bigmouth Studios

bigmouthstudios.co.za

Red Bull

Blue Noise Productions

bluenoise.co.za

Cape Audio College

capeaudiocollege.co.za

Cape Town Sound

capetownsound.com

Content Lab

contentlab.org

Cosher Recording Studios

cosherstudios.co.za

Cut & Paste Generation

cutandpastegeneration.tv

Edible Audio

edibleaudio.co.za

Fine Tune Studios

finetunestudios.com

Freq’ncy Audio and Music

freqncy.co.za

Hello Yes

helloyes.co.za/studio

Hey Papa Legend Sound Studios

heypapalegend.com

Honeymoon Studios

honeymoonstudios.co.za

I’m Ryan

ryanhall.co.za

Insomnia Studios

insomniastudios.co.za

Katalyst Music Productions

redbullmusicstudios.com/ capetown/studio

Refinery

refinery.co.za

Resonate Audio

resonate-audio.com

Rhapsody Recording

rhapsodyrecording.com

SABC Radio Broadcast Facilities (RBF)

sabc.co.za/wps/portal/rbf/home

Sasani Studios

sasani.co.za

Shaw Music Studios

shawmusicstudios.co.za

Sonar Studios

sonarstudios.tv

Sonovision Studios

sonovisionstudios.com

Soundcast Studios

soundcast.co.za

Sound & Motion Studios

soundandmotion.co.za

Sound Surfers

soundsurfers.net

Sound Surgeon Studios

soundsurgeon.co.za

Sterling Sound

sterlingsound.co.za

Stratosphere Sound

stratosphere.co.za

katalyst.co.za

Synchro Music Management

synchromusic.co.za

Madhaus

madhaus.co.za

The Audio Matrix

audiomatrix.co.za

Mama Dance! Music Solutions

mamadance.com

The Audio Room

audioroom.co.za

Mastermax Productions

mastermax.co.za

The Crayon Room

thecrayonroom.com

Milestone Studios

milestones.co.za

The Nut House Recording Studio

nuthouse.co.za

Mother City Audio

mothercityaudio.co.za

The Work Room

theworkroom.co.za

One Big Room Studios

onebigroom.co.za

Tiger Fight

tigerfight.co.za

On-Key Sound Studios

onkeysound.com

Universal Music

umusic.com

Presto Post Productions

prestopost.co.za

Urban Brew Studios

urbanbrew.co.za

Phonographic

phonographic.co.za

Wired Sound Studios

wiredsoundstudios.co.za

34 / DIRECTORY

www.thecallsheet.co.za

DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

EMAIL

WEBSITE

PAGE

Academy of Digital Arts

+27 21 300 0298

jessica@ada.ac.za

www.ada.ac.za

23

Content Lab

+27 21 380 0171

claudia@contentlab.org

www.contentlab.org

INSIDE FRONT COVER

F C Hamman

+27 11 465 2210

info@fchammanfilms.co.za

www.fchammanfilms.co.za

09, OUTSIDE BACK COVER

Irish Macleod

+27 21 462 5151

info@irishmacleod.co.za

www.irishmacleod.co.za

27

Gauteng Film Commission

+27 11 833 0409

info@gautengfilm.org.za

www.gautengfilm.org.za

18-19

Macro Video

+27 12 346 7601

ewiese@worldonline.co.za

www.macrovideo.co.za

INSIDE BACK COVER

Panalux

+27 21 529 4200

michele.starnaud@panalux.co.za

www.panalux.biz

03

Pressure Cooker Studios

+27 82 958 1452

theunis@pressurecookerstudios.co.za

www.pressurecookerstudios.co.za

16, 29

Pro Events

+27 21 425 2170

info@proevents-sa.co.za

www.proevents-sa.co.za

17

Silverline Studios

+27 21 409 2000

info@silverlinestudios.tv

www.silverlinestudios.tv

11

Sound & Motion Studios

+27 21 461 9862

simon@soundandmotion.co.za

www.soundandmotion.co.za

29

Synchro Music Management

+27 83 701 1536

pat@synchromusic.biz

www.synchromusic.co.za

15

Wesgro

+27 21 487 4844

monica@wesgro.co.za

www.wesgro.co.za/film

26

CONTACT US Cover Image: Queen Sono; worked on by Sound Surfers and produced

by Diprente Š Netflix Publishing Editor: Lance Gibbons lance@filmeventmedia.co.za Contributors: Katie Reynolds-Da Silva, Lesley Marchant, Liesl Hattingh Editor: Kim Crowie kim@filmeventmedia.co.za

Head of Design: Sheree Steenkamp sheree@filmeventmedia.co.za Graphic Designer: Liam Abrahams design1@filmeventmedia.co.za

Vector Image Credits: Illustrations used to create Studios Feature headers on pages 10 - 17 Š Vector designed by created by rawpixel. com / Freepik www.freepik.com

Production and Digital: Cindy Jarvis cindy@filmeventmedia.co.za Editorial Assistant: Musawenkosi Gebuza admin@filmeventmedia.co.za Business Development Manager: Jennifer Dianez jennifer@filmeventmedia.co.za

JOIN US

2 Dingle Avenue Kenilworth, 7708 Tel: +27 21 674 0646 www.thecallsheet.co.za DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved. While every effort has been made to ensure the accuracy of the information contained in this publication, The Callsheet and/or its employees may not be held liable or responsible for any act or ommission committed by any person, including a juristic person, referred to in this publication. It and they furthermore accept(s) no responsibility for any liability arising out of any reliance that a reader of this publication places on the contents of this publication.

Based in Cape Town and Johannesburg

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We always strive to help you tell your visual story in the most creative way. Please give me a call... lets talk.

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