Picture Book Media Investor Information Pack by Picture Book Media

INVESTOR’S INFORMATION PACK

INVESTOR DISCLAIMER: Picture Book Media is not advising investors. Advice should be sought from legal and financial professionals experienced with the filmed entertainment industry.

Picture Book Media is a startup enterprise launched in November 2012.

TABLE OF CONTENTS 04

COMPANY PROFILE

THE VALUE NETWORK

42 19

LAUGHING LEOPARD FILMS

OPEN BOX PICTURES

THE 3D FILMED ENTERTAINMENT MARKET

TARGET AUDIENCES

INVESTMENT OPPORTUNITY

A NEW CHAPTER IN FILM Registration no. 2012/189049/07

Picture Book Media is reimagining the filmmaking process in order to succeed in the digital age.

The conditions of the highly competitive motion picture industry are teetering on the point of massive disruption. An opportunity now exists for emerging filmmakers to enter a market that had become impenetrable.

COMPANY PROFILE WHAT IS OUR CORPORATE STRUCTURE?

WHAT MAKES OUR COMPANY DIFFERENT AND UNIQUE?

Picture Book Media (Pty) Ltd is a registered production company in terms of section 14 of the South African Companies Act, 2008. Our holding company has strategic planning authority to solely produce and manage a bundle of films. Our development operations are a part of the company. However, our corporate structure plans to isolate the risk and returns of each film by registering each film as a separate financial entity, also called a Special Purpose Corporate Vehicle (SPCV). Depending on the circumstances, our holding company will own a majority or minority share in our SPCVs. Film financiers may invest in both Picture Book Media and individual film projects.

Picture Book Media aspires to be the nexus between the South African and American film industries. Our Cape Town based production company develops and plans to produce lowto medium-budget 3D and 2D film features in South Africa. An audience-pleasing, entertaining story is the most powerful and essential asset in the motion picture business. Our products, distinguished by original and magical storytelling, will be for sale to global audiences. Our boutique company will also provide a range of services to business clients, in order to become a fulcrum in the industry.

WHAT INTELLECTUAL PROPERTY DOES OUR COMPANY OWN? Picture Book Media currently owns two copyrighted scripts, New World Rising and The Consumers. By the end of 2012, we plan to copyright two more scripts, The 90 Day Rule and The Uninvited Guest. We will continue to complete 4 co-developed scripts and create another 4 scripts for our slate in order to generate revenues in the next 10 years. We plan to protect our production company and investors with nondisclosure, non-compete and employment agreements. 5

From the inception of a story to distribution of the final master copy, Picture Book Media balances artistry with solid business strategies including scenario planning and market-driven execution.

WHAT MAKES OUR MANAGERS UNIQUELY CAPABLE OF EXECUTING OUR BUSINESS PLAN? In our knowledge-based economy, the intellectual capital of management is the key driver of performance. Our three dynamic company directors and shareholders are Picture Book Mediaâ&#x20AC;&#x2122;s greatest assets. Our business acumen, creative contributions and technical experience in the motion picture industry allow us to uniquely define, develop and execute our companyâ&#x20AC;&#x2122;s objectives and retain relationships with talent, production crews, distributors, government, completion guarantors and other media organizations. Moreover, we are capable of reviewing all literary properties, pitching to investors and handling the marketing and branding of our films.

HOW WE PLAN TO EXPAND OUR LABOR FORCE?

Picture Book Media plans to initially outsource our human resource functions to provide administrative relief from many responsibilities such as payroll preparation and income tax reporting. As the company grows, we may hire skilled managers from our value network or advertise via online job search sites. To keep our labor costs under control, we aim to attract, motivate and retain labor with fair compensation, training and bonuses. 6

DIRECTOR OF DEVELOPMENT Gavin Sher is responsible for building, managing and training our development team. He pays close attention to the design of our universal stories.

Gavin Sher has unique expertise in the fields of storytelling and film, gained through seven years of practice and training. In 2007, he broke into the local film industry as an assistant producer at Big World Cinema, one of the few local production companies creating original content. He was trained on the job to perform diverse production assignments for film features, documentaries, TV movies and TV commercials. After Big World Cinema dissolved in 2009, Gavin worked independently on numerous development and production related projects. He partnered with Isa Jacobson and the Jan Vrijman Fund to produce The Last Resort, a documentary on Zimbabwe based on the book of the same name by Douglas Rogers. He then started his career as a script-doctor, director and directing consultant for stage and film. Since 2006 Gavin has written commissioned and spec film features, co-developed TV series and taught screenwriting privately and in workshops. He is currently developing sixteen screenplay and teleplay projects for Picture Book Media. He is exclusively writing five Picture Book Media feature films. Gavin has a BA in Law, History and Philosophy and post-graduate degrees in History and Philosophy from the University of Witwatersrand. Always passionate about film, he began in-depth study into story during his Masters in Philosophy at Rhodes University, which explored the way people are able to learn and grow from fictional stories.

He deepened his knowledge of screenplay and all aspects of the craft and business of film through studies at Vancouver Film School. His mentor in directing films was John Hess, an American Film Institute alumnus and producer of the critically acclaimed Hollywood feature American History X. Gavin has also studied acting through ACT Cape Town and is a full member of the Writer's Guild of South Africa. Gavin's primary focus will be writing and cowriting scripts, script editing, discovering writers and training them. He will read scripts to find projects. He will work with Maha to build marketing elements and product placement into scripts and to systemize the script writing process for Picture Book Film writers. Gavin will work with actors and production partners on script changes and in rehearsals. He will advise, train, support and monitor independent directors during creative planning with the support of Tamryn. Gavin will also rework scripts to accommodate logistical problems and challenges and give support to production managers for the sake of facilitating logistical planning. Gavin will direct films, advise and monitor independent directors on coproduced projects and ensure necessary production related re-writes are complete. When the need arises, he will also fill crew rolls in our low-budget films. Gavin will be mainly responsible for picture editing and assisting and supervising music during post-production. He will also oversee the crediting of sequences, visualizing of effects, VFX and titling.

DIRECTOR OF PRODUCTION Tamryn Speirs is responsible for building and managing our production teams and ensuring the effective execution of our films. Tamryn has also been an on set acting coach for Orbita Max productions and Namib Films. She has presented workshops for South African corporations on presenting and voice skills and directed pieces for corporate theatre. In her secondary role at ACT Cape Town, Tamryn worked as a studio manager where she was primarily responsible for integrated marketing and communications. Tamryn is also increasingly in demand as a freelance casting director. Tamryn is an English Major from UCT. She received her licentiate-teaching diploma from the Trinity College of London and a diploma in acting from the South Africa's Cape Academy of Dramatic Arts and the London Academy of Dramatic Arts. She trained at the AFDA film school in screenwriting, directing, production design and acting for screen. She has been granted Assessor Status by the South African Department of Education. Tamryn has trained in New York at Tvi Studios, attending workshops with leading casting directors for CSI, Law and Order and Guiding Light and at Stellar Adler and Black Nexxus with Susan Batson, one of America's top acting teachers who is the private acting coach to a number of Hollywood's top stars including Nicole Kidman.

Tamryn Speirs is a professional film and theatre actress. She made her debut in the 2004 film Rainbow Warrior and her most recent TV credit was for Penguin's production of Deeltitel Dames for MNET. She was awarded Doris Tansley Cup for best lead actress for her lead role in Noel Coward's Private Lives. She starred in David Hare's Blue Room and in Jean Genet's The Maids, opposite seasoned actresses Denise Newman and Susan Danford. Tamryn has starred in numerous commercials shot locally and abroad and worked as a local presenter, master of ceremony and voice artist. Tamryn is also a professional theatre director who has guided various productions to acclaim from audiences at festivals and in theatres in Cape Town and Johannesburg. She has directed local talents including Colin Moss, Lee-Anne Summers and Chanelle De Jager. Her most recent production, Neil Labutes' Fat Pig, was a crowd favorite and received critical acclaim. She also directed Five Woman Wearing the Same Dress to raise awareness and funds for charities including Street Smart SA. Tamryn has directed students in productions and has co-produced short films in her role as acting mentor at ACT Cape Town. In addition, she co-produced The Maids to raise funds for Dahlia Care Centre, revitalizing the City Hall for theatre performance. Tamryn has 12 years of teaching experience. In her capacity as acting coach at ACT Cape Town, she mentors and teaches rising local talent that have included such standout local performers as Vanessa Haywood (District 9) and Jeanne Neilson (Faith Like Potatoes) to hone their acting talents and has trained presenters for South Africa's SABC and eTV.

Tamryn will co-write scripts. She will work as a casting director in our low budget film features. She will be an acting coach to develop new talent and conduct workshops to develop newly written scripts. She will advise, train, support and monitor independent directors during creative planning in collaboration with Gavin. Tamryn will direct and act in low feature films and advise and monitor independent directors on co-produced projects. She will provide logistical supervision of rehearsals and creative planning. Tamryn will add creative input in the editing process.

DIRECTOR OF DISTRIBUTION Maha Golestaneh is responsible for building, managing and nurturing our business relationships. She will supervise business development and the marketing, branding and distribution of our films. Maha has conducted business in the Western Cape, Gauteng, Mpumalanga and Limpopo for more than eight years and has travelled extensively across Southern and Eastern Africa. She became especially excited about the prospects of film industry in the African continent after she began to co-write The 90 Day Rule with Gavin Sher. Maha completed her BA in Microbiology at the University of Texas at Austin and her MBA from Golden Gate University in San Francisco prior to emigrating to South Africa. She was awarded her PhD in Business Administration by the UCT Graduate School of Business in 2010. Steven M. Burgess, one of the most eminent academics in market research, supervised her doctoral thesis.

Maha Golestaneh has more than a decade of marketing strategy and research experience in South Africa, the United States and the Netherlands. She is a gifted professional in business development, research and statistics. Maha has provided strategic input and improved the competencies of researchers, managers and executives while employed at corporations and government agencies such as TNS RI, Verizon Information Services and The US Peace Corps. As founder of Enter Africa Consulting and Golestaneh Consulting, Maha has helped business clients better understand how consumers behave and what motivates them to buy brands, products and services. British American Tobacco, Viglietti Motors, Eurolux, The Haven Night Shelter, The Desmond Tutu HIV Foundation, UCT departments and Drankenstein and Cape Winelands Municipalities, among many others in South Africa, have commissioned her consulting services. She is also a former Lecturer and Research Supervisor at the UCT Graduate School of Business and the UCT School of Management Studies. She taught Consumer Behavior and Research in Emerging Markets to hundreds of MBA and undergraduate students and supervised countless research studies contracted by global and local companies to her research students. Maha has also published numerous journal articles, books and book chapters on the management of marketing information and the behavior of consumers and organizations within emerging markets.

Maha co-writes scripts, builds marketing elements and puts product placements into scripts. She is responsible for securing brand sponsorship for our feature films, supervising investor proposal and pitch strategies and financial reporting for film financiers. Maha will work with line producers in budgeting of our feature films during logistical planning and also oversee financial components for the business. She will contribute to problem solving production challenges. Maha will predominantly manage the creation, planning and execution of integrated communications and transmedia storytelling and marketing for our feature films. She will be in charge of creating publicity and hype about our film features with local and global publicists. She will oversee sales of our feature films and soundtrack merchandize globally and locally and negotiate with distributors on price points. She will attend film festivals in order to engage with sales agents, distributors and broadcasters and manage relationships with them. She will also set up an online distribution on the Picture Book Media website, YouTube and i-Tunes.

"The future leaders in business will be connectors, not directors". Gerd Leonhard, Futurist in Media

THE VALUE NETWORK WHAT IS OUR BUSINESS MODEL?

WHO ARE OUR COMPETITORS?

Picture Book Media is modeled on the concept of the value network, where mutually beneficial relationships are negotiated. We expect the active participation, cooperation and exchange of technical knowledge, financial resources and social value will benefit our greater business community and cultivate new associated value networks. Our collaborators, including producers, writers, actors, stereographers and business professionals, will have a greater opportunity to advance their trades to that of international standards. Our film financiers, distributors and target consumers will be attracted to our engaging scripts, celebrity attachments, high quality 3D and 2D films and profitable returns.

Nine South African production companies and filmmakers, including Big World Cinema, Bosbok Ses Films, Collective Dreams Studios, Curious Pictures, Film Afrika Worldwide, Light and Dark Films, Mannequin Films, Moonlighting and Out of Africa, have film features slated for release over the short- to medium-term. Collective Dreams Studios and Moonlighting are the first to have shot in 3D in South Africa.

WHAT GIVES OUR COMPANY A COMPETITIVE ADVANTAGE?

WHAT STRATEGIC ALLIANCES AND RELATIONSHIPS HAS OUR COMPANY ENTERED?

Picture Book Media plans to shoot in South Africa, one of the worldâ&#x20AC;&#x2122;s most desirable locations for filmmaking. Safe House and Chronicle are among the hit 2D movies shot in the country and released in 2012. In the same year, Dredd became the first major international 3D feature film to be produced in Cape Town. The country attracts a range of productions because of its incredibly varied landscape (i.e. vineyards, beaches, deserts, forests, mountains), temperate climate, wildlife and long summers.

Our company has built working relationships with varied professionals in the motion picture industry (refer to pages 13 to 18 for a sample of our talent and collaborators). In order to create compelling stories and work with the best acting and music talent, Picture Book Media will be entering into agreements with freelance writers, co-producers, casting agents and sound studios. To produce quality 3D features, obtain equipment discounts and secure additional revenue from foreign producers, we are forging alliances with 3D experts, Digital Therapy and with Visual Impact, an equipment rental agency. To reach our audiences more efficiently and establish a brand strategy, Picture Book Media is contracting top local online marketing and social media professionals and building relationships and engaging in negotiations global distributors and 3D TV broadcasters, well in advance of our productions. We are also establishing cooperatives to build further alliances, share our overhead costs and become eligible for funding from the Cape Film Commission and the Department of Trade and Industry.

Cape Town is the epicenter of film creatives in South Africa. Our well trained, experienced, nonunionized English-speaking writers and film crews are capable of developing scripts and manufacturing quality films at prices well below those of international competitors, because of the weaker Rand and a seasonal service industry. Cape Town is also home to state-of-the-art production and post-production facilities, including its first Hollywood style studio complex. The city also hosts equipment rental houses that offer the latest technology, including 3D, which allows Picture Book Media to capitalize and position itself as early adopters of 3D story telling.

Collaboration by leader is a team model where the members are chosen by a leader. While the leader has common leadership qualities, those who assemble high performing teams also understand the process of collaboration.

The goal is to pick team members with compatible values, schedules and working environments while also addressing interest and acuity.

KEY TALENT Colin Moss Colin Moss started his career on the South African club stand-up and improv comedy circuit. He spent years doing stand-up in clubs around the South Africa, the UK and Ireland and he continues to go back to comedy in between TV and film jobs. He was first introduced to a wider SA audience as Stuart Buller on the popular South African daytime drama, Isidingo. Since then, his film roles have included the antagonist, Chad, in Crazy Monkey's Straight out of Benoni, the title role in Number 10 and the role of Jake in the local comedy Big Fellas. His first major role in an international film was playing Officer DeWitt in the multi-award-winning The World Unseen. He followed this with a lead role in Surviving Evil – playing alongside an international cast including Billy Zane - the role of John in an Italian film called Ex directed by Fausto Brizzi and, most recently, the role of Max in a BBC adaptation of D.H. Lawrence’s Women in Love. His theatre roles include that Tom in Neil LaBute’s Fat Pig and Paul in David Hare’s My Zinc Bed – a performance for which the Tonight newspaper said, “...as he proves with this mature performance in My Zinc Bed, the man is also a fine and talented actor”.

Grant Swanby Grant Swanby has spent the last 20 years working professionally in the entertainment industry, concentrating on acting in film, television and stage. He has appeared in over 25 films, 40 stage plays and 12 Television series. Film Credits include: Long Walk to Freedom, Invictus, The Fall, Blood Diamond and the award winning Black Butterflies. On television, Grant has appeared in Women in Love for the BBC, Crusoe for NBC, ITV's The Runaways and most recently Flight of the Storks for the French director Jan Kounen. Grant's theatre, credits include: Much Ado about Nothing, Jesus Christ Superstar, Hamlet, Love, Valour, Compassion and most recently The Taming of the Shrew. Grant also works as a Professional Acting Coach, and is a founding member of the Comedy improv groups, Comedy Games and Four Slackers and a Microphone.

Lee Anne Summers Lee Anne Summers is an actress best known for her role as triplets in the 2007 comedy feature film Big Fellas. Her most recent film role will be in Little Kings by Darroll Roodt. Lee Anne has also appeared in Binnelanders and Rhythm City as well as SABC 3’s mini-series Stellenbosch. After graduating from UCT she moved to New York to study acting full time at the New York Film Academy, and in 2010 received a gold diploma from the London Academy of Music and Dramatic Arts. Lee Anne’s international roles also include BBC’s To Be First and the German movie, Geheiminis Der Wale starring Christopher Lambert of Highlander fame. Lee-Anne’s theatre credits include playing the lead role of Abby Prescott in Neil Labute’s, The Mercy Seat at the Nassau Theatre in Cape Town, directed by Matthew Wild and most recently in the supporting role of Jeannie in the Labute play Fat Pig opposite Colin Moss. Lee Anne produced the show as well as starring in it.

Nicola Hanekom Nicola Hanekom is an actress in film features, TV and on stage. Nicola received Stone awards for Husk and String Caesar, which was shot in Pollsmoor prison. She was nominated for a Fleur du Cap award for her portrayal of Ingid Jonker in Altyd Jonker and received a Vita award for best supporting actress in Ek, Anna van Wyk. She has acted in KYKnet’s in Plek van die Vleisvreters and Transito. In addition, she acted in the internationally acclaimed Human Cargo. Nicola has directed and written plays and physical theatre for stage and has made her own short film, Maar anyway, nog 'n Dooie Feeverhaal. Nicola has coached acting privately and taught voice and interpretation at AMAC in Cape Town.

COLLABORATORS IN DEVELOPMENT Afsana Khan Afsana Khan is marketer, event manager and comedian. Her company Endor Media and Events offers web content development and graphic design for diverse clients. In addition, she lectures senior production students at University of Cape Town and 2ko management along with techeducation to South African rural communities. Afsana holds a BA in Film and Media Production from UCT.

Andrew Hewitt Andrew Hewitt is dual qualified as an attorney in South Africa and Solicitor in England. As head of Fairbridges Entertainment Law practice, he has counseled servicing local productions and international co-productions. His areas of expertise are deal structuring for producers and financiers and distributors. Andrew is also an adviser on music law including contracts and record deals as well as employment law.

Astrid Ascar

Brent Palmer

Astrid Ascar’s career spans radio, TV, print and digital media. After careers as reporter and presenter and a newsreader on Highveld and SAFM, she became one of six chief anchors who guided viewers through the SABC’s week-long live TV coverage of South Africa’s historic 1994 elections. Astrid then executive produced TV series and programs for a range of audiences, eventually transitioning to management where she launched DStv’s Summit, The Home Channel and a radio business at the BDFM Group in 1999. In 2009, she went solo as a consultant. Her client base includes listed and non-listed corporates, SMEs, agencies and tertiary education institutions. Astrid has also worked with Carte Blanche, Naspers, MultiChoice, M-Net, CNBC Africa and DStv Mobile. She has an MBA from Henley in the UK. Brent Palmer is an actor, standup comedian and playwright. He has acted in films such as The Triangle, Flood, Dissonance, Forever Lost, Mercenary for Justice and Natalee Holloway and in a number of theatre projects including Hamlet, Mac, King Lear, Women Beware Women, False Witness as well as his self-written play Corner Hope & Vrede. His TV credits range from Interrogation Room, Madam and Eve to Charlie Jade. Apart from his theatre, film and stand up comedy performances, Brent directs top South African standup comedian Nik Rabinowitz.

Donyale MacKrill Donyale MacKrill is a writer, producer and brand development specialist. She creates concepts for television and film along with custom-made branded content for big brands wanting to overcome consumer resistance to standard advertising. Donyale is developing Raising the Bar, a glamorous reality TV show for major South African events and liquor brands, and has received grant funding for Feast, a 3D feature film project. She is the founding editor of the Botswana quarterly magazine Child’s Play and published author of numerous non-fiction travel pieces on Africa. Her first book, a memoir called States of Emergency, is under construction. Her producer credits include two seasons of Noma, a cooking show; Aus Bee, a fully animated TVC campaign; and an extreme action-adventure travel show. 14

COLLABORATORS IN DEVELOPMENT

Emma Ress

Emma Ress is the Director of Emma Ress Management. She represents some of South Africa's best talent and offers professional help with casting, as well as negotiations of contracts for work in film, TV, theatre and advertising. The agency works actively to promote their clients careers in South Africa as well as internationally. Emma was educated at UCT.

Erwin Lubbers Erwin Lubbers is a valuation and investment expert. As founder of the equity-trading firm Kastanje Investments in 2006, he invests and trades stock, options and futures with a focus on the energy and mining sector. Erwin received his Masters in Financial Management from the Erasmus Rotterdam School of Management in 2011 and is in the process of becoming a Certified Financial Analyst (CFA). Erwin is also a former IT Consultant, Database Administrator and Data Storage Specialist for several companies, including Ernst & Young, and holds a bachelor in Telematics from Rijswijk College in the Netherlands. Isa-Lee Jacobson Isa-Lee Jacobson began her film career as an editor and has cut both commercials and documentaries. In 2002 she embarked on Sabrina: Daddyâ&#x20AC;&#x2122;s Girl, her first full-length documentary as a filmmaker, which she directed, produced and edited. It was funded by NFVF, broadcast on SABC3 and distributed internationally by TVF International. It was screened at the Encounters Documentary Festival, South Africa in July 2005. She has since made short films for NGOâ&#x20AC;&#x2122;s like the Women's Legal Centre, FAMSA and the Egmont Trust. She is currently working on The Last Resort, a documentary set in Zimbabwe and has received production funding from the Jan Vrijman Fund. She completed her bachelors at UCT and trained at NYU. Michael Rushby Michael Rushby qualified as a member of the South African Institute of Professional Accountants in 2001 and is a tax specialist. He is partner at Galbraith Rushby, heading up the tax department. His clientele includes the top film producers of South Africa.

Paul Raleigh In his capacity as Director of Etana Film Guarantees, Paul Raleigh provides a guarantee of completion to financiers of South African film productions. He was the former Managing Director of Moviworld in South Africa and has been involved in the production of film in South Africa for over 30 years. He has overseen, co-produced and produced local and global feature films and television series. Notable productions include Tsotsi, Stander, A Reasonable Man, The Hangman's Daughter-Texas Blood Money and Born Free. Samantha Horwitz Samantha Horwitz provides legal guidance and contract negotiation and drafting of contracts to a variety of business and individual clients. In addition to her legal background, Samantha has expertise in digital media with an emphasis on product development. Samantha earned her bachelors with Highest Distinction and her Juris Doctor degree from the University of Virginia.

COLLABORATORS IN PRODUCTION

Alan Shelley

Alan Shelley is a young up-and-coming director who recently won the Jameson First Shot competition in which he directed a short film with Kevin Spacey in LA. Alongside his mentor Riaz Soker of Benchfilms, he co-directed a 6 part mini series called Here's to Good Times. Alan's student films also won 2 Loerie awards, 6 Vuka/TAG awards and a SAFTA.

Andrew Germishuys

Brett Lamerton

Andrew Germishuys is a “fighting for film” coach who has advanced firearm and tactical training with weapons (i.e. hand gun, assault riffle and shotgun) and traditional weapons training (i.e. Bo, Nunchucks, improvised weaponry, sword and knife). His latest feature film credit is Mad Max: Fury Road. Andrew has experience both in front and behind the camera, holds a gold medal certificate in Drama from the London Academy of Music and Dramatic Arts and is part of a film SWAT team. In addition, he is a co-founder of SAMDB, an online film-industry portal and soon to be a crowd funding and digital media distribution network. He holds a bachelors in IT and Psychology through UNISA. Brett Lamerton has worked as a key grip and best boy grip on feature and short films and TV movies in South Africa and the UK. His credits include Saint Dracula3D, Lines in the Sand, Doomsday, Primeval, Prey and Supernova.

Douw Jordaan

Garth Meyer

Heinrich Kapp

Douw Jordaan is web designer/developer and online marketing for Investec Bank, Food & Trees for Africa, Chata Romano, Global Carbon Exchange, Climate Hoer Awards, Climate Change Leadership Awards, The Carbon Protocol of South Africa, Reg Park, Creative Brands, Aidsbuzz and Art South Africa. He has developed the first Calculator for Food & Tree Africa and Virgin Active Health and Fitness Club. He has produced corporate videos for Google South Africa and Al Gore’s Climate Reality Organization and managed and developed the Sustain Our Africa Summit’s communications and online booking system. Garth Meyer is a stills photographer. The medium he uses is a 11x14 inch large format box camera and a Linhof Field Camera producing negatives of intense detail that are then contact printed. The strength of the work lies in the craft based aspects of the large format, and his belief in straight photography producing a ‘super or hyper realism’ afforded by the camera. His work is exhibited the The Francis Young Tang Museum in New York, The Anderson Gallery in Richmond and the Middlebury Museum of Art in Vermont. He free-lances with African Print Experts, Dennis Da Silva and Andreas Kahlau of Silvertone International and is represented by Rooke Gallery in Johannesburg. He has also won South African awards for Best Short Film (2005/06, 2007). Heinrich Kapp of Sound Surgeons is a location sound recordist for film and television as well as a live sound engineer and final mix engineer.

COLLABORATORS IN PRODUCTION

Hofmeyr Scholtz

Hofmeyr Scholtz has been active in the South film industry for nearly two decades. He is a highly skilled first assistant director, working on more than one hundred TV commercials with various production companies. Hofmeyr is also a director, scriptwriter and producer for a number of short films. James Mader James Mader is a prolific art director dressing sets on TV commercials and experienced production designer on feature films including Happy Fiction.

Manoel Ferreira Manoel Ferreira is an in demand director of photography and camera operator. He has worked on feature films including Safe House, District 9, The Scorpion King 2, The Flight of the Phoenix and Home Alone 4 and Zulu among others.

Reg Sanders

Riaz Solker Â

Reg Sanders has more than two decades of experience in the motion picture industry. After his extensive contribution to film, TV and commercials as creative director at BBC America and UK, Reg shifted his direction to 3D stereography in 2009. Today, he is in high demand as a 3D stereographer, rig technician and consultant. He has shot high-quality low to medium budget 3D features, documentaries and commercials for Sky 3D TV, The Mob Film Company and 3ALITY Films and his list includes St. Dracula 3D, Compo Vollo, Il Sognotore, The Choreographer and Jubilee 3D. Reg is also a storyteller and lecturer at the Ravensbourne College, London where he obtained his Masters and post-graduate degree in broadcast futures and 3D stereoscopic productions. Riaz Solker is managing director of Benchfilms, a production company that produces short films, music videos, corporates and commercials. He is head of department at City Varsity, where is known to hone future filmmaking talent and also runs a free acting workshop that is widely known within acting circles of Cape Town.

Wezley Joao Ferreira Wezley Joao Ferreira is a digital imagining technician, 3DS consultant and workflow supervisor at Digital Therapy who has worked on feature films, short films, TV series, music videos and commercial/promos. He has made a name for himself working alongside top directors of photography and 3D stereographers in South Africa and the UK. His onset experience on feature films include St Dracula 3D, Dark Shadows, Looking Over the Dragon, Horrid Henry 3D.

COLLABORATORS IN POST-PRODUCTION

4wdvision

Jossi Afargan and Ray Brown, the co-founders of 4wdvision are injecting life and soul in the local graphics industry and pushing the envelope of digital art, design and animation. Jossi Afargan started his venture into the graphics world in 2001, studying 3D animation at Boston Media House. He gained a working knowledge of the entire production process, from filming though to editing, compositing, design, grading, animation, sound and final publishing and interactive solutions at the Boiler Room. He then moved into broadcast design and motion graphics, working on promo's/ idents and corporate solutions for DSTV and MultiChoice. Ray Brown studied at SAE (now QANTM) in London and then joined the Boiler Room in 2008, focusing in on VFX.

Murray C. Anderson Murray C. Anderson of Milestones Studio is a composer and recording engineer and producer. He has written music for feature and TV films including John Boorman's In My Country, the CBC's documentary Madiba: The Life and Times of Nelson Mandela, which won the 2005 Gemini Award in Canada for Best Music in a documentary, and Tim Greene's A Boy Called Twist.

SHA SHA is a South African band formed in 2004. Their music draws from the band members' varied/ collective influences, such as reggae/ska, blues, funk, punk and classical. SHA covers a wide range of songs by artists such as ZZ Top and Lenny Kravitz, playing at gigs in and around Cape Town, most recently London Town Pub, Milnerton and Hell's Angels Motorcycle Club. In 2011, SHA reached the finals and won fourth place in the Flipside Music Competition held in Observatory at ROAR. The band has self-produced an EP of six original songs and is currently working on recording numerous originals. The band members are Gareth Sherwood (bass guitar), Muriel Sherwood (keyboards), Clive Haylett (guitar and vocals) and Craig Angilley (drums).

Stefan Nell Stefan Nell has 18 years experience in high end digital imaging. He is a very experienced phantom operator with over 150 commercials under his belt and has worked locally and internationally on commercials and feature films. Prior to joining Visual Impact, Stefan started digital imaging in South Africa with Panacam Africa by introducing the market to digital acquisition with Phantoms and Genesis cameras. He is an established 3D stereographer and director of photography working on music videos and commercials. Tim Goodwin Tim Goodwin has been a film editor for 16 years, having edited over hundreds of music videos and commercials and as of late feature films. He has grown Premiere Post Production into one of the finest and strongest edit houses in South Africa and works with the highest profile production houses and agencies in the world.

LAUGHING LEOPARD FILMS

Laughing Leopard Films is a Picture Book Media brand of truthful, uplifting, sensitive and universal stories.

WHO ARE TARGET CONSUMERS OF LAUGHING LEOPARD FILMS? Our films are meant to resonate with mainstream film viewers, particularly the modern professional female and families whom are underserved but highly entertainmentconsuming audiences.

IT’S A JUNGLE OUT THERE.

The Uninvited Guest Love Beats Within.

Logline: Molly, embittered with men, meets a mysterious stranger who re-ignites her hopes for true love. The magical relationship won’t go where she wants, but leads instead to a path of self-discovery. Genres: Romantic Comedy, Fantasy Audience ages: 18-65 Production budget: 17M ZAR (≈ $2M)

The 90 Day Rule Is the timing right?

Logline: Amy, a sexual explorer, is forced to renounce her passionate past, but on a journey through Africa she discovers Mr. Right. Genres: Romantic Comedy, Adventure Audience ages: 15-65 Production budget: 173M ZAR (≈ $20M), co-producers are expected to share half the budget

Adam Newman Who Ya Callin’ Chicken!

Logline: When Adam Newman is forced to return to the community of his birth, he discovers a piece of himself that had seemed forever lost. Genre: Dramedy Audience ages: 18-65 Production budget: 10M ZAR (≈ $1.15M), co-producers are expected to share half the budget

MOYO OF THE FROST

Make sure your heart is in the right place. Logline: In a frozen kingdom, defective children are executed on their 15th birthday. Moyo, a princess with a defective heart, flees in pursuit of a miracle healer. Along the way she discovers a terrible secret that may prove the salvation of her people, if she can find the courage to believe in herself. Genres: Action, Adventure, Drama Audience ages: 15-65 Production budget: 173M ZAR (≈ $20M), co-producers are expected to share half the budget

BORDERLINES Some lines should never be crossed. Logline: When a client goes missing, Simone, a novice crisis counselor, follows her trail into the ganglands of Mannenburg, but when Simone digs deeper, the clues reveal a crime being committed close to home. Genre: Comedy, Crime, Thriller Audience ages: 18-65 Production budget: 10M ZAR (≈ $1.15M), co-producers are expected to share half the budget

The Uninvited Guest is a romantic comedy with hints of fantasy and drama. It tells a story of self-completion, healing and personal growth from the perspective of the modern professional female.

The Uninvited Guest

Love Beats Within.

You can’t find love until you love yourself. Logline

Romantic comedy

Molly, embittered with men, meets a mysterious stranger who re-ignites her hopes for true love. The magical relationship won’t go where she wants it to, but leads instead to a path of self-discovery.

After abandoning her quest for romance, our incomplete heroine, Molly falls hopelessly in love.

Synopsis A young woman, Molly, struggles to find true love. Her experiences with all the wrong kinds of men force her to resign herself to a life devoid of male companionship. Then one day she encounters a handsome mystery-man who sweeps her off her feet. A series of magical experiences follow. Molly thinks he may be her soul mate but he won’t reveal much about himself. She cannot get him to make that next step into being a part of her world. When she pushes the issue, he disappears. Searching for answers, she retraces the journey of their relationship to its beginnings, but there’s no trace of him anywhere. In the end, the answers may lie in her. Comparable 2D Hollywood ﬁlms based on genre, voice and story 500 Days of Summer  Amelie  An Education  Benny and Joon  Bright Star  Cocco Avant Chanel  He’s Just Not That into You  Just Like Heaven  Letters to Juliet  Kate and Leopold  Midnight in Paris  Reality Bites  The Science of Sleep

Fantasy Molly soon realizes she’s fallen for her own masculine alter ego.

Why should ﬁlm ﬁnanciers choose to invest in The Uninvited Guest? •  To capitalize on the underserved freethinking professional female market and multigenerational audiences •  To profit from the fantasy genre, which has high global box office takings

Why should the ﬁlm be shot in 3D? •  To create depth in scenes where foreground elements will obscure and add to the audience’s sense of disorientation through dreamy, lost and confused sequences •  To add a sense of scale and magnitude when capturing the energy of the bustling city center and beauty of the turquoise-colored sea, sweeping pine forests and majestic gardens of Cape Town

The 90 Day Rule is an adventure-actioncomedy hybrid genre film that takes viewers on a journey of empowerment, selfacceptance and belonging from the perspective of the modern professional female.

The 90 Day Rule

I s t h e t i m i n g r i g h t ?

You can’t force love. Logline Amy, a sexual explorer, is forced to renounce her passionate past, but on a journey through Africa she discovers Mr. Right.

Synopsis Amy, a promiscuous woman desperate for approval, has her heart broken one too many times. Her mentor convinces her to swear off men for 90 days and accompany her on an exciting humanitarian tour across Africa. A cast of quirky characters pushes her to redefine herself, surmount her own insecurities and discover her inner Aphrodite. Along the way she discovers the man who might just be her soul mate. But is the timing right?

Comparable 2D Hollywood films based on genre, voice and story Bridget Jone’s Diary  Crocodile Dundee  Fool’s Gold  Indiana Jones and the Temple of Doom  Jewel of the Nile  Romancing the Stone  Six Days, Seven Nights

Why should film financiers choose to invest in The 90 Day Rule? •  To capitalize on the underserved freethinking professional female market and multigenerational audiences •  To profit from the action genre, which has the largest global box office takings

Why should the film be shot in 3D?

Road-trip adventure

•  To immerse the viewer in the adventure, live action, wildlife and dance scenes

Our protagonist, Amy travels on a medical tour and safari with a culturally diverse team of humanitarians through Africa.

•  To capitalize on the many layers of dense African foliage, e.g. flies, nats and dust buzzing around characters

Comedy

•  To create a sense of scale and magnitude when capturing the raw natural beauty of the African forests, deserts, mountains and skylines

On the way, after a series of humiliating “gross out” tests and trials and “absurd and surreal” wildlife misadventures.

Action Amy stops seeking approval from men and embraces her own self-worth, but not before she leads an escape from an enterprising warlord who has detained them involuntarily in an enclosed Congolese camp.

Moyo of the Frost is a fairy-tale story with a twist. This adventure-fantasy genre film is knit together by forbidden feudal romances. 25

MOYO OF THE FROST

Make sure your heart is in the right place.

Celebrate your imperfections. Logline! In a frozen kingdom, defective children are executed on their 15th birthday. Moyo, a princess with a defective heart, flees in pursuit of a miracle healer. Along the way she discovers a terrible secret that may prove the salvation of her people, if she can find the courage to lead them.

Comparable 3D and 2D Hollywood films based on genre, voice and story! Alice in Wonderland  Pan’s Labyrinth  Snow White and the Huntsman  The Chronicles of Narnia: The Lion, the Witch and the Wardrobe  The Imaginarium of Doctor Parnassus  The Neverending Story  What Dreams May Come

Synopsis

Adventure!

Moyo is born with an oversized heart, in a frozen kingdom where defectives are killed on their 15th birthday. Even as princess of the Frost, she is not exempt from the law. All attempts to heal her fail, until finally, her domineering mother, the Ice Queen, presses her to undergo a radical procedure that may result in her death. Rumors then reach Moyo of a supernatural healer and she flees in search of a cure. Her father, the King of the Thorns, makes an outlaw of himself by abandoning his throne to search after her and hands the Ice Queen her opportunity to seize control of the kingdom.

Our protagonist, Moyo, goes on a journey through magical lands.

As Moyo journeys she finds friends among the outcast children of the kingdom – Anorma, a boy missing part of his head, Ver, a girl suffering from malformed intestines and Oko, a boy born with abnormal sight. After several adventures, they discover that the healer is the Empress of the land of the Glow. The Empress can’t cure them, but she sends them to live among the desert nomads where life is harsh but they are accepted for who they are. By the time Moyo’s father tracks her down, the Ice Queen’s assassins are at his heels. Moyo and her desert companions rescue him and it is revealed that they are all victims of the Ice Queen’s enchantments and Moyo learns that the Queen is not her real mother.

Coming-of-age drama!

Moyo leads her friends and father back to the land of the Frost, where they liberate the people from the despotic Queen’s clutches. At last the warring kingdoms are united and justice is restored.

Why should the film be shot in 3D?!

Fantasy! Moyo seeks the help of supernatural and extraordinary creatures.

Romance! Our story blends together Moyo’s discovery of the true meaning of friendship, family and honor as her parents reunite after years of unrequited love.

Moyo finally learns to accept responsibility for liberating her people from the clutches of her stepmother.

Why should film financiers choose to invest in Moyo of the Frost?! •  To profit from the fantasy genre which has high global box office takings •  To tap into the underserved modern professional female •  To appeal to multigenerational audiences who are entertained by heart-warming stories

•  In combination with foreground live action, mid-ground CGI settings and fantastical matt-painted backgrounds, 3D shots of snow, sand and dense forest foliage will play on depth and immerse the viewers into the story’s magical worlds

Borderlines is a crime-thrillercomedy hybrid genre film expressing that society is an organic whole and divisions are often artificially imposed by our perceptions.

BORDERLINES Some lines should never be crossed.

Separation is a choice. Logline When a client goes missing, Simone, a novice crisis counselor, follows her trail into the ganglands of Mannenburg, but when Simone digs deeper, the clues reveal a crime being committed close to home.

Synopsis Simone, a novice crisis counselor from an upperclass home, wants to do everything she can to help her client, Sharifah, leave her abusive marriage. Then Sharifah goes missing and Simone is forced from her comfort zone into Mannenburg, a suburban slum where gangsters rule. With the help of Derek, a fellow councilor and Mannenburg native, Simone follows the trail to its unlikely conclusion back in the wealthy Constantia neighborhood she grew up in. Simone soon learns that a considerable toll may be imposed for crossing the unofficial borders that separate the communities of Cape Town. Unwilling to turn away from her quest, Simone initiates a series of events that might be the undoing of everyone she holds dear.

Comparable 2D Hollywood films based on genre, voice and story

Crime-Thriller Crisis counselor Simone is out of her depth in her search for a client who has disappeared.

Comedy Simone employs sharp wit and clever jokes while breaking the rules to cross the unofficial borders that separate the communities of Cape Town.

Why should film financiers choose to invest in Borderlines? •  To tap into the underserved modern professional female •  To appeal to multigenerational audiences who are entertained by heart-warming stories •  To take advantage of the interesting stories of the Colored communities of the Western Cape

Why should the film be shot in 3D? •  To take viewers out of their comfort zones by immersing them into the suburban slums of Mannenburg and bringing to life Cape-Malay and Colored characters •  To enhance the contrast between the lavish Constantia upper-class estates and the dilapidated overcrowded poverty stricken residential homes of the Cape Flats

Animal Kingdom  Dirty Pretty Things  Donnie Brasco; Eastern Promises  Godfather Part I  Gone Baby Gone  Cache Hidden; LA Confidential  Marnie  Rebecca  Shifty  The Usual Suspects

Adam Newman is a warm-hearted story expressing how courage leads to self-fulfillment and solidarity.

Adam Newman Who Ya Callin’ Chicken!

Home is where the heart is. Logline When Adam Newman is forced to return to the community of his birth, he discovers a piece of himself that had seemed forever lost.

Synopsis Adam Newman feels stifled and alone in Johannesburg. He has a comfortable life and a comfortable job playing Chester the Chicken on the popular children’s TV show, Tatamkhulu’s Farm, but he is very far from the life he dreamed of for himself. When he’s injured in a car jacking, he loses the job and is forced to return to his roots in Cape Town. He moves in with his mother in a workingclass colored community, which reunites him with his brother Russell, who’s just been released from prison. Adam is given a chance to rediscover himself and to win Leila, an old flame he left behind in pursuit of his dreams of making it big as an actor. When things go well with Leila, Adam begins to rediscover his self-belief and passion for life. Things seem to be getting better until Russell returns to the world of drugs and crime. To save Russell and win back Leila, Adam will have to dig deep within himself and discover his own strength.

Coming-of-age drama Adam, a man in his 40’s, struggles to return to the birth-community he’s ashamed of.

Comedy Adam humorously accepts responsibility for the man he has become and takes his place within his uniquely dysfunctional family.

Why should film financiers choose to invest in Adam Newman?

•  To appeal to multigenerational audiences who are entertained by heart-warming stories •  To take advantage of the interesting stories of the Colored communities of the Western Cape

Why should the film be shot in 3D? •  To add scene depth to comical gags and hi-jinx and give substance to the fights and drama that unfolds while enhancing epic chase scenes •  To create a sense or scale to the bustling Johannesburg city center and the character-filled flats of Cape town’s suburban communities and shanti towns

Comparable 2D Hollywood films based on genre, voice and story A Good Year  As It Is In Heaven  Bend It Like Beckham  Billy Elliot  Doc Hollywood  Little Miss Sunshine  Muriel’s Wedding  My Big Fat Greek Wedding  New In Town Garden State  The Upside of Anger 30

OPEN BOX PICTURES

Open Box Pictures is a Picture Book Media brand that aspires to challenge personal paradigms and arouse socio-political debate and activism.

WHO ARE TARGET CONSUMERS OF OPEN BOX PICTURES? Our offbeat, counter-culture and cutting-edge films will tap into the global zeitgeist, men and women adults aware of and sensitive to our shifting global conditions.

OUTSIDE. LOOKING IN.

New World Rising It’s time to wake up. Logline: When James and Jim are lost and stranded, they find

assistance at a spiritual retreat where a group of outthere characters have congregated to confront their fate at the time appointed for the worlds’ end. Genres: Adventure, Comedy, Fantasy Audience ages: 18-65 Production budget: 10M ZAR (≈ $1.15M)

WASH

All Business Is Dirty.

Logline: Jack, a meek conformist, inherits his grandfather’s business only to discover it’s a front for a criminal enterprise. He’ll have to overcome his naivety if he’s to honor the family name and survive in a cutthroat industry. Genres: Comedy, Crime, Drama Audience ages: 15-24 Production budget: 10M ZAR (≈ $1.15M), co-producers are expected to share half the budget

Loader Street

Breaking Rules. Stealing Hearts. Logline: A group of gay buddies, in dire need of cash, target a jewelry store. Things go awry when the team leader falls in love with the store’s owner. Genres: Comedy, Crime, Drama Audience ages: 15-45 Production budget: 10M ZAR (≈ $1.15M), co-producers are expected to share half the budget

THE LAND OF THE FREE

It’s Not What It Was. Logline: A Jihadi suicide bomber saves America from a take-over by a top-secret military industrial complex. Genres: Comedy, Horror Audience ages: 15-45 Production budget: 173M ZAR (≈ $20M), co-producers are expected to share half the budget

WARD G 13

BOUND FOR GLORY

Logline: In the near future, an idealistic filmmaker is set up by government agents and committed to an asylum. Apparently insane, he must convince skeptical ward personnel and rally his fellow inmates in order to escape and reveal the truth of what is happening to his country. Genre: Dramedy Audience ages: 18-45 Production budget: 10M ZAR (≈ $1.15M)

Logline: In the middle of the 19th century, a rumor reaches a small village on the outskirts of the Russian Empire that the Jews inhabiting a nearby shtetl have kidnapped a Christian child and made Passover bread from her blood. The men of the village band together and attack the shtetl. Genres: Adventure, Fantasy, Drama Audience ages: 15-65 Production budget: 173M ZAR (≈ $20M), co-producers are expected to share half the budget

The Crazies are in Charge.

THE CONSUMERS They’re Everywhere.

Logline: David takes on the Well-Sure insurance company to rescue his fiancée from a coma, but its Rodger’s job to deny David’s claim and he desperately wants to prove he’s partner material. Genres: Comedy, Drama Audience ages: 18-65 Production budget: 17M ZAR (≈ $2M)

Find Freedom Within.

KARMA

It’s All Good. Logline: A journey to enlightenment as a soul is tested in realms of warfare across time and place. Genres: Action, Fantasy Audience ages: 18-65 Production budget: 1.73B ZAR (≈ $200M), co-producers are expected to contribute a large portion to the budget

New World Rising is an adventurecomedy-fantasy hybrid genre film about the fantastic future that awaits the human race.

New World Rising It’s time to wake up.

There is a purpose to life.

Logline

Road-trip adventure!

When James and Jim are lost and stranded, they find assistance at a spiritual retreat where a group of out-there characters have congregated to confront their fate at the time appointed for the worlds’ end.

James, our protagonist, journeys through an unfamiliar world and gradually rediscovers his faith in life.

Comedy"

Synopsis

Our story elicits both laughter and excitement as James’ cynicism and fear are challenged by the James is a disillusioned journalist ready to give up on quirky characters of Clive’s guesthouse. life. He finds new hope when he is offered a dream job in a foreign country. En-route to the small town Fantasy" where he is to be based, he is lost and stranded James stumbles onto a heightened reality where with his son Jim. After a desperate search for help, alternative views reign. they stumble upon an isolated spiritual retreat, where they find themselves entangled in a showdown between the secret agents of a shadowy Why should film financiers choose to invest in corporation and the enlightened vanguard of a new New World Rising?" world order. James just wants to get his son away to safety, but he is called to choose sides and •  To profit from the fantasy genre which has becomes the catalyst who tips the balance and proportionally high global box office takings makes possible an evolution in human •  To cleverly examine themes of mysticism, consciousness. spirituality and passion in an entertaining way

Comparable 3D and 2D Hollywood films based on genre, voice and story Alice in Wonderland  Another Earth  The Big Lebowski  The Golden Child  Groundhog Day  Hope Springs  The Last Supper  Pineapple Express  Seeking a Friend at the End of the World  The Trip  The Weatherman

Why should the film be shot in 3D?" •  To immerse the viewer in the adventure, live action and wildlife scenes •  To capitalize on the many layers of dense African foliage, e.g. flies, nats and dust buzzing around characters •  To add a sense of scale and magnitude when capturing the energy of the bustling city center and beauty of the turquoise-colored sea, sweeping pine forests and majestic gardens of Cape Town

Wash is a dramacrime-comedy hybrid genre film encouraging young men to defend their honor.

WASH All Business Is Dirty.

If you don’t stand up for yourself people will take advantage of you.

Logline

Coming-of-age drama

Jack, a meek conformist, inherits his grandfather’s business only to discover it’s a front for a criminal enterprise. He’ll have to overcome his naivety if he’s to honor the family name and survive in a cutthroat industry.

Our protagonist, Jack, is plunged into a new culture and forced to stand up for himself.

Synopsis Jack Cullinan is an unassuming young man who lets people to take advantage of him. When his grandfather dies, Jack leaves America for South Africa to take over his grandfather’s car wash business in the small town of Fish Hoek. When the business turns out to be a front for his grandfather’s criminal activities, Jack discovers he has inherited serious underworld commitments, too. If he’s to survive, Jack must prove himself worthy of the Cullinan family name.

Comparable 3D and 2D Hollywood films based on genre, voice and story Get Shorty  Goodfellas Grosse Point Blank Harlem Nights In Bruges Layer Cake Lock Stop and Two Smoking Barrels Lucky Number Slevin Married to the Mob Mickey Blue Eyes Pineapple Express Pulp Fiction Rock ’n’ Rolla The Godfather Part I

Gangster crime Jack must fight to become the rightful owner of a business that is a front for a criminal network.

Comedy Jack is thrust into amusing situations that stem from cultural gaps and ordinary views of corruption and dishonesty.

Why should film financiers choose to invest in Wash? •  To capitalize on young, particularly male, audiences who are amused and entertained by light-hearted rite of passage stories •  To cleverly examine themes of male identity, personal philosophy and political agendas in an entertaining way

Why should the film be shot in 3D? •  To immerse the viewer in the crime and live action scenes •  To add a sense of scale and magnitude when capturing the energy of the bustling city center and beauty of the turquoise-colored sea

" 36

Ward G13 is a dramedy genre film inspiring its viewers to question the status quo.

WARD G 13

The Crazies are in Charge.

It’s the system that’s crazy. Logline In the near future, an naive filmmaker is set up by government agents and committed to an asylum. Apparently insane, he must convince skeptical ward personnel and rally his fellow inmates in order to escape and reveal the truth of what is happening to his country.

Synopsis In the desperate South Africa of Tomorrow, Michael Elderstein is found raving by police. After the brutal encounter, he is arrested for assault and resisting arrest. He is reviewed and committed to a psychiatric clinic. Believing he has been wrongfully treated, Michael tries to prove his sanity, but to no avail. Seemingly out of his mind on arrival, and obviously strange thereafter, few believe Elderstein’s claims of being a filmmaker, let alone his theory that he is the victim of a government conspiracy designed to keep him from completing and releasing his current film. At odds with the institution, Michael finds support and sympathy from the patients, who alone believe in him until Dr. Maya Anderson stumbles upon his case. She investigates and discovers that many of the details of Michael’s claims are true. She has lingering doubts, but Michael wins her over. She works with him to have his case reviewed. At the review hearing her arguments win over the medical review board, but Fudge Zimane, the hospital administrator, overrules their decision. The verdict angers the inmates, and even the doctors are outraged after it turns out that Zimane was instructed by the Special Operations Unit of the Secret Services Branch to have Michael transferred into the care of Dr. Marvin Mammon. Dr. Mammon is a world famous Neurosurgeon and Neuroscientist doing research on dissident reprogramming. When it becomes clear that Dr. Mammon will operate on Michael’s brain, Dr. Anderson rallies together doctors, inmates, and sympathetic members of the security team, to overthrow the administration and free Michael.

Comparable 3D and 2D Hollywood films based on genre, voice and story 12 Monkeys  Conspiracy Theory  Crazy People  Girl Interrupted  Gothika K-Pax  One Flew Over the Cuckoo’s Nest  A Scanner Darkly  Shutter Island  The Fisher King  Total Recall

Escape plot drama Our unconventional characters, united by their belief in the protagonist Michael’s sanity, rally together to overthrow the conditions of their existence.

Comedy Our stories’ gloomy tongue-in-cheek humor exposes the insanity of broken bureaucracy.

Why should film financiers choose to invest in Ward G13? •  To capitalize on communities and movements conscious of the shifting global conditions •  To cleverly examine themes of mysticism, spirituality and socioeconomic reform in an entertaining way

Why should the film be shot in 3D? •  To bring to life contained cell-like environments •  To add scene depth to escape sequences

The Consumers is a dramedy genre film that questions the status quo.

THE CONSUMERS They’re Everywhere.

We are consuming each other. Logline!

Comedy!

David takes on the Well-Sure insurance company to rescue his fiancée from a coma, but its Rodger’s job to deny David’s claim and he desperately wants to prove he’s partner material.

Our story unmasks the wrongs of consumerism, self-promotion and relentless greed.

Synopsis! The South African government introduces a new national health plan to ensure all its citizens receive free healthcare and the CEO of Well-Sure wants to win the government tender for the job. Rodger aspires to become the latest Well-Sure partner and devises a plan to marry Florence because he’s convinced her father has the influence to win the tender. Florence wants to marry Rodger to maintain her lavish lifestyle since her father ran off with his bank’s money. David wants Rodger to approve his insurance claim to rescue his fiancée from a coma. Determined to prove he’s partner material, Rodger fights him tooth and nail. David tries everything, legal and fair, to fight back. When he fails, he’s forced to get creative. Can David beat the system?

Comparable 2D Hollywood films based on genre, voice and story! A Scanner Darkly Crash Equilibrium Fear and Loathing in Las Vegas Fight Club Gattaca In the Loop Land the Blind Minority Report Modern Times Network The Corporation Thank You For Smoking Wag the Dog Wall Street Wall Street - Money Never Sleeps

Drama! Our story’s innocent bystanders make ethical decisions and personal sacrifices to fight greedy medical insurers and an equally corrupt government.

Why should film financiers choose to invest in the consumers?! •  To tap into the communities and movements sensitive and conscious of the shifting global conditions •  To cleverly examine the theme of mysticism, spirituality and socioeconomic reform in an entertaining way

Why should the film be shot in 3D?! •  To immerse the viewer in car chase, fight and protest sequences •  To add a sense of scale and magnitude when capturing the energy of the bustling city center, beauty of the turquoise-colored sea and lavish residential real-estates

Loader Street is a crime-comedydrama hybrid film about men challenging the conventions of society.

Loader Street !

Breaking Rules. Stealing Hearts. !

Independence requires courage. Logline!

Crime!

A group of gay buddies, in dire need of cash, target a high-end jewelry boutique. Things go awry when the team leader falls in love with the store’s owner.

The gay buddies turned drag queen con-artists undergo awkward makeovers to fool the owner of the boutique.

Synopsis!

Coming-of-age-drama!

A lighthearted heist crime story, which centers on a group of gay buddies who agree to rob a jewelry store after getting carried away at an auction. When Armand, the groups leader, dresses in drag to case out the joint, he attracts the attention of the womanizing owner, Frank, who falls for ‘Amanda’. The team makes their plans for the heist, as Frank and ‘Amanda’ dive into their romance. When the team, disguised in drag, makes their assault on the store, things go horribly wrong and Armand is forced to choose between his loyalty to the team and his growing love for Frank who he discovers is also gay.

Armand and the team discover the meaning behind self-acceptance, independence and love in the process.

Comparable 2D Hollywood films based on genre, voice and story!

•  To immerse the viewer in car chase and fight sequences •  To add a sense of scale and magnitude when capturing the energy of the bustling city center, beauty of the turquoise-colored sea and lavish residential real-estates

30 Minutes or Less  Catch That Kid  Dirty Rotten Scoundrels  Dog Day Afternoon  Gone in 60 Seconds  Ocean’s Eleven  Ocean’s Twelve  Sneakers; Some Like It Hot  The Adventures of Priscilla, Queen of the Desert  The Freshman  Tootsie

Why should film financiers choose to invest in Loader Street?! •  To tap into communities amused and entertained by light-hearted rite of passage films •  To cleverly examine the theme of sexual identity, personal philosophy and political opinions

Why should the film be shot in 3D?!

The Land of the Free is horror-comedy hybrid genre film that mocks public perceptions of justice and coercive power.

THE LAND OF THE FREE It’s Not What It Was.

Freedom must always be won. Logline

Comedy

A Jihadi suicide bomber inadvertently saves America from a take-over by the top-secret military industrial complex.

Our story pushes the boundaries of controversy with entertaining situations that question ordinary views on American democracy and plays with the notion of Jihadi terrorism.

Synopsis The film explores the Intertwining stories of Faraj and Major General George G. Scott. Faraj, a radically incompetent jihadi suicide-bomber, comes to America on a mission to assassinate Bill Larkham, a third party presidential candidate set to end the republican-democratic status quo. General Scott is head of a top-secret military program exploiting nano-technology to reanimate fallen soldiers. He stages a behind-the-scene coup-de-tat by infecting key players. His first victim is the war-hero commander Wayne John chosen by the Democrats and Republicans as a joint presidential candidate to beat Larkham. When Faraj learns that America is not the cesspool his leaders brainwashed him to believe, he realizes he is just a pawn in their game. In his anger, he might just become the avenging angel who saves America from itself.

Comparable 2D Hollywood films based on genre, voice and story

Horror Our zombie Bill Larkham is an overt satirical symbol of a political puppet and statesman who, through their hunger for power, harm the people they’re supposed to protect.

Why should film financiers choose to invest in The Land of The Free? •  To tap into the communities and movements sensitive and conscious of the shifting global conditions •  To cleverly examine the theme of sociopolitical reform in an entertaining way

Why should the film be shot in 3D? •  To immerse the viewer in horror and massacre sequences •  To add a sense of scale and magnitude when filming doubles of Jihadi villages and American city centers in Cape Town

28 Days Later Black Sheep Buffalo Soldiers Dead Snow Four Lions Grindhouse and Planet Terror In the Loop Land of the Dead Shaun Of the Dead The Walking Dead Thank You for Smoking Tropic Thunder Wag the Dog Zombieland" 44

Bound for Glory is a coming-of-age and picaresque drama hybrid genre film with a dash of adventure and fantasy. 45

BOUND FOR GLORY Find Freedom Within.

Physical freedom requires spiritual freedom.

Logline After a mob decimates his Jewish village in Russia, 13-year old Chaim is forced to find his place in the world.

Synopsis At the beginning of the 19th century, a rumor reaches a small village on the outskirts of the Russian Empire that the Jews inhabiting a nearby shtetl have kidnapped a Christian child and made Passover bread from her blood. The men of the village band together and attack the shtetl. For Chaim, this is the night of a very special Pesach Seder. It his first as a man, his thirteenth birthday. He owes his life to this fact, as he is lingering behind after Shul with a last remaining well-wisher and his elderly grandfather Moshe, when the village is attacked. Chaim and Moshe are just able to escape the pogrom. The peasants ‘cleanse’ the shtetl of every man, woman and child. Moshe flees with Chaim on a journey to seek guidance from a famed Rebbe, a supremely wise and holy man, who Moshe believes will guide them to a new life. When Moshe dies en-route from a wound he had kept concealed, Chaim desperately journeys’ on alone toward the Rebbe. When he reaches his goal, the Rebbe takes him in as a student. Chaim remains to study for 8 years.

Chaim is a gifted student, but impatient with learning. He wishes to find his place in the world and when a group of refugees arrives to seek the Rebbes council, Chaim chooses to journey on with them. The refugees are heading to various new lands: England, America, Australia, South Africa and others. The Rebbe advises Chaim to journey to the Holy Land to, join the Rebbe’s disciples building a community in Sefad. Chaim is uncertain. The Rebbe asks Chaim if he will journey first to London to give a message there to an acquaintance and to perform a personal mission for him. Chaim agrees, deciding it would be best to choose his final destination after he has seen something of the world. Chaim journeys across Europe. The trip challenges all his resources and faith, but he reaches London. There he faces fresh challenges and must sacrifice his opportunity to take passage, because he has been unable to locate the man the Rebbe sent him to find. After a long wait in London, Chaim eventually meets the man he was asked to find. He is a traveler in London, there only for a day. This chance encounter enables Chaim to perform the task the Rebbe asked of him. The result of this task enables Chaim to understand the Rebbe’s last and deepest teaching to him, which transforms Chaim’s understanding of himself and his place in the world, and he decides finally to take passage to the Holy Land.

BOUND FOR GLORY Find Freedom Within.

Physical freedom requires spiritual freedom.

Comparable 2D Hollywood films based on genre, voice and story

Why should film financiers choose to invest in Bound for Glory?

A Serious Man Barry Lyndon Cold Mountain  Exodus  Fiddler on the Roof The Curious Case of Benjamin Button The Merchant of Venice Water for Elephants Yentl

•  To profit from the fantasy genre which has proportionally high global box office takings •  To capitalize on multigenerational audiences amused and entertained by rite of passage stories •  To show the strength of the human spirit as it seeks physical well-being and inner freedom •  To cleverly examine themes of struggle, spirituality and a place in the world in an entertaining way

Drama Our teenage boy protagonist, Chaim, flees ethnic violence in 19th century Russia. Adventure Following the counsel of a famous Rebbe, Chaim embarks on a journey to find his place in the world. Fantasy Our story is set in the magical world of Jewish mysticism, where the divine is revealed behind all things.

Why should the film be shot in 3D? •  To immerse the viewer in adventure and fantasy sequences •  To add a sense of scale and magnitude when filming historic European villages

Karma is an actionfantasy hybrid genre film that communicates the full circle of reincarnation with messages of tragedy in battle, wisdom in growth and solace in death. 48

KARMA It’s all good.

Everything that happens is ultimately for the good. LOGLINE A journey to enlightenment as a soul is tested in realms of warfare across time and place.

Synopsis Long ago, somewhere in what is now China, a warlord expands his empire, bringing death and dominion to new lands. As he expands into heretofore-unknown realms, rumors surface of a legendary warrior so powerful that he alone is a match for the Warlord’s army. The Warlord sends scouts to meet with the warrior but they return with the message that the Warlord must leave or face death. Proud and angry, he sends a thousand warriors to dispatch the warrior. Only one returns, with the message: ‘leave or die.’ The Warlord sends ten thousand men. None return. Afraid and desperate, the warlord retreats in search of a new solution. He eventually discovers that the warrior has a beloved. She is kidnapped and held hostage, but the gambit results in the simultaneous deaths of the Warlord, the Warrior and his beloved. So begins the journey of a soul. It is then reincarnated in different times and countries and various historical situations that relate to war. The soul has a different life every time around, but the distinctive eyes are always the same. In each place he is trying to marry/find/save his beloved, but war always intervenes. In each life, a soldier’s tale is told of a warlord who once killed the wife of the God of war and though the ending of the tale is disputed, it is usually accepted that the warlord was fated to battle through eternity until the God of war agreed he had paid for his crime. In each life this soul is a man who must live a life within the theatre of war.

In some lives he suffers at the hands of enemies, or commanders, or circumstances as he repays the damage he inflicted in his first incarnation. In later reincarnations he begins to take new approaches to war. In one life he is a pacifist, but it ends after her watches his bride and loved ones slaughtered by invaders. In another he is a stoic warrior, learning of virtue. In another he is a samurai, learning of the warrior’s way. In one of his last lives he is Joan of Arc. In every incarnation he grows in virtue and knowledge and power until finally he is re-incarnated somewhere in Ancient China. In this incarnation, as a young child of three, a band of thieves break into his mother’s home and try to rape her. The unarmed child defeats the thieves and grows to become a warrior of legendary power and virtue. He finds his soul mate early on and is content to live in peace with her, until one day, a Warlord, seeking to expand his empire, brings an army into his land. The Warlord sends a thousand men to kill him, but he defeats them and, on their honor allows them to leave and return to their native lands. Except one who he sends back with a message for the Warlord to leave or die. The Warlord sends 10 thousand men. But the warrior defeats them and, on their honor, bids them return to their native lands. Then the Warlord kidnaps his beloved and the warrior is forced alone to confront the full might of the Warlord’s army. He is equal to the task and, in the process, the Warlord, the Warrior and his beloved are killed. In a scene that brings an awed stillness to the battlefield, the bodies of the Warlord, Warrior and Wife erupt into golden towers of light, as their souls unite and ascend together.

KARMA It’s all good.

Everything that happens is ultimately for the good. Comparable 3D and 2D Hollywood films based on genre, voice, story and budget 300  Avatar Cloud Atlas  Curse of the Golden Flower  Enemy at the Gate  Hero  Star Wars Episode IV: A New Hope  The Fountain  The Last Samurai  The Lord of the Rings Trilogy  The Matrix  The Sorcerer’s Apprentice  Thor Action A warlord and a warrior, opposite in battle and belief, ultimately turn out to be one soul, reunited after fulfilling the purpose of its incarnations. Fantasy Karma is set in a fantastic imagining of past ages and places.

Why should film financiers choose to invest in Karma? •  To profit from the fantasy and action genres which have proportionally high global box office takings •  To cleverly examine themes of struggle, spirituality and a place in the world in an entertaining way

Why should the film be shot in 3D? •  To immerse the viewer in action sequences •  To play on depth and immerse the viewers into the story’s magical worlds

The global outlook for 3D continues to be positive across the various entertainment platforms.

With 3D films, itâ&#x20AC;&#x2122;s easier to attract distribution among theatre operators and obtain pre-sales among 3D TV broadcasters. 3D films have a higher chance of achieving a big box office than 2D films. Unlike 2D films, 3D films are almost certain to generate favorable returns on investment. The established markets for video gaming and animated films demonstrate public appetite for 3D entertainment and ensure that the technology will continue to evolve.

THE POTENTIAL OF 3D WHAT IS THE MARKET POTENTIAL FOR OUR 3D FILMS?

WHAT IS THE ANTICIPATED LIFE CYCLE OF 3D FEATURE FILMS?

Picture Book Media endeavors to release its films including our debut feature film, New World Rising, into theaters, home video, online and TV channels through distributors, broadcasters and movie aggregators, often simultaneously. 3D versions of our films will be released first into the less competitive 3D market in order for us to build customer interest and grassroots support for 2D versions of our films. But our revenues, derived from production and distribution, depend primarily upon the film’s acceptance by our target markets, which cannot be predicted.

Films are generally legacy products that yield lifelong returns. We expect to capitalize from our 3D and 2D films for at least 42 months. Each film’s sales schedule is singular to its audiences, marketing power, time of year and date of initial theatrical releasing, financing and distribution agreements. The typical distribution windows for a film made for US audiences is as follows1: 1.  Opening day to 3 months later in theatres but

4.  5.  6.

realistically independent films remain on screens for no more than 5 weeks Opening day to 3 months later for home DVD and Blu-Ray rentals and sales 1 to 3 months later in video-on-demand/streaming video-on-demand/internet protocol TV/pay-per-view 3 to 6 months later in premium pay 3D and 2D cable TV channels 6 months later in broadcast network TV 12 to 24 months later in syndicated TV channels

WHAT IS THE PRODUCER’S REVENUE SHARE WORLDWIDE FOR FILM?

We assume that the average ticket price is $8.12 for a 2D film and $3 more for a 3D film at a US movie theater2. After distributor commissions and theatre operator costs are paid, the average producer’s revenue shares from 2D ticket sales is $2.60 and 3D ticket sales is $3.55. We also assume that the average new DVD or Blu-ray is priced at $4.99 for 7 days rental and $17.99 for purchase at a US DVD store3. After manufacturing, retail and distribution fees, the producer’s average revenue shares from a new DVD and Blu-Ray release is $1.44 per rental and $5.22 per purchase. The producer’s highest share is $70,000 for premium pay and 3D TV licensing and $300,000 for broadcast TV licensing.

1.  John J. Lee Jr. and Anne Marie Gillen (2011), “The Producer’s Business Handbook, 3rd Edition”, 1-255. 2.  National Association of Theatre Owners (2012), “Average US Ticket Prices”, http://www.natoonline.org/statisticstickets.htm 3.  Blockbuster (2012), Rental and Buy Price List, http://www.blockbuster.com/

3D THEATRICAL SALES Global box office revenues for all 3D films released around the world will expand from $6.9B in 2009 to an estimated $10.9B by 2012 by 16.0% compounded annual growth rate6 (see Figure 1).

The unprecedented commercial hit and critical reaction of James Cameron’s Avatar in 2009/2010 has lead to the reemergence of 3D titles. Between Q1 2009 to Q3 2012, 137 new 3D titles and IMAX movies were released in theatres or home video to global audiences4. On average, 3.1 new 3D films were released in theatres internationally per month in 2011, up from 2 per month in 20105. To make up for higher production budgets of 3D films, tickets cost on average $3 more for a quality 3D screening. But higher ticket prices are not discouraging audiences, particularly tech savvy teens and young adults.

Despite the traditional rhythms of successes and failures that characterize the box office, theatrical viewing of 3D film is on the rise and thriving.

Box Office Revenue in Billions

Figure 1. FOUR QUARTER TRAILING GROSS BOX OFFICE REVENUE OF 3D FEATURE FILMS FROM 2009 TO 2012 $12 $11 $10 $9 $8 $7 $6 $5 $4 $3 $2 $1 $0

USA

Foreign

Worldwide $11

Higher attendance and record 3D ticket sales are not just a First World phenomenon. 3D films drove theatrical revenues to record breaking levels of $1B in 2011 within the BRIC countries7.

Although 3D films cost more, they generally make much more money than 2D films. 50 to 70% of worldwide box office revenues are generated by 3D vs. 5% for 2D8. The average return on a 3D film is $3.69 for every $1 spent. The average return on 2D film is $2.51 for every $1 spent in worldwide box office revenue9.

4. Illustrated 3D Movie List (2012), http://www.3dmovielist.com/list.html 5 IHS Screen Digest (2012), Global Box Office Rises Driven by International Markets”, 2012 Report, 1-10. 6. Nash Information Services (2012), “The Numbers: Box Office Data, Movie Stars, Idle Speculation”, http://www.the-numbers.com, date accessed on September 25, 2012 7. Futuresource Consulting (2012), “3D: The Positive Global Outlook Continues”, 2012 Report, 1-2. 8. Pricewaterhouse Coopers (2010), 3D Here and Now, 2010 Report, 1-35. 9. BoxOfficeQuant (2011), “The Rise of 3D”, http://www.boxofficequant.com

3D THEATRICAL INSTALLATIONS High quality 3D film are screened across 3D theaters all around the world, including IMAX 3D (digital and 70mm film), REAL D 3D, Dolby 3D and XpanD 3D cinemas. As of Q3 2011, 30,000 of these 3D-enabled theatres were operating worldwide10. Since 3D films generate significantly more revenue per theater than 2D, theater operators worldwide have been incentivized to rapidly rollout digital technology11. The fastest growing sector of digital cinema screens is 3D where dramatic growth occurred from 2009 to 2011, at a 93% CAGR12 (see Figure 1). By the end of Q2 2012, 55% of the 22,000 non-3D digital screens were to be converted to 3D within the 20 territories in Europe). Total 3D screens in the US alone rose from 3,349 in Q1 2010 to 12,738 in Q4 2011 13,14. Even more digital screens and multiplex cinemas are being installed in BRIC countries, ensuring the short and long-term growth of 3D theatrical viewing15. Figure 1. NUMBER OF 3D CINEMA SCREENS WORLDWIDE FROM 2009 TO 2011

40,000 35,479

Number of Screens

35,000 30,000 25,000 20,000

22,411

15,000 10,000

9,004

5,000 -

2011

2012 Year

2013

Given that 3D films are primarily released during short periods (i.e. summer and winter holidays), 3D screens are being built to avoid bottlenecks. A typical multiplex needs a minimum of three screens devoted to 3D, forcing some theater owners to convert entire multiplexes at once.

If they don’t have enough 3D screens, some theatre operators have found their share of box office revenue decrease. The cinema operators look forward to putting alternative sources of content to get audiences back in theaters on slow nights. Once they employ digital technology, the transition to 3D is relatively easy and may be inexpensively achieved with minor theatre upgrades. Therefore, further incentivizing studios and independent filmmakers to make their 3D movies a success.

10. IHS Screen Digest (2011), “Going Global: Taking 3D to New Markets”, Key Note Presentation. 11. Pricewaterhouse Coopers (2010), 3D Here and Now, 2010 Report, 1-35. 12. IHS Screen Digest (2012), “Global D-Cinema Penetration Reaches New High”, 2012 Report, 1-9. 13. False Creek (2011), “3D’s Effect on a Film’s Box Office Profitability”, 2011 White Paper, 1-9. 14. Roy Taylor (2011), 4 Reasons 3D Movies Aren’t Just A Fad, www.mashable.com/2011/12/22/3d-movies-here-to-stay 15. Futuresource Consulting (2012), “3D: The Positive Global Outlook Continues”, 2012 Report, 1-2.

3D HOME VIDEO SALES A 3-D Blu-ray player can cost $120 and each disc set purchase is $27 18. Within Europe, more than 3 M homes were 3D Blu-ray capable in 2011 (i.e. households owned both a 3D TV and either a standalone 3D Blu-ray player or PlayStation3). In 2012, this is expected to rise to nearly 9 M homes and by 2016 more than 40% of European homes will be 3D Blu-ray enabled. Title sales are forecast to reach 8 M by the end of 2012. The revenues of 3D Blu-ray and digital VOD is expected to increase dramatically from $51M in 2010 to $4.5B in 2014 at a CAGR of 206%19 (refer to Figure 2).

Close to 100 3D Blu-ray titles were widely available in the US at the end of 2011, a sharp increase on the 19 available in 2010. By the end of 2012, an estimated 175 titles will be available.

A further 105 titles are expected to be released in 2013, boosting the total title availability to close to 300 17. Titles will be a mixture of Hollywood and Independent Studio feature film releases alongside documentary and niche footage. US 3D Blu-ray title sales will exceed 11 M in 2012, accounting for nearly 10% of the total Blu-ray titles sold. By 2016, 3D Blu-ray is expected to represent nearly 1 in 4 four Blu-ray sales.

Figure 2. GROSS HOME VIDEO REVENUE OF 3D FEATURE FILMS FROM 2010 TO 2014

Home Video Revenue in Millions

With the release of new titles and IMAX movies in 3D Blu-ray and 3D versions of 2D blockbusters, a constant supply of 3D Blu-ray and digital video-on-demand (VOD) content is becoming available to the home video entertainment market16.

$5,000

$4,500

$4,000 $3,000 $2,000 $1,000 $0

$51 2010

2011

2012

2013

2014

Year

16. Pricewaterhouse Coopers (2010), 3D Here and Now, 2010 Report, 1-35. 17. Futuresource Consulting (2012), “3D: The Positive Global Outlook Continues”, 2012 Report, 1-2. 18. IHS Screen Digest (2012), “Global D-Cinema Penetration Reaches New High”, 2012 Report, 1-9. 19. Jon Peddie Research (2010), “Stereovision PCs at the Tipping Point”, 2010 Press Release, http://jonpeddie.com/press-releases/details/ stereovision-pcs-at-the-tipping-point

Televisions, handhelds and mobile game players are the major media platforms in which 3D content is being consumed. 56

3D TV BROADCAST MARKET The market for 3D TV is less mature than theatres and home video markets. In 2011, 55 3D TV channels were launched in North America, Europe and Asia20. In addition to linear TV channels, 35 pay TV operators have made 3D content widely available for VOD systems. Those who are experimenting with 3D VOD are, in time, expected to make linear 3D TV channels available as well. The result is an anticipated increase in the number of 3D TV channels to over 100 by 2015 21. The success of 3D TV depends on the affordable availability of 3D TV sets, the availability of attractive 3D-ready content, a sound business model for TV channels and the viability of end-toend 3D broadcasting22. Premium TV operators bundle in charges for 3D TV channels in packages that require spending. At DirecTV, a high-definition digital video recorder is $200 and HD service is $10 per month. For Comcast, a consumer needs to buy a minimum $65 per month digital starter package with a $10 per month HD service cost.

The biggest challenge for 3D TV is the lack of content. Certainly, now and in the immediate future, the availability of 3D content is not sufficient to support 24/7 programming. About 125 days of programming or 500 films are needed to support a dedicated channel. To help expand the availability of 3D content and entice consumers to own their branded 3D hardware, online 3D VOD content services have emerged from consumer electronic manufacturers, particularly at the end of Q4 2011 and Q1 2012. Content is predominately limited to short form clips and trailers.

As more viewership grows with sales of 3D capable TVs, existing operators will win points with their savviest technophile customers before 3D TV becomes mainstream. Despite the limitations, recent findings indicate that 32% of recipients would change their service provider to gain access to a 3D channel.

20. Futuresource Consulting (2011), “3D TV and Blu-ray Update”, 2011 Report, 1-2. 21. In-Stat (2011),“3D TV Services: It’s a Small World”, 2011 Report, 1-50. 22. Pricewaterhouse Coopers (2009), Eyes Wide Open - Tipping Points Loom, 2009 Report, 1-30.

3D TV PANEL SALES Though a niche segment of the broad digital media platforms, 3D TV has evolved into one of the fastest growing TV formats since Samsung, LG, Sony and Panasonic launched 3D TV models in 2010. The transition to 3D technology in the TV sector gaining popularity more rapidly than previous transitions from LCD to LED23.. The global market for 3D TVs is projected to exceed 50M units by 2015, up from 3M in 2010. Among global LCD TV panel shipments, the share of 3D TV panels is expected to increase from 9.4% in Q2 2011 to 25.7% in Q4 2012 24 (refer to Figure 3).

Figure 3. 3D TV SHARE OF GLOBAL LCD TV SHIPMENTS FROM Q2 2011 TO Q4 2012 30.0%

25.0%

20.0%

3D TV Share

15.0%

25.7%

The adoption of 3D TVs is rising mainly due to greater consumer interest, falling prices of 3D TVs and the introduction of standards. Other growth drivers include soaring demand for digital media entertainment, largely premium TV content; the growing penetration of high-bandwidth broadband services among households; and rapid proliferation of Internet enabled devices such as Internetconnected TV sets, smartphones and tablet PCs. The typical premium for a 3D TV set now is about 30% and sets are already available for under $1,000 in the US and below €1,000 in Europe and fierce competition among manufacturers is driving down the price. Therefore, it is likely that 3D TV sales and home penetration will increase, and will do so quickly if manufacturers and retailers are savvy enough to offer these model with all the necessary technologies including Internet connectivity, which might be a better selling proposition right now than 3D, given how little 3D content is available.

A broad awareness of the limited 3D programming and the high level of discomfort with 3D glasses are setbacks for higher purchase and consumption of 3D TV.

9.4%

10.0% 5.0% 0.0% Quarter

The sales of 3D TV is expected to grow worldwide at a 79.1% CAGR by 2014 25. While the US represents 40% of the market share, Asia-Pacific is the one of the fastest growing regional markets for 3D TVs with a CAGR of 122% in unit sales. But, from 2012 onwards, Western Europe is set to own the biggest market share with a 185% CAGR in unit sales. The 3D TV market size is expected to be more than $100B by 2015 with sales forecasts of $25B in the US; $10B in Canada; $4B in the UK; and $2.2B in South Korea.

The active 3D glasses are considered heavy and too expensive, a $50 price tag for consumers. They are not interoperable between competing technologies and brands. New TV technologies are being developed for more affordable, interoperable and easier-to-wear "passive glasses." Passive 3D TV sets with active shutter synchronization are progressively being introduced in the market, though their price point now is yet still restrictively high, due to the effort required to position the polarization filter on the TV. More distant technologies will eventually enable 3D viewing without glasses.

23. Global Industry Analysts (2012), “3D TVs – A Global Strategic Business Report”, 2012 Report, 1-344. 24. NPD DisplaySearch (2012), Press Release: Global LCD TV Shipments Fall for the First Time Ever in Q1’12, http://www.prweb.com/releases/ 2012/6/prweb9621957.htm 25. Renub Research (2011), “3D TV Market and Future Forecast Worldwide”, 1-57.

When a filmmaker decides to shoot a film in 3D, the producers, the financiers, the distributors, the exhibitors and, most importantly, the audience win.

WHY SHOULD PICTURE BOOK MEDIA’S FILMS BE SHOT IN 3D? Consumer demand has outstripped supply for the 3D filmed entertainment market. By shooting our films in 3D and 2D, Picture Book Media is better primed, than filmmakers shooting in exclusively 2D, to recover a significant portion of our production expenses and radically improve our company’s profitability. 3D is our natural experiential viewpoint. “It is an illusion. A tool to convey something about the characters and to make a more compelling story experience”, Steve Schklair of 3Ality Technica. As technology advances to post-glasses 3D and 3D virtual reality environments, companies and storytellers who are experts in 3D will dominate the filmed entertainment market. With our low- to medium-budget films, Picture Book Media is pioneering 3D storytelling.

SHOOTING IN 3D The cost of filming in 3D is slightly more than a 2D shoot. The majority of the cost increases come from the increase in camera rental cost for a 3D camera system, including matching cameras and lenses, ancillary equipment and additional crewmembers. These costs are likely to stay fixed as the budget increases.

Film shot in 3D gives it a long life. 3D filming poses a challenge for a producer. It requires technology untried by most of the industry. There are, nevertheless, several reasons why 3D shooting should be adopted.

A 3D film offers a significantly better customer experience. The audience is actually immersed into the world itself because of the added depth in 3D films. “Their feelings are amplified into it, because this is much closer to how we actually see. In color and in three dimensions”, Jeffrey Katzenberg, CEO of DreamWorks. Adult consumers in the US express the highest interest in action, adventure and wildlife as 3D film genres26 (see Figure 4). Figure 4. BROAD INTEREST ACROSS POSSIBLE 3D GENRES IN THE US AS OF Q3 2009

70% 60%

50%

Share of Consumers

65%

61%

45% 40% 40%

40%

35% 35% 29%

30%

20%

The chance is that a 3D film shot today will continue to be shown even when 3D becomes the de facto standard. Steve Schklair of 3Ality Technica, a pioneering influence in the realm of digital 3D says, "if the economics get better to shoot in 3D and it’s as easy to shoot in 2D, then why won’t you? Assuming 3D TV is more ubiquitous in 10 years and you shoot in 2D, you have no archival value to your content.” Even yet, while the techniques for telling a story on film in 3D are beginning to be more widely known, there is ample space for innovation.

It is simple to create a 2D version of a film shot in 3D. The footage captured by the left camera is used and projected onto the screen.

3D conversions of 2D films are met with major audience criticisms. A minority of 3D titles were originally filmed in 2D then rendered to 3D during post-production. The increasing use of CGI in films provides significant material to be converted into 3D but this process is relatively difficult and very expensive. Most 3D experts believe that post-production conversions of 2D film to 3D are going to be reserved for old classics. Ultimately, for the smart and savvy filmmaker, the choice is not whether to embrace 3D, but when.

10% 0%

Genre

26. Consumer Electronics Association, (2009) “3D TV: Where Are We Now and Where Are the Consumers”, 2009 Report, 1-27.

WHO ARE MODERN PROFESSIONAL Our main target FEMALES? customers are two underserved global audiences: ARE COUNTER-CULTURE modern professional WHO MOVEMENTS? females and counter- culture movements.

Modern professional females are liberated, freethinking, ambitious and boundless in their outlook. They hold university degrees, are careerdriven, well traveled and share the status and power of their male counterparts.

Counter-cultures are proliferating more than ever before even though their values and norms of behavior diverge from those of mainstream society. Occupy Wall Street, progressive, zeitgeist, new age and libertarian movements, to name a few, insist that contemporary society re-evaluate established dogmas and doctrines. Because of their hunger to change the socio-political status quo, these men and women willfully support alternative visions of politics, economics, spirituality and ethics.

TARGET AUDIENCES WHY WOULD OUR CUSTOMERS BE CONVINCED TO PURCHASE OUR 3D FILMS? The public appetite for 3D filmed entertainment is on the rise and thriving. 3D feature films bring a feeling of enhanced realism to the viewer. Picture Book Media wants its viewers, particularly its underserved global audiences, to lose themselves in the layers of depth created in our three dimensional story worlds.

HOW DOES OUR COMPANY PLAN TO ACQUIRE CUSTOMERS? We aspire to produce humorous and lighthearted romantic comedies for our modern professional females and thought provoking dramedies that speak to the discontent of counter-culture movements. To successfully target tech-savvy consumers of 3D entertainment, our films will be hybrids of action/adventure and fantasy given these genres are best suited for 3D stereography. Our company plans to personalize our connections to our customers by employing viral and grassroots marketing campaigns alongside customary publicity and advertising strategies for film promotion. To publicize our films, investment is required for teasers/promos, trailers, transmedia storytelling with social media, videoblogs and podcasts, graphic design, publicists, electronic press kits, distribution databases and film festivals.

HOW DOES OUR COMPANY PLAN TO KEEP CUSTOMERS? To keep our customers and leverage loyalty, Picture Book Media expects to annually release at least one film under one of two brands, Laughing Leopard Films and Open Box Pictures. Laughing Leopard Films will make 5 features that will resonate with our modern female professionals. Open Box Pictures will produce 7 films that satirize themes and explore issues of interest to counter-culture movements.

HOW WILL WE DRIVE CUSTOMER SATISFACTION FOR OUR 3D FILMS?

To drive customer satisfaction, we may offer ancillary product features and services to 3D film fanatics. Picture Book Media also plans to devise a three-tier system of online distribution via our website to foster an online community around our films and win over cult fans. Web users of the bottom-tier may have unrestricted access to film teasers that carry paid advertisements. They may have free access to a forum where commentary, user-reviews, filmmaker-notes, and other interactions may take place. We may integrate partner films and sites along with options to purchase DVDs, merchandizing and other featured products into the functioning of the forum. The middle-tier exists to promote viral distribution of the bottom-tier sponsored product. It intends to call on traditional media viewers who enjoyed the film to spread word-of-mouth recommendations to family and friends. These brand ambassadors may be able to send sponsored messages to others, via e-mail links, Facebook and Skype notifications, Whatsapp, etc., suggesting they view our films and join our network. They will be rewarded for their loyalty with credit, redeemable in our DVD, Blu-ray and merchandising store. Small cash payments made for forwarding recommendation links or adding linked advertisement banners may also encourage them to spread the word about our films. Middle-tier web users will have the ability to ban recommendations from distributor friends who do not share their taste and prioritize recommendations from friends who do. The top-tier of online distribution will be designated for paid subscribers who order our deluxe DVD and Blu-ray packages with exclusive content such as a directorâ&#x20AC;&#x2122;s cut, blooper reels and still photographs. These subscribers may have restricted videoconference access to actors, directors, stereographers and producers.

TARGET AUDIENCES… The 90 Day Rule

MOYO OF THE FROST WASH Loader Street THE LAND OF THE FREE BOUND FOR GLORY Uninvited Guest The The 90 Day Rule MOYO OF THE FROST BORDERLINES Adam Newman

New World Rising"

TEENS

Males and females (15 to 17) who are extremely tech-savvy and culturally liberal. They are interested in watching coming of age, fantasy and comedy genre films with their friends. They have the highest participation rates for cinema.

YOUNG ADULTS Males and females (18 to 24) who are considered culturally liberal and desensitized to violence and sex in films. They are exploring themselves and relationships before embarking on their professional careers. They intensely adore comedies, suspense thrillers, and films with ensemble casts. They are responsive to Internet campaigns and process information quickly and are especially brand loyal. They like innovative marketing approaches and advertising that uses humor or is "outside the box." This extremely tech-savvy segment has the highest rate of participation in DVD/Blu-ray video, online video and streaming or downloading using a computer. They are the least to watch free-to-air television and most active in social media.

WARD G 13 THE CONSUMERS WASH Loader Street THE LAND OF THE FREE BOUND FOR GLORY KARMA The Uninvited Guest

The 90 Day Rule MOYO OF THE FROST BORDERLINES

SINGLE FEMALES Females (25 to 54) who are unattached and freethinking. These fundamentally confident woman want to hear good news and experience love and joy. They have a deep need to belong and matter in society. They relish going to humorous and lighthearted romantic comedies and dramas about modern womanhood with their girlfriends. They are more likely than single males to participate in cinema and DVD/Blu-ray video. They participate less than males in console gaming, online video and streaming or downloading using a computer.

The Uninvited Guest

The 90 Day Rule Adam Newman

New World Rising"

THE CONSUMERS Loader Street BOUND FOR GLORY KARMA

MATURE COUPLES Males and females (25 to 45) who have active lifestyles, are ambitious, and juggle domestic obligations and promising careers. They go out to the movies on date night or enjoy stay-ins together watching movies and TV series on their home-entertainment systems.

BY LIFE-STAGE The Uninvited Guest

The 90 Day Rule

BORDERLINES Adam Newman

New World Rising"

WARD G 13 THE CONSUMERS THE LAND OF THE FREE BOUND FOR GLORY KARMA

GENERATION FLUX ADULTS Males and females (35 to 45) who are very active, smart and entering their peak earning and buying years. They place a high value on education and knowledge. These residents of the First World have had to make a couple of career changes due to the chaotic nature of the job market after the 2008 – 2012 global financial crisis. They are a little cynical and not easily wooed by brand prestige. They like to save but purchase based on value for money and shop online easily given they are tech-savvy. They are also more likely to watch more deeply meaningful independent films. Because of PayTV, cable, home video and DVD, they have become much more movie literate than other persons in their generation.

CONSERVATIVE PARENTS

MOYO OF THE FROST New World Rising" BOUND FOR GLORY KARMA

The Uninvited Guest

The 90 Day Rule

MOYO OF THE FROST BORDERLINES Adam Newman

New World Rising" THE CONSUMERS BOUND FOR GLORY KARMA

Males and females (35 to 54) who are overprotective of their of teens, closely supervising them during their viewing of films. They prefer warm and good-hearted stories with their families. During the week, they watch films and TV series on their home-entertainment systems and enjoy cinema outings with the family on weekends. They prefer stories that teach their children good morals but would also like to laugh at jokes their children may not understand.

EMPTY NESTERS Males and females (48 to 65) whose children have grown and left home. They warm to good stories, chiefly about late-blooming love, with rounded characters and sentimentality. They prefer to watch films about maturity and the past, particularly grown-up dramas or comedies.

BY LIFESTYLE The Uninvited Guest The 90 Day Rule MOYO OF THE FROST New World Rising" WARD G 13"

Loader Street Â BOUND FOR GLORY KARMA

The 90 Day Rule Loader Street

ARTISTIC COMMUNITY Males and females (18 to 68) who are writers, photographers, musicians and filmmakers. They enjoy stories that speak to their imagination, their place in society and inspire them to create more meaningful art. They read expert reviews but make up their own minds when making their value judgments towards films. They are avid fans of entertainment, absorbed in the industry and indiscriminate towards their viewing of films on diverse media platforms.

GAY COMMUNITY Males (18 to 54) who are dating or in long-term relationships. They are attracted to movies with elements of success, beauty and power, as well as stories with messages of being different and tolerance. They prefer to watch romantic comedies and dramas with celebrities or gay cast or, films strongly recommended by friends and reliant on critic reviews. These men often go out on date nights to well-publicized movies and watch with their friends.

STONER COMMUNITY Adam Newman

Males and females (18 to 54) who are regular and social smokers of marijuana. A cross-cultural, inter-class group who enjoy visually appealing, memorable funny comedies and dramas, which can be experienced with a WARD G 13 group of friends more than once. They are eager to watch films that show WASH Â their commitment to smoking and acquiring marijuana as a lifestyle choice Loader Street! THE LAND OF THE FREE and deal with the issue of drugs in a truthful, or entertaining way. The younger they are, the more likely they prefer to watch downloaded movies, particular pirated, at home on their laptops or big screen TVs.

New World Rising"

BABY BOOMERS The 90 Day Rule BORDERLINES KARMA

Males and females (54 to 68) who are very wealthy First World residents who place importance on personal acquisitions and end-user value. A wave of them started retirement during 2007-2009 during the economic slow down. They prefer to watch grown-up dramas, comedies and periodic pieces that speak to their lifestyles with families and friends. They are most likely to be free-to-air TV viewers and have the highest rate of participation in subscription TV.

BY INTEREST COMIC BOOK FANS New World Rising" WASH

Males (18 to 45) , often single, who read and collect comic books, graphic novels and manga. They are the first to support and recommend sequel and prequel films based on their preferred comic book characters.

DIGITAL COMMUNITY The Uninvited Guest The 90 Day Rule THE CONSUMERS Loader Street The Uninvited Guest The 90 Day Rule MOYO OF THE FROST

New World Rising" Loader Street"

THE CONSUMERS BOUND FOR GLORY THE LAND OF THE FREE KARMA Uninvited Guest The World Rising" New WASH" THE LAND OF THE FREE KARMA

Males (14 to 45) , more than females, who actively consume high-end technologies such as smart-phones and tablet computers. These primarily affluent or middle-income city dwellers are users of new media such as Facebook, blogs, IMDB, twitter, etc. They stream or download online video on their PCs and mobile phones. They have a proclivity towards spectacle and 3D films of the sci-fi, action, animation and fantasy genres.

GLOBE-TROTTER COMMUNITY Males and females (25 to 54) who travel for pleasure, exploring new and unknown places abroad. These middle to high–income adults appreciate action and adventure genres, particularly set in unfamiliar societies or exotic locations or outdoors and with wildlife.

ONLINE GAMING COMMUNITY Males and females (13 to 45) males, often single, who actively embrace the interactive experience that video or computer games provide. The bulk of the community is composed of early are adopters of new media. As of date, the most popular online games are Diablo, Call of Duty and World of Warcraft. This community is very likely to watch and recommend violent, pornographic, spectacle and 3D films of the sci-fi, action and fantasy genres.

The Uninvited Guest The 90 Day Rule New World Rising" KARMA

OUTDOORS COMMUNITY Males and females (18 to 45) who appreciate nature. Among them are surfers, hikers, campers and bikers. These outdoor enthusiasts are interested in action and adventure genres, particularly road-trip films, set in outdoors and with wildlife. They watch Lonely Plant, Survivor, I Shouldn’t Be Alive and other TV series as well as documentaries on the Discovery Channel among others.

BY SPIRITUAL ORIENTATION JEWISH COMMUNITY BOUND FOR GLORY

Males and females (13 to 68) who share Jewish ethnicity and lineage. They usually support films that depict elements of the Jewish life, history and culture. They enjoy watching period pieces and ensemble casts. They are inclined to watch foreign dramas bent on their view of community, especially with their extended families and friends.

New World Rising"

WARD G 13 THE CONSUMERS BOUND FOR GLORY KARMA

NEW AGE MOVEMENT Males and females (18 to 45) who are into spiritual growth and selfimprovement. Rather than following organized religion, they construct their own spiritual journey based on mystical traditions. They want to watch dramas that suggest that the world is a spiritual place.

HOLISTIC AND MEDICINAL HEALTH COMMUNITY The 90 Day Rule MOYO OF THE FROST

New World Rising" WARD G 13 THE CONSUMERS

Males and females (35 to 68) who are chronic suffers of depression, stress or cancer. They prefer to self-medicate with alternative medicine, homeopathy or palliative care for rehabilitation purposes. They can be converted to brand ambassadors of dramas or comedies that reaffirm their belief that ‘disease is a result of physical, emotional, spiritual, social and environmental imbalance.’

BY POLITICAL STANCE LIBERTARIAN MOVEMENT WARD G 13 THE CONSUMERS THE LAND OF THE FREE BOUND FOR GLORY KARMA

Males and females (35 to 68) who are strongly influenced by the work of philosopher/author Ayn Rand, especially her novel Atlas Shrugged, a dystopian, revolutionary polemic that espoused her philosophy of objectivism. These middle to upper-income are open-minded, conducting their affairs without the intervention of religion and government. They prefer to watch challenging dramas that are thought provoking.

OCCUPY WALL STREET MOVEMENT Males and females (18 to 45) who resonate or have participated with the global Occupy Wall Street movement. Although fed up with the WARD G 13 international political and socio-economic status quo, they embrace a THE CONSUMERS diverse range of ideological and political positions. Part of a globally THE LAND OF THE FREE dissatisfied with middle class, these adults like to watch challenging movies, BOUND FOR GLORY in particular political satires, that speak to their discontent and confirm their sense of reality. KARMA

New World Rising"

PROGRESSIVE MOVEMENT Males and females (18 to 45) who consider themselves reformists, embracing social justice and welfare, environmentalism and organic food consumption. This group of middle-income, community minded and New World Rising" socially active adults have a strong sense of social responsibility. Always WARD G 13 looking for something new and different, they seek out information and THE CONSUMERS knowledge and tend to be early adopters and influencers. Because they THE LAND OF THE FREE believe the government needs to adjust as society evolves, they appreciate BOUND FOR GLORY political satires that examine the injustices of government control and unfair economic imbalances. KARMA

The 90 Day Rule BORDERLINES

BORDERLINES

ZEITGEIST MOVEMENT

Males and females (25 to 45) who view global issues of poverty, corruption, war and homelessness as symptoms of an outdated social WARD G 13 structure. These activists are in favor of the abolition of money and private property. Adults of this internet-based movement have no allegiance to a THE CONSUMERS THE LAND OF THE FREE country or traditional political platforms. They prefer to watch BOUND FOR GLORY documentaries, dramas and comedies that share their vision of socioeconomic change. KARMA

New World Rising"

Picture Book Media proposes to secure development and production financing from US and South African equity investors. We intend to raise additional funds from the South African government and corporations. 69

INVESTMENT OPPORTUNITY HOW ARE WE RAISING MONEY?

Picture Book Media expects our company and our SPCVs to be financed by equity investment from US and South African investors and corporate sponsors. We intend to apply for film grants and rebates and generate additional revenue from services and plan to remain debt-free.

WHAT IS GAINED BY INVESTING IN OUR COMPANY? Investors and film financiers are bound to profit in the subsequent ways:

1.  We aim to offer a minority stake, up to 49% of ownership, to investors who finance our startup. When our holding company becomes profitable, we plan to pay out a significant portion of the profits in dividends. The exact portion of ownership is negotiable. 2.  Up to 70% of the producers’ shares from individual film projects are offered to film financiers. The exact portion of ownership is negotiable. 3.  According to the South African Film and Television Production and Co-Production Incentive, local producers can qualify for a 35% rebate on the first 6M ZAR (approx. $750,000) spent in production and an additional 25% above 6M ZAR. There is no upper limit to the incentive. 4.  We are interested in placing global brands in our films and creating commercial tie-ins in exchange for paid corporate sponsorship.

Our investors can take advantage of the following non-financial opportunities: 1.  Investors will be given credit as executive producers in films they invest in. 2.  They can attend red carpet events and participate in film festivals. 3.  They can be proud supporters of the arts in South Africa and uplift the local economy in an industry targeted by government as key to economic growth. 4.  They can project their own voice into the world through our films and promote real world causes and issues they believe worthy of public attention. 5.  They can enter Cape Town’s society and be hosted by top local celebrities and actresses. 6.  Families and friends of investors may participate in the filmmaking experience and learn from top experts in 3D filmmaking.

WHAT DO WE NEED TO LAUNCH AND RUN THE BUSINESS? Startup capital is needed to commence preproduction of our debut feature film in 2013. Investor funds will go towards producer salaries, professional service provider fees, office space and equipment, business software and basic overhead costs. Additional investment is essential for 3D stereography training and test shooting. To develop other feature films between 2014 and 2017, our holding company requires working capital for 3 months per annum. These development funds will go towards scriptwriting, producer salaries, professional service provider fees, office space and basic overhead costs.

WHAT ARE THE PRIMARY RISKS FACING THIS OPPORTUNITY? Investment in the motion picture industry is highly speculative and inherently risky. There can be no assurance of the economic success of any one film. However, substantial financial gains are to be made if the film is successful or a commercial hit. Our production company is exposed to the following risks:

1.  Operational risks: increased competition, technology shifts, computer piracy, dependence on key personnel, resignation of management, liability on set and script development delays 2.  Financial risks: USD:ZAR exchange rate fluctuations and rising inflation 3.  Political risks: changes in governmental and regulatory policies and changes in labor market conditions

Naturally these risks are proportional to the success of the film.

WHAT ARE THE PROBABLE EXIT SCENARIOS? Picture Book Media expects three probable exit scenarios for the company:

1.  The sale of the holding company and its assets to another company 2.  Its launch on the JSE stock exchange; or 3.  The liquidation of the holding company 70

Picture Book Media welcomes executive producers and investors to contact the management team directly to learn more about our 3D feature film projects.

Director of Development

Gavin Sher

gavin@picturebookmedia.com +27-(0)82-395-9685

Director of Production Tamryn Speirs

tamryn@picturebookmedia.com +27-(0)82-880-7718

Director of Distribution Maha Golestaneh

maha@picturebookmedia.com +27-(0)21-462-0497 +27-(0)78-824-6870

You are welcome to access Picture Book Media content online. •  Our website at http://www.picturebookmedia.com. •  Our business plan for New World Rising at http://issuu.com/mahagol/docs/newworldrising. •  Our copyrighted script for New World Rising at http://issuu.com/mahagol/docs/script. •  Our schedule for New World Rising at http://issuu.com/mahagol/docs/schedule. •  Our line budget for New World Rising at http://issuu.com/mahagol/docs/budget. 71

A NEW CHAPTER IN FILM Registration no. 2012/189049/07