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Industry achievements for 2011 23 Films Released 12 Co-Productions all filmmakers on a successful 2011 o t s n o i t a l u t a r g n o C
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Exciting projects for 2012 In Conversation with‌ The National Film and Video Foundation (NFVF) November 2011 launched the inaugural session of In Conversation With.... In Conversation With... is a series of film industry stakeholder interaction sessions. The main objective of the project is to bring film industry stakeholders together with the purpose of sharing insights and expertise on issues relating to film industry.
SEDIBA Programmes: The Sediba training programme, a flagship programme for the National Film and Video Foundation was developed in 2005 with the objective of equipping writers and script editors with the basic skills of story writing. The programme was launched after the NFVF received numerous script proposals that had great ideas, but lacked the correct writing formula. The training programme is divided into four sessions which comprise, the Sediba Spark Narrative Fiction Scriptwriting Programme, Sediba Spark for Documentaries Programme, Sediba Masters Scriptwriting Programme, and Sediba Advanced International Financing Programme for Producers.
Congratulations to all filmmakers Looking forward to a prosperous 2012 on a successful 2011.
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Looking forward to a prosperous 2012.
Look out for:
In Conversation With…, SEDIBA Programmes: Screen Writing & Producers Programme, National Roadshows SEDIBA International Financing Programme for producers
This annual programme runs over an eight-month period and is comprised of project-based workshops with specific deliverables to be worked on between each session. The course is delivered by practitioners in international film finance from the UK and will include specialist guests at each workshop who are highly respected professionals in their respective expertise.
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Producers are required to have a completed script around which to build a financing model, which will be packaged with and tested in the international marketplace. Participants will also be required to work on a timeline to advance their projects. The final deliverables for each Producer will be a detailed business plan outlining their objectives and how they intend achieving them. On the basis of their respective development, the two top achievers on the programme will be selected to attend the Film London Production Finance Market in October 2010 where they will have an opportunity to pitch their projects to potential international financiers, sales agents, and distributors.
Recap of the Industry 2011:
In addition to this exciting new initiative by the NFVF the Course Leaders have agreed to structure a mentorship programme to mentor two South African producers to ensure that the requisite training skills transfer occurs. It is intended 23 that F upon successful completion ilms Released of this mentorship programme, these producers will be equipped to deliver the programme in the country, thus making this kind of Thank you for keeping the industry going. 12 C o-‐Produc5ons training more accessible and cost effective for the industry.
National Roadshows The objectives of the NFVF as per the Act (No. 73 of 1997) identify the promotion and development of the South African Film Industry as a primary objective. In a bid to achieve this aim and with the strategic thrust of “Taking the NFVF to the People”, the foundation benchmarks itself nationally to promote a greater interest in film and of the South African film industry. Informative and entertaining schedule in areas such as training, skills development and understanding filmmaking is planned for the roadshows. Interactive sessions on “How to enter the film industry”, a Director’s Master class “Movie Making 101”and a Screenwriting workshop, are some of the programmes the audience are provided with.
Bookings are now open Date: Thursday 16 February, 2012 Venue: CMR Golf Course, Maraisburg Green Fees: R240.00 per player ex vat (Includes networking cocktail function and prize giving).
For bookings and sponsorship opportunities contact: Ellen Oosthuizen
Claire Badenhorst
+27 (0)83 268 6868
+27 (0)11 025 3180
ellen.oosthuizen@pixie.co.za claire@mediatech.co.za
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VOL 24 – January 2012 R35.00
Bumpy road ahead in 2012 With the South African industry reporting a tough year in 2011, many are looking at 2012 with trepidation, especially with the uncertain global economic outlook and the continuing crisis at beleaguered public broadcaster SABC. However, some industry stakeholders are cautiously
SA’s first local English telenovela Pay-TV broadcaster M-Net’s local content channel Mzansi Magic is the first South African channel to commission a locally produced telenovela in English. It will comprise over 208 episodes to be broadcast from Mondays to Thursdays in the 8.30pm time slot. Johannesburg-based Urban Brew won the pitch to produce the telenovela. South African acting legend Dr John Kani is the executive producer and mastermind behind the series and will also appear on screen. According to M-Net’s Corporate Communications manager Lani Lombard, Mzansi Magic received 23 submissions in response to the telenovela brief. “Four – to page 40
optimistic about the new year. At the end of 2011, Indigenous Film Distribution CEO Helen Kuun predicted strong growth for the coming year. “There are already 12 feature films lined up for release and we are not even in 2012 yet,” said Kuun. She notes that there are still major challenges facing the film industry, including script development. “Furthermore filmmakers should also realise that not all films are meant for cinema release, especially now that video on demand (VOD) is a reality,” said Kuun. Producer Isaac Mogajane of Diprente Films is excited about 2012. “We are currently negotiating Season 4 of the The Late Nite News With Loyiso Gola and are in post-production for our first feature film, Blitz Patrollie. Additionally we have a
number of new features and television shows that we hope to produce this year,” said Mogojane. He expects 2012 to be the biggest year yet in South African film. “A number of great projects like Material and Vehicle 19 are on the horizon, and there is a real buzz in the industry at the moment.” However, he believes the industry still faces some challenges, including marketing local releases better so that more buzz and awareness is created around them. Mogojane also thinks that local movies need to win back the good faith of South African audiences. “There is a developing trend of South African films to feature things that are unique to us and that do not exist in Hollywood films. In – to page 40
New TV finance model Johannesburg-based producer Marc Schwinges of Underdog has created a new business model for TV production in South Africa which utilises the Department of Trade & Industry (the dti) rebate and sees two language versions of a new documentary series licensed to two different broadcasters. Most significantly, Schwinges and his partners retain the intellectual property (IP) rights to the show, with only 3.9% held by a private investor. This is the first time that the dti rebate has been used on a TV
show that is financed by local broadcasters. The model was created for the 13-part Rof of Spog (Afrikaans version), which began broadcasting on SABC2 on 9 January. Pay-TV broadcaster M-Net has licensed the English version of the show, Rough or Smooth, scheduled for broadcast in February 2012. Popular soapie stars Terence Bridgett and Paul du Toit, who have their own company Fanagalo Films, present the show. It is described as “an – to page 40
READY STEADY SHOOT: South African DOP Sunel Haasbroek using the Sony F3 in Mongolia. See page 31
Biggest SAFTAS ever A record number of entries (233) and judges (104) characterises the 2012 South African Film and Television Awards (SAFTAS), which will be presented on 10 and 11 March at a Johannesburg venue to be announced in February. This is the sixth edition of the SAFTAS which honour, celebrate and promote the creativity, quality and excellence of the local film and TV industry. At the time of going to press the final judging phase had commenced with final votes to be cast between 30 January and 6 February. Nominees will be announced by Azania Muendane, SAFTAS project manager and the National Film and Video Foundation’s (NFVF) head of Marketing and Public Affairs, on 8 February. The voting line for TV viewers to vote for their favourite soap
will also open on this date. A session to brief judges on final judging phase procedures was held at the NFVF’s headquarters in Johannesburg on 7 December. Muendane stressed that the NFVF is custodian of the SAFTAS only and is not — in any way — involved in the actual judging process. Said Muendane: “The filtration phase went very smoothly. Judges whittled down the large numbers of entries to 10 or less in each category. The SAFTAS auditors, Deloitte South Africa, are very pleased with the filtration proceedings as are our two overall judging chairpersons, Feizel Mamdoo and Jackie Motsepe. Feizel and Jackie do not vote – they oversee the judging process and only intervene if there are issues around validity of entry, – to page 41
From the editor
Welcome to 2012 The Screen Africa teams wishes all readers nothing but the best for the coming year. 2011 seemed to zap by at breakneck speed in South Africa, with some truly ghastly moments and some great ones. Ghastly moments were provided with great frequency by our troubled public broadcaster, the SABC, which seemed to be in the daily newspapers on a regular basis with ever more reports of managerial and financial shenanigans. Great moments were courtesy of the local feature film industry, which ensured that there was a steady stream of South African fare on the cinema circuit throughout the year. The lead story on our front page reveals some industry predictions for how 2012 may pan out. It’s a mix of trepidation and cautious optimism. What with the global economic climate and talks of a double dip recession let’s hope things turn out better than expected. It may seem strange to find in this issue an article on a film industry in a country as far from Africa’s borders as Taiwan (Republic of China), but Screen Africa was invited to attend the Golden Horse Awards in Hsinchu City in late November. Regarded as the Oscars of Asia, the Golden Horse Awards are open to Chinese language films from Taiwan, mainland China and Hong Kong. They are every bit as big, exciting and glitzy as the Oscars, with thousands of film fans clicking their cameras at the perimeters of the red carpet. The Taiwan invitation included the fascinating opportunity to interact with local film practitioners. I was interested to see, as you can read in the article, that they face the very same challenges as South African filmmakers. On the subject of awards, March sees South Africa’s own industry awards event, the South African Film and Television Awards (SAFTAS), which are under the custodianship of the National Film and Video Foundation (NFVF). You can read all about the final phase of SAFTAS judging on our front page. This issue is characterised by articles from a number of contributors who give first hand perspectives on a variety of events such as the International Documentary Festival Amsterdam (IDFA), the Africa Com Conference, the International Images Film Festival (IIFF) for Women in Zimbabwe, as well as a two-hour live broadcast off the KwaZulu-Natal coast and testing a new camera on location. In other words, a thoroughly good read. Joanna Sterkowicz
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Contents
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23 SPECIAL FEATURE SOUND STUDIOS Technology killed the studio star........................................ 24 TheWorkRoom Audio Post Production; Shhh... listen to the design!....................................... 26 Leveling the paradigm................... 27 Surfing the sound way; Lending his (musical) ear.............. 28 Dancing to the beat...................... 29
SPECIAL FOCUS TAIWANESE INDUSTRY A whole new world...................... 32 A treasure trove of film............... 33
NEWS Bumpy road ahead in 2012; Biggest SAFTAS ever; New TV finance model; SA’s first local English telenovela..............................3 Doccy gives a helping hand; A window on wine-making; SA company shoots major US film.....................................5 Racheltjie de Beer film in development; Short film contest...6
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24 DOCUMENTARY A trip to doccy heaven....................8 Lifting the lid on a cycle of violence............................................ 12 An incalculable loss....................... 35 FILM Heist film – Durban style............. 10
COMMERCIAL Neuro insight for more effective promos............................. 15 BRANDING The rebirth of a brand.................. 16
TRACKING TECHNOLOGY Leading the pack with monitor range; DVB-T2 digital terrestrial solution; Rendering for real-time content; Switching
32 TELEVISION Pros and comms?............................22 Shark Attack Experiment LIVE....... 23 New series highlights some of SA’s most shocking crimes..... 36 Getting the read you want.......... 37 NEW MEDIA Consuming content will never be the same again............... 30
CAMERAS The Sony F3 experience.............. 31
AFRICA Almond Tree branches out; New socially conscious African film launches..................... 38 Women filmmakers take centre stage..................................... 39
control for live productions........ 18
REGULARS
Video capture plus playback;
Adcetera.................................14 / 15
Viewing the Smart way;
Defining Success............................. 41
Recording musical superstars..... 19
Audience Ratings............................ 47
Dynamic live fusion;
Vital Stats......................................... 47
Getting into the studio;
Production Updates................... 42 /
An enterprising solution.............. 20
..........................................43 / 44/ 45
Delivering high impact news;
Events................................................ 45
Playing the Ace................................ 21
Close up..................................46 / 48
Doccy gives a helping hand Stefan Enslin of Faith in Motion is bringing awareness to the plight of a young boy and his mother in a new documentary. Damian Gower is 13 but unlike most boys his age he cannot sit, stand, crawl or walk. He is also unable to communicate easily with anyone except his mom Deirdré. Damian was born a healthy baby but despite numerous tests in South Africa and the US, doctors are unable to give a diagnosis. In March 2012, Damian and Deirdré will complete the Cape Argus Pick n Pay Tour to raise funds for a new wheelchair. Deirdré will cycle with Damian in tow for the entire race. The aim is to generate donations and the initiative has been organised through the Chaeli Charity. Enslin explains that he became involved in the project after Deirdré decided to do the Argus. “She got permission from the Chaeli Charity and secured a bike sponsorship from various people. Faith in Motion was approached to make a documentary about the initiative and filming has already begun with coverage of Damian’s 13th birthday party, when the bike was handed to the family.” The documentary faces logistical challenges as the Argus is the biggest timed cycle race in the world. “We will use a supporting vehicle for the actual
which Enslin describes as a very practical camera and easy to use. It is a full HD camcorder that films at 25fps. Much of the filming will take place on bikes alongside Deirdre. Enslin says: “Hopefully the film will help in raising money for Damian for a wheelchair. He also has to undergo hip surgery next year after the Argus. We will approach TV channels for possible broadcast of the film, as well as distributors. A DVD release is also planned.” Enslin concludes: “Damian is just one of so many people facing an undiagnosed condition. This campaign gives a CHALLENGING CYCLE – Deirdré and Damian Gower platform for Damian and others like him, which they would not be able to get from the filming. Damian has special needs so a more traditional channels.” 109km cycle race is a huge challenge for For more information visit the him. Whenever the race gets too much Facebook page Damian, Deirdré and a we will pick him up as quickly as possible to ensure that the other cyclists are not very long bike ride, or held up.” www.chaelicampaign.co.za or The documentary will shoot on the email stefanenslin@yahoo.co.uk. lightweight Canon Legria HF M14, – Karen van Schalkwyk
A window on wine-making
HOPING FOR GRAPE SUCCESS – Winemakers Stuart Botha, James Corder and Howard Booysen
The South African wine industry will be getting a new, fresher face when local reality series Exploring the Vine introduces viewers to the ins and outs of the industry through the eyes of three up-and-coming winemakers, Stuart Botha, Howard Booysen and James Corder. According to executive producer Justin Bonello from Cooked in Africa Films, the 13-part series was funded out of their own pockets with no branding or sponsorships involved, although they approached Wines of South Africa (WOSA), the Cape Town and Western Cape tourism bodies, as well as individual wine makers. “No one was willing or able to help – which is really sad and at the time I was flabbergasted that the most cost-effective method of promoting Cape Town, the
Western Cape and the wine industry to an international audience was ignored by the same official bodies that should’ve been supporting us. At the time we were filming, the cost of production almost put us out of business.” According to Bonello, the series came about by accident. “In passing, one of my colleagues told me about three friends who’d studied together at Elsenburg and are now making a name for themselves in the wine industry. I thought, what better way to give South African wine an identity than through the trials and tribulations of the three friends? I met them, liked them, and the rest is history,” says Bonello. Some of the most magnificent wine farms in the Western Cape’ provided the locations for the series, which follows the
Justin Bonello
wine makers during an entire season of winemaking in 2010. According to Bonello, this proved another challenge since they were shooting for almost 12 months when they usually film a series in about three months. The series was shot on the SONY EX1 in high definition. Notes Bonello: “The EX1 was a godsend. A robust, versatile, bulletproof workhorse – and when we coupled that with Final Cut our post workflow was brilliant. The only downside was getting used to the amount of bits and bytes, and therefore the hard drives we needed to cope with the volume of footage.” Post-production was done in-house, since Bonello believes it’s not cost effective to outsource post in their field. “I have a hard-core team in post headed up by
| NEWS
SA company shoots major US film Moonlighting Films’ Genevieve Hofmeyr was the supervising producer on Machine Gun Preacher, an action biopic about an American felon turned Christian child activist stationed in Sudan. Released late last year the film, set in the US and Sudan, was predominantly shot in Johannesburg with the American scenes shot in Detroit, Michigan. “Since it was not possible to shoot in southern Sudan the filmmakers had to find an alternative filming location,” says Hofmeyr. “Approximately 60% of the script was shot in Johannesburg using an entirely South African crew aside from a few key positions such as director, producer, DP, 1st AD, production designer and costume designer.” Machine Gun Preacher, directed by Marc Forster (Quantum of Solace) and starring Gerard Butler (300), was shot mainly on 16mm Arriflex anamorphic cameras, while using 35mm Arri Cameras for the VFX shots. Various South African companies also contributed on the production with an estimated budget of US$30m (R241m). Panavision, Panalux and Dragon Grips were the primary rental companies involved, with Bullseye responsible for the set construction. According to construction manager Clive Pollick of Bullseye, the set included a replica of the orphanage in Sudan. “Marc Forster and designer Phil Messina wanted us to match a real orphanage in the Sudan which has quite a rough brick look and was built using simple tools in the bush. “The final version of the orphanage took about eight weeks to complete with six of these on site. We had a very experienced local crew of 65 people.” – Simba Nyamukachi
Wesley Volschenk, and his small team of Marlese Lenhoff and Mishal Fortune literally pulled rabbits out of hats. A grateful mention also has to go out to the trio of freelancing editors: Clea Mallinson, Willem Grobler and Roshni Naidoo.” He notes that Exploring the Vine will take viewers on the longest wine route in the world, exploring organic wines; the art behind the sniff, twirl and spit; as well the trials and tribulations faced every year by South Africa’s winemakers. Exploring the Vine starts on SABC3 on Saturday 4 February. – Linda Loubser January 2012 | SCREENAFRICA | 5
NEWS |
Racheltjie de Beer film in development A feature film on South African Voortrekker heroine Racheltjie De Beer is currently in development by filmmaker Brett Michael Innes. The well-known fable tells of a girl and her younger brother who got lost in a snow storm while looking for a beloved calf. According to the tale, Racheltjie died protecting her brother from the cold. “The story was one that was taught to us in primary school and I always remember it making a big impression on me as a child,” explains Innes. “While at film school I remembered the story and something just clicked in me. The visuals and emotions the story conjured up were vivid and it felt like it would set the platform for the kind of movie I would like to make. The thing that surprised me the most is that it hasn’t been made already.” Innes graduated from AFDA in 2005 and The Story of Racheltjie de Beer / Die Verhaal van Racheltjie de Beer will be his first feature film. He explains that the story will not be told strictly as a drama, but with an ‘edgier approach’. “We’ll be trying to portray the danger of life in the bush during the 1800s. The film will carry
POPULAR FABLE FOR FILM – Brett Michael Innes
elements from the thriller genre, with films like The Ghost and the Darkness and The Village being strong references.” According to Innes they’re looking for a budget of about R20m. “We’re in various stages of setting up partnerships with the National Film and Video Foundation (NFVF), the Afrikaans
language and culture association ATKV and some private investors. Obviously the Department of Trade and Industry (the dti) will play a role in funding and we have some other tricks up our sleeve that will be implemented later on in production,” explains Innes. He believes they are making good progress. “We have a successful first draft of the script and are currently working on the second. We also did a location scout to Van Reenen’s Pass (between the Free State and KwaZuluNatal) and would like to explore using that area as our primary location,” notes Innes. They are also busy assembling a marketing team. “In two weeks we’ve had celebrities, art institutes and various publications marketing the film through social media which has resulted in a Facebook fan base larger than most South African films that release in the next few months. Traditionally local films are only marketed just prior to release but we’re starting from the ground level hoping that, by including the fans in the process of making the movie, we will have firm support base when the movie
is released.” They plan to make Afrikaans and English versions of the film, which gives viewers the option to watch it in either language. Innes explains this will be done to make it accessible to a larger audience, and as a ‘marketing ploy’ to get people talking about the film. “It is also something that has never been done before and I like the idea that we are creating cinema that challenges the traditional way of doing things,” notes Innes. Production is planned for April 2013 and the aim is to release the finished product on 16 December 2013 with a premiere at the Voortrekker Monument in Pretoria. – Linda Loubser
Short film contest
IDENTIFYING TALENT – Itumeleng Letebele 6 | SCREENAFRICA | January 2012
Satellite pay-TV platform DStv has launched the Film Talent Celebration Competition and calls on filmmakers across South Africa to enter to celebrate the art of very short-filmmaking. Entries close on 29 February. Says Itumeleng Letebele, Corporate Social Investment manager at MultiChoice (owner of the DStv platform): “Short films are becoming increasingly popular mostly because they are easily accessible to a wider audience via platforms such as mobile devices, tablets and online platforms.” She notes that the competition came about because DStv contributes towards skills development in the film industry through its Film Skills Development programme. “DStv celebrates the talent graduating from the programme and has expanded this platform to include the celebration of broader industry talent. “This competition is open to any filmmaker who believes that their
three- to 10-minute short film, in any genre, can have an impact in the industry. Only filmmakers who are South African citizens can enter their films. “While the competition celebrates talent the winners will also walk away with cash prizes. It is expected that this cash will be ploughed back into making more films that tell South African stories.” There are five judges in total ranging from distributors to top filmmakers and all five are outside of MultiChoice and sister company M-Net. They will select winners for each of the six categories: Best Production, Best Director, Best Editor, Best Sound, Best Cinematography and Best Newcomer. Winners will be announced at a special gala event, where the selected short films will be screened. Letebele continues: “It will be an occasion for networking, appreciating talent and generally reflecting on our
achievements as an industry. We will also take this opportunity to recognise the up-and-coming filmmakers from DStv’s Film Skills Development Programme. “After the competition has been completed we will review how it has been received in the industry and will decide on a way forward as to whether to make it an annual event.” It will be at the discretion of the filmmakers to negotiate separately with any DStv or M-Net channel to have their film broadcast on these platforms. According to Lindiwe Ndebele-Koka, director of Multimedia at the Department of Arts and Culture, competitions such as these stimulate competitiveness of young filmmakers. “It is a good tool to identify the talent that exists in the industry.” For more information on how to submit entries, filmmakers can visit www.multichoice.co.za
DOCUMENTARY |
A trip to doccy heaven Cape Town-based director SIMON WOOD was invited to take his first film, the award-winning Forerunners, to the recent International Documentary Festival Amsterdam (IDFA). This is his account of the IDFA experience.
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aking a documentary is similar to fishing; it involves a great deal of daydreaming while hoping for something (anything) to happen. When I was making Forerunners, I’d sometimes dare to imagine showing the film at IDFA – the world’s largest documentary film festival. But such dreams were quickly kept in check by the constant fear of making a crap film. So when I received the news that Forerunners, a film about South Africa’s black middle class, had been accepted into what has been described as ‘Disneyland for documentary filmmakers’, I was elated. IDFA truly is a massive festival, with over 300 directors, thousands of producers, 450 volunteers, 12 films showing every 90 minutes for 10 days, and a nightly broadcast talk show. But, best of all are the packed cinemas. Where else could a 10am Tuesday morning screening of a film about the Russian
POSTCARDING AMSTERDAM – Simon Wood at the Q&A with an IDFA facilitator
version of the ANC Youth League sell out a 400-seater cinema? The Dutch have an incredible appetite for documentaries. Unbelievably, while all of this is going on, Docs for Sale and The Forum harmoniously run in the background, attracting producers and commissioning editors from across the globe. What’s unique about the festival is the accessibility of so many great filmmakers. In less than a few hours I was introduced to Nick Broomfield (Kurt and Courtney), Fred Wiseman (State Legislature) and Morgan Spurlock (Super Size Me), enough to cause a sharp intake of breath from any filmmaker. Incidentally, Wiseman told me that editing “was allowing a dialogue with the ideas on the outside of your mind”. I’ve been thinking about that one ever since.
Orgy of docs The main highlight of IDFA is obviously the documentaries – hundreds of them. IDFA’s founder, Alley Derks, said over 3 600 film entries had been received this year. Said Derks: “The festival’s selection process focused on creative documentaries, meaning the director’s personal point of view of the reality. Secondly we look for a balance between cinematographic skills and content.” When I was making Forerunners I was obsessed with the aesthetic of the film, the image was as important as the content – it had to be able to exist by itself. My goal was to 8 | SCREENAFRICA | January 2012
create a film without interviews, allowing the space around the protagonists to breathe light into their journey. The scope of the artistic vision of many documentaries at IDFA, however, is a pretty humbling experience. Films like Seung-Jun Yi’s Planet of Snail, Lisa Birk Pedersen’s Putin’s Kiss and Maite Alberdi’s Lifeguard completely blur creative lines between factual and feature films, with an enormous emphasis on the aesthetic. I absolutely loved them. But, the only downside of watching so many amazing films was the growing terror that I had to show mine – would anyone come? If they did come, would they stay? Luckily my producer Paul Egan and I had a plan to build up an audience; we would attend as many parties as IDFA could throw at us. Equipped with a glass of wine and hundreds of Forerunners postcards we set about introducing ourselves and the film to the thousands of delegates attending the festival. It was impossible to have a conversation with either of us without having a postcard with dates and times shoved in your hand.
SA contingent Revelling in the dark art of networking were the South African delegates. Producer Pascal Schmidt was attending IDFA to drum up support for any one of his 17 projects. Scouting for films for the Durban International Film Festival (DIFF) 2012 were Monica and Peter Rorkvik. Director Mayenzeke Mziwamandla Baza and producer Byrony Roughton, winners of the 2011 Durban FilmMart grant award to attend IDFA, were creating strong interest with Ndiiyindoda (I am a Man). Also from the Durban FilmMart, the recipient of the Most Promising Documentary award, Nicole Schaffer, was doing a great job of creating
a buzz for her film The Mission. South Africa’s National Film and Video Foundation (NFVF) was represented by Neiloe Kunyeli. Tim Wege (who had even more postcards than I did) was in the First Appearance category with his feature King Naki. Documentary heavyweights Francois Verster and Rehad Desai paid fleeting visits to increase anticipation for their films due to be completed in 2012.
The screening Fortunately, Forerunners premiered to a packed cinema on 22 November. I was wracked with nerves as there were far too many directors in the crowd. Why did I convince so many to come? As the film started I began my usual ritual of pacing nervously up and down the corridor for 52 minutes, sipping a coke, praying the audience wouldn’t leave in disgust. Luckily no-one did and a vibrant Q&A followed the screening. The reaction to the film was exciting and thought provoking. After the screening and safely ensconced in the cinema bar, an Australian director told me it had taken him 17 years to get a film to IDFA. Describing the event as ‘the Everest of documentary festivals’, he said how incredibly lucky I was to be here with my first film. How right he was.
My Top 3 films at IDFA 1. Planet of Snail (South Korea): This is a masterpiece – beg your local film festival to screen this in 2012! 2. Lifeguard (Chile): Perfect ‘reality fiction’. 3. Township to Stage: A brilliant and obviously funny film about South African comedian Trevor Noah made by film students in the US.
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FILM | 31 Million Reasons is a new South African film by John Barker and will be released this month by Nu Metro Films. Based on Naresh Veerna’s book of the same name it tells the story of an unexpected haul from a bank heist in Durban. SPICED UP ACTION – Afzal Khan, Neville Pillay (back turned), Riaz Mansoor and John Barker
By Karen van Schalkwyk
John Barker directing a scene with Jack Devnarain
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roducer Ross Garland (Spud, u-Carmen eKhayelitsha, Big Fellas) of Rogue Star Films explains that he was inspired by an article he read in the Natal Mercury about the bank heist. “It struck a cord because I had wanted to make a heist film and a movie set in the Indian community of Durban. I read 31 Million Reasons and thought Naresh Veerna had created highly entertaining characters and dialogue on top of the original true story of the heist. “There are very few genre-based films in South Africa. This is especially true of action or heist films. The challenge with this film was to find the core creative team who would best realise the potential of the book, namely screenwriter Lev David and director John Barker,” says Garland. The screenplay was developed for over a year. Garland was introduced to David through the National Film and Video Foundation (NFVF). “He is a very bright guy who has succeeded as a writer in other formats,” continues Garland. “We had to concentrate on ironing out the kinks in the story. Although the film is a fictionalised account of the true events of the massive heist in 1997, the actual heist is something of a legend in Durban. This gives the film more resonance than a completely fictional story.”
Investors Jack Devnarain taking the Ford Fairlane for a spin
Rahul Brijnath and Riaz Mansoor
10 | SCREENAFRICA | January 2012
The film was developed through Rogue Star Films’ slate with the National Film and Video Foundation (NFVF) which was one of the major investors. “The Department of Trade & Industry (the dti) rebate contributed to a big portion of the budget and the balance was from production companies involved in the investment of Spud. “Refinery and Media Film Service also come to the party to make the film happen at the budget level we needed,” explains Garland. Plans are to submit 31 Million Reasons to film festivals all over the world. Garland and Barker have already received some invites from festivals. “2012 is about finding the right launch pad for the film internationally and with the right partner. It is a unique South African film in that the main characters are Indian but it’s not Bollywood in style. We are very interested to see if it plays in India and in some of the big Indian ex-pat communities like the UK,” comments Garland.
Immediate attraction Barker explains that when he came on board he was immediately attracted to the story. “I also loved the script. I grew up in Durban and have always wanted to make a film there. “Ross Garland was also a big draw card as I have wanted to work with him for a while. Our crew was just fantastic and we were able to cast great local actors such as Jack Devnarain, Meren Reddy and Rahul Brijnath,” says Barker. The musical score and tracks in the film were used to set the mood. Kesivan Naidoo and Ross MacDonald of HeyPappa Studios in Cape Town scored the film, with the music for the opening credits by Australian band Bombay Royale. The film also features the music of ‘great local bands’ like Tumi and The Volume, Goldfish and Khuli Chana.
Indian-centric Barker elaborates that it was great to set the film in the Indian community as it has such a rich, vibrant history and culture. “I think the film is highly entertaining and will attract both an Indian audience and a wider one. Durban also has a wonderful range of architectural styles with the world’s highest concentration of Art Deco buildings. The opening credit sequence is shot on the Esplanade which is lined with tall palms and is characterised by an eclectic range of architectural styles,” comments Barker. The other aspect Barker wanted to portray was the humidity of Durban as he believes that the heat has a way of influencing the characters’ behaviour. He says: “The heat puts them under added pressure and forces them to behave uncharacteristically.” Barker’s colour palette borrowed from the existing colours, religious deities and traditions of the Indian community. As the film is set in Durban’s underworld the film’s grade is ‘gritty and a little dirty but very sexy’. 31 Million Reasons was shot on the Canon 5D. “Goran Music of Visual Impact really gave us a great deal on a beautiful set of Zeiss prime lenses. This made it possible for us to give the picture a filmic look as we opted for long lenses,” notes Barker. Barker and Garland believe that the South African film industry is growing and showing signs of maturity.
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FILM |
Lifting the lid on a cycle of violence By Karen van Schalkwyk A new documentary uncovers some of the most gruesome farm murders in South Africa and attempts to understand why this country has a history of perpetual violence.
how the documentary may be received. “People on the right say I am too lenient while people on the left say the film is racist. I could not sensor myself as I wanted to tell the story and not divert from the truth. The story had to emerge organically.”
Family tragedies
*War of the Flea is a military term: The guerrilla fights the war of the flea and his military enemy suffers the dog’s disadvantages: too much to defend; too small, ubiquitous, and agile an enemy to come to grips with. If the war continues long enough – this is the theory – the dog succumbs to exhaustion and anaemia without ever having found anything on which to close its jaws or to rake with its claws. – Robert Taber
M
any South Africans live under the constant threat of violence but none on the scale of commercial farmers. The statistics are horrifying – a South African farmer has a 700% higher chance of being murdered than any farmer elsewhere in the world. It is also more dangerous to be a farmer in South Africa than to be a policeman. How has this endemic and brutal violence come about? Producer / director Rain van der Walt attempts to reveal the problem in War of the Flea*. “I grew up in a small town in the Northern Province and often heard about farm murders and family friends who had been murdered. This made me want to uncover and expose the problem and discover why we live in such a brutal society,” says Van der Walt.
The reality However, he is quick to point out that he did not want the documentary to be gratuitous. “I wanted to tell it like it is. No-one is really standing up for farmers 12 | SCREENAFRICA | January 2012
and I thought I should make their voice heard. I want people to understand what life is like for South African farmers and show the level of the threat they face on a daily basis.” While the documentary centres on farm murders it also takes an acute look at the reasons why the country is so destructive. Van der Walt continues: “I decided to bring in many experts who give their views on the history of violence in South Africa. This goes back to the days of Apartheid and examines the repercussions of what this oppression meant. Under Thabo Mbeki’s presidency the commandos (who helped to guard farms) were terminated and now farmers have to fend for themselves. “This is ironic because in a wellfunctioning state with tax payers it is the responsibility of the state to defend and offer security to its civilians. The farmers have been forced to provide their own security and will defend themselves by any means possible.” In South Africa’s current politically correct mindset, Van der Walt is aware of
One of the toughest things Van der Walt had to do was request interviews with the families of murdered victims. “This was the most difficult part of making the film. Most of the people were understandably reticent at first but after a while they would open up. Some talked for hours.” Initially Van der Walt did not want to be in the documentary himself but his executive producer Anton Truesdale, after viewing the first set of rushes, said it worked better with the filmmaker’s presence in the film. “I really had to push myself to the limits emotionally,” notes Van der Walt. “It was vital to be true to their stories because they trusted me with their pain.”
Filmic look Van der Walt’s objective was to make the documentary look as filmic as possible. To this end he shot on the Panasonic 900HD with a lot of wide, abstract and atmospheric shots. “We shot a 90-minute feature length documentary and aim to sell it to channels like the BBC and other big broadcasters. I have also submitted it to the Sundance Film Festival and plan to go to other festivals,” explains Van der Walt. The documentary was funded by a private investor. It took Van der Walt nearly a year to find the money and he produced it by himself to retain complete independence to tell the story. “This film is about a violent society and if we have to solve the problem we need to uncover the truth to fix it. But I am skeptical that it can happen,” he concludes.
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AD cetera
Report on the South African commercials industry by Anton Crone
Polish plumbers can do more in the kitchen
Rob Payton sets a scene for Knorr commercial
Poland has an endless supply of cheap plumbers. They scour the continent like moustachioed Mario brothers fixing the pipes of debt plagued Europeans. Poland’s economy is probably booming.
And when the brothers come home for a breather, they’ve imported a taste for fine European cuisine. No boiled cabbage or golonka (pork hock) for these Poles. No sir. And if they ‘aint fixing pipes in the
kitchen, they’re tying on aprons and sautéing shallots while the rest of Europe plants potatoes. Of course every new cooking craze needs a cooking show, and ad agency Lowe has come up with a series of commercials to get Poles working above the sink with a range of Knorr’s convenient, easy to use cooking solutions. Filmed on location in Poland by Grinder director Rob Payton, the production did have its challenges. They shot in real development kitchens, and while the Unilever kitchens (some four hours drive outside Warsaw) were very high end and stunningly equipped, they were not really film friendly.
“Low ceilings, upper floor locations and lots of fixed work-surfaces and appliances were an issue,” Payton admits. He also had to work with real chefs, not professional ‘chef-actors’ like Jamie Oliver and Gary Rhodes. “Ultimately I decided to shoot the entire thing with two cameras, minimising retakes and continuity issues, and allowing the chefs to do what they do best and cook for real,” says Payton. “The production opted for a location edit which helped the whole team, including the development chefs, to feel part of the process.” Payton’s forte in combining performance with food proved invaluable when dealing with non-actors, and the result has shown that the Poles are adept at more than just mucking around in the kitchen. The Knorr commercials are currently airing in Poland, Hungary and Romania. Payton, who emigrated from the UK five years ago, is now back home working at Grinder’s Cape Town Studio.
ABSA L’Atelier art programme
Hopeville
Bouffant grows a Fringe Production company Bouffant has a new playground called Fringe, which has been set up to do integrated and experiential work. One of its directors, John Trengove, who has won an impressive slew of awards, indicates that it’s far from an experiment. Some of Trengove’s accolades include his miniseries, Hopeville, which won the Rose d’Or for best drama and mini series at the Rose d’Or global entertainment television festival in Switzerland in 2010. The same series was nominated for an International Emmy in the same year and was made into a feature released in 2010. The feature won Best Film at the 2011 14 | SCREENAFRICA | January 2012
Fespaco festival which celebrates African film and was nominated in nine categories at the Africa Movie Academy Awards. Locally, Trengove’s short films for ABSA’s L’Atelier art programme won gold for direction in the Experiential category at the 2010 Loeries. The series for L’Atelier revolves around four artists who were each asked to design artwork using the words ‘creativity takes courage’ and have them tattooed on their bodies. The films capture the essence of the artists’ characters. Using consumer cameras and cell phones, Trengove spent a night filming each of them, from dusk
to dawn. “It’s the most creative freedom I’ve had on any job. As the night wore on, the more interesting the visuals became,” he says. “We also left the artists alone with the camera to interview themselves.” Essentially these films are two-minute portraits of the artists – intense; revealing; capturing the artists’ insecurities and ultimately their courage. It’s a courageous series in itself as it candidly embraces so much about the artistic dilemma of being true to oneself. Trengove hails from an artistic background as he trained in drama at the University of Cape Town. During that time he became interested in directing which led him to enroll at New York University where he became a film
graduate. His work spans narrative and experimental film and aside from writing his next feature script, Trengove is branching out even more into short form as he believes: “short form gives you the opportunity to push the boat out technically and conceptually.” Trengove is not unfamiliar with long form either. Part of Hopeville’s appeal, he believes, is magic realism that makes the series a little otherworldly and ultimately universal. “At the Emmy’s people said it set itself apart,” says Trengove. The Rose d’Or award was particularly meaningful as the festival looks specifically for atypical productions. “While filming Hopeville, if anything felt too real, we moved away from it.”
AD cetera Purity in film We all know Windhoek as the Namibian beer. It must have something to do with the name that recalls the country’s capital and the protagonist of the recent campaign being that famous Namibian, Louis Gossett Jr. But there is a commercial for a beer from the very same stable of brewers that captures the mantra of purity expounded by the Reinheitsgebot by focusing on the country itself. Saatchi & Saatchi, Namibia, approached Sergio of Grande Films to film their latest Tafel Lager commercial. It took the Grande Film team and the Namib Film team on a 6 000km journey – much of it in the air. We all love helicopter shots and this rivals Airwolf for scenic sweeps, but you immediately forget the technical side of the filming and start looking at the landscape for its unique beauty – its purity. You realise you don’t get any purer than this sun washed, mist soaked land. “The only real snag was the early
Neuro insight for more effective promos By Linda Loubser
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t the recent PromaxBDA Africa conference in Johannesburg Peter Pynta, director of sales and marketing for Australia-based Neuro-Insight, told the audience that neuroscience has the potential to give them a competitive advantage. “I’m passionate about the power of television and the power of promos. I hope I can get you to use the rules of neuroscience to think about television promos differently, because I believe wholeheartedly that you are sitting on a
threw our way. Moving unit at the last minute was less of an epic migration than it could have been with just 12 technical crew, six art / wardrobe / make-up crew and then the unit itself.” Concentrating on the areas around Swakopmund; Walvis Bay, Windhoek, Etosha, Oshakati and the Kunene River,
demarcating the border with Angola, in total the shoot took nine days. One of Sergio’s favourite parts of the process – as with the beginning of any long shoot, he says – was the first day or two. “That’s when it’s about the inner circle, you and your crew. You get a couple of shots in the bag and start feeling excited. The team clicks into place and the machine begins to move smoothly.” Not being a fan of the latest technique or the over-produced film, Sergio aspires to a certain purity and it is this that he aimed to bring to the fore in this film. It isn’t just incredible landscapes that grace the film. The diverse people of Namibia are protagonists: Herero women in their distinct head dresses are sentinels in the arid landscape; Himba pastoralists walk the streets of cosmopolitan Windhoek; and that city’s business folk fit seamlessly into the stark desert and the wilds of Etosha, illustrating that the people are so much a part of this land. As the narrator says: “Only a country as pure and natural as this could create me.”
the effectiveness of communication.” He believes that by matching the unique signature of a promo to the neurostate of a programme, promos can be 25% more effective, which is critical in an increasingly competitive media environment. “Memory encoding is the key to promo effectiveness – promos have to get into the long-term memory to drive behaviour,” emphasised Pynta. “Neuroscience is about determining the balance of global and detailed memory that a promo triggers, and then matching a promo to a programme with a similar neurostate.” Sport and comedy tend to drive a bias for global memory processing, while drama and suspense lean towards detailed memory processing. He noted that it is not only the content of a promo that determines the neurostate, but also the executional style. For example, a tight face shot will drive a detail bias, which would encourage remembering details like time and place, while a wide shot will drive a global bias, which is better at creating mood and emotion. Pynta mentioned the example of a
frozen food company that achieved very different results from two advertisements. “The company’s ad for frozen peas ended on a tight, micro shot which created a very strong detail bias. The ad for frozen fish ended on a wide shot of a beach, creating a global bias. The frozen fish ad woefully underperformed against the pea ad in driving sales,” noted Pynta. However, he emphasised that no matter how powerful or creative the promo or what it is trying to communicate, the balance or bias set by the programme showing at the time will determine the reaction of the viewers to the promo. He explained that their extensive research has shown that, if the programme neurostate is positive, the whole ad break will be received with a positive neurostate and vice versa. “There is a 73% relationship correlation,” said Pynta. “Although the effect of the programme is felt the strongest in the first position of the ad break, the influence decreases towards the end of the ad break.” “Whatever the promo is trying to achieve, it will always dance to the beat of the programme’s neurostate,” he concluded.
Tafel Lager
morning mist along the coastline,” says Sergio, “but Guy Nockels and his Namib Film team made it all so fluid that even the snags never graduated to real problems. Production just flowed. We had a relatively small crew for a production of this size, allowing us to deal with some of the lemons the weather
THE BRAIN FACTOR – Peter Pynta
goldmine,” said Pynta. He explained that, according to neuroscience, each television programme has a unique neurostate, determined by tracking viewer attention, engagement, approach or withdrawal, emotional intensity and long term memory encoding. This is measured using Steady State Topography (SST) a brain imaging technology designed by Neuro-Insight. “Media content connects to emotion in a way that is hard to verbalise,” Pynta explained. “Neuroscience can pick up factors that are difficult for consumers to explain or recall that directly influence
The rebirth of a brand
At the recent PromaxBDA Africa conference in Joahannesburg writer and image activist Michaela Angela Davis talked about questions around rebranding an established brand and creating an emotional connection to a nation of individuals. She related her involvement in the successful rebirth of Black Entertainment Television (BET) in the US.
By Linda Loubser
“I
’m not your typical Promax speaker,” said Michaela Angela Davis. “I’m not a creative director or a producer, I consider myself an image activist – I work to expand and promote the images of people of colour.” She explained how she got involved in the ‘intense and furious’ two-year rebranding journey at the largest media brand for African Americans, Black Entertainment Television (BET), which recently achieved historic ratings to become one of the top 20 US cable networks.
Invisibility
“When I started to look at BET it was a 25-year-old network with 98 million viewers, yet many white people had never heard of it.” She said that, while BET was a window into the internal lives and imagination of black people, many outside their culture weren’t interested. “Invisibility is a particular type of pain,” she noted. According to Davis, BET started with a relatively balanced line-up of movies, gospel, news, sitcoms and talk shows. However, free music videos became the dominant programming. She believes that the image of people of colour projected through these music videos was degrading – it portrayed the 16 | SCREENAFRICA | January 2012
men as violent and the women as materialistic. “These images were squeezing out culture, the repeating of marginalised and undignified images, like invisibility, is another kind of prickly pain.” Viewers started rebelling against the network and some even protested outside the CEO’s house saying: “BET is not for me!”
New mandate Davis explained that BET had a choice to either evolve or die. She got involved at BET as part of an elite brain trust tasked with re-imagining the image of the network with a new mandate: respect, reflect and elevate. They started by looking at the channel branding, promos and the tentpole shows. “Just like the negative images through music videos were repetitious, we now have to repeat new, positive images,” explained Davis. They worked closely with the design house tasked with coming up with new channel idents. “We challenged them to capture this thing called soul. What does soul look like in a typeface?” In the promos for their tentpole shows — series Rip the Runway and the BET Awards — they wanted to use innovative graphics, but the human element had to be there as well. “We never promote a show with only graphics,” she noted. “For the BET Awards that year we worked with US actor / comedian / singer Jamie Foxx. We want our viewers to feel pride,” said Davis. Their BET Awards campaign ‘Recognise’ won at Promax North America.
Stories The focus group also spent time getting to know the BET audience. “What we learned is that our viewers want things now. They want to be entertained, informed and educated now. So the challenge was how to create an
Photos by Trevor Ou Tim
BRANDING |
POSITIVE IMAGE – Michaela Angela Davis
authentic, emotional and sustainable connection to our audience. It wasn’t only a branding message, it was critical for the survival of the network.” Davis explained that they came to the conclusion that ‘we are our stories’. “We wanted to tell stories, but we wanted to tell the truth about how we love, how we lie; our fears, our triumphs and our intimacies. We want to be visible, and the way to do that is to tell stories.” The stories are told through a number of reality shows, including Monica: Still Standing, The Michael Vick Project and Born to Dance: Laurieann Gibson. “The new way they curate reality shows is real stories of real people, not real housewives,” noted Davis. “It wasn’t about tearing people down. We’re in a really powerful business, and stories matter. As African Americans we’ve always had excellence in music, but telling our own stories and creating our own identities, and not living out someone else’s fantasy, is a new space for us — and it’s an exciting space.” However, what really raised the bar for the network was original programming. “It says to the audience that you matter, that we are invested enough in you to create original programming.” The programming includes The Mo’Nique Show, Let’s Stay Together, Reed Between the Lines and The Game.
We are family BET also commissioned research on African Americans, which revealed that more than 80% listed family as their highest core value. They created five ‘brand pillars’ which form the foundation of all their programming and communications with their audience: ‘We Are Family’ (familyoriented, parent-friendly); ‘Fresher Than That’ (trend-setting, music-focused); ‘Shine a Light’ (politically aware); ‘Backing Black Dreams’ (aspirational, career-focused); and ‘Not on Our Watch’ (socially conscious, cause-minded).
According to Davis they shaped their branding in such a way to send the message that BET and their viewers are family. “We are not like family, we are family. And families are about love. Therefore we started to create public service announcements (PSAs) as love letters to our audience.” These included emotional PSAs on black music month, black history month and PSAs paying tribute to US civil rights activists and women involved in the civil rights movement. “Through our channel branding we send messages to our viewers including: We see you, we inform you, we support you, we honour you, we feel you, we got you, we connect you, we inspire you, we are you.” “Saying ‘we are you’ is part of exploring the core value of family. We are saying we acknowledge that people are different, but Nicki Minaj and Mary Mary are both part of the BET family. We are acknowledging that no-one is perfect, but we are still family, so give us some room to grow.” She noted that BET is part of the Viacom family that includes MTV, VH1, Comedy Central and Nickelodeon channels. “Our ratings are better than some of the other channels, but our budgets are still smaller,” said Davis. “So we’re still renegade but we try to bring excellence to every show because we’re so invested in healing our family and want to inspire them. People left cushy jobs at HBO and Lifetime to work with us and try and make the channel better. We have black DOPs working for free because they want to see BET succeed.” Davis ended with a message for the South African industry representatives gathered at Promax to embrace the country’s history in their promos and branding: “You do have an incredible history, don’t be afraid of it. Your history is your jewel, your gem. Ugly and messy is where humanity lies. When you stop hiding from your past you see your own humanity and you grow.”
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Leading the pack with new monitor range Sony’s OLED monitors have already been welcomed by the broadcast industry, garnering praise for their unrivalled picture quality and integrated functionality. The recently introduced BVM-E and PVM series of OLED master monitor and high quality picture monitors open up the possibility of OLED technology to a wider range of applications in the broadcast industry, completing a range of products to meet every individual’s needs. The BVM-F series consists of the 17” BVM-F170 and the 25” BVM-F250. Both models come with Sony TRIMASTER EL technology, providing the level of performance that allows users to access the best that OLED technology has to offer. The BVM-F series has full HD capability (1920x1080) and a RGB 10-bit driver, supporting a powerful 12-bit professional display engine. They also include a range of leading edge features such as multi colour gamut and high quality I/P conversion, low video delay, interlace mode as well as HD Frame capture and pixel zoom functions. Both products are equipped with 2xSDI (3G / HD / SD), a HDMI and display port as standard inputs. These monitors are supported by an external remote controller, the BKM-16R for a greater operational flexibility. Daniel Dubreuil, product manager at Sony Professional Solutions said: “These new models ensure that we offer the content creation industry the widest range of OLED products available on the market. The BVM-E, BVM-F and PVM series all bring unique qualities. This allows us to cater for all aspects of content creation, which provide a layered family of OLED products that underlines our position as market leader in OLED technology.”
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Switching control for live productions
Rendering for real-time content Vizrt’s Viz Engine is one of today’s most powerful rendering engines – it renders animated 2D and 3D scenes in real-time, producing high end animations in SD and HD. It also supports stereoscopy out of the box. From the beginning, Viz Engine was developed with flexibility in mind that allows customers to integrate their own proprietary control software with ease. In addition, a powerful scripting language supports easy manipulation of graphics objects, as well as the creation of user-specific plug-ins. The Viz Engine application is built on top of OpenGL. Therefore it is one of the few 3D systems that run the same graphics content on multiple hardware platforms and operating systems. In addition, Viz Engine runs on off-the-shelf, rack-mountable Windows PCs with a standard graphics card. The main Viz Engine components and Viz Artist GUI run on the same machine and communicate via TCP sockets. The communication protocol between the GUI and the kernel is consistent and easy to understand. All the commands are similar in structure, consisting of an object name or address, a command or function name, the function arguments plus additional data when necessary. The protocol also includes a full set of query commands for retrieving detailed status information on graphic content from the engine, which makes it easy to write external applications to control the Viz Engine kernel in runtime. Vizrt offers several external command protocol products that are specific to the broadcast industry, including Viz Content Pilot and Viz Media Sequencer Engine. Third party developers can create their own specific applications within, and on top of, Viz Engine. 18 | SCREENAFRICA | January 2012
Broadcast Pix’s largest member of its family of integrated live video productions systems, Granite 6000, features an expanded 2 M/E control panel. The new control panel has rows of 24 buttons for rapid access to more sources, as well as two banks of device controls to run the built-in clip store (Harris or Chyron CG) and control cameras and streamers. The panel has a record 142 PixButtons, the patented Broadcast Pix invention that dynamically displays sources and file names on the buttons, allowing directors to switch with confidence. The panel has 24 source selection buttons and can access up to 32 with shift. The new control panel also features a dedicated row of PixButtons for Fluent Macros, which combine sophisticated switcher effects and files with one-button recall. The Granite 6000 system includes a production switcher and companion server. The switcher supports up to 22 SDI multi-definition inputs and seven channels of clips, animations and graphics. Each SDI input auto-detects 1080i, 720p or SD in either 50 or 60 Hz. The switcher also provides up to 12 SDI multi-definition outputs and two DVI outputs. Granite’s built-in clip store integrates up to 120 hours of H.264 and ProRes clips with audio, as well as graphics stores and CG. The server also provides a customisable fluent-view display for up to four monitors to show video, clips and keys. Fluent workflow enables files and data to flow into the server from all parts of the studio. The system has many levels of redundancy, including redundant power in the switcher and panel, redundant switching, redundant control surfaces and can also be fitted with RAID 10 storage, which adds redundancy to the clip store.
| TRACKINGTECHNOLOGY
Video capture plus playback AJA Video Systems’ next-generation KONA LHe Plus offers powerful video capture and playback capabilities at a new reduced price and with greater performance than its predecessor, the KONA LHe. A host of professional features characterises the KONA LHe Plus, including 10-bit or 8-bit uncompressed video I/O; two-channel AES digital audio and eightchannel SDI embedded digital audio I/O; analog composite or s-video or SD/HD component video I/O; two-channel balanced analog audio I/O; and 10-bit quality hardware down-conversion from HD to SD. KONA LHe Plus offers improved performance with RGB graphics applications such as Adobe After Effects. AJA’s renowned OS X and Windows software and application integration is included. It is also fully extensible via an optional 1RU breakout box. Says Nick Rashby, president, AJA Video Systems: “KONA LHe Plus is an ideal solution for broadcast and television post-production environments with performance, reliability and flexibility that users expect from AJA.” UDC is AJA’s broadcast quality up / down / cross-conversion mini-converter which can convert between SD, HD and 3G video formats. Leveraging AJA’s industry-leading conversion technology, the UDC provides very high quality conversions in a small and cost effective package. I/Os include SD/HD, 3G SDI input and output, HDMI output and two-channel RCA style audio output. The UDC also supports eight-channel embedded audio. The UDC can be configured through built-in dipswitches, and AJA’s MiniConfig software via the UDC’s USB connection.
Viewing the Smart way Blackmagic Design’s SmartView HD is a new full resolution HD rack monitor with a large 17 inch LCD screen, 3 Gb/s SDI video inputs and centralised network based control to allow easy colour matching when used in multi monitor installations. SmartView HD features a large 17-inch LCD screen in a compact six rack unit design that’s less than an inch thick. SmartView HD handles SD, HD and 3 Gb/s SDI video standards, and all screens can be remotely adjusted via an Ethernet network, so setup is much simpler when users need to colour match all monitors in a large video wall setup. The monitor can be installed into equipment racks for local monitoring in postproduction, for multi-monitor video walls in master control rooms or for camera monitoring for production switchers. Because SmartView HD is affordable, and supports SDI video standards in SD, HD and even 2K, it’s the perfect solution to install anywhere customers need more monitoring. SmartView HD includes full tally features so it’s perfect for live broadcasts. Unlike a simple tally light, SmartView HD includes tally borders that can be independently displayed in red, green or blue. Each screen features an independent tally in the three colours so customers can signal to the user more information than a simple on air status. Tally is connected via a standard parallel pin connector on the rear of SmartView HD and provides full contact closure compatibility with all switcher and automation systems. SmartView HD is designed for broadcast as well as post production so it includes support for more SDI video standards, including all SD, HD and 3 Gb/s SDI formats.
Recording musical superstars
In one short season, Dutch mobile recording specialist Cinevideogroup used its Lawo-equipped triple expander OBV to record 3D and HD video productions for musical superstars from three different nations. The mc²66 digital audio console is one of the reasons why Cinevideogroup’s flagship OB14 truck is booked for the biggest and most complex music projects in Europe. Cinevideogroup sent the largest vehicle in its OB fleet, the OB14, to record the concert of Dutch superstar Marco Borsato, simultaneously in 2D and 3D. Staged in the Netherlands’ biggest concert hall, the Gelredome in Arnhem, this was the country’s first major concert to be recorded entirely in 3D. Using more than 38 cameras in total, the project was carried out in a completely tapeless environment, running all camera, video and audio signals on fibre optic cables, using 128 channels of multitrack audio on the 56-fader Lawo mc²66 console. After Arnhem, the OB14 went to Italy to record local megastar Ligabue in 3D while he performed in front of a crowd of 120 000. The same OBV then went on to the spectacular Castello Scaligero in Villafranca di Verona, to record a rare concert from one of the world’s legendary rock bands, Toto. The six-piece line-up, featuring original band members Steve Lukather, David Paich and Steve Porcaro, plus Simon Phillips (drums), Nathan East (bass) and singer Joseph Williams, was recorded in HD video for DVD and Blu-ray release. The video shoot, which used eight HD cameras, was under the control of British director Nigel Dick. January 2012 | SCREENAFRICA | 19
TRACKINGTECHNOLOGY |
Getting into the studio
Dynamic live fusion With Grass Valley’s turnkey MediaFUSE Live automated content repurposing and multi-distribution system it is easy to take any live programme and automatically format it for the web and mobile computing devices. It also replaces advertisements in the live stream. This plug-and-play streaming solution offers dynamic live streaming in the Flash, HLS-5, and Windows Media formats. It allows TV broadcasters and all types of multi-platform content providers to automatically convert linear content and stream it live to address 95% of the multimedia consumption devices such as Apple iPad, iPhone and Google Android. MediaFUSE Live also includes Show Builder, which allows non-technical users to gather independent, stand-alone clips and combine them into a live show. “A lot of content providers are looking for an easy way to take live content – and even pre-recorded content – and stream it to viewers using the latest technology,” said Scott Murray, senior VP, Live Production Solutions for Grass Valley. “With MediaFUSE Live, this process is not only easy; it works right out of the box. Add to that the ability to replace ads in the live stream, and you not only have a live streaming solution, you also have the potential for a new revenue stream.” MediaFUSE Live works with the SD / HD-SDI and audio programme output feed of any device, and streams to most content delivery networks.
An enterprising solution
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20 | SCREENAFRICA | January 2012
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Panasonic’s new HD studio camera, the AK-HC3500, was created for direct-to-air broadcast applications and is equipped with exclusive image processing and colour reproduction functions for the highest quality in 1080/59.94i and 1080/50i image acquisition. The high performance AK-HC3500 camera features three 2/3” 2.2-megapixel IT-CCDs with an advanced single-channel transfer system, 14-bit A.D converter, an advanced 38-bit digital signal processor LSI and spatial offset processing for exceptional sensitivity. Its digital signal processor also features a dynamic range stretch (DRS) function that assures detailed, high quality images even when shooting scenes in a high contrast environment. With a dedicated eight-type LCD colour viewfinder (AK-HVF931A), fibre channel compact CCU (AK-HCU3550) and a remote operation panel (AK-HRP935), Panasonic now has a complete studio system line-up. The AK-HC3500 produces quality HD images with the ability to control skin tone and smoothness in real time. Its high sensitivity (F11 at 2000 lx) for low-light shooting and low vertical smear, coming in at less than 130dB, is perfect for quick capture and control. Say Christian Sokcevic, director of Professional AV Europe at Panasonic: “The AK-HC3500 is a first step into the studio business in Europe which will be followed by further developments. In the mid-term we will not only offer a portfolio of products but also system solutions for the studio and live production industry.” When configured for studio use, the 4.7kg camera has convenient features that include a backlight on the rear operation panel for improved operation in dark settings, an adjustable, slip-resistant shoulder pad for stable EFP shooting and an SD memory card slot for storage and retrieval of various camera settings.
24/11/11 12:03 PM
Miranda Technologies Inc., a worldwide provider of production, playout and delivery systems for the television broadcast, cable, satellite and IPTV industries, recently launched Enterprise Suite, which streamlines content preparation for broadcast playout and VOD publishing. “With Enterprise Suite we bring a whole new level of efficiency to content preparation for playout. We want to optimise this process, just like we have streamlined file-based playout with iTX”, says Michel Proulx, chief technology Officer at Miranda. “One of the key challenges facing playout operators today is streamlining back-end operations, and mitigating the risks associated with airing files from different external sources. These files now come in a wide variety of formats, and the challenge is to ensure that all mission-critical metadata is properly set and reviewed. “With the traditional tape and server model, this review process has been performed during ingest, which has offered a certain level of confidence. This has been lost due to the increasing number of programmes and commercials delivered as pre-encoded files,” explains Proulx. With Enterprise Suite playout operators are able to review, normalise and approve file-based content before it goes on air. This drastically lowers risks during playout and allows playout operators to confidently increase their channel counts. Enterprise Suite simplifies the normalisation of programme and advertising content for iTX customers, using automated workflows for analysis, review and fixing of the most important file issues. The normalisation offers support for AFD tagging, high-quality up / down video conversion, audio loudness correction, channel tagging and down-mixing and support for Closed Captions/OP47 subtitles. This new solution has been designed from the outset to unify workflows for both linear playout and TV everywhere style VOD content delivery.
| TRACKINGTECHNOLOGY
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Delivering high impact news TheAvid NewsVision turnkey solution lets customers quickly create and deliver high-impact news, and promotional and long-form content. It is easy to implement for local and regional HD news production, featuring the reliable broadcast-proven products Avid is known for, including Avid AirSpeed Multi Stream video server, ISIS 5000 shared storage system, and a choice of NewsCutter or Media Composer editing tools. NewsVision provides an easy path to file-based and HD workflows, along with a high degree of expandability with a new array of option kits. Similar to the original NewsVision solution announced earlier this year, each NewsVision option kit includes a professional services configuration and on-air support training, and a year of 24x7 support. This latest release doubles storage capacity to 32TB, which allows for up to 875 hours of storage (50mbps media). Several option kits are available for improved efficiency and open workflow including: video server (provides an additional AirSpeed Multi Stream video server for redundant playout or for customers who require more than four I/O channels); playout automation (offers iNEWS Command for automated news, video and graphics playout and NRCS integration); newsroom computer system (delivers iNEWS NRCS capabilities with 20 iNEWS journalist clients); and asset management (provides Interplay production asset management, including 10 Interplay Access or Interplay Assist seats)
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Supplying broadcast video, audio, lighting and everything in between for 25 years...
Hello Africa… Tell me what you want?
Playing the Ace
The Ace tripod system from Sachtler, a Vitec Group brand, is the perfect camera support for the growing market of videographers and DSLR filmmakers. With a payload of up to 4kg (8.8 pounds), Ace is ideal for smaller HDV camcorders and video-enabled DSLR cameras. Ace is also compact and durable and due to a special composite material, it is extremely lightweight. As with all Sachtler products, it is ergonomically designed and offers an intuitive feel. For Ace, the completely new patented drag, SA Drag (Synchronised Actuated Drag), was developed which guarantees the familiar accuracy and repeatability at an astonishing price / performance ratio. Sachtler offers a genuine broadcast feel for every videographer. For the first time, the Ace tripod system offers those who shoot low-budget documentaries / ENG, industrials, wedding / event, training videos and webinars quality and dependability for professional work. With three vertical and three horizontal grades of drag (+0), the new patented SA drag enables fine adjustment for precise panning and tilting. For Ace a glass fibre reinforced composite material was chosen which makes the new 75mm fluid head especially light and offers a comfortable and non-slip surface feel. For the head’s modern design, ergonomic aspects were the highest priority. The head enables camera operators to work extremely intuitively and professionally.
We’re set for 2012.
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www.pro-sales.co.za OFFICE. (0027) 11 462 0000 FACSIMILE (0027) 11 462 0005 EMAIL. INFO@PRO-SALES.CO.ZA ADDRESS. 34 ELGIN ROAD, BRYANSTON, SOUTH AFRICA, 2023
TELEVISION |
Pros and comms?
Anyone who has had any experience with live television will surely agree that the biggest challenge of all has to be communications. Getting 12 people to communicate in a studio environment is a big enough ask, getting twice that number in two locations 7km apart with a stretch of the Indian Ocean between you is another story, writes IAN DORMER.
E
ight months ago I was asked to come up with a solution that would allow two crews in different locations to communicate with each other during a live production. Comms has always been an issue with live television especially when there is distance involved. At least in a studio environment one can use a ‘wired’ approach to connect the crew together, but linking a studio and control room on land with a catamaran anchored 7km away creates an interesting number of challenges. My immediate thought was two-way radio, but walkie-talkies are cumbersome, require repeaters to get the distance and are prone to interference from external signal sources. Cell phones were a possibility, but how reliable is the mobile signal off-shore and how do you get multiple users connected all at one time? While at IBC in Amsterdam, Murry Nitch from Gencom South Africa and I discussed the challenge. He whisked me off to the Intracom stand where they displayed their VCOM system and I immediately warmed to the concept. VCOM runs on standard computer and network hardware and is based on a dedicated server with multiple client architecture. By using the Internet, 3G or a wireless network, multiple group and individual voice paths can be established simultaneously and multiple conferences can be accommodated in any complexity. VCOM control panels can then be loaded on PCs, tablet PCs, PDAs, and smartphones and provide point-and-click control for establishing talk and / or listen voice paths. 22 | SCREENAFRICA | January 2012
I was excited as this really had all the elements I was looking for and so the tests began. Not knowing all the variables associated with the local 3G network and how reliable the signal was I decided to build a private wireless network that we could control ourselves. It’s not rocket science, but anything to do with RF has its challenges and soon we had tests running in Johannesburg with great success, but were uncertain how wireless would perform over water. Could we maintain the wireless network solidly over 12 hours without a glitch, what about weather and sea conditions? On paper we had the perfect system and set off to the KwaZulu-Natal coast confident that all would be plain sailing from here on.
Weather issues Initially we had five days for setup, testing and rehearsing but Mother Nature had another agenda for us. Stormy seas with huge swells prevented the catamaran from leaving Durban Harbour as planned and as each day passed we were losing out on the valuable tech setups and tests. Finally, on the day prior to the broadcast the catamaran was given the green light and set sail to its destination. With only hours to go before the first crossing the system was booted up and after a while…bingo! The signal was active – we had established a wireless link in heavy swells between two and four metres and it seemed stable. Using an HP server with touchscreen capabilities in our control room as the backbone of the system, I used iPod
Touches as the comms units. The wireless connectivity of the units proved to be more stable than any other device and the cost per unit was acceptable in comparison to smartphones and PDAs and of course they were very portable and made nice little beltpacks. With a presenter in the studio on land and one on the cat, we integrated IBF units via our wireless link so that the two hosts could communicate with each other. We also tapped into the underwater comms units so that there could be some interaction between the divers and talent above the waterline, as well as take direction from the production crew. For the most part the comms were solid and behaved as expected, then out of the blue the weather turned for the worse; on land local telephone and Internet connectivity was lost (we presume due to a lightning strike). With that our static IP address was lost so we had no chance of
linking up with the US control room via the Internet on our system, and would have to revert to a hybrid cell link to New York. But comms to the cat remained solid. One mistake that I had made was not taking into account that most of the crew was on a 42ft cat all in close proximity to each other and some howl round was generated creating interference. A few tweaks on the engineering control panel back on land soon fixed most problems and in general we had a workable but not perfect communications setup that saw the show go on. Had we had the time for set ups and testing I am sure we would have solved the little niggles that plagued us. One thing I have learned through this experience…no matter how prepared you are, expect the unexpected, the legacy of comms in live television continues!
| TELEVISION
Shark Attack Experiment LIVE South African company Aquavision recently produced a two hour live broadcast off the KwaZulu-Natal (KZN) coast for NatGeo Wild, writes Julie-Anne Reid.
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unday 20 November 2011 and a crew of nine pile out of a truck at Wilson’s Wharf in Durban and begin to unload equipment on to a 42-foot catamaran called the Spirit of Elan. At sunset the sailboat sets out round The Bluff in stormy seas. Two metre swells rock the boat and some of the crew are definitely green. This is a test shoot for a live broadcast to the US on Thanksgiving Day. As the DOP braces himself on deck and lifts the camera, the talent steps into frame: “I’m Mark Thompson; join me for Shark Attack Experiment LIVE.” The following day the Spirit of Elan is transformed from a leisure cruiser into a floating outside broadcast (OB) studio. The galley is a mixing desk; the portside houses generators and spools of shark proof cable to carry video, underwater
UP CLOSE AND PERSONAL – Phil Fairclough, Olivia Symcox, Clare Daly, Gail Addision
Crew and divers
communications (comms) and sync to the boat. The stern deck will be a dive platform and studio framed with HMI lights. A platform attached to the mast carries the UHF transmitter, which will send signal seven kilometres to shore. On 22 November we sail for the Aliwal Shoal. The sky lightens in the east and a Hammerhead Shark swims between the hulls, a good omen. We feast on fresh caught tuna and watch a Humpback Whale breach in greeting. Eight hours later we arrive at the mooring site which Mark Addison has set for us. The current is strong, but the viz is good. The crew set up to shoot but we encounter some technical difficulties; the light frame is too heavy in these rough seas and we have to remove half for safety. The signal on the transmitter is faulty. We dry run the show anyway as bad weather is coming and the cat must head
back to port. Back at sea on Friday morning, the current is pumping 1.4 knots, but the boat is rigged, the cage is in the water and we have a live feed to land! Soon chumming attracts 20 to 30 Blacktip Sharks off the stern. So excited are the sharks they bite through the cables securing the cage and it is swept away. Affixed to the cage is an LED light ball, luckily this is not damaged and we are able to hang the cage more securely. Darkness falls, we wait... Eventually 3.30am! Countdown to LIVE! Exhilaration sweeps the boat as two shark attack survivors re-enter the water and come face to face with the creatures they fear. The cameramen fight the current to capture it on film. The scientists do their tests, checking if sharks are attracted to bare skin, shiny objects or repelled by shark blood.
Hanru Reyneke
Rigging the control room on the catamaran
Over the comms the crew is directed by the director, “Line-up MCU camera 2… go to camera 2.” The producer is swinging boom and the medic is bashing cables, focus is intense and after what seems like a moment, two hours are gone and we are clear! Another first for NatGeo Wild and Aquavision!
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Sales Stock Clearance Sony PMW-F3L Super 35mm Full-HD Compact Camcorder_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _R 119 000.00 Sony NEX-FS100PK Super 35mm Sensor Camcorder including 18-200 mm Zoom Lens_ _ _ _ _ _R 47 000.00 Zeiss CP2 28mm /T 2.1 Prime Lens with EF Mount/Feet_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _R 29 000.00
Used Stock Clearance Panasonic AJ-HDC27HE DVC Pro Varicam Camcorder_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ R 75 000.00 Sony DVW-790WSP Digital Betacam Camcorder_ _ _ _ R 50 000.00 Canon Lens Kit Comprising of: HJ21x7.5mm & HJ11x4.7 KLL film style Zoom Lens_ _ _ _ _ _ _ _ _ _ _ _R 99 000.00
For full list go to www.visuals.tv or contact our offices.
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January 2012 | SCREENAFRICA | 23
SOUNDSTUDIOS |
Small studios, big sound By Andy Stead
operate out of the facility and we also offer a dry hire service when required. We have an impressive list of recent motion picture sound credits including Platteland, Lucky, 31 Million Reasons, Otelo Burning and Man on Ground.”
Cape scene
A SOUND ENVIRONMENT – The WorkRoom studio
Rob Schroeder in his control room
Howard Music studio
Charlotte Buys in Area 5.1
The importance of sound is arguably second only to sight when considering the senses, and as you sit back, eyes closed, and listen to that astonishing orchestra or your favourite group, can you imagine a world without sound? Do you visualise a large studio recording with a composer, musicians and vocalists?
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t would seem, thanks to modern technology, that most of South Africa’s top sound facilities have embraced the benefits of operating out of small self-contained facilities with studios no larger than an average bedroom, that use the latest sampling and plug in devices to create their masterpieces. Probably the last custom built studio capable of recording an orchestra was the well known Audio Lab in Blairgowrie, Johannesburg, which closed its doors this year. Top composer Rob Schroeder of Robroy Music, who operated from the Audio Lab for many years, has built a bespoke studio in Stonewedge Park, Bryanston. “A large studio is now totally impractical,” he says, “even if you want to record a grand piano you use a keyboard, with the ability to change the notes and 24 | SCREENAFRICA | January 2012
dynamics. It does mean that control rooms need to be much larger, but the equipment itself is smaller. In the past we used an old desk with 60 channels, now we have a small digital unit which offers over 190 channels. We also operate out of only three rooms – a control room and two small studios.” Adam Howard of Howard Music agrees. Howard does the lot – from composition through to final delivery. “You have to have some musical abilities these days,” he says, as someone who plays a mean trumpet. “Whereas in the past the various areas and operators were specialised, now with the new technology – plug ins, etc – you need to have a broad range of expertise and be a jack of all audio trades. “Large studios are being phased out. In the old days if you needed strings you had to have a large studio with 20 string
players. Now even a drummer can get away with a programmed drum sound, especially in the world of commercials. You can use sampled stuff – as we have huge libraries of samples – and you can apply these to virtually any requirement.”
Complete experience Motion picture sound is also a specialised field and Refinery’s Area 5.1 is one of the few remaining facilities to offer a complete motion picture sound experience. From ADR to Foleys to final mix, Area 5.1 boasts the only licensed Dolby 5.1 motion picture facility in the country. “We have completed quite a few upgrades,” says Refinery’s Tracey Williams, “including upgrading Studio 2 so that it can mix in Dolby 5.1. Charlotte Buys, Michael Botha and Barry Douglas
While the bulk of South Africa’s sound facilities are still concentrated in and around Johannesburg, Kloof Street in Cape Town is the home to Mama Dance! Music for Africa / Composers for Africa, which has become increasingly focused on creating and supplying music to the advertising, film and TV sectors. They became the go-to-guys for agencies and production companies that needed South African flavoured music – composed, licensed or production music. “We are very excited about the re-branding of our original composition agency to Composers For Africa and are confident that our one stop shop service attitude will be a big hit with agencies and production companies who prefer to deal with one reputable company rather than various composers for each job,” says Craig McGahey. TheWorkRoom, also Cape Town based, is an award winning audio post facility which encompasses all aspects of audio production and post-production from recording to mixing, ADR, Foleys and 5.1 surround sound. “There have been many developments in sampling and plug in technology,” says owner / engineer Stephen Webster. “This gives video editors access to audio plug ins for mixing and has led to the impression that there is a lesser need for dedicated audio post facilities. Thankfully, we have a client base that understands the value of having their work mixed by a professional sound engineer.”
Technology rules Jim Petrak of Sound Surfers confirms the need to remain abreast of technology. “We are always on the prowl for new technology and this year we have invested in a new secret weapon – but if I tell you what it is I would have to kill you – and then I guess it wouldn’t be much of a secret then!” The importance of sound cannot be over emphasised. Its appeal to the aural sense is as important as the visual, and with the ability of modern technology to create such marvels as a bass guitar played in Abbey Road Studios, the abilities of our local composers and engineers is further enhanced.
Multi award-winning audio post-production facility for film, documentary, animation, television and radio commercials production.
TheWorkRoom delivers the highest quality and value of service for your production. No matter the scale, we complete projects on time, on budget, and with an uncompromising professional standard. Since our establishment in 2005, this approach has gathered us a prestigious list of film, television and radio awards and credits.
Our spacious and comfortable studios are equipped with the latest Pro Tools Systems, a host of world-class outboard gear, ISDN, Source Connect Pro, Dolby encoding and high-speed media transfer facilities. Both rooms are suitable for 5.1 mixing, ADR, Loop Groups, voice over and Foley recording.
www.theworkroom.co.za
CONTACT Stephen Webster, Director/Engineer info@theworkroom.co.za Jenna Lange, Bookings production@theworkroom.co.za T +27 (0) 21 426 5497 F +27 (0) 21 426 5498
SOUNDSTUDIOS |
TheWorkRoom Audio Post Production
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heWorkRoom is a multi-award winning audio post facility based in the Cape Town CBD. Founded by director Stephen Webster in 2005, TheWorkRoom focuses on providing high end recording and post-production facilities to the film and advertising industries. Webster has more than 14 years of experience in the audio post production industry and has worked extensively in both South African and international markets. TheWorkRoom has a prestigious list of film, television and radio credits and awards. Some recent projects include Alan Gray (Grand Prix Winner 2010); Vodafone (Grand Prix Winner 2009); Visa (Morgan Freeman); Judge Dredd
THE CREW – Ryan Millard, Jenna Lange and Stephen Webster
(Karl Urban, Olivia Thirlby); Zambezia (Samuel L Jackson, Leonard Nimoy, Abigail Breslin, Jeff Goldblum); Spud (John Cleese); Death Race 2 (Luke Goss, Ving Rhames); Spartacus and the Blood Sand (John Hannah); and a wide variety of other notable projects. This year TheWorkRoom has collected several awards including three Cannes Lions, five Loeries, one Ad of the Month and one Gold and one Silver Bookmark. TheWorkRoom currently has three full time staff members. Webster is the director and engineer, Ryan Millard is an engineer and the office manager is Jenna Lange. TheWorkRoom is also affiliated with several local and international composers. “Our workload is fairly evenly split and
consists of film, TV and radio as well as long format documentary and series,” says Webster. He continues: “Since our expansion last November, 2011 was always going to be a bit of a gamble. The post-production industry along with many others has felt the pinch this year with some of the largest facilities looking to close their doors. Fortunately this year has been phenomenal for us both creatively and financially with several awards and more than 90% of available studio time being utilised. “We constantly upgrade and research technological changes in the industry and this year that change has been an increased demand for HD and Dolby Surround Sound. Fortunately we had the
foresight to have both our studios fully equipped for this and were able to embrace that demand with at least 70% of our output now being HD. “Along with the HD and Dolby surround sound upgrades we have also upgraded our inter studio connectivity possibilities. We now offer multiple ISDN codecs, Source Connect Pro, Phone patch, iChat, Skype and high speed media transfer facilities, making us the most accessible audio post-production facility in Cape Town.” To support the additional connectivity TheWorkRoom has just launched its ‘ISDN & Source Connect Partner Directory‘ website, details of which can be viewed at: http://isdn.theworkroom.co.za/.
Shhh…listen to the design! Probably the least noticed aspect on any film, TV or commercial production is the sound design. This is the process of manipulating audio elements such as sound effects (SFX) and background atmospheres and then laying them to picture to enhance the mood of the piece. The last stage is mixing these tracks together with the dialogue and music for the final soundtrack. 26 | SCREENAFRICA | January 2012
I
deally the sound design on a production should create a synergy across all of the sound elements. The irony is that most times, if the sound design is done really well, the viewer doesn’t really notice it – such as in Roman Polanski’s The Ghost Writer, where the eerie, minimal sound design enhances the cold, dark blue tones of the visuals. A film where sound design really hits you in the face is the off the wall comedy, Hot Fuzz, where sound effects literally jump off the screen to punctuate every bit of visual action. “The possibilities of manipulating sound are endless nowadays. From changing the pitch, length and speed of an audio clip, to making a voiceover recorded in studio sound like an announcement in a packed soccer stadium over the public address (PA) system,” says Adam Howard of Howard Music.
Based at MOI in Johannesburg, Howard, a music composer, has also done sound design and final mixing for numerous commercials as well as a TV series, Bike SATV. “Final mix can be made up of many elements including searching for library music, voiceover recording, sound design, and the actual final mix of these elements,” says Howard. “I recently final mixed a job for Saatchi & Saatchi. A lot of their jobs are for Africa and they adapt a generic television commercial (TVC) for different countries. They will supply me with a voice recorded in that country (in this case Uganda and Ethiopia) and I will try to lip sync as much as possible. But being in different languages, you sometimes have to sacrifice the lip sync.” For another job Howard had to final mix ‘animatics’ for Ogilvy for a Castle
Lager commercial. “This is where a commercial goes into research before the client actually shoots it. They will have a slightly animated basic storyboard with a voiceover describing what happens in the commercial. Heavy sound design is required for this and a few music options are presented. Feedback from the research groups is taken into consideration before they go into production.” Howard uses Apple’s Logic Pro and has a digital library of sound effects, recording his own SFX if needed. “It’s generally easy to replace recorded atmosphere with SFX. The only problem you can have (which is quite common) is the actual dialogue has been badly recorded. If it’s very bad, I will have to post-sync in studio, and when that is in Swahili, it can be challenging!”
| SOUNDSTUDIOS
Leveling the paradigm S
outh African Dolby agent Inala Broadcast supplies most of the top audio facilities in South Africa and offers the latest technology and upgrades for the Dolby range. With direct-to-home (DTH) broadcasting and the abundance of video channels that will be available once digital terrestrial television (DTT) is implemented, many broadcasting unions and regulatory bodies are introducing policies for fundamental changes in audio. “These changes include all the levelling paradigms from peak normalisation to loudness normalisation,” says Colin Wainer, Inala Broadcast GM. “Loudness metering and loudness normalisation will signify the ‘true audio levelling revolution’. The changes are vital because of the problem which is a major source of irritation for television and radio
audiences around the world – the variations in audio levels at commercial breaks, between programmes and channels. “Inala Broadcast together with Dolby has provided a number of audio broadcasters / post-production houses with the new Dolby Media Emulator to evaluate as beta test sites. The software tool provides metadata emulation for Dolby broadcast audio formats, which is a key tool for mastering, authoring and broadcasting. This device enables the customer to emulate how your mix will sound when it’s played back through a TV or set top box.” Dolby Media Emulator also simplifies the monitoring of metadata for use with Dolby Digital Plus, Dolby Digital, Dolby E and HE AAC, adds Wainer. Its ability to configure and control the monitoring
MIXING IT UP – Colin Wainer
environment and evaluate metadata parameters makes it an essential product for post-production, DVD and DTV facilities that master, author, or broadcast programme material with Dolby surround sound audio.
“The Dolby Media Emulator,” concludes Wainer, “runs as an Avid Pro Tools RTAS plug-in and as a VST plug-in for popular programmes such as Nuendo,” he explains.
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SOUNDSTUDIOS |
Surfing the sound way
S
ound Surfers offers a comprehensive audio postproduction solution to its clients. With an exceptional team of sound designers and re-recording mixers for both film and long form TV miniseries, it is among the most respected and sought after service in the industry. This combination of talent led Sound Surfers to win South Africa’s first AMAA (African Movie Academy Award) for best achievement in sound in 2011. After a decade of service to filmmaking in South Africa, owner and head engineer Jim Petrak founded the audio postproduction company in 2009, which specialises in the design of motion picture sound. “Sound Surfers specialises in feature film soundtracks and cinema sound. We design the film’s entire soundtrack from scratch. This includes conception of sound design according to the director’s needs, as well as everything else required
ON A GOOD WAVE – Jim Petrak
during the process — dialogue, sound effects, Foleys, additional dialogue replacement (ADR) and mixing. We do the whole lot.” Petrak notes that he tends to use larger studios a lot less these days. “Due to advances in technology larger studios are not required in certain circumstances. I do believe, however, that they will never become obsolete — especially in the professional field. We are always on the look-out for new technology and invest heavily in this area.” Sound Surfers have been busy of late; its most significant projects are the local movies Skyf and Semi-Soet. “We take great pride in our work and continually strive to deliver superior craftsmanship on every production,” continues Petrak, “in order to produce excellence that will allow our work to speak for itself. Attention to detail is our trademark and we are proud to be at the forefront of one of the most rapidly growing industries in South Africa.”
Lending his (musical) ear
MUSIC MAKER AND DREAMER OF DREAMS – Adam Howard in his studio
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quote from Arthur O’Shaughnessy’s Ode: “We are the music makers and we are the dreamer of dreams” – is the way Johannesburg-based Howard Music, helmed by musician and award winning composer Adam Howard, describes itself. UK-born Howard has a classical music degree from the Guildhall School of Music and Drama and has been principal trumpet player for the Johannesburg Philharmonic Orchestra. He provides a full spectrum of professional audio services, bespoke music composition, final mix and musical direction. “I am in the fortunate position of being able to compose music and to attend to 28 | SCREENAFRICA | January 2012
the final mix side of things as well,” says Howard. “This is a great asset as a musical ear is important throughout the entire process of creating a soundtrack for a commercial, including final mix.” Howard explains the process: “Generally a creative will come into the studio and give me a brief and pointers. I was recently commissioned to write the music for a Wimpy TV commercial. The clients purchased the rights for Mr Sandman but didn’t like some of the detail
as they wanted the music to be a bit quirky and up tempo. I brought in a banjo player, played the spoons and added a 13- year-old girl on vocals. The final mix went to another facility which is not unusual, as agencies have their favourite facilities.” Another facet of Howard’s business is musical direction for corporate events. “I have done five big events this year,
including the new sedan range launch of VW where I arranged the music, brought in a full 21-piece big band and soloists Tamara Dey and Kahn Morbee from The Parlotones. “2011 has been a very busy year for us despite the global recession. Being a session musician, composer, arranger, engineer and musical director definitely keeps me busy and out of trouble.”
| SOUNDSTUDIOS
Dancing to the beat F
ormed in 1994 with new studios constructed in 2004 off Kloof Street in Cape Town, Mama Dance ! focuses on creating and supplying music to the advertising, film and television sectors. Depending on production budgets and deadlines, the company offers clients both production music libraries and original music composition. “Mama Dance ! Music Library is the largest South African production music catalogue in the world,” says Craig McGahey. “It includes over 1 700 tracks on 43 albums composed by over 40 talented South African composers and musicians. “We recently went online under the new brand of Mama Dance ! Music for Africa, which now also includes international libraries that are specially selected for their relevance to the African market.” 2011 was a very exciting year for the company as the launch of the ground breaking website has vastly improved the way their clients access music libraries. The response has been phenomenal with
MUSIC FOR AFRICA – Dale Blignaut (Mama Dance !), Mapumba Cilombo (composer), Craig McGahey (Mama Dance !)
new agencies, post-production facilities, editors and producers registering daily. Major dividends have also come through
from the worldwide production music distribution deal with Sonoton. Composers for Africa is a new Mama
Dance ! brand that consolidates over 15 years of original music composition for South African and international clients. This agency represents over 20 African and international composers, specialising in genres as diverse as African Traditional and Electro Pop. “We are very excited about the re-branding of our original composition agency to Composers for Africa,” states McGahey, “and we are confident that our one-stop-shop service attitude will continue to be a big hit with agencies and production companies that prefer to deal with one reputable company rather than use various composers for each job. There also seems to be a big push into Africa and a lot of our latest composition work caters for this fast growing market.” Recent clients that Mama Dance ! has composed for or who have used its production music include MTN, KFC, Sunlight, Savlon, Ceres, Cadbury, Old Mutual, Heineken, Sprite, Chevrolet and Debonairs, as well as lots of local and international TV programmes, film, corporate videos and web-based content producers.
HM 1-4 page ad in Screen Africa print.pdf
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January 2012 | SCREENAFRICA | 29
NEW MEDIA |
Consuming content will never be the same again By Jasyn Howes
The Africa Com annual conference – now in its 14th year – has garnered a reputation for bringing together the most innovative brands in the telecoms and online communications industry. This year was no exception as the event offered four keynote sessions, 12 special focus sessions, two new co-located events targeting the TV and enterprise segments (Africa Cast and Enterprise ICT Africa) and of course the Africa Com Awards.
30 | SCREENAFRICA | January 2012
D
ay 2 of the conference, which took place over two days on 9 and 10 November 2011 at the Cape Town International Convention Centre, dealt firmly with IPTV, the ever-developing world of video on demand (VOD), and other satellite, Internet and broadcast services. The discussion proposed the amalgamation of every form of media creating a hybrid viewing experience, therefore changing the way that we consume content forever. Oscar Dube, CEO of local satellite broadcast service SouthTel, delivered a keynote address on the conception and deployment of their push VOD service. This service will soon be readily available to local consumers as well those situated across sub-Saharan Africa. Dube spoke of regionalised advertising empowering communities on a localised scale. He went on to discuss the multimedia convergence occurring at the moment and how mobile operators are offering low cost for data which is increasing data traffic. SouthTel is in business with numerous mobile operators throughout Africa. “Subscribers want more content and want to be able to freely manage that content,” says Dube who stands firmly behind his product and its ability to offer solutions in distributing content across Africa. He explained their decision to offer push VOD as opposed to other similar services: “You don’t need broadband as everything is done via satellite. The content goes straight to your PVR decoder and we offer standard definition and roughly 200 hours of high definition VOD.” Dube repeatedly noted their ability to tailor viewing specific to
communities making their offerings flexible and attractive to niche markets.
Multiviewing grows During the panel discussion Ayita Gaba (business development associate for YouTube) said: “There will certainly be a surge in mobile and online content views in Kenya, Nigeria and South Africa once we gain access to fibre optic Internet technology.” He also said that Africa craves viewing flexibility but devices are currently too expensive. Across the first world multiview displays and devices are already being developed and utilised but devising ways of controlling that landscape is an ongoing process. Africa can learn from this as they build new partnerships in this fast growing industry. Torsten Hoffman (managing partner at Global Media Consultant) suggested new and inventive ways of packaging content for the African mobile market and noted that: “Everyone will have a fair chance to develop the industry in Africa.” According to Gall Le Garrec (Vice President, Sales EMEA at Envivio): “There are already ranges of hybrid boxes that can receive multiple types of signal transmission in Europe.” He believes the technology is ready for the rest of the world including Africa. The US has already enjoyed the freedom of choice offered by companies such as Netflix, but its application in Africa would be difficult due to its heavy reliance on broadband technology and its relative lack of cross-cultural content. Therefore Africa is left in the hands of the mobile device, for the most part at least. This doesn’t allow for content to
reach Africans and also for African content to reach the rest of the world. Le Garrec added that a “new codec compression will be improved – meaning smaller file sizes offering better quality.” This in itself could change the way the continent shares information within the continent and with the rest of the world.
3DTV making inroads But will hybrid TV reach Africa in the near future? Some say there is no reason it can’t, while others feel that the mobile phone remains the greatest emerging market in Africa with a projected 735 million mobile users in Africa by 2012 that already generate $56bn in revenue. So where does this leave the newly established 3DTV market that has only just kicked off around the world? Torsten Hoffman, director of WildEarth.TV, manages distribution of 3D content to broadcasters around the world. He believes that “3D will be a standard very soon and other devices will also come standard with 3D capability.” However, it will remain an event driven medium focused on Hollywood blockbusters, documentaries and sports. Africa has already played host to numerous wildlife documentaries shot in 3D and, as new technology makes devices cheaper, there will be an upsurge of 3D content across the Internet originating from Africa. With 3D a relatively new medium it allows Africa to play a competitive role in the creation of relevant content, whether it’s for mobile, Internet or TV, to distribute around the world.
| CAMERAS
The Sony F3 experience DOP Sunel Haasbroek of Cooked in Africa Films recently had the chance to test the Sony F3 camera while on location.
A
few weeks ago I joined Barry Armitage and Joe Dawson to film the second season of The Ride in Mongolia. Flying from Cape Town to Johannesburg was possibly the longest flight of my life, which is ironic, because I was actually about to get on the longest flight of my life – 16 hours to Hong Kong! The reason? The Sony F3 was waiting for me on the other side in Johannesburg. Since I read the press release about the arrival of this camera, I knew I had to get my hands on one soon. A big part of the appeal is the Super 35mm sensor and Sony’s unique range of lenses designed for the F3. When I saw the F3 for the first time in real life I was in love from the get go. It really is a great looking camera, designed with loads of features more like the “bigger” more cumbersome HD cameras, but smaller. The best thing, though, is the sensor. We have been filming with the Sony EX1 range for about three or four years
now and it has been our go-to camera for any type of production that we might encounter and time and time again it has over-delivered. The Sony F3 was a logical next step up for me as this camera uses the same sxs cards and batteries and of course the codec is the same, but the quality is in a new league. I used the F3 for the first time in Ulaanbaatar, the capital of Mongolia, and the very first thing that struck me was the picture quality. It blew me away when I mounted a lens and could immediately see the intensity of the detail, contrast and colour. The image is so incredibly crisp, with every little detail accentuated. I couldn’t stop looking at the LCD – I don’t know if it’s possible, but it looks better than real life! And I can tell you that the depth of field is a big part of why so many cinematographers will love this camera. The look is very film-like, but comes with the ease of HD. The F3 comes with three lenses: a 35mm, 50mm and a 85mm. This is the standard range of lenses to cover your needs, but I would advise broadening your
IN THE FIELD – Sunel Haasbroek in with the Sony F3
selection to wider and longer lenses if you want the full benefit of the sensor size. The lenses supplied are quite similar in field of view and it would be great to change a lens to wider or a closer one rather than run hundreds of metres to change your field of view – especially true when you’re filming reality documentaries and can’t afford to miss a second of your subject matter. The operability of the camera is very user friendly. Functionally, it is an
upgrade from the EX series, but the picture profile menu is a bit more intelligent than the EX when you want to fully enhance and achieve your look. You can also control the way your lenses use and capture light, which, in one word, is unbelievable. You have to see it and use it yourself to truly appreciate this camera. In a nutshell, the Sony F3 is a beast – it is a Sony EX1 on a LOT of steroids and you will thoroughly enjoy having this camera as part of your production.
SPECIAL FOCUS |
A whole new world
TAIWAN IN THE PICTURE – Directors Ta-Pu Chen and Cheng-sheng Lin
While the Screen Africa print magazine has traditionally focused on the film industries in South Africa and Africa, we have occasionally been exposed to the industries in other continents. Joanna Sterkowicz received a gracious invitation from the Taipei Liaison Office in Johannesburg to attend the Golden Horse Awards, Asia’s Oscars, in Taiwan (Republic of China) in late November.
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s someone who had only seen (and hugely admired) the films of one of Taiwan’s most famous exports, the Oscarwinning Ang Lee (Brokeback Mountain; The Ice Storm; Crouching Tiger, Hidden Dragon; Lust, Caution), I had no other prior knowledge of the Taiwanse industry. Just before leaving for Taiepi I was invited to see Stan Lai’s Peach Blossom Land, a lyrical work that combines high comedy and drama to tell a touching tale resonant with Taiwanese history.
The Golden Horse Awards 32 | SCREENAFRICA | January 2012
Three others in my tour group in Taipei – the director of the DC Asian Pacific American Film Festival (Tad Doyle), a Canadian film critic (Katherine Monk), and the principal librarian of the film section of the New York Public Library for the Performing Arts (David Callahan) – were fairly familiar with the Taiwanese industry. One name that kept coming up in conversation was that of veteran director Hou Hsiao-Hsien, who made the classic film, A City of Sadness. Unfortunately we did not get the chance
CMPC’s Enga Chang and independent filmmaker Albert Huang
to interview him, although strangely enough we heard him sing (very beautifully) during a karaoke session at a night market hosted by the Golden Horse Awards organisers. At a meeting with three Taiwanese filmmakers – Cheng-sheng Lin, Ta-Pu Chen and Albert Huang – and representatives from Taiwan’s biggest production company, Central Motion Pictures Corporation (CMCP), it became apparent that local filmmakers face the same issues as their South African counterparts. The biggest challenges are finance and the invasion of Hollywood films at the local box office.
Baker turned filmmaker Lin has an interesting background – he was a baker for many years before he and his wife decided to make films. His 2001 production, Betelnut Beauty, won two awards at the Berlin International Film Festival – the Silver Bear for best director and the New Talent Award for actress Angelica Lee. Other notable Lin titles are The Moon Also Rises and Robinson’s Crusoe. He gleefully told us that his next film, due out in March, is about a baker from nowhere who wins a big prize baking goods with Taiwanse ingredients. Lin has shot five films for CMPC, which has 200 titles in its arsenal, including the 2011 Golden Horse winner for best film, Warriors of the Rainbow: Seediq Bale. Said the CMPC’s Enga Chang: “CMCP was government owned before it became privatised five years ago. Since then we’ve become more innovative in terms of marketing. Seediq Bale is the biggest movie of the year and has made US$25m.” Chen expressed the view that if the
CMPC was still owned by the government, Seediq Bale might not have been made. Lin added: “CMCP gives filmmakers good opportunities. They allowed me to make my first ever film and Ang Lee to make his first film. They encourage filmmakers to make more creative films.” Albert Huang, an independent filmmaker who is currently marketing his first feature, War Game 229, said it was impossible to make Hollywood-style films in Taiwan because the market is too small. “I only want to make films for Chinese audiences (Taiwan, China, Hong Kong and Singapore). However, the cultural flavours of these countries are very different. So my first aim is to make a film for Taiwanese people and hope it finds a wider audience. Local filmmakers want to use Hollywood techniques to make our films, but not to follow their genres.” Lin pointed out that over the past two years Taiwanese films have had a common thread – a David and Goliath theme – as in the box office hit Cape No. 7, about a bunch of losers who form a band, and Seediq Bale, a historical story of Taiwanese aboriginals taking on Japanese colonists. “Taiwanese people want to believe that they can achieve their dreams.”
Resources Chen is among the crop of new young directors and his first film, Pick Youth, is represented by CMPC. “As a new director my worry is resources. I’ve made my first film but will I be able to make another one?” Lin maintained that people only look at box office figures and not at how much it
| SPECIAL FOCUS costs to make a film. “Producers need to create a sustainable business model. I believe it should be a case of modest investment and modest returns. Today’s directors tend towards commercialism whereas we need directors who come up with creative and innovative ideas. Our industry doesn’t have great resources but we have a wealth of talent. Taiwan is very proud of its culture.” During a discussion about Ang Lee prompted by Katherine Monk, I got the feeling that none of the three directors were huge fans, one even going so far as to suggest that had Lee not gone to the west, he would have been ‘small fry’ in Taiwan. “We have mixed feelings about Lee,” said Huang. “However, he is regarded as the pride of Taiwan and he cracked the international market. This makes us think that if he could do it, then so can we.”
Government perspective At a lunch hosted by the GIO, deputy
minister Tony Ong told us that when Taiwanese film boomed in the 1960s, the industry was producing about 200 films a year. “Today we produce about 50 films a year as we suffer from the Hollywood invasion. Eighty percent of the films shown in Taiwan are from the Hollywood, 10% are from Japan and the remaining 10% are from Taiwan and other Asian countries. “In previous years Taiwanese films accounted for less than 1% of total box office. 2011 has seen a big increase to 15%, thanks to huge box office for recent films such as Cape No. 7 and Seediq Bale. Crouching Tiger, Hidden Dragon still holds the record for the highest box office of a non-English film in Taiwan.” Director of the GIO’s Motion Pictures department Wen-ching Chu stressed that Taiwan had an excellent system for filmmakers. “We give them subsidies and help them to get loans. If the film makes more than NT$700 000 at the box office, the filmmaker will get money from the
government for his next film. “The government tries to help the industry in different ways and we’ve formed a committee to evaluate films. We treat film purely as art and as an industry. Taiwan’s signing of the Economic Cooperation Framework Agreement (ECFA) has created opportunities for joint ventures.” Ong noted that as a result of the ECFA two Taiwanese filmmakers have secured permission to screen their films in China. “If these films generate good box office there the market for Taiwanese films will open up. Our filmmakers are very creative and idealistic and not merely concerned with commercialism. They will not change the language just to get more audiences in mainland China. Seediq Bale is not in Mandarin but in Japanese and aboriginal languages.” The entire Taipei tour, which also included visits to the most famous sites in the city, was facilitated and hosted by GIO protocol officer, Dr Joe Wang.
Dr Joe Wang
A treasure trove of film The Chinese Taipei Film Archive plays a vitally important role in the Taiwanese industry, preserving a wealth of films dating back to 1931.
S
tarting life as a film library in 1978, the facility was officially upgraded to archive status in 1989. “We’ve done lots of work with films from the 1950s to the 1980s, re-doing subtitles and making copies,” said the archive’s Teresa Huang during a visit by the international tour group in late November. In 1991 the archive achieved independent status as a foundation to safeguard and preserve the moving image heritage of Taiwan. It is now a member of the International Federation of Film Archives. “Our storage vault is in Shulin, Taipei County – an area of 3 289 square metres. The total number of films in the archive is 14 440. We also have 5 149 posters, 1 302 stills and over 13 835 film books. “Part of our duty is to organise film festivals such as this year’s Chinese Musical Film Festival and to hold screenings – in 2010 we had 476. The archive also publishes the Taiwan Cinema Year Book. We loan films to international organisations and festivals. At the moment we’re working on the National Film Culture Centre,” explained Huang. Unlike South Africa, there is no legal deposit system in Taiwan where filmmakers are required by law to submit a copy to the archive of every film they make. Only films that receive government grants are required to do this. Huang revealed that her team has been working on a digitsation project for the
past four years. “We transfer newsreels to digital formats. One has to be careful about formats when digitising because technology changes so quickly. Researchers are free to come here and access archival material but they are not allowed to remove anything. We preserve celluloid prints as best we can but our budget is really tight.” Only newsreels have been uploaded to the Internet thus far as there are copyright issues with many films. According to Huang early Taiwanese films mimicked Hollywood films such as the Laurel and Hardy series. Since then Taiwan cinema has seen melodrama, comedy and Taiwanese opera. “From 1963 to1969 there was a genre called ‘healthy realism’, followed by melodrama in the 1970s.The next decade saw the wave known as new Taiwanese cinema, a group of filmmakers who wanted to make different films. Following 2008 there’s been another renaissance with the new generation of directors making more commercial films,” stated Huang. Every three months the archive organises a programme for a specific reason – in November there was a retrospective in honour of an actor who had passed away. In 2012 the archive will hold a 30th anniversary celebration for new Taiwanse cinema where some precious previously unseen stills will be exhibited. January 2012 | SCREENAFRICA | 33
www.SCREENAFRICA.com DIRECTORY OF CONTACTS
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Latest News • SOS hands over memorandum to parliament
It’s back and better than ever! Screen Africa in association with Mediatech Africa is proud to bring you the annual industry golf day. Date: Thursday 16 February, 2012 Venue: CMR Golf Course, Maraisburg
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• Creative England launches film funds
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Date: 10 and 11 March 2012 Johannesburg (venue TBC)
• Sanef and ANC meet over Secrecy Bill • ITU wants to make TV accessible to all • African projects selected for CineMart 2012 • Platteland a box office hit • Digital Broadcasting Switchover Forum 2012 • New local sitcom
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34 | SCREENAFRICA | January 2012
Held under the custodianship of the National Film and Video Foundation (NFVF), the South African Film and Television Awards (SAFTAS) are the premier industry awards in the country. They were created to honour, celebrate and promote the creativity, quality and excellence of the local film and TV industry. Winners are awarded with the prestigious Golden Horn Trophy. Nominees will be announced on 8 February 2012. For more information log onto www.nfvf.co.za
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| DOCUMENTARY
An incalculable loss A new documentary about child rape in South Africa had the distinction of being shortlisted for the 2011 International Freedom to Create Prize, which honours the bravest and best creative champions for freedom of the past year.
DIGNITY PROTECTED – One of the five girls in the documentary The Lost Girls of South Africa
T
he Lost Girls of South Africa centres on five girls aged between 12 and 15 years from the Nelson Mandela Bay area in the Eastern Cape who have suffered sexual abuse. Of paramount importance to filmmakers Xoliswa Sithole (Shouting Silent) and Deborah Shipley (Wasted, A World Without Water) was that the girls tell their own stories and that their dignity be protected at all times. This documentary also serves as a campaign to draw attention to the issue and provoke action and change in the country. The filmmakers are delighted with the Freedom to Create Prize recognition. “Any great publicity will help bring attention to the film,” says Sithole. Shipley adds: “I am delighted the documentary is honoured in this way. It is a great privilege to be shortlisted alongside such excellent work from around the world. The nomination also means a great deal as this is one of the few films to be included. We strive to make our work as artistically valid as possible and this is great recognition of that.” The film was initiated when, in the run up to the 2010 FIFA World Cup, UK
broadcaster Channel 4 commissioned Shipley’s company True Vision Productions to make a documentary on a contemporary theme in South Africa. Shipley explains: “Xoliswa and I felt that girls in their final year of primary school experience significant life changes. So we set out to research that in more detail. However, once we were on the road talking to girls, it became apparent sexual abuse was a major problem among this group, so we shifted the focus of the film.” Sithole and Shipley had previously worked together on True Vision’s British Academy Award-winning Orphans of Nkandla, about the impact of the HIV/ Aids pandemic on children of sufferers.
Finding voices To source the girls Sithole and Shipley, after getting permission from the Department of Education, targeted schools in the poorest areas and worked with social workers, teachers and parents to identify the girls. They also dealt with Childline, the Rape Crisis Centre, the police and the Department of Health. “There was clearly a need to tell this
kind of story since one in three children is raped in the Port Elizabeth area alone. Although the girls and their parents wanted to tell their stories, they also needed to maintain a distance and requested that the film not be shown in South Africa. At a later stage they changed their minds,” notes Sithole. The filmmakers researched the topic for around six months before the year long shoot commenced in June 2009. Shockingly, they found that a young girl born in South Africa is more likely to be raped than to complete her secondary education. When asked how she deals with such tough subject matter Sithole responds: “It is difficult, however most importantly it is a privilege when people allow you into their world. As a filmmaker one invariably gets involved but you have to try and maintain a delicate balance between distance and caring.” Shipley adds: “The desire to bring such hugely important issues to public awareness is paramount. I have enormous respect for the altruism and stoicism of all the contributors who consented to be in the film and the selfless and gracious work of the social workers, carers and engaged community members who helped to facilitate our path. They are all truly inspiring.”
On camera The Lost Girls of South Africa was shot in 1080 25p HDV on a Sony Z5. Shipley shot some of the major interviews and a little of the actuality. “My UK coproducer, Brian Woods, was originally going to shoot the film, but after the initial shoot it became apparent that having a white male on the shoot was not going to bring out the best in the girls. I filmed the following shoot, and then the subsequent three shoots were filmed by a very talented professional director of photography (DOP), Natalie Haarhof, who is based in Johannesburg.” Primarily funded by Channel 4, the filmmakers received a small advance from the film’s international distributor, DRG (Digital Rights Group).
Online campaign “We made the film because we felt that the issue of child rape in South Africa needs to be highlighted, and pressure should be brought to bear on the government, the police and the courts to take this crime far more seriously,” says Shipley. “Because we cannot simply rely on a handful of TV broadcasts we set up www.lostgirlssa.org and a Facebook page to try to channel the anger and passion the film evokes as constructively as possible. Both offer viewers the opportunity to directly help the girls in the film but also encourage them to get involved in letter-writing campaigns and other forms of active campaigning.” The Lost Girls of South Africa has to date been shown in the UK, Australia, Italy, Japan and Portuguese speaking Africa, as well as at several film festivals. DRG is actively pursuing further opportunities to spread the message. According to Shipley, after the film was broadcast in the UK a school teacher in Leicester showed the film to her class. “The children in her school were deeply moved by the film – indeed as a direct result of seeing two girls disclose to teachers that they had been raped – and they were inspired to engage in a letter-writing campaign, targeting the South African president and parliament, as well as the British Government. As a result of letters to the UK’s Department for International Development, a delegation from the school was invited to London to meet MPs and ministers and present the case.”
January 2012 | SCREENAFRICA | 35
TELEVISION |
New series highlights some of SA’s most shocking crimes TRAGIC SHOOT – Leigh Matthews
Baby Jordan
Sugar Cane Killer
Advocate Barbie
Taliep Petersen
Brett Goldin and Richard Bloom
Lucky Dube
Sheldon Human 36 | SCREENAFRICA | January 2012
A 13-part 44-minute crime scene docu-drama with a three-tiered message produced by Clive Morris Productions will soon be broadcast on pay-TV channels M-Net and M-Net HD.
C
rimes Uncovered SA’s central message celebrates the world class detective, forensic and pathological expertise in South Africa. It also has the underlying message that crime does not pay and honours the victims and their families who have themselves paid the ultimate price. Due to be flighted on M-Net and M-Net HD from July 2012, there will also be an Afrikaans version (Kriminele Meesterbrein), which will be broadcast on kykNET later in the year. Anne Davis, senior commissioning editor for M-Net, hopes that the series will establish a sense of confidence in the police force within the target audience. “The television series also aims to create awareness that it is more than just the victim who suffers at the hands of criminals. Often families, communities and the nation suffer the loss of loved ones as contributing members of our society. In this case each episode is dedicated to the memory of each victim,” notes Davis. The series salutes the detectives, scientists, psychologists and prosecutors and shines a spotlight on their work, focusing on the small details – often overlooked – that help to put criminals behind bars. She believes that young people watching the series may understand the level of pain and suffering that crime causes. In addition the makers of the series would really like it to act as a deterrent to people considering acts of violence or crime. Says executive producer Clive Morris: “I created this series because as a kid I used to listen to Squad Cars on the radio and loved it. It was my belief that when TV started in South Africa in the late 1970s all the radio shows would be on TV so I was very disappointed when it didn’t happen. For that reason I created Criminal Minds, which ran on M-Net almost nine years ago. That series was a precursor to Crimes Uncovered. Criminal Minds were 24 minutes each, Crimes Uncovered are 44 minutes each.” Filming started in January / February 2011 and 11 episodes have been filmed to date. During the shoots actual sites of crime scenes are visited to convey authenticity, which includes the police stations involved and some of the victims’ homes. Davis articulates that it is obviously not always possible to do this, and points out that the actual detectives and forensics specialists all appear in the form of
interviews. “In most cases the families of the victims have been interviewed and their generosity of spirit has given us a human angle to each of our stories,” she says.
Reliving the horror In charge of the story creation were Mandy Wiener and Gill Gifford (researchers); Kelley Thorrington, Heather Cooke and Marilee May (scriptwriters); Sharon Black (director); Daniel Black (DOP); Kelly Daykin (series producer); and Morris. Daykin notes that the hardest aspect of this production was interviewing and arranging family members. “We ask them to return to memories that they try everyday to distance themselves from. We are also haunted by their pain and suffering.” Sharon Black concurs: “The series’ truth would be hollow without their stories, so we have employed the assistance of a trauma counsellor for our team”. Black believes that in order to deliver factually correct stories and reenactments, it is essential to work closely with the SAPS (South African Police Services) for all the paper work and dockets involved in each case. This exposes the production team to crime scene photographs, criminal’s testimonies and judgments that are real and hard hitting. The SAPS work very closely with Clive Morris Productions to ensure that each and every episode is accurate. It is also touching that the actors had to experience real physical discomfort in terms of delivering believable performances in each crime scenario whether they are the victim or perpetrator. Black explains that from a visual perspective, sometimes the series is challenging to shoot as a lot of the crimes happen in the dark. To overcome this they justified light sources from the moon, car headlights or exterior street lights and the like.
Strong cast The series’ actors include Alwyn Kotze, who plays the role of Andrew Jordan (perpetrator) for the Sheldean Human episode. In his eyes and face – without speaking – he managed to portray a dagga-high perverted and arrogant human being, bringing a believable
By Martin Chemhere
performance to the role. Rojean van Onselen plays Leigh Mathews, one of the victims. Her performance in the scenes of abduction, killing and her corpse being found are utterly believable. According to the production team, her stamina and strength to repeatedly shoot such scenes was remarkable. Ryan Cyster (who played Clinton Davids, one of the perpetrators) acted in the Brett Goldin and Richard Bloom episodes. His on-screen presence was powerful and believable. Antonio Fisher played Shevaan Marlie, also a perpetrator in this episode. Despite having never even handled a firearm before, Antonio was able to remain in character before, during and after the killing scene. Other actors include Byron Davis and Francis Chouler who play Goldin and Bloom (the victims). The duo managed to portray fear on varying levels that was sincere and heartfelt. One of the scenes required them to strip naked and be put into the boot of a small car. This scene was shot in the middle of a Cape Town winter while it rained at night, but the actors’ focus remained on their performances. Ruben Engel and Christian Bennett, in the roles of Waheed and Snyders (perpetrators) in the Taliep Petersen episode, successfully portrayed real life criminals that were threatening and humane. Jaques van Jaarsveld played Dirk Prinsloo, perpetrator in the Advocate Barbie episode. This episode was very difficult to film and the crew chose to be suggestive rather than vulgar. They believe that van Jaarsveld delivered a performance that made this approach really work well as these scenes really make the audience cringe. The television series’ marketing strength is the crew’s incredible access to all the people involved (detectives, victims’ families, prosecutors) plus high production value. Also its intriguing storylines make it an extremely marketable entity. Davis concludes that each episode is a unique and compelling story and that the audience will relate to Crimes Uncovered SA much like they would relate to the CSI (Crime Scene Investigation) series. She believes that the series will draw audiences, not just individual episodes. The series was completed by March 2011. It is available for licensing and is owned and distributed by M-Net.
| TELEVISION
A diminutive figure in topto-toe black from New York, who has directed the likes of the late Marlon Brando, proved a masterful presence at the recent PromaxBDA Africa in Johannesburg, as she guided six local actors to deliver the ideal promo read.
“T
he one note I give to my actors is – too much work in the work gets in the way of the message. So, take the work out of the work and find an affinity in your mind for the promo topic. An actor has to work from a base of emotional truth,” said Marice Tobias of Tobias Entertainment Group. Tobias should know what she is talking about – her clients range from The Tonight Show, Dr Phil, The Doctors, Discovery Networks, BBC, VH1, History, NASCAR, WTN / Canada and PBS. She was the first woman to direct
commercials in the US and the first woman director to receive a Clio Award. PromaxBDA Africa was Tobias’ first trip south of the equator. “Whenever I travel I find that the cultural conversation is the same no matter where you are. Directing actors is not a case of telling them what to do – it’s all about putting them in a state of mind, a conversational state of mind. “An actor’s voice in a promo is the promise of an experience that the viewer will have. It’s the same end game – the feeling of how you will feel when you watch the show. The actor’s voice tantalises the viewer and promises what the altered state of life will be once he watches the programme. “When casting an actor for a promo you have to find an emotional match. The choice of actor has to do with the programme mission statement and which feeling you want to evoke.” Tobias maintained that an actor is far more concerned with the opinions of his peers than with those of other people. “You have to allow for the fact that actors are nervous because they want to prove you were right to hire them,” continued Tobias. “So let them blow it out and ask them to read through a couple of lines. If the actor is reading a promo about
Photo by Trevor Ou Tim
Getting the read that you want
THE BASE OF EMOTIONAL TRUTH – Marice Tobias coaching voice artists
a documentary or travel programme on China and he’s never been to China, you will hear that in his voice. The actor’s voice must reflect an affinity for the subject matter. So he must imagine a place he has been to and likes when reading the China promo. “Remember that if you give notes to the actor in between readings the ball will fall
on the ground. When you hire a talent you’re not buying their voice but their point of view and how they see the world.” During the session each of the six local actors read three promos each in front of hundreds of conference delegates, who heard a discernible difference in performance once they took Tobias’ advice.
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… ordinary people for extraordinary results January 2012 | SCREENAFRICA | 37
AFRICA |
Reports by Martin Chemhere
Almond Tree branches out A Rwandan production company ended last year on a high – with a short film and a workshop.
T
GETTING TO GRIPS – Eager learners during a workshop
riumph wins over adversity in the Rwandan short film Whatever It Takes, which will be targeted at the international festival circuit in 2012. It is a story of a young woman (Mucyo) who wants to sit for her final high school examinations but is hampered by poverty and circumstance — her mother is a widow and too poor to pay school fees. Although she is chased out of the school Mucyo is never discouraged and searches for any job, finally finding one as a taxi assistant. Her school friends reject her but eventually she manages to pay for her exams, pass them and win a government scholarship in the process. Written and produced by Umulisa Gakuba Diane, Whatever It Takes was directed and edited by Richard Mugwaneza of Almond Tree Films. Says Mugwaneza: “The message of the film aims to inspire young people to attain higher goals in life irrespective of the challenges that they face. The film also encourages women to rise up and be champions of development.” Set in the Rwandan capital city of Kigali, the lead role is played by Yvette Kanyange and, according to the filmmakers, the role was very difficult to cast. It took a couple of months until they met Kanyange who they describe as a ‘typical Rwandan woman’. The film’s budget of $2 000 was awarded when the script was selected during the eight-day Maisha Screenwriting Lab held in Kigali in May 2011. This was the first time that Mugwaneza directed a script penned by
someone else. It was also the first time he shot on 16:9 in full high definition (HD) on memory sticks instead of tapes. “For years I have dreamt of doing this. I enjoyed this digital experience and like the picture quality of the footage,” he comments. The three-day shoot was extended by a day due to bad weather and incessant rain.
Calling card Towards the end of last year Mugwaneza organised and facilitated a workshop called A Sample of Work, attended by 10 aspiring filmmakers. Its main objective was to provide an opportunity for young directors to create a sample of their work they could use as a calling card when trying to raise funds for their film projects. By the end of the workshop each filmmaker had directed a short film of between five and 10 minutes long. All films were shot in HD with a professional crew and will be promoted under the Almond Tree Films banner. The workshop was a success, says Mugwaneza. “It has been a huge development in the Rwandan film industry and a prestigious accomplishment for Almond Tree Films. There were a number of challenges such as lack of a sponsor, finding actors and appropriate sets and location. It was a learning curve,” he says. Mugwaneza wants Rwandan films to shine and believes that local film directors should have a platform to share ideas among their peers.
New socially conscious African film A new documentary about divorce and human rights in Africa, will premiere mid 2012.
F
asenaala (Unholy Vows),a one-hour documentary largely filmed in Senegal on a HD camera, will also feature previously shot footage from The Gambia. The featured language is Wollof with subtitles in English, and there is the possibility of French subtitles. “As a work in progress obstacles continue to present themselves, such as sourcing people who are willing to talk about their personal lives. In addition, funding for the post-production phase is not yet secure,” says writer / director Mariama Khan of The Gambia-based Development Film Initiative (DFI). 38 | SCREENAFRICA | January 2012
Established in 2008, the DFI has a pan-African orientation and a social justice mission. Its programmes offer alternative employment for young people, especially young females. The DFI gets funding from partners who support the initiative by patronising its work. In return for documentary making related services rendered, it receives fees. As the founder of the DFI Khan is passionate about the work and sometimes uses her personal income to fund projects. She notes that Fasenaala will take a little longer to complete than her other projects because of some unforeseen delays that she had to deal with in 2011. Although the documentary’s distribution strategies are still being worked out, the goal is to distribute worldwide. While writing, directing and producing most of her documentaries, Khan also co-edits with some of
her partners. DFI’s previous productions – all socially conscious films are – Sutura (2008); Devil’s Waters (2009); Serving Humanity: Volunteers in The Gambia (2010); The Journey Up the Hill; and The Professor. Sutura is about what judges need to know about rape and justice in Senegal. It won an Encouragement Prize at the Unifem Film Festival for Gender and Violence in Africa, held in Dakar in 2008. After premiering in Ghana it screened in Senegalese venues including the West Africa Research Centre and at the Dutch Centre (Dakar). UNDPBanjul showed it at the University of The Gambia. International screenings were held in the Netherlands, Germany and the US including Boston at the Boston Film Festival and at the West Africa Research Association. Devil’s Waters focuses on Gambian youth who try to cross the ocean and
enter Europe as illegal immigrants, while Serving Humanity is a film on volunteerism in The Gambia. Khan says her organisation is currently working to streamline its activities – including social media networking and an educational programme – to ensure that it operates freely without any kind of outside interference. The social media component deals with hard social issues and often has a strong political impact. Continued screenings of the DFI’s productions in African countries like Senegal and The Gambia and internationally have opened up more possibilities to increase the number of people around the world who view their films. The Gambia Family Planning Association Multi-Media Unit is among key organisations that continue to be engaged in various collaborations with the DFI.
| AFRICA The 10th International Images Film Festival (IIFF) for Women, organised by the Women Filmmakers of Zimbabwe (WFOZ), took place from 18 to 27 November in Harare. Chairperson of the main IIFF jury, Hans-Christian Mahnke, reports.
Women filmmakers take centre stage W
ithin the scope of this year’s Women with Goals theme, the IIFF 2011 programme included award winning features, documentaries and shorts from more than 25 countries. Ten films came from within the SADC region, including works by four Zimbabwean filmmakers. The event also included the 2nd Mini-Input Harare, showcasing the world’s best TV shows, and an outreach programme which took place from 5 to 7 December in the city of Binga. At the opening of the festival, newly appointed IIFF director Yvonne Jila remarked: “Celebrating this 10th event is like a dream come true, from imaging women to fighting women, enriching women, transforming women – we finally celebrate stories of visionary women who have set and achieved their goals. As IIFF we hope to carry on the vision that Tsitsi Dangarembga has created and left for us.” As veteran filmmaker Dangarembga stepped down after 10 years as festival director, IIFF hosted the world premiere of her newest film, Nyaminyami and the Evil Eggs, the second short film in a trilogy of Shona folktale musicals after the multi-award winning Kare Kare Zvako – Mother’s Day. At the closing ceremony, where 11 awards were presented, Dangarembga gave a moving farewell speech to much applause.
High praise Along with my co-judges Beti Ellerson and Martha Fergusson, I experienced a well organised film festival with an excellent selection of films for and by women. In my opinion, IIFF 2011 was a great achievement. Screening a wide range of films for and about women is unique in the region. IIFF operates in a totally different environment to festivals such as Toronto, Berlin or Durban. Other countries have more conducive environments for big festivals. But to organise a film festival, and one that focuses on women, in Zimbabwe, is far more challenging than the norm.
Festival winners With three awards for Best Overall Film, Best Depiction and Best Direction, the Tunisian-French film, The Wedding Song, directed by Karin Albou and produced by Mohamed Habib Attia, won this year’s festival. Other winners were actress Sibel Kekilli for When We Leave; Why Can’t I for Best Documentary; Distress from Iran in the Best Other Format category; and the Mozambican production Dina as Best Short Film. IIFF included screenings of Zimbabwean films which were very well supported by the public and the media. The jury congratulated all participating
MAKING THEIR MARK – Beti Ellerson and Tsitsi Dangarembga
Zimbabwean filmmakers. Works like Gentleman, Playing Warriors and Heartless featured prominently next to Nyaminyami and the Evil Eggs. I think that local filmmakers should be encouraged to create a never-ending dynamism in Zimbabwean filmmaking. IIFF also awarded a prize for “Distinguished Women of African Cinema. The nominated women were Jackie Cahi from Zimbabwe, Bridget Pickering from Namibia and Beti Ellerson from the USA. This prize is given annually by Women Filmmakers of Zimbabwe (WFOZ). IIFF 2011 jury member Beti Ellerson, who was overwhelmed with surprise and joy, was announced winner for her outstanding research and the promotion of African women in cinema. Festival directors from around the world attended IIFF 2011, such as Lizelle Bischoff from Africa in Motion (Edinburgh), who gave a master class on Women in African Cinema, Pshamek Stepien from Afrykamera (Warsaw) and myself from AfricAvenir (Windhoek).
Valuable platform The film festival once again gave local
filmmakers a platform and afforded us, the international guests, a superb networking opportunity. This is crucial for the globalised world that we live in. IIFF itself, local filmmakers, and international guests need to interact and exchange views and experiences, and share the challenges they encounter and if possible, come up with suggestions and solutions. Both the local industry and international guests have a strong need for this. It is a double-sided path we walk on. IIFF 2011 and the WFOZ make a positive contribution to and a positive impact on global cinema. First and foremost, through initiatives like IIFF, we are reaching out to other neighbouring African countries. You are laying the foundations for the much needed and crucial regional integration of the southern African film industries. This regional integration is needed for the development and growth of our respective film industries. Our markets have to merge, to maximise the benefit to the national industries, create jobs and contribute to the national GDPs in order to fight poverty and – in line with the festival’s goals – achieve gender equality. January 2012 | SCREENAFRICA | 39
Continued from page 1 | Bumpy road ahead in 2012 2012 we need to build on this trend and prove that a good South African film is well worth your R50.”
Television Vice chair of the South African Screen Federation (SASFED), Marc Schwinges, predicts a tough year for the local industry, although he sees some silver linings. “Next year is going to be very difficult due to the possible implosion of the Eurozone and the US deficit problems. Distribution to, and independent funding sources from, Europe and America will become tight. The good news for the feature film industry is that the Department of Trade and Industry (the dti) withdrew their maximum cap on the local rebate in 2011. The National Film and Video Foundation (NFVF) also announced that its budget for 2012 has effectively doubled. This is will also allow more development possibilities in various genres. “On the local broadcast side, I suspect various problems and perhaps some possibilities will arise with the long overdue Digital Terrestrial Television (DTT) migration. Certainly 2012 will not see a radical increase in local content on our TV screens yet, but we may (if funding is made available somehow), see increased content commissioned in preparation of the 2013 demand created by DTT. “I think 2012 will be a year where public broadcasters will either make it, or yet again break it and one where interesting developments in the community broadcast and VOD sectors will take place, with IP based television having an unprecedented impact.” According to Cooked in Africa executive producer Peter Gird they’ve had an amazing year and delivered 70 hours of new content to broadcasters locally and internationally by 15 December 2011. He believes that in a changing industry, businesses need to adapt or die. “While the local broadcast industry has its challenges, globally content is still king.”
Commercials Philip Key, CEO of Moonlighting Film Production Services, says they’ve had an interesting 2011 with a lot of diverse work across different media types. “We’ve had more digital and photographic work alongside some good TV commercials from a mix of repeat and new clients. Territories for us included the traditional ones – USA, UK, Germany, Sweden, France and Spain – alongside less frequent ones like Australia and Canada. Our 2011/2012 season started earlier this year and the weaker rand has been a big plus,” notes Key. “For 2012 challenges include the Cape Town permiting system and reversing the trend of political interference in our industry, as well as providing additional value to grow South Africa’s market share in a mature global market.” Peter Carr, chair of the Commercials Producers Association (CPA) and executive producer at Velocity Films, says he can’t predict what
New TV finance model adventurous and sophisticated new take on the travel, lifestyle and food genre, exploring southern Africa in a way that’s never been done before.” Bridgett and Du Toit visit eclectic places, meet the most eccentric locals, attempt adrenaline pumping adventures and indulge in the ultimate luxurious experiences. Both versions of the show are shot simultaneously creating two streams of new original local content. Says Schwinges: “The current commissioning model of local broadcasters comprises a 100% commission with them owning all IP for life. International sales 40 | SCREENAFRICA | January 2012
are rare and usually managed by the broadcaster which also benefits from such sales.” As deputy chair of the South African Screen Federation (SASFED), Schwinges has been involved in the production industry’s fight to own IP of TV shows for many years. “The dti’s South African Film and Television Production and Co-Production Incentive is designed to offer a rebate of up to 35% of Qualifying South African Expenditure (QSAP). It has been successfully used on many local films and coproductions but never on a TV series financed by local broadcasters.
2012 holds for the commercials industry. “It’s always such an unknown as we tend to be affected by the economies overseas and with the Eurozone crisis hanging in the balance, there is uncertainty. But with the rand now at a much more favourable rate, I do expect us to gain more business from territories that want greater value for their dollars and euros. Overall, we are on a turnover par with last year which is good considering the nervousness out there. Where we did well last year on local income, the next year could swing to more international growth.” However, he believes it’s critical that Cape Town sort itself out in 2012. “It is our shooting capital that we sell to overseas clients, but right now it’s just not that easy to access locations and get through the red tape in getting permits.”
Equipment suppliers According to Jasco sales manager Steven Lauter 2011 was a tough year but 2012 looks exciting. “We have some new and exciting big opportunities in our pipeline, both locally and in Africa. Things look very healthy for us and I hope this is a reflection of the industry at large.” Steve Alves of Concilium Technologies believes 2012 will see continued investments in the rollouts of the various new digital delivery platforms, and continued upgrading by customers to meet the demands of the new age of broadcast delivery to multiple platforms and in multiple formats. Says Alves: “This applies equally to TV and radio where digital is rapidly replacing analogue. There are a number of new players now providing more choice to the viewers, with more that should come on line in 2012, and as competition always stimulates growth, we are gearing up for a very busy 2012.” Sean Loeve of Panasonic says that 2011 went surprisingly well for them. “Trading conditions were definitely tougher than the past few years, but we still managed to exceed our targets for the year.” He believes trading in 2012 will be tougher. “There definitely seems to be a slowdown in our market. The European situation will also start affecting South Africa more and the current exchange rates are pushing our prices up significantly. We are expecting growth for 2012 to be flat.” Sony South Africa’s Jess Goedhals says 2011 was an extremely difficult year for Sony with two natural disasters affecting production of equipment and recording media. “The industry does however remain strong with many small production companies and individuals buying new technology products, especially non-tape based acquisition equipment. The rise in non-broadcast applications such as corporate and wedding was significant in 2011. “Sony remains optimistic as a whole for 2012 especially with the new generation of 35mm type electronic cameras gaining more and more popularity. HD is still expanding in the broadcast market and the 2012 Olympic Games should provide opportunities for further expansion.” – Linda Loubser
“A documentary TV series of up to 13 parts qualifies for the rebate as long as the total production budget is over R2.5m and, most importantly, if a South African broadcaster does not own it,” explains Schwinges. Bridgett and Du Toit first approached Schwinges with the idea for Rough or Smooth in September 2009 and he proposed a unique model of finance for the project that would allow the team to own rights in the project. “We did not want to give away all rights as is usual in a commission, and believed in the potential of some foreign sales. After a year of development we were ready to pitch the project. We needed a large portion of the
money from a local broadcaster, by way of a licence deal, to meet the dti’s requirements.” When Schwinges submitted the project as unsolicited to the SABC, acting programme manager of SABC 2 Ziaynda Ngcaba requested that the show be in Afrikaans. An English version was still important if the show was to be fully financed and have foreign sales potential. This meant producing two different sets of deliverables. “Even with SABC’s licence deal and the dti rebate, we were still short of about 25% of the budget,” says Schwinges. “We had to start shooting in February 2011 to cover the Dusi Canoe Marathon but only had verbal commitment from the SABC. I
SA’s first local English telenovela companies pitched for the commission late last year; three were asked to re-pitch in January this year. Two companies were subsequently requested to pilot their proposals. “Urban Brew’s proposal made it successfully through all the stages and was put through an audience research phase to ensure that the product would meet audience expectation. This pilot is the most successfully tested pilot in M-Net’s piloting history. In a case of good timing, Urban Brew is expanding its resources as a studio and production facility.” Lombard reveals that there are a number of ways that locations will be featured in the programme. “We have some exciting scenes set in the 1980s that will feature mainly in the first week of broadcast and we will use a portion of the show for critical story-based exteriors.” The telenovela genre originated in South America, where it is extremely popular and is best described as a longrunning daily series that has a conclusion. At the time of going to press the name of Mzansi Magic’s telenovela was still under wraps, as was the subject matter. It will be shot in high definition. The production team will be led by one of South Africa’s best multi-camera soap directors (name undisclosed). It is likely that about five directors in total will be assigned to the series. Episodes will be recorded and packaged four weeks before going on air.
managed to get another 3.9% from a private equity investor, but still needed more. In the nick of time for that shoot SABC signed its licence deal.” Because they were still short of finance the filmmakers were not able to access the completion bond required for the dti rebate. “We needed to license the English version of the show quickly. Luckily Lebone Maema of M-Net’s local content channel, Mzansi Magic, agreed. “In October last year, the deal was finally in place to finance the full budget. It has been incredibly challenging producing a show this way but I hope it proves to be a viable model for the local industry,” concludes Schwinges.
| BUSINESS
Defining Success
“You have it all in you to be all that you want to be.”
Mariam Sha has worked with international best practice standards and has assessed and advised over 100 organisations. Her clients range from large organisations to developing small organisations across all sectors.
Social responsibility “Social entrepreneurs are not content just to give a fish, or teach how to fish. They will not rest until they have revolutionised the fishing industry.’’ – Bill Drayton, Founder and CEO of Ashoka The woes of the European debt crisis continue to impact on economies around the world especially in the developing world, bringing in its wake deep poverty, striking inequality among countries, scarcity of resources and lack of health care and education. Basic needs of millions of people in non-industrialised countries remain unmet, mainly because these potential customers are unable to pay for products and services that would satisfy their needs. It’s at times like these (and at this time of year) we need to spare a thought for those in need. It’s also time to ask how we use our
entrepreneurial skills for profit and social good. The King reports on Corporate Governance acknowledges that there is a move away from the single bottom line (that is, profit for shareholders) to a triple bottom line, which embraces the economic, environmental and social aspects of a company’s activities. How is your business contributing to the society you live in? The founder of the Grameen Bank in India once said if every business took on one person to mentor as an entrepreneur we will eradicate poverty. This is within your control; you can transfer your knowledge and
Biggest SAFTAS ever suspected collusion or if panels are unable to reach consensus. “Unlike previous SAFTAS, this time all judges will know who the winners are so we ask them to honour their confidentiality clauses. “Since 2005, when the NFVF initiated the SAFTAS, the event has grown in profile to the extent that I now get calls from The Hollywood Reporter asking about the awards.” Muendane noted that the 2012 SAFTAS will celebrate the country’s heritage as this year is the centenary of film, as well as several other centenaries in South Africa. The number of entries in each category following filtration are: Sports – 1; Drama-Mini – 2; Drama Full – 3; Comedy – 5; Game Shows – 4; Animation – 4; TV Soaps – 6; News – 8; Talks Shows & Wildlife – 9; Documentary Feature – 9; Documentary Short – 9; Music Shows – 10; Reality – 11; Short Films – 10;
skill by helping another small business to grow. Provide financial assistance to social entrepreneurs who are committed to making a difference. If you have a budget for social responsibility, ensure you spend it well.
Who are social entrepreneurs?
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Social entrepreneurs are entrepreneurs with a mission to make a positive impact on society. This is different from other forms of entrepreneurship in that the former gives higher priority to promoting social values and development versus capturing economic value. But when pursuing their respective businesses, they follow the same creative and innovative approach. The landscape of social entrepreneurship includes social purpose ventures and enterprising non profits. Regardless of profit orientation, social entrepreneurs identify opportunities to solve social problems — people and planet related problems. Some of the more well-known social entrepreneurship projects include: • The Grameen Bank in India founded by professor Muhammad Yunus in 1976 to help women of Bangladesh out of poverty. It is a ‘for-profit’
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organisation where the community is the major shareholder. Victoria Hale founded the Institute for One World Health, a non-profit pharmaceutical company that develops safe, effective and affordable medicines for developing countries. Jim Fruchterman, a Silicon Valley engineer, created Benetech to craft technological solutions to social needs, which ranges from literacy to human rights and landmine detection (Dees, 2007:24). Aravind Eye Hospital, founded in 1976 by Dr Govindappa Venkataswamy, is an 11-bed eye clinic to address the enormous problem of cataract blindness in southern India. The objective of the eye hospital is to eliminate this needless and preventable blindness.
Join the group of social entrepreneurs by making a difference to the lives’ of people around us. Email me at: Mariam@ awakeningexcellence.co.za for coaching and business support. “Live your best life now.”
| Continued from page 1
PRESTIGIOUS AWARD – SAFTA Golden Horn Trophy
Student Films – 11; Magazine – 7; Variety – 8; Youth & Children – 10; Feature Films – 10; and Factual – 8. Mamdoo, who is the chairperson of the South African Screen Federation (SASFED), called on all judges to be open and transparent in the final phase of judging. “We need to protect the integrity of the awards. The structure of the judging process has been designed to prevent collusion and to date there has never been a breach of confidentiality at any SAFTAS event. Because these judges are all past
winners and nominees they have a vested interest in ensuring the fairest possible judging.” Motsepe, formerly with the NFVF and now with SABC, added: “It’s very exciting to be in the final judging and it’s wonderful how the SAFTAS have grown over the years. I found it interesting to see how many entries didn’t get through the filtration phase. Such a thorough filtration means that we’re left with the cream of the crop.” Judging panels are free to grant special mentions for recognition that don’t fit into the categories and to international practitioners. Only South Africans are eligible for official SAFTA awards. In previous years all judging took place by category only. This year the Non-Fiction categories remain but there are also several new panels: the art direction panel, the direction panel (to judge best director and best writer in feature film, drama, comedy, TV soap, documentary short, documentary feature and wildlife), the performance panel (to judge acting in feature films, comedy, drama and TV soap), the
technical panel (cinematography, editing, sound, etc.) and the genre panel to decide on the best of genre winners. There is also the SSA panel for student films, short films and animation. Said Carla Dias, the NFVF’s marketing coordinator: “This new model ensures that judging standards are the same across the board. It’s truly a case of peers judging peers as all judges are past SAFTA winners and nominees.” According to Dias, feedback from last year’s event shows that the industry favours award ceremonies spread over two days, rather than one ceremony in the afternoon followed by the second in the evening. On 10 March all the non-fiction categories will be presented, with 11 March devoted to the fiction categories. Masters of Ceremony (MCs), category presenters and performers will be appointed in January; once it is announced which company has won the pitch to stage the awards. For more information about the SAFTAS visit: www.nfvf.co.za. January 2012 | SCREENAFRICA | 41
P R O D U C T I O N U P D A T E S FOR FURTHER DETAILS VISIT www.screenafrica.com
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Those productions in red are newly listed this month Production Updates Order of Information 1. Title 2. Production Company 3. Director 4. Genre
IN DEVELOPMENT 80 MINUTES Periphery Films Dir: Simon Taylor / Julia Taal Feature Drama A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine AMBUSH ALLEY NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary
do good design south africa Concept Interaction Producer: Karl Fedderke Educational ECONOMIC TRANSFORMATION Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary ESCAPE Current Affairs Films Prod: Jane Thandi Lipman / Beata Lipman Feature Film Ex Pats Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series FOR THE NEW CITY – DANCE ON FILM SWiTCH / Resonance Bazar Prods: James Tayler / Julia Raynham Film
AMKA CORPORATE Panache Video Productions Exec Prod: Haroon Kalla Corporate
FORSAKEN DO Productions Prod: Marlow de Mardt / Brigid Olën Feature
At The Creek Without A Paddle Zen Crew Exec prod: Laura Tarling Documentary
GOUE STERRE Suite People TVP Prod: Bell Curle TV Series
BAD MEDICINE Tin Rage TV Production Dir: Enver Samuel Documentary
GRIZMEK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
Bagged Izithulu Productions Exec Prod: Donovan Mulligan / Mike Westcott Short Film
IIQ Sukuma Media Dir: Bonginhlanhla Ncube Feature
BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary BODA BODA THIEVES Yes That’s Us Prod: James Tayler Feature BREAD AND WATER Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CAPE OF GOOD HOPE Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature CHILDREN OF FAMOUS ACTIVISTS Current Affairs Films Prod: Jane Thandi Lipman Feature Film
42 | SCREENAFRICA | January 2012
CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary
IK1 – TOURISTS IN DANGER Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Inventing Africa Imageworks Prod: Anthony Irving Documentary KADU’S JOURNEY DO Productions Prods: Marlow de Mardt / Brigid Olën Feature DYINGCRACY Sabstance Productions Producer: Edmund Mhlongo Documentary LEARNER TEACHERS Curious Pictures SABC Comedy Series LION GIRL DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature
CHILLI CHICKS International Radio Pictures, Inc Kit Reynolds TV series
Million Dollar Race Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature
COILED DO Productions Prod: Marlow de Mardt / Brigid Olën Feature
NEW BEGINNINGZ Sukuma Media Dir: Bonginhanhla Ncube Documentary
Nongoloza Current Affairs Prod: Jane Thandi Lipman Feature RACHELTJIE DE BEER Brett Michael Innes Films Producer: Brett Michael Innes Feature Film SEBOKENG MPA (Motswako) Dir: Charls Khuele / Zuko Nodada Feature SHARON AND MUGABE’S ELEPHANTS NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SHORT BUSINESS FEATURE WITH BBC / ABC Current Affairs Films Prod: Jane Thandi Lipman Short Business Features SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK! International Radio Pictures Prod: D Gillard Musical The Black Blonde Steve Radebe Post Productions Prod:Steve Radebe Feature Film tHE blood kIng and the red dragon Current Affairs Prod: Jane Thandi Lipman / Mtutuzeli Matshoba Feature THE CONSEQUENCE DO Productions Prod: Marlow de Mardt / Brigid Olën Feature THE EDGE International Radio Pictures Kit Reynolds TV Series THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series The Scores Are In Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary WARD 22 AKA SPECIAL OPS DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary Welcome To The Club Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS DO Productions Dir: Bruce Beresford Feature
P R O D U C T I O N U P D A T E S PRE-PRODUCTION Elegy: forsaken in South Africa Market Street Productions Prod: Paul Van Zyl Short film
A 400 year old bestseller – The King James Version of the Bible Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary
HEAVEN Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature
ABC AMERICA NEWS SPECIAL ON MANDELA Current Affairs Films Prod: Jane Thandi Lipman Feature News Special
Holidays for Madmen Imageworks Prod: Anthony Irving TV Series
AFRO CAFÉ SEASON 7 Bonngoe Productions Exec Prod: Pepsi Pokane Music Show
IMATU UNION VIDEO FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video
AFRICA 360 eNews News Head: Patrick Conroy Current affairs
Mandela Synergy Films Drama / Documentary
AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TVMagazine
MASTERS OF DREAMS Current Affairs Films / Up Front Entertainment / French Connection Prod: Jane Thandi Lipman Documentary PSALTED Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety
AFROX AFRICA INSIGHT EPS 4 FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX YEAREND RESULT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video
RATE MY PLATE International Radio Pictures Exec Prod: Kit Reynolds Community Project
AFRICA CALLING Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature
Si-solutions International Radio Pictures Exec Prod: Kit Reynolds Community Project
Agape Gabaza Productions Producer: Sarah Ngubeni Magazine
TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series
ALL ACCESS Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show
The Black Out Dithakeng Projects and Flms Executive producers- Thabang Nkunyane Short Film TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM South African Great Movies Production Dir: John Wani Feature VKB LANDBOU BEPERK FC Hamman Films PM: Odette van Jaarsveld Corporate Video WOLWEDANS IN die Skemer The Film Factory Exec Prod: Danie Bester Feature
IN PRODUCTION 3 Talk Urban Brew Talk Show 3RD DEGREE e.tv Investigative TV series 4PLAY: SEX TIPS FOR GIRLS III Curious Pictures Prod: Stephane Coetzee Drama 50 50 Clive Morris Productions Current Affairs 90 PLEIN STREET III Born Free Media Exec Prod: Carolyn Carew TV Series
ANIMAL COMMUNICATION NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary
Codesign – commercial spot for furniture designers SWiTCH Director – James Tayler Commercial Cooking With Siba Producer: Siba Mtongana Variety Cool Cats Red Pepper Exec Prod: Cecil Berry Children’s Show CORTEX MINING FC Hamman Films PM: Odette van Jaarsveld Corporate Video
460m
Come Dine with Me South Africa Rapid Blue Producer: Kee-Leen Irvine Reality
STUDIO
Cutting Edge SABC News Current Affairs DADDY’S MESS Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DRAGON’S FEAST 3D NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary DIY Met Riaan Producer: Riaan Venter-Garforth Magazine EASTERN MOSAIC Red Carpet Productions Magazine Programme FIRESTONE Street Smart Creative DOP: Peter Palmer Commercial FRENZY Red Pepper Pictures Prod: Palesa Mopeli Variety GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla Soapie
ANGUS BUCHAN’S ORDINARY PEOPLE FC Hamman Films Dir: FC Hamman Feature
GNLD AFRICA CONVENTION FC Hamman Films Prod: FC Hamman Corporate Video
BINNELAND Stark Films Dir: Danie Joubert TV Drama
Gospel GOLD Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show
Bonisanani Kagiso TV Talk Show BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films CHEETAH DIARIES 3 NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary Child Geniuses Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series Club Culture Bonngoe Productions Producer:Tumi Rabanye Variety The Communist Republic of South Africa Jam TV, Creative South Africa, Nkhanyeti Production Producer: Barthelemy Ngwessam Documentary
R NEW YEAN NEW SCE E
GROEN Homebrew Films Prod: Jaco Loubser Wildlife Hectic 99 Okuhle Media Producer: Wilna van Schalkwyk Magazine Show Hello Doctor Producer: Michael Mol Magazine HOUSE CALL Izwe Multimedia / Urban Brew Series Prod: Annalie Potgieter Live Medical Talk Show Imizwilili Ukhamba Communications Music INSIDE STORY Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature ISIDINGO Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama
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JOU SHOW MET EMO en Wickus Homebrew Films Prod: Jaco Loubser Variety Show Jam Alley Red Pepper Producer: Melody Xaba Game Show Judge For You Self eNews Current Affairs Laugh out Loud Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya Urban Brew Producer: Enel Viljoen Reality Lepelle Water Safety Induction SummerTime Productions Exec prod: Elaine Tribe Corporate Live Urban Brew Music Show Live Lotto Show Urban Brew Game Show LION’S TRACK Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Mad Buddies Keynote Films Exec Prod: Helena Spring Feature Maggs on Media eNews Producer: Jeremy Maggs Current Affairs MK Campus Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show
www.atlasstudios.co.za
Montana 2 Penguin Films Exec Producer: Roberta Durrant Drama Series MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MUVHANGO Word of Mouth Prod: Pieter Grobbelaar Feature My Perfect family Bunt Onion Productions Producer: Rethabile Ramaphakela Comedy MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine Music Moves Me Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show News Night eNews Producer: Nikiwe Bikitsha Current Affairs Nigcomsat – television commercial series. SWiTCH Producer: Sarah Wanjiku Muhoho Commercial Nomzamo Tom Pictures / Authentic Images Comedy ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS Plexus Films Prod: Miki Redelinghuys Corporate Film
January 2012 | SCREENAFRICA | 43
P R O D U C T I O N U P D A T E S POPCRU 7TH CONGRESS FC Hamman Films PM: Odette van Jaarsveld Corporate Event
SISTERHOOD Red Pepper Pictures Prod: Vuyo Sokupa Variety
Turn It Out Fuel Media Productions Dir: Ben Brewster Dance Reality show
Bitter Root Imageworks Dir: Kerry Negara Documentary
PASEKA EASTER ELEPHANT NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary
Siyakholwa – We Believe X CON Films Director: Munier Parker Edutainment
VKB BRANDING LAUNCH FC Hamman Films Prod: FC Hamman Corporate Video
BLITZ PATROLLIE Diprente Films Prod: Kagiso Lediga Feature
VILLA ROSA Spectro Productions Dir/s: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama Weekend Live SABC News Current Affairs
BUA NNETE Owami Entertainment Dir: Charles Khuele Short Film
PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme PEACE PARKS NHU Africa Exec Prod: Vyv Simson/ Sophie Vartan Wildlife Documentary Series Red Bull Beat Battle Fly on the Wall Producer: Filipa Domingues Corporate REDI ON MZANSI Imani Media Prod: Bruce Townsend TV Series Religion and the ANC Eugene Botha Productions / It’s a Wrap Productions Producer- Eugene Botha Documentary RHYTHM CITY Curious Pictures Prod: Yula Quinn Soapie RHYTHM CITY INTERACTIVE Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media Rivoningo Asi-B Films exec Prod: Asivhanzi ‘Asi’ Mathaba Kids ROCKING FUTURE Summertime Productions Prods: Sean Gardiner / Tanya Vandenberg Educational Video ROER Homebrew Films Prod: Jaco Loubser Cooking Show Roots Ukhamba communications Music Show SAVING RHINO PHILA NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap SELIMATUNZI Sikhoyana Productions Prod: Baby Joe Correira variety series Ses’khona Tswelopele Productions Producer: Phuthi Ngwenya Magazine SLENDER WONDER FC Hamman Films DOP/ Dir: FC Hamman Commercial SHIZ NIZ Red Pepper Pictures Prod: Allen Makhubele Variety Shift Urban Brew Talk show Shoprite Showcase SummerTime Productions Exec prod: Janine Truter Corporate
44 | SCREENAFRICA | January 2012
Soccer 411 Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine Soccer zone SABCSports Head: Sizwe Nzimande Magazine Sony Presents Mgongo Sony Variety Spirit Sundae New Wave Productions Producer Mishkah Roman-Cassiem Spiritual STRANDED NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary STUDIO 53 M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme The BBall Show SABC Commissioning Ed: Dinah Mahlabegoane Variety The Chat Room Eclipse Prod: Thokozani Nkosi Talk Show The Cypher Spoon Fed Generation Lerato Letebele Talk show The Justice Factor eNews Exec Prod: Debbie Meyer Current Affairs THE RUDIMENTALS Periphery Films Prod: Simon Taylor Feature Documentary THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary The Tech Report Greenwall Productions Exec Prod: Nicky Greenwall Magazine THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary THERE ARE NO HEROES AFDA Cape Town Dir: Kyle Stevenson Science Fiction TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine TOP SHAYELA Curious Pictures / Vuzu Prod: Khobi Ledwaba Reality Magazine Series Top 10 at 10 Don’t Look Down Radio/TV Simulcast Turn It Out Fuel Media Dance show TOUCHING THE DRAGON NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary
When The World Was Here Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series Why are We so Angry? Fuel Media Productions Dir: Scott Smith, Shaft Moropane Documentary Series Why Poverty? STEPS International Exec Prod: Don Edkins Documentary Series Wicket to Wicket SABC3 Lefa Afrika Magazine Workers World Series Cape Town Television Prod: Sharon McKinnon TV Series Xihlovo Grace Bible Church Religion Yilengelo Lakho Prod: Nndanganeni Mudau Current Affairs Zone 14 The Bomb Shelter Prod: Angus Gibson Drama
POST-PRODUCTION AFRICA CALLING Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature
CAPE TOWN INTERNATIONAL JAZZ FESTIVAL 2011 Esp Afrika (Pty) Ltd Prod: Yana Lombard Documentary
River of Stones Prod: Wiseman Mabusela Documentary
DANGEROUS TRAILS – ELEPHANTS IN THE MINEFIELDS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary DEAR SISTER Media Village Prod: Debbie Matthee Short Film ENDANGERED NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series HARTLAND Bottomline Entertainment / Fix Post Production Michael Modena TV Drama HOOFMEISIE The Film Factory / Fix Post Production Dir: Morne Du Toit Family Comedy IQILI Impucuzeko Prod: Sharon Kakora Feature
Kemang? lmol Production Dir: Lizzy Moloto Feature Film
ALL’S FAIR PianoJ Productions Prod: Pia van Rensburg Short Film
JULIUS HAS A DREAM Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary
Bally Cullen Guesthouse Ad Panache Video Productions Prod: Liesel Eiselen Corporate
RATI EN MAATS Khaki Productions Dir: Wynand Dreyer Children Series – Edutainment
CHEETAH DIARIES 2 NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary
AFROX SHEQ INDUCTION FC Hamman Films Prod Man: Odette van Jaarsveld Commercial
Animal Doctor (Working Title) Animal Doctor cc. Prods: Greg Simpson, Jonty Acton TV Series
PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary
RESTYLE MY STYLE Curious Pictures Prod: Anita van Hemert Children’s Programming
AFROX CO2 PLANT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video
Angels Of The Sky CDS-Films Exec Prods: Chris Dos Santos, Andrew MacDonald Feature Film
PERFECT SHISHEBO Curious Pictures Prod: Nthabiseng Mokoena AFP – Cooking Show
CHAMELEON NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary
Israel Inside (Working Title) Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary
AMBASSADOR II Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature
National Heritage Council Educational Outreach Programme Panache Video Productions Exec Prod: Amos Mlaudzi Corporate
Launch of the Academy of Young SA Scientists Panache Video Productions Prod:Liesel Eiselen Documentary Lepelle Northern Water SummerTime Productions Prod: Sean Gardiner Corporate MARRY – ANN Shadow Films Dir: David Forbes Documentary Melodi Jazz Festival 2011 L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD
SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Series on SuperSport SCAREDYKAT Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL E-WASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate SLENDER WONDER FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video SOUL CITY 11 T.O.M Pictures Kgomotso Matsunyane Drama South african Field Band Foundation Championships Panache Video Productions Prod: Liesel Eiselen Documentary STETSON HATS Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Stolen Time Prod: Eric Myeni Feature Tanzanian Investment Opportunities Benchmark Productions Dir: Dermod Judge Corporate TASTE OF RAIN Luna Films / On Land Productions Prods: Bridget Pickering / Richard Pakleppa Feature Technorati Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show THE MEDUPI WAY Panache Video Productions Exec Prod: Adele De Klerk Corporate TREASURE GUARDS Tandem Communications Exec Prod: Jonas Bauer / Rola Bauer Feature Triple O Monarchy Prod: Mosibudi Pheeha Feature
P R O D U C T I O N U P D A T E S Vehicle 19 Forefront Media Group / Pictue Tree / The Safran Company Exec Prod: Paul Walker Feature WALKING IN VICTOR’S SHOES Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary WELLBODI BIZNES Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary ZAMA ZAMA Kokamoya Productions Prod: Bertus van der Walt Feature ZION Letcosmart Prod: Zibusiso Nkomo Feature
COMPLETE
GULUVA BIP Films Dir: BI Phakathi Feature Film INTERSEXIONS Curious Pictures / JHUCCP Creative Dir: Rolie Nkiwe Drama Series IMATU 3 DAY CONGRESS FC Hamman Films Prod Man: Odette van Jaarsveld Three-day Corporate Event JOURNEY TO STATE HOUSE ZG Films Prod: Javed Jafferji Documentary JOURNEY INTO WILDERNESS Tekweni TV Productions Prod: Sandra Herrington Documentary KAN EK SO LEEF Liquid Gate Creative Studios Prod: Kobus Swart Music Video
48 Sukuma Media Dir: Bonginhlanhla Ncube Short Film
Ke mo fumane StreTalk Productions Bobby Mokhema TV drama
AFROX AFRICA INSIGHT EPS 3 FC Hamman Films PM: Odette van Jaarsveld Corporate Video
KING NAKI Plexus Films Prod: Miki Redelinghuys Documentary
Around Iceland on Inspiration Cooked In Africa Justin Bonello Documentary AYESAN – FIGHT TO LOSE SMS Multimedia Inc Dir: Seyi Specialborn Akanbi Feature AWOYE – RETRIBUTION Sms Multimedia Line Prod: Temitope Akanbi Feature Child On-Line Protection Week Imageworks Director: Anthony Irving TV ad COLOUR TV Bongoe, Jungle / Brand Bernie Productions Line Prod: Hulette Pretorius Variety Dept of Social Development Congress FC Hamman Films Prod Man: Odette van Jaarsveld Three-day corporate event DUMISANI FILM TOUR Creative Pictures / Genius Productions Director: Vusi Dumisani Nhlapo Documentary Evocative AfricaVentures of Discovery Clifton Publications/Gerald Cubitt Photography Gerald Cubitt Photographic book publication Exploring the Vine Cooked In Africa Films Prod: Justin Bonello Documentary Food with Friends Studio Republic Prod: Darren Kerr Talk Show Free State Balloon Fiesta Imageworks Prod: Anthony Irving Corporate GLAMOUR – THE REALITY BEHIND DREAMS ZG Films Prod: Javed Jafferji Feature
LACONIA Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature LATE NITE NEWS WITH LOYISO GOLA Diprente Productions Prod: Kagiso Lediga Satire Liberty CEO’s Video (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video Liberty Channel Heads (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video Liberty Corporate Video (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video Liberty Frank’s Video (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video Liberty GAPGAL Video (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video Liberty Health Video (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video
Liberty Income Protection Video (Liberty) Fuel Media Productions Director: Navan Chetty Corporate Video
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Mutshenzhe Dzivha Production Execs Prod: Walter Gumbu Feature Film PROGRESS Periphery Films Dir: Simon Taylor Feature Documentary Rati en Maats Khaki Productions Prod: Christelle Parrott Children DVD RED SUN OF AFRICA DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature ROCKING FUTURE Summertime Productions Prod: Sean Gardiner & Tanya Vandenberg Educational Video
C A M E R A S • M O N I T O R S • P L A S M A D I G I TA L M I X E R S • 3 D • P R O J E C T O R S
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TIMELAPSE Team GR8 (for 48 HFP) Writers: Carl Roddam / Deon van der Merwe Short Film THE TEACHER BIP Films Dir: BI Phakathi Feature THE BETRAYAL Shakarny Inovations Prod: James Kingston Feature The Bone Grinder Playing Cabin Films Dir: Shumelani Mapholi Feature Film Skeem Light & Dark Films Exec Prod: Zaheer Goodman Bhyat Feature Soweto Drift Young Minds Productions Prods: Phillip Hlophe / Pule Earm Feature Film Showbiz Report: The Close Up Greenwall Productions Exec Prod: Nicky Greenwall Magazine Showbiz Report: The Ten Greenwall Productions Exec Prod: Nicky Greenwall Magazine Stanlib Focus Video (Liberty) Fuel Media Productions DIRECTOR: Navan Chetty Corporate Video Supreme Launch Video (Joe Public) Fuel Media Productions Director: Paul Llewellyn Corporate Tonight With Trevor Noah Urban Brew Talk Show VISCOUNT DOWN Msasa Enterprises Dir: Harmon Cusack Feature
Events | January 6 – 15
London Short Film Festival
London, UK http://2011.shortfilms.org.uk/ 21 – 29
Miami Jewish Film Festival
Miami, USA www.miamijewishfilmfestival.com/
February 21 – 28
Luxor African Film Festival
Cairo, Egypt www.luxorafricanfilmfestival.com/ 9 – 20
Pan African Film Festival
Los Angeles http://2012.paff.org/ 3 Feb – 3 Cascade Festival of African Films
Portland, USA www.africanfilmfestival.org/
Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur. E-mail production updates to: online@screenafrica.com
March 14–24 Cape Winelands Film Festival
Cape Town http://films-for-africa.co.za/ 19 – 25
African, Asian and Latin American Film Festival
Milan, Italy www.festivalcinemaafricano.org/teaser/index.php January 2012 | SCREENAFRICA | 45
Close up | M-Net 25th Birthday Anniversary
Ton Vosloo and Chris Raats
Ronnie van Wyk and Koos Bekker
Makaya Ntini, Mark Pilgrim, Kevin Fine and Elvis Blue
David Vlok, his partner and Colin Moss
Patricia van Rooyen
Ashley Hayden and ProVerb
Tyrone Keogh and Graeme Watkins
Former M-Net CEO Glen Marques and Big Brother producer Marie Rosholt
Gift Gwe and Solly Philander
Cindy Nell and Elma Postma
Fabian Lojede and Luthuli Dlamini
Jason Greer and Sindi Nene
Vanessa Marawa and M-Net’s Lani Lombard
Randall Abrahams and Anele Mdoda
Nico Panagio and Mark Pilgrim
Inside Story Première
Producers Aric Noboa and Harriet Gavshon, director Rolie Nikiwe and cast members
Executive producer Aric Noboa, actress Kendra Etufunwa and Consul General Earl Miller
Executive producers Aric Noboa (Left) and Harriet Gavshon (Right) with cast members
Photos Courtesy Simon Wood
International Documentary Festival Amsterdam (IDFA)
Peter Rorvik (DIFF)
Producer Pascal Schmidt lost in Amsterdam
Seung-Jun Yi, winner of the best documentary feature award for Planet of Snail
Director Mayenzeke Mziwamandla Baza
PhotoS by Kobus Loubser
DraftFCB Year End Function
Vodacom Group CEO Pieter Uys with DraftFCB CEO John Dixon
Krisen Govender (DraftFCB) with Thembeka Ngugi (Old Mutual) 46 | SCREENAFRICA | January 2012
DraftFCB’s Jerry Mpufane (Johannesburg managing director) and Heidi Nelson
Ryan Parkhurst (DraftFCB) with Old Mutual’s Dashni Naidoo, Karabo Morule and Joy Khaole
DraftFCB’s Rita Doherty, Lance van Rensburg, Debra de Jager and Portia Tapfumaneyi
Mary Palmos (DraftFCB) with Sonya Culverwell (adlip)
Kgalaletso Dithejane, Adrian de Wet and Cebile Zibi from South African Breweries
Director Nicole Schaffer and producer Bryony Roughton
Brendan Seery (Saturday Star) with Nkwenkwe Nkomo (DraftFCB group executive chairman)
September 2011
SABC3 Rank Programme 1 Isidingo: The Need 2 Isidingo – O 3 Animals Are Amazing 4 Tom and Jerry The Magic Ring 5 Isidingo – R M-Net Rank Programme 1 Carte Blanche 2 Twilight Eclipse 3 Idols SA 4 Knight & Day 5 CSI Miami e.tv Rank Programme 1 Live Free Or Die Hard 2 Rhythm City 3 Scandal 4 16 Blocks 5 Lotto Draw Live
Date Genre AR 06/09/2011 Dram 16.3 06/09/2011 Vari 11.9 11/09/2011 Dram 11.4 02/09/2011 Dram 9.7 06/09/2011 Soap 9.4
Date 13/09/2011 18/09/2011 04/09/2011 11/09/2011 15/09/2011
Date 18/09/2011 18/09/2011 18/09/2011 11/09/2011 20/09/2011
Genre Soap Soap Docu Movi Soap
Genre Maga Movi Real Movi Dram
AR 6.3 5.3 5.1 5.0 5.0
AR 1.4 1.3 1.3 1.2 1.1
Channel
Sep 2011 AR
Aug 2011 AR
3 Talk
Talk
15:30 M-F
S5
3
2.0
1.5
3rd Degree
Actu 21:30 Tue
W
e
5.1
5.2
50/50
Docu 19:30 Mon W 2 3.7
7de Laan
Soap 18:30 M-F S5
Carte Blanche
Day/s
Frequency
SABC2 Rank Programme 1 Muvhango 2 Powerball 3 Home Sweet Home 4 Ditlabonyane Ke Ditlaboima 5 7de Laan
Date Genre AR 29/09/2011 Soap 26.6 12/09/2011 Dram 21.8 20/09/2011 Dram 20.2 10/09/2011 Sport 17.9 10/09/2011 Sport 17.2
Start Time
SABC1 Rank Programme 1 Generations 2 Zone 14 3 Intsika 4 Soccer Build-Up 5 MTN 8 Orlando Pirates vs Kaizer Chiefs
represents about 145 590 viewers.Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment,
Genre
The top five programmes
The cream of the local productions
Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes. Television Universe estimated at 5.232 million households. One ratings point of all viewers
Name
This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison. ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.
| Audience Ratings
2
8.4
8.3
Maga 19:00 Sun
W M
1.1
1.2
Fokus
Actu 18:30 Sun
W
5.2
5.5
Generations
Soap 20:00 M-F S5 1 24.7 23.8
Gospel Gold
Musi
Vari
Sun
W
2
4.8
6.1
Isidingo: The Need
Soap
18:30 M-F
S5
3
4.9
4.9
Jam Alley Crew vs Crew
Vari
18:30 Fri
W
1
5.6
6.4
Live Lotto Draw
Quiz 21.30 W/S S2
2
5.5
4.8
Morning Live
Maga 06:00 M-F S5
2
3.3
2.7
Muvhango
Dram 21:00 M-T S4 2 11.6 10.8
News at Seven
News 19:00 Daily D
e
6.5
6.5
News at Seven on 3
News 19:00 Daily D
3
3.8
3.5
Pasella
Maga 19:30 W W 2 4.9 5.2
Rhythm City
Soap 18:30 M-F S5
Scandal
Dram 19:30 M-T S4 e 9.5
7.9
Selimathunzi
Vari 18:30 Wed W 1 5.3
5.3
Special Assignment
Actu
Top Billing
Maga 19:30 Tue
Yo-TV
Y-Ent Vari Vari D e 2.0 1.9
21:30 Wed W W
2
e
9.4
8.8
3
2.6
2.4
2
3.1
2.8
Top foreign shows Date Genre AR 11/09/2011 Movi 11.3 12/09/2011 Dram 11.2 08/09/2011 Dram 10.4 18/09/2011 Movi 10.1 17/09/2011 Quiz 9.1
Days of Our Lives
Soap 17:10 M-F S5
1
3.6
3.2
WWE Wrestling Smackdown
Spor
W
e
5.6
4.5
The Bold and the Beautiful
Soap 18:00 M-F S5
1
8.9
9.2
We feature the top five shows viewed for each of the channels.
VitalStats
brought to you by
The Cape Town Lab reports that it has processed a couple of pick-up shots for the German made for television feature Ambassador and has started on a French feature, Flight of Storks, which is shooting two and three-perf. International commercials show a huge decline from last year’s monthly total and local commercials show a drop of 50% compared with the same period last year. Student productions have been completed on both 16mm and 35mm. The Johannesburg Lab has had an extremely quiet period on the processing front with no feature work and only a couple of commercials. Bulk printing was the saving grace with record figures – 24 features were printed, 1 595 trailers and 2 213 commercials. The commercials numbers submitted by Media Host show a slight decrease from last month. We would like to thank the laboratories and Media Host for the information they have supplied to us. We make no attempt to identify the title of the production, or the production house or any other information as this is often confidential
20:30 W
The above represents a selection of programmes only, and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included please contact Enid Venter on +27 (0)11 339-1051 or email enid@ihjoburg.co.za. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent.
Statistics for OCTOBER 2011 Through the labs: Johannesburg Features Shorts Commercials Doccies 16mm 35mm 0 0 0 1 1 0 Cape Town Features Shorts Commercials Doccies 16mm 35mm 2 0 5 0 2 5
Commercials submitted to broadcasters via media host October 2011: 1 689 compared with 1 783 last month information – we simply supply the numbers. We rely on the co-operation of broadcasters, suppliers of commercial material to broadcasters and local film laboratories for information, however at the moment local broadcasters are not forthcoming in providing these vital statistics. Efforts will continue to be made to build on this statistical data base in order to improve the accuracy, and should readers have comments or other ideas in terms of statistic gathering, please send an e-mail to web@screenafrica.com. Your comments would be appreciated. January 2012 | SCREENAFRICA | 47
M-Net TAG Awards
PhotoS by TREVOR OU TIM
Close up |
Koo Govender, director of corporate marketing and communications at M-Net, with Natasha Bennett and Helen Ahrend from Estee Lauder Companies
Amanda Blankfield from Afrika Tikkun with Jak Koseff from City of Joburg
Jenny Jones, Gail Bond and Melanie Chait from Big Fish, Kevin Collins from Saatchi & Saatchi and Marisa Smit from Big Fish (standing at the back)
Khanyiswa Tyebileyo, Dimakatso Setsietso, Itumeleng Swartz, Lesego Thetele and Enny Ramotsoela from Big Fish
Desiree Markgraaff
O’neil Benjamin and Liam Davies from Jip with Bobo Motlhasedi from Under the Bridge Productions and Mishak Meintjies from The Bomb Shelter
Michelle Bradshaw from M-Net’s The Wild, Lani Lombard from M-Net and Josette Eales from M-Net’s The Wild
Freelance journalist Clayton Morar with M-Net’s Lani Lombard
Mawande Seti and Naomi Mokhele from the NFVF
Tessa Scott and Emilie Owen from Wits, Njabulo Mathunjwa from Nemisa, Melissa Phillips from Wits and Caswell Mawela from Nemisa
Wilma Rall and Danyaal Mohamed from Big Fish
Cuthbert Mooya and Lerato Matsole from iSchoolAfrica with Phemelo Molefe from Radio Heads and Lulama Mqina from Primedia Broadcasting
PhotoS by TREVOR OU TIM
Seen at Telemedia Industry Lunch
TruFi’s Lesley Sanderson and Michael Carragher, Johan Botha (Telkom), Peter Bretherick (Telemedia) and James Cells (SuperSport)
Ferris Boyd (Telemedia) and SuperSport’s Mark Boyle, Vincent Hond Weller, Carlos Calhias and Graham Murray
Telemedia’s JP Meeser and Ryan Bretherick
Merlin Naicker (Siemens) and Vukani Ntombela (MultiChoice)
Stephen Bretherick (Telemedia)
Alan Bradley (Telemedia) and Tink Minster (Camera Platform)
Janine Nicholson (SES) with Telemedia’s Peter Bretherick and Bridget Gould
Telemedia’s Ronnie Haagman, Johan Coetzee, Pitsi Setoaba and Samuel Seobi with Mamatime Mokoma (Telkom)
Tellytrack’s Dieter Wohlberg, Mathew Britain and Allison Compbell
Quentin Barkhuizen (Telemedia) and Brendan Marsay (EFX Productions)
Tellytrack’s Adele Valentine and Clive Maistry
Thando (Camera Platform) with Roland Lehner (SABC MCR), Kuben Pather (SABC) and Johan Swart (SABC)
Golden Horse Awards, Hsinchu City, Taiwan (Republic of China)
Director WEI Te-sheng receives the Best Feature Film award for Warriors of the Rainbow: Seediq Bale
Best Director – Ann HUI for A Simple Life
NEW APPOINTMENT |
Channel O Awards
AKA, Albertina Tserere and Lungile Radu
Ghanaian artist Samini and Weza
South African songstress Lira
House music duo Liquid Deep
48 | SCREENAFRICA | January 2012
Nashen Moodley, former manager of the Durban International Film Festival (DIFF), has been appointed director of the Sydney Film Festival. He takes up the position in January 2012. Previously a journalist at Independent Newspapers, for whom he still writes film reviews, Moodley has been centrally involved in the development and management of DIFF programmes since joining the University of KwaZulu-Natal’s Centre for Creative Arts (CCA) in 2001. Moodley also curates the Africa programme at the Dubai International Film Festival and will continue these duties in Sydney.
Best Leading Actress – Deanie Ip for A Simple Life
Best Leading Actor – Andy LAU for A Simple Life
Advertisers List | ABT.................................. IBC AJA Video Systems.......................17 Aquavision......................................31 Atlas Studios .................................43 Avmark Systems ..........................45 Black Ginger.....................................3 Blackmagic Design........................11 Blade bfx.........................................15 Case Connection, The.................45 Cat DV............................................42 Chameleon Casting Agents........37 Design Indaba.............. OBC Digital Direct.................................29 Gauteng Film Commission.........47 Gencom Technology.....................20 General Post .................................42
Howard Music...............................29 Jasco...................................................9 Jaycor...............................................37 Mama Dance..................................27 M-Net Cares....................................7 Obeco..............................................19 Panasonic........................................13 Pro-Sales.........................................21 NFVF............................. FDPS Screen Africa Golf Day.... IFC Sony...................................FC Sound Surfers................................27 The WorkRoom............................25 Video Africa....................................23 Vision Cases...................................42 Visual Impact..................................23