Screen Africa - April 2011 by Sun Circle Publishers

BROADCAST, FILM, COMMERCIAL, NEW MEDIA & TECHNOLOGY NEWS

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VOL 23 – APRIL 2011 R35.00

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BROADCAST, FILM, COMMERCIAL, NEW MEDIA & TECHNOLOGY NEWS

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VOL 23 – April 2011 R35.00

CT locations stalemate Following the resignation of the Commercials Producers Association of South Africa (CPA) and the South African Association of Stills Producers (SAASP) from the Cape Film Commission (CFC) on 28 February, the situation of many years standing around inaccessibility to Cape Town

SA at Hot Docs For the first time South Africa will have an official presence at Hot Docs, North America’s largest documentary festival that runs in Toronto, Canada from 28 April to 8 May. The South African delegation will be led by the National Film and Video Foundation (NFVF) and includes four representatives from the Documentary Filmmakers Association (DFA) – Lauren Groenewald, David Forbes, Ryley Grunenwald and Bonny Hajj. According to DFA co-chair Lauren Groenewald, the DFA delegation is a direct result of the Association’s treasurer, Pascal Schmitz, making contact with Hot Docs earlier this year. Schmitz and a DFA team then met with the NFVF to ask for the support. “The DFA subsequently approached its membership to apply independently to the NFVF for support to – to page 43

locations and the slow turnaround of film permits remains dire. New restrictions include the closure of the Western Bypass to filming and a more complex application procedure for the closure of roads in and around Cape Town. These measures were put in place without consultation with the industry. On 31 March the CFC released a communiqué stating that that Cape Town Railway Stations are now open to filmmakers, as long as they are CFC members. The CPA and SAASP, exasperated by five years of fruitless lobbying of the CFC to help resolve the locations crisis, resigned their seats on the CFC board as well as their memberships. They also expressed a vote of no confidence in the CFC board

and CEO Denis Lillie due to the CFC’s “shoddy mismanagement” and issues of corporate governance and called for their immediate resignation. Since then CFC chairperson Vuyokazi Mata and three other board members have also resigned from the CFC. Lillie told Screen Africa that he was disappointed that the CPA and SAASP felt the need to resign. “It’s ultimately their decision to leave but I have subsequently written to the chairs of both organisations to request a meeting – only the SAASP chair has responded to date. “We do understand their frustrations with the Cape Town Film Permit Office but the Permit Office is not within the CFC’s remit – it falls directly under the City of Cape Town. – to page 44

Afrikaans ‘superheroes’ A new feature film from the producers of the hit Bakgat! franchise aims to continue the winning streak of recent Afrikaans films at the South African box office when it is released this month. Superhelde sees misfits and wannabe superheroes Albert and Peet, played by Ivan Botha and Neil Sharam, try to save their beloved comic book store from being turned into a parking lot by their high school nemesis JJ van Tonder and his father. “The movie is colourful, fun and very funny. It is packed with cool graphics and transitions and it is very different to any South

African movie made to date,” says producer and Film Factory director Danie Bester. The film is directed by Stefan Nieuwoudt and co-produced by Lucia Meyer. Despite the title and premise, Bester says the film is not filled with spectacular stunts. “Superhelde is not a superhero movie per se; it’s about discovering the hero within each one of us.” The primary target market for the film is 13 to 18 year-olds and the secondary market is 19 to 26 year-olds, leaning slightly towards a majority male – to page 44

SURFIN’ SA: Line producer Richard Green and DOP Lance Gewer shooting a surfing competition scene for Otelo Burning. See page 8

Bleak commissioning outlook South Africa’s television production landscape continues to look bleak with commissions at crisis-stricken public service broadcaster SABC largely on hold, apart from sponsored programmes and existing soaps. In addition there will be no more commissions this year from the pay-TV M-Net channel, which is to focus on blockbuster reality shows. A beacon of hope is Mzansi Magic, which falls under the M-Net company’s group of channels. At launch last year it commissioned several nondrama shows and is now in the process of finalising its commissioning agreement for a soap called Matchbox (working title) by Puo Pha Productions and developing a televonella, Desire (working title), by John Kani and Urban

Brew Productions. Several commissioned movies in Mzansi Magic’s bubblegum genre (ie. low budget movies) are either in development, in production or have been completed. Producers of bubblegum movies retain DVD rights for a period of two years. “We have made a decision to commission four bubblegum series from four different production companies who will each produce between six and 10 films,” says Mzansi Magic’s Lebone Maema. “Ten bubblegum projects have been greenlit for contracting in April and production in May and June.” Three projects have been shortlisted for Mzansi Magic’s comedy brief (13 x 24 minutes). The channel has commissioned – to page 44

From the editor

Humongous shoes How strange it has been putting everything together for the April issue without Angela van Schalkwyk, Screen Africa’s founder and until 28 February 2011, its editor. This is the lady who was Screen Africa and who for 23 years kept the magazine going virtually single-handedly, in a very tough market. But Angela wasn’t just the editor, publisher and business manager of Screen Africa (in itself a remarkable feat as it’s extremely unusual for one person to be all three, not to mention an unbearably stressful undertaking). She was also enormously active in the industry to the extent that she became an icon in the film, television and equipment supply sectors. Angela was the first person to start marketing the South African industry as a whole at international events like the Cannes Film Festival, the MIP television content markets in Cannes and the Cannes Lions International Advertising Festival. For years Angela was a regular at the IBC broadcast technology show in Amsterdam. Angela was also the first ever chairperson of the Southern African International Film & Television Market, which later became known as Sithengi. Full of gritty integrity, Angela always fought proactively for the good of the industry and was hugely outspoken. Her editorial comments on Screen Africa’s weekly email newsletter are legend. Thus Angela leaves behind a pair of humongous shoes to fill and yours truly is left to humbly (and with great trepidation) tiptoe into her gargantuan footsteps, albeit with her blessing. Luckily, I have a very strong publisher, Simon Robinson, behind me as well as an amazing group of people – the Screen Africa staff.

Contents

Bad situation In this issue you can read about the sorry state of affairs in Cape Town, one of the most popular filming locations in the world. Shooting in the city has been hampered for years due to inaccessibility of locations and the extremely slow turnaround time of the Cape Town Film Permit Office. The Commercial Producers Association’s (CPA) tireless lobbying of the Cape Film Commission (CFC), which is mandated to promote the region as a filmmaking destination, to help resolve the situation has gone unheeded. In a case of ‘enough is enough’, the CPA and South African Association of Still Producers (SAASP) resigned their membership of the CFC. Which brings up the issue of why the CFC should operate on a membership basis – it is funded by government and meant to promote and support the broad industry, so it shouldn’t have ‘members’. Other items of particular interest in this issue are Andy Stead’s fascinating user review-type camera feature, Linda Krige’s in-depth look into production finance and distribution in South Africa, and Mike Aldridge’s illuminating report on the state of community television. Joanna Sterkowicz

SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com

In-house Journalist: Linda Krige: news@screenafrica.com

Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Hermione Ballinger: hermi@screenafrica.com

Sub-Editor: Tina Heron Ratings: Enid Venter enid@ihjohannesburg.co.za Head of Design: Trevor Ou Tim: design@screenafrica.com Website & Production Updates: Anusha Dayal: info@screenafrica.com Subscriptions: Anusha Dayal: info@screenafrica.com

Accounts: Marietjie Esterhuizen: accounts@screenafrica.com Front Office: Delight Ngwenya: adminsa@screenafrica.com

Sun Circle Publishers (Pty) Ltd Tel: 011 025-3180 Physical address: Block A, Process House Epsom Downs Office Park 13 Sloane Street, Bryanston, Johannesburg PO Box 559 Fourways North 2086

SPECIAL FEATURES NAB PREVIEW

FILM

BROADCAST

Surf’s up in the township............. 8

Community TV strives

NAB – some cool products at

Wani shoots True Dream 2.......... 9

for focus.........................................30

technology trade show.... 16 / 18

Blood suckers in Cape town.....10

CAMERAS

48 and counting............................37

Camera camera on the dolly –

Sizing up crew...............................38

which is the best for the lolly?......

Tanzania in focus..........................39

................................... 20 / 22 / 23

Editor: Joanna Sterkowicz: editor@screenafrica.com

Contributors: Andy Stead, Karen van Schalkwyk, Martin Chemhere, Mike Aldridge, Cliff Graham, Simba Nyamukachi

PRODUCTION FINANCE & DISTRIBUTION Financing the local film boom............................ 34 / 35

COMMERCIALS Loeries launch ‘Hater’ campaign and revamped awards.................13

INDUSTRY

RADIO Radio microphones – a wireless orgy.............................32

AUDIO Musical notes................................39

AFRICA Big future for VOD in Africa; Tackling climate change on film.40

Distribution: a changing

10 years of development............14

landscape........................................36

PROFILE

a pioneer in Niger.......................41

NEWS

The big time..................................24

In memorium................................42

CT locations stalemate; Bleak

TRAINING

Dignifying Africa through film;

commissioning outlook; Afrikaans ‘superheroes’ on big screen; SA at Hot Docs.................................... 1 New studio in the picture;

The dynamics of film...................25

TECHNOLOGY NEWS M-Net’s OB challenge; Tapeless

writers get a voice; Aluta makes

HD / SD solution goes direct...26

its mark............................................ 3

EQUIPMENT MAINTENANE

Feature ‘promises’ to be true to

Meantime between failure.........28

first Venda novel; German fest selects SA films............................... 4 Film project for young learners; Latest New Directions crop....... 6

3D Questek installs 3D projection system for Dredd.........................29

Guerrillas in the midst; Keita –

Co-producing with Spain...........43

REGULARS Adcetera............................. 12 / 13 Audience Ratings..........................45 Production Updates......... 46 / 47 Vital Sta’tis’tiks..............................45 Close up.........................................48

| NEWS

Writers get a voice

New studio in the picture A new revamped broadcast studio with quite a history attached to it has opened in Fairlands, Johannesburg. Called A Studio Called Wonder, it has a long history in the film and television industry. The studio was built by Wally Philips more than 20 years ago and operated then as Eagle Vision Productions. It changed hands when Philips passed away and came under the new ownership of Bill van Zyl. In 2010 Alex Radnitz and Tegwin Deacon entered the picture and they currently run the studio. Radnitz says that it is ideally suited for production shoots and small television shows. “The space is also great for music and corporate videos. Our long term goal is to be a fully kitted broadcast studio that can shoot live to tape,” he says. The studio is 136sq metres with a 3.5 lighting gantry. “We also provide lights such as blondes and redheads; Kinos and fresnels; and basic grips including a skateboard dolly, Jimmy Jib and a glide camera kit. We also have two chromatte green screens which use the latest LED lighting system for precision keying.”

Aluta makes its mark The Aluta Film Festival kicks off from 25 to 28 May in Kimberly, South Africa. Some of the top films on the programme include Only When I Dance from Brazil and The Black Candle from the US, as well as films from all over the continent. “We have documentaries, features and shorts from over 36 countries from the diaspora and the rest of the world,” says festival director Motheo Seleke. “There will also be opening night and closing night ceremonies. We are sincerely committed to making the Aluta Film Festival South Africa’s premiere African cinema event for high-quality feature films.” At this year’s festival a panel discussion with filmmakers will aim to highlight film industry opportunities. Conversations with celebrity guests have been introduced so that local filmmakers

According to Radnitz chromotte green screens with LED technology have a number of advantages. “There is no spill from your subject lighting onto the green screen and no reflection of the green screen onto your subject. It makes the set up quick and subject lighting much broader.” The biggest challenge in such a competitive industry is to remain relevant. “You need to remain on top of this rapidly changing environment. Technology moves at such a rapid pace that it is critical to offer the best service and equipment to clients,” says Radnitz. He explains that they have worked hard to create a new studio brand. “We hope that this studio and brand reflects our approach to the work that we do and the service we provide. The name A Studio Called Wonder is playful and hopefully evokes the sense of magic that we all felt when first starting out in this industry. We want production houses to feel that they are in a space that supports and understands creativity, as well as provides technical resources.” – Karen van Schalkwyk

can talk to them about their experiences in the industry. Aluta is the brainchild of Seleke, an independent filmmaker and entrepreneur who originally founded the festival in 2003, which was then known as Galeshewe African Film Festival. Seleke explains that his reason for creating the festival was to address the lack of viewing platforms for African films. “The festival aims to raise awareness about the film industry within the broader Northern Cape area and to highlight the cross-culture and diverse nature of content that is explored by the broader film industry in Africa and the diaspora. “It also showcases the high quality of production that the South African film industry creates and offers an opportunity for networking. Aluta creates bridges of understanding among the Northern Cape community to reshape the current social and political discourse.” The festival is primarily self-funded. Says Seleke: “We generate income from the initiatives that we organise as the

The Writers’ Guild of South Africa (WGSA) recently held its annual general meeting and addressed the way forward for writers in the industry. WGSA chairperson Thandi Brewer says that the meeting looked at issues such as setting up a collective agency, the ratification of the code of conduct and which standard contracts should be used. “We also looked at working more closely with the United Association of South Africa (UASA), one of the fastest growing trade unions in South Africa and one of several unions affiliated to the Federation of Trade Unions of South Africa. “Our aim for 2011 is to go from strength to strength. We will finalise the standardisation of contracts, continue with our professional development programmes, extend our communications objectives and become more representative in all provinces. In addition the guild will have a stronger digital presence this year as we are restructuring our website,” explains Brewer. Major issues currently facing writers in the industry are contracts, intellectual property (IP) issues, residuals and industry rates. “Without a representative body looking after writers, all the development and work done through other organisations over the past few years will go to waste,” stresses Brewer. “The industry is currently producer friendly and this makes writers very vulnerable. Our goal is to assist and support writers in a professional way so that the industry is sustainable for all.” Brewer explains that WGSA is one of the founding members of Lamp (Alliance of Language and Media Practitioners). “This agreement was ratified on 19 January 2011 and was the achievement of months of discussion between the founding partners. These are Professional Editors’ Group (Peg), South African Translators Institute Thandi Brewer (Sati), Southern African Freelancers Association (Safrea) and WGSA. “These parties have formally joined forces to support and publicise the rights, skills and general recognition of languages and media practitioners. They aim to establish regular communication between alliance partners, coordinate public relations and approach to media issues, lobby for standardised minimum rates and share expertise and resources. They also advertise each other’s training courses and develop a united position in the industry by representing members’ issues.” Brewer says that the biggest challenge for writers is to have their voices heard. “Writers all over the world battle with this. The writer’s presence is always a challenge to maintain but with organistaions such as the guild, the lot of writers is improving. The WGSA is part of The South African Screen Federation (SASFED) and this has become a force to be reckoned with in the industry.” The current state of the television production industry has been a challenge and burden to many in the industry. Brewer comments: “However writers are resourceful and many find other work in the freelance field or even as camera people, art directors and so on. Independent projects, films and pay-TV channel Mzansi Magic have been a beacon of light. Thanks are also due to the National Film and Video Foundation (NFVF), the primary funder of WGSA. They continue to offer support and understand that the basis of industry development starts with the writer and the relationship between the writer and producer. “The Gauteng Film Commission (GFC) has also shown interest to support us. I want to thank the council and all our members for their passion, perseverance and tenacity in giving this side of the industry a voice.” – Karen van Schalkwyk

Aluta Film Projects. These are breakthrough film development initiatives aimed at forging necessary partnerships to develop a viable film industry in the central region of the Northern Cape, Free State and North West. Over the years we have had several stakeholders interested in the festival that have partnered with the Northern Cape Department of Sports, Arts and Culture and the Northern Cape Tourism Authority. Several other significant stakeholders have also expressed interest and we are finalising discussions in this regard.”

Seleke maintains that the festival has been successful as it has become a recognised event on the film calendar. “We rank among the top five film festivals in South Africa. I am proud of how far we have come. Not only does the community benefit from the festival but filmmakers can showcase their work. The streets have come back to life with events such as the Aluta Open Air Cinema, Aluta Community Showcase, the Schools Cinema Café, filmmakers panels and other special events organised around the festival.” April 2011 | SCREENAFRICA | 3

NEWS |

Feature ‘promises’ to be true to first Venda novel Shooting of a Venda culture themed feature film Elelwani (The Promise) recently completed in the Venda region, Limpopo. Starring Florence Masebe (Elelwani), Mutodi Neshehe (Venda King), Vusi Kunene (Prince Thovele) and Ashifa Shabba (Vele, Elelwani’s boyfriend), the film is an adaptation of a book of the same title by Titus Maumela, which is the first Venda novel ever written and was published in the early 1950s. The film was written and directed by Ntshavheni wa Luruli, produced by Florian Schattauer, with Jyoti Mistry co-producing and Florence Masebe as executive producer. The production company is Shadowy Meadows Productions alongside Blackboard Trust, with funding provided by the National Lotteries Distribution Trust Fund, the DTI rebate and the Department of Arts and Culture. The film will be 100 minutes long when fully edited and post-production may take up to the end of the year. The international festival circuit could expect it before year end and its release is set for the second half of 2012. Elelwani is a woman’s story – a journey of self discovery which straddles the

STRADDLING TRADITIONS – A scene from Elelwani (The Promise)

divide between modernity and African tradition. In the film Elelwani, a young university educated woman who has been brought up in an environment steeped in tradition, has to choose between love (self interest) and duty (social responsibility), between cultural traditions and progressiveness. Her parents promise her hand in marriage to the Venda Prince and as a dutiful

daughter she wants to obey their wishes and protect their honour. But to fulfill this promise of marriage to the Prince she must relinquish her dreams to travel and further her education. Plus she must leave her true love (Vele a young man she meets at university), and bear the Prince an heir. Committed to respecting the customs of her ancestors, Elelwani complies with her parents’ wishes. But at the Royal Palace she discovers that the Prince is controlled by his powerful and self-willed half-sister who distrusts Elelwani’s university education and her self-confidence that questions tribal customs. This film is a story that reflects the importance of evaluating traditional values and cultural practices in light of social and political change. It is the story about a woman’s courageous spirit to

challenge the patriarchy of her community and to follow her heart and realise her dreams. Schattauer says the importance of the film’s message in a democratic South Africa is that it shows how an educated woman can empower herself while showing modernity and tradition can complement each other. Challenges in the production included the early January floods in the Limpopo that washed away the national road, and the remote location which created logistical issues. “We shot the feature that far north and had to overcome infrastructural problems; however the local community was fantastic in their support of the film!” Schattauer says. Local distribution is handled by Indigenous Film Distribution that “has given a letter of interest” while the producers are investigating distribution in Africa and internationally. – Martin Chemhere

German fest selects SA films Three South African student films have made the cut for the international competition of the 57th Short Film Festival Oberhausen, Germany. For the first time the festival, which runs from 5 to 10 May 2011, received several submissions from South Africa. This was confirmed by Hilke Doering responsible for the festival’s international competition. “I am very happy that we are going to present three films from South Africa!” Atrophy (8 minutes) by Palesa Shongwe (MultiChoice Film Talent Incubator / Big Fish); Balance (2 minutes, 30 seconds), a Colleen Alborough film; and Bridget Baker’s Steglitz House (9 minutes) make up the list. The latter two are independent productions. Atrophy tells stories of children who cross borders in search of a better life for 4 | SCREENAFRICA | April 2011

themselves and their families. It explores danger, vulnerability and tragedy but also highlights experiences of courage and perseverance. Balance explores the relationship between real and imagined fears. It considers the extent to which humans can sometimes feel controlled by invisible, unnamed terrors. In mapping imaginary landscapes, the work aims to reflect upon the negotiations and manoeuvres people make within the complex, at times disconcerting, and chaotic space of South Africa. Steglitz House is about the inside of a miniature construction of a 1930s West Berlin home in the Arikalex Museum in Steglitz, Berlin, where the story shifts between domestic psycho-drama and investigative espionage. Doering adds: “I am very happy about

the strong presence of South African works at this year’s festival which is extraordinary. “I would like to thank all those that have had the confidence to submit their works to our festival as well as those who helped me during my stay in Cape Town and Johannesburg. It is fantastic that artists and filmmakers sent us their work.” Doering sourced the South African films with the assistance of Johannesburgbased Congolese (DRC) filmmaker Johnny Muteba. Oberhausen is one of the world’s largest and oldest short film festivals and was launched in 1954. It is also one of the globe’s most avant-garde films festivals with its presentations of short films of all types, from documentaries and fiction to artworks and music videos. It plays host to short films in all media from Super 8

and 16mm to 35mm and digital video, making it a prime scouting ground for new talent. For almost six decades Oberhausen has been the focal point of the international short film scene, attracting an average of 19 000 festival guests a year with more than 1 000 accredited industry professionals from over 50 countries. Last year there was an average of 500 films screened over five days that were selected from about 6 000 entries from more than 90 countries. Since 1999 the festival has offered the first festival music video award – the MuVi and in 1978 the first international Children’s and Youth Film Competition was launched. For more information visit: www. kurzfilmtage.de / www.shortfilm.de. – Martin Chemhere

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NEWS |

Film project for young learners produce short films as a demonstration of the pupils’ grasp of the art. According to programme coordinator Puleng Plessie, since the series kicked off last year, a total of 15 films have been screened with seven of those in the preceding year. More screenings are expected later this year. The concept benefits kids immensely as they simultaneously learn and discuss the themes in the films. Plessie explains:

The Film and School series of educational programmes, an appreciation initiative by the Johannesburg based Bioscope Independent Cinema in partnership with the Goethe-Institute South Africa, is proving to be a boon for kids who have an appetite for the art of filmmaking. Central aims of the initiative are to introduce young learners to filmmaking, to spark interest in a wide range of topics and encourage debate. This year’s series started in February with the focus on migration. This theme explores the world of migration through a selection of entertaining and educational films including features, shorts, animated and documentary films as well as practical workshops. While South Africa (and Africa) is a central focus of the selection the programme includes films from various parts of the world, giving the series a broader international scope. The Bioscope’s Darryl Els describes the response to the programme as “great” with kids and their teachers valuing the concept. Most importantly teachers have seen how it can improve

6 | SCREENAFRICA | April 2011

pupils’ knowledge. Despite the initial challenge of attracting students, it is pleasing to see the growing response from schools says Els. “Many scholars found the topic of migration very interesting and our screenings on migration have proved very interesting for all. As a result many of the kids from migrant communities engaged in vibrant discussions.” Film is a powerful educational tool and the series is designed to be as broad as possible to allow children the opportunity to engage with diverse filmic genres and structures. Through this programme strategy learners become familiar with different modes of storytelling. Using the films as a starting point the screenings involve discussions with the learners, which encourage them to interrogate the subject matter raised plus the way in which the movies are produced. Els says that one of the key features of the programme is the provision of a perfect platform to introduce films from South Africa and outside to young audiences in a learning environment. The Film and School series also seeks to

“It’s a great approach to improving their visual literacy.” The series has already screened films like Where Do I Stand, Sierra Leone Refugee Stars, The Belonging Project Films, War Child, Conversations on a Sunday Afternoon and The Lost Boys of Sudan. Films still to be screened include The Crocodiles of the Wandago Family and Legend of the Sky Kingdom. – Martin Chemhere

Latest New Directions crop The three films to be made in the 2010 / 2011 cycle of the M-Net New Directions skills development initiative were delivered to the pay-TV broadcaster at the end of March. They will be shown on M-Net’s local content channel Mzansi Magic. Two 25-minute dramas, Southern Cross and Heart and Soul, as well as a 52-minute documentary Terror Mathebula – The Living Legend make up this cycle. Over the 17 years of its existence, New Directions, which falls under the M-Net Cares Corporate Social Investment (CSI) banner, has produced over 50 films in Africa. These have been broadcast on M-Net’s continental channels and generated interest at international film festivals. “As per the brief for the 2010 / 2011 cycle we wanted to commission stories with heart that could be about love, emotions or experiences that touch or inspire. We received 78 script proposals in total which was very encouraging,” notes New Directions supervising producer Bongiwe Selane of Vanilla Productions. Written by first-timer Anil Polton and produced by Akin Omotoso of T.O.M Pictures, Southern Cross was shot in Johannesburg and is the story of a young woman, Carissa, who works at a chicken processing plant. On the evening when the future of the plant is being decided by the board, Carissa wonders whether she should remain with the plant and take what comes, or spread her wings. Two directors pitched to direct the film. Says Selane: “We decided on Carmen Sangion as she loved the Southern Cross script and did a good director’s treatment for it. In addition Carmen has an excellent track record, having written and directed a New Directions film called The Lovers in 2006. She also won an M-Net EDiT award for best film for My Name is Jacob in 2001.” In Heart and Soul, written and directed by Robert J Carlisle, a simple cleaner teaches visionary doctor Chris Barnard that he needs to rediscover his own humanity before saving the lives of others through heart transplants. The film was shot in Cape Town and produced by Greig Buckle of Enigma Pictures. According to Selane, Phillip Roberts worked as script editor on Southern Cross and Heart and Soul. “Phillip mentored the two scriptwriters all the way through their various drafts until they came up with workable shooting scripts.” Terror Mathebula – The Living Legend by Sparara Modieginyana is a documentary about the life of the apartheid era boxer who became South Africa’s first black world boxing champion. Well known documentary filmmaker Xoliswa Sithole (Shouting Silent, Zimbabwe’s Forgotten Children) from Nayanaya Pictures was brought in to mentor Modieginyana through the production process. Because of a budget reduction for this New Directions cycle, the filmmakers had between three and five days to shoot their films, instead of 10 days as in the past. Selane notes that M-Net plans to re-launch New Directions in April with Mzansi Magic officially set as the new home for the initiative.

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FILM |

PADDLING OUT – Neil Webster (Fixer Films) coaches Jafta Mamabolo on his surf technique

For South African director Sara Blecher her first feature film, described as City of God meets Blue Crush, has been a journey of seven years and ‘a long work in progress’.

Surf’s up in the township By Linda Krige

telo Burning was shot on location in KwaZulu-Natal and tells the story of 16-year-old Otelo Buthelezi and his friend, New Year, who discover surfing as a way out of the oppression of life in Lamontville, a township near Durban. It is set against the political backdrop of Nelson Mandela’s release from prison. “It’s a young, sexy, coming of age story,” says Sara Blecher, “and one that’s never been shown on the big screen before. I don’t think people would put young black kids in 1990 together with surfing; I think this combination is so striking, so unique and so local.” The movie was conceived when Blecher met Sihle Xaba, a senior lifeguard at Durban beach and a champion body boarder and surfer. From him she learned that almost 90% of Zulu lifeguards at the Durban beachfront come from the tiny township of Lamontville. Xaba told her the inspiring story of a swimming pool in Lamontville, the only one in the area that wasn’t destroyed by gangsters or the struggle against apartheid. “There was a lifeguard at the pool called Stembiso who literally fought to keep it open. There were rumours that he was bullet proof, so no one messed with him. He had this vision that if he could keep the pool open, he would give people jobs,” explains Blecher. That same pool went on to produce lifeguards and

Crew list: Executive producer: Kevin Fleischer Producer / director: Sara Blecher Writer: James Whyle Director of photography: Lance Gewer Producer: Richard Green Sound engineer: Shaun Murdock Production designer: Anita van Hermet Editor: Megan Gill

8 | SCREENAFRICA | April 2011

champion body boarders like Xaba, and even a top water polo player. Blecher says that Xaba introduced her to many of the people from the township and involved with the swimming pool, and they decided to make a movie loosely based on his life. The script was written through a series of workshops in Lamontville, where ‘everyone who had been involved in the story came and told their bits’. They included ex-gangsters, builders, lifeguards and swimmers.

comedian and SAFTA winner, plays Otelo’s best friend New Year.

Living the story

According to Blecher the shoot involved a lot of improvisation. During shooting she was approached by two of the actors who’d been up all night thinking about a scene that they thought should be added to the movie. The three of them talked through the scene, developed it and shot it. “I now think it’s one of the best scenes in the movie,” says Blecher. She believes this was possible because the actors inhabited their characters completely. “I think for a lot of people it was a really great shoot, because in a way we were living the story with the people of Lamontville.” The film was funded by a grant IN THE MOMENT – Sara Blecher directs the Inkatha riot scene in Lamontville from the National Film and Video “I think the story’s got a lot of the Foundation (NFVF), the Department of textures of reality and acquired many Trade and Industry rebate and private layers from the workshopping process. It’s local funders. It was shot in four weeks to not just a story that someone sat in a room keep the budget low. and made up,” says Blecher. “It’s definitely “I believe quite strongly that it’s very a Lamontville story, told by the people of difficult for local films to make money on Lamontville.” a big budget,” says Blecher. “The model During the workshop process the we’ve attempted is in a way a White people involved were also trained in Wedding model: to shoot on a very low ‘acting for the screen’. Most of them budget so we can recoup the money we ended up with roles in the movie, and spent in the local market.” some, like Xaba, also had roles in the Blecher, who also produced the film, acclaimed 2007 drama series Bay of took part in the NFVF’s Sediba Plenty, which was produced and Advanced International Financing co-directed by Blecher. Programme for Producers, and says it not Xaba stars in Otelo Burning as Mandla only aided her in making her first feature Modise, the character who introduces film, but also helped her personally. Otelo and New Year to the world of “Before I went on the programme I surfing. Otelo is played by Jafta thought filmmaking was an art and a Mamabolo, better known for his role as passion. What I got from the programme young Kunene in the feature film is that filmmaking is actually a business; Jerusalema. Thomas Gumede, a stand-up it also has to make sense financially.”

Brilliant team According to Blecher they were able to shoot in four weeks because of an absolutely brilliant cast and crew. “On a low budget, working without skilled people would have been impossible,” says Blecher. Her skilled team included DOP Lance Gewer who shot Oscar winner Tsotsi. The film was shot on RED One with other equipment from Panasonic. The surf scenes were filmed on a Canon 5D by Fixer Films from Cape Town, a company that specialises in surfing scenes. “They’ve got jet skis and they jump in the water; they’re a bunch of crazy surfing lunatics but they’re really talented,” says Blecher. One of their biggest challenges during the shoot was the weather. “The minute it rains the rivers wash into the sea and it turns brown. You can’t shoot surf scenes while it’s raining or for days afterwards. Trying to match weather on beaches with shooting days was technically very challenging,” says Blecher. Another challenge was shooting in Zulu. While Blecher understands some Zulu, she can’t speak the language at all. However she says that she’s never directed a movie in English. “In a funny way it’s liberating,” she says. “I think many directors get stuck thinking that dialogue and language is the story. I think it’s kind of like a prop; it’s something actors use in the scene, but it’s not the scene. If you don’t actually understand the dialogue it’s easier to see it as a prop and to focus on the story.” She believes the fact that the movie is in Zulu makes it more real and it is likely to attract a Zulu audience. Post-production is now underway at Refinery in Johannesburg. The film will be distributed locally by Indigenous Film Distribution and a cinematic release is scheduled for October. Blecher says she doesn’t want to speculate about the possibility of overseas release yet. “At the moment my focus is getting the best possible film made,” she says. “It feels quite nice for it to be nearly finished.”

| FILM

Wani shoots True Dream 2 By Martin Chemhere

outh African Great Movies Productions (SAGMP) is to shoot the sequel to True Dream in Pretoria this month. Fans of the original 2010 release True Dream will be pleased to know that the sequel keeps its original lead cast of Gwyneth Abraham and John Wani, supported by Mamelodi-born Millicent Moloto. Wani is the sequel’s writer, producer and director and his motivation is to tell a more romantic story in a highly dramatic way. “True Dream 2 features more romance and drama than the first film and the script is tighter. We also have state of the art equipment and a different, talented crew.” The 95-minute feature film will be shot in HD with Dolby 5.1 sound in English, French, Sesotho and Afrikaans with English and French subtitles. Thoba Oduwaiye is the DOP and Petronella Thomo the production manager. True Dream 2 revolves around Pierre, a survivor of the DRC civilian war who arrives in South Africa as a refugee. He loses everything except a parcel of diamonds he managed to smuggle out of the DRC. When applying to the

GREAT FIGHT OF LIFE – Lead actors John Wani and Gwyneth Abraham

Department of Home Affairs for an asylum seeker permit he makes a deal with an official to get rid of the diamonds. Life returns to normal, but only temporarily. Says Wani: “The message is that life is a great fight and only the strongest can

survive. The harder you work and believe in what you are doing, the more chance you have of success. There will always be obstacles but this does not mean that success is impossible.” Major funding for the film came from Damietta Peace Initiative Africa and

Caritas Internationalis, which plays a major role in peace initiatives in Africa. The Pan-African Conciliation Team (PACT) was also actively involved in the pre-production process. “I am working hard to balance the Nollywood philosophy of shooting low budget movies and translating African realities with the South African passion for filmmaking,” states Wani, who recently established a film school in Pretoria. He believes his approach to filmmaking may contribute to the emergence of a new era —that mixes Nollywood with Joziwood – in the local film industry. Wani is a product of the online American film school and is passionate to experience a local film boom. He believes film is a great source of income for the local economy, a tool for job creation, a source of income and a medium of communication. He says: “A high level of local infrastructure, skilled crew and cast, supported by an ever increasing technological infrastructure, should in future see South Africa on a par with Hollywood.” True Dream 2 is planned for distribution in South Africa, DRC, Burkina Faso, Cameroon, Nigeria and the African diaspora.

April 2011 | SCREENAFRICA | 9

FILM |

Blood suckers in Cape Town By Karen van Schalkwyk

In a recent collaboration two South African producers are to produce the first ever Afrikaans language vampire film.

ape Town based producers Benjamin Cowley (Firebird Pictures) and Anton Rollino (One Step Beyond) have teamed up with director Jon Day (Orange Films), award winning writer Darron Meyer (Tornado; the Kalahari Horse Whisperer) and Tyrel Meyer to produce Bloedsuiers (Blood Suckers). Cowley explains that the film is a cross genre comedy and horror film. “A couple of years ago I worked with a friend on a number of projects and we talked about the local market. We discussed what the most financially viable segment of the market was and all the research pointed to the Afrikaans market. Successful films like Bakgat! and Poena is Koning got me thinking: what has this market never seen before? The initial idea was a comedy as South Africans love to laugh but then we decided to do a cross genre film and horror seemed ideal.” Rolino and Cowley pulled in the creative team of Darron Meyer and Tyrel Meyer. “They actually came up with the concept of an Afrikaans vampire film. This sounded perfect as there was a global resurgence of the vampire genre,” says Cowley. With the first draft of the script the writers tried to keep the humour going throughout the story and make the villain a comic character. “However we soon realised that this undermined the integrity of the villain,” continues Cowley. “We then carefully considered which characters would be humorous and which were meant to be scary. We embraced the vampires as the dangerous antagonists and the two hero characters as the vehicles for comic relief.” The film introduces the concept of blood suckers in South Africa by going back to the days of Dutch settler Jan van Riebeeck. “We then fast forward to modern day Cape Town when two amateur vampire hunters accidentally capture their first vampire. This launches them on a journey that takes them on the 10 | SCREENAFRICA | April 2011

amount of people pledge a small amount of money to make up one big lump sum. This is a relatively new idea to South Africa. Tim Greene used a similar method with his feature film Boy Called Twist. Our scenario is different as we have access to social media and networking. The campaign calls for members of the public to register and pledge through the website anything between R30 and R2 000 towards production of the film.” Cowley adds that in return investors get entry into a number of competitions to win prizes. “They will also attend the film’s premiere, have a chance to appear in the film and the official music video and meet the cast. They also have access to the members’ area on the website, which has exclusive content such as behind the scenes videos, photo galleries, downloads, forums and so on.” So far feedback has been very positive. Cowley continues: “We have had more than 24 000 views to date. Although most people really like the clips there are a couple of haters out there. We have tapped into the digital realm with this film.”

Local is lekker

BLOODY GOOD SHOT – Setting up a scene for Bloedsuiers

trail of the blood sucking prince known as Wyker.” The film stars Darron Meyer (Generation Kill), Tyrel Meyer (I Now Pronounce You Black and White), Inge Beckmann (Lark), Francois van Coke (Van Coke Kartel), Porteus Xandau (Liefling and 7 de Laan), Rob van Vuuren (Twakkie) and Andre Roothman (Arende and Known Gods).

Crowd funding Although Cowley cannot reveal the final budget he says that at least 50% of the

finance will come from private investors. “We aim to make up the balance through crowd funding. This is very popular in the US – it’s when you get lots of people to invest in a movie.” To this end, the team has produced three teaser clips that can be viewed on the web (www.bloedsuiersmovie.com) where people can access more information about the film, cast and funding procedures. Visitors can air their views on what they think of the clips and decide if they want to invest in the movie. Cowley explains the principle behind crowd funding. “It means that a vast

He says that one of the biggest challenges is getting South Africans to change their mindset about local content. “There seems to be this overwhelming impression that the moment anything is local, it has to be awful. This assumption is made even before anyone has seen the completed product. However the reality is also that local filmmakers have to push harder and make better films to prove the ‘naysayers’ wrong.” The film goes into official pre-production by mid-April. “We have two local distributors interested and are in discussion with several European and North American sales agents who have expressed interest in representing the film in those territories,” concludes Cowley.

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B e c a u s e

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AD cetera

Report on the South African commercials industry by Anton Crone

Less is more New Cape Town ad agency, Derrick, isn’t named after that gritty, German detective series that was dubbed into Afrikaans in the 1980s. Reminiscing about that show with the agency’s three partners certainly shows our age. These guys ’aint new to the game. Each has had a long and successful career so far combining loads of gongs with extensive experience on many great brands. Add the guts needed to manage a completely independent agency with the aim of getting people to actually consume less and you have the team of Myles Hoppe, Livio Tronchin and Mark Stead. As experienced as they are, the team’s thinking and ideals are very fresh indeed. Derrick works with clients to achieve sustainable outcomes to benefit business, consumers and the globe. High ideals, but they stand by them. In fact they recently turned down a sure fire money-spinner because the

The small size of the agency allows for intimate communication with clients. There are no layers here; no hoops or hierarchy. What you see is what you get: three communication specialists who don’t just talk it but live it. The name Derrick is really inspired by that simple yet revolutionary invention, the single axis crane. It’s symbolic of a lever – a hoist upwards – and they are actively playing that role. Nine months after opening their doors they are working with PETCO to communicate the importance of recycling PET plastic and a new campaign is rolling out for the City of Cape Town educating consumers on the importance of conserving electricity. Livio Tronchin (seated), Mark Stead and Myles Hoppe

brand’s values weren’t completely in line with their own. Derrick’s office in the old Castle Brewery is testament to their ideals. Most of the

By Hoppe’s own admission: “what’s most nerve racking is that the results of the campaign can be conclusively measured through actual energy consumption.” No thumb sucks here. No biased opinions. But if the megawatt reading from six million people shows a substantial shift in consumption, my guess is they’ll have one of the most admirable case studies in the business. All for getting people to consume less. With the importance of sustainability and the growing awareness of our responsibility as consumers, Derrick is bound to play a vital role in the communication industry. After all, to quote another German legend, architect Mies van der Rohe: “Less is more.”

Calling new directors

furniture is salvaged. One whole wall is made from the remnants of Stead’s old ceiling and plastic bottle crates serve as tables, shelves and storage.

Better than Gold

Selinah – Topsy foundation

Selinah, Ogilvy Joburg’s TV ad for the Topsy foundation, was recently chosen by TED as one of this year’s Ten Ads Worth Spreading. TED is a non-profit organisation (NPO) that brings thought and industry leaders together to share their knowledge with the world. Their scope goes far beyond the acronym that stands for Technology, Entertainment and Design, and the talks, which can be viewed online for free, are in the least inspirational, and at best world changing. For a public service announcement (PSA) like Selinah this is a far greater accolade than any Cannes Lion or D&AD, the most important aspect being that the ad will now be shared with far more people around the world than could be expected from a typical PSA media flighting. Says one of the Selinah creators, Stephanie van Niekerk: “It is an incredible honour to be acknowledged by people outside of the advertising industry.” TED is seeking to reverse the trend of online ads that are forced on 12 | SCREENAFRICA | April 2011

viewers. As well as winning thousands of dollars worth of exposure on YouTube and Facebook, the selected ads will be flighted after the online TED Talks. According to TED: “We want to nurture ads so good you choose to watch.” Even before the TED endorsement, the Selinah ad had spread extensively online and is being used by other health organisations as an educational piece. It is less an ad and more a documentary with a vitally important message at its heart. Directed by Kim Geldenhuys and filmed over three months it documents HIV/Aids sufferer, Selinah, and her recovery day by day while taking ARV medication. The effect is startling because it is real. During the process the crew and creators became close to Selinah herself. “When we went back to show Selinah the clip, we hardly recognised her,” says van Niekerk. “She was strong, glowing and healthy. I think when she saw the clip she hardly recognised herself. She started to cry. It made it very real for her how sick she really was and how far she had come. She could not believe how gaunt and frail she was three months earlier. It was an incredible journey; a miracle. Her tears were tears of shock, but also of gratitude. She is an incredibly brave and humble woman.”

The Red & Yellow School of Logic & Magic is putting its Loerie student entries together and would love you to help bring some of its TV ideas to life. These students are the future of advertising and if you regard yourself as the future of commercial film you just gotta hook up with them. So, if you’re on the look out for magic ideas to film and regard the Loeries as the showcase for local talent, contact Wendy Moorcroft, course director and custodian of creativity at Red & Yellow. Email: wendy@ redandyellow.co.za or call 021 462 1946.

AD cetera Why Schabir Shakes Schabir Shaik puts down the phone. His lawyer has informed him he’s being investigated for parole violation. To distract himself he nervously flicks on the TV and just as he settles into his favourite golfing show, the ads come on. A tattooed con’ looks him in the eye and whispers gruffly, “Pappa wag vir jou.” With shaking hands, Shaik fumbles for the phone and dials his doctor. As guilty as Shaik is of corruption and fraud, statistically speaking South Africans stand a far better chance of landing behind bars simply by driving home after they’ve had one too many. But this hasn’t deterred people. However the new Brandhouse Drive Dry campaign created by FoxP2 might very well be making the right impression on drivers. According to Justin Gomes, creative director of the agency, the impact has been such that the campaign has coined a catch phrase: “Pappa wag vir jou,” and taxi drivers have been known to put their inebriated customers at ease by declaring: “Pappa’s not gonna get you tonight.”

Brandhouse Drive Dry

The core of the campaign is a series of TV and viral video ads playing on the theme of a dating video. Rough looking candidates are interviewed as they vie for the chance to meet you. The final character is ‘Pappa’ the real thing, an ex-con with the tattoos and demeanour to prove it. It’s a controversial campaign, playing on the stigma of prison rape and Brandhouse is braver for it. “They wanted something that would truly make an impact so we pushed the team to explore

the limits,” says Gomes. Right from the beginning it was a collaborative effort with director Robin Goode (then of Fundi Films, now with Giant). Gomes continues: “We were able to present the concept to Brandhouse with a full treatment from Robin. This aided the impact of a potentially risky idea and helped convince the client of its merits.” Brandhouse is more than satisfied with what is arguably their most effective drive dry campaign yet.

Loeries launch ‘hater’ campaign and revamped awards By Linda Krige The 33rd Annual Loeries campaign called “Don’t hate. Create” was launched in March with completely reworked categories to better reflect the current state of the industry. According to Loeries CEO Andrew Human they started with a clean slate rather than simply tweaking the former categories. “I think the categories are now more understandable and they better represent the way the industry works,” says Human. “Every touch point between a brand and its audience is brand communication and our categories are now grouped primarily by media type.” The Loeries are the premier brand communication awards in South Africa, Africa and the Middle East. Human explains that there is no longer a distinction between marketing and advertising. “The interior design of a company is as much part of brand communication as a TV commercial,” says Human. Among the benefits of grouping categories by media type is, for example, all TV, film and video entries will now be

judged by one panel. According to Human this means that specialised judges can be chosen because of their expertise and not because of a generic label like marketing. Some of the new categories include a

One of the most impressive elements is an online initiative targeting drinkers who have their photos taken at nightclubs or bars by the popular photo site Thunda. com. When the revellers check Thunda.com for their image what they find is a video clip of a con lying on his bed while he ogles the photo of the same reveller. If you are caught drinking and driving chances are that you’ll end up behind bars. This isn’t the Swedish prison system where the only thing you have to be wary of in prison is the photographer rearranging your room for Wallpaper magazine. You don’t want to end up behind bars in South Africa, not even for a night. As you must know by now: “Pappa wag vir jou.”

category for sponsorship done in an ‘innovative and strategic’ way. A category has also been created for PR communications. Human says that they had PR entries in the past but couldn’t satisfactorily fit them into any of the existing categories. Another new category has been added recognising performance craft for the television, radio and live events categories. This means that for the first time, performers and voiceover artists will be recognised for the role they play in creating a successful production. Animation and special visual effects have also been separated and will be judged in two different categories. According to Human some of the old categories have fallen away as the purpose of the new categories is not to attract more entries, but to better represent the industry. The “Don’t hate. Create” campaign was created by Draftfcb and is supported by a mobisite and specially developed augmented reality applications, linking digital technology to printed media. The “Trans-Hater” iPhone application, developed by Injozi, uses augmented reality to reveal hidden messages in the campaign posters and print ads when a cellphone is held up to the image. A special application has also been designed by Pollen and Mail

Anton Crone is a freelance writer and photographer with 15 years experience as an advertising creative. He has worked in Johannesburg, New York, Oslo and Cape Town and now focuses his time on exploring Africa and its possibilities.

Gloo for use on Mac and PC. The deadline for entries is 13 May 2011 and the eligibility period for work submitted is 1 June 2010 to 31 May 2011. Entries must be produced in Africa, the Middle East or African island states like Mauritius, Madagascar and the Seychelles. The Loeries Festival Weekend will take place from 16 to 18 September in Cape Town. For more information visit www. theloerieawards.co.za.

April 2011 | SCREENAFRICA | 13

INDUSTRY |

A decade of development The first ever CEO of South Africa’s National Film and Video Foundation (NFVF) ended his term of office on 31 March after 10 years of service. Eddie Mbalo talks to Joanna Sterkowicz about developments in the industry during his tenure.

t’s abundantly clear from Eddie Mbalo’s demeanor that he is buoyant, partly because he is excited about the (undisclosed) opportunities that await him in the big wide world. But mostly it’s because he leaves the NFVF on a high note. The South African Treasury recently announced an increase in budget allocation for the NFVF – an additional R135 218 000 over the period 2011 to 2013. As a result the NFVF will be able to fund many more film projects for the next three years. Mbalo has lobbied for an increase in funding for the industry since he first took office in 2000. “When I started at the NFVF my mandate was to build an institution that would earn the credibility of the industry and the support of the government. It was never going to be an easy task to convince government to invest in the film sector. The film industry’s abuse of tax subsidies in the 1980s gave the impression that it was corrupt and self-centred. “It was our job to change the government’s negative perception of the industry. The recent funding increase proves that we’ve been successful. In 2011 we have multiplied the budget that the NFVF had in 2000 by seven times. It will be multiplied eight times in 2012 and 10 times in 2013.”

Furthermore I’m proud of the fact that the industry can boast of an institution that represents its aspirations and that the NFVF has given dignity to the craft of local filmmaking. ” Another big area of pride for Mbalo is that the NFVF has developed training programmes. “When I walk into TV stations young people come up to me and say they’re there because of the NFVF.” Mbalo admits to having mixed emotions on the eve of his departure. “The NFVF has been part of my life for 10 years. As much as I wanted a clear cut from the NFVF and refused a position on the board, I am sad to leave. But I will stay in the industry because it’s my home – it’s all I’ve ever done.”

Separate identity

Necessary milestones

Commenting on his two concurrent terms of office Mbalo stresses that the position of NFVF CEO is not a political appointment, neither is it a life position. “For the past few years it was important for me that the NFVF develop its own identity. It had become a situation where Eddie Mbalo and the NFVF were seen as synonymous with each other. That’s dangerous for the industry.” As NFVF CEO Mbalo has had the opportunity to travel the world as a representative of the South African industry. He has been to festivals and markets in Cannes, Rotterdam, Berlin, Toronto and Burkina Faso. “It’s been a privilege to serve at the NFVF,” says Mbalo. “I’ve been proud to travel the world and see that people know about the South African industry.

As to the NFVF’s achievements, Mbalo is adamant that many of them were things that had to be done. The drawing up of the Value Charter, for instance, serves a guideline blueprint for the industry and government. When Mbalo started at the NFVF South Africa had only one co-production treaty in place, with Canada. Today there are treaties with Germany, UK, Italy, France and Australia. “I would have loved it if we had treaties with African countries but a treaty partner needs something to offer other than locations, such as financial incentives and infrastructure,” comments Mbalo. “However the UK and Italy treaties do take into account that other African countries are involved. I’m happy South Africa is a partner in international

14 | SCREENAFRICA | April 2011

BOWING OUT – Eddie Mbalo

co-productions. “South Africa has become a destination of choice and we continue to attract more and more foreign filmmakers. I’m delighted about the increased volume of local films being made and I’m grateful we have instruments like the Department of Trade and Industry (DTI) rebate, something that was originally spearheaded by politician Ibrahim Rasool, when he was MEC of Economic Development of the Western Cape.”

Script development key When the NFVF first introduced its Sediba scriptwriting process several years ago the industry questioned whether the foundation should fund script development. Says Mbalo: “The NFVF isn’t just a funding agency, it’s a developmental institution and we believe that script development is key to developing the indigenous film industry. The Sediba programme is structured in a way that ensures that scripts come out at the end. “Once scripts began to emerge we noticed a lack of local producers who have the ability to package a script to attract international finance. This led to the creation of the Sediba Advanced International Finance Programme for Producers in 2009 and last year we introduced a version of this programme for emerging filmmakers.”

Transformation The issue of industry skills leads to a discussion on transformation, something

that has not happened enough according to Mbalo. “Transformation has always been at the forefront of the NFVF’s aspirations for the industry and that’s why the NFVF has put lots of emphasis on training and development. There are very few blacks in control at the higher levels of film creation and most of them are returned exiles. Hardly any are drawn from the previously disadvantaged sector. “If you’re going to have a critical mass of blacks in power you need proper training programmes. So we decided at the beginning to do bursaries for young blacks in film schools. Today things haven’t changed much – the story is black but the storytellers are still white. But then we are only 17 years into our democracy and transformation is a process and not a single event.”

Working together Mbalo maintains that the industry continues to regard the NFVF with suspicion. “The industry looks at tactical issues such as how much money was spent and where. Instead they should be asking, ‘What policies do we require to make our craft easier to work with?’ The NFVF can use these policies to make formal representation to government. Industry organisations need to work more closely with the NFVF and see us as a partner and not as an enemy.” To his successor Karen Son Mbalo says: “You’re only a leader because of the people you lead. Keeping humble will help you in making a better leader. Power is about people seeking for your council and advice.”

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5 10

2 7

9 AUDIO MIXING gives you complete control over microphones, line inputs and clip playback levels. You can also adjust input trim levels for the best possible audio. In addition, the system provides both AES and embedded digital audio for pristine sound. 10 DIGITAL MEDIA PLAYERS include two DDRs for video playback, titles, stills, music and sound, making it easy to add video clips and imagery to your production, as well as auto-insert clips captured during a live event for immediate playback. HD and SD resolutions are supplied in a variety of popular file formats. 11 VIRTUAL INPUTS provide eight customized inputs to configure virtual sets, layer live elements, assign titles, set upstream picture-in-picture elements and much more. These settings can be used as templates for easy creation of other mix effects, and are instantly available in the preset bin along the left.

Dimensions

48,3 D x 18,4 H x 54,6 W (cm)

Weight

19,5 kg

Video Input

8 Simultaneous Inputs. Any Combination of: HD-SDI, HD Component, SD-SDI, SD Component, Y/C (BNC) or Composite, HD-SDI Video Conforms to SMPTE 292M and SD Video Conforms to SMPTE 259M and ITU-R BT.656.

Audio Input

Video Output

3 HD/SD-SDI 3 HD/SD Component HDMI Output Aux VGA/DVI Output User Interface VGA/DVI Output

8 x 2 Balanced XLR at Line and Mic Level 8 AES3/EBU BNC Connectors 8 SDI Embedded Analog Audio Levels Conform to SMPTE RP-155 Phantom Power Option

Audio Output

4 Balanced XLR (Program Out) 4 Balanced XLR (Auxiliary Out) 2 AES/EBU (Program Out) 3 SDI Embedded (Program Out) 1 Stereo ¼” Headphone Jack

Audio Processing

32-Bit Floating Point, 96 kHz, 4 Channels

Recording Capacity

~ 36 Hours 1080i Removable Drive Bays for Unlimited Record Time and Backup Capability

Video Processing

32-Bit Floating Point, YCbCrA 4:4:4:4

Tricaster Multi-Standard Supported Formats

1080/25p, 1080/24p, 1080/50i, 720/50p, 720/25p 576/25i, 1080/30p, 1080/24p, 1080/60i, 720/60p 720/30p, 720/24p, 480/60i (16:9 and 4:3)

Presets

Numerous Preset Bins (includes individual production Sessions)

Mix HD/SD Sources

Yes

Video Ingest

l,6-pin IEEE FireWire

Tally

DB15 Connector for 8 PGM Row Tally Lights

iVGA™ Network Selections

2 Channels Dedicated to Separate iVGA™ Sources (select instantly from unlimited network sources)

Network Connection

1GBit Connection for Network Inputs and Streaming Output

Virtual Input Overlay

Vitual Set Support

Yes – 18 HD Virtual Sets included (can be positioned, Scaled, and rotated in 3D)

1 Channel with Keying, Effects with Positioning, Scaling, Cropping and 3D Rotation

Main Overlay

Vitual Inputs (M/E)

8 Independent Channels with Presets

2 Downstream Keys with Independent Effects with Keying, Positioning, Scaling, Cropping and 3D Rotation

Media Player

2 DDRs, Stills, Titles, Audio Player (all video sources provide output with alpha channel, for use in overlays, vitual sets, etc).

On-Screen Multi-Preview Monitors

“All Sources,” “Computer Sources,” Camera Inputs,” “Preview and FX” or “Scopes with Switchable Input” (full-time, tabbed – all run at full field rate)

Projector Resolutions

Up to 1920 x 1200

Live Webcasting

Yes – Adobe Flash, Windows Media Push/Pull and VC-1 Codec Support

Record to Disk

Simultaneous Recording of Full Resolution MPEG-2 and Archive of Web Stream

Projector Output

Yes – 16:9 and 4:3 Aspects

Full HD 720p 16:9 Streaming

Yes

Waveform Monitor and Vectorscopes

Yes – Full Field Rate with Color Preview

Integrated Character Generator

Yes

File Formats

AVI, DNXHD, DV, M4V, MPEG-2, QuickTime, H264, HDV, JPG, PNG, PSD and More

Form Factor

Rack Mount (4U with optional rails)

Drive Bays

3 Trayless SATA II Removable Drive Bays

Nonlinear Editor

Yes

Render Outputs

AVI, DV, MPEG-2, MP4 (iPod and PSP), QuickTime

Redundant Power Supply

Yes

Accessory Options

LC-11, TimeWarp and LiveText™

1 Ormonde Street Bryanston, Sandton, South Africa Tel: +27 (11) 706-7081 Fax: +27 (11) 706-7140 E-mail: armand@timbre.co.za www.timbre.co.za

TRACKINGTECHNOLOGY | NAB PREVIEW | COMPILED BY JOANNA STERKOWICZ Here is a snapshot of some of the products highlighted at the biggest broadcast technology trade show in the world. National Association of Broadcasters trade show – or NAB – takes place in US gambling mecca Las Vegas this month.

NAB – some cool products at technology trade show BLACKMAGIC DESIGN DaVinci Resolve 7.1 now adds clustered multi GPU processing to Mac OS X systems, improved support for Tangent Wave™ control panels, support for the JL Cooper Eclipse CX control panel and new file formats and codecs including support for Arri Alexa ARRIRAW, Phantom Cine, high dynamic range OpenEXR and more. Mac OS X users can see a massive improvement in processing power by installing more than one high performance GPU card. This gives super computer processing power and allows for many corrections to be done – all in real time even when grading direct from raw camera files such as RED or Arri. DaVinci Resolve 7.1 update includes a wide range of new file format and codec support for the latest professional cameras and scanners.

CLEAR-COM Optocore GmbH, a pioneer in fibre-optic based audio and data network distribution, has entered into a strategic partnership with intercom solutions provider Clear-Com®, the market leader in Digital Matrix, Partyline, wireless and Intercom-over-IP systems for critical communication applications. Two ground-breaking products will be launched at NAB, enabling Clear-Com systems to uniquely operate on Optocore’s digital fibre (FX) and CAT5 (SANE) networks. The V3R-FX 4 CLEARCOM is a four intercom channel unit, while the X6R-FX 8 CLEARCOM is an eight intercom channel unit. Clear-Com® will also introduce the HME DX210, which combines a perfect blend of wireless intercom performance, system compatibility with wired intercom systems and easy to use technology. It operates in the 2.4GHz band and enables interference-free communication for highly demanding productions.

EVS The latest version of EVS’ IPDirector offers broadcasters and producers a unique opportunity to boost their workflow speed and efficiency. Its API and MOS protocol support ensure full 16 | SCREENAFRICA | April 2011

interoperability with all types of third party systems, such as asset management, automation, and NRCS including Avid I-News, ENPS or Annova systems. At NAB EVS will introduce Xedio Flash, an integrated hardware and software system offering all-in-one newsroom capabilities.

HARRIS Harris Selenio is the industry’s first integrated media convergence platform – a modular solution that combines traditional baseband video and audio processing, compression and IP networking features within a single, 3RU platform. Selenio hosts up to 28 channels of high-density baseband video processing and supports MPEG-2 and H.264 compression standards for SD, HD, mobile and 3Gb/s, as well as advanced audio capabilities including 5.1 and loudness control. A built-in web-based GUI provides functional block diagrams to simple configuration, monitoring and management of multiple functionalities. The Harris Magellan family of router control panels delivers a fast, powerful and user-friendly way to control Harris and third party routing systems. Available as a series of 10 programmable hardware panel types in both 1 and 2RU versions, the Magellan template-driven panels provide intuitive, web-based configuration for quick and straightforward setup in local and remote operations.

HI TECH SYSTEMS AVITA is a real-time production control system for video servers as well as a tool for recording, searching and playing media. It integrates into the production chain using metadata and its hardware modules are fully configurable and can be mixed and matched in any combination. AVITA is also available as a software only system. It can import, generate and export XML metadata and has a tablet PC or iPad browser interface for remote clip management and playback. AVITA will interface to industry standard servers via API and has sophisticated metadata search capabilities with shared databases between operators.

LAWO Loudness metering, the latest feature of Lawo mc² consoles, will be demonstrated at NAB. Following EBU R128 and ATSC A/85 specifications, and based on ITU1770, the mc² series features loudness metering for every channel. The metering is shown in the channel display and the GUI main display; a permanent display of the integrated measurements is provided within the GUI. This is a first within the Lawo product range and a world first for production consoles – a mc² series console offering integrated loudness metering. Additionally NAB visitors will familiarise themselves with Lawo’s V4.12 software release, which will be demonstrated on the mc²66 MKII and the mc²90 consoles. Also new is the Lawo Remote App for the iPhone, iPad and iPod Touch that can remote control faders, load snapshots and trigger many custom functions such as ‘routing connects’ or GPIs. The newest member of Lawos on-air radio and TV broadcast console family – the sapphire – offers desirable functions and proven Lawo technology in an innovative new design.

MULTIDYNE MultiDyne Video & Fiber Optic Systems introduces the HD-3200, a 3G HD camera link with camera control and POV control, fibre transport system. This single fibre solution provides two-channel data and tally along with the HD-SDI video. Meanwhile another product, the HD-3400, is the ideal ’facility fibre link’, making the transition from composite video to HD-SDI video and has flexibility to handle either analog audio or AES audio along with embedded audio in the video HD-SDI stream. MultiDyne’s LiGHTBoX-II is a weather-tight portable fibre transport system equipped to handle a wide range of communication needs and has the ability to capture events up close, while being linked back to the OB truck over tactical fibre.

– to page 18

25309 Sony SA Screen Africa.indd 1

2011/03/05 1:16 PM

TRACKINGTECHNOLOGY | NAB PREVIEW | – from page 16

PANASONIC Panasonic Solutions Company has introduced AVCCAM Importer software, a QuickTime plug-in that eliminates the need to convert AVCHD files to ProRES422 files before editing in Apple Final Cut Pro. QuickTime Player can play AVCHD ‘.mts’ files and other software based on QuickTime Framework that can also handle AVCHD ‘.mts’ file directly after installation of AVCCAM Importer on a Mac. The AVCCAM importer will soon be available for free download on the Panasonic website. Panasonic has also introduced the solid-state AG-HPD24 P2 deck with powerful features including 3D synchronised record / playback*; native 24P recording with variable frame rates; a super-fast USB 3.0 interface; and 24-bit, four-channel audio recording in AVC-Intra 100/50. Two HPD24 units can be synchronised for master-quality, full resolution isolated left / right channel 3D recording, either from cameras mounted on a 3D rig or the company’s AG-3DA1 integrated dual-lens 3D camera recorder. A new versatile wireless system for Panasonic’s new AJ-HPX3100 master quality 1080p P2 HD camera recorder simplifies the process of utilising user-selected metadata. Comprised of the AJ-WM30 wireless module and AJ-SFU3100 software, the new system promotes a seamless transfer of critical camera information between the HPX3100 and a vast population of intelligent devices including PCs, iPads and iPhones. The BT-LH910 is a powerful new 23cm (9in) LCD monitor for field and studio applications. Breakthrough features include a new high brightness; high contrast IPS panel; newlydeveloped 3D assist functions; and professional interfaces including HDMI and 3G-SDI. It offers 1280 x 768 WXGA pixel resolution. The new AJ-PCD30 P2 drive is a three-slot P2 device with a super-speed USB 3.0 interface that delivers the industry’s fastest offloads from a solid-state source. The USB 3.0 standard facilitates dramatically higher transfer rates of up to 4.8Gbps, which achieves offloading AVC-Intra 100 footage at more than 15X real-time, making the PCD30 well-suited to use in long-form production. Panasonic’s AJ-SF110 Video Ingest software and AJ-SF100 Linear Tape-Open (LTO) Archive software facilitates the secure storage and easy retrieval of P2 content.

PIXEL POWER Version 9.5 of Pixel Power’s core software enables highly desirable new features for the company’s entire range of graphics systems. The new Automated Transition Logic (ATL) brings enhanced intelligence to template changes, simplifying operations and reducing the possibility of graphical playout errors. Version 9.5 includes full support for stereoscopic 3D graphics, across all Pixel Power graphics systems, with unique real-time control of depth and separation allowing ultimate flexibility at the point of playout. BrandMast™ – Pixel Power’s unique, combination branding graphics and master control system is enhanced with support for up to 10 independent key layers. It supports the most sophisticated graphics loos, and includes the addition of a newcCleanfFeed output bus and enhanced DVE inputs for added system flexibility.

18 | SCREENAFRICA | April 2011

QUANTEL QTube is set to be Quantel’s NAB star. QTube delivers truly global media workflow, and allowing media assets to be quickly and securely accessed from any location where there is an Internet connection. More than just a media viewer, QTube offers metadata editing, quality downloads and even frame accurate editing; all over the Internet, with low latency and full security. Qube is the new editor for Enterprise sQ and is the first Quantel broadcast product to take advantage of CUDA GPU accelerated processing. Qube includes 3G HDSDI interfaces and is powerful enough to handle 1080p60 and Stereo3D. At NAB the focus for post-production is Stereo3D (see above) and workflow. Integrationenhancing developments in post across eQ, iQ and Pablo include ARRIRAW support for the Alexa and D21 cameras, two-way native DNxHD file interchange and 16 channel audio i / o.

ROSS VIDEO The new CrossOver Solo from Ross Video is the perfect compact switcher for space restricted applications and limited budgets. Based on the highly successful CrossOver 12, the Solo has the same features and specifications; however the main electronics and signal i / o are combined with the panel as a single unit – reducing cost and size. CrossOver is a 1 MLE production switcher with unmatched performance that’s flexible and easy to use. The Solo’s features include: 12 External Multi Definition SDI Inputs; a 10 Input Multi Viewer; SD / HD operation; six internally generated sources; three Keyers; and 2 x 2D DVEs.

SEACHANGE The SeaChange Universal MediaLibrary (UML) Grid Storage is a high-availability (HA) storage solution that utilises the iSCSI architecture and offers high performance, high capacity, full redundancy, and scalability for enterprise and multimedia data storage. It is central to the entire SeaChange Media Architecture. It accommodates a massive storage capacity of up to 144TB in a 5RU storage matrix. Unlike the traditional content library that only caters to transmission playout or production storage, the UML combines the traditional linear playout support with production and streaming into an all-in-one product. It is an open storage and server infrastructure that is simple to manage and cost-effective, allowing direct ingest, edit-in-place, archive, and play-to-air functionalities. In addition, the UML effectively supports studio and post-production workflows as it integrates with non-linear editing systems such as Final Cut Pro or Avid Media Composer.

SNELL NAB will see the US launch of the Sirius 830, the latest in Snell’s large scale multi-format expandable routers. The 15RU Sirius 830 offers a more compact 288 x 288 frame size for mid- to-largescale studio or OB productions, with the ability to add an additional 140 independently controllable outputs for connection to any Snell or third-party multiviewer solution. Snell’s RollMechanic V2, is also due to be launched at the 2011 NAB Show, and is available within the Centra environment. The Snell network manager performs batch operations and supports cloning, the latter ensuring that once a setup is

configured, it can be copied and easily relayed to all other boards for fast facility-wide updates. Also launched at NAB is a major upgrade to Snell’s IT-based playout systm, (IC), and is available in a range of turnkey packages, proving complete playout solutions that are easy to install.

SONY Sony is focusng on high-end digital imaging at NAB 2011, including the rumoured and long-awaited debut of a 4K camera. “Our attention to higher resolution and higher quality premium images links Sony’s 4K story with technologies across our range,” explaied Olivier Bovis, Sony Europe’s general manager for content creation. The ‘4K story’ can be enhanced to spectacular effect if Sony wheels out a 4K capable camera. Long anticipated to be in the works, the prototype may be revealed in Las Vegas sporting an 8K, 20.4-megapixel single CMOS sensor with a PL lens mount outputting 16-bit RAW. Speaking at Sony’s Broadcast and Professional Solutions headquarters in Tokyo two years ago, the worldwide head of the division, Dr Kyung-soo Ahn, confirmed that a 4K system was of high importance to Sony. But we will not introduce a 4K camera for another year or more, the reason is not because we cannot, but unless you have a proper backbone infrastructure you cannot produce 4K images.” At the time Sony was developing postproduction tools to visualise and manipulate 4K images based on its Cell high performance microprocessor. That infrastructure finally appears to be falling into place. Sony’s 4K workflow unveiled a year ago is intended to link hardware, software and files throughout the production process, from pre-viz to shooting and high post and preservation. A core component is Ellcami, a resolutionindependent multi-format input, transcoding and output system, also built on the Cell. A NAB Sony will announce details of availability and pricing for its SR Memory Pack. This solid state recording format delivers transfer rates over 5Gbp/s and a storage capacity of up to 1TB that is enough to support native acquisition of resolutions up to 4K. Sony will also highlight a full range of stereo acquisition systems, storage and workflow, as well as its technical expertise. “This links right through to the projection side where stereographic content can be shown to its maximum effect at cinemas fitted with our 4K projector,” said Bovis.

VIEWCAST ViewCast’s Niagara 4100 quickly and easily stream HD content to broadband and mobile networks, including live adaptive streaming to Apple iPhones and iPads. It is i deal for live sports and newsgathering operations, webcasting, or any streaming application that requires rock solid performance on the go. This rugged, portable unit can ingest standard or high definition SDI video, and accommodates a variety of audio types, including embedded SDI, AES/EBU, and balanced and unbalanced stereo. With ViewCast’s SimulStream® technology, the Niagara 4100 can simultaneously stream multiple resolutions at multiple data rates in multiple streaming formats, including MPEG-4, Adobe® Flash® H.264, Windows Media® (Silverlight® compatible), and Apple iPhone.

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CAMERAS |

COMPILED BY ANDY Stead

Camera, camera on the dolly – which is the best for the lolly? The debate regarding which camera is the best rages on. It is often a case of horses for courses and a myriad of other factors regarding conditions, locations and available facilities. But if budget is not an issue and the choice of capture device is wide open, which camera would YOU choose to shoot on and why?

he only person able to give a valued opinion on this issue is the director of photography (DOP). While most of the general public is not aware of which format their favourite movie or TV show is shot on, it is the critical, knowledgeable audience that can differentiate between film cameras and the various digital formats. New film stocks available today can give up to eight stops latitude, whereas digital can currently only reach around five stops. How then do digital cameras shape up and which do DOPs favour? The one defining factor is the type of chip / sensor. Most digital cameras use either a CCD image sensor or a CMOS sensor. Both types accomplish the same task of capturing light and converting it into electrical signals, but they do it in different ways. Digitalfilms’ Frank Meyburgh recently set up a variety of cameras and invited DOPs to experiment. The results clearly indicate that personal choice counts for a lot. Cameras covered in this feature are: Panasonic AVCCAM Model AG-AF101E, Sony PMW-F3K, Cannon 5D/7D and Arri Alexa.

20 | SCREENAFRICA | April 2011

Harmon Cusack

The Canon 5D is well known in the market place and (with all its problems) has found favour with the younger filmmakers. To me it is a fine stills camera and should remain in that niche.

For its price range the Panasonic AF 101E is good value for money. The standard kit is fitted with two SDI cards and it can come with a hard drive attachment fitted below the camera body. You have a choice of fitting Nikon lenses or PL mount lenses, which for me is a bonus. The only drawback on this camera is that if you choose to use the SDI cards, the images are recorded using the MPEG4 codec but have a colour compression of 4:2:2. For the corporate filmmaker this is great value for money, with HD punch and well worth looking at.

The third camera tested was the Sony PMW-F3. I call it the baby RED One. It employs a Super 35mm equivalent single plate CMOS sensor as the imaging device. With the exclusive PL mount adaptor, various PL mount lenses can be used. It has the capability of multiple format recording It records true HD at 1920X1080 HD using MPEG2 Long GOP codec. For the audio gurus it records uncompressed 16 bit-48kHz liner PCM – a major breakthrough for a camera this size. The PMW-F3 is equipped with ‘hot shoes’ enabling you to use the new Cooke S4 range of lenses. Depending on your shooting conditions this camera can be rated from 12 ASA to 3600 ASA. It will be around for some time and the price tag is very affordable. Digital technology is improving but in my view film is still the best format to use for origination. I have used the Arri D21 and have had very good results. I just find the whole system cumbersome to work with. Cables, cables and more cables. Set up time now takes longer because you have to rely on the digital imaging technician (DIT) to confirm your take.

Sony PMW-F3 was quite impressive, especially with a good piece of Angenieux glass on the front. But this is essentially a camera for a low budget and high production value comparable with the Canon but with better ergonomics, menu options and plug-in manageability. With the standard package, the camera shoots HD 1920x1080, almost 2k. It produced fine images with its Super 35 CMOS sensor; slightly smaller than that of the 5D and that feature combined with the PL mount will sell this camera. The dynamic range of the camera was fairly impressive and our DIT played with the

settings and allowed us to get a wider exposure latitude when we were faced with a full sun backlit situation with black skin and white garments. Our colourist felt the latitude of the PMW-F3 offered more than the 5D/ Mk2. We never did get to try the Sony / Minolta prime lenses that are part of the kit, preferring to stay with the Optima. Some of the camera’s disappointing features are the slow-mo ability to 60fps which captures images that are not full HD and the sensor’s noise level in the blue colour spectrum. But against green screen, images keyed well. However this was working with the camera’s standard ability. It can be upgraded to 4:2:2 using the AJA ki Pro unit. The PMW-F3 is not as robust as the second generation RED and from my experience nowhere near the professional level of the Epic or Alexa. Looking ahead five years I would say that film is still going to hold its own, but the Arri Alexa and the RED Epic are the new kids on the block and will probably be my cameras of choice.

Ivan Leathers I have not worked with the Panasonic, which I think might work well for TV drama, but I am able to comment on my experience with the Sony PMW-F3 and Canon 5D. Coupled with the Zeiss CP2 full frame primes, the Canon is extremely functional and can really produce great images. On a long form project we were able to work quite quickly and manage some complex focus issues, but needed to get used to the large full frame depth of field abilities. Downloading the cards was never a hassle and the workflow was smooth, and unlike the 7D, the 5D never had any overheating problems. In post-production one can see that the images start falling apart and the material does not have the latitude of the RED One or 35mm film, regardless of the large CMOS sensor. But then the Canon is not in the same league and was designed for the consumer market. On the set of a commercial recently the

011 313 1622 â&#x20AC;˘ www.pansolutions.co.za

CAMERAS | Dominic Black Having shot all of my work over the past year on a Canon 7D, I was extremely excited by the prospect of getting a look at the PMW-F3. When you are used to shooting on a large sensor (CMOS) camera it’s impossible to go back. The concept of how many megabits per second is irrelevant. It’s all about controlling your depth of field, and that’s what the large sensor does. Having looked at the Panasonic before I really felt that the look is video, even though it has a 4/3 sized sensor. While it may very well be Panasonic’s best camera it just didn’t have a filmic feel to it. Of course for the money compared to the Sony it will find a home with many people. Personally I think the Canon 7D has a better look. So for me the day at digitalfilm was about comparing the Canon 5D and 7D versus the PMW-F3. The build quality of the Sony is excellent. The three lens options we used at the test were all primes – 35/50/85 and they look the part until you pick them up. The casings are made from plastic, so they are lighter than they look. But you really can’t fault the pictures; super sharp with a great feel on the focus and t-stop rings. A focus puller’s dream. The lenses open up to t2. We tried a Nikon f2 135 prime. That’s when you start to see the difference. The

creen Africa ad 03-2011 fin p 3/29/11 9:10 AM Page 1

Nikon was just incredible. So I think with a PL adaptor on and a set of ultra primes the camera will jump to another level again. The pictures that come out of this camera are simply brilliant – the best I have ever seen from a so called video camera. Is it better than a 5D? We set recorded a shot on the 5D and matched the frame with the PMW-F3. We took them into FCP and started playing around. The difference between the

cameras was negligible. Even when we zoomed into the images the differences were hard to see. If anything there was less depth of field on the PMW-F3. The feel of the Sony is very filmic and the latitude is wider, which means better grading. The ability to get as flat an image as possible in the camera is made easy by gamma set ups in the menu. In fact the grading options available in the camera are as good as any camera in the market. C

CY CMY

Images from the PMW-F3 were very sharp, yet with a filmic look. Shooting with 18db of gain under low light conditions gives the camera an even more filmic look, adding just a subtle bit of grain. If you want more megs (although most people will not see the difference) then plug in a nano flash or ki pro and take advantage of the 422 HDSDI out. Would I use an PMW-F3 over a Canon? It’s horses for courses. The key is your lenses – if you have your own set then it doesn’t matter. From an operations point of view the PMW-F3 is more like what we are used to. From a picture point of view it feels and looks very much the same. The PMW-F3 is better under low light but the Canon gets you into places where you need a small footprint. I love my Canon 7D. I have directed and shot commercials, high end corporate videos and music videos with it. I have invested in lenses so in the future I will just change bodies. But I would definitely shoot on the PMW-F3 right now. What Canon has done is forced all the other players to change their approach. Depth of field is what it’s all about. So now Panasonic and Sony have entered that arena and I guess the ball is in Canon’s court. If they release a video camera with the 5D specs with a recording format better than h264 then I think the ball will be back in the court of all the other players.

| CAMERAS

New PMW-F3K camera now in stock!

Monitors

Tripods

Matte boxes

Lee Doig I shot an extensive test with the new Arri Alexa and took it through the Baselight grading system at the HD Hub in Cape Town with colourist Craig Parker. The camera was launched around huge hype and is the upgrade of the Arri D21 which I had used for most of my commercial work last year. The D21 was my camera of choice and I had got some amazing results with it. So when the Alexa arrived I was very keen to get my hands on it. What impressed me most about this camera is how user friendly it is, with a very effective simple menu that is easy to navigate and operate. The camera addresses all the issues that the D21 had. It shoots to an Arri card system that is very effective and makes the workflow a breeze. The camera is very nicely balanced and very compact which is great for handheld work.

We did very extensive tests and pushed the camera – high contrast, frame rates, shutter, as well as nicely lit set ups. We shot all on log C 444 for most of the time and the results where remarkable. The latitude on the grade done at Baselight was close to six stops either side. What I like most is the creaminess of the pictures; very easy on the eye. The footage we shot at 60 frames was log C 422 with great results – nice and smooth and a lot of latitude. We pushed the camera to the limit with contrast and could retrieve an amazing amount of information. This camera would have to be my camera of all time. Very easy to use and truly amazing images that I’m sure would even impress film diehards. Film will always be around but certainly digital is the way forward. It’s a hell of a lot greener.

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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

PROFILE |

By Karen van Schalkwyk Nigerian-born Hakeem Kae-Kazim is well known in the South African film industry for his prolific career — and he is now a rising star in Hollywood, writes Karen van Schalkwyk, who recently chatted to the actor.

venturing out.” Kae-Kazim has always wanted to be an actor and was classically trained in the UK at Bristol Old Vic. Soon after graduation he was invited to join the Royal Shakespeare Company. “This was a great experience and I appeared in plays like King Lear with Brian Cox and Richard III with Sir Ian McKellen.”

Hollywood calling

HEART IN AFRICA – Hakeem Kae-Kazim

e know Hakeem Kae-Kazim locally for his appearances in TV commercials, local feature films and for winning numerous local and international awards such as a Gemini Award for Best Actor in a Supporting Role for his performance in Human Cargo. Today Kae-Kazim is an up-andcoming star in Hollywood, having appeared in major Hollywood films including X-Men Origins: Wolverine and Pirates of the Caribbean: At World’s End. He also starred in the powerful drama Hotel Rwanda. On the small screen he has been seen in Lost and the award winning shows 24, Criminal Minds and Human Target. Kae-Kazim recently completed his latest feature film Black Gold-Struggle for the Niger Delta and has received high praise for his international work. He was recently recognised for his outstanding acting career in Malaysia at The African Entertainment Awards. In February 2011 he was announced as a presenter of the The Pan African Film Festival. On a recent visit to South Africa I asked what he ascribes his success to. He says: “You need to work really hard at 24 | SCREENAFRICA | April 2011

your craft. It is a constant journey of self discovery. For actors who would like to go this route, it is important to work hard and work your way up at home first. Getting to the top on home soil will always put you in a better position when

He is grateful for his early career in South Africa. “It was a wonderful time and I made lots of great friends and worked hard. However, there came a time when I felt it was right to extend myself and move to Hollywood. Working there meant I could get work on an international playing field and be on the world stage. “In Hollywood I had to start from scratch with people who did not know my work, so the challenge was to get out there and make sure that a new audience got to know me.” Kae-Kazim says that working in Hollywood is vastly different to South Africa. “Hollywood is a bigger industry so naturally there is a lot more money involved in the productions there.” One of his best experiences has been coming back to South Africa to shoot the 24 Redemption two hour special. “It was great being in a show of that stature having just left South Africa and we

actually got to shoot in Africa. I loved the chance to come back here and I was proud to show Kiefer Sutherland and the other actors Cape Town. It was amazing to watch their faces as I took them to places like Mzolis.” Working with Johnny Depp in Pirates of the Caribbean, Kae-Kazim explains, was also a real pleasure. “He is a really lovely man and it was a great honour to work with him. Wolverine was also great because the director, Gavin Hood, is South African so we had a lot of fun on set and chatted up a storm. Gavin called me directly for the role which was really fantastic. We had previously worked on King Solomon’s Mines.” Asked what his ideal role would be, Kae-Kazim responds: “I don’t have an ideal part as such. I love to play interesting roles with depth to them and characters that are multi-faceted. I would also definitely like to direct at some point. Most of the films I like to do have an African theme at the heart of them.

African roots “I have very strong roots with Africa and I definitely would like to come back to shoot a film, Tell Them We’re from Here, with my good friend Akin Omotoso, once we get the remaining funding in place. I am still involved in doing productions on the continent. I’ve just finished acting in and producing two films in Nigeria. The one, Inale, was nominated for five African Academy Awards.” Kae-Kazim is also co-founder of an organisation in Hollywood called African Artists Association. “There are quite a few African and South African actors in Hollywood. Our oganisation is based in Los Angeles and is a forum for African artists living in Hollywood. It enables us to exchange ideas and collaborate with each other. “The most important thing is to follow your dreams. Nothing is a given but if you work hard you are bound to be successful.”

| TRAINING

The dynamics of film

Tshwinge na Tshwinge was oving from the inspired by a story from a television homeless man called Tshabalira production Lebakeng. Uzanenkosi wrote environment to the screenplay that centres on a the world of short film 15-year-old boy desperately taught South African trying to fit in with his new filmmaker Uzanenkosi a community. It is a story about whole new way of telling a the abuse of power. story. “When you shoot a television drama you have to Compromise complete a prescribed number of minutes each day, The film was shot late last year so it can be a bit of a over three and a half days in compromise. But making Everton, which is an hour my first ever short film outside of Johannesburg. DOP NEW ENVIRONMENT – Uzanenkosi (left) on set Tshingwe na Tshingwe Eran Tahor shot the film on a (Anything) allowed me to work Canon 5D camera. conjunction with the Big Fish School of in a more freely creative way. It Uzanenkosi continues: “Each day Digital Filmmaking, is a marvelous was a great learning curve,” says we lost so much time because of travelling community initiative for previously Uzanenkosi. to the location that we ran out of money. disadvantaged individuals. If you are Tshingwe na Tshingwe is the 20-minute As I didn’t want to compromise the film, chosen to do the FTI’S advanced course end product of the 2010 MultiChoice I approached MultiChoice Corporate (GET), then you come away with a short Film Talent Incubator (FTI) Grooming Social Investment (CSI) manager film after finishing the course, which is Exceptional Talent (GET) course, which Itumeleng Letebele and she kindly amazing. GET also allows you to choose allowed Uzanenkosi to do a short film granted us extra funds.” a mentor for your short film and I picked course at an overseas institution of his Uzanenkosi notes that local crews are Robbie Thorpe of TOM Pictures, he is a choice. This was the National Film and very willing to assist in making the film wonderful filmmaker and person,” TV School in Beaconsfield, UK. beyond the limited budget. cc7423ND_228x155_Screen-Africa-NOV-2010.qxd:Layout 1 11/10/10 12:18 Page 1 explains Uzanenkosi. “The FTI, which is done in Three days of rehearsals helped to build

a relationship between the actors and director. He says: “Some scenes were hard to do because it was necessary for the actors to embarrass themselves. As a director I had to figure out how to make them do what I wanted. “The short film course in the UK taught me to keep a diary of things that I learnt every day while directing Tshingwe na Tshingwe. Making the film was a process of growth for me.” Uzanenkosi has always been keen to help other previously disadvantaged individuals (PDIs) forge their careers. Three years ago he created the website www.pitchit.co.za, an online market where writers can pitch their scripts.

PRODUCTION CREW: Executive Producers: MultiChoice, Big Fish School of Digital Filmmaking Producer: Robbie Thorpe Production Designer: Martha Sibanyoni Production Manager: Kamohelo Mokoena Sound: President Kapa Off-line Editor: Ziggy Hofmeyr Equipment: Media Film Service, Digital Films, CJ Photographic Solutions Key Cast: Mpho Sebeng, Anele Mnguni, Junior Singo, Nkhodeni Ramagwede

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TECHNOLOGYNEWS |

M-Net’s OB challenge W

ith its extensive focus on sports and entertainment, South African pay-TV broadcaster M-Net needed a solution that was flexible enough to meet the diversity of its wide ranging production needs. These range from live music concerts through to major international golf tournaments, rugby and football matches. M-Net chose Sony’s HD Outside Broadcast (OB) vehicles to help viewers experience the excitement of live events, while offering the ease and convenience of cost-effective and timely on site broadcasting. Building on its excellent working relationship with Sony South Africa, M-Net chose the Sony Professional Services team for its commitment to professional and ongoing local service support throughout implementation and beyond. With a reputation for innovative and tailored solutions, Sony was selected as the solution provider for equipment supply and systems integration of M-Net’s new OB6 HD. Offering flexible OB and studio equipment standardisation, the solution can also be used with M-Net’s already existing Sony kit, including cameras, switchers, monitors and VTRs. After working with M-Net OB management and engineers to devise the most effective solution to expand their outside broadcast capacity, installation of equipment started just before Christmas 2010. Sony’s overall responsibility as systems integrator started with the video, audio and control system design through to the installation, configuration, testing

FLEXIBLE TECHNOLOGY – M-Net’s new OB6 HD Mobile Production Unit arrives in Durban

and commissioning of all video, audio and control systems. The equipment selection and supply of technical systems is tailored for seamless integration with similar vehicles to allow extreme expansion of facilities for very large event coverage. OB6 HD is a 28-camera full HD Mobile Production Unit (MPU) and includes Sony’s renowned acquisition tool the HDC-1500R cameras, HDC-3300R super slow motion cameras and newly introduced HDC-P1 multi purpose compact cameras, all with Canon lenses. The vehicle also includes Sony’s best of breed post-production equipment, such as the MVS-8000G video switcher and top spec video monitoring equipment,

Tapeless HD / SD solution goes direct Johannesburg based Sasani Studios is bridging the gap between studio camera acquisition and post-production by recording directly to hard drive using the Apple ProRes 422 Codec.

asani Studios is not new to the tapeless environment as it designed and has run complete tapeless turnkey solutions for various productions for the past three years. The most popular and media intensive production was Big Brother Africa, a 24 / 7 three-month reality show recording directly to shared media drive systems. According to Sasani’s Neil van Heerden, the studio recently integrated a tapeless HD / SD solution into its flexible 26 | SCREENAFRICA | April 2011

studio recording infrastructure. He explains: “Our various sized film and television broadcast studios, supported by our numerous digital studio camera chains and digital control rooms, can now record directly to separate, tapeless, portable hard drives in the Apple ProRes 422 codec. This allows for a new way of connecting our clients’ production and post-production, saving time in editing and maintaining the best possible quality by recording pristine 10-bit

including BVM-L170 Professional Master Series reference LCD monitors. Recording decks include Sony PDWHD1500, XDCAM HD 422 and HDCAM VTR’s. Sony’s turnkey solution to M-Net also includes a whole range of EVS video servers and non-linear production tools, Probel video and audio routers, Axon digital glue products, Miranda multiviewers, Tektronix test and measurement equipment, VSM control, Telex RTS Communication System and Calrec Artemis audio console. OB6 HD was scheduled to arrive in the country in March and will be used on productions from April.

Post-project support

ProRes 422 media, which is immediately available to edit within Final Cut Studio, AVID and other professional editing systems.” Van Heerden notes that since its introduction two years ago, Apple ProRes 422 has become the codec of choice for professional editors. “Our portable hard drive recorders are the latest product to provide support for ProRes 422 natively in hardware, and for the first time deliver immediate access to the 10-bit, full raster ProRes 422 codec directly from source. “Recording directly onto these hard drive recorders allows filmmakers, broadcasters and video professionals to skip the process of re-rendering to an editing codec by giving immediate access to full raster edit-ready ProRes 422 files. Sasani can now record hours of media to a removable storage module with built in FireWire 800 or to 34mm ExpressCard Flash. The hard drive recorder allows for real-time monitoring, providing instant playback of recorded files at the push of a button.” The Sasani system records to single or

multiple ISO feeds simultaneously with locked timecode. There is capacity to record eight channels of audio on each record device. This means that recordings on mics or instruments, or various audio feeds, can be done on individual channels, giving the audio engineer complete control over the audio in final mix. “Clients wanting to utilise our tapeless system are required to supply their own portable hard drive. At the end of the shoot day we will copy the recorded files onto the client’s supplied portable drive and simultaneously copy the files to a Sasani network as a temporary backup (safety) until the client has confirmed that the footage is in their edit system. Sasani either offers the client the option to save the files to a proper digital archive system for long time storage or we get approval from the client to delete the files from our system,” explains Van Heerden. Sasani has already successfully recorded several productions on the tapeless system such as Jozi Maboneng and Comedy Sho.

Following the delivery of the HD OB solution, Sony has been helping M-Net adapt to the equipment and ensure that they are maximising the benefits of the new equipment through post project support and comprehensive training. The process began with a comprehensive on site handover and system familiarisation training. Following that Sony will ensure that M-Net’s production and engineering teams have full operational and maintenance training on all products.

EQUIPMENTMAINTENENCE |

Mean time between failure By Andy Stead

With the recent natural disaster in Japan that led to the melt down of nuclear reactors the question of maintenance of other reactors – old and new – is under the spotlight. The old adage of ‘don’t fix it until it’s broken’ no longer cuts it and routine maintenance is imperative. Not least with respect to broadcast and semi-professional equipment.

owntime costs money and can potentially lose clients, so how do suppliers, facilities houses, broadcasters and rental houses ensure that their needs are met in this regard? There was a time when most of the larger facilities and broadcasters employed trained engineers whose skills included repairs to component level. But with the increased use of board exchange technology and interrogation of equipment via the Internet, most engineers are employed to ensure that the facility continues to run, but do not effect board repairs. Enter the private engineer. Not employed by any specific supplier, facility or broadcaster, these unusual beings are able to repair, in their own workshops, a wide variety of equipment from many different suppliers. One such person is Ivor Westpfahl of Central Engineering based at Stonewedge Office Park in Johannesburg. “I was at Video Lab for years and I saw a gap in the market,” he says. “There was a private engineer at that time but he emigrated to Australia. He had been an authorised Sony dealer, so I figured that I could start out on my own and do the same thing. “Most of my work is on Sony equipment but I also handle the maintenance and repair of a wide variety 28 | SCREENAFRICA | April 2011

FINDING A VOLT OF FAULT – Ivor Westpfahl of Central Engineering

Dexter Forbes and Alain Trebo of SBSS

of equipment including Telecines. If the facilities have a fault that will require several hours of repair they send it to me. This also applies to broadcasters M-Net, SABC and e.tv. Their resident engineers do whatever is required to keep the show going on a day to day basis, but they won’t repair to component level any longer.”

Fragile equipment Westpfahl says that the amount of repairs required in the non-broadcast side of equipment is high due to their greater fragility. “Take the Sony PD 170, there are literally hundreds of them out there. These used to be serviced by Sony, but now I do this work and I have taken on ex-Sony staffer Martin Silver to handle these types of repairs.” Another such provider of repair services, installations, system integration modifications and rig building is Timbre Broadcast Systems, which based in Bryanston. Timbre is an official Panasonic Broadcast Workshop and also repairs Sony, JVC and most types of equipment used in the broadcast industry. Says Timbre’s Armand Claassens: “Generally the supplier, broadcaster or facility does not have their own repair workshop facilities and they can’t handle the workload – or it takes too long and they are unable to follow up with on site

visits to repair system integration faults. “We undertake most repairs to any broadcast related equipment as well as doing call outs to repair faults on site. The need for independents is always going to be high and there are very few people able to cover the broad spectrum required by the industry. For that matter there are very few people or companies able to offer a complete turnkey solution internally within their company. Combined with sales, which you get because of offering a good aftermarket service, business is good.”

The right stuff Westpfahl believes there is probably scope for further expansion. “It’s just hard to find the right type of guy to expand the business. Sitting behind a bench fault finding is not everyone’s cup of tea.” Dexter Forbes of Specialised Broadcast Sales and Services (SBSS), based in the Waterfront Studios complex in Cape Town, agrees about expansion. “We have recently taken on trainee Alain Trebo who was previously at Timbre in Johannesburg as the workload over the past three months has increased dramatically,” says Forbes. SBSS is a supplier of broadcast

Armand Claassens of Timbre

equipment as well as the only official Sony accredited workshop in the Cape Town region. They supply answers and advice to questions clients may have with regards to ever changing technology. Some of the major agencies they represent and support are Sony, Editshare, Steadicam and Digital Rapids to name a few. “Our core business is to support the local television industry with maintenance and sales,” says Forbes, “and included in our client list is the SABC, e.tv and all the major studios and facilities. In fact I recently completed a major service to one of e.tv’s Sony MSW-M 2000P multi format VTRs. “The major suppliers it seems decided to outsource their repairs and maintenance some years ago because repairs down to component level (which I do) are time consuming and require ‘old’ skills. I have been in the business for 31 years so it’s second nature to me.” There seems little doubt that the market for the independent maintenance engineer is constant and growing. Little wonder really when one considers the amount of equipment out there and the (almost) monthly introduction of new technology. A growing market indeed.

| 3D

Q pr

dtead d e r s ue D l l dy S n r a A stek inst m fo By e oje t s ction sy

ost sci-fi aficionados will probably know Judge Dredd from the 1995 movie of the same name directed by Danny Cannon and starring Sylvester Stallone, Diane Lane, Rob Schneider, Armand Assante and Max von Sydow. The character of Judge Dredd however has its roots in the weekly British comic book 2000 AD, where he appeared as long ago as 1977. The 2011 remake of Judge Dredd, titled Dredd, is the first ever stereoscopic 3D film shot on location in Africa and it wrapped at the Cape Town Film Studios in Faure at the end of February. Starring Karl Urban (Star Trek) and directed by Peter Travis (Vantage Point) from a script by Alex Garland (28 Days Later), Dredd was shot entirely in 3D and was the first production to use the newly completed and much vaunted Cape Town studio complex. Local company Questek Advanced Technologies, which designs and installs visualisation solutions, played a part in the production by installing a Barco Digital Cinema Projector DCP 2K 20B and Xpand 3D system with 40 active X101 glasses at the studio. Questek’s George van Gils explains: “In this particular instance the installation

was for the 3D production of Dredd at the Cape Town Film Studios. The system was used to check the dailies and the grading on site. As this was all in 3D it was important to check the registration and other critical features of the stereoscopic images. “Because this installation was essentially to check critical elements of the picture as well as the convergence of the images it was extremely important to ensure that the projector was 100% aligned.”

Obvious choice Barco’s DP100 2K Digital Cinema Projector is a high-quality reference standard within the industry and its market leadership in postproduction for colour grading and Academy screenings for the most discriminating audiences in the motion picture industry made it the obvious choice. The DP100 advanced “Communicator Software” allows easy projector setup and functionality in both 2D and 3D applications, as well as sophisticated 2D and 3D “macro-control” for easy one-button operation, preferred by leading exhibitors.

3D glasses X101 glasses are professional quality, easy-to-use glasses for 3D cinema, part of the the XpanD 3D cinema glasses system for creating stereoscopic images based on active glasses technology. With this technology there are two slightly different versions of the same image – the right and left eye versions – are shown on the screen sequentially and the active glasses separate these two images by blocking each eye using liquid crystal shutters. The human brain then combines these images and creates the illusion of a third dimension to a viewer. The glasses must be synchronised with the image presented on the screen which is done via IR link. The synchronisation signal is fed from a digital projector to XpanD system which generates IR pulses to be received and recognised by the glasses. This approach enables best performance, including no crosstalk, wide viewing angle and immunity to head tilt. “We commenced the installation in November 2010,” say van Gils “and it was in full operation from then until the end of February this year.” Dredd is scheduled for release in 2012.

“The system was used to check the dailies and the grading on site. As this was all in 3D it was important to check the registration and other critical features of the stereoscopic images.” – George van Gils

April 2011 | SCREENAFRICA | 29

BROADCAST | Community television walks a rocky road in South Africa, as this non-profit sector struggles with issues of sustainability across a range of areas from licensing to finance. TAKING TO THE STREETS – Last year supporters of CTV marched on Parliament to demand government support for the station when it was under threat of closure.

Community TV strives for focus N By Mike Aldridge

Mike Aldridge is a media practioner with experience in television and print media. He holds an MA in Cultural and Media Studies and has been involved in community television since the mid-1990s, when he co-organised one of the first community TV broadcasts at the University of KZN. Since then he has been a researcher and activist in the field and is currently the broadcast manager at CTV. He writes in his personal capacity.

30 | SCREENAFRICA | April 2011

ot least of the problems facing the community television sector is to define quite what community television is or will be in South Africa, with several different operational models in action and the possibility of provincial community channels now on the cards. There are just three community stations currently on air, they are Cape Town TV (CTV), Soweto TV and Trinity Broadcast Network (TBN). Some organisations were licensed but have fallen by the wayside, while others have won licences but are yet to go on air. The oldest licensed community channel is TBN Africa, which is part of the American-based Trinity Broadcast Network evangelical empire. Despite its presence on terrestrial analogue broadcast in the rural Eastern Cape, the channel’s programming consists mostly of white American evangelical content. Soweto TV was the first community TV channel to gain a one-year licence and it was also the first to gain a ‘permanent’ seven-year class licence last year. The channel has a controversial management agreement with Urban Brew Studios, which provides services including equipment and training, advertising sales, funding and staff deployments at managerial level. Urban Brew is a subsidiary of the JSE-listed Kagiso Media, whose chairman, Murphy Morobe, also chairs the board of the community channel. Comments founding member and board secretary Meshak Mosiya: “Urban Brew was brought on board to assist in terms of capacity, especially around broadcasting. The board is responsible for programming and content. “We believe that if it was not for Urban Brew’s partnership we would not have succeeded in our intention to become a broadcaster and in terms of the viewership that we have achieved.” Adds Urban Brew MD Danie Ferreira: “It is absolutely advisable for community

TV initiatives to have people with the necessary know-how. Attempts at community broadcasts with no technical capacity have always failed.”

Implications

Soweto TV’s relationship with Urban Brew has enabled the station to sustain its operations and to build an audience of 1.2 million viewers, within its broadcast footprint and through its presence on DStv. But not everyone in the community TV sector is happy with the implications of this relationship. Says Karen Thorne, station director at CTV: “Certain quarters, in government and the private sector, try to create an argument that community television stations are not sustainable and need to be run by commercial operations. They are trying to build an argument for the commercialisation of community television.” Thorne believes that the Independent Communications Authority of South Africa (ICASA) is ultimately to blame for this situation because the regulator has not enabled local or provincial public or private TV channels. “As a result all eyes are on community TV with the expectation that community TV stations are to fill this gap and fulfill the public service obligations of a local public broadcaster along with commercial expectations.” She also slates ICASA’s lax licensing procedures for community TV. “If ICASA took community television seriously they would adopt the same procedures for community television licences as with e.tv – a proper call for applications and a proper adjudicating process. This would ensure that licences were given to entities that truly represent the community and have capacity not only to run an NGO but also to run a TV station.” CTV itself braved rough waters last year when its application for a seven-year

licence was initially refused by the regulator, resulting in a prolonged tussle that forced ICASA’s council to clarify its stance on a moratorium on community TV licences (due to digital migration issues). The station eventually won its class licence and boasts a monthly viewership of about 1.2 million. Meanwhile moves are afoot to set up community TV stations in other provinces. Platinum TV has recently been licensed in the Northern Province and Nelson Mandela Bay TV has been licensed in Port Elizabeth. Another initiative, driven by the Eastern Cape Development Corporation, aims to establish a province-wide community TV initiative there.

High costs A key issue facing community TV stations is the ongoing saga of high signal distribution costs. Says Thorne: “Since the IBA Act of 1992, successive regulators, and more recently signal distributor Sentech, have failed to put in place a tariff structure that takes into account public, private and community broadcasters, despite their legislative mandate to do so. “We have a ridiculous situation where ICASA issues community TV licences but the licensee is then either not able to get on air or is taken off air for failure to pay Sentech. “The precedent has already been established whereby the Department of Communications supports community radio transmission costs so there is absolutely no reason why this should not be extended to community television broadcasters due to their non-profit, developmental mandate.” The next hurdle for community TV is the country’s migration to digital terrestrial television (DTT) – but only time will tell whether this will be beneficial for the sector or not.

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RADIO |

Radio microphones By Cliff Graham

– a wireless orgy?

recent U2 concert. For these types of events ICASA issues temporary licences that are valid for a month. “ICASA will accept test reports of the relevant European standards, provided the testing has been performed at an accredited test facility. Control of this is difficult as illegal transactions do take place,” notes Visser.

here is little to no documentation available to explain the proper use of wireless microphones in South Africa, as Nicholas de Kock of Romanza Films recently found out. Says De Kock: “I’ve had a problem trying to find frequency numbers for the legal operation of UHF radio mics in South Africa. Most sales people can’t even tell me the frequency range for the equipment they are selling, or otherwise no-one seems to be selling equipment in the legal range. With online sales taking over as well a lot of the equipment is coming from the US – it’s like a wireless orgy.” After spending some time researching on the web, De Kock came across guidelines from the Independent Communications Authority of South Africa (ICASA) for the 2010 FIFA World Cup. But as this was a once-off event it did not help his dilemma.

Analogue to digital transmission switchover

The official view ICASA is governed by the Independent Communications Authority of South Africa Act and the Electronic Communications Act (ECA). Its mandate, among others, is to regulate electronic communications to ensure efficient use of the radio frequency (RF) spectrum. On the subject of radio microphone operation in South Africa, ICASA’s Gert Visser says: “If you operate in the 486 to 838 UHF range you should be OK. On the UHF waveband, 470 MHz and 862 MHz are now mainly used for broadcasting TV programmes. So frequencies between these should be clear.” The technical advantage to UHF is a frequency range that has relatively low levels of interference from technical equipment. Propagation conditions are also good, achieving high ranges and effectively penetrating buildings. De Kock adds: “I have been getting an increased amount of interference operating in heavily populated areas which has been affecting my production.” Visser is aware of the situation. “The problem does exist where a local church will order mics online, but this will only be discovered when they operate them. These illegal operators will be dealt with 32 | SCREENAFRICA | April 2011

FRE-QUING OUT – Nicholas de Kock

by our inspectors.” (ICASA may seal or seize the equipment.) Visser continues: “This is strictly enforced otherwise interference would be rampant. Suppliers and sales companies are constantly applying for licences for new products, so the fault doesn’t lie there. This applies particularly in the broadcast and film industries.” Radio microphones use very little power – from 10 to 50mW (a mobile phone uses up to 2W) and can achieve ranges of around 100m while retaining

excellent audio quality, which is sufficient for reporting purposes, sports and cultural applications. Local and foreign entities involved in the provisioning of electronic communications may apply for exemption from standard equipment type approval during the hosting of special events. On stage, these low power levels can still penetrate scenery, be picked up backstage and also maintain links with receivers without loss of quality when artists go out into the audience, as in the

De Kock says he would like to upgrade to the new Sennheiser G3 or Sony UWP-V1 lapel mics. “However South Africa’s digital switchover is also a concern even if it is a few years off as I would like my equipment to be future proof. The digital crossover in the US had a big impact on the wireless mic industry.” At present analogue technology requires a TV channel with a width (frequency requirement) of 8MHz to transmit TV programmes. 7MHz is needed for broadcasting the TV programme, leaving a gap of 1MHz used primarily by reporters with wireless microphones. In digital transmission, there will be four TV programmes in one frequency range replacing one analogue programme. In theory the digital frequency requirement for transmitting TV programmes is reduced to a quarter of that of analogue. This ‘saving’ will see 3/4 of the band theoretically freed up. These frequencies can be given to other services. One of the threats is mobile TV services broadcast on the DVB-T2-H standard, such as DStv Drifta for example. These programmes are transmitted in the UHF range, which is why many programme suppliers who until now could only be received on cable or satellite are pushing for the UHF range. Primary services like TV programmes have priority in the frequency range they are allocated. In the main, wireless microphones are a secondary service and are therefore of lesser importance when frequencies are handed out. Another factor is that in the near future the technical quality of TV is going to be improved from SD (Standard Definition) to HDTV (High Definition) which requires more spectrum.

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FUNDING | In the past year a record number of South African films hit the big screen, making it a bumper year for the local film into reality. Screen Africa asked some industry insiders whether a growing confidence in the local industry is making

Financing the local By Linda Krige

he most influential factor that encourages the growing number of local films is the Department of Trade and Industry (DTI) Film and Television Production Incentive. According to Karin Liebenberg, Director

of Incentive Administration at the DTI, they have seen more filmmakers embracing the DTI rebate since they lowered the threshold from R25m to R2.5m in 2008. “In numbers there’s a big shift,” says Liebenberg. The growth in the number of films approved for rebate since 2008 is remarkable. Between June 2004 and January 2008 16 South African productions and seven co-productions were approved. Between February 2008 and March 2011 this swelled to 93 South African productions and 38 coproductions. The total amount committed for local, foreign and co-productions more than doubled from R370m to R751m during the same period. According to Liebenberg they receive extremely positive feedback from the industry with regard to the impact of the rebate. “If it’s administered well it gives you the certainty you need to finish your production,” says Liebenberg. “It’s a large amount of money and it’s working well.” What’s not working well, according to Liebenberg, is filling the gap of the funds not covered by the incentive. “Many productions are approved but still can’t find the rest of the funding. This is where the bigger banks and the IDC need to fill the gap.” She says there is money to be made in movies, but the financial success of a film 34 | SCREENAFRICA | April 2011

will depend on how suitable it is for local audiences. “Not every film will make money, but definitely more and more films will start making money.” The rebate applies to productions with a budget of at least R2.5m, and it pays back 35% of qualifying production expenditure up to R6m, and 25% of expenditure above R6m with a maximum rebate of R20m. The rebate is paid in instalments during the production process and this depends upon reaching certain milestones. Liebenberg also confirms that the DTI is in discussions with the Documentary Filmmakers Association to make the incentive more accessible to documentary makers, whose shorter productions and lower budgets often disqualify them from the rebate. She says while they are willing to listen to the concerns of the industry, they have to follow a process and address capacity problems before a decision can be made in this regard.

Developing new talent The National Film and Video Foundation (NFVF) provides funding for the development and production of documentaries, features and short films. The head of production and development at the NFVF, Clarence Hamilton, says

an ongoing campaign to secure more funding for the industry was more focused and urgent last year in the light of the collapse of public service broadcaster SABC. The NFVF recently announced that it will receive an increase in government funding over the next three years. The extra allocation of money will

have tripled the NFVF yearly budget by the third year. According to Hamilton the NFVF already funds an increasing amount of productions. In September 2010 an unprecedented six feature scripts were approved for development while seven feature films and four documentaries were approved for production, in one sitting. This was attributed to the strong and productive NFVF development programme. However this caused some frustration, as some productions were approved but could only be financed later. Hamilton adds that many applications that couldn’t be approved due to funding issues will be revisited later this year.

Creating a better investment climate The NFVF is also part of a group of organisations and companies that have been in ‘very positive’ discussions with the National Treasury about Section 24 F of the Income Tax Law. This clause, meant to give tax incentives to film owners, was notoriously abused in the past leading to questions about the integrity of the incentive. Therefore the incentive is very seldom used. The industry group has been lobbying the treasury to make some changes to make it more accessible. According to Hamilton this will create a much better investment climate. He also sees more private investors getting involved as the industry reputation of being a high risk investment starts to change. He says there’s a transformation in the industry with more filmmakers writing movies for audiences, which will lead to films making more money. Among the projects that recently received NFVF funding for either development or production are Mama Afrika (about the life of Miriam Makeba); The Whale Caller; My Zulu Wedding; Stockholm, Zululand; Otelo Burning; Skeem; Zambezia; and How to Steal 2 Million. These projects are currently in different stages of development, pre-production and production.

Working towards a sustainable industry While the Industrial Development Corporation (IDC) has come under fire for not funding a sufficient amount of local productions, IDC Media and

Motion Pictures Business Unit head Basil Ford says much of the criticism has been based on hearsay that is:

“compounded by some disgruntled filmmakers whose projects were rejected by the IDC.” Says Ford: “Critics primarily based their income on earning fees through the production process without enough consideration for recouping capital for the IDC.” He says this approach is unsustainable. The IDC is pleased, says Ford, with its process of engagement in the industry, and has clarified its criteria and required documentation process to the point where it has approved funding to a number of filmmakers. According to Ford the IDC has funded 16 films over the past three years. This was done by providing funding through a range of financial products from loans to cash flow of pre-sales or gap funding to equity investment. “IDC is quite flexible in its approach and the type of funding will usually depend on the development impact of the project and the needs of the film.” Among the films recently funded by the IDC are the Leon Schuster box office hit Schuks Tshabalala’s Survival Guide to South Africa, Winnie, Zambezia and Khumba. Ford says there has been a significant increase in the number of applications from local filmmakers for locally developed films, particularly in the more commercial genres such as comedy, thriller and action films. He says applications for funding low budget films have also increased over the past three years, with a corresponding reduction in the applications for high budget

| FUNDING industry. Traditionally some of the biggest hurdles facing filmmakers have been finding the funds to turn their projects it easier for local films to get the financing they need.

film boom co-production films. “It is also positive that we are getting applications from filmmakers who have previously not considered funding from IDC. Our close working relationship with the NFVF has led to many young black filmmakers applying for funding to the IDC for the first time.”

More to be done Paul Raleigh, director at Film Finances, says he’s very pleased to see that local films are performing better. “However we still need to do a bit more to consistently celebrate that magical event called ‘net profits’,” says Raleigh. Film Finances South Africa helps

filmmakers by providing investors with a Guarantee of Completion, which protects them from budget overruns and ensures that the film is delivered to the distributer or sales agent. The DTI is a beneficiary to the Completion Bond and because of this they release the rebate funds to the production based on predetermined milestones. Raleigh says these milestone payments make access to funding easier, but many films produced locally have the same investors. He says that to attract new funders films need to be commercially successful. According to Raleigh they go the extra mile to assist producers to satisfy the requirements of a completion guarantee.

“It’s important to remember that we are in the business of providing completion guarantees and not in the business of not providing them,” Raleigh explains. While the track record of a producer applying for a completion guarantee is important, “where the producer is not experienced, we put together a team that can do the job, and at the same time encourage first timers into the industry — where sensible — into key positions,” says Raleigh. Some local films recently serviced by Film Finances include Skoonheid, Zama Zama, Skeem, Otelo Burning, Winnie, How to Steal 2 Million, Spud, Liefling, Smoke and Ochre, Platteland and A Million Colours.

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FILM |

Distribution: a changing landscape

he growth spurt experienced by the South African film industry is leading to changes in the local distribution landscape. While Ster-Kinekor Pictures, Nu Metro Films and United International Pictures (UIP) have traditionally dominated the distribution of both local and international releases, independent and boutique distributors are now working to carve out an increasingly bigger piece of local box office income for home grown filmmakers. Helen Kuun, known for the role she played in supporting the South African industry as local content head at SterKinekor, formed Indigenous Film Distribution in 2010 to help local filmmakers get their films distributed on a platform suited to Dan Jawitz their content. This boutique film distributor assists South African and African filmmakers with contract negotiations and marketing strategy. Kuun says there are now more options available to local filmmakers, although distribution will never be easy and requires a lot of resilience. She says as films get better, distribution will also become smoother. “The fact that there is volume in the local industry is changing the landscape.” She attributes the greater volume to the revolution brought about by digital filming and editing, and the Department of Trade and Industry (DTI) Film and Television Production Incentive, or DTI rebate. Kuun stresses that while theatrical release isn’t the best distribution option for all films, broadcasting in South Africa is expanding and there are now more DVD options available. Indigenous Films is keen on distributing films that are a first of their kind, like the local horror movie Night Drive. They look for movies that are authentic with high production value, including basics like a good script and story, convincing acting, competent directing and professional cinematography. However, she says quality is often not the only good indication of box office success. “In the end we have to look at which films are financially viable. Ultimately it’s about entertainment.” Indigenous Films recently released 36 | SCREENAFRICA | April 2011

Helen Kuun

Debbie McCrum

Clarence Hamilton Liefling die Movie, Night Drive and Paradise Stop, and will also release Platteland, How to Steal 2 Million, Mad Cow and Visa Vie in the first half of the year.

More support for distribution Dan Jawitz from Fireworx Media has been involved in film distribution and marketing for at least 15 years and is actively lobbying for distribution in South Africa as part of the Independent Producers Organisation (IPO) executive committee. He feels strongly that local films need to be protected from non-indigenous movies at the local box office. “All distributors need to work together so that our film landscape isn’t completely dominated by overseas films with huge marketing budgets,” says Jawitz. He proposes a subsidy from government to ensure that local films are distributed more effectively, similar to the DTI rebate that encourages local production. “Distribution needs to be supported as production has been,” he adds. Fireworx Media is also not a traditional mainstream distribution chain, but specialises in straight-to-DVD films and broadcast deals. Among the titles distributed by Fireworx are the South African feature comedy SWOP and documentaries such as Reflections on Xenophobia and Sea Point Days.

Jawitz explains that Fireworx is not a full distribution chain, but is planning to release three feature films in cinemas this year, either independently or working with Helen Kuun. According to Jawitz there are different markets for different films, whether DVD, Internet, television or theatrical release. “Once you establish the audience for the film, you can usually find the suitable platform.” He also emphasises that films need to be financially viable, but says distribution in South Africa is definitely getting easier. “There’s more receptivity from theatres and more media support for local films. There’s also a bigger choice of distributors now, with more independent distributors and more successes at the box office.” A remaining challenge for distributors, according to Jawitz, is that cinema audiences are still quite fragmented along racial lines, with only few examples such as Tsotsi that have successfully crossed over.

Intervention Another change in the local distribution landscape is the recent involvement of the National Film and Video Foundation (NFVF) that has traditionally only played a role in the development and production of films. The head of production and development at the NFVF, Clarence Hamilton, says they noticed that many NFVF funded films had very

By Linda Krige

short runs at the local box office. Despite attempts to sensitise filmmakers to what audiences want to see, there were no returns at the box office. The NFVF decided to intervene by using the 2010 film Skin as a distribution pilot project. Due to the heavy subject matter of the film it was expected to earn about R200 000 at the local box office. Hamilton says they started thinking outside the box and tried to tap into audiences not reached by normal distribution chains. The film accumulated R1m at the South African box office. According to Hamilton they learned valuable lessons from the pilot project and will attempt to replicate the success by distributing a very different film – the psychological thriller Retribution - in 2011. “We’re still experimenting to help our films recoup at the local box office,” says Hamilton. “We’ve got to get more South Africans to see South African films.”

Mainstream Traditional distributors, however, are still playing their parts in the South African industry. According to Nu Metro Films general manager Debbie McCrum they are in discussions with many local producers to represent their content, not only theatrically, but for home entertainment and television exploitation. In 2011 they will be representing Trevor Noah’s new title, Crazy Normal, taken from his Goodbye For Now Show and will be releasing a single DVD version of the Best of The Pure Monate Show in June. At the cinema Nu Metro recently released the critically acclaimed Life, Above All and also distributed local films Egoli – Afrikaners is Plesierig, Susanna van Biljon, I Now Pronounce you Black and White and The Race-ist in 2010. McCrum says a great success for last year was the release of Spud in December 2010. The film was released across all circuits and grossed just under R17m at the local box office. “It’s very exciting and encouraging to see film projects which cover various genres in film, from comedy to drama to musical, which truly bodes well for the future of local content,” says McCrum. “It is important to note that the films that are successful at the local box office are so because they have been made with a specific target market in mind – a market that the producers of these films have carefully targeted not only in language but also in culture.”

| FILM

and counting…

zansi Magic and Sukuma Media recently shot a 50-minute film called 48 Hours for release on DVD and on pay-TV broadcaster M-Net’s Mzansi Magic channel. Mr B wrote and directed the film. “When I presented the treatment of the film to Mzansi Magic they loved the story. They gave me two months to come up with the first draft of the script and then later gave me production approval.” The story for 48 Hours stems from a

A scene from 48 Hours

conversation between Mr B and his wife. “We had attended the Durban International Film Festival (DIFF) 2010 and my wife suggested an idea for a story that was fast paced and had a countdown. Initially she called it Last Hour but after a little research I noticed that there were a number of films with the same title. I discarded the title and started to write the story. I contacted a doctor friend of mine in the UK who conducted research to find me the perfect ailment to weave into my story – he suggested Gullain Barre Syndrome. From there I started building the story and exploring the dark nature of the human psyche.” The film follows a 48-hour period of a man who lives the perfect life but is then diagnosed with Guillain-Barre Syndrome – a deadly muscle disorder that results in acute paralysis. Mr B comments: “This sets up a very tense countdown where there is a flicker of hope that the disease can be cured and we see what lengths he will go to overcome this deadline. 48 Hours deals with

48 HOURS IN 50 MINUTES – Mr B

his brother, wife and family and the deep psychological issues that are involved.” The budget of the film is R100 000 and although it is tight, Mr B says: “It still makes it worthwhile to shoot a film. We have interest from two distributors and are weighing in on more lucrative offers. “In the film we went for a more conventional style of direction. The scenes are dialogue and character driven. “Because the words are very important we’ve kept away from too much camera movement. We want to emphasise the emotional journey of each character and how they react to a ‘sticky situation’. The style is slow paced at the beginning with static shots. It gradually becomes faster paced as the tension mounts and more camera movement is used.” The film was shot in 12 days in and

around Johannesburg. “We had some difficulty finding some of the locations, especially the medical centre with a free operating theatre. The other location — the park — was tricky as the only suitable park had a location fee of R7 000 which we could not afford. So we shot in the back garden of one our other locations. The crew was supportive and passionate about the project and included many people that I have worked with before,” notes Mr B. He says that the highlight was the great improvisation from the actors. “This added so much flavour to the film. I prefer an actor who can replace dialogue with action. The tension comes from our lead characters and their emotional rollercoaster ride. Our lead actor, Karabo Lance, really pulled it off.”

April 2011 | SCREENAFRICA | 37

FILM |

We all know that the South African film industry is hampered by tight budgets and that we don’t have Hollywood’s mega buck budgets. Therefore filmmakers need to be conservative about how they use the money allocated. One key question is how big should a crew be? Karen van Schalkwyk posed this burning question to some local producers and filmmakers.

he budget, locations and ambitions all have a role to play in determining the size of a crew for a particular project, says Ross Garland of Rogue Star Pictures (Spud, Confessions of a Gambler, Big Fellas). “Our crews range from 25 to 80 people. There is an ideal notion in the new digital era of a radically small documentary style crew, but this will only work on specific productions. It is also difficult to sustain a small crew for any lengthy period of time as the team quickly becomes exhausted and de-motivated. New technology does not make the six day week any less gruelling.” Producer, writer and director Bonginhlanhla Ncube, also commonly known as Mr B of Sukuma Media (48 Hours) maintains that the most important aspect when deciding on crew size is the experience and expertise of each crew member. “Film is an art and

38 | SCREENAFRICA | April 2011

filmmakers are content workers because they love what they do. Therefore attitude and passion for a film forms the underlying factor rather than an impressive CV. Experience counts a lot but with the rapid changes in technology, I doubt whether experience in outdated equipment will really help.” Up-and-coming young filmmaker Tracey-Lee Dearham-Rainers of The Media Gate (Do For Love, Fikile, The Burning Man) explains that they work with a skeleton crew. “I think the ability to multi-task is critical. The size of a crew will really be informed by the production budget.” Danie Bester of The Film Factory (Bakgat1/2; Night Drive) says they use a combination of experienced and novice crew which has worked well for them in the past. “My main consideration is not experience though, it is attitude. Negativity can poison an entire crew and spoil the movie making experience. Secondly, I try and get the balance right between experience and youth. Eexperience gets the job done so much faster but youth brings an element of experimentation and flexibility which can lead to interesting solutions.”

Choosing crew When it comes to choosing crew, Garland believes compromise is important. “There are only a handful of positions – DOP,

sound recordist, art director, and so on, but you have to know where to compromise as these are key positions that must be filled by the right people. Ultimately you always want the best person for the job. The best crew are in demand and not always affordable. So you have to make some difficult choices with local films in terms of how you spread your resources. However it is often the young and hungry that bring a new dynamic to a set and skills and training are critical to pass on.” Experience and desire are key aspects when selecting crew, says Mr B. “Quality is imperative in our industry and it is sad to say but this is often betrayed by budget. However for the industry to evolve favourably, you must consider mixing the experienced with the hungry, otherwise in a few years the industry might as well be on its knees because the film gurus did not do a ‘skills transfer’.” For Dearham-Rainers experience and attitude are what counts. “I need to know that a crew can do what I need them to do and want to learn and try new things. On some of our projects we brought inexperienced ex-film students with talent on board who were also keen to learn. This created a new level of creativity for the entire team.”

Small or big? On the question of whether smaller or

larger crew are more advisable, Mr B is in favour of bigger crews. “Smaller crews might be affected by the pressure as each crew member tries to think with different hats on. A film is like an organisation, a company with very specific departments that employ specialists.” Dearham-Rainers has a different point of view. “I think a tight crew can do amazing things because they know each other’s strengths and weaknesses and are small enough to do things quickly. Tighter teams work better in our local environment.” Bester says that he has never worked with massive crews but he looks for mobility, flexibility and adaptability when shooting a project. “Getting bogged down with logistics and red tape is a real drag. I love a set where the director and DOP can grab the camera, leave the crew and shoot a cutaway or two. If you need 17 people and eight trucks to do a simple cutaway or sequence you should rather be working in commercials!”

Crew recognition South African crews are recognised as some of the best in the world. Mr B says that the passion and expertise of South African crews is world class. “Take the money problems away and South Africa has great expertise and daredevils that will not sleep until they get it right. This expertise is evident in our numerous international productions.” Dearham-Rainers agrees and maintains that the South African work ethic and a positive, adaptable attitude have established a high reputation for local crew. “South African crews are sharp and understand this industry and the disciplines.” Bester summarises why South African crew are internationally sought after: “Hard work, long working hours, specialised and skilled individuals, plus the availability of good technology and no unions.”

| AUDIO

Musical notes

By Andy Stead

Johannesburg based Humble Pi is a collaboration between South African musicians Grégory Reveret and Tasha Baxter. Both are composers in the local commercials and film industry and take pride in creating music that breaks the mould. “We like experimenting and developing ideas,” says Reveret, “as we don’t want to be categorised with a certain type of sound. Tasha and I would far rather be asked for our opinion and suggest options. We are always happy to take time out and sit with the creatives and discuss the project at length to find a way of enhancing the final product.” They recently moved to the sixth floor of Phenyo House, formerly the old Samro house in Braamfontein. The composer duo are filling what they consider to be a huge gap in the market where creativity is paramount. They have been involved in some top television ads, including the recent Samsung ads and those of Loxion

Kulca and Virgin Money. Reveret’s music composition and sound design is well established and includes working as a producer called T.O.B, signed to US based record label MutiMusic in San Francisco. He mixes mainly Dubstep and Drum n’ Bass as genres. Solid Steel / Ninja Tune is one of the biggest labels around for this genre of music and they have a radio show on BBC Radio 1 on which Reveret was featured. Baxter has

two SAMA awards and is a singer/ songwriter who has worked with international giants such as Noisia, Spor, Feed Me, Ferry Corsten and Chasing Shadows. She believes that her skills as a composer in the television industry make the perfect marriage of true musicianship and execution in the advertising and new media world. “The most important thing for me is to interpret the client’s brief and come up with something that is truly individual,

creative and will of course assist in selling the product,” she says. Humble Pi has received a number of awards which include a Gold Loerie, a Craft Loerie and a nomination for a Cannes Lion Gold. “We really want to live the Humble Pi image,” concludes Reveret. “It is our philosophy – to be humble – and yet hugely creative and experimental.”

BREAKING THE MOULD – Grégory Reveret and Tasha Baxter

Tanzania in focus

Tanzanian production company has commissioned Cape Town-based Dermod Judge to shoot a 50-minute investment video for the Tanzanian government. Benchmark Productions will produce the film, which aims to position Tanzania as an investment destination. Says Judge: “It is a very ambitious production aimed at investors all over the world. The video will position Tanzania as a stable country which has been transformed into one of the most business-friendly countries in East Africa. It covers the main sectors: agriculture, mining, infrastructure and tourism, all of which have a variety of investment opportunities.” The video will include an interview with the Tanzanian president Jakaya Kikwele and the CEOs of the main investment organisations. Judge explains how the project came about: “To meet the stringent requirements of the project Benchmark Productions conducted research and came up with Bjorn Rudner with whom I have worked with extensively in the past. When Bjorn heard that they were battling to get a decent script, he suggested that they contact me.”

On receiving Judge’s CV Benchmark Productions hired him and flew him to Tanzania for a week. “I came up with the concept while holed up in a wonderful Robert Louis Stevenson-type hotel on the beach north of Dar es Salaam,” says Judge, who did a lot of research to prepare for the shoot. He says: “I had received official reports and overviews, interviews and promotional brochures before I travelled to Tanzania. Upon arriving I moved into the hotel and worked on the concept and came up with an overall slogan ‘Reap the rewards’ illustrated by a sickle cutting through a bunch of wheat or grain ready for harvesting. I presented the concept,

the breakdown of the modules and a rough treatment to the CEO of Benchmark Productions and got the go BUSINESS FRIENDLY – Dermod Judge ahead,” says Judge. 10 distinct modules, each offering a The shoot will take place over three focused view of the various elements. The weeks in various regions of the country video will be distributed on DVD to including Dar es Salaam, Arusha, selected investors.” Ngorongoro Crater, the Serengeti and Judge explains some of the Zanzibar. technicalities of the shoot. “There are over The video will be translated into six 90 separate shots on the shot list and only different languages. “We want to access a few of them can be left to a second unit investors from all over the world including to shoot. I am looking forward to China, Russia and some European shooting a beautiful Masai female singer countries. There will be an hour’s worth who will perform a wordless song, while of material; it has to be accessible and showing off the attractions of gold, offer various levels of information. The diamonds, gemstones and tanzanite.” website home page will contain icons for April 2011 | SCREENAFRICA | 39

AFRICA |

Reports by Martin Chemhere

Big future for VOD in Africa An online video on demand (VOD) service devoted to African content will launch in June.

daily connection with their homeland. Co-founder Vincent Lagoeyte and I are marketing to an estimated 50 million fans ased in Dakar, Senegal, of African film AfricaFilms.tv was worldwide.” created to provide a BROADBANDING AFRICAN As unique revenue platform FILM – Enrico Chiesa AfricaFilms.tv, for filmmakers from the continent. is based in Currently in the testing phase the Senegal it was decided to focus first on service will launch in June. West Africa to take advantage of the AfricaFilms.tv CEO Enrico Chiesa region’s efficient broadband. Another predicts that VOD has huge potential in reason for West African focus is because Africa and believes African filmmakers the company’s cinema-on-a-motorbike should adapt to new technology in today’s concept mobiCINE (www.mobiCINE. fast changing environment. org) was first launched in Bamako and He says: “AfricaFilms.tv is putting Dakar. together a big catalogue of content for As West Africa is French-speaking marketing, especially to the African about 200 hours of the 300 hours of diaspora where Internet enthusiasts want

Tackling climate change on film

content signed to AfricaFilms.tv is in French. An office in Paris handles AfricaFilm.tv’s contracts as Chiesa believes French laws are the ‘most secure’ for rights. In terms of sourcing content Chiesa has engaged a network of ‘friend-festivals’ that will act as scouts for the platform. One of these is South African filmmaker Rehad Desai’s Tri-Continental Film Festival. AfricaFilms.tv is also interested in non-profit festivals in Africa, US and UK and is extremely keen to find key partners to help identify a new generation of African directors. Expansion into the rest of Africa will follow a country-by-country logic as titles are signed. So far six countries are on board. “It’s a slow process,” notes Chiesa, “as we like to build personal business relationships. We avoid go-betweens because it can lead to legal conflict. But we do work closely with producers’ guilds where they exist. There are too few of these unfortunately.” AfricaFilms.tv’s presence at Discop in Acrra earlier this year opened deals with a dozen filmmakers from Nigeria and Ghana. More is expected with Kenyan and East African films with obvious interest in South Africa and the southern African region. Chiesa is upbeat: “Some

very good animation is being created there and the future evolution of mobile Internet will make this genre a goldmine. The contract issue in South Africa is very complicated as most producers don’t own full rights to their programming. The same applies to rights of Nollywood films as these are tangled up between producers and marketers.” He adds: “Therefore we focus on countries where things are simple, and as long as they have extended diasporas, we try to sign the bestselling titles, and also the unknown low budget treasures made by young directors. We don’t say no to first films as we want to surprise the audience that come looking for classics, by showing new content they’ve never heard of. This is how audiences become addicted.” Chiesa maintains that African producers now understand that legal VOD is the outlet of the future, and that it can help them recoup a portion of the millions lost through piracy. He has received a particularly good response from documentary filmmakers who say that they have no way of generating revenue and therefore nothing to lose. Most feature film owners, on the other hand, have employed a wait and see attitude. He cites the motivation behind AfricaFilms.tv as: “Our love for film and for Africa, our passion for information technology and our lifelong commitment to help independent rights owners.”

according to Resource Africa UK. The non-profit organisation’s specific objective is to communicate local climate change adaptation through the use of community based theatre, photo story techniques, a cross-media website(www. resourceafricauk.org), case study video documentaries and a ‘toolbox’ of information and methodologies. This will provide those involved communities invaluable information on climate change. Resource Africa UK films with Sony A1E and ZI HD cameras and uses a Nikon D7000 for stills. To date the UK registered organisation has gathered photographic and film stories in several rural African communities, which are available for exhibition and screening to interested

organisations and major conferences on climate change. Edkins previously directed an adventure tourism documentary on pony trekking in Lesotho and was the cameraman on the audience award winning (Encounters 2008) documentary Shamila’s House. He worked as a production assistant on the multi-award winning Ask Me, I’m Positive documentary on HIV/Aids education in Lesotho and part of the Steps for the Future series (www.steps.co.za). “I want to let the world hear African voices and African stories. My aim is to use film as a tool for all Africans to learn about the world, about issues such as HIV/Aids and climate change,” says Edkins.

GREEN THEATRE – The Bennde Mutale Theatre Group

he Resource Africa UK team is not resting on its laurels since its documentary Climate Theatre scooped awards at not one but two events last year. It won the Water, Climate...Action video contest at the Climate Change Summit in Cancun, Mexico in November and the Royal Commonwealth Society UK Vision Awards in October. Climate Theatre focuses on the Bennde Mutale Theatre Group, the first community-based theatre group established by Resource Africa UK and located in the Kruger National Park which borders South Africa, Mozambique and Zimbabwe. The non-profit organisation with an interest in natural resource management has already begun shooting a longer 40 | SCREENAFRICA | April 2011

version video documentary film in Namibia, based on a Caprivi Theatre group. The film, as well as photographs on climate change, will be showcased at the forthcoming climate change meeting — Conference of the Parties (COP17) — in Durban, South Africa in November. The new documentary was written by Sara Chitambo and producer Astrid Westerlind Wigtrom and directed by Thabiso Max Edkins and Chitambo. It reveals a community vulnerable to climate change and tells the story through theatre. As one of the most exposed continents where the impacts of climate change will be most visible, Africa will experience widespread consequences in terms of the livelihood of rural communities,

| AFRICA

Guerrillas in the midst

African cinema struggles to secure funding but this has not stopped the endless stream of compelling feature films coming from the continent that show talent and ingenuity. Yogera (Speak), the latest offering from the Ugandan guerrilla filmmaking collective ‘Yes! That’s Us’ (YTU), is a perfect example of this, writes Simba Nyamukachi centred on story treatment and the unfinished screenplay with the directors placing emphasis on improvising dialogue. “We held extensive workshops and spent a lot of time with the crew from Deaf Link to learn sign language and bring across the authenticity of being deaf and mute in Kampala today,” says Tayler. The film also features a number of deaf mute actors in minor roles.

Uganda / South Africa co-production, Yogera, has already begun generating a buzz at this year’s international festival circuit after screenings at the Goteborg International Film Festival (GIFF) and at the International Film Festival Rotterdam (IFFR). Gertjan Zuilhof, IFFR proggrammer, found the movie to be a unique production and said: “Unlike the melodramatic acting in the Nigerian Nollywood films so loved in Central Africa, this low-budget guerrilla drama is striking for its restrained style.” YTU departed from the melodrama usually associated with African films by adopting a neorealist style of shooting. “We wanted an intimate portrait of our character in her world with naturalness and authenticity,” explains James Tayler, YTU writer / producer / DOP. Yogera, an urban social-realist drama, is a tale of Hope, a deaf mute who runs away from the countryside to live in Kampala with her twin sister (G), who is

Finance

not yet ready for the responsibility of the big city. After a fight with her sister, Hope runs away and wanders around the city experiencing the challenges and cruelty that Kampala holds for a person like her. To make Yogera’s narrative convincing the film producers held a month long acting workshop with the cast. This

Yogera was financed by two independent production companies – Deddac (Uganda) and Switch Media (South Africa) – as well as the Goteborg Film Fund and Arts Moves Africa. It was made for just under €10 000 (just under R100 000) using cost-saving guerrilla filmmaking tactics. “Shoot it fast, shoot it cheap and use a skeleton crew,” says Donald Mugisha, a Ugandan writer, producer and founder of YTU. “We shot in HD (High Definition) with a Panasonic HVX200 but we could not afford P2 cards to record on so we recorded directly onto a MacBook Pro laptop on the go. It was

Keita – a pioneer in Niger

iger’s leading female writer / director Rahmatou Keita is currently working on two films, Wanna Kumal (The Wedding Ring) and I Have a Dream. The first is a fiction feature film in which she hopes to cast African American singing sensation Lauryn Hyll. I Have a Dream is a documentary on the return of democracy in Niger. The films are produced by Keita’s Sonrhay Empire Productions. Al’lèèssi... an African Actress, a documentary feature produced by Keita in 2004, is her first feature length film. The word al’lèèssi means “fate or destiny” in Songhoy (or Sonrhay) a language spoken in West African countries like Niger, Mali and Benin. It relates the story of the pioneers of African cinema through the first professional actress of the continent. The 69-minute documentary, shot on 35mm, has been distributed in France by Unzero Films. It has won several awards including: Audience Award – Black Movie Geneva (2004); Best Documentary – Montréal’s Film Festival Vues d’Afrique (2004); Best Documentary – FIFAI 2005; Sojourner Truth Award – Festival de Cannes 2005; and African Achievement Award – Festival de Cannes 2005.

Keita studied philosophy and linguistics in France and has produced 10 documentaries for television and four under Sonrhay Empire Productions. She also writes a television series Femmes d’Afrique (Women from Africa). Says Keita: “When I was a little girl cinema was like magic in Niger. In Lakuruusu, my neighborhood, the Queen of Sheba and Cleopatra, who were African queens, were portrayed as white women. They looked like Gina Lollobrigida and Liz Taylor. “In those days cinema was about white men who were portrayed as having somewhat of a divine nature. Images had such power that we did not doubt what we saw on screen, until the day African actors appeared on the screen. The African women were not vamps and the men were unlike any of the Hollywood stars we were used to watching. They were ordinary people with a normal tan and normal features. People were shocked.” Keita says women and men in film in Africa have the same problems but there are very few women in the industry. Born in Niamey, Niger, Keïta is a daughter of the Sahel (the grasslands south of the Sahara). She is Fulaani, Songhoy and Mandingo. As she puts it,

TRAILBLAZER – Rahmatou Keita

she is “of the true essence of the Sahel”. With her dreams of becoming a writer and a movie director in mind, Keita first

very challenging running around with a laptop connected to a camera but we all enjoyed it.”

Hidden camera To avoid drawing attention while filming in the streets of Kampala the team had to keep their camera hidden in a cardboard box with a peephole. “We would set up without anyone noticing and then shoot on a long lens and get the actors to pop in from a completely different direction and sort of blend in with the street scene,” explains Tayler. “This presented problems as the shoot involved city shots, moving through crowds of people and motorbikes and taxis.” After making the rounds at the local international film festivals Yogera will be released on DVD. The DVD package includes subtitles in English, French, Arabic and Portuguese. The bonus features will include a Yes! That’s Us research documentary, interviews and music videos for songs featured on the film soundtrack. Screenings will also be held in several township halls in Uganda.

worked as a journalist. From 1987 to 1993 she worked on French and international television stations and was the first African journalist (including the diaspora) to appear on French television. She was also the first to get the most coveted 7 d’Or Award. Actually she received two – for the television magazine’s team L’assiette Anglaise on the French television channel Antenne 2 in 1988 and 1989. In 1993 she decided to spend more time on her true passions: writing and directing. She wrote SDF, sans domiciles fixe, (Lattès 1993), a book about the homeless in France. She has since been involved in documentary films. Sonrhay Empire Productions is based in Niamey and has been established for 12 years. Her country Niger is credited as the first in Africa (outside Egypt) “to build a cinema industry”. – Martin Chemhere April 2011 | SCREENAFRICA | 41

AFRICA |

By Martin Chemhere Between 2009 and 2010 more than 12 prominent African filmmakers passed away, inflicting a heavy blow to an industry in great need of expertise and development.

Samba Félix N’Diaye (Senegal, 1945–2009).

Known as ‘the father of the documentary film’, N’Diaye studied Law and Economic Sciences and then took film classes in Paris (University of Paris VIII and École LouisLumière). His last documentary film Questions à la Terre Natale (2007) brought a number of well-known African intellectuals to explore the plight of Africa. N’Diaye left a legacy of 25 documentary films.

Adama Drabo (Mali, 1948–2009).

Tahar Chériaa (Tunisia, died 2010)

Referred to as the ‘Father of Tunisian and African cinema’, Chériaa was appointed director of cinema at the Ministry of Information from 1962 to 1970, after entering the film industry in 1952 and joining the Louis Lumière Film Club of Sfax. In 1966, he founded the first Pan-African and Arabic festival – The Cinematographic Days of Carthage – and occupied the position of Secretary General untill 1974. Chériaa worked as an expert on Arabic culture, cinema and television at UNESCO from 1963 to 1974, and became film critic in 1956. He was honorary chair of the Pan-African Federation of Filmmakers (FEPACI).

Mahama Jonhson Traoré (Senegal, 1942–2010).

His interest in cinema led him to the Paris-based Conservatoire Libre du Cinéma Français, where he graduated in 1965. In 1968, he made his debut film Diankha-bi. During his time Traoré had extensive film credits for about 20 well-acclaimed works in all genres. He was one of the initiators in 1969, in Burkina Faso, of the African Film Week, the forerunner of today’s FESPACO. Traoré left behind an unfinished film project, aka Nder.

42 | SCREENAFRICA | April 2011

Born in Bamako Drabo joined the National Film Production Centre in 1979 to work as assistant director with filmmaker Cheick Oumar Sissoko on the film Nyamanton (1986). He made the short film Nieba, la Journée d’une Paysanne (1988) before collaborating again with Cheick Oumar Sissoko on a feature film Finzan (1989). Drabo made his debut feature film Ta Dona (Au Feu!) (1991), which screened at the Locarno International Film Festival and was awarded at FESPACO 1992. Five years later he made Taafé Fanga which won several prizes at festivals including Cannes, Tokyo and Ouagadougou. He died after completing his last feature film Fantan Fanga, co-directed by fellow Malian filmmaker Ladji Diakité.

Désiré Niamkey Écaré (Cote d’Ivoire, 1938–2009).

Actor and scriptwriter Ecare’s films include Visages de Femmes (1985), deemed ‘scandalous’ in Africa but acclaimed in France where it was awarded the Fipresci Prize at that Cannes Film Festival. He went to France in 1961 where he took theatre courses and joined the dramatic art centre. Soon he embarked on film directing while continuing with his stage career. Écaré wrote many books and periodicals on African cinema.

Tierno Fati Sow (Senegal,1941–2009)

Fati Sow collaborated with Ousmane Sembène on the film Camp de Thiaroye (1987) by writing the dialogue. They jointly won the Jury Grand Prize at the Venice Festival (Italy) in 1988. He had plans for a feature film which was to start shooting in early 2010, as well as a testimonial book on Sembène Ousmane, who was his companion for more than 30 years. Born in Thiès, Senegal, he is among the pioneers of Senegalese filmmakers of the 1960s.

André Come Ottong (Gabon, 1964–2009)

A self-taught filmmaker, he was a director and producer who self-funded all of his works. Ottong was a winner at the 21st edition of FESPACO of the International Planned Parenthood Federation (IPPF) Prize, with his feature film Confession Finale. At FESPACO 2001 he presented an outstanding series La Chambre des Filles which won a prize. In 1980 he joined a dramatic art group where his passion for cinema developed and led to the initiation of the Ligne Equatoriale film school in the 1990s.

Amadou Bourou (Burkina Faso, 1951-2010)

Born in Mali, Bourou received a BA at the University of Ouagadougou, Burkina Faso, before leaving for France. There he made his stage debut in 1972 and then cinema in 1991. He acted in many blockbuster films such as Silmande by Pierre Yaméogo, Le Monde est un Ballet by Issa Traoré de Brahima and Quand les Eléphants se Battent by Abdoulaye Dao.

James CampbellBadiane (The Gambia, 1932–2010)

Campbell-Badiane shared the stage with well-known actors like Yves Montand, Eddie Constantine and Jack Nicholson. He later played veteran Léopold

Abdou Diallo in La Dette, a television film scripted by French academic Eric Orsena. He appeared in the films Le Prix du Pardon (2002) by Senegalese Mansour Sora Wade and Le Sifflet (2005) by As Thiam. Campbell acted in about 30 films and 10 plays.

Sotigui Kouyaté (Mali, 1936-2010)

Born on 19 July 1936 in Bamako, Mali, Kouyaté’s career in cinema started in 1968 when he acted in several films in France. Kouyaté won the Tanite d’Or for lifetime achievement in 2008 in Tunis, the Silver Bear for best actor in 2009 in Berlin, and Best Actor for Namur, among others. He also created music for seven films and played different roles in more than 40 films.

Mustapha Dao (Burkina Faso, 1955-2010)

Born in 1955, Dao studied Humanities at the University of Ouagadougou before attending the African Institute for Film Education (INAFEC). He worked at the national television station and at the Burkinabé Film Office. Dao was among the few filmmakers in Africa devoted to films for children. His debut short film A Nous la Rue on street children in Ouagadougou, received critical acclaim. He made other films including Le Neveu du Peintre, L’Enfant et le Caïman and L’oeuf.

Dominique Zeida (Burkina Faso, died 2010)

Zeida received training in direction at the State Film Institute in Russia. In 1991 he returned home with the documentary film Une Chanson à Deux Voix, about the tragedy of African mixed-race children prevented from leaving the Gulag. He acted in the film Mooladé by Sembène Ousmane and produced about 10 documentary films and several series.

| AFRICA

Dignifying Africa through film

By Martin Chemhere

AFRICA RE-IMAGED – Owen Alik Shahadah

otherland is described as a very powerful documentary about Africa as it fuses history, culture, politics and contemporary issues, while telling a new story of a dynamic continent. “From the glory and majesty of Africa’s past through its complex and recent history, Motherland looks unflinchingly towards a positive Pan-African future. Its story is carried through breathtaking cinematography, a fluid soundtrack and a beautiful illustration of global African diversity and unity. “If you ask someone to close their eyes and you say ‘Africa’, the images that will swamp their mind are of Aids, famine and war. Poverty, death and destruction are images reinforced to perpetuate the cycle of defeat in the global African mind, all via the conduit of mass media. Motherland deals with

the African narrative in dignified terms. This reversal requires a re-imaging of the continent to restore African agency and rebuild the self-esteem of a people who have been victims of an ongoing holocaust that is physical, economic, spiritual and cultural,” says Shahadah. Produced by MK Asante Jr the film features South African President Jacob Zuma, Ethiopian Prime Minister Meles Zenawi, African American historian Dr Molefi Asante and political scholar Dr Ali Mazrui among other prominent Africans in Africa and abroad. Shahadah explains: “From the onset of modern history, Africa has played the devil in every tale: the savage, the cannibal, the heathen, the immoral and the mindless sub-human. So the reason for entering into this seven-year project was to make a film to end all lies about Africa, by contributing an authoritative singular body of work crafted and owned by African people. At the same time the film satisfies the ultimate academic threshold but without diminishing its entertainment value.”

The aim of the film is to create clear holistic debates that are solution driven and that merge to create a Pan-African cinematic experience, which testifies to the potential of what can be achieved when Africa speaks with a unified voice in the vein of self-determination. The central agent in this documentary is the African voice. Motherland was shot all over the world including Africa. Shahadah says that the primary market for Motherland right now is in the US and that is so for economic reasons. He reckons that African Americans as a group are one of the largest economies today and along with their buying power there is an awareness and appreciation of black consciousness documentaries. “Our multi-award winning film 500 Years Later was part of the same project and its audience is our primary market.” He adds that distribution in Africa is still a major challenge due to the lack of infrastructure and government will to protect and nurture media growth.

Jacob Zuma in Motherland

“Copyright is a major problem along with the colonial mentality which still occupies places like Kenya and South Africa. It also seems that the truth is not politically correct. We plan to put pressure on public service broadcasters like the SABC to acquire this documentary for national broadcast.”

Unique insight

As a student in African affairs Shahadah had a unique insight into what to include in this narrative. “Motherland crosses the gap between what intellectuals all discuss and what the people feel. Bridging this gap required two disciplines – firstly the scholarly study of Africa and secondly the African aesthetic of storytelling.” Motherland has won two awards – Best Documentary at the Zanzibar Film Festival 2010 and Best Board of Directors Award for Documentary at the Pan-African Film Festival 2010. “We are not pushing the film festival circuit. Direct marketing is where most of our energy is being spent. Film festivals with few exceptions are deeply prejudicial when it comes to African content,” says Shahadah. Halaqah Films is a 13-year-old multinational company with outposts in the UK, US and South Africa with agents in Ethiopia and Nigeria. It has produced four mainstream films – Our Story Our Voice, The Idea, Motherland and 500 Years Later, and numerous other media products including visual media for various clients.

| CONTINUED FROM PAGE 1

SA at Hot Docs attend Hot Docs,” explains Groenewald, who is co-ordinating the DFA delegation. “We hope to build relationships with similar industry bodies at Hot Docs as we’ll meet up with distributors and other players. We have been offered a page in the Hot Docs Industry Guide to profile the DFA and our films are included in the Digital Doc Shop.” Two members of the DFA delegation will sit on a panel on the state of documentary filmmaking and coproduction in South Africa. The South African delegation will participate in Hot Docs’ International Co-production Day on 2 May. All four DFA delegates will also attend the event in their personal capacity. Groenewald will represent her company Plexus Films and Afrikaaps, a Plexus Films / Glass House NL co-production,

Unified voice

will be profiled at the on-line Doc Shop. Other projects Groenewald is taking to Hot Docs are King Naki, directed by Tim Wege and produced by Miki Redelinghuys; I Afrikaner, a Plexus Films/ Big World Cinema co-production directed by Annalet Steenkamp and Ghoema, a film by Sara Goveia, Angela Ramirez and Calum MacNaughton. Shadow Films’ David Forbes’ 2010 Durban International Film Festivalwinning The Cradock Four will be featured at the Hot Docs Doc Shop. “I’m also arranging a private screening of the film in Toronto. On the distribution side I will represent new documentary films including: Uprising of Hangberg (Dylan Vally and Aryan Kaganof), Mandela: Prisoner to President (Peter Davis), The Battle for Johannesburg (Rehad Desai) and American Foulbrood (Carlos Francisco),

among others.” Forbes will present two of his own projects, Marry-Ann (the story of a young girl’s journey to womanhood during South Africa’s transition to democracy, shot over 18 years) and the one hour documentary, Glenmore. Bonny Hajj will be representing her company Bonny Isaacs Productions and her film, Instruments of God, which is currently in pre-production with the NFVF. “The project is the result of two years of research and development and takes a hard look into drug addiction and a little known African herbal cure, which offers opiate addicts a 98% success rate with no withdrawals,” explains Hajj. Ryley Grunenwald will be scouting for an international sales agent for The Dawn of a New Day, about a South African

surgeon who wants to join a hospital ship providing free surgeries to the poor. The documentary is supported by the NFVF, the Gauteng Film Commission and won Best Pitch at the 2010 Miradasdoc Market in Tenerife. Another South African attending Hot Docs is Simon Taylor, who will look to source international financing and sales partners for Periphery’s film Progress, as well as a project in development, Bread and Water. NFVF head of Production and Development Clarence Hamilton will be one of three NFVF delegates attending Hot Docs. “Our main purpose will be to try to assess the suitability of the festival as a potential international market for South African content. We are committed to improving the potential and exposure of South African documentaries.” April 2011 | SCREENAFRICA | 43

Continued from page 1 | CT locations stalemate We have had meetings with the City and they are looking at increasing the Permit Office staff and extending office hours. There have been glitches with the implementation of the Permit Office’s technology plus the staff needs training.” Lillie admitted that the inaccessibility of locations was a huge issue. “However, locations aren’t under the CFC’s control – they are controlled by the land and property owners, be they private or municipal. It is up to commercials production companies and stills companies to make sure that the locations they book for clients are available for the shoots. But the CFC does need to educate the public about the economic benefits of commercials and stills shoots. We are commissioning a show reel to this end.”

Negative incidents CPA chairperson Peter Carr notes that CPA members have already reported incidents where their foreign clients shooting in Cape Town have encountered location problems and are vowing never to return. He says: “Things are so bad now that if you’re servicing a foreign shoot you have to consider the (uninsurable) risks of shooting in Cape Town. The solution is to take the shoot somewhere else where it’s safer for clients. Issues around location inaccessibility have grown significantly over the years to the extent that it’s now virtually impossible to shoot on Cape Town beaches and these are among what we market to the foreign producers. “We’ve noticed that the CFC is very good at announcing things, such as the road closure development, instead of dealing with the problems. For all the years that we’ve been lobbying the CFC should have been speaking with the municipality, the location owners and the public, pointing out the huge amount of money that commercials bring into Cape Town.” According to Carr, the CPA and SAASP became so dissatisfied with the CFC that they decided they may as well fight for locations themselves. To this end they’ve gone directly to the City of Cape Town and the Western Cape Provincial government. “When we were on the board of the CFC the Commission stopped us from going directly to the City and Province. But our

Bleak commissioning outlook a gospel reality series in co-production with kykNET and is working on Extreme Makeover Home Edition with Endemol South Africa. A local reality series is also in the planning. According to Maema, Mzansi Magic is developing a drama series called Station 7 which will be piloted.

SABC The last time the SABC issued an RFP (Request for Proposals) Book was June 2010. Since then another RFP Book was promised in November 2010. This was postponed to December and then January. There is still no sign of it. Of the 2010 RFP Book 51 RFPs in various genres were issued, five were cancelled and 46 are “in the commissioning process”. As per the SABC’s definition “in the commissioning process” means “reading, shortlisting, pitching, incepting and contracting”. In other words, none of these RFPs are actually in production yet. Screen Africa contacted SABC spokesperson Kaizer Kganyago to ask when the next RFP Book could be expected. “The SABC will communicate with the industry around the timeline for release of the 2012 RFP Book in due course,” responded Kganyago. “RFPs from the 2010 book that did not receive a good response (ie. appropriate proposal submissions) have been cancelled. Based on the content needs for the fiscal, a decision is made as to whether the RFP is re-issued to the industry in a new book.” There have been instances where a production company has been shortlisted for a brief they have pitched on and were then told that not only is the budget less than advertised in the RFP book but that the number of episodes is reduced. Said Kganyago: “The cost-per-minute rates as stated in RFP Books are only guideline prices. There are a number of business and editorial needs that determine the final cost. Each programme is unique.” Here are details of the 2010 RFP Book status: Five Drama RFPs were issued and five are still in the commissioning process. Two of 44 | SCREENAFRICA | April 2011

recent interaction with the City’s Mansoor Mohamed is beginning to show results, if only slowly. We’re not complaining to them anymore, rather we’re saying – how can we help Cape Town industry to do better? “I’m also meeting with the Western Cape Minister of Finance, Economic Development and Tourism, Alan Winde. Last week Denis Lillie met with the Railways and announced that only CFC members may film at train stations. The CFC is funded by tax payers and we are all equal. Therefore there should be no ‘membership’ of a government department in the first place. Mr Lillie claims to not have anything to do with locations and permits – so why has he made an arrangement with the railways to only allow CFC members to film at stations?” Carr points out that the Permit Office doesn’t have the systems or staff to attend to all the permit applications, which can be up to 80 a day. “The nature of the commercials business is that we have a very short turnaround time.”

Invalid board The CPA and SAASP maintain that, because the CFC has to abide by the Articles of Association ratified in 2000 because the Articles drawn up in 2008 were not ratified with CIPRO, 12 of the current CFC board members are invalid as they are in office for more than two terms. Said Lillie: “I have been to an attorney to get a legal point of view and it’s true that until the matter is resolved we must stick to the Articles of 2000. In the meantime the board is acting in ‘good faith’.” The CFC’s membership structure, say the CPA and SAASP, is suspect as no application process is necessary. Thus the CFC is free to call anyone a ‘member’. The two organisations believe that since their resignation, the CFC is favouring its ‘members’. It’s worth noting that Lillie’s first communication to the industry directly after the resignations began with the words: “The CFC promotes the broad interest of our members both locally and internationally.” Neither the Gauteng Film Office nor Durban Film Office have a membership system. On the issue of the latest development regarding road closures which now require an additional permit, Lillie commented: “Our understanding is that the Roads Department needs to issue permits to ensure compliance with their own internal procedures. We have voiced our concern to the City and hope to get clarification from them and a set of guidelines for filmmakers.” the seven RFPs issued in the Children genre were cancelled and five are in the commissioning process. In the Factual genre 14 RFPs were issued, two were cancelled and 12 are in the commissioning process. Six RFPs in the Entertainment genre were issued, one was cancelled and five are in the commissioning process. All 11 RFPs issued in the Religion genre are in the commissioning process. One RFP was issued in the Sport genre and it is in the commissioning process. All four RFPs issued in the Education genre are in the commissioning process, as are all three RFPs issued for Reversioning. Ever since news of the SABC crisis broke over two years ago there have been many reports about serious over-staffing issues at the SABC. At one stage the SABC was believed to have over 100 commissioning editors at the Content Hub, with their salaries taking up most of the Hub’s budget. According to Kganyago, there are now five senior commissioning editors plus 25 commissioning editors, looking after five genres across three channels.

Separate channels Following the restructure at M-Net almost two years ago, each of the channels falling under the M-Net company banner is responsible for their own commissioning. Says M-Net Corporate Communications director Lani Lombard: “While we do have a production unit called Magic Factory, most of our shows are done by outside production companies. When we launched 25 years ago there was only a single M-Net channel but we have now have evolved over the years into a multi-channel operation, producing and packaging 29 plus channels for viewers across Africa. So while the M-Net channel itself won’t issue any more commissions for this year, some of our other channels may do so.” A day before going to press M-Net made history by becoming the first South African broadcaster ever to have a soap picketed. On 3 April, the Creative Workers Union of South Africa (CWUSA) picketed the Johannesburg launch of M-Net’s new soap, The Wild, because they believe that actor Tony Kgoroge was unfairly dismissed for refusing to sign an M-Net contract that would have done away with his rights to repeat fees. More on this in the May issue of Screen Africa.

Afrikaans ‘superheroes’ audience. However Bester feels there is also strong cross over potential to a market younger than 13. He agrees that the momentum from the success of recent Afrikaans movies at the local box office, and specifically the success of the Bakgat! movies, may contribute to attracting audiences to Superhelde. However he feels strongly that filmmakers should commit to quality films. “I think to some degree audience trust in local content has been restored in the past year or so. It is of cardinal importance that producers respect their audiences and create content that is of a high standard. Distributors should be strict about what they allow into cinemas, one bad local movie destroys the good work done by 10.” According to Bester the film was conceived by Bakgat! star Ivan Botha. “He had a concept for a script that he pitched to me about two bumbling security guards who try to save their mall from demolition by Chinese businessmen. The concept and script for Superhelde developed from that initial idea and was penned by Ivan and Andrew Thompson,” says Bester. The film was shot in February 2010 on a Canon 5D in and around Johannesburg. Bester says the film was shot on a modest budget, which means that most elements of the shoot were micro managed. He says all cast and crew members had to put in a lot of effort since they couldn’t solve problems by throwing money at them. However he adds that they had a dedicated and committed team that made the filming process fun. Graphics and text elements were added during post-production to retain a comic book feel and to create seamless transitions between scenes. Bester says there is also ‘a lot of hand drawn animation and cool titling’ created by Quinn Lubbe and his team who raised the movie to a new level. Post-production was done at Film Factory’s sister company Fix Post Production by CA van Aswegen, editor of Bakgat! 1 and 2, Night Drive, Hanna Hoekom and Getroud met Rugby, with sound design by Basiami Segola. The film is distributed by Ster-Kinekor and will release in 40 cinemas across South Africa on 21 April. Bester says they are also finalising plans to take the film on a road show through small town South Africa. Superhelde was financed as part of a three picture slate called ‘The Launch Sequence’ that includes Bakgat! 2 and Night Drive. Bester says it was financed in this way to mitigate risk, expand into the international market and to create a possible break out success with Night Drive.

January 2011

Channel

Jan 2011 AR

Dec 2010 AR

3 Talk

Talk

18:00 M-F

2.2

2.0

Date Genre AR 24/01/2011 Soap 23.3 17/01/2011 Dram 18.9 25/01/2011 Dram 17.6 27/01/2011 Dram 15.7 28/01/2011 Dram 14.3

3rd Degree

Actu 21:30 Tue

6.4

5.0

7de Laan

Soap 18:30 M-F S5

7.8

6.8

Binnelanders Sub Judice

Soap 18:00 M-F S5 M

0.4

Carte Blanche

Maga 19:00 Sun

W M

0.7

Fokus

Actu 18:30 Sun

4.4

3.8

Generations

Soap 20:00 M-F S5 1 21.1 19.7

Gospel Gold

Date Genre AR 18/01/2011 Dram 13.4 04/01/2011 Dram 10.2 04/01/2011 Vari 10.1 23/01/2011 Sitc 9.6 25/01/2011 Soap 8.8

Musi

Vari

Sun

4.7

4.8

Isidingo: The Need

Soap

18:30 M-F

3.7

3.4

Jam Alley

Vari

18:30 Fri

4.3

3.6

Live Lotto Draw

Quiz 21.30 W/S S2

4.7

4.9

Morning Live

Maga 06:00 M-F S5

2.3

2.0

Muvhango

Dram 21:00 M-T S4 2 10.5 9.7

Date 08/01/2011 11/01/2011 12/01/2011 11/01/2011 16/01/2011

Genre AR Movi 9.1 Dram 5.9 Soap 5.5 Soap 5.2 Movi 4.9

News at Seven

News 19:00 Daily D

5.9

5.8

News at Seven on 3

News 19:00 Daily D

3.0

2.8

Pasella

Maga 19:30 W W 2 5.1 4.6

Rhythm City

Soap 18:30 M-F S5

Scandal

Dram 19:30 M-T S4 e 7.6

8.0

M-Net Rank Programme 1 The Twilight Saga: New Moon 2 Prince Of Persia: The Sands Of Time 3 Did You Hear About The Morgans 4 CSI Las Vegas 5 Carte Blanche

Selimathunzi

Vari 18:30 Wed W 1 4.4

3.6

Date 16/01/2011 23/01/2011 09/01/2011 25/01/2011 30/01/2011

e.tv Rank Programme 1 The Tuxedo 2 Rush Hour 3 3 Mission Impossible III 4 Rhythm City 5 Scandal

Date Genre AR 23/01/2011 Movi 13.2 30/01/2011 Movi 13.1 16/01/2011 Movi 9.8 03/01/2011 Dram 9.5 17/01/2011 Dram 9.0

Genre AR Movi 1.2 Movi 1.0 Movi 1.0 Dram 1.0 Maga 1.0

Special Assignment

Actu

2.5

2.6

Top Billing

Maga 19:30 Thu W

2.9

Yo-TV

Y-Ent Vari Vari D e 2.5 2.4

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

VitalSta’tis’tiks | The Cape Town Lab reports that it is processing two feature films and that double the camera tests have been done compared with 2010. This is due to the influx of local commercials shot on film which shows a huge increase over the previous year. The international commercial level is about the same as it was in 2010. The Johannesburg Lab remains without feature work, and commercials remain on a constant level compared with last month. More bulk release prints were completed for The Mechanic, as were bulk prints for Paradise Stop. The commercials submitted by Media Host show an increase from the previous 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 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.

Start Time

Frequency

SABC3 Rank Programme 1 Mama Jack 2 The A-Team 3 Isidingo: The Need 4 Isidingo – R 5 Disney Camp Rock

Day/s

SABC2 Rank Programme 1 Muvhango 2 Phamokate 3 Powerball 4 Stokvel 5 7de Laan

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 SABC1 Rank Programme 1 Generations 2 Zone 14 3 Intersextions 4 Montana 5 Society

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

20:30 Tue

7.3

7.1

Top foreign shows Days of Our Lives

Soap 17:10 M-F S5

4.1

4.0

WWE Wrestling: Smackdown

Spor 20:30 W

5.1

4.2

The Bold and the Beautiful

Soap 18:00 M-F S5

7.5

6.6

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)11 884-3162. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent.

Statistics for February 2010 Through the labs: Johannesburg Features Shorts Commercials Doccies 16mm 35mm 0 0 20 2 3 19 Cape Town Features Shorts Commercials Doccies 16mm 35mm 2 0 46 0 7 41

Commercials submitted to broadcasters via media host February 2011: 1 115 compared with 997 last month 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. April 2011 | SCREENAFRICA | 45

P R O D U C T I O N U P D A T E S You could be here phone (011) 025-3180

FOR FURTHER DETAILS VISIT www.screenafrica.com Those productions in red are newly listed this month Order of Information

HOWARDMUSIC

1. Title 2. Production Company 3. Director 4. Genre

IN DEVELOPMENT AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine AS GOOD AS IT GETS DO Productions Prod: Marlow de Mardt / Brigid Olën Feature A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMBUSH ALLEY Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary AMBASSADOR 2 Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary CHILLI CHICKS International Radio Pictures, Inc Kit Reynolds TV series CHILDREN OF FAMOUS PEOPLE Current Affairs Films/ French Connection Jane Lipman / Eric Ellena Doc/ Drama Series CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary 5 GOUE STERRE SuitePeople TVP Prod: Bell Curle TV Series GRIZMEK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature IK1 – TOURISTS IN DANGER Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature INDIGO BANDS TRAINING & SAFETY International Radio Pictures Prod: K Reynolds-Gillard Corporate MALAWI LDF International Radio Pictures Prod: K Reynolds-Gillard Corporate ON THE LIONS TRACK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature

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46 | SCREENAFRICA | April 2011

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PETROLHEADA/ PETROLJUNKIES International Radio Pictures, Inc Kit Reynolds TV Series SAVING RHINO PHILA NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary SHARON & MUGABE’S ELEPHANTS NHU Africa Exec Prod: Vyv Simson / Sophie VArtan Wildlife Documentary SO YOU THINK?? International Radop Pictures, Inc Kit Reynolds TV Series SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature SIREN HAPTICS ARTIST: Don Searll 3D Artwork Sukuma Media Dir: Bonginhlanhla Ncube Feature THE BODA BODA THIEVES Deddac & Switch Prod: James Tayler / Donald Mugisha Feature TRUE DREAM 2 South African Great Moves Production Prod/ Dir: John Wani Feature THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS DO Productions Dir: Bruce Beresford Feature

IN PRE-PRODUCTION AFROX AFRICA INSIGHT EPS 4 FC Hamman Films DOP / Dir: Dirk Steyn Corporate Video AFROX YEAREND RESULT FC Hamman Films DOP / Dir: Dirk Steyn Corporate Video AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ANGUS BUCHAN’S ORDINARY PEOPLE FC Hamman Films Dir: FC Hamman Feature Film

COLOUR TV Bongoe, Jungle & Brand Bernie Productions Line Prod: Hulette Pretorius Variety CORTEX MINING FC Hamman Films DOP/ Dir: FC Hamman Corporate Video GNLD AFRICA CONVENTION FC Hamman Films Prod: FC Hamman Corporate Video HARTLAND Bottom Line Entertainment PM: Lloyd Dawson TV Drama MANDELA SPECIAL ABC Exec Prod: ABC America TV Magazine POPCRU 7TH CONGRESS FC Hamman Films Pm: Odette van Jaarsveld Corporate Event SOLENTA AVIATION FC Hamman Films DOP/ Dir: FC Hamman Corporate Video TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series THERE’S A LEOPARD ON MY BRANCH NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film VKB BRANDING LAUNCH FC Hamman Films Prod: FC hamman Corporate Video

IN PRODUCTION 3RD DEGREE e.tv Investigative TV series AFRO CAFÉ SEASON 7 Bonngoe Productions Exec Prod: Pepsi Pokane Adult Contemporary / Music AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TVMagazine AFROX CO2 PLANT FC Hamman Films PM: Odette van Jaarsveld Corporate Video AFROX – SHEQ INDUCTION FC Hamman Films Prod: FC Hamman Corporate AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ALL ACCESS Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show ANIMAL COMMUNICATION NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary BINNELANDERS SUB Judice Stark Films Dir: Danie Joubert TV Drama BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films CHEETAH DIARIES 3 NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary EASTERN MOSAIC Red Carpet Productions Magazine Programme FIRESTONE Street Smart Creative DOP: Peter Palmer Commercial GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla SOAPIE GROEN Homebrew Films Prod: Jaco Loubser Wildlife

P R O D U C T I O N U P D A T E S HARTLAND Bottomline Entertainment Mike Modena TV Drama HOUSE CALL Izwe Multimedia/ Urbanbrew Series Prod:Annalie Potgieter Live Medical Talk Show ISIDINGO Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama JOU SHOW MET EMO Homebrew Films Prod: Jaco Loubser Variety Show JOURNEY INTO THE INTERIOR Tekweni TV Productions Prod: Sandra Herrington Documentary MARY ANNE Shadow Films Exec Prod: David Forbes Documentary MK Campus Homebrew Films Prod: Jaco Loubser / Ben Heyns Student Show MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs PASEKA EASTER ELEPHANT NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme PEACE PARKS NHU Africa Exec Prod: Vyv / Sophie Vartan Wildlife Documentary Series REDI ON MZANSI Imani Media Prod: Bruce Townsend TV Series RHYTHM CITY Curious Pictures Series Prod: Anthony Shaw e..tv Soapie RHYTHM CITY INTERACTIVE Curious Pictures/ e.tv Prod: Devon Brough Interactive Platform Media ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video ROER Homebrew Films Prod: Jaco Loubser Cooking Show SAFE HOUSE Moonlighting Prod: Genevieve Hofmeyer Feature SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap SHORE – THING Homebrew Films Prod: Jaco Loubser Reversioning SLENDER WONDER FC Hamman Films DOP/ Dir: FC Hamman Commercial STRANDED NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary STUDIO 53 M-Net Inhouse Productions Insert Dirs: Navan Chetty Mag Programme THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine TOUCHING THE DRAGON NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary VILLA ROSA Spectro Productions Dir/s: Luhann Jansen / Andries van der Merwe / Leroux Botha / Isabel Smit TV Drama

POST-PRODUCTION 48 Sukuma Media Bonginhlanhla Ncube Short Film

A MILLION COLOURS – eLollipop 2 Cloverleaf Films Exec Prod: Charles Fries Feature AFROX AFRICA INSIGHT EPS 3 FC Hamman Films DOP/ Dir: FC Hamman Corporate DEAR SISTER Media Village Prod: Debbie Matthee Short Film DEPT OF SOCIAL DEVELOPMENT CONGRESS FC Hamman Films DOP/ Dir: FC Hamman 3 Day Corporate Event Chameleon NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary CHEETAH DIARIES 2 NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary CITY ZOO NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary DANGEROUS TRAILS: ELEPHANTS IN THE MINEFIELDS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary DOOMSDAY Rogue Pictures Dir: Neil Marshall Feature ENDANGERED NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series IMATU CONGRESS FC Hamman Films PM: Odette van Jaarsveld 3 Day Corporate Event Iqili Impucuzeko Prod: Sharon Kakora Feature LACONIA Two Oceans Production Prod: Giselher Venzke & Bertha Spieker Feature MISSION CRANE Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature OPERATION CRANE Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Series on Supersport SCHOOL EWASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate SOKHULU AND PARTNERS 2 Paw Paw Films Prod: Roberta Durrant TV DRama

TASTE OF RAIN Luna Films & On Land Productions Prod: Bridget Pickering & Richard Pakleppa Feature TREASURE GUARDS Tandem Communications Exec Prod: Jonas Bauer/ Rola Bauer Feature WINNIE Ma Afrika Films/ Equinoxe Films Dir: Darrell James Roodt Feature ZAMA ZAMA Kokamoya Productions Prod: Bertus van der Walt Feature ZION Letcosmart Prod: Zibusiso Nkomo Feature

COMPLETE AFROX HELIUM RESCUE FC Hamman Films DOP/ Dir: FC hamman Corporate AFROX INDIGO COSMETICS FC Hamman Films DOP/ Dir: FC Hamman Corporate Video AFROX AFRICA INSIGHT EPS 2 FC Hamman Films DIR/ dop: fc HAMMAN CORPORATE vIDEO AFROX PPE FC Hamman Films DOP/ Dir: FC Hamman Corporate Video DEPT OF SOCIAL DEVELOPMENT VIDEO FC Hamman Films DOP/ Dir: Archie Mzazi Training Video FORERUNNERS SaltPeter Productions Dir: Simon Wood Documentary INHLIZIYO YAMi Sukuma Media Exec Prod/ Dir: Bonginhlanhla Ncube Music Video RAWSON PROPERTIES FC Hamman Films PM: Odette van Jaarsveld Training Video ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video THE TEACHER BIP Films Dir: BI Phakathi Feature THE BETRAYAL Shakarny Inovations Prod: James Kingston Feature Team GR 8 Sukuma Media Dir: Bonginhlanhla Ncube Short Film TEN 2 C – GAUTENG & SURROUNDS Sukuma Media Exec Prod: Bonginhlanhla Ncube / Lazarus Moyo Documentary

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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: info@screenafrica.com

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Close up |

Events |

Paradise Stop Première, Mapanya Mall APRIL

Kenneth Nkosi and Mrs Nkosi

Rapulana Seiphemo and Jann Turner

MultiChoice Film Talent Incubator Graduation Ceremony

2–3

MIPDOC

Cannes, France www.mipdoc.com

4–7

MIPTV

Palais des Festivals, Cannes, France www.miptv.com

9 – 14

NAB (National Association of Broadcasters)

Las Vegas www.nab.org

13 – 17

International Pan African Film Festival

Cannes, France www.festivaldufilmpanafricain.org

20 – 1 May

Tribeca Film Festival

New York, USA www.tribecafilmfestival.org

28 – 8 May

Hot Docs

Toronto, Canada

www.hotdocs.ca

MAY

The graduates

11 – 22

Cannes International Film Festival

Cannes, France www.festival-cannes.fr

25 – 28

Aluta Film Festival

Kimberly, South Africa

JUNE

Life, Above All Première, Montecasino

Harriet Manamela, producer Oliver Stoltz, Khomotso Manyaka and Keaobaka Makanyane

2 – 5

Africa Festival

Wurzburg, Germany www.africafestival.org

6 – 11

Annecy International Animated Film Festival

Annecy, France www.annecy.org

11 – 19

The 8th African Film Festival of Tarifa, Spain

Calle Monte Carmelo, 5 bajo 41011 Sevilla España www.fcat.es

15 – 26

Edinburgh International Film Festival

Edinburgh, Scotland, UK www.edfilmfest.org.uk

18 – 26

Zanzibar International Film Festival (ZIFF)

Stone Town, Zanzibar http://www.ziff.or.tz/

SAE Graduation Ceremony

19 – 25

Cannes Lions International Festival of Creativity

Cannes, France www.canneslions.com

JULY

Laurence Mitchell (Waterfront Studios), Vuyokazi Matu (CFC chair), Philip Key (Moonlighting Filmmakers) and David Maclean (Campus Director at SAE)

LOG ON TO NEWS

www.screenafrica.com

DoC looks into SABC best funding model

•

Rose chairs Cannes Lions Craft Jury

•

UK Film Council closure criticised

•

e.tv calls for eKasi scripts

•

African co-prods in Tribeca line-up

•

Super 5 Media lives again

•

R1bn allocation to DoC in Budget 2011

•

Japan disaster affects component prices

•

New support for African film

SABC 24-hour news channel to launch on DStv

•

Warner Bros. first to rent movies on Facebook

3D family entertainment channel

•

DoC to set up new digital migration office

•

Mobile TV yet to make its mark

•

Creative Circle Ad of the Year winners

BCCSA rules against SABC’s Gumede

•

Worldwide film project

•

SABC denies firing senior managers

48 | SCREENAFRICA | April 2011

•

Broadcasting policy review not mentioned in DoC Plan

•

SA director scores at US box office

Durban International Film Festival

Durban, KwaZulu-Natal www.cca.ukzn.ac.za

22 – 26 July

2nd Durban FilmMart

Durban, KwaZulu Natal www.cca.ukzn.ac.za and

www.durbanfilmoffice.com

Greig Buckle and Harriet Manamela,

•

21 – 31 July

Advertisers List | Aja Video Systems.........................11 Atlas Studios .................................47 Avmark Systems ..........................46 Black Magic Design.........................7 Blade bfx...........................................1 Cam-A-Lot ....................................47 Case Connection, The ................46 Central Engineering......................29 Creative Broadcast Solutions (CBS)...............................................37 Data Video......................................31 General Post .................................47 Harambe Technologies.................27 Howard Music...............................46 IDC..................................................33 Jaycor...............................................35 Lawo / B&I......................................19

Mediatech........................ OBC MultiChoice......................................9 NDS.................................................25 Panasonic........................................21 Pink Room......................................37 Pro-Sales.........................................23 Puma Video.....................................22 Questek...............................FC Screen Africa..................... IBC Sony.................................................17 Spescom............................................5 Stock Options...............................47 Telemedia.......................... IFC Timbre Broacast...........................15 Vision Cases...................................46 Visual Impact..................................35

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