Screen Africa - April 2013

Cameras & Accessories NAB Pre view SAFTA Winners BROADCAST, FILM, TV COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS

www.screenafrica.com

VOL 25 – April 2013 R35.00

G O L F

D A Y

2 0 1 3

One of the most popular events on the South African film and television industry calendar, the Annual Screen Africa Golf Day, will take place on Thursday, 18 April 2013 at CMR Golf Club in Maraisburg, Roodepoort.

As per tradition, the golfing competition will be followed by a networking cocktail at the CMR Clubhouse. This is a great networking opportunity as non-players, spouses and industry friends are all welcome. We will also sell Mulligan tickets at R100 per ticket, with the proceeds going to a charity organisation.

The competition will be a shotgun start. Please confirm how many 4-balls we must provisionally book for you.

Last year we filled up very quickly.

Information on the golf day:

Date:

Thursday 18 April 2013

Venue:

CMR Golf Course

Sponsorship:

R6500.00 (Hole 1)

Halfway House:

R5000.00 (all other holes) (Sponsorship is excluding VAT) For your own account

Green Fees:

R250 per player - includes VAT, cocktail snacks and prize giving

Competition:

Shotgun Start @ 12h00

Event Organiser: Ellen Oosthuizen Cell: +27 (0)83 268 6868 Fax: +86 (0)86 670 6809 e-mail: ellen@screenafrica.com or ellen.oosthuizen@pixie.co.za

BROADCAST, FILM, TV COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS

www.screenafrica.com

VOL 25 – April 2013 R35.00

Big SAFTA winners The Last Lions, Material, 4Play: Sex Tips for Girls and Sobukwe – A Great Soul were among the biggest winners at the recent annual South African Film and Television Awards (SAFTAs) held on 15 and 16 March 2013 in Johannesburg.

The Last Lions was the big winner in the wildlife genre.

Produced in association with National Geographic, The Last Lions won four SAFTAs, namely Best TV Wildlife Programme (Wildlife Films – Dereck and Beverly Joubert), Best Director of a Wildlife Programme (Dereck Joubert), Best Editor of a Wildlife Programme (Susan Scott and Candice Odgers) and Best Cinematographer of a Wildlife Programme (Dereck Joubert).

“To bring a film to the big screen and show Botswana and its big cats in this light is a privilege,”

Samsung collaborates with MultiChoice At the recent Samsung Forum in in Cape Town, it was announced that Samsung Electronics Africa and MultiChoice (owner of the DStv pay-TV platform) would work together in three important areas, namely: joint marketing, product development and sales, and

says Dereck Joubert. “It gives us a bigger platform to discuss the plight of big cats and to talk about the Big Cats Initiative, which we launched with National Geographic to help stop the decline of big cats in the wild.”

Beverly Joubert adds: “Winning the SAFTAs for The Last Lions helps bring attention to the grim fact that we have lost 95% of the lion population over a 50-year period. Lions have gone extinct in 25 African countries already. We need to take action right now and stop the decline.

“Winning is a great privilege. It also helps us with our conservation work by turning the film into the ultimate ambassador for lions.”

“We no longer have the luxury of time when it comes to big cats,” says Dereck Joubert. “They are in such a downward spiral that

if we hesitate now, we will be responsible for extinctions across the globe. If there was ever a time to take action, it is now.”

Material won five SAFTAs for Best Sound Designer of a Feature Film (Charlotte Buys), Best Director of a Feature Film (Craig Freimond), Best Actor in a Feature Film (Riaad Moosa as Cassim Kaif), Best Supporting Actor in a Feature Film (Vincent Ebrahim as Ebrahim Kaif) and Best Feature Film (T.O.M. Pictures).

Producer Ronnie Apteker says: “We are very happy that the film has been so well received and we are busy this year with our efforts to get the film released in India and the UK. With a bit of luck and a lot of work we may just get this right.”

– continued on page 5

distribution around Africa.

“If you look at the joint marketing point of view, there is a very natural partnership for someone who provides content and someone who provides the devices upon which that content can be played,” says Mark Rayner, CEO of DStv Mobile who is working on the Samsung collaboration.

“Samsung’s range of smart televisions, and what the company has done with improving the picture quality and enhancing the viewer experience with various innovations around the world, is exciting for us.”

“As far as product development is concerned, it is very early days,” Rayner comments. “What we have agreed on is to cooperate on marketing and sales distribution on a preferred partner basis and we all have good intentions of doing that.”

Vice president and COO of Samsung Electronics Africa, George Ferreira, states: “As Samsung we are excited to be collaborating with MultiChoice in these areas as we are always looking for innovative ways to bring our value-added content and solutions to our customers.

– continued on page 5

CHIP DIP: The cast of the new SABC3 televison series High Rollers.

See page 12

Namibia plans June DTT launch The Namibian government is looking at an on-air DTT (digital terrestrial television) launch date of June 2013, following the April switch-on of the DTT transmitter in Gross Herzog, which covers the whole of Windhoek.

Prior to this, the country’s first ever DTT transmitter was switched on for trial purposes in September last year in Klein Windhoek, a gap filler site in Windhoek.

The DTT transmission standard selected by Namibia is DVB-T2 with MPEG-4 compression.

Once Namibia switches off the analogue signal in March 2016, 65 DTT transmitters will provide coverage for 80% of the country.

Because the deadline set for Africa’s analogue switch-off by the

ITU (International Telecommunications Union) is June 2015, border sites are being prioritised in Namibia’s DTT roll-out.

Says Aldred Dreyer, chief technology officer of NBC (Namibia Broadcasting Corporation): “By June 2015 the ITU will not provide any protection to broadcasters if a neighbouring country’s DTT transmissions interfere with their analogue transmissions. If we switch on our border sites first we will eliminate this risk.”

He notes that as NBC has been deemed the national carrier, it has been tasked with the DTT roll-out.

“The original plan was to – continued on page 5

From the editor

C o nt e nts

Progress… or not?

In this issue you will find an in-depth report on Africa’s progress in migrating from analogue broadcasting to DTT (digital terrestrial television). And while progress may be painstakingly slow in some African countries, as one of our front page stories reports, Namibia will this month switch on its first non-trial DTT transmitter in Windhoek. Readers may wonder why South Africa isn’t mentioned in this coverage – the answer is because there is nothing to report. The country’s DTT project remains, as it has for many years, subject to government delays.

The South African awards season has been and gone, with the SAFTAs (South African Film and Television Awards) taking place at high-profile ceremonies on 15 and 16 March. Winners were triumphant, unsuccessful nominees were disappointed, and a glitzy and glamorous time was had by all. The live television broadcast of the event on 16 March could have been better, but then that is something to strive for next year. Our lead story reports on the reactions of some of the biggest winners on the two nights.

A major focus in this April issue is on cameras. Andy Stead’s camera shootout is a must read for anyone remotely interested in cinematography as he presents a review of three popular cameras, directly from the mouths of DOPs (directors of photography).

Also fascinating is Ian Dormer’s look at the inevitable and incredibly sad, pending demise of celluloid filmmaking. Ironically though, as this article points out, many of this year’s Oscarnominated films were shot on film. However convenient and technologically advanced digital cameras may be, there will always be an enduring mystique around the sheer physicality of a strip of 35mm film, sprockets and all. It’s encouraging that master filmmaker Steven Spielberg has declared undying devotion to the film format.

If you’ve ever wondered what it is like to be up close and personal filming snakes, read Martie Bester’s article about a 3D snake shoot to find out. Unlike what Martie had to do during the set visit, you don’t need to maintain a safe distance to read her article.

So much has been written about the lack of a cinema culture in countries across Africa, it’s interesting to read, in an article written by Chinaka Iwunze, how cinema-going is alive and well in Nigeria.

This issue features a report-back by South African producer Neil Brandt (with additional writing by Pascal Schmitz) of the Rio Content Market in Brazil and the huge opportunities for exploring new markets in the Global South. Brandt, Schmitz and Mayenzeke Baza comprised the South African fact-finding mission that attended the market. This follows on from the Brazil focus at the DISCOP AFRICA content market held in Johannesburg in November.

Enjoy the read!

Journalist: Martie Bester: news@screenafrica.com Contributors: Andy Stead, Ian Dormer, Chinaka Iwunze, Martin Chemhere, Kate Skinner, Neil Brandt, Pascal Schmitz Sub-Editor: Aimee Olsen Ratings: Enid Venter enid@ihjohannesburg.co.za Design: Trevor Ou Tim: design@sun-circle.co.za Website & Production Updates: Chinaka Iwunze: online@sun-circle.co.za

Moeggeploeg dishes up the laughs

Rous brothers place a winning bet

11 Puppets, pantsula and other fabulous images

27

16 Director Speak

30

SAFTAs

18 A shoot on a shoestring

SPECIAL FEATURES CAMERAS & ACCESSORIES The death of film............... 28 / 29

NEWS

DOCUMENTARY

Big SAFTA winners;

A shoot on a shoestring.. 18 / 19

Camera shootout –

Samsung collaborates with

a review of three of the

MultiChoice............................. 3 / 5

best in their range............ 30 / 31

Funny cops save the day;

Introducing the microP2

New grading facility in JHB;

card series; Shooting super

Moeggeploeg dishes

slow-motion action;

up the laughs................................... 6

Subscriptions: Tina Tserere: data@sun-circle.co.za Delight Ngwenya: admin@sun-circle.co.za

1st handheld cameras

Roodt’s new film; Attacking

to support AVC-Intra codecs... 32

racial pre-conceptions.................. 8

Advertisement Sales: Marianne Schafer: marianne@screenafrica.com

LFO with the Blackmagic

SCREENAFRICA Editor: Joanna Sterkowicz: editor@screenafrica.com

12

CAMERAS

Joanna Sterkowicz

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

6

Accounts: Natasha Glavovic: accounts@sun-circle.co.za

Case Study: Shooting Cinema Camera.......................... 35

NAB PREVIEW What’s hot at NAB?; Camera

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

with microP2 card slots; Transmission efficiency in the spotlight; Production asset management system................... 36 ‘Routing’ the way; An ‘ace’ of a tripod..................... 37

ADCETERA ‘Brave lightbulb’ Hynes on the move; ‘Electrifying’ commercial............ 10 Puppets, Pantsula and other fabulous images; Changes at the Loeries.............. 11

TELEVISION Rous brothers place a winning bet................................ 12

3D virtual sports: New

FILM & TELEVISION

transcoding, workflow and live

Exploring new markets

streaming solutions;

in the Global South.................... 14

Augmented reality solution...... 38

Director Speak – Uzanenkosi.. 16

Streaming media encoder; Staying in ‘Control’; Managing your assets................. 40 www.screenafrica.com

Namibia plans June DTT launch;

BROADCAST Entering the DTT Zone.. 20 / 21 SABC – is there a way forward?................................ 21

WILDLIFE The guardian of the elephants. 22 Lights, Camera, Slither!.............. 23

SAFTAs Winners – Non-Fiction & Technical Awards..................... 24 Winners – Fiction Awards........ 25 Scenes from the SAFTAs......................... 26 / 27

AFRICA A ‘new kid’ on the cinema block; Uganda’s inaugural film festival.................. 42 Reflecting on the first AMVCAs............................... 43

REGULARS Audience Ratings......................... 41 Production Updates......... 44 / 45 / 46 / 47 Social.............................................. 48

Biggest SAFTA winners celebrated Documentary Feature The award in this category went to Sobukwe – A Great Soul which is the untold story of the late Robert Sobukwe, philosopher, activist, political prisoner and apartheid’s most feared enemy. Sobukwe also won for Best Director of a Documentary Feature (Mickey Dube), Best Factual Educational Entertainment Programme (Bornfree Media) and Best Editor of a Documentary Feature (Andrew Wessels).

Producer and Cinematographer Mandla Dube says: “The win was a surprise as Robert Sobukwe has always been overlooked politically and the film was not given a chance by local exhibitors. It was wonderful to be nominated and recognised.”

Dube continues: “On the collaboration of the film, director Mickey Dube takes all the credit for pulling together such an amazing team of talented artists. Mickey went out there to get the best locations; it was as if he was possessed by Sobukwe’s spirit.

Thank you to Robert Sobukwe for allowing us to preserve his memory for future generations.”

TV Drama Series 4Play: Sex Tips for Girls took home seven awards including Best TV Drama Series (Quizzical Pictures), Best Director on a TV Drama Series (Amanda Lane), Best Supporting Actor in a TV Drama Series (Pallance Dladla as Jimmy), Best Actress in a TV Drama Series (Tiffany Jones-Barbuzano as Danny), Best Writing Team of a TV Drama Series, Best Costume Design of a TV Drama Series (Rochelle Selling) and Best Makeup and Hair Stylist of a TV Drama Series (Minuche Snyman).

Harriet Gavshon, managing director of Quizzical Pictures, says: “We are particularly happy about the SAFTA wins for 4Play: Sex Tips for Girls because it is produced, written and directed by an all-women team. As a project, it has made huge strides in bringing women directors into the mainstream of the industry and that is wonderful.”

Gavshon adds: “We are also very grateful to Johns Hopkins Education South Africa and The United States Agency for International Development who supported the project together with e.tv, and particularly our commissioning editor, Lynn

Gaines.”

Born Free Media produced 90 Plein Street, also nominated in the TV Drama Series category. Mothusi Magano won the SAFTA for Best Actor in a TV Drama Series for his portrayal of Tshepo Sadiki, Nazli George took home Best Supporting Actress in a TV Drama Series as Shireen and Tanja Hage and Sharron Hawkes won Best Editor of a TV Drama Series.

Carolyn Carew, executive producer at Born Free Media, says: “Winning the SAFTAs is a great achievement for all of the cast and crew who worked on 90 Plein Street. It feels like our work has been recognised and all the dedication and the vision of director Khalo Matabane, the actors, the cast, the crew and the writers all worked jointly to create a great piece of political drama.”

Carew continues: “90 Plein Street deals with all the current issues around nationalisation and the political world of parliament in a strong, dramatic way. The series is a big challenge as it is placed in the world of parliament, which the general public either read about or watch on television. Our series, creating a dramatic narrative to what one sees daily, is the key to success. Khalo went for an innovative approach by including real interviews with key political and social commentators within 90 Plein Street.”

TV Soap M-Net soap The Wild won four SAFTAs for Best Director of a TV Soap (The Wild Directing Team), Best Editor of a TV Soap (The Wild Editing Team) and Best DOP/ Cinematographer of a TV Soap (Greg Heiman and Leon Kriel) and Best Art Director of a TV Soap (Anneri Gericke).

The Wild’s executive producer, Bobby Heaney, says: “Shooting soap on location was a first for South Africa and an incredible challenge both logistically and artistically.

We are very proud of the international quality of The Wild and the SAFTA recognition serves as wonderful affirmation for our ground-breaking achievements.

M-Net is renowned for its ground-breaking work and I believe that the technical and visual quality of The Wild will be hard to beat.”

Heaney concludes: “I salute the amazing cast and crew – an intense loyal family that I was proud to lead.” – Martie Bester

Samsung collaborates with MultiChoice Any marketing, products or channel initiatives will be in line with this thinking and will be announced when relevant.”

Premium service

VIEWER EXPERIENCE: Mark Rayner

As DStv provides a premium service with premium content, a key part of that is the user experience MultiChoice provides.

“We’ve expanded our high definition offering over the past few years. We see that as being very much part of our

| Continued from page 1

Namibia plans June DTT launch launch DTT in April this year but we had to postpone because of the NBC’s lack of decoder distribution readiness, as well as the outstanding DTT policy and regulatory DIGITAL ICON: The public awareness campaign mascot matters. Now NBC is looking at a June 2013 launch. mux (to be operated by NBC) and a “We plan to order 20 000 decoders commercial mux. every quarter from manufacturer Shenzen An open tender has been issued for the Jiuzhou Electric Co Ltd until we reach a national call centre that will be required to figure of 100 000. A tender has been issued help consumers transition to DTT. to select a company to handle distribution According to Dreyer, the entire DTT of the decoders because we decided that project is funded by government, which will this activity should be fully outsourced,” make public the decoder price once it is explains Dreyer. approved by cabinet. Pensioners and He reports that the DTT policy guidelines vulnerable citizens will pay half the retail have now been finalised and submitted to price. cabinet for approval. It is expected that they NBC’s planned DTT channels include the will be gazetted this month. existing NBC channel (a family channel), NBC is part of the DTT National Forum, NBC News (to be launched in June 2013) which comprises CRAN (Communications and NBC 3 (an entertainment channel to be Regulatory Authority of Namibia), free-to-air launched later this year). The broacaster’s commercial broadcaster One Africa, and 10 existing radio services will also be put on community broadcaster TBN Namibia. The the DTT public mux.

DTT Forum meets every two weeks to Dreyer concludes: “NBC appointed report on the country’s digital migration Huawei through a tender process as its progress to the Ministry of ICT (Information system integrator to upgrade our satellite and Communication Technology). uplink and the transmitters, implement the Two DTT mux (multiplex) licence encoding and multiplexing and build the categories have been created – a public system architecture.” – Joanna Sterkowicz

premium service and Samsung has a wonderful range of high definition televisions,” comments Rayner.

He notes that DStv is the biggest broadcaster of high definition programming in Africa so there is a natural sales and marketing opportunity between the companies. “Samsung sets provide great viewer experiences, whether it is sport or movies in high definition from DStv.”

GoTV MultiChoice’s digital terrestrial television business called GoTV broadcasts occur from land-based towers in cities in Africa.

“The product proposition is different to DStv in that it is a more affordable service, so our service is priced in local currency,” remarks Rayner.

He continues: “There is a new opportunity for a number of African households to consider pay-television at an affordable price. Samsung covers all sectors of the market from more premium to affordable television sets. So there is also an opportunity to partner there.”

Rayner remarks that a broad Pan-African agreement has been signed to set up a few principles but that execution will ultimately depend on each country working with their local Samsung office to establish what works best for their market and for their consumer base.

“That’s depending on what products Samsung want to push at the time and what

products the MultiChoice group wants to push at the time,” adds Rayner.

Comments Ferreira: “This year we will continue to bring Samsung’s smart world to the continent through our Built for Africa initiatives – across a diverse product range, which include mobile, home appliances, IT, digital air solutions, etc. These products have been well received from consumers and our focus is to continually improve on these offerings.”

Collaboration Rayner stresses that the ultimate goal of the agreement is to provide value around content. “High definition television is best viewed on a high definition television set.

And the affordability of some of the Samsung TV sets in the lower end, particularly regarding GoTV, is exciting for our content product.”

He concludes: “We very much want to see where the agreement takes us in the coming year and we will go from there. I think we have two successful companies and product road maps, etc. So where they align there will be opportunity for mutual benefit.”

“Exact value propositions can’t be discussed at this stage,” says Ferreira, “Rather, this collaboration highlights that both parties are open to exploring the possibilities and opportunities that such a partnership will bring now and into the future.”

April 2013 | SCREENAFRICA | 5

News

|

Funny cops save the day New South African comedy Blitz Patrollie, which features popular local comedian David Kau in his first big screen role, releases on 10 May 2013 nationwide in South Africa and will be distributed by Nu Metro.

Starring alongside Kau is fellow comedian Joey Rasdien, whose last film was the box office hit and SAFTA winner, Material. Rasdien and Kau play two cops – a depressive and a guy who lives for his job, stationed in a little-know police depot in the heart of the Johannesburg CBD. Blitz Patrollie is the eagerly awaited first feature film from Diprente Films, producers of the popular satirical news show, Late Nite with Loyiso Gola. It was written and co-produced by Kagiso Lediga (who stars as constable Lucas Ledwaba).

Comedy Central (DStv Channel 122) in

association with DStv will broadcast the movie (date to be confirmed).

The movie features some of South Africa’s best stand-up comedians. Apart from Rasdien, Kau and Lediga, the film also stars Chris Forrest, David Kibuuka, Sans Moonsamy, Kaseran Pillay and Mel Miller.

Other characters who feature prominently are stressed-out Captain Lappies Botha (Mel Miller) and the only members of the station’s ambitious ‘Sniper Development Programme’, Braam Moerdyk (Chris Forrest) and Jack Makweru (David Kibuuka) who are at each other’s throats constantly.

When Rummy, Ace and the bumbling snipers stumble upon a massive drug haul in a poor white neighbourhood the stash gets stolen from right under their noses.

The prime suspects in the missing drug

530513_Blitz Patrollie_A1+ Poster_2.indd 1

27/03/2013 12:42

case are the infamous Naidoo brothers, Jerry and Deshi (Quentin Krog and Kaseran Pillay, respectively). Seemingly doublecrossed, the Naidoos are also searching the

New grading facility in JHB Moeggeploeg dishes up the laughs Production company Mushroom Media has invested in a DaVinci Resolve 9.0 colour correction system from Blackmagic Design to offer clients a fully-fledged premium grading solution at its facility in Bryanston, Johannesburg.

Says Mushroom Media owner Warwick Allan: “We have had a keen interest in colour grading for several years now. In fact, I myself have been colour grading over the past six years, having trained in London through the International Colorist Academy with Kevin Shaw.”

Allan notes that Mushroom Media previously handled colour grading on a range of commercial, documentary, TV drama and music jobs for clients and saw the need for a high-quality, cost effective, but more importantly, personal and craft-focused grading solution in the Johannesburg market.

He continues: “We are running numerous GPU cards with the DaVinci to increase the real time capability of the system. This means that when you add a number of different nodes or corrections or keys or windows to a shot, you can push the ‘play’ button and it will process all the corrections at whatever your project’s frame rate is, giving you a smooth playback of the shot to review instantly.

“A RED Rocket has been added in order to work fluidly with 4K & 5K RED raw footage. The RED Epic camera has become very popular on high-end feature and commercial productions so we wanted to be able to service that workflow effortlessly.

Another service we offer is transcoding RED raw footage to the proxy file type of the

client’s choice for offline editing. We also have the capability of working with ARRI raw footage if the production chooses to shoot on an outboard recorder on the ARRI ALEXA.” According to Allan, DaVinci Resolve is still one of the most popular grading systems worldwide and has historically been used to grade the majority of Hollywood feature films produced since the 1980s.

“With the rise of more powerful computer hardware and faster, more affordable storage systems, the software itself does not need the expensive outboard boxes that used to accompany a high-end grading system. So you have the same tools that were used to sculpt the most epic films of our time in this software.

There are even further advances in areas of keying: very flexible windowing, the most incredible tracker as well as feature film quality image processing,” he explains.

Mushroom Media works on a slightly different business model to the traditional big facilities as it makes use of a network of highly experienced professionals that work on a job to job basis. Allan is permanently based at the facility and takes on certain grade projects personally but is also making use of Michele Wilson’s skills on high-end commercial and specialist grading jobs.

“With her 15 years of grading experience in the Telecine and digital grading rooms of Europe and South Africa on the biggest brands in the commercials market, Michele brings a wealth of experience that can tackle the most complex and demanding grading projects,” concludes Allan.

– Joanna Sterkowicz

A new South African comedy series, Moeggeploeg, starts in April on payoperator M-Net’s kykNET. Moeggeploeg, also the name of the establishment that the locals frequent in the series, focuses on the lives of regular visitors to this popular watering hole outside Ottoshoop in the North West province.

Although Moeggeploeg attracts other customers over weekends, the series closely follows the Vorster family as they prepare for their daily clientele mostly consisting of ‘porch farmers’. Of course, when guests arrive at Moeggeploeg, the locals are unable to hide their excitement as very little else happens in the district…

While Vlok and Vlekkie Vorster (played by comedy stalwarts Ben Kruger and Rina Nienaber, respectively) try to run a smooth operation, the sexy but naïve Lulu (Hanna Grobler) tries her best at waitressing. She also excels at flirting with Myburgh Cilliers (Chris van Rensburg), a young, technologically savvy dairy farmer.

Myburgh is affectionately known as the ‘techno farmer’ because he is never without his laptop, cellphone or iPod as he runs his

city for the missing drugs.

With the search in full swing, the media is focusing on the ongoing corruption trial of South Africa’s populist Minister of Foreign Affairs, Midas Mdlalose (Mabutho ‘Kid’ Sithole). When Happiness Mabene, a popular Orlando Pirates striker and Ace’s favourite player is killed by a brick to the head in a second attack of its kind, Ace discovers a link between the brick assassinations and Mdlalose.

Ace suggests a raid on one of the minister’s houses as he suspects there will be drugs after which the Provincial Police Commissioner, under immense pressure to clean up the streets, makes an example by suspending Rummy and Ace and threatens to close down the underperforming station.

Will the pair – now both depressed – get to save their jobs and the police station from closure? And how?

Blitz Patrollie was written by Kagiso Lediga, directed by Andrew Wessels and produced by Kagiso Lediga, Isaac Mogajane, Shandukani Nesengani, Terry Vallet and John Volmink. – Martie Bester

parents’ computerised dairy farm, mostly from Moeggeploeg.

Myburgh’s attention is only distracted when Vlok and Vlekkie’s daughter, Glenda, visits Moeggeploeg. The young farmer – and everyone else for that matter – can’t help but notice the blonde, rock and roll biker chick, played by Leandie du Randt (who was recently cast in the new South African feature film, Die Windpomp).

Meanwhile, back in the kitchen, chef Zoutevis (played by Jan Engelen) has been living in South Africa for the past 19 years, but still speaks in a strong Dutch accent – especially when the going gets tough behind the pots and pans.

Regulars Dier Olivier (Marcel van Heerden) who is a barber and Uncle Kalfie Sonnekus (Cobus Visser), known as the ultimate ‘porch farmer’, spend all their free time at Moeggeploeg – which is most of the time.

With some of South Africa’s best comedy talent and guest appearances from actors such as Paul Lückhoff (The Quiet Man), Pierre Breytenbach (Pocket) and Amor Tredoux (Flea), Moeggeploeg is bound to be as successful on kykNET as its counterparts in the same genre.

Moeggeploeg was directed by Bromley Cawood, and produced by Rina Nienaber and Dick Voorendyk. The series was shot on location at Santini’s Dance Bar in Roodepoort, Gauteng.

The first episode airs on Monday 8 April 2013. – Martie Bester

LOCAL WATERING HOLE: Marcel van Heerden and Hanna Grobler 6 | SCREENAFRICA | April 2013

The World’s first Thunderbolt™ based capture and playback for SD/HD-SDI, HDMI and analog video!

Built on revolutionary Thunderbolt™ technology, UltraStudio 3D has a blazingly fast 10 Gb/s connection that’s up to 20 times faster than USB 2.0!

Machined from a solid piece of aluminum, UltraStudio 3D is an attractive, rugged device that’s packed with features previously only available with a workstation. It’s perfect for those on the go as an extremely portable companion to your camera, notebook and favorite editing software.

Connect to any Deck, Camera or Monitor UltraStudio 3D features a huge range of video and audio connections. Dual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PAL and S-Video for capture and playback in SD, HD or 2K. Also included is 2 ch XLR AES/EBU audio and 2 ch balanced XLR analog audio. Connect to HDCAM SR, HDCAM, Digital Betacam, Betacam SP, HDV cameras, big-screen TVs and more. UltraStudio 3D even supports two streams of full resolution video up to 1080p HD for new stereoscopic 3D workflows!

Hardware Down Conversion If you’ve ever wanted to monitor in both HD and SD while you work, then you’ll love the built in high quality down converter. Use the Dual Link SDI outputs as a simultaneous HD and SD output, or you can switch back to Dual Link 4:4:4 when working in the highest quality RGB workflows. Select between letterbox, anamorphic 16:9 and even center cut 4:3 down conversion styles! *All prices subject to VAT, exchange rate fluctuation and import duties.

Advanced 3 Gb/s SDI Technology With exciting new 3 Gb/s SDI connections, UltraStudio 3D allows twice the SDI data rate of normal HD-SDI, while also connecting to all your HD-SDI and SD-SDI equipment.

Use 3 Gb/s SDI for 2K and edit your latest feature film using real time 2048 x 1556 2K resolution capture and playback!

More Third Party Software Compatibility UltraStudio 3D works with the software you love to use! Use QuickTime™ software, or the world’s most popular editing software such as Final Cut Pro™ and Premiere Pro™! You also get Photoshop™ plug-ins to grab and output frames, plus real time preview in After Effects™ and Nuke™. No other cards support more software on Mac OS X, so now you have the freedom to build your studio your own way!

UltraStudio 3D US$

995*

Learn more today at www.blackmagicdesign.com/UltraStudio3D

News

|

Roodt’s new film Darrell James Roodt (Yesterday, Little One, Sarafina!), the Oscar-nominated South African film director who is currently working on his fourth Afrikaans-language film, believes the quality of Afrikaans movies has improved considerably in a short period of time.

He is of the opinion that it is exciting times for Afrikaans filmmakers. “I’m convinced the next Oscar winner from South Africa could very well be an Afrikaans film! Wouldn’t that be amazing?”

He decided to venture into the Afrikaans genre because of a simple reason. “There’s a loyal audience out there – in other words, if you make an Afrikaans film then people will see it. Most importantly, the investors get a return and then invest in the next Afrikaans film.

“The trick is not to fall into a trap of merely giving the audience what you think

CULTURE-CENTRIC: Darrell James Roodt directing a scene from Little One they want to see. It would be no use to anyone if we kept on making films like Jakhalsdans and Pretville without venturing out into bolder territory with films such as Verraaiers and Roepman.”

According to Roodt there is a difference in filmmaking cultures between Afrikaans and English filmmakers in South Africa.

“The essential difference is that when we

make a film in English, it’s always at the back of our minds that we can potentially sell it to a bigger market like the US, UK, etc.

Consequently our films tend to be more generic and less culture-centric than the Afrikaans ones, which are all about being a mirror of their culture,” he says.

Roodt is currently filming Die Ballade van Robbie de Wee, the story of a music

Attacking racial pre-conceptions Scheduled for delivery in April 2013, 3 Pegs, a co-production between Muddville and ZenHQ Films, hinges on the premise of what happens when three soldiers – an American, an Israeli and an Arab – are trapped in a room on the Lebanese / Israeli border.

3 Pegs is the feature film directorial debut of South African Jac Mulder, who started post-production facility, Muddville, in Dubai. The script was written by Ziggy Darwish, an Australian of Arab descent who is a former gunnery sailor in the Australian Royal Navy.

Shot in three and a half weeks in and around Cape Town, 3 Pegs stars Hollywood actor Tom Sizemore (Saving Private Ryan, Black Hawk Down), Israeli Oz Zehavi (Yossi, Southland) and Australian Bernard Curry (Pretty Little Liars, Home and Away).

Chris Roland of Cape Town-based ZenHQ Films produced the film with Muddville’s Leigh Ferreira, Richard Lackey and Yola Raydan. The entire crew is South African, as are the remaining cast members, who include Patrick Lyster and Nicky Rebello.

3 Pegs is funded by private equity and the South African Department of Trade and 8 | SCREENAFRICA | April 2013

Industry rebate.

Roland became involved in 3 Pegs when South African Richard Lackey, who works with Muddville, introduced him to Jac Mulder.

“I was very excited about the concept and script for 3 Pegs, which addresses the ludicrousness of pre-conceptions between Arab, Israeli and American soldiers,” says Roland. “Although the scriptwriter Ziggy

BIG STAR: Tom Sizemore Darwish did not find himself in exactly the same situation as the characters in the film when he was in the navy, he was exposed to similar racial tensions and dynamics.”

It was a casting director in Los Angeles who suggested Tom Sizemore as one of the three leads.

“I think Tom is one of the best actors alive, but I had heard about the wild stories surrounding him. After checking, we found that Tom had successfully gone through rehab and turned his life and career around. He was an absolute professional during filming, and

producer, Len van Jaarsveld, who discovers a new talent (Robbie de Wee) in the alternative rock world and makes him a star.

And then fate steps in.

The cast includes Neil Sandilands, Marno van der Merwe, Leandri Scholtz, Rolanda Marais, Sarah Theron, Anna Mart van Der Merwe, Altus Theart and Chris de Clerq.

– Jakkie Groenewald.

brought great energy and creativity to the set,” explains Roland.

Mulder adds: “The prospect of directing Tom Sizemore scared the hell out of me as he has worked with Hollywood’s best directors. Tom is an amazing actor and I feel lucky to have had the opportunity to work with him on 3 Pegs.”

Over 50% of the film takes place inside what looks like a run-down home but is in fact a communication centre on an Israeli military base. The three soldiers are accidentally trapped in the communications room for six hours.

This set was built at Ottery Youth Centre which, according to Roland, also had great exterior locations that doubled perfectly for an Israeli military base. Other locations included Kalk Bay, a shop on Long Street, a hotel in Greenpoint, a private home in Pinelands, Ysterplaat Air Force Base, and other locations which doubled as Israel and Lebanon.

The off-line edit was expedited in Cape Town by Paul Merrington, with Freq’ncy (also in Cape Town) doing the music and mix. Online, VFX and deliverables are being done at Muddville in Dubai.

Roland attended the recent European Film Market in Berlin to look for an international sales company and notes that the response to the teaser was ‘pretty fantastic’. He will continue marketing the film at the Cannes Film Festival in May. ZenHQ Films’ sister company, My Movies, will handle South African sales.

– Joanna Sterkowicz

Professional Camera solutions for every application

SYSTEM CAMERAS

www.pansolutions.co.za Contact: Sean Loeve Cell: 083 677 4917 Tel: 011 313 1622

ADCETERA

| Report on the South African commercials industry

‘Brave lightbulb’ Hynes on the move

Dani Hynes

Dani Hynes, long-time creative turned commercials director, is the latest addition to Egg Films in Johannesburg. Four years ago Hynes decided to leave her ad agency days behind her and turn her attention to using a camera instead of a pen to get the message across. This is a decision she has never regretted.

Over the years, Hynes’ focus has been on authenticity and visual impact. She has worked on brands such as Nando’s, Geely, Nokia, Yellow Pages, Revlon, Game and Vodacom, establishing a versatile reel showcasing an obsessive eye for detail.

The talented director is delighted to have joined Egg Films at the beginning of April.

“The Egg brand is synonymous with all that is exciting and intriguing about commercial filmmaking in South Africa right now,” says Hynes. “It’s incredible that I get to be part of that.”

In response to a question regarding the apparent shortage of female commercials directors, Hynes says there is a perception that it’s rare for women to take on the job.

“I’ve never noticed that there are less of us girls out there but I can name 10 excellent and busy directors in the

commercials sphere alone. Yes, there might be more men (also excellent, also busy), but we hardly qualify as a minority anymore.

“As a gender, we question ourselves and our abilities more than men do and that is a disadvantage if we let it be. However, my gender has never gotten in the way of me doing my job, I am either good enough to get the job or I am not,” comments Hynes.

She believes that women do things differently to men. “And that’s true of life, not just directing. But there is room for all of us. If there are women out there who think that simply being a woman precludes them from getting in the pool, I say: ‘Come on in, the water is lovely!’

“I mean, why wouldn’t women make excellent directors? We can multi-task, make things beautiful, we’re biologically programmed to solve problems, we can be firm or nurturing when we need to be and we also (as a rule) smell nice.”

Hynes possesses certain characteristics which ensure that she succeeds at her job while keeping a level head. “I can operate on very little sleep, I don’t take things personally, I am obsessed with pretty

pictures, I can do more than one thing at a time, I get what creatives feel when they entrust me with their ideas, I am okay in a boardroom and I have a sense of humour,” she says.

Any day that Hynes is able to walk on set and shout: “Let’s dance!” is pretty much a great day for her. “But the jobs I enjoy most are the ones where we are all thinking the same way. The details are taken care of long before we get on set, everyone loves the treatment, the creatives feel like the idea is in good hands, the clients are excited and we all get to enjoy the process. Those are the jobs that everyone gets to love.”

Hynes describes the biggest challenges of her job with her distinctive sense of humour. “The downtime can be tough to ride out. You can’t take it personally, but sometimes you would offer to shoot your cousin’s wedding if it meant you got to say you shot something.

“We all have those days. We all hate them. But it is a small price to pay for having the coolest job in the world – after the guy who got to live on an island for a year or being a transformer.”

Hynes admires anyone who is brave enough to have and share an idea. “It is a jungle out there for those tiny, easily frightened lightbulbs. And it just keeps getting tougher,” she concludes.

– Martie Bester

‘Electrifying’ commercial Born Free Media’s Khalo Matabane (State of Violence, When We Were Black, Conversations on a Sunday Afternoon), recently won the pitch to direct two television commercials (TVCs) for Eskom’s anti-electricity theft project, Operation Khanyisa.

Ad agency Draftfcb Social Marketing came up with the concept for the commercials – two case studies around various sectors of South African society and electricity theft. The Draftfcb team included executive creative director Qingqile ‘Wing Wing’ Mdlulwa, deputy MD Mariaan van Kaam, creative director Loyiso ‘The Victor’ Twala, senior copywriter Suzanne Du Toit, senior art director Engelbert Phiri and agency producer Beth Maaroganye.

Says Twala: “The motivation for this short film was to make South Africans aware of Operation Khanyisa, a movement that fights electricity theft by promoting the legal, safe and efficient use of electricity.

With the complexity of the issue, we needed an approach that would allow us to present information in a way that people could engage with. This lead us to collaborate with the film director Khalo Matabane, as opposed to a traditional commercials director, allowing us to develop a multi-layered South African story with characters the general public could

10 | SCREENAFRICA | April 2013

Khalo Matabane directing a scene from an Operation Khanyisa commercial relate to and ultimately engage with the subject at hand.

“The story is entertaining and emotive; it draws viewers in, keeps their interest and only reveals at the end that it’s not just a movie, but a message. We are proud of the final result.”

Matabane adds: “Central to the idea of Operation Khanyisa is the concept of collective responsibility – the notion that our actions are interlinked, that what we do in the present has a ripple effect not only for the present but also impacts on the future. It also speaks to the idea of being an active citizen and ensuring that one of the most important resources in the country, a resource of national pride, is preserved.

This requires multiple approaches, from engaging with communities and listening to their side of the story to empowering with them with knowledge so they are aware of

their actions, and punishing them where necessary.

“It was vitally important that the commercial be credible, authentic and honest. The commercial offers an opportunity to explore and play with powerful words, such as ‘Light’ and ‘Power’.

It encourages citizens to be active participants in preserving electricity and because the destiny of the country is in their hands.”

The first ad was shot from 13 to 16 February in Downtown Johannesburg, Northcliff Hill, Soweto and Northern Farms.

According to Born Free Media executive producer, Carolyn Carew, the shoot went very well. “The agency and client were very pleased with what Khalo directed. He is an award-winning long-form director and he created a powerful narrative that really captures the essence of the story, both in

the three-minute version and the 60-second cutdown. The lead is played by Mudi Mudau.”

DOP (director of photography), Giulio Biccari, shot the commercial on the RED Epic.

“Khalo loves working with Giulio as he is a great narrative DOP and lights beautifully,” comments Carew.

Art direction was by done Sue Steele and editing by Paul West from Deepend Post Production, with music composed by Zwai Bala. The commercial was finished at Blade, graded at Pudding and the final mix done

by Produce.

States Carew: “The team did a great job – it’s a beautiful piece of work.”

The ad will flight in mid-April.

At the time of going to press the second commercial was in production in Johannesburg.– Joanna Sterkowicz

| ADCETERA

Puppets, pantsula and other fabulous images Director, Sean Metelerkamp, has joined co-founder, Bryan Little, at Cape Town production company Fly On The Wall. His first job since joining was Puppets vs.

Pantsula, a Diesel + EDUN fashion film shot in Soweto for London-based Vice Magazine. The video can be viewed on http://vimeo.com/61622837.

The fashion film, a first in this genre for Metelerkamp, draws on pantsula culture with dancers from Real Actions Crew taking centre stage in the production. Apart from the dancers’ perfect moves, the crew displays all the precision of pantsula dance, head-to-head, with puppets. The video is set to Ndekha, a track by The Very Best and Moroka.

“Seeing the puppet masters and the dancers was incredible,” says Metelerkamp.

“The biggest challenge of filming was that it was a one-day shoot, so in terms of time, we were very restricted. We shot in a broken-down warehouse in Soweto on a Canon EOS 5D Mark III.” Grant Appleton was the cinematographer while Grant Birch edited the short film.

Metelerkamp is famous for directing the original Die Antwoord music video Zef Side, which has just less than 14 million views on YouTube. The Zef Side won a D&AD Yellow Pencil for Best Music Video and won the YouTube Play competition.

Since then, Metelerkamp has had photo exhibitions at The Guggenheim museums in New York, Bilbao, Venice and Berlin. His

Puppets vs. Pantsula fashion film shoot for Vice Magazine recent photographic work includes documenting Monte Rosa old-age home in Gardens in Cape Town and Noupoort rehabilitation centre in the Northern Cape, as well as working on his ongoing photographic project, Skeef Reënboog, shot across South Africa on borrowed and disposable film cameras.

“I will probably travel the country and

take photos on a 35mm film camera until the day I die,” says Metelerkamp.

“I have spent the last three years travelling between Cape Town, London and New York but have realised South Africa is in my blood. I want to take photos of places in the country where people don’t often go and have recently done just that in Orania in the Northen Cape and Bothaville in the

Free State,” comments Metelerkamp.

“I love and respect Sean’s work,” says Little, who co-founded Fly On The Wall in 2004 with producer Filipa Domingues and cinematographer Grant Appleton. “He has always been a friend and someone who shared space and philosophies with us. He makes interesting, relevant work that blow people’s minds.” – Martie Bester

introduced for Writing and Performance Crafts. Non-English radio entries that have flighted may be entered in the New Voice Award category or the main Radio category, but not in both (as was allowed in previous years). In addition we’ve added a new Digital Craft category for Best use of Technology,” explains Human.

He notes that the Loeries now boasts a revamped website (www.loeries.com), as well as a new digital upload system, created in partnership with Sonovision Studios.

“The system allows entrants to upload all media – images, videos and audio files – directly to their individual entries via the online entry system, simplifying the overall process,” says Human.

All those wishing to enter the Loeries should take note that the eligibility period for entries is 1 June 2012 to 31 May 2013.

Work must be produced by companies from Africa and the Middle East, including island states off the African coast (e.g.

Mauritius, Madagascar, Seychelles, etc.).

From this year, entries from Turkey are also eligible. Work that has been produced for international clients is eligible – so a

company in Kenya producing work for a German market may enter their work.

International crafts may be entered, as long as the person nominated for the award is from the eligible region. The final deadline for entries is 31 May 2013.

All work is judged according to five criteria: innovative concept; excellent execution; relevance to the brand; relevance to the target audience; and relevance to the chosen medium.

Loeries Creative Week Cape Town, which runs from 16 to 22 September, will culminate in two awards evenings on Saturday and Sunday.

Events will kick off at Cape Town’s City Hall on Monday 16 September with the Loeries judging-week.

Finalists for each category will be announced at the end of each day.

The judging will round off with the International Seminar of Creativity, where the Loeries’ four jury chairmen, Geoffrey Hantson, Gotz Ulmer, Jason Little and Debbi Vandeven will speak.

Changes at the Loeries Entrants into this year’s Loerie Awards competition will have several new categories in which to enter, namely: the Effective Creativity Award, the New Voice Award Crafts and the new Digital Craft category for the Best Use of Technology.

The Loeries are the premier brand communication awards in South Africa, Africa and the Middle East.

Commenting on the new categories, Loeries CEO, Andrew Human, notes that the Effective Creativity Award has been introduced to recognise the link between innovation and business success.

“To be eligible to enter this new category, a campaign must have won a Loerie in the past two years.

That means winners from 2012 and 2011 are eligible, including Bronze, Silver, Gold, and Grand Prix.

“In terms of the New Voice Award Crafts section, new categories specifically for non-English radio communication have been

April 2013 | SCREENAFRICA | 11

Television

|

ACE UP THEIR SLEEVES: Josh and Luke Rous

Rous brothers place a winning bet

By Martie Bester

New SABC3 series High Rollers is an intergenerational family drama that plays out in the high stakes world of a casino empire. Brothers Luke and Josh Rous of Rous House Productions are the brains behind this long-awaited telenovela, which started screening on 2 April 2013.

H

igh Rollers is centred on three ‘brothers’ – the Machiavellian casino kingpin David, his flawed and volatile older brother Paul (who has just been released from prison and wants to start a church in the casino) and David’s trusted right-hand man, Thato ‘TT’ Mogale.

According to the Rous brothers, the men are divided by their love for money, family and God. From the boardroom to the bedroom, as they navigate a precarious tightrope between loyalty and betrayal, each man plays the hand dealt to him.

Rous House Productions was founded by Luke and Josh Rous in 2007 with a primary focus on long-format, narrative drama. Josh works primarily as a director, while Luke does most of the producing.

“We both write and oversee projects from conception through final delivery.

We’ve been involved with sitcoms such as City Ses’la, Askies, Gauteng Maboneng and Ga Re Dumele as well as the feature films Discreet and Semi-Soet,” says Luke Rous.

Almost five years ago the SABC was looking for a telenovela in Afrikaans. The brothers pitched High Rollers and were shortlisted. “However, the show went into hiatus. Over the course of five years we’ve re-versioned High Rollers a number of times, adding characters, taking them away, changing the language it would be made in, but always improving on what we thought was a dynamic idea – a family drama set against a casino backdrop.”

Rous House is the one-stop shop in 12 | SCREENAFRICA | April 2013

which High Rollers was conceived, nurtured and is now finally being brought to life. Josh says: “Luke and I created the show. I’ve been working as the head director while he’s been executive producer.”

Casino underbelly Viewers are in for compelling storytelling set in a world they haven’t witnessed until now, namely the underside of the casino empire. “That and a whole lot of family secrets, unrequited love, cheating, casino robberies and a pregnant lady giving birth on the casino floor for not wanting to break her lucky streak. For real,” says Josh.

The brothers are determined to keep viewers spellbound. Josh says: “Casinos are fascinating repositories for the most unique stories. Even without our added human drama on the intergenerational family side of things, there’s enough going on in any given casino to keep the driest writing room buzzing with scandal and intrigue.”

“The storyline, combined with the fact that we are shooting the series partially on a live working casino floor, adds a lot of production value,” comments Luke.

Cinematic series The brothers have done their best to make the series as cinematic as possible. “For too long South African television has been stuck in the soapy genre, which has a very specific look. We’ve been doing our best to avoid

that by making use of a single-camera shooting style and placing an emphasis on dramatic lighting, composition and camera movement to tell a better story,” the brothers say.

High Rollers was shot on the Sony F3.

“Greg Heinemann is our DoP and he did a fantastic job. We wanted a camera that dealt well with low-light scenarios and which also gave a more filmic look. Since we’ve been asked to deliver in HD for international sales, the Sony F3 was the best choice for the job,” says Josh.

Rous House is handling all the editing and grading on a number of edit suites set up for this project. Sound is being mixed at Sound Patch by Johan Theron and the score has been composed by Joel Assaizky.

In terms of budget, Josh says the production cost more than his house, but less than Michael Jackson’s. “Put another way, our budget was about a 50th of what it might cost to make something like Grey’s Anatomy, but I’ll be damn surprised if the general public viewing High Rollers won’t enjoy it just as much.”

They are thrilled to introduce audiences to the world they’ve been living and breathing for five years. Nine months went into the terms of the negotiation with Rous House Production’s casino partner Emperors Palace, which they shot to look and feel like Kings Casino.

“We are proud to have locked them down and really couldn’t have shot this show without the realistic feel of an actual

casino. Shooting there while guests milled around and gambled in between takes was a whole other story though…”

As High Rollers was written with specific ‘cliffhangers’, the team has technically made two seasons already.

Talent The brothers are thrilled with the talent they have assembled for the series.

Antony Coleman plays David King the conniving casino boss; Justin Strydom is his older brother, Paul King; and the man holding them together is Fezile Mpele as TT. The matriarch of the family and keeper of secrets Helena King is played by Brümilda van Rensburg.

Other cast members include Rolanda Marais as Annaline, David’s alcoholic wife, Carmel Fisher as the ballet dancer turned stripper, Xolile Tshabalala as the fast-talking casino host, Viljé Maritz as David’s son and casino prince and Carine Rous as the hardnosed pit-boss.

“We feel privileged that we got to make High Rollers,” says Josh. “We think it’s going to blow viewers’ socks off and we can’t wait to make the next one.”

SABC3 is broadcasting all 26 episodes on Tuesday nights at 20h30 back-to-back until 24 September 2013.

F5 CineAlta 4K Camera

F55 CineAlta 4K Camera

The F55 CineAlta 4K Camera has arrived!

Contact your nearest Sony Broadcast dealer for details of the product demonstration

SA Dealers: Jasco +27 11 266-1500 | Visual Impact +27 11 788-9879 | Protea +27 11 719-5700 | Specialised Broadcast Sales & Service +27 21 425-6337 Sony Broadcast & Professional +27 11 690-3200 | www.pro.sony.eu/mea

FILM & TELEVISION

|

Exploring new markets in the Global South

By Neil Brandt, with additional writing by Pascal Schmitz

For Pascal Schmitz, Mayenzeke Baza and Neil Brandt – the South African factfinding mission that attended the Rio Content Market in Brazil on behalf of the IPO (Independent Producers Organisation) and the DFA (Documentary Filmmakers Association) in February – it was truly an eye-opening experience.

W

e discovered a massive market of 200 million people that is closer to Johannesburg than a flight to London or Berlin, never mind New York or Toronto. Although we don’t share the same language, we share a common African heritage, and many of the same socio-economic realities provide ample ground for compelling storytelling to fast-changing global audience demographics and tastes.

The Brazilian content market is on fire, with Brazilian producers becoming much more confident about the attractiveness of their content on the back of an international telenovela buying frenzy, and the success of feature films like City of God and Elite Squad.

Brazil has much in common with South Africa’s emerging economy and class mobility, as well as similar problems and opportunities. Therefore, should South African producers not logically be looking South instead of North, not only for investments and audiences, but also for stories in a world that is becoming tired of the generic sequels and prequels being spewed out by Hollywood?

Without a doubt, South African producers have in the past few years become much more active in developing internationally compelling stories and exploiting the attached rights. The attractiveness of universal stories with an African heart, and the exploitation of the attached rights, seems to be on the lips, pens and LCD screens of many more producers peddling their wares to the world than ever before, but does this not then require us to think out of the box even more?

Hardy bunch A hardy bunch of South African filmmakers can regularly be seen at film festivals and markets in North America and Europe, working the floor and forging new partnerships. Sometimes we have critical success, sometimes we don’t – and let’s not talk too much about the box office returns…

Some of these markets and the funding

14 | SCREENAFRICA | April 2013

mechanisms connected to them have been active supporters of African film over the years. This has often been an important lifeline for filmmakers who sometimes struggle to SOUTHERN STYLE: Neil Brandt, Mayenzeke Baza and Pascal Schmitz find all their funding back home. However, the Content Market that African audiences want argument can be made that it can also trap to know what has happened to the African African filmmakers in a cycle of diaspora; whether this reflects itself in the dependency, as they inadvertently reinforce success of VOD (video on demand) negative stereotypes held by the North, platforms selling Nollywood films, or in a sometimes unintentionally, by the kind of desire to know your African Roots founded projects commissioned, funded, selected on a tragic history of slavery in South or broadcast.

America. The options are endless. More In a recent report on the FESPACO and more, audiences are demanding to see Festival in Burkina Faso, the BBC, ironically, themselves on screen. A challenge for states as much: “There are preconceived South African filmmakers, however, is that notions and expectations regarding African we are making films in 11 official languages films. Only in recent years have young and we simply struggle to gain critical mass. filmmakers begun to break the mould and By way of comparison, Schuks Tshabalala’s make more experimental films. Funders Guide to South Africa, our highest grossing have a clear idea of the African films they film (and an exception in itself) took want. In most instances, those that depict $5 148 841 at the box office in its release in African people in an unconventional light 2010. In comparison, Brazil’s Indie hit Elite are not the stories funders and international Squad: The Enemy Within grossed a total of festivals want to see. They are content to $62 927 562 at the box office in 2011, see Africa as a struggling continent, which is dwarfing anything produced in South corrupt and disease-ridden.”

Africa, and with a storyline that should resonate with South African audiences!

Growing movement Films like Elite Squad have access to an array of funding mechanisms in Brazil, and Fortunately there is a growing movement between the Audio Visual Sector Fund, tax among a younger generation of South breaks and other mechanisms, producers African and African filmmakers who insist on are talking about (just below) US$1bn worth finding ways to control their content without of funding being released into the industry interference, or to produce content with on a yearly basis, and local channels are partners that at least share a common now required by law to commission from understanding of issues and stories independent producers and to broadcast affecting the Global South. that content during prime time.

We strongly believe that part of this “While core focus will be on local movement should be to focus more on production, there is ample opportunity for forging relationships with our partners in co-production in series, animation and the Global South, by finding ways to feature films, and ABPTV in Brazil is co-produce either with our African aggressively seeking out co-production neighbours, or with BRICS (Brazil, Russia, partners across the globe (Apart from India, China and South Africa). existing agreements with; most of Latin In the friction zone where first and third America, Canada, France, Germany, Spain, world economies collide within the same Italy, Portugal and India – Brazil has just borders, endless stories lie. Mandy Rogers, signed co-production agreements with the of MultiChoice’s African Film Library, told an UK and Israel.) They clearly state that the audience of 3 000 participants at the Rio next natural partners would be the other

BRICS nations, as well as some other European countries, South Korea and Australia,” says Eduardo Valente, head of international affairs at Brazilian industry organisation Ancine.

Culture exchange We strongly believe that there is space for African content on Brazilian screens for audiences that are interested in their African roots, and vice versa for the African diaspora. Every single producer and director we met at the Rio Content Market was interested in South Africa, our ideas and what options we have for finding stories to tell together. We have come back clutching a slate of ideas that are now being developed.

Production companies from across the globe were in Brazil for the market, and most major international television networks, online platforms and film festivals were also represented by accessible senior executives, clearly indicating the strength and possibilities that lie here on the eve of the 2014 FIFA World Cup Brazil, followed by the Olympics in 2016.

We are aware that there is strong institutional support in South Africa from the Department of Arts & Culture (DAC) and the NFVF to enter into a co-production treaty with Brazil, together with their counterparts at Ancine, and we strongly urge South African producers to support these initiatives going forward.

For more information, visit: http://www.riocontentmarket.com.br/ http://www.braziliantvproducers.com/en/ http://2012.festivaldorio.com.br/en/ http://www.cinemadobrasil.org.br/index. php?lang=en http://www.ancine.gov.br/manuais/ coproducoes-internacionais

FILM & TELEVISION

|

Director Speak Uzanenkosi

Photo credit: Anders Krusberg / Peabody Awards

The South African filmmaker known as Uzanenkosi was the original creator and executive producer for his company, ANTS Multimedia, on the award-winning television drama series InterSEXions.

A writer, producer and director, Uzanenkosi’s name is synonymous with productions like Evita & Loyiso’s Dinner with The President, Zola 7, Big Brother Africa (I & II), A Place Called Home, 90 Plein Street, Soul Buddyz and Desmond Dube’s Dube On Monday, among others.

He recently directed his debut feature film, uSKROEF noSEXY.

YOU’VE SUCCESSFULLY STRADLED BOTH TELEVISION AND FILM – WHICH MEDIUM DO YOU PREFER AND WHY? I prefer film. uSKROEF noSEXY, my one and only feature film, I own. All my work in television belongs to somebody else.

HOW DID YOU COME UP WITH THE CONCEPT FOR INTERSEXIONS? I began to wonder what HIV/Aids was here to teach us.

When the Tsunami hit in 2006, it surprised me how human beings put aside all the things that get in the way of their lives (among them reasons not to want to learn the right way to pronounce someone’s name) to help others. When I asked a colleague and friend why we do that, he said disasters are here to teach us about compassion. The question I asked next was what gave birth to InterSEXions.

WHAT LESSONS DID YOU LEARN FROM MAKING USKROEF NOSEXY? Making films is like living in Africa – it is not for sissies.

And guns aside, everyone makes it out alive at the end of a film, but some friendships don’t survive it.

HOW WOULD YOU DESCRIBE YOUR DIRECTORIAL STYLE? ARE YOU A HITLER OR A HONEY? I would like to think I am collaborative, but I am not.

Whatever it takes – I want my performance. With some actors need you to be a honey for them to do their best.

Some need you to come close to a Hitler. I was nowhere near him in uSKROEF noSEXY. WHAT IS THE LOONIEST SHOOT YOU’VE EVER DONE AND WHY? A few years ago, I had to direct a scene in which a student was trying to seduce, and later blackmail, her professor. Whatever direction I gave, the student would play it the same way. Whatever film example I pointed too, the actress hadn’t seen. It got crazier from there.

WHAT ARE THE ADVANTAGES OF BEING KNOWN PROFESSIONALLY BY A SINGLE, EXOTIC NAME? The upside: branding is easier. I am the only Uzanenkosi I know. If there is another one out there, I would rather he was mistaken for me than I for him. The downside: you forsake all nepotism benefits.

CAN PEOPLE ACTUALLY PRONOUNCE YOUR NAME? The famous actor Patrick Stewart pronounced it just fine when I received the Peabody Award for InterSEXions.

Since then, I’ve been unforgiving of those who don’t.

16 | SCREENAFRICA | April 2013

HOW DO YOU CHILL OUT? I used to prefer loud music and drinking. I can’t do that anymore. I can’t take the hangovers. I am trying to find something else to do. Reading and watching movies is far from chilling out for me.

IF YOUR LIFE HAD A SOUNDTRACK WHAT SONG/S WOULD BE ON IT? Me’shell NdengeOcello, Bob Marley and Prince, before he found God or God found him, would be the artists on my soundtrack. Choose any song by anyone of these artists, I have lived it or am preparing to live it.

WHAT ARE YOUR FAVOURITE MOVIES OF ALL TIME AND WHY? I think Olivier Marchal’s 36 is incredible. I envy Cinema Paradiso and Life Is Beautiful.

Like Water for Chocolate is A Walk in the Clouds for me. The Gods Must Be Crazy, Gums and Noses and Discreet are the only three South African films, thus far, I am compelled to beat. I put on a pedestal both In the Mood for Love and Old Boy. That said, leave me alone when I am watching Vertigo.

WHAT REALLY BIG MOVIE STAR WOULD YOU REALLY, REALLY LIKE TO WORK WITH AND WHY? I would like to work with Scarlet Johansson. I need to find out for myself if she is really that gorgeous. I don’t believe it and if it takes casting her in a movie to prove myself wrong, so be it.

WHY DID YOU CREATE THE KWENZE KWENZEKE (MAKE IT HAPPEN) DISTRIBUTION NETWORK? I don’t believe in creatives without creative solutions especially for what affects them directly. We need to get our movies past piracy to their audience. Failing that, our local industry will always be starting up.

You can only be an upcoming filmmaking for so long – trust me. Kwenze Kwenzeke is my creative solution to making sure uSKROEF noSEXY finds its way to its audience and out-perfoms piracy. I hope the infrastructure after that is used more than our 2010 FIFA World Cup soccer staduims.

WHAT HAS BEEN YOUR CAREER HIGHLIGHT? Meeting David Simon, the creator of The Wire. There’s a series I covet.

WHAT ARE YOU WORKING ON AT THE MOMENT? I am developing a detective feature called Makhekhe, supported by the National Film and Video Foundation (NFVF). I’ve also started mapping out uSKROEF noSEXY II. LoveWars, a five-part television series, will probably be the first thing out my door.

free to attend

Exhibition: 28 - 29 May 2013

Times:10am – 5pm

Sandton Convention Centre, Johannesburg, South Africa 16th annual

Co-located with THE

BROAD

CAST

Show AFRICA 2013

What the show has to offer you: • 60+ FREE learning seminars • 70+ exhibitors • 3 co-located events • Over 2000 attendees

Register now for FREE entry!

Quote promo code SA002 www.terrapinn.com/satcom OR Call +27 (0)11 516 4000 Created by:

www.terrapinn.com/satcom Diamond partner

Other sponsors

Platinum sponsors

Gold sponsors

|

A shoot on a shoestring

Photos by Eugene Fincham

Documentary

By Andy Stead

A new South African documentary gets on the bike – a vintage motorbike that is.

E

ver heard of the DJ – or in the case of 2013, the JD? Well, to the uninitiated the DJ/JD (let’s call it the JD to save space) is a motorcycle rally for bikes manufactured before 1936, and runs from Durban to Johannesburg (hence the DJ acronym). It commemorates a road race that began in 1913 and ran until 1936, when it was banned due to road conditions and traffic.

The commemorative run started in 1970 and it has taken place every year since. As the smart ones will have noticed, 2013 is the 100th anniversary of the original run, which went from Johannesburg to Durban (JD), so this year it was decided to recreate the original race.

There were some 187 entrants, including 17 from overseas and 11 ladies.

say the least. Attempts to secure broadcaster interest, both locally and abroad, were not exactly successful. It was a case of: “Bring us something and we will air it,” but without any financial recompense.

So – what to do? Would it be possible to cover this event on a shoestring? Would its appeal to the industry produce results?

Thus far the answer is a resounding yes. The production team of Andy Stead and Trevor Ou Tim (also first camera operator) felt that a minimum of three cameras would provide basic coverage and the decision was made to go for two handheld cameras and a helmet mount on one of the riders.

High end performance

‘GET YER MOTOR RUNNIN’ – Andy Stead sets off with helmet mounted Prestigio roadrunner 700X camera

Commencing at Carnival City Mall, it’s a grueling two-day event run on minor roads.

Riders stay over-night in Newcastle, then continue on to Nottingham Road, and finally finish at the Durban City Hall.

It’s a unique motorcycling event not only in South Africa, but also in the world and worthy of coverage for television broadcast, as well as for posterity. The problem is that funds on the vintage club scene are scant to 18 | SCREENAFRICA | April 2013

Camera set-up A Sony NXCAM HVR-NX5E was donated by Sony Broadcast together with a condenser microphone, a cable and three batteries with a charger. Each big battery allowed for about six hours of recording time, while the small emergency battery allowed for about three hours. This camera was to be used by Ou Tim, an experienced camera operator.

The second camera – a Sony HVR-Z1E together with zoom lens, batteries, a RODE NTG-2 shot shotgun microphone with foam windshield, pistol grip, boom pole, tripod and 10 mini DV tapes – was donated by Digitalfilm’s Frank Meyburgh. This was to be used by ex UK-based DOP Brian Emmis, who in his day worked at College Productions Ltd, Leo Films Ltd and Ranger Communications Ltd. An obvious choice for the helmet cam was a GoPro, however no donations were forthcoming and the cost of purchase is well over R3 000. A solution presented itself in the form of a Prestigio roadrunner 700X with almost identical specs to the GoPro. The Prestigio could be purchased for under R2 000 with a free Roadrunner HD1 car cam thrown in. The 700X shoots full 1080 HD with a 170mm lens, remote control and waterproof helmet mount. With two 16 GB mini SD cards it was just the ticket.

The 7th of March saw the first bike ride off from Carnival Mall at 06h00 with the full crew in attendance. Interviews with officials and riders had been recorded before the event and both camera operators were in support vehicles following the rally – Ou Tim in a sponsored BMW active Hybrid car driven by two paramedics following the run, and Emmis in a support vehicle. The helmet cam was mounted on rider number 83’s helmet halfway through the field.

Ou Tim found the Sony NXCam a pleasure to use. “It feels familiar after using a Sony Z1 HDV camera,” he says. “It has the same great weight balance when used handheld, which became important as I was hanging out of a car at speed while filming the bikes in motion. It allowed me to hold my position for shots very comfortably. But what I was very impressed with was the antishake mechanism built into the camera.

When shooting handheld, while walking, the visuals looked like I was using a Steadicam.

“The focus ring and zoom is comfortable in the hand and easy to use. I really loved the lens – the G Lens has a great reputation and I loved the way it renders crisp, clear images, as well as the natural colours. On a

| Documentary

Brian Emmis getting a low shot at the start cloudy day in Nottingham Road, I found the lens able to capture some lower light areas very well. The camera uses three Exmor CMOS sensors which, judging by the quality of the visuals, work very well,” says Ou Tim. He notes that he wasn’t too crazy about the touchscreen, which he finds difficult to use on all camera screens due to their size.

“Maybe it’s because I have fat fingers,” he continues. “But the standard control buttons work great. Again, it looks familiar if you’ve used Sony’s HDV models, so it should be easy to migrate when you upgrade to this camera from HDV. “The Sony NXCam records to solid state with its two memory slots. I found that I

Trevor Ou Tim interviewing JD rider Ric Lewis could shoot continuously by changing a flash-card of the second slot, while recording on the flash-card of the first slot.

With two 32-GB memory cards, I could record non-stop for six hours of continuous HD footage. The battery that I had in the camera could also manage six hours of shooting, so I felt very confident working with it. I could really concentrate on filming rather than worrying about batteries running dry, or watching how much space I had left on the card.”

Older model Emmis, using the older model Sony camera, was also full of praise, saying that the

camera was familiar, had good monitoring, lasted well on the supplied batteries and produced the expected results.

“The HVR-Z1 delivers what DV filmmakers need in the HD world. It’s the obvious choice if you are shooting 1080i,” he says.

According to the filmmakers, the images captured by the Prestigio were astonishing.

Clean, natural colours with great 1080 resolution and minimal distortion from the 170mm lens. Sound recording on the camera was reportedly excellent; the camera had the ability to play back both sound and visuals so they could be checked quite easily. However, the filmmakers found that when the camera was helmet-mounted

it was impossible to tell whether it was recording or not – and often it was not recording when the rider thought it was.

At the end of the event a total of 15 hours of footage was available. All footage was transferred onto hard drives for future logging and an offline shot selection for editing. Some of the footage was used for a short insert on SABC3’s morning show Expresso.

The footage will form the basis for a 30-minute documentary for both broadcast and DVD release.

www.aja.com

Breakthrough Workflows Take control of all your workflows.

Ki Pro Quad enables breakthrough 4K, QuadHD, 2K and HD workflows combining the efficiencies of ready-to-edit Apple ProRes files and the flexibility of RAW data in a compact, solid state recording, monitoring and playback package. For the first time, a true realtime lens-to-post workflow exists for any project from HD to 4K.

Futureproof

Quality and Flexibility

Power and Portability

Work at HD resolution now with 4:4:4 quality and have the ability to move up to 4K projects using the same Ki Pro Quad.

Record RAW data via Thunderbolt™ and 4K Apple ProRes files for the perfect combination of the highest quality and manageable file sizes.

Ki Pro Quad is small enough to mount directly on most cameras but powerful enough to be the hub of your 4K solution.

B e c a u s e i t m a t t e r s .™

Find out more at www.aja.com and visit us at NAB, Las Vegas – Booth SL3816 Touchvision #32543 - Quad Half NAB SA.indd 1

B e c a u s e i t m a t t e r s .™

B e c a u s e

i t

m a t t e r s .™

B e c a u s e

i t

m a t t e r s .™

Tel: + 27 11 886 8572 • www.touchvision.co.za 15/03/2013 12:17

April 2013 | SCREENAFRICA | 19

Broadcast

|

Compiled by Joanna Sterkowic z and Martie Bester

Entering the DTT zone Africa’s progress in migrating from analogue broadcasting to digital terrestrial television (DTT) remains relatively slow, as evidenced by the country reports presented at the recent Commonwealth Telecommunications Organisation Digital Broadcasting Switchover Forum (DBSF) held in Johannesburg.

T

he deadline for the switch-off of the analogue signal in Africa, as set by the International Telecommunications Union, is June 2015. Following this date the analogue signal will no longer be protected in Africa.

Of the countries that made presentations at DBSF, Tanzania and Mauritius are the most advanced in their digital migration projects, with the latter being the first in the Africa and Indian Ocean Islands region to have run DTT trials.

Chairman of the Information and Communication Technologies Authority of Mauritius (ICTA), Trilock Dwarka, announced that the country expected full switchover to DTT to take place in December 2013, in line with SADC (Southern African Development Community) recommendations.

He noted that they’d learnt ‘more bad lessons than good’ in their DTT trials, especially regarding the set-top boxes (STBs) required to decode the digital signal.

“We experienced STB chaos because of our ‘open bucket’ policy,” continued Dwarka. “It’s been a terrible thing as we sourced the STBs from China and half of them are poorly crafted and faulty. In addition there has been no back-up service from the manufacturers. We’re also experiencing consumer illiteracy around the STBs which need to be more user-friendly – just plug in and play.”

Some of the steps that Mauritius has gone through in its DTT project include deciding on the STB subsidy and introducing mandatory DTT regulations.

“We’re currently in the process of upgrading our video compression standard from MPEG-2 to MPEG-4. This will accommodate HDTV, 3DTV, DVB-H and DAB+.

“It’s also necessary to plan for the digital 20 | SCREENAFRICA | April 2013

dividend, as once the analogue signal is switched off it will release frequency spectrum. This will allow us to launch new channel blocks,” explained Dwarka.

He revealed that Mauritius’ local content issue is currently being examined. “We have poor local content so it’s possible that we may expand the term ‘local content’ to include programming produced by East Africa or the other Indian Ocean Islands.”

Dwarka stressed that for the DTT project to be truly successful it required synergy among stakeholders and a proper legal environment.

“If content is king then distribution is God. The face of broadcasting in Mauritius has changed because of digital migration.

We now have three DTT multiplexes with 17 channels in total,” concluded Dwarka.

Tanzania 14 analogue transmitters were switched off in Dar es Salaam on 31 December 2012 according to Habbi Gunze, director of Broadcasting Services for the Tanzania Communications Regulatory Authority (TCRA).

“Dar es Salaam is now fully digital. We will have another two cities that will be digital within two months.

“At the outset of the digital migration project the most important thing was political will, and we had buy-in from the Ministry of Communications and the Ministry of Information. Our first step was to hold an in-depth consultation with all stakeholders followed by a meeting on how to implement DTT. The broadcasters didn’t want to confine themselves to content only, so they decided to work with signal distribution as well. We then went to government and set up a technical committee before regulatory and legislative frameworks were put in place,” commented Gunze.

The Electronic and Postal Communications Act decreed that the digital switchover commence in December 2012 and three DTT multiplex operators were licensed.

An intensive communications strategy has been rolled out in Tanzania.

Said TCRA director, Innocent Mungy: “The DTT public awareness campaign, which is called Digital Tanzania, aims to provide relevant information in a clear and timely fashion.

Our target audience is variant in that we have to educate different stakeholders on

different levels – the general public, government officials, stakeholders, etc.

“We use a range of tactics and a wide variety of tools to communicate messages.

For instance, we launched a competition to create the DTT logo and another for the Digital Tanzania theme song.

“In terms of social media we use SMS, MMS, Facebook, and Twitter to remind people of the deadline for the analogue switch-off in each city. We also place traditional ads in the media and hold news briefings on a quarterly basis. In addition we hold public education workshops and distribute leaflets.”

Mungy noted that rolling out the public awareness campaign in the rural areas has been a challenge.

The implementer of the campaign is the TCRA (which also funds the campaign) however the Minister of Communications, Science and Technology has also set up a special task team. Furthermore there is a call centre to handle public enquiries.

Government has subsidised the STBs so that the public can enjoy reduced prices.

There are about 300 STB distribution points in Tanzania.

Gunze continued: “A problem arose when the first multiplex operator (a joint venture between the government and Chinese company Star Times), which originally rolled out on the DVB-T transmission standard, decided to switch to DVB-T2 and there were no DVB-T2 STBs available at the time. The compatibility between DVB-T and DVB-T2 is a big problem.

“Another key issue is the interoperability of STBs because there are three multiplex operators and each is tied into a particular type of STB.” He concluded by pointing out that analogue television covered only 24% of the population whereas DTT has already covered 22% of the population to date.

continued.

Currently, with more than 40 million television sets in Nigeria – mostly analogue systems – and around 24 million television homes, Nigeria’s digital future is a prominent one. In the short term, however, the critical challenge is to reach the deadline of June 2015.

Said Momoh: “In 28 months every television set and every Nigerian television household will require a STB or decoder to receive digital broadcasting signals.

“Consequently, the government is intent on issuing licences to a minimum of two and a maximum of three broadcasting signal distributors in order to facilitate the transition and service delivery process.”

Momoh emphasised that stakeholders were convinced that this deadline would be met. “As a direct result of digital transmission most of the nation’s current broadcasting companies will become content providers,” he continued.

According to Momoh, government and contracted parties have to assume the role of content distribution. “The implication is that by 2015 more than a hundred transmitters along with the nation’s 34 state-run channels, and its 34 cable operators will end up with either one or two carriers that can be viewed only by those who have appropriate STBs.” Momoh mentioned that the stigma the public had about the impending digital switchover was a thorny issue. However, plans had been put in place to ensure members of the public that they would be able to afford DTT. “The Nigerian Television Authority has partnered with Star Times, a Chinese digital pay-TV operator, to forge a public private partnership which allows the latter to operate as a licensed DTT operator,” Momoh concluded.

Zambia

Nigeria John Momoh, chief executive officer of Channels Television in Nigeria, said the country is well on its way to meet the target of January 2015 for the DTT switchover.

“We rewind to October 1959 to the advent of television in Africa. The Nigerian government was convinced that television would play a big role in the pace and standard of education, which was regarded as key to Nigeria’s progress. The television industry took off and became the pride of the entire region,” commented Momoh.

“Today, we have so many television stations in Nigeria. Now that DTT and cloud computing are among us, the Nigerian television industry has reached another significant turning point,” Momoh

Masuzyo Ndhlovu, Corporate Affairs Manager of the Zambian National Broadcasting Corporation (ZNBC) said: “This year is important for us as we are celebrating 72 and 52 years in radio and television broadcasting, respectively.

We are the ‘grandmother’ of broadcasting in this southern African region.”

He mentioned that television transmitters in Zambia were available in three ‘phases’.

“Firstly, five power transmitters emit power at 20kW, secondly, provincial centre transmitters in the 10 provinces in Zambia emit power of about 500 to 2 000W and then, lastly, rural television transmitters emit the maximum power of about 150W. “Although we are still using analogue technology these low-power transmitters are digitally ready,” continued Ndhlovu. “By the time we migrate, it will mean that we

have 67 analogue television transmitters earmarked for replacement with DTT transmitters.”

The transition is being spearheaded by a digital migration task force that has been employed to ensure that the country meets the DTT switch-on deadline date of 31 December 2013 and the analogue switch-off deadline,” remarked Ndhlovu.

He continued: “We will firstly replace all satellite transmitters with dual-cast transmitters by June 2013.”

Content generation is once again a contentious issue as in other countries switching over to DTT. Ndhlovu said that broadcasters would be encouraged to cover traditional ceremonies to run on a digital platform and that the country would benefit from local content production. He stressed that intellectual property rights of local arts such as the music and film industry require vehement practical measures.

Despite the progress being made, Ndhlovu said that financial constraints could hinder the switchover process. “If, for some reason, adequate funding is not available, then the migration process could be derailed.

“Measures to mitigate the apparent misgivings by the private sector broadcasters and production houses need to be expeditiously addressed,” Ndhlovu mentioned.

Ndhlovu further said that identifying a business model that ensured the sustainability of commercial viability versus a social mandate had to be clear. He noted that the introduction of more punitive measures against pirating had to be implemented and that media houses in Zambia should be compelled to convert analogue material into digital material before switchover commenced.

Malawi “The journey of digital migration in the country started in 2010,” said Denis Chirwa, Digital Migration coordinator from the Department of Information in Malawi. “As digital broadcasting is a new concept for us we decided to have a look at what other countries are doing before we started implementing our strategy.

“We began our journey with the formulation of a secretariat in the ministry to oversee the digital migration process. We looked at policy framework and how to implement it.”

Chirwa mentioned that so far Malawi had a draft policy regarding DTT in place, which had been presented to parliament for approval. “Everything is ready to ensure that we go into a smooth process of digital broadcasting. We are committed to switching off analogue in 2014. In Malawi, we have 17 licenced broadcasting stations and up to now one signal distributor has

been instituted.”

A task team had been set up to design the Malawian digital platform, understand the ‘language’ of digital and to explain the basics in terms so that developments can be communicated to the public in a way they can easily comprehend.

“Our first switch-on date is in May 2013 and we must ensure that we have the digital platform ready, and as such we are in an advanced stage of the process.

“We want people to understand and accept the technology and not have a ‘panic button’ ready,” added Chirwa. “We conducted a survey of how many people have, for example, television sets with DVD players and decoders to determine how many STBs government would have to subsidise.”

The survey revealed that government would have to provide STBs to rural communities and other people who cannot afford them. As was the case with most countries’ presentations on perceived problems, Chirwa mentioned the shortage of local content.

In order to combat content shortages, Chirwa suggested that the curriculum be changed at tertiary institutions to ensure students were informed about how to develop local content.

“Malawian television is flooded with international content so we have to make sure that we divert to local content.

However, these challenges make us think, adjust our focus and look at the future with positivity,” concluded Chirwa.

Ghana No DTT regulations are yet in place in Ghana and the country is already 13 months late in its DTT project.

According to Edmund Fianko of the National Communications Authority, the original plan for free-to-air DTT was to establish a private / public partnership.

“However, this plan has broken down because of negotiations. In 2011, government issued a contract for the roll out of two DTT multiplexes to cover 53 transmission sites but there has been a big delay because of funding. The winner of this contract is trying to get a concessionary loan that has not yet been approved by government.

“As of January this year we have two DTT pay-TV sites in Ghana, one on DVB-T MPEG-2 and the other on DVB-T MPEG-4. Two more DTT pay-TV slots will be available shortly,” commented Fianko.

Ghana’s original deadline for the switch-off of the analogue signal was 31 December 2014, which is probably no longer doable.

“We do have a public education strategy – It’s Digitime in Ghana – in place, but it’s not full blown as we don’t know yet when we will switch on the digital signal,” stated Fianko.

SABC

– is there a way forward?

By Kate Skinner

It has been weeks of turmoil for the South African Broadcasting Corporation (SABC) and there is no end in sight. During the week of 18 to 22 March parliament held its long awaited emergency hearing into the crises at the SABC. The crises had reached a point where the board was left with only two remaining board members, all other members had resigned. The board was thus removed and an interim board appointed. But was this the start of a period of calm? Sadly, no!

Before removing the board, parliament’s task was to hold a ‘due enquiry’ to get to the bottom of what was going wrong. Parliament was to undertake a thorough investigation and then only after that remove the remaining board members and appoint a new interim board for a six month period. Unfortunately, parliament did not do that.

A number of civil society groupings including the SOS: Support Public Broadcasting Coalition had strongly called for a very thorough enquiry into the deep rooted problems at the SABC. Civil society groupings were frankly dismayed at the fact that in less than a five-year period the SABC board was yet again being dissolved.

To begin to deal with the long-term problems SOS called for parliament to investigate the crises around the SABC board, SABC management, and ministerial interference. Further, the Coalition called for parliament to move swiftly forward to pass an Amendment to the Broadcasting Act to make it clear that the non-executive members of the board (those that are appointed by parliament and the President) should appoint the executive members of the board (ie. the CEO, CFO and COO) without Ministerial interference. This gap in the law has caused untold instability around appointments.

Sadly however, parliament decided not to investigate any of these issues. In fact MPs decided that no-one should speak at the hearing other than the Minister of Communications Dina Pule and one of the remaining board members, Suzanne Vos. SOS was refused permission to put forward its views.

So where to from here? SOS believes that future options must be carefully considered. One option is to take parliament to court around the lack of ‘due process’ in their appointment of the interim board. Another option is to appoint a Judicial Commission of Enquiry to ensure that the deep-seated problems and instabilities do get addressed. The Enquiry’s investigations could include ongoing board and management crises, problems of Ministerial interference, and ensuring the implementation of recommendations of the Special Investigations Unit Report.

Further, the Enquiry could look into SOS’s long term goal to transform the SABC into a Chapter 9 institution such as the Human Rights Commission and the Public Protector. The independence of Chapter 9 institutions are protected by the Constitution. Chapter 9 bodies report directly to parliament. SOS believes that this will be a clear step forward to protect our public broadcaster from undue interference.

Kate Skinner is the Acting Coordinator of the SOS: Support Public Broadcasting Coalition. Follow us on twitter @ soscoaliton and on facebook. Our website address – www.soscoalition.org.za

April 2013 | SCREENAFRICA | 21

Wildlife

|

The guardian of the elephants

A MOVING EXPERIENCE: Reaffirmation of the Presidential Decree

“W

hile covering a story about young, wild elephants that had been captured by an unscrupulous safari operator for training for elephant-back safaris, Kira Ivanoff met and interviewed Sharon Pincott,” says Oloff Bergh, executive producer at Triosphere, an independent television production company in Johannesburg.

“On Kira’s return to Johannesburg she couldn’t wait to tell us about the amazing relationship Sharon has with the Presidential Elephants,” comments Bergh.

Enthralled Ivanoff is a writer, director and producer at Triosphere and immediately after meeting Pincott recognised the possibility of telling an enthralling story with unimaginably rich visuals.

“When I asked Sharon which organisation she was from, she very confidently stated that she was, ‘the Guardian of the Presidential Elephants of Zimbabwe’,” says Ivanoff. “As a wildlife producer who is always trying to sniff out a story, this was of course the most intriguing title anybody could have sprung on me,” Ivanoff adds.

Challenging To get the film made, Bergh says they partnered with an outstanding Zimbabwebased producer, Don Percival.

“Don was invaluable in securing film permits and all the necessary clearances for the shoot. Naturally there were logistical challenges on the ground, but not that

22 | SCREENAFRICA | April 2013

In the March 2013 issue of Screen Africa Martie Bester took an in-depth look at Sharon Pincott’s fight to inspire the reaffirmation of the Presidential Decree to protect the Presidential Elephants in Zimbabwe. This month Bester reports on the passion and dedication of the production team who brought their vision to life in the unforgettable documentary, All the President’s Elephants.

way, were the biggest challenges according to Ivanoff. “We would have been thrown out of the country at a moment’s notice if we’d so much as put a toe out of place,” she adds.

Expertise different to what we typically face as wildlife film producers.

“Sharon’s guidance, knowledge of the Hwange area and outstanding network of support was a critical success factor too,” Bergh mentions.

Despite Percival’s help, the film crew were faced with challenges. Ivanoff (co-director and co-producer of the documentary) says: “Logistics in a country like Zimbabwe are always tricky. There is an enormous amount of camera gear necessary for a project of this nature and this all has to be carefully negotiated and signed through customs. It could only go through customs at Harare and we needed it in Hwange, which is on the other side of the country.

“All the crew members needed special media permits and it took us about six months just to get these sorted. Once in the field, we were under the beady eye of the local ‘CIA agent’ throughout filming. They even wanted to be permanently stationed on our shoot vehicle – we had to draw the line there.”

Adventure Countrywide fuel shortages loomed over the crew daily and they had to drive great distances to find the elephants every day, while water shortages and subsequent water-borne parasites contributed to a rather inconvenient stomach complaint.

But as Ivanoff says: “It’s all part of the adventure that goes into making a fascinating documentary in an interesting location.”

Red tape, and the need to be extremely vigilant about not crossing the line in any

Co-director Richard Slater-Jones, who directed and co-produced the acclaimed documentary Saving Rhino Phila, was asked to come on board to direct All the President’s Elephants when it was already in treatment phase. For him, filming the intimate relationship Pincott has with some of the Presidential Elephants was incredible.

“We used Panasonic AJ-HDX900s with a variety of zoom lenses and also an HD Polecam (Mini-jib), Canon 7D for time lapses and an array of GoPros for added intimacy,” says Slater-Jones.

Miracles Remarks Ivanoff: “For me to be in such close proximity to wild elephants was just magical.

To be that close that you feel their breath on you and can count their eyelashes, was nothing short of miraculous to me. These elephants truly trusted us and even brought their babies up to us – it was incredible to be part of that.”

Although the reaffirmation of the decree to protect the elephants was never the filmmakers’ plan, Ivanoff says that when she thinks about it, the great success of the film is that it achieved that.

Reaffirmation “I don’t think any single person would have been able to lobby for it or be able to arrange the logistics around the reaffirmation of the presidential decree to protect these elephants. We had to negotiate with President Mugabe’s PA for months; we had to set up the whole event;

we had to motivate the action; we had to go to great lengths to get permission to make our film there. Without all of that pressure and high profile activity, it could have taken years to reaffirm the decree, if ever.”

As for Bergh, getting Francis Nhema, Minister of the Environment and Natural Resources in Zimbabwe, to visit Hwange to formally convey the President’s Reaffirmation Decree was both a challenge and a life-affirming event.

“It turned out that Nhema was clearly moved by his experience with the elephants,” says Bergh. “We were, in turn, mesmerised by his heartfelt and deeply philosophical comparisons of human and elephant societies, specifically how much we as humans could learn from the compassion elephants have for their own kind.”

Ivanoff concludes: “If, in making this film, we have made one little dent of impact that will preserve the natural heritage of Zimbabwe, we would have achieved more than I could ever have hoped for.”

Against all odds Meanwhile, Pincott continues to work tirelessly to ensure the safety of the Presidential Elephants. “Mankind has a lot to answer for. The world’s largest mammals are threatened by greed, corruption and ignorance,” she says.

“My focus at the moment is spreading more awareness about these elephants and helping to encourage tourists to return to Zimbabwe. Without the tourists, the elephants and their land areas remain more at risk from poachers, sport hunters and land claims.

“Not to forget mining either, which is another real threat that I stay vigilant about since it has been mooted in these very areas.

“There’s always some battle that needs to be fought,” Pincott adds.

| Wildlife

Lights… Camera… Slither!

Martie Bester recently got up-close and personal with some snakes, in 3D.

I

’ve often wondered what kind of snake ‘sweet-hissed’ Eve into complete disobedience in the Garden of Eden. It couldn’t have been an anaconda because anyone, even in the nude, would have run a mile at the mere sight of this serpent. Nor a spitting cobra, as it would not have felt at home in the lush surroundings of paradise. I reckon the culprit must have been a green mamba.

I recently went to a 3D snake shoot produced by Graham and Emily Wallington, co-owners of WildEarth TV. As I drove to the location near Kyalami, Johannesburg, my thoughts turned to the first time snakes

filmed the snakes with a 3D rig they designed and built themselves and christened the Mojito.

“This camera is designed to take 3D pictures very close to the subject, so that we can shoot the snake approximately 20cm away from the front of the camera, which has a very low end-to-ocular distance so that the 3D effect is good,” said Wallington, who claimed the Mojito is the smallest 3D beam splitter in the world.

“We designed the Mojito in CAD and then grew it out of nylon in a 3D printer,” continued the director. “It has two zoom lenses so that we can get really close to the

SSS...SMALLEST 3D SSS...SPLITTER: Bryan Vorster, Emily and Graham Wallington and Robin Bruyns had made an impression on me. It was while watching the original version of the movie Clash of the Titans.

A character that both impressed and scared me was Medusa, the Greek mythological gorgon with her outrageous hairdo consisting of live snakes. Although the Greek gods and warriors would not look at the gorgon as her gaze turned them to stone, in terms of original hairdos, Medusa was quite the trend setter, if you ask me.

But back to modern times and my set visit. Graham Wallington and Robin Bruyns

snakes. With a joystick at the back, we can control and tilt and pan the camera, which means we obtain excellent levels of 3D footage.”

Luminous Watching Wallington film a green mamba on the Mojito, I thought that if a snake could be described as ‘elegant’ this one would qualify. The green mamba, a luminous snake with an otherworldly glow to its brilliant colour, effortlessly curls itself

around twigs and branches, and lies draped, like a beautiful ornament in the leaves of trees that camouflages, it from its prey.

For this encounter with the snake, Wallington handled the Mojito, while Bruyns filmed on a Panasonic Z 10 0000.

“What makes the Panasonic special is that it is very efficient, user friendly and flexible,” said Graham. “On the negative side, you can’t adjust its intraocular distance, which means that it must always be more than about a metre and a half away from the subject, whereas filming on this little Mojito beam splitter gives us close-ups.”

He continued: “Therefore, working with the two cameras gives us two angles, one almost macro and one slightly further away long-lens type shot.”

As I leaned in closer to get a better look, I was careful to maintain a safe distance while the mamba’s triangular head darted curiously in every direction. However, I found it comforting when expert animal trainer and handler, Bryan Vorster, debunked several myths about snakes.

“As a general rule, if you leave snakes alone, they will leave you alone,” said Vorster. “Five people die yearly from snake bites in South Africa. If snakes were aggressive hundreds of thousands of people would die,” explained Vorster. Also, contrary to beliefs conjured up in horror flicks, snakes do not give chase, instead they tire rather quickly.

Safety first Vorster has been handling snakes and birds on movie sets for decades. To ensure there is no danger on set he explained that they always discuss the entire process beforehand. “I tell the filmmakers how I think the snake is going to react in a given situation and if there is a safety problem we’d rather wait until we are sure things are under control.”

The green mamba, the star of the show

and known to be one of the deadliest snakes on the planet, almost seemed docile, and was not disturbed by my persistent questions to the filmmakers.

Only later would I discover (thanks to Vorster) that snakes don’t have the ability to hear, so back to the Garden of Eden we go.

Unless Eve could speak ‘parcel tongue’ (snake language as explained by the wizard Harry Potter) she would have had a hard time striking up a conversation.

However, in spite of their hearing impairment, snakes are able to smell 1 000 times better than humans, smell being a snake’s main survival attribute.

‘In the blue’ Blissfully unaware of my impending T-shirt tan, I was mesmerised as Vorster handled a rattlesnake that was ‘in the blue’ – a wonderfully descriptive term given when snakes shed their skins. This process leaves them almost blind as their eyelids (which also shed), take on an eerie shade of blue. I thought, in wonder, how snakes enter a new existence with glistening scales and bellies – slicked to coil and curl, slither and slide – after each shedding.

Looking through the monitor of the Mojito, the snakes seemed vividly real and much more captivating than I could ever have imagined. The WildLife TV team had innovatively captured the essence of snakes in 3D, which allows viewers to get up close and personal with these impressive creatures, without venturing out in the bush.

And so my thoughts returned to Eve. People blame her for all kinds of things, but I imagine temptation in paradise was hard to resist with the hypnotic flicker of the snake’s tongue – the words probably darted out of its streamlined mouth, like silk strands that would have clad Eve in temporary robes of wonder.

April 2013 | SCREENAFRICA | 23

N o n - F i c t i o n & T e c h n i c a l Awa r d s A w a r d W i nn e r s

F r i d ay 1 5 M a r c h 2 0 1 3

Best Editor of a Documentary Short: Carte Blache Editing Team – Aurora Collected on behalf of Riaan Manser

Best Editor of a Wildlife Programme: Susan Scott, Candice Odgers – The Last Lions

Best Editor of a Documentary Feature: Andrew Wessels – Sobukwe – A Great Soul

Best Production Design of a TV Drama Series: Larissa Peters – Zone 14

Best Editor of a TV Drama Series: Tanja Hagen, Sharron Hawkes – 90 Plein Street

Best Editor of a TV Soap: The Wild Editing Team – The Wild

Best Sound Designer of a Feature Film: Charlotte Buys – Material

Best Factual Educational Entertainment Programme 2013: Sobukwe – A Great Soul – Born Free Media

Photos courtesy of / NFVF / Jade Photos / Trevor Ou Tim / Simba Nyamukachi

Best Costume Design of a TV Drama Series: Rochelle Selling – 4Play: Sex Tips for Girls

Best Animation: Adventures in Zambezia – Triggerfish Animation Studios

Best Make-up & Hair Stylist of a TV Drama Series: Minuche Snyman – 4Play: Sex Tips for Girls

Best Art Direction of a TV Comedy: Lindsay Van Blerk, Riccardo Pugliese – ZANEWS

Best Music Composition of a Feature Film: Orangotang Music and Michael Bester – Semi-Soet

Best News & Actuality Programme: Crimes Uncovered – Clive Morris Productions

Best Student Film: Die Windpomp – AFDA – Etienne Fourie, Robyn Oetle

Best TV Wildlife Programme: The Last Lions – Wildlife Films

Best Editor of a TV Comedy: Rod Macleod, Aaron Naidoo, Hugh Upsher – ZANEWS

Best Make-up / Hair Stylist of a Feature Film: Charlie Runge, Lee-Anne Nourse – Pretville

Best Costume Designer of a Feature Film: Nerine Pienaar – Pretville

Best Director of a Wildlife Programme / Best Cinematographer of a Wildlife Programme: Dereck Joubert – The Last Lions

Best DOP / Cinematographer of a TV Soap: Greg Heimann, Leon Kriel – The Wild

Best Art Direction of a TV Soap: Anneri Gericke – The Wild

Best Production Designer of a Feature Film: Bathoni Robinson – Pretville

Best Talk Show: Motswako – Carol Bouwer Productions

Best Cinematographer of a Documentary Short: Annalet Steenkamp – Sea Skeletons Collected on behalf of Annalet Steenkamp

Best Music Show: Afro Café – Bonngoe Productions

Best Short Film: Umkhungo – Mathew Jankes

F i c t i o n Awa r d s S at u r d ay 1 6 M a r c h 2 0 1 3

Lifetime Achievement Award for Contribution to Technology: Tony Boyes

Lifetime Achievement Award for Writing: Maralin van Reenen

Lifetime Achievement Award for Acting: Jerry Mofokeng

Best Sound Design of a TV Drama Series: Richard Hedges – Erfsondes

Best Director of a Documentary Feature: Mickey Dube – Sobukwe – A Great Soul

Best Documentary Feature: Sobukwe – A Great Soul – Born Free Media

Best TV Drama Series: 4Play: Sex Tips for Girls – Quizzical Pictures

Best Cinematographer of a Feature Film: Trevor Brown – A Million Colours Collected on behalf of Trevor Brown

Best Supporting Actor in a TV Drama Series: Pallance Dladla as “Jimmy” – 4Play: Sex Tips for Girls

Best Actress in a TV Drama Series: Tiffany Jones-Barbuzano as “Danny” – 4Play: Sex Tips for Girls

Best Youth & Children Programme: Challenge SOS – 2 Blonds and a Redhead Filming

Best Director of a TV Soap: The Wild Directing Team – The Wild

Best Cinematographer of a Documentary Feature: Felix Seuffert – Forerunners

Best Reality Show: Culture Shock – Vanilla Productions

Best Magazine Programme: The Edition – Engage Entertainment (Pty) Ltd

Best Writing Team of a TV Soap: Lerato Khanye, Mark Graham Wilson and Thomas Hall – Scandal!

Best Director of a Feature Film: Craig Freimond – Material

Best TV Soap All TV Soaps in contest: (public vote) 7de Laan

Best Actor in a Feature Film: on behalf of Riaad Moosa as “Cassim Kaif” Best Supporting Actor in a Feature Film: on behalf of Vincent Ebrahim as “Ebrahim Kaif”

Best Director of a TV Drama Series: Amanda Lane – 4Play: Sex Tips for Girls

Best Supporting Actress in a TV Drama Series: Nazli George as “Shireen” – 90 Plein Street

Best Actor in a TV Soap: Kevin Smith as “Frank Xavier” – Isidingo Collected on behalf of Kevin Smith

Best Documentary Short: Carte Blanche – Aurora Liquid

Best Actress in a Feature Film: Lindiwe Ndlovu as “Pauline” – Little One

Best Actor in a TV Drama Series: Mothusi Magano as “Tshepo Sadiki” – 90 Plein Street

Best Writing Team of a TV Drama Series: Writing Team – 4Play: Sex Tips for Girls

Best Actress in a TV Soap: Louise Barnes as “Donna” – Scandal!

Best Actor in a TV Comedy: Leroy Gopal as “Oleshe” – Ses’Top La

Best Director of a Documentary Short: Carte Blanche Directing Team

Best Actress in a TV Comedy: Salamina Mosese as “Ella” – Abo Mzala

Best Supporting Actress in a Feature Film: Matshepo Maleme as “Busi” – A Million Colours

Best Ensemble in a TV Soap: Rhythm City – Quizzical Pictures

Best Ensemble in a TV Comedy: ZA News – Both Worlds

Best Writing Team of a Feature Film: Chris Barnard – Die Wonderwerker (The Miracle Worker) Collected on behalf of Chris Barnard

Best Feature Film: Material – T.O.M. Pictures (The Department of Trade and Industry (the dti) sponsored the Best Feature Film Award)

N o n - F i c t i o n & T e c h n i c a l Awa r d s

Presenters

The Red Carpet

F r i d ay 1 5 M a r c h 2 0 1 3

Naomi Mokhele

Zama Mkosi and Karen Son

Martina Pella Togna (producer of Lyfstraf), Rudi Steyn (SAFTA nominee) and Thabiso Molefe (1st AD)

Kathy Pienaar and Larissa Pienaar

Jessica Young, Miklas Manneke and Charles Ryder

Tumi Morake

Gert Johan Coetzee

Thami Mngolo and KB Motsilenyane

Themba Nofomele and co-presenter

Lerato Kganyago and Andile Ncube

co presenter and Nonkululeko Ndlovu

Boity Thulo and co-presenter

Francois Truter

David James (District 9, Saving Rhino Phila) and Kira Ivanoff

Pearl Modiadie and Tazz Nginda

D i nn e r

Nthato Mashishi and Michael Mol (presenter, stylist)

Melinda Shaw and Gert Johan Coetzee

Front: Jude, Karen and Devin Son with Tahlita Nelson Back: Craig Son and Jason May

Teboho Pietersen, Thierry Cassuto and Marc Schwinges

Skhambuso Mvelase, Aifheli Makhwanya and Monica Kone Photos courtesy of / NFVF / Jade Photos / Trevor Ou Tim / Simba Nyamukachi

Jenna-Leigh February and Brian Letlhabane

Megan Gill

F i c t i o n Awa r d s The Red Carpet

S at u r d ay 1 6 M a r c h 2 0 1 3

Nick Borraine, Louise Barnes and Emanuel Castsis

Lorcia Cooper and Clint Brink

Presenters

Kgomotso and Calvin Christopher

Briony Horwitz from Scandal flaunts a Screen Africa

Liza and Kagiso Modupe

Jessica Jane and Wandile Molebatsi

Faye Peters

NFVF Council Chairperson Mmabatho Ramagashi and Samuel L Jackson

Karen Fourie and Henry Mylne

Xolile Tshabalala and Chillie M

Kgomotso Christopher and Zolisa Xaluva

Simphiwe Ngema

BeauAnne and Heino Schmitt

Zaki Ibrahim

Chris Chameleon

Zama Mkosi

Mfundi Vundla and Dannie Ferrara

The team from Endemol south Africa

The Muffins

Mbali Maphumulo and Xolile Tshabalala

Bonang Matheba

Tumi Morake and Tumisho Masha

Siyabonga Radebe and Lele Ledwaba

Howza and Salamina Mosese

Pearl Thusi

Performers

Mr and Mrs Ndivhuho Mutsila

Moonyeenn and Cindy Lee

Zakes Bantwini

Jen Su

FILM

|

The death of film

By Ian Dormer

On 6 March 2013, it was announced that worldwide technology leader in the media and entertainment sector Technicolor was shutting down its infamous Pinewood film lab, reacting to the shift towards a near total digital cinema industry. Fewer and fewer directors and production companies are using traditional methods of shooting film on print, leading to a drastic cut in jobs in the hundred-year-old industry. So, if the trend is correct, are we witnessing the death of film forever?

D

irectors like Steven Spielberg, Martin Scorsese and Quentin Tarantino speak in almost sacred terms about celluloid: its texture, its smell, its organic quality.

“I will remain loyal to this analogue art form until the last lab closes,” Spielberg declared.

Well, it looks as if the last labs may be closing rather sooner than Spielberg expected. A year prior to Technicolor’s closure of the Pinewood film lab, they closed their Toronto lab in Canada. In the US, Kodak is in Chapter 11 bankruptcy protection as it tries to reinvent itself as a new company for the digital era. In January 2013, a court approved financing for the company hoping to emerge from bankruptcy by mid 2013.

In October 2012, Fujifilm announced it would stop making film for motion pictures. Earlier in 2012, 20th Century Fox became the first Hollywood studio to confirm that it would release its movies in a ‘digital format’. The others are all slowly following suit.

Five years ago the amount of feature film being processed for film prints around the world stood at about 13 billion feet, which is about 1.9 million kilometres, the equivalent of flying to the moon five times.

Last year the industry was down to just a quarter of that figure. It’s not just digital technology that is to blame; the less demand there is for film stock, the less there will be made – and the more

28 | SCREENAFRICA | April 2013

expensive it will become. A huge factor helping to squeeze the life out of film is the price of silver, one of the ingredients needed for making and processing film stock. For about 20 years, the commodity price of silver stood at $5 an ounce. In 2010 it suddenly peaked at $50 an ounce before settling to its current price of around $28 to $30 an ounce.

Despite the doom and gloom of the metals market, Kodak continues to produce film stock and it is interesting to note that in the 84-year history of the Oscars, no Academy Award-winning best picture has ever been made without using motion picture film. The 2013 Academy Award best picture nominees include six movies that were shot on Kodak film: Argo, Lincoln, Silver Linings Playbook, Django Unchained, Beasts of the Southern Wild, and Les Misérables.

Digital fan But not everyone is faithful to film. One of the industry’s most renowned cinematographers, Roger Deakins (The Shawshank Redemption, A Beautiful Mind, No Country for Old Men), recently made the move into digital photography, filming the latest Bond movie Skyfall using ARRI Alexa technology.

So why would a veteran of 35 years give up the authenticity of film for the sleek look of digital?

Deakins comments, “Shooting on digital

gives me a lot more options. It’s got more latitude, it’s got better colour rendition. It’s faster. I can immediately see what I’m recording. I can time that image on set with a colour-calibrated monitor. That colouring goes through the whole system, so it’s tied with the metadata of the image. That goes through the whole post-production chain, so it’s not a case of being in a lab and having to sit there and then time a shot on a shot-by-shot because this has already got a control on it that’s set the timing for the shot, you know? Whether I’ll shoot on film again, I don’t know.”

Texture It is unquestionable that film possesses a certain texture that is unrivalled by digital cameras. However, a talented editor or colourist can easily manipulate digital footage to look more like film, but this seems contradictory in nature. There are tools in grading systems like Blackmagic Design’s DaVinci Resolve that easily emulate the film look and feel. Powergrades are plugins (comprised of a single or group of nodes to create that look) which you can save and then quickly apply to any shot at any time. Powergrades have a time-saving preset that looks like vignettes, film stock emulations or specific ‘film legacy’ looks, like cross-processing and Super 8 film bleach bypass, for example.

So do we alter digital footage this way because audiences are still not ready to see the true power of digital? Is the look of a product shot on film ingrained in our collective vision to the point that we don’t notice it until we see something different?

Many audiences today argue that a crisp image without the grain associated with film is better-looking. Audiences evolve just as fast as the technology presented to them.

But a large contingent of those moviegoers still want the classic look, regardless of the content of the film itself. That audience won’t be going away for a while yet – and neither will the classic film look.

The most important difference between film and digital might be seen on set. Film reels run out of film. Digital cards run out of space. But when a reel runs out, it is done forever. When a card runs out, it can be dumped and re-used rather quickly. This

pushes production along financially in a number of ways.

The 2010 biographical survival drama film 127 Hours benefited from shooting digitally in a scene when James Franco re-enacts Aron Ralston’s exhausting attempts to escape from being trapped by a boulder. Instead of shooting multiple takes, director Danny Boyle kept the camera running for over an hour, allowing the real emotions of Franco’s own personality, coupled with his performance as Ralston, shine through in a more genuine fashion, something that couldn’t have been done while changing film reels.

No matter how efficient digital filmmaking becomes, there will always be a huge contingent of filmmakers who prefer the ‘old-fashioned way’. To supplement this, some movie theatre businesses have purposely delayed the conformation to digital projectors. Many theatres have at least one or two projectors that can present certain films in the film format.

TIMBRE

BROADCAST SYSTEMScc

Cutting For a complete directory the of products and services wrong costs... ...could be detrimental

Kodak apps Kodak is so convinced (and who can blame a company fighting for its life?) that film is here to stay, that it has introduced a new app for the Apple and Android markets.

The KODAK Cinema Tools application has an Aspect Ratio app that allows filmmakers to see how different aspect ratios affect a shot. It allows filmmakers to select a photo from their device and overlay it with 2-perf, 3-perf, 4-perf and 16mm motion picture film formats and popular aspect ratios. It also includes a Sun Calculator, Film Calculator, Depth of Field Calculator, How to Read a Film Can, the all important Lab Locator, and contact numbers for the film sales team.

The reality is that film is slowly vanishing but is certainly not dead. We will probably see film shift from the commercial mainstream to the more artistic niche. There is already a backlash by some against the digital revolution, and some might argue that this may someday produce some of the best works ever been shot on film. The question is whether or not this should be a cause for regret, as film may be dying but cinema isn’t. Digital has opened up a whole new realm of possibilities…

Cut your costs, but not the quality with the least expensive camera chain.

AG-HPX255E with AG-EC 4G Extension Control Unit High-Sensitivity, Low-noise, 2.2 mega pixel ULT 3MOS imagers deliver superb HD images that are recorded in AVCIntra full sampled 10 bit, 4:2:2, 1920x1080 resolution files. The AG-HPX255E is fully prepared for Broadcast and Studio use, including camera remote capabilities when combined with the optional AG-EC4G Extension Control Unit.

“I will remain loyal to this analogue art form until the last lab closes.”

– Steven Spielberg

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 April 2013 | SCREENAFRICA | 29

Cameras

|

Compiled by Andy Stead

There is little doubt that most South African cinematographers would choose the RED Epic or ARRI Alexa for their next commercial / feature / television production if there was a choice. But with both of these cameras costing over the R200 000 mark to purchase and a proportionate amount to rent, going for the top end may not be an option.

H

ow then do the less expensive cameras stack up, and which are the best sellers and the most used? This is obviously a difficult question to answer as statistics are not available.

However, in order to get some idea we approached various manufacturers and the results were interesting. In terms of criteria, cameras had to be around the R50 000 or mark or less, ready to go, and suitable for all the most common genres of cinematography.

Panasonic

Panasonic’s best seller is the AG-HPX250 2.2MP P2 HD handheld camcorder. This camera features an integrated 22 x zoom lens and a 2.2 Mp 1/3” CMOS sensor. The Panasonic AG-HPX250 not only records DVCPRO (DV & HD), but is also the first handheld professional camcorder to record the extremely high-quality AVC-Intra 100 Mb/s (10-bit 4:2:2) codec.

Local DOP (director of photography), Willem Viljoen, is a Panasonic aficionado and owns several Panasonic cameras, including the venerable VariCam.

30 | SCREENAFRICA | April 2013

Camera shootout – a review of three of the best in their range

“I have had the HPX250 for three months now. In addition, I have two VariCams and the AG-HPX250 slots in nicely – it’s light and although a lower spec than the VariCam, it shoots the same codec. It’s the best quality for its size that I know.

“The downside is that it is CMOS, but it cuts very well with the VariCam. It’s a R50 000 camera versus a R500 000 camera. I would position it as high end corporate – where the budgets are limited, and it’s good as a second camcorder – even for commercials. We shot a commercial for Emperor’s Palace on the VariCam, but we did the odd bit on the AG-HPX250 too, including tracking shots where we needed a smaller camera, and it was great.

“The AG-HPX250 is easy to use. You instinctively go for the right buttons and it becomes so familiar. As mentioned, the only downside is the small sensor. However, having said that, if I could only get one camera it would be an AG-HPX250,” says Viljoen.

Panasonic AG-HPX250 2.2MP P2 product highlights • • • • • • •

1/3”-Type 2.2 Mp 3MOS Imager Integrated 22x (28-616mm Equiv) Lens 10-Bit ARC-Intra Recording at 100 Mb/s DVCPRO HD & SD Recording Variable Frame Rates & 24p Modes 3.45” 1920 x 480 LCD Monitor Dual P2 Memory Card Slots

• • •

Manual Zoom, Iris, Focus Rings HD-SDI, HDMI & Composite Outputs NTSC & PAL

Sony

Sony advises that the HXR-NX5E NXCAM and the PMW-200p HD XDCAM camcorders are good sellers. SBSS (Broadcast Sales and Services) in Cape Town recently sold a PMW-200p Sony HD XDCAM camcorder to Sunel Haasbroek, DOP at Cooked in Africa films. The PMW-200p is designed to meet the needs of broadcast productions, and records onto solid state media using 50 Mbit/s 4:2:2 XDCAM HD. Haasbroek is enthusiastic about the camera. “My first thought about the Sony PMW-200p was the picture quality,” she says. “It really is amazingly crisp and vivid

compared to the Sony PMW-EX1. You can immediately see the difference in the image between the two cameras. The PMW-200p is a massive step up from the EX1. As it shoots Pro-res 422 it makes sense the quality is that good. It takes up a bit more card space, but hey, it’s worth it.

“Speaking of cards, the great thing is that all the batteries, cards and accessories that I purchased for the EX1 work perfectly with the PMW-200p, so one could save quite a bit of time and money with this upgrade. In terms of post-production, you can still use the same download and conversion process as well.

“The actual handling of the camera disappointed me a bit. It has a fixed handle, which takes it back to Sony PD170 standards in my mind. The adjustable handle is one of the best things about the EX1, especially if working handheld 90% of the time, so I had to get used to the fixed handle. The camera is also quite light, which is great, but sometimes the weight helps with handheld stability and movement. The menu itself is very similar to the EX1 so it wasn’t too hard to navigate for the first time set up.”

According to Haasbroek, a couple of the camera’s ‘amazing new additions’ are the ability to shoot 1080 at 422, black balance, and the built-in back focus in the menu.

She continues: “The picture profile has changed slightly in terms of gamma options, but it’s also still quite similar to the EX1. One of the features that is very welcome is that it has time-code out! When shooting with five cameras rolling at the same time it’s an absolute must have. The

| Cameras low light capability is a few stops more on the censor as well.

“What I fear most when filming in semi-arid deserts is dust. And the Karoo has lots of fine dust that likes to go into everything and use all of my dust-off in the first day. The PWM-200p has a lot of vents and holes, so I have to cover it up with a porta-brace dust and rain cover. About two weeks into our shoot, with another two to go, the PMW-200p developed a purple spot on the censor. My immediate thought was dust. But it wasn’t – it turned out to be damage from the sun. So in the robustness category I have to say it’s a step down from the EX1, which is just a machine. So if you shoot like us, shade your camera as much as possible.

“Overall I am pleased with the Sony PMW-200p. As it is the first generation of a new range of cameras, we all know there will be a few glitches, but it will be worth your while using one of these on your production.”

PMW-200p Sony HD XDCAM Camcorder abbreviated product highlights • Three 1/2” Exmor CMOS Sensors • MPEG HD422 at 50 Mbps • HD422 1080p at 24 & 30 fps • HD422 720p at 24, 30 & 60 fps • Fujinon Lens with 14x Zoom Ratio • Four Channels of 16-bit Audio • Articulated LCD with 852x480

• • •

Resolution Timecode & Genlock Input Cache Recording Up to 15 Seconds Dual Express Card SxS Memory Card Slots

Canon

The last, but probably best known camera, in this review is the Canon EOS 5D Mk 11.

This remarkable stills camera has become the camera of choice for many DOPs for its ability to shoot stunning visuals. It punches high in terms of both resolution and features, headlining: 21 megapixels, 1080p video, 3.0” VGA LCD, Live View and a high capacity battery. In other words, a camera that aims to leapfrog both its direct rivals, either in terms of resolution (in the case of the D700) or features (in the case of the DSLR-A900).

There are innumerable 5D Mk11 cameras

out there, both in private hands and through rental houses, and they are used for anything from commercials to features to TV soap series (M-Net’s soapie The Wild was shot on 5D.) Well known DOP Tai Krige owns several Canon cameras, including a 7D. “I shoot on the 5D quite a lot when I don’t have the budget for an Alexa or a RED,” he says. “In my opinion the 5D has a really nice look and the images, without any extensive post-production manipulation, make it the camera of choice. It is great value and I really like the look of it.

“However, you have to transcode it to ProRes (or whatever) to edit it, but if you have lit it correctly and are happy with what you are getting on the camera screen, and your exposures is right, the look is gorgeous.

“You can’t play with it – it’s just 8 bit, so you can’t go into the colour space and change or do fancy grades – but nevertheless it’s just wonderful as is. You can use custom Picture Profiles and download them straight into the camera – this gives you much more latitude and helps the grade – windows don’t blow out so much, and so on. So unless you want something unusual grade-wise, the 5D is great.”

Krige points out that the camera has a massive sensor – full-frame 35mm. “This is not full-frame for film, it is full-frame for stills (36 x 24mm.) It’s huge and can handle extreme low light. The main thing is that it

has very little depth of field. You are only sharp where you focus, which is a look I love.

“I have just shot a Danone Yogurt ad – top-end high-budget, on my own 5D purchased from Digital Experience in Fourways Crossing, a normal retail outlet. It cost in the region of R17 000 for the Mk11.

“Now that the Blackmagic Cinema Camera is available I may well have to consider a change, as it has the ability to shoot 2.5K RAW uncompressed!” states Krige.

Canon EOS 5D Mk2 abbreviated product highlights • 21.1-megapixel full-frame CMOS sensor • 14-bit A/D conversion • Wide range ISO setting 100-6400 • Body only, lenses sold separately • DIGIC 4 Image Processor • High-performance 3.9 fps continuous shooting • Live View Function for stills • Full HD video capture at 1920x1080 resolution for up to 4GB per clip • HDMI output • Updated EOS Integrated Cleaning System specifically designed to work with a full-frame sensor

Bruce Retief NOMINEE SATFA 2013: BEST MUSIC COMPOSITION for Adventures in Zambezia NOMINEE ANNIE AWARDS: OUTSTANDING ACHIEVEMENT: MUSIC IN AN ANIMATED FEATURE PRODUCTION for Adventures in Zambezia Gallo Music Publishers is proud to celebrate the success of Cape Town’s hottest new composer, Bruce Retief.

Fresh from Hollywood, Bruce has recently been recognized as one of the world’s leading composers and orchestrators, after having just completed the score for the new animated movie Adventures In Zambezia.

Locally produced, Adventures In Zambezia is South Africa’s most successful film to date.

Although still a new release, it has secured distribution in over 60 territories worldwide and had its score recorded by the Hollywood Symphony Orchestra in LA.

Bruce Retief is proud to have been part of this project. Previously a school teacher, this classical and orchestral musician found his passion late in life and has subsequently become of the most sought-after feature film score composers in the country. He is currently working on his second feature film Khumba.

4 Camera SD OB Van (Triax)

4 Camera SD Flyaway Kit

Various Multi Cam Mix Kits

Bruce has been nominated for ‘Best Score in an Animated Feature’ at the most prestigious award ceremony in the animation sphere – The Annie Awards. He is up against biggun productions such as Brave, Rise Of The Guardians, Ice Age 4, The Lorax and others - a huge accolade for this homegrown talent.

Gallo Music Publishers: Representing some of the biggest International Publishers in Africa, including Warner/Chappell, Walt Disney, Pig Factory, Spirit Music, Shapiro Bernstein, Bicycle Music and Sugar Music, as well as well known composers such as Joseph Shabalala, Dorothy Masuku, Caiphus Semenya, Sipho Mabuse, Don Laka, Ringo Madlingozi, Lucky Dube and many more.

ADVANATGE_quarter page_BR.indd 1

8 Camera HD OB Van (Triax)

Like us on Facebook

Use music in new ways For more info contact Michaelé Codd | 011 280 3000 | michaelec@gallo.co.za

April 2013 | SCREENAFRICA | 31 2013/03/25 10:36 AM

Cameras

|

Introducing the microP2 card series

Since launching its P2 Emmy Award-winning, solid-state recording format nearly a decade ago, Panasonic has continued to make improvements to it. In line with this evolution to higher-speed, lower-cost media, Panasonic is releasing a new series of memory cards called microP2 cards, which have an SD card form factor to further cost-efficiencies in media pricing.

Says Pansolutions’ Sean Loeve: “The simultaneous introduction of a microP2 card adaptor ensures that the new series of microP2 cards will operate in the current P2 hardware. In order to use the microP2 card adaptor, the firmware of current P2 hardware has to be upgraded.

This upgrade will be available to P2 products imported and supplied by Pansolutions in South Africa.”

Loeve notes that the microP2 card will ensure high-speed transfer, high reliability and the writing assurance of all P2 frame rates, formats and codecs, as well as Panasonic’s newest compression platform, up to AVC-Intra200 mode of AVC ULTRA. Furthering the versatility of the microP2 card adaptor, its design allows class10 or higher SD cards (at bit rates only up to 50Mbps) to be used in P2 products in emergency situations.

“These microP2 cards are the fastest yet with up to 2Gbps speed, which is 12 times faster than SD cards. In addition they are highly reliable with RAID protection and CPS (encryption) and will be approximately half the price of current P2 cards,” he says.

Panasonic’s P2 solid-state memory cards ensure highly reliable video, audio and metadata recording, especially in challenging conditions of extreme temperature range, shock, and vibration. P2 cards allow professional users to benefit from a fast, easy, file-based workflow and exceptional reliability.

Shooting super slow-motion action Ikegami’s Hi-Motion2 Super Slow-Mo HD camera, a cooperative development with NAC Image Technology, a world leader in the development and production of advanced imaging and motion-analysis systems, is designed to meet specialised HD super slow-motion production applications.

The Hi-Motion2 system features a unique three-CMOS sensor camera head with built-in memory, delivering greater than 10x speed for thrilling super-slow-motion playback of HD sports action.

This dual format 1080i/720p camera features parallel live and replay feeds for use as both a traditional portable/field HD camera and Super Slow-Mo (or ‘X-MO’) camera that can work side-by-side with other Ikegami HD cameras on sports trucks to deliver the visuals today’s HD sports viewers demand.

Since its development back in 2003, Ikegami’s Hi-Motion camera has been embraced by sports broadcasters around the world, having been featured in the Summer and Winter Olympic Games, FIFA World Cups (Berlin and South Africa) and the Asian Games, as well as professional golf, football, tennis, cricket, boxing, rugby, volleyball, basketball, hockey, baseball, swimming, diving, equestrian events and motor racing, to name a few.

1st handheld cameras to support AVC-Intra codecs The high-performance AG-HPX255/HPX250 P2 handheld camera recorders fill out the P2HD series by incorporating the newest technologies throughout – in the lens, camera and recorder sections. The newly developed 22 x zoom lens covers a wide shooting range, from wide-angle to telephoto, and features three manual rings for precise control.

Imaging is optimised by the high-sensitivity, low noise 1/3-type 2.2-megapixel ULT (Ultra Luminance Technology) 3MOS image sensors.

The AG-HPX255/HPX250 P2 are the first handheld models to support AVC-Intra codecs. This combination provides a level of performance that rivals many full-size, shoulder-type camera recorders and adds the high quality acquisition of full HD (1920 x 1080) in 10 bit, 4:2:2 full sampling.

Image expression is also boosted by the Variable Frame Rate (VFR) function, and system expansion for broadcasting and other production applications is provided by multi-camera synchronising.

The stylish design of the AG-HPX255/HPX250 adds to both mobility and operating ease, and opens a new stage for news gathering and image acquisition.

In addition to these specifications, the AG-HPX255/HPX250 is fully prepared for broadcast use, including camera remote capabilities when combined with the optional AG-EC4G extension control unit.

These camera recorders are available from Timbre Broadcast Systems.

32 | SCREENAFRICA | April 2013

17 - 19 July 2013, Coca-Cola Dome, Johannesburg, South Africa advanced technology trade show

www.mediatech.co.za

Free Registration

at www.mediatech.co.za before 7 July 2013 and avoid paying R50 at the door

Use your unique code:

AD01100

Broadcast & Film Industry Networking Hub Production & Post Production Lighting, Staging & Rigging Animation & New Media AV System Integration 130 Exhibitors International Manufacturers Satellite & Signal Pro Audio & Video Outdoor Sound Demo’s Technology Workshops & Conferences International Speakers 800 Brands

SCREENAFRICA technology + production Conference

Technical Sponsor

Brought to you by Thebe Exhibitions and Sun Circle Publishers

Cameras

|

Sony F55 offers affordability and versatility On 14 March 2013 Jasco Solutions and Sony South Africa hosted the Sony Open day to showcase some of the current Sony Professional product range available in South Africa.

One of the highlights of the day was the national launch of the Sony PMW-F55.

While the Sony F65 is for your high end 35mm feature movies and is priced at the high end, the introduction of the PMW-F55 will be widely accepted as a cheaper alternative.

“This is the camera that everyone’s been waiting for,” says Jess Goedhals, general manager Broadcast and Professional Division of Sony. “It is our 4K digital cinema

NATIONAL LAUNCH: Sony’s Jess Goedhals handles the PMW-F55 camera while Henk Germishuysen (Puma Video) looks on camera which is affordable and will be well used in the market in terms of commercials and feature films.”

Rupert Dalton, sales executive at Jasco

Solutions, says: “The big workflow enchancer is that both HD and 4K images can be captured simultaneously, allowing for the rough editing of material using the

HD proxies while the 4K RAW files are archived, colour-corrected, etc. This is a very attractive feature for producers and directors on busy sets.”

The F55 additionally possesses an electronic frame shutter (often called a ‘global shutter’) that completely removes the wobbly effect that can be seen when fast-panning a camera with a progressive CMOS sensor chip.

“The F55 can output 4K through its connectors and with the firmware update due in Sept 2013 will be able to shoot HD up to 180 frames per second for slow-mo effects. The F55 also utilises a more ‘filmic’ colour filter array over its sensor than that of the cheaper F5,” continues Dalton.

“It will be a success in the local market because it is quite a bit cheaper than both the RED Epic and ARRI Alexa but has a similar 35mm-sensor with the added features that have been mentioned,” Dalton says.

“I have very high hopes for this camera, as there has been a lot of interest in it worldwide and in South Africa,” remarks Goedhals. “The F55 is affordable as the complete camera package is going to be about below half a million rand which is actually well priced for this level of camera.”

The Sony F55 is now available from Sony’s broadcast dealers such as Jasco, SBSS and Visual Impact South Africa.

Red Pepper goes HD with Ikegami Johannesburg-based Red Pepper Pictures, a television production company with extensive studio and broadcast facilities in Linden, has purchased six Ikegami HDK-97A camera chains from Harambe Technologies.

The purchase signals Red Pepper’s official migration to high definition (HD) and marks the first time that the company is using cameras with fibre transmission systems.

Says Red Pepper CEO Cecil Barry: “We were looking for a full HD chip camera that we could use in our Orad HD virtual studio, as well as for high-end commercial jobs. It was also important that the camera be capable of downconverting to PAL without aliasing. Harambe Technologies’ Adriaan Shipalana came to see us and gave us a

HD MIGRATION: Ikegami HDK-97A camera variety of Ikegami cameras to test. He even went to the trouble of flying in experts from Ikegami in Japan to demo the equipment.

“We put the various Ikegami cameras through their paces and decided to go with the HDK-97A because it supports 3G-SDI 1080p wide-band video output. This is significant as these cameras will be doing lots of green screen work and a progressive image is easier 34 | SCREENAFRICA | April 2013

to key than an interlaced image. We wanted to be the first full 1080p studio in South Africa, and I believe we are.”

He notes that after considering other makes of camera they found that the Ikegami system out-performed other cameras technically as well as in terms of value for money. The Ikegami cameras also carry a lifetime warranty.

Each of the six HDK-97A camera chains includes Fujinon lenses, fibre transmission cables, CCU (camera control unit), RCP (remote control panel) and MCP (master control panel).

Shipalana says that Harambe

Technologies was at an advantage as it could offer Red Pepper a range of future proof cameras to choose from.

“We felt that Ikegami’s top of the range HDK-97A was the most suited to the Red Pepper’s high end application. The HDK-97A is a 16-bit, 1080p camera with a -62Db signal-tonoise-ratio; we believe that not many cameras can match this spec.

“What’s really nice about the HDK-97A is that Ikegami has gone back to the concept of the dockable camera, so should the back or head malfunction, Ikegami will replace them.”

According to Barry the HDK-97A cameras will be used on various productions including e.tv music show, Club 808, as well as on a variety of new shows commissioned by pay-TV channel Mzansi Magic.

“At this point in time the camera chains are confined to our studios but they could also be integrated into an OB (outside broadcast) environment in the future. We’ve wired for 10 cameras as we are planning to purchase another four,” explains Barry.

Red Pepper has also purchased from Harambe Technologies four HDK-55 camera chains to service a contract with Aljazeera. These cameras have the same basic specs as the HDK-97A but support 1080i instead of 1080p.

| CAMERAS

Case Study: Shooting LFO with the Blackmagic Cinema Camera Filmed over 10 days in a single location in Sweden with minimal cast and crew, the new feature film LFO was shot on the Blackmagic Cinema Camera, which was launched last year

by Blackmagic Design.

D

irected by Antonio Tublén (Original), LFO is a darkly comedic sci-fi drama about a man who realises that he can hypnotise people with sound. The man starts experimenting on his neighbours and things soon get out of hand, with potentially dire consequences for mankind. The title of the film refers to the term ‘low-frequency oscillation’ (an electronic signal).

Producers Fredric Ollerstam and Alexander Brøndsted became aware of the Blackmagic Cinema Camera when Blackmagic Design announced that it would launch a film camera that could record 2.5K

DARK COMEDY: Alexander Brøndsted

raw footage at a cost of $3 000.

Says Brøndsted, who is also the DOP (director of photography) on LFO: “The first attraction of the camera was simply price versus quality. But what really grabbed our attention was the image quality of the camera and the skin tones it produces.

We’re very picky when it comes to that.

“Although the camera looks like a strange box, it’s interesting that it is so small and weighs so little. While you might normally need to put an extra battery onto the camera, as well as a compendium and splitterbox for an external monitor, the possibility of stripping the camera down

and just using the internal battery is interesting. Suddenly you have a camera that is more or less the same size as a DSLR (digital single lens reflex) camera and you can use very cheap grip equipment, like a camera slider, as we did on LFO. The camera offered some creative possibilities that we loved to play with.”

Last year Brøndsted attended a seminar in Copenhagen, where Blackmagic Design presented the camera before a single unit had been delivered to Scandinavia.

“There I got the opportunity to try the camera and at first glance it seemed like a simple camera to operate without lots of menus – and that was very appealing to me.

In fact, the menu in the camera is about as simple to operate as an iPad. It would not be wrong to say that after you’ve had the camera in your hands for 10 minutes you’ll be fairly familiar with it.

“When the first camera arrived in Scandinavia it turned out that I knew its lucky owner, Henrik Kloch of Gizmofilm, so I asked if we could borrow it for LFO,” explains Brøndsted.

Small location, little camera Because LFO was filmed in a relatively small house, the compact size of the camera proved perfect for the application.

Brøndsted continues: “When we stripped down the camera to lens and camera only, we could then use grip equipment that was designed for DSLR cameras that would never have been able to hold an ARRI Alexa.

“Since we needed to be able to work fast we used a lot of practical lightning. We

changed the bulbs to daylight temperature and also used some LED (light emitting diode) Litepanel and Kinoflo lights. We went for the ‘less is more’ thing; maybe it’s our Scandinavian minimalism way of thinking.”

The Blackmagic Cinema Camera has an EF (electro focus) mount, which is the standard mount for Canon cameras. As Brøndsted wanted to create some fairly wide-angle shots, he tested various lenses and decided on a 14m and a 16-35mm zoom, both from the Canon L-series.

Best choice Ollerstam and Brøndsted report that for this production the Blackmagic Cinema Camera was the best choice. “This is not to say that other cameras would not have been suitable, but we have been very pleased with our choice. We like the images that this little camera produces; it has some ‘mojo’ in it.

“Therefore we wouldn’t hesitate to use this camera again. However, it is the idea, the story, the desired visual expression and also the budget that determines the choice of equipment. It shouldn’t be the camera that controls what you want to tell. But new technologies like the Blackmagic Cinema Camera are quite liberating because with very little money, you can just make films!” they say.

PingPongFilm is already planning a new feature film and hopes to use, pending availability, the new Blackmagic Cinema Camera MFT. LFO is currently in post-production and will be released in the fourth quarter of this year.

April 2013 | SCREENAFRICA | 35

Tracking Technology

|

NAB Preview

What’s hot at NAB?

The world’s dominant event for media and entertainment professionals – the NABShow – takes place in Las Vegas in mid-April. Here we take a look at some of the latest broadcast technologies that will be on show.

Camera with microP2 card slots Panasonic has announced the AJ-PX5000G, its first P2 HD camcorder with native AVCULTRA recording and built-in microP2 card slots. The 2/3-inch, 2.2M 3-MOS camera combines superb image production, light weight and innovative expandability. It features 720p and 1080p/i recording, and is the first P2 camcorder that will record in full-resolution, 10-bit 1080/60p (in AVC-Intra100). AVC-LongG is standard.

The PX5000G will offer optional AVC-Intra200 recording, which at twice the bit rate per frame of AVC-Intra100 is virtually lossless, delivering a master quality codec in an affordable, file-based shoulder-mount camera. High-resolution AVC-Proxy recording is likewise an option.

With its breadth of recording options, ultimate image quality, variety of professional I/Os and powerful expandability, the PX5000G will address niches in network news, documentary, high-end corporate and sports production, as well as the rental market.

The PX5000G’s three 2.2M pixel MOS sensors deliver a horizontal resolution of 1 000 TV lines, and sensitivity of F12 over 60i. The camcorder’s 2/3-inch shoulder-type design accommodates a variety of interchangeable lenses. The PX5000G can record in AVC-LongG and AVC-Intra100/50, with optional recording in DVCPRO HD, DVCPRO50, DVCPRO and DV; the unit is 50 Hz and 59.94 Hz switchable for worldwide use.

Panasonic’s AVC-ULTRA offers master-quality and/or low-bit-rate 10-bit, 4:2:2 recording in full HD to meet a variety of user needs from mastering to transmission. AVC-LongG, designed for applications where file size is critical, offers up to 10-bit, 4:2:2 sampled recording in a much smaller file size, saving storage cost and transfer times over MPEG-2 while maintaining equal or better video quality. The PX5000G incorporates a selection of AVC-LongG quality levels, including AVC-LongG50 (10-bit, 4:2:2) and AVC-LongG25 (4:2:2, 10-bit).

Addressing the need for high-speed file exchange, AVC-Proxy encodes, optional in the PX5000G, are made in parallel with higher bandwidth production formats. AVC-Proxy enables fast, efficient offline editing, at bit-rates from 3.5 megabits down to 800 kilobits per second.

Weighing just over eight pounds, the PX5000G is the first P2 HD camcorder with built-in slots for the company’s new microP2 cards, which have an SD card form factor. The PX5000G has two microP2 slots and two standard P2 card slots, as well as an SD card slot for proxy/metadata recording.

The camcorder will be equipped with Chromatic Aberration Compensation (CAC) to maximise lens performance; Dynamic Range Stretch (DRS) function to help compensate for wide variations in lighting; and a highly accurate flash band detection and compensation algorithm that minimises this effect. The PX5000G delivers seven-mode gamma selection and extensive digital image settings.

Transmission efficiency in the spotlight

Harris Broadcast comes to the NABShow off a multi-week technology road show focusing on transmission efficiency and audio networking for analogue and digital radio broadcasters. The company will highlight new product enhancements and its first MaxxCasting demonstration for large audiences.

MaxxCasting was recently introduced as a joint solution with Geo-Broadcast Solutions to maximise audience reach, allowing broadcasters to fully utilise their FCC spectrum allotments. The MaxxCasting architecture employs corresponding transmission and control technologies to increase signal coverage via efficient, single-frequency networks — often more effectively than traditional booster technologies.

Harris Broadcast will demonstrate a MaxxCasting solution featuring Flexiva low-power transmitters, Intraplex SynchroCast3 IP based simulcast systems and Geo-Broadcast Solutions’ network design architecture (including GPS and booster technologies) — all outfitted in a compact Harris Broadcast outdoor enclosure to maximise equipment protection and increase location options.

Also on show will be the Flexiva low-power transmitters in North America for the first time (50, 150, 300 and 500 W), and a new transmitter option for integrated Orban audio processing to enhance sound quality will be introduced. Flexiva customers can add capabilities of Orban Optimod-FM 5500 series multiband digital audio processors at a lower cost than a standalone unit, offering the same world-class audio processing power and control. The optional plug-in cards are available for the entire Flexiva transmitter range, extending from 50 W to 40 kW. Harris will also showcase complete networked studio architectures for cost-efficient, distributed audio systems covering multiple studios. The full demonstration will include various PR&E consoles, networking systems and accessories to manage seamless, tightly integrated studio workflows. This demonstration will extend to the company’s Intraplex range of IP codecs, including the NAB debut of the IP Link 200, a low-cost, multi-channel IP audio codec offering flexible device configuration, multi-format support and ‘multicoding’ capability to minimise bandwidth usage for both compressed and uncompressed audio.

Production asset management system At NAB Avid will announce a major release of the industry’s original and most deployed production asset management system – Avid Interplay Production 3.0, which expands Avid Interplay Sphere remote editing capability to the Mac platform and adds new capability for reality television and workflows that use Multicam projects. The system now includes the revolutionary Interplay Central universal client toolset (licenses included) and offers a Multi-Platform Distribution option (to be named) that enables users to publish directly to social, web, and video platforms.

Also at NAB 2013, Avid will debut Avid Interplay MAM Active Archive: a solution package that delivers essential Interplay MAM technology to support key media operations workflows, centered on a core dynamic archive capability. Comprised of software; workflow automation; partner integrations; and professional services, Interplay MAM Active Archive gives media producers a fast and high-impact MAM implementation that can easily accommodate new and expanded workflows, system integrations, and users.

36 | SCREENAFRICA | April 2013

‘Routing’ the way Lawo’s Nova73 compact and powerful router will enjoy its world première at NAB. Standing only 7U high, it offers an outstanding routing and digital signal processing capacity as well as the ability to function either as a stand-alone device or as a core for the mc² series.

When combined with the new mc²56 mixing console in particular, the result is a tight and potent package that satisfies perfectly the stringent demands placed on broadcast mixers today.

The field of broadcast video is served by Lawo’s V_ pro8 video processor, which was developed for the live editing of video streams and routing. Exceptional performance, a small footprint, and a talent for making things easy through intuitive operation are the salient features of a 1U device offering frame synchronisation, format conversion, colour correction, and audio de-embedding and metering, among other things. All signals can be combined freely thanks to an 8x8 video and a 384x384 audio-router.

Changing the game in cloud backup for Media and Business

Start backing up today @ www.clearvault.co.za

CLEARvault is a secure encrypted web based storage system for all your valuable documents and data, available to you anywhere in the world 24/7.

Simple to use, and aimed at companies who are serious about document security and compliance that meets all international standards. With CLEARvault you can move and access documents, providing you have the correct level of authorisation from your existing electronic platform.

CLEARvault offers Five Applications Combined into One Portal: Online Backup and Recovery Bare Metal ImageCreator Exchange Granular Recovery Management Agent Bare Metal ImageStream

If you invest time and resources into your business, you should invest in your backup system.

Sachtler, a part of Vitec Videocom, a Vitec Group company, will present its new Ace L fluid head for the first time ever in the US at NAB. The new 75mm fluid head carries camera set-ups of up to six kg (13 lbs) and is available with various very lightweight carbon-fiber tripods in a system package.

In addition, Sachtler will introduce the new heavy-duty ENG 75/2 D HD tripod which, together with the FSB 6 and FSB 8, makes for a particularly stable and durable combination.

Furthermore, attendees can try out the artemis camera stabiliser systems.

The new Ace L fluid head expands the Ace product family which Sachtler launched in 2011 with the successful Ace M tripod systems. In comparison to Ace M, Ace L has a more flexible payload range of zero to six kg (0 to 13 lbs). Anyone who equips his or her DSLR camera, HDV camcorder, or small-format film camera such as the Blackmagic Design Cinema Camera, with camera accessories can benefit from this. Ace L is sold in combination with three especially lightweight carbon-fiber tripods and scores high with typical Sachtler features such as a phosphorescent touch bubble.

Whether with a mid-level or ground spreader or with the telescopic TT 75/2 CF tripod for a particularly versatile height range – the Ace L systems can be easily set up, feature intuitive handling, and are reliable partners during a variety of film shoots.

Freelance cinematographer Johnnie Behiri from Vienna has already tested Ace L: “For me, the Sachtler Ace L is a great, further development of Ace M. Thanks to the increased payload and the additional professional features, Ace L is the perfect tool for my work with an array of different camera set-ups.”

Don’t become a statistic.

Use the technology leader to secure your data.

IN PARTNERSHIP WITH

SLO64_PRESSLINK_CLEARVAULT

An ‘ace’ of a tripod

• • • • •

Tracking Technology

|

New tanscoding, workflow and live streaming solutions

NAB Preview

3D virtual sports At the 2013 NABShow, Vizrt will present the new features and workflow improvements in Viz Libero 5.5, its 3D virtual sports enhancement and analysis system. Viz Libero 5.5 now offers Virtual SloMo, which uses an advanced image-based algorithm to generate ultra-slow motion (up to 1 500 fps) footage rather than relying on high-speed camera systems. Virtual SloMo and other Viz Libero 3D replay tools can be used on any live camera image or remote video feed.

Viz Libero 5.5 adds integration with the Grass Valley K2 Summit media server and K2 Dyno replay system, both of which are widely used in studio and remote sports production environments. It also improves integration with the entire Vizrt product family, including Viz Engine 3.6 for real-time 3D graphics and video compositing. This enables customised graphics to be rendered through a Viz Engine for greater creative control, inserting virtual presenters into the analysis clips, and the ability to present analysis scenes on interactive touchscreens.

The system also adds in-game 3D virtual sports toolsets geared to motorsports, football, tennis, cricket and field hockey, as well as Australian football and already supports many others, such as American

Augmented reality solution

football, ice hockey, baseball, basketball, and volleyball.

Viz Libero has been enhanced by many new in-game effects which help viewers to understand the different sports. These features include, among others, height measurement, ball impact, blocking wall, player grow, or zone focus. Many of the Viz Libero features, such as player marker, labels or offside and 3D wall, now have a customisation interface within Viz Libero.

The Virtual Run that animates player movement, one of the big innovations in 2012, has received improvements. Besides simpler handling of the Virtual Run, new elements like a strobe effect have been added.

An existing feature, the 3D Ball Track, can now be created with only one camera feed.

This makes the feature faster, and more readily available, even for studio productions with only one multilateral camera signal.

Telestream, the leading provider of digital media tools and workflow solutions, will feature a new transcoder, partner integrations, and expanded solutions for file-based workflows and live streaming applications at NAB. “Transcoding has become the key enabler to file-based workflows. Telestream has pioneered general purpose transcoding and is now leading the way in the development of application-specific solutions, designed to meet the needs of distinct workflows,” says Barbara DeHart, vice president of marketing at Telestream. “Last year we introduced a Vantage transcoding and workflow solution designed for the distribution of multiscreen content. This year we’re expanding our Vantage family to include a new product that targets the needs of cable and IPTV workflows.”

At NAB, Telestream will introduce a new GPU-accelerated video transcoder developed specifically to automate content preparation and delivery for cable VOD and IPTV workflows. Through partnership with Manzanita Systems, the new Vantage Cable/IPTV transcoder offers sophisticated control over Transport Stream multiplexing and metadata. It also offers the best possible video quality through full 16-bit video processing and the use of the x264 (H.264) codec. With full integration of Telestream’s exclusive Lightspeed technology, the new Vantage Cable/IPTV transcoder offers the highest possible encoding speeds with GPU acceleration.

Also at NAB, Telestream’s Vantage workflow orchestration broadens its reach to integrate virtually every system required for production, broadcast, cable, IPTV and OTT workflows.

New system integrations allow workflows to incorporate digital file transfer, commercial delivery, cameras, edit systems, quality control, audio correction, broadcast server monitoring and delivery, plus delivery to cable ad insertion servers. This allows complete, multi-vendor orchestration of workflows from content ingest, through editing, QC and delivery, with full control, automation and visibility of complex processes within a simple user interface.

Telestream is also announcing a technical partner programme for Vantage that allows OEM partners to broaden their reach and customers to monetise their content through new channels using fully integrated video transcoding.

Complete Plug-and-Play AR Solution Furio VR-1 PTZ

Unreel UX-AR Robotics Control Video

openGear®

Tracking Data (IP) Delayed Video

Ross and Unreel offer a complete plug-andplay low-cost solution that delivers network-quality augmented-reality (AR) graphics integrated seamlessly into any broadcast environment with no green screen required. The solution is preconfigured so the broadcaster can be on-air on completion of commissioning with the opportunity for new ad revenue.

With this solution in a box Ross offers a complete AR solution including a Ross Robotics head, joystick, and SmartShell software, a Ross XPression real-time graphics system, Unreel’s UX AR software for camera tracking and an easy-to-use touchscreen AR control system that comes pre-configured with AR elements to get the user started.

This solution requires no green screen as AR elements are fully registered in 3D 38 | SCREENAFRICA | April 2013

VR-1 Joystick Network USB Installed on

Video Input Tracking SDI

Network Installed USB

Final Composited Output

XPression Studio AE

SmartShell

SDI Output

Included in the AR Solution

space and composited into the real-world one or more applications. can be easily integrated into any existing environment captured by the camera.

Prior The AR solution is a no-substitution environment through the customer’s Commissioning Unreel UX-AR with Touchscreen Package to shipping from the factory, the UX AR system bundle at a very aggressive price /for switcher.AR Commissioning • Furio Unreel / XPression • UX-AR touchscreen control touchscreen will be pre- tracking customers first step Unreel has been working with, and day Pack) • UXcontrol Trackpanel - Single camera driver who wish to take(3the configured with elements (monitors and AR into robotic control and augmented reality, / XPression delivering, – set and AR solutions for • Furio / Unreel ARvirtual Training • AR 3 AR Prop Package.

Pre-made elements props) so installation and operator training while quickly gaining a ROI(2 through AR over 10 years to major US network day Pack) can be fast andVR-1 efficient.

Training will be Package advertising. It is easy to install and can serve broadcasters, including ESPN, CBS, NBC, Furio PTZ AR Combo Threesystem AR Elements provided• to leverage the ARRobotic elements for as a single-camera stand-alone or and CNBC. 12Kg Payload camera head

• Includes Lens Cable • Joystick console • SmartShell GUI control software licence (requires Unreel PC)

• Three AR elements from Unreel’s library.

Tracking Technology

|

NAB Preview

Streaming media encoder

Miranda Technologies, a Belden Brand, a global provider of integrated solutions for production, playout and delivery systems for television broadcasters and multi-system operators, will launch its SME-1901 streaming media encoder module at NAB2013.

The SME-1901 is suitable for a wide range of IP-based remote monitoring applications, which includes in-plant CATV replacement to provide IPTV access to multiple sources, whether in-plant or remote, to anyone who typically requires access such as management, engineering or operations.

Key features of the encoder include core router and fan-in/fan-out distribution amplification and monitoring. The module also combines high density with high quality, providing H.264 video and high quality AAC audio encoding for up to 20 streams per frame; support for all common streaming protocols; and a six-port 3G/HD/SD distribution amplifier with support for fiber I/O via SFP cartridge.

The encoder supports metadata and audio embedding, and an option for a bypass relay is also available. The encoder is designed for ready integration into facility-wide management and monitoring systems via Miranda’s iControl content monitoring and control platform.

40 | SCREENAFRICA | April 2013

Staying in ‘Control’ One of the key tasks in today’s live productions such as news, sports and studio shows is handling multiple live video boxes. Typical formats include the 2-box (eg: news anchor plus one remote guest), 3-box and 4-box, even 5 or 6 boxes are becoming popular. These screen layouts are usually built using a process involving the assignment desk, production switcher, multiple DVE channels, character generator and video server.

Such on air presentations are labor intensive and require close coordination between a significant number of operators and devices. The production is becoming even more challenging in dynamic scenarios that require instant switching between video sources and immediate changes to the video box’s layouts.

Orad’s TD Control was designed to better handle such workflows. TD Control converts the complexity of the existing workflow by consolidating all tasks into a single user interface while enhancing the on air look.

TD Control allows the technical director (TD or vision mixer operator) to call up different video box compositions with a click of a button on his video switcher. The system is based on a touch screen user interface which resides in the switcher. TD Control allows the TD to select the different video box compositions and assign different video sources to each of the video boxes, enabling tasks that could not have been achieved before, like switching on air from six video sources to completely different video sources with one click of a button.

As soon as the video box combination is selected and the video sources are assigned, the preview channel is instantly updated and with a single key stroke the layout goes on air.

Managing your assets

At NAB, Front Porch Digital will highlight DIVAdirector, its newest update to its DIVAdirector media asset management (MAM) system. It is a permission-based web application that enables complete access to file-based content stored by DIVArchive content storage management (CSM) systems. DIVAdirector V5.1 contains new features that make it even easier for any media organisation with DIVArchive to manage its digital files, especially if that organisation is using Front Porch Digital’s new LYNX platform for moving, archiving and publishing video to the cloud.

With cloud operations starting to dominate the industry, DIVAdirector 5.1 addresses LYNX-specific workflows and requirements, such as site awareness, with a single DIVAdirector system showing the enterprise content view of assets stored in different archive systems — local, networked, or cloud-based systems, or any combination thereof — with integrated user permissions controlling access.

LYNX is the industry’s first enterprise-scale cloud implementation of content storage management (CSM). It delivers adaptable on-demand scalability, reduces capital and operational costs, and revolutionises the way media organisations manage assets. LYNX leverages the latest cloud and Web technologies to provide a range of networked and distributed solutions.

Front Porch Digital will show LYNXdr and LYNXlocal at NAB 2013. LYNXdr is a hosted disaster recovery service that allows global media enterprises to centralise critical assets and consolidate operations, and LYNXlocal is a simple extension to LYNX that operates locally as an appliance, caching cloud content and providing integration to specialised systems if needed.

DIVArchive V7.1 content storage management system’s new features and capabilities make the system ideal for a broader array of applications. The new AXF Explorer offers an intuitive interface for pairing Archive eXchange Format (AXF) objects, with straightforward operations that are performed using drag-and-drop procedures just like in the Windows operating system. DIVArchive V7.1 also enables a complete range of world-class video transcoding and workflows and is directly integrated with Telestream’s Vantage Transcode and Vantage Transcode Pro.

February 2013

Audience Ratings

|

Audience Ratings

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.

The top five programmes

The cream of the local productions

InterSEXions

19/02/2013 Dram 17.5

4

Afcon 2013: South Africa vs Mali

02/02/2013

Spor

17.0

5

Metro FM Music Awards

23/02/2013

Vari

13.3

Jan 2013 AR

3

Feb 2013 AR

25/02/2013

Dram

18.6

Talk

16:30 M-F S5

3

2.6

2.5

3rd Degree

Actu

21:30 Tue

W

e

4.6

4.3

7de Laan

Soap 18:30 M-F S5

2

6.3

6.8

SABC2 Genre AR

Binnelanders

Dram 18:30 M-F S5 K 0.7 0.7

Carte Blanche

Maga 19:00 Sun

W M W

Frequency

21/02/2013 Soap 25.3

Zone 14

Day/s

Generations

2

Start Time

1

3 Talk

Genre AR Genre

Date

Name

Rank Programme

Channel

SABC1

Rank Programme

Date

1

Generations

07/02/2013 Soap 22.0

2

Mponeng

05/02/2013 Sitc

16.1

Fokus

Actu

3

Zone 14

04/02/2013

Dram

15.9

Generations

Soap 20:00 M-F S5 1 21.1 18.8

4

Speak Out – R

07/02/2013

Actu

15.3

Gospel Gold

Musi Vari

W

2

2.8

3.5

5

Lesilo Rula

01/02/2013

Dram

14.8

Hectic Nine 9

Y-Ent 16:00 M-F S5

2

3.2

3.2

Inkaba

Dram 20:30 M-T S4 MM 0.3 0.3

Isidingo:The Need

Soap 19:30 M-F S5

3

5.1

4.6

Live Lotto Draw

Quiz

21.30 W/S S2

2

6.0

5.9

2

2.0

1.8

SABC3

18:30 Sun

Sun

0.6

2

0.7 3.5

Rank Programme

Date

Genre AR

1

Isidingo:The Need

01/02/2013

Soap

6.9

2

Days Of Our Lives

07/02/2013

Soap

5.4

3

News

17/02/2013 News 4.8

Morning Live

Maga 06:00 M-F S5

4

Noah’s Ark

09/02/2013

Dram

4.7

Muvhango

Dram 21:00 M-T S4 2 11.3 10.8

5

Isidingo – R

18/02/2013

Soap

4.5

News at Seven

News 19:00 Daily D

e

6.7

6.5

News at Seven on 3

News 19:00 Daily D

3

3.0

2.7

M-Net Rank Programme

Date

Genre AR

Pasella

Maga 19:30 W

1

Carte Blanche

24/02/2013

Actu

0.7

Rhythm City

Soap 18:30 M-F S5

2

This Means War

10/02/2013

Movi

0.6

3

Grey’s Anatomy

11/02/2013

Dram

0.6

Scandal

Dram 19:30 M-T S4 e 8.6 8.9

4

Masterchef Australia

12/02/2013

Maga

0.5

Selimathunzi

Vari 18:30 Wed W 1 6.3 3.3

5

Blue Bloods

07/02/2013

Dram

0.4

Special Assignment

Actu

3

1.8

1.6

The Wild

Dram 19:00 M-T S4 M

0.2

0.2

e.tv

21:00 Thu

W 2

W

e

3.8 4.1 8.0

7.5

Rank Programme

Date

Genre AR

Top Billing

Maga 20:00 Tue

W

3

2.1

2.5

1

Ekasi Our Stories:Skhothane

11/02/2013

Dram

12.4

Villa Rosa

Dram 18:00 M-T S4

K

0.9

0.8

2

X-Men:The Last Stand

17/02/2013

Movi

11.9

Yo-TV

Y-Ent Vari Vari D 1 1.3 1.5

3

X-Men Origins: Wolverine

24/02/2013

Movi

11.7

4

Rhythm City

21/02/2013

Dram

11.0

5

Scandal

26/02/2013 Dram 10.8

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

Top foreign shows Days of Our Lives

Soap 17:30 M-F S5

1

4.5

4.7

WWE Wrestling Smackdown

Spor 20:30 W

W

e

5.8

4.8

The Bold and the Beautiful

Soap 18:00 M-F S5

1

4.5

4.2

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.

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

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.

programme included please contact Enid Venter on +27 (0)11 339-1051 or email enid@ihjoburg.co.za. The purpose of the

• Television Universe estimated at 5.232 million households • One ratings point of all viewers represents about 145 590 viewers

schedule is to show the types of programmes South African audiences view, and to what extent.

April 2013 | SCREENAFRICA | 41

Africa

|

A ‘new kid’ on the cinema block Contrary to popular belief the cinema-going culture in Nigeria is a fully developed, vibrant pastime for youngsters, couples and families looking for a cosy night out after the day’s hustle and bustle. A new cinema chain, Filmhouse Limited, has joined the party and is rapidly catching up to its Nigerian cinema competitors. Chinaka Iwunze speaks to founder / CEO Kene Mkparu about the company’s six-year strategic plan and setting technological trends.

K

ene Mkparu, a former general manager of Odeon Cinemas UK and managing director of Genesis Deluxe, is positive about the stability of the future of cinema culture in Nigeria.

Says Mkparu: “In 2008 we set up a cinema company with two sites in Lagos

and Port Harcourt.

But things didn’t quite go as planned so we steered a different course and NEW NIGERIA: Kene Mkparu set up Filmhouse Limited in 2010.”

Since its inception, Filmhouse has set up cinemas opened up. two cinema houses – one in the Leisure Mall The trend now is out with the ‘old in Lagos, and a stand-alone structure in the Nollywood’ and in with the ‘new Nigeria Marina resort in Calabar, the first of its kind cinema’ or ‘new Nollywood’ – which is in the city. The next stage is to open four identified with films made with quality in more cinemas in four different states – mind, rather than quantity. Filmmakers have Ibadan, Asaba, Kano and Port Harcourt – developed an aggressive taste for more according to the Filmhouse’s goal of globally recognised distribution practises opening five cinemas every year. such as screenings at festivals and cinemas.

And we say Nigeria has no cinema Additionally, with such quality films being culture? produced, the growing demand for African produced films has resulted in African films A quick look back becoming strong competitors of their Hollywood counterparts.

According to BIK Advisory, the decline of cinema culture began after the Naira (the Filmhouse – an overview Nigerian currency) declined in value and former president Ibrahim Babangida’s According to Mkparu, Filmhouse is in the military administration introduced the process of implementing a strategic plan to Structural Adjustment Programme (SAP) roll-out 25 cinemas over a six-year period which wiped out the so-called middle class. across the country. “We intend to set up Almost a decade after the release of the cinemas not just in the key cities of Nigeria Nollywood blockbuster Living in Bondage, but also in the second tier cities and towns.” it is believed that through the set-up of These 400-seater theatres are set-up with establishments like Ben Murray Bruce’s Digital 3D, iScream Café brand, Soul Food Silverbird Cinemas in 2004, the cinema brand, luxury seating and the only 7.1 culture in Nigeria began to develop again.

Digital surround sound systems in Africa And by 2008 other entertainment outfits outside of South Africa. such as Genesis Deluxe cinemas and Ozone Mkparu also talks about what he calls ‘a

Uganda’s inaugural film festival Plans are underway to hold the first ever Uganda Film Festival International (UFFI) in Kampala from 11 to 15 July this year, under the theme: Inspired by the Creative Economy.

“A film festival is the greatest platform you can ever give a fellow filmmaker,” says the 26-year-old founder of UFFI, filmmaker Ian Mark Kimanje.

At the time of going to press the festival organisers had received more than 60 international entries, including The Good Man (directed by Phil Harrison), a film that was shot in Ireland and South Africa. More 42 | SCREENAFRICA | April 2013

BRANDING THROUGH FILM: Ian Mark Kimanje

than 75 productions have come from African countries, excluding Uganda.

Says Kimanje: “We want UFFI to give Uganda good branding through film. The

rest of the world really has to know that Uganda has evolved into a great nation after Idi Amin’s regime. We have a rich culture and thousands of stories to tell.

Uganda has artists and filmmakers who are willing to work for the good of the country.”

The UFFI’s objectives incorporate the strengthening of regional film productions; providing a solid platform for worldwide distribution; promoting local tourism: and nurturing new film talent through workshops.

Since February 2012, the festival organisers have been strategising on how the festival can make an impact throughout the East Africa region.

Kimanje continues: “Currently the East African film industry has inadequate skilled personnel so the UFFI’s most urgent objective is to have hands-on training and workshops at different levels to cater for children, youth and female filmmakers. It’s a sad fact that at most African film festivals female filmmakers are given less attention, so UFFI would like to correct this.

“We are also set to host the first ever Regional Film Business Conference – a

full Gold Class VIP cinema’. “It comes with automatic reclining five-star seats, as if in a first class cabin on a plane.”

The cinemas operate on DCP30 series 2 projectors, Doremi servers, DCP 2000, enabled for 3D function with Masterimage.

Each cinema currently has three to four screens but later this year the newer cinemas will come with five to six screens.

With regards to 3D screens, Mkparu says that Filmhouse has only one at the moment but he is optimistic that there will be one 3D screen per cinema by the end of the year.

The seating is also set to increase to up to 1 000 with the newer cinemas.

“Nigerian cinemas gross better cinema averages than most territories in the world.

There are very few cinemas / theatres currently in the country so naturally the overall total box office grosses would be low compared to other regions. But look at the cinema averages and you get a picture of huge potential and what you could get if you extrapolate the number of cinemas.

“When Nigeria reaches 100 modern cinemas / theatres I would like to have this conversation again,” Mkparu concludes with a confident smile stretched across his face.

By Martin Chemhere forum for local, regional and international stakeholders such as investors, broadcasters, filmmakers and others. The conference will also comprise topics such as the marketing and distribution aspects of the film business.”

An awards ceremony will mark the UFFI’s closing ceremony, with 10 awards presented to the best films.

UFFI partners include Jennifer Gargano (US), Geoff Walker (New Zealand) and the Uganda National Cultural Centre.

However, fundraising has been a huge challenge for the festival organisers. Much of the seed funding has come from Film Garage Studios, owned by Kimanje and partners, Hosea Jemba and Julius Sentogo.

“Fundraising for a festival in a country like Uganda is incredibly difficult as corporates and big companies always question whether Uganda needs a film festival,” comments Kimanje.

During his career Kimanje has directed five short films including his debut, Shomilu (See How Much I Love You) and The God of My Eyes, which he completed in February this year.

| AFrica

Reflecting on the first AMVCAs The inaugural AfricaMagic Viewers Choice Awards (AMVCAs) took place on 8 and 9 March at the lavish Eko Hotel and Suite in Lagos, Nigeria. Screen Africa’s Chinaka Iwunze was there.

S

ponsored and supported by Amstel Malta and MultiChoice, M-Net Africa’s AMVCAs honoured and celebrated all African films, particularly the ones showcased across all eight AfricaMagic channels: AfricaMagic, AfricaMagic entertainment, AfricaMagic World, AfricaMagic Movies, AfricaMagic Movies 1, AfricaMagic Yoruba, AfricaMagic Hausa and AfricaMagic Swahili.

As we drove underneath a large billboard with the faces of some of Nigeria’s film and TV personalities plastered across it, dusty yellow buses battled our car for road dominance. To the side, the sight of sandy paths decorated with stacks of kiosks, rich green palm trees and women fanning away flies from their roasting corn was reminiscent of the countless Nollywood movies I’ve seen on AfricaMagic.

Arriving at the Eko Hotel and Suite, the sun began its setting ritual while the unwavering humidity lingered in the air.

Many people, including the MD of M-Net Africa, Biola Alabi, buzzed around as they prepared for the long awaited inaugural AMVCAs. Said Alabi: “The AMVCAs are about inspiring the next generation of filmmakers.

The way television in Africa is seen has changed, as has the way Africa is seen by the world. So, through events like the AMVCAs, forums for industry professionals can exist globally.”

The glittering AMVCAs kicked off with a

WINNING SMILE – Sara Blecher receiving the Best Film award for Otelo Burning cocktail event on 8 March attended by film industry professionals, stakeholders and AMVCA nominees who were congratulated.

On the following night at the red carpet, live broadccast event, various film professionals – representative of all parts of Africa – received the first set of awards in 24 categories.

Feedback Once the AMVCAs came to an end, they were followed by a flood of reactions, both negative and positive.

Although many people who attended the event on 9 March commended the M-Net Africa team for their organisation, many at home felt the show did not translate well on television.

I asked the marketing manager of M-Net Africa, Gideon Khobane, to respond: “There are two components to hosting a live event – the audience at the show and the audience at home. Sometimes there can be glitches when trying to satisfy both audiences; this is what goes with hosting a live show. However, I believe we did a great job.”

Khobane confirmed that every aspect of the AMVCAs was done in house by the M-Net team; from organising the judges and finding a comfortable and interactive platform for them to review the entries, to flying in the nominees and catering for them throughout the duration of the event.

Said Bongiwe Selane, award-winning producer and one of the AMVCA judges: “The event was very well put together – full of all the pre-requisite glitz and glamour. It was our own ‘Hollywood in Africa’, and only MultiChoice/M-Net could have pulled that together.”

Winners It was a proud night for South Africa as its representatives scooped 10 awards, with Sara Blecher’s Otelo Burning taking home the biggest award – best film –while Nigeria won seven awards. Kenya and Ghana also took home some awards.

Selane continued, “I was impressed by the volume of entries, by the themes, and how much the craft had improved both technically and aesthetically – it’s as if filmmakers are taking note and realising

Biola Alabi

that the environment is rife for creating a fledgling industry that will someday soon been on par with Bollywood and Hollywood.”

Selane also highlighted that for the technical categories, AfricaMagic brought in experts in the technical field of filmmaking – Richard West (sound engineer) and Armand Guy de Beer (cinematographer) – as part of the judging panel.

According to Alabi, M-Net outsourced a South African auditing firm, Sizwe Ntsaluba Gobodo – whose portfolio includes clients such as Standard Bank, Nedbank Limited, Alexander Forbes and Sun International – to ensure a thorough audit of the votes by judges and audiences.

Full picture Overall, perhaps the AMVCAs did have some glitches, especially from the TV viewer’s point of view; for instance the amateurish manner in which the show went into ad breaks or the unnecessary mistakes made by guest speakers. AfricaMagic’s audiences were very right to point out these glitches because as Wole Soyinka once said: “The greatest threat to freedom is the absence of criticism”.

However, it is important that we as a global African community see the full picture and if we are then to criticise, we must do it productively. To compare the AMVCAs to the Oscars is naïve and unfair. It was the inaugural AMVCAs, after all.

“MultiChoice gave the AMVCAs its maximum attention and it was evident.

There would, of course, be lessons learnt from the experience as no show can be perfect, but I would like to congratulate MultiChoice on an outstanding show that sets the benchmark for entertainment events in Africa. I am glad to be a small part of that history,” said Nigerian filmmaker Obi Emelonye, who won three AMVCAs. April 2013 | SCREENAFRICA | 43

P R O D U C T I O N U P D A T E S FOR FURTHER DETAILS VISIT www.screenafrica.com

Those productions in red are newly listed this month E

Production Updates Order of Information

F F IC IE N T

Aspen

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

16x16, 32x32, 72x72 3G HD−SDI Effective routing over long distances in a compact design

JHB Tel: +27 (0)11 7709800 KZN Tel: +27 (0)31 5330900 Web: www.electrosonic.co.za E-mail: sales@electrosonic.co.za 24 Hour Support Lines: AV: 0861 AVHELP (28 4357)

general post the finest freelance post-production & creative crew editors * researchers * animators * visual effects artists storyboard artists * directors * sound engineers * writers post-production producers & supervisors

ALSO offering flexible, cost-effective post-production solutions for the commercials industry tel: 0860 111 553 fax: +27 11 706 7949 bookings@generalpost.co.za www.generalpost.co.za after hours emergency number: 076 225 9173

Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709

44 | SCREENAFRICA | April 2013

IN DEVELOPMENT 80 MINUTES Periphery Films Dir: Simon Taylor / Julia Taal Feature Drama AFRICAN NIGHTS Two Oceans Production Prod: Giselher Venzke / Bertha Spieker A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine At The Creek Without A Paddle Zen Crew Exec Prod: Laura Tarling Documentary BAD MEDICINE Tin Rage TV Production Dir: Enver Samuel Documentary Bagged Izithulu Productions Exec Prod: Donovan Mulligan / Mike Westcott Short Film BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary BODA BODA THIEVES Yes That’s Us Prod: James Tayler Feature BREAD AND WATER Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CAPE OF GOOD HOPE Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature CHILDREN OF FAMOUS ACTIVISTS Current Affairs Films Prod: Jane Thandi Lipman Feature Film CHILLI CHICKS International Radio Pictures, Inc Kit Reynolds TV series COILED DO Productions Prod: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary DAISY Bamboo Media (PTY) LTD Dir: Marguelette Louw Feature Film do good design south africa Concept Interaction Prod: Karl Fedderke Educational ECONOMIC TRANSFORMATION Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary ESCAPE Current Affairs Films Prod: Jane Thandi Lipman / Beata Lipman Feature Film Ex Pats Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series FOR THE NEW CITY – DANCE ON FILM SWiTCH / Resonance Bazar Prods: James Tayler / Julia Raynham Film FORSAKEN DO Productions Prods: Marlow de Mardt / Brigid Olën Feature

Genius Inhlakanipo Films Dir: Dumisani Vusi Nhlapo Short Film GOUE STERRE Suite People TVP Prod: Bell Curle TV Series GRIZMEK Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature HISTORICAL KIMBERLEY Spike Productions Prod: Steve Mueller Bsc. Documentary HOTEL SONGOLOLO The Media Workshop Dir: Benito Carelsen Comedy Series IIQ Sukuma Media Dir: Bonginhlanhla Ncube Feature IK1 – TOURISTS IN DANGER Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Indla lifa P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series Insila yenkosi P.I.M.P Dir / Prod: Daniel P Nxumalo Feature (Zulu) Inventing Africa Imageworks Prod: Anthony Irving Documentary IYEZA THEATRE & TV LIGHTING (PTY) LTD Iyeza Theatre & TV Lighting (Pty) Ltd Prod / Dir: Cal Morris Corporate JAM SANDWICH Meerkat Media Prod / Dir: Pauli van Dyk / “MQ”, Alvine Darboux Music reality show JAN SMUTS: AN INTERNATIONAL ICON AHEAD OF HIS TIME Tekweni TV production Prod / Dir: Sandra Herrington / Neville Herrington Documentary KADU’S JOURNEY DO Productions Prods: Marlow de Mardt / Brigid Olën Feature DYINGCRACY Sabstance Productions Prod: Edmund Mhlongo Documentary LION GIRL DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature Lonely Planet Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MANCHE, THE AFRICAN SAINT Get the Picture Prod / Dir: Jacky Lourens / Karin Slater Documentary MHLONGO Inhlakanipho Films Dir / Writer: Dumisani Vusi Nnhlapo Feature Money in the bag P.I.M.P Dir / Prod: Daniel P Nxumalo Reality TV show MUTI DOT MOBI Vuleka Productions.

Prod / Dir: Julie Frederikse / Madoda Ncayiyana .

Feature Film NEW BEGINNINGZ Sukuma Media Dir: Bonginhanhla Ncube Documentary Nongoloza Current Affairs Prod: Jane Thandi Lipman Feature Palace of the Faithless White Heron Pictures Dir: Themba Sibeko Feature PASSARES (BIRDISH) White Heron Pictures / Casa De Criacao Cinema Prod: Themba Sibeko Feature RAF INDUCTION VIDEO Panache Video Productions Prod: Liesel Eiselen Corporate ROAD ACCIDENT FUND INDUCTION Panache Video Productions Dir: Liesel Eiselen Corporate

SEBOKENG MPA (Motswako) Dirs: Charls Khuele / Zuko Nodada Feature SHORT BUSINESS FEATURE WITH BBC / ABC Current Affairs Films Prod: Jane Thandi Lipman Short Business Features Sirens P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK! International Radio Pictures Prod: D Gillard Musical The 7P’s to propel change Panache video productions Prod / Dir: Liesel Eiselen Script: Dr Caren scheepers The Black Blonde Steve Radebe Post Productions Prod: Steve Radebe Feature Film tHE blood kIng and the red dragon Current Affairs Prods: Jane Thandi Lipman / Mtutuzeli Matshoba Feature the book shop P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series THE CONSEQUENCE DO Productions Prods: Marlow de Mardt / Brigid Olën Feature The Dreaded Evil Eye from Past to Present and Across Cultures It’s a Wrap Productions Dir: Eugene Botha Documentary THE EDGE International Radio Pictures Kit Reynolds TV Series THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series The Scores Are In Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary WAY TO ROLL Blue Ice Productions Dir: Freddie Strauss Feature WARD 22 AKA SPECIAL OPS DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary Welcome To The Club Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature WHIPLASH Get the Picture Prod / Dir: Jacky Lourens / Meg Rickards Other Crew: Tracey Farren, Jenny Hicks Feature Film ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS DO Productions Dir: Bruce Beresford Feature ZEN FILM CREW MANAGEMENT ZEN Film Crew Management Prod / Dir: Laura Tarling Commercial

PRE-PRODUCTION AFROX LPG RESTAURANT TRAINING FC Hamman Films Director: FC Hamman Training Video BABALAS FC Hamman Films Exec Producer: Peter Scott Feature Film Chabela Day Spa Grey Cloud Production Dir: Jacques Brand Information Video Die Verhaal van Racheltjie de Beer Brett Michael Innes Films Prod: Brett Michael Innes Historical feature film

P R O D U C T I O N U P D A T E S 3 Talk Urban Brew Talk Show 3RD DEGREE e.tv Investigative TV series 50/50 Clive Morris Productions Current Affairs A 400 year old bestseller – The King James Version of the Bible Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary AFROX FINANCIAL RESULTS FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video AFROX RAU INSIGHT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video ALL YOU NEED IS LOVE 5 Endemol South Africa Reality ANGLO GOLD ASHANTI SAFETY SERIES SummerTime Productions Prod / Dir: Sean Gardiner Corporate Video ABC AMERICA NEWS SPECIAL ON MANDELA Current Affairs Films Prod: Jane Thandi Lipman Feature News Special AFRICA FACTS SEASON 3 Lebapi Productions Dir: Daniel Moleabatsi TV Magazine AFRICA 360 eNews News Head: Patrick Conroy Current affairs AFRO CAFÉ SEASON 7 Bonngoe Productions Exec Prod: Pepsi Pokane Music Show AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TVMagazine Agape Gabaza Productions Prod: Sarah Ngubeni Magazine Alex: A history from below Uhuru Productions Dir: Rehad Desai Documentary ALL ACCESS Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show Awesome Africa Steplite Films Dir: Jacqui Logie TV Series barbour and thorne: 60 years strong Our Time Productions Dir: Juan de Meilon Corporate Video BBC PLANET EARTH LIVE Wild Images Dir: James Smith, Tim Scoones, Roger Webb Documentary BINNELAND Stark Films Dir: Danie Joubert TV Drama Bonisanani Kagiso TV Talk Show BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films BORDER MARAUDERS NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary Carte Blanche (inserts) Modern Times Prods: Sofia Phirippides / Jon Pienaar Documentary Child Geniuses Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series Codesign – commercial spot for furniture designers SWITCH Dir: James Tayler Commercial Cool Cats Red Pepper Exec Prod: Cecil Berry Children’s Show CORTEX MINING FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Come Dine with Me South Africa Rapid Blue Prod: Kee-Leen Irvine Reality

Cutting Edge SABC News Current Affairs DADDY’S MESS Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DIE VIERDE KABINET Jan Scholtz Productions Prod: Jan Scholtz Series DINNER DIVAS 2 Blonds and a Redhead Filming Exec Prod: Anne Myers Cookery Series DIY Met Riaan Prod: Riaan Venter-Garforth Magazine EM PETROCHEMICALS TOP END Betta Beta Communications Prod / Dir:Tommy Doig Training Program EXPRESSO 2 Cordover Trading Prod: Paul van Deventer Lifestyle EASTERN MOSAIC Red Carpet Productions Magazine Programme FORMIDABELE VROUE: ANNEKIE THERON Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: CISSY GOOL Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: INA DE VILLIERS Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: UNA VAN DER SPUY Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FOX NEWS CHANNEL Betta Beta Communications Prod / Dir: Tommy Doig News Current Affairs Freeway Frog Firefly Animation Prod: Ant Steel Animation Short FRENZY Red Pepper Pictures Prod: Palesa Mopeli Variety GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla Soapie GOOD MORNING AFRICA Planet Image Productions SA Prod / Dir: Wale Akinlabi TV Magazine Gospel GOLD Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show GROEN Homebrew Films Prod: Jaco Loubser Wildlife HEADLINE 5 Bitch Films TV Magazine HEAVEN – Africa Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Hectic 99 Okuhle Media Prod: Wilna van Schalkwyk Magazine Show HITACHI POWER AFRICA MEDUPI & KUSILE Betta Beta Communications Prod / Dir: Tommy Doig Documentary HOUSE CALL Izwe Multimedia / Urban Brew Series Prod: Annalie Potgieter Live Medical Talk Show Imizwilili Ukhamba Communications Music Inkaba Urban Brew Studios Prod: John Kani Telenovela INSIDE STORY Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature ISEDALE Golden Effects Pictures Dir: Kunle Afolayan Documentary Series ISIDINGO Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama

Cnr. Frost avenue & owl street | Milpark | Jo’burg t +27 [11] 482 7111

STUDIO FACILITIES

IN PRODUCTION

www.atlasstudios.co.za

2

234m2 – 564m

With flexibility of combining studio space up to 800m2 The facilities are best suited for sitcoms, dramas and live interactive broadcasts.

• Fully equipped sound proof studios • HD/SD digital multi-camera equipment • Street level access for large sets and vehicles.

• 12m x 3m green screen cyc • Full lighting grid with dimmers and lights • Green room, make up room, crew rooms, drawback areas and production offices available

www.globalaccess.co.za

Elegy: forsaken in South Africa Market Street Productions Prod: Paul Van Zyl Short film GNLD FC Hamman Films Director: FC Hamman Opening Video Holidays for Madmen Imageworks Prod: Anthony Irving TV Series JUB JUB DOCUMENTARY (working title) Baxopath Media Dir: Nolitha Tshinavha Documentary LET HEAVEN WAIT Revolution real entertainment Prod / Dir: Deon Potgieter Sitcom Mandela Synergy Films Drama / Documentary MISTIFY Gleam studios / Wilddogs productions Prod / Dir: Sonja Ter Horst / Johnny Swanepoel Short film NATIONAL LIBRARY OF SOUTH AFRICA Panache Video Productions Prod / Dir: Liesel Eiselen Corporate video PSALTED Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety RATE MY PLATE International Radio Pictures Exec Prod: Kit Reynolds Community Project RISKCON SECURITY FC Hamman Films Producer: Neels Smit Corporate Video SAFE IN THE CITY Imani Media.

Comedy SAINT & FREEDOM FIGHTER It’s a Wrap Productions Dir: Eugene Botha Documentary Si-solutions International Radio Pictures Exec Prod: Kit Reynolds Community Project SHAKESPEARE IN MZANSI: A MIDSUMMER NIGHT’S DREAM Fireworx Media Prod: Bridget Pickering Mini Series SLENDER WONDER INFORMATION VIDEO Grey Cloud Productions Dir: Jacques Brand Information Video PGC FC Hamman Films Director: FC Hamman Marketing Video TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series The Black Out Dithakeng Projects and Flms Exec Prod: Thabang Nkunyane Short Film THE LOST ANGEL Inhlakanipho Films Dir: Vusi Dumisani Nhlapo Feature Film TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM South African Great Movies Production Dir: John Wani Feature THE MESSENGER Spirit Word Ministries/Footprint Media Academy Exec Prod: Annalise Van Rensburg Series TWK AGRI FC Hamman Films Prod: Odette van Jaarsveld Corporate Video UASA CONGRESS FC Hamman Films Prod: Odette van Jaarsveld Corporate Video VROU SOEK BOER West Five Films Prod / Dir: Maynard Kraak Feature Film WAY TO FREEDOM Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Film WORKERSLIFE INSURANCE FC Hamman Films Prod: Odette van Jaarsveld Marketing Video

Amelia Thiart Nadia van Reenen +27 11 350 6111 +27 11 350 2035 amelia@globalaccess.co.za nadia@globalaccess.co.za

us on

SCREENAFRICA

April 2013 | SCREENAFRICA | 45

P R O D U C T I O N U P D A T E S

Unit 3, Harbour Place, 1061 Schooner Road, Laser Park, Honeydew

Join us on

SCREENAFRICA

IT’S MY BIZ Urban Brew Studios Reality business makeover series JAM SANDWICH Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas Key Crew: Cam / Sound: Jaques Marais / Mzukisi Mtishiselo TV Series / Reality Music show JAM SANDWICH IV Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas TV series JOU SHOW MET EMO en Wickus Homebrew Films Prod: Jaco Loubser Variety Show Judge For You Self eNews Current Affairs Laugh out Loud Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya Urban Brew Prod: Enel Viljoen Reality KWELA Pieter Cilliers Productions Prod / Dir: Pieter Cilliers TV Magazine LATE NITE NEWS ON E.TV Diprente Productions Prod: Tamsin Andersson Satire Live Urban Brew Music Show Live Lotto Show Urban Brew Game Show Maggs on Media eNews Prod: Jeremy Maggs Current Affairs MASSMART CSI REPORT SummerTime Productions Prod / Dir: Roxanne Rolando / Sean Gardiner Corporate Video MATRICS UPLOADED Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational MGONGO BY SONY Sony Prod / Dir: James Lennox Lifestyle & Entertainment Million Dollar Race Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MK Campus Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show

46 | SCREENAFRICA | April 2013

MOFEREFERE LENYALONG Moja Movie Factory Sitcom Montana 2 Penguin Films Exec Prods: Roberta Durrant Drama Series MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MUVHANGO Word of Mouth Prod: Pieter Grobbelaar Feature MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine Music Moves Me Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show News Night eNews Prods: Nikiwe Bikitsha Current Affairs NIGCOMSAT – TELEVISION COMMERCIAL SERIES SWiTCH Prod: Sarah Wanjiku Muhoho Commercial Nomzamo Tom Pictures / Authentic Images Comedy ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS Plexus Films Prod: Miki Redelinghuys Corporate Video PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme Phoenix Rising...The Business of Style Phoenix Entertainment and Production Prod / Dir: Koketso Sefanyetso Reality Docutainment PLAY MORE GOLF FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercials POWER COMBAT ZONE Mixed Motion Entertainment Dir: Dieter Gottert Sport Programme Project MV Zen Crew Prod: Laura Tarling Music Video

Religion and the ANC Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary RETROBOUCHON Tunnelvizion Productions Prod / Dir: Ruan Lotter/Hein Ungerer Short Film ROLLING WITH KELLY KHUMALO Red Pepper Prod: Cecil Barry Reality Series RHYTHM CITY Curious Pictures Prod: Yula Quinn Soapie RHYTHM CITY INTERACTIVE Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media Rivoningo Asi-B Films Exec Prod: Asivhanzi ‘Asi’ Mathaba Kids ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video ROER Homebrew Films Prod: Jaco Loubser Cooking Show Roots Ukhamba Communications Music Show SAKEGESPREK MET THEO VORSTER Dirk Mostert Camera Production Dir: Dirk Mostert Talk Show SANPARKS YOUTH & PARKS Francois Odendaal Productions Prod / Dir: Francois Odendaal Natural History TV Series SA’S GOT TALENT Rapid Blue Prod / Dir: Kee-Leen Irvine Reality SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Soapie SCHOEMAN BOERDERY – MOOSRIVIER Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary SELIMATUNZI Sikhoyana Productions Prod: Baby Joe Correira Variety Series Ses’khona Tswelopele Productions Prod: Phuthi Ngwenya Magazine SHARK STORIES NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary SHIZ NIZ Red Pepper Pictures Prod: Allen Makhubele Variety Shift Urban Brew Talk show SHORELINE 2 Homebrew films Documentary series S.I.E.S (SOCIAL IMPACT AND EMPOWERMENT STRATEGY) Penguin Films Dirs: Roberta Durrant / James Ngcobo Sitcom SKWIZAS 2 Lillian Dube Productions Prod: Lillian Dube Sitcom SISTERHOOD Red Pepper Pictures Prod: Vuyo Sokupa Variety Siyakholwa – We Believe X CON Films Dir: Munier Parker Edutainment SKETCH U LATER Chris Morris Productions Dir: Genna Lewis Comedy series SLENDER WONDER MJ LABS FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video Soccer 411 Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine Soccer zone SABCSports Head: Sizwe Nzimande Magazine Sony Presents Mgongo Sony Variety Spirit Sundae New Wave Productions Prod: Mishkah Roman-Cassiem Spiritual STUDIO 53 M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme

STUDY MATE Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational TASOL “Old Geezer” Bragge Film & TV Dir: Guy Bragge Commercial The B-Ball Show SABC Commissioning Ed: Dinah Mahlabegoane Variety The Chat Room Eclipse Prod: Thokozani Nkosi Talk Show THE CHEETAH DIARIES SERIES 4 NHU Africa Exec Prods: Vyv Simson / Donfrey Meyer Wildlife Documentary The Communist Republic of South Africa Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary The Cypher Spoon Fed Generation Lerato Letebele Talk show THE DR MOL SHOW Prod: Michael Mol Magazine THE GREAT PENGUIN RESCUE NHU Africa Exec Prods: Vyv Simson / Donfrey Meyer Wildlife Documentary The Justice Factor eNews Exec Prod: Debbie Meyer Current Affairs THE REAL GOBOZA 7 Urban Brew Entertainment THE RUDIMENTALS Periphery Films Prod: Simon Taylor Feature Documentary THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary The Tech Report Greenwall Productions Exec Prod: Nicky Greenwall Magazine THE WILD Magic Factory Exec Prod: Bobby Heaney Daily TV Soap TRANSFORMATION STORIES Media Village Productions Dir: Diane Vermooten Documentary THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary THERE ARE NO HEROES AFDA Cape Town Dir: Kyle Stevenson Science Fiction TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine Top 10 at 10 Don’t Look Down Radio / TV Simulcast TRAPPER IN AFRICA NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary TSHIPE BORWA MANGANESE MINE Betta Beta Communications Prod / Dir: Tommy Doig Documentary Turn It Out 2 Fuel Media Productions Dir: Marvin Raftopoulos Dance Reality show VKB LANDBOU BEPERK FC Hamman Films Prod Man: Odette van Jaarsveld Script: Anton Dekker Corporate Video VILLA ROSA Spectro Productions Dirs: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama WEEKEND LIVE SABC News Current Affairs When The World Was Here Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series Why are We so Angry?

Fuel Media Productions Dir: Scott Smith, Shaft Moropane Documentary Series Why Poverty?

STEPS International Exec Prod: Don Edkins Documentary Series Wicket to Wicket SABC3 Lefa Afrika Magazine Workers World Series Cape Town Television Prod: Sharon McKinnon TV Series

WORLDSOUTH Leago Afrikan Arts Foundation Dir: Sakhile Gumbi Documentary Xihlovo Grace Bible Church Religion Yilengelo Lakho Prod: Nndanganeni Mudau Current Affairs Zone 14 The Bomb Shelter Prod: Angus Gibson Drama

POST-PRODUCTION 4LIFE NETWORK Bragge Film& TV Dir: Guy Bragge Infomercials A BUSHMAN ODYSSEY Onetime Films Prod: Richard Wicksteed Documentary AFRICA CALLING Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature AFROX CO2 PLANT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX SHEQ INDUCTION FC Hamman Films Prod Man: Odette van Jaarsveld Commercial ALL’S FAIR PianoJ Productions Prod: Pia van Rensburg Short Film AMBASSADOR II Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Animal Doctor ( (Working Title)) Animal Doctor cc.

Prods: Greg Simpson / Jonty Acton TV Series AURECON STAFF INSERTS Panache Video Productions Dir: Liesel Eiselen Marketing Bally Cullen Guesthouse Ad Panache Video Productions Prod: Liesel Eiselen Corporate Bitter Root Imageworks Dir: Kerry Negara Documentary BLITZ PATROLLIE Diprente Films Prod: Kagiso Lediga Feature BUA NNETE Owami Entertainment Dir: Charles Khuele Short Film Calafornia: Valley Christian School Transformation Media Village Prod: Diane Vermooten Documentary DEAR SISTER Media Village Prod: Debbie Matthee Short Film DRAGON’S FEAST 3D NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary ERFSONDES Imani Media Dir: Peter Heaney TV Drama Freedom Park installations Kevin Harris Productions Dir: Nadiva Schraibman Documentary FROM GUN TO TAPE Content House/Shadow Films Prod / Dir: Jackie Lebo / David Forbes Documentary GETROUD MET RUGBY SEASON 4 Bottom Line Productions Dir: Jozua Malherbe Series HALF OF A YELLOW SUN British Film Institute Dir: Biyi Bandele Feature Film HOME OF THE LEGENDS L. Dukashe Productions Prod / Dir: Lumko Dukashe / Lulu Dukashe Documentary Hong Kong Media Village Prod: Diane Vermooten Documentary IMATU UNION VIDEO FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video INTEL HISTORY Bragge Film & TV Dir: Guy Bragge Corporate

P R O D U C T I O N U P D A T E S IQILI Impucuzeko Prod: Sharon Kakora Feature Israel Inside ( (Working Title)) Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary JACK UP YOUR SHACK Let It Rain Films Prod / Dir: Lee Doig TV Series JAM SANDWICH Meerkat Media Dir: MQ Ngubane Music Reality TV series JULIUS HAS A DREAM Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary Kemang? lmol Production Dir: Lizzy Moloto Feature Film Launch of the Academy of Young SA Scientists Panache Video Productions Prod: Liesel Eiselen Documentary LIFE UNDER THE FLAG Lifeundertheflag.Com Prod: Prince Angelo Doyle Documentary LION’S TRACK Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature LOVE ABOVE ALL Firstfruits media Dir: Nthabiseng Gamede Feature Film MARRY – ANN Shadow Films Dir: David Forbes Documentary MASTERS OF DREAMS Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman Series Melodi Jazz Festival 2011 L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD MICROSOFT 365 Bragge film & TV Dir: Guy Bragge Corporate Video National Heritage Council Educational Outreach Programme Panache Video Productions Dir: Liesel Eiselen Corporate Video PEACE PARKS NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PERFECT SHISHEBO Curious Pictures Prod: Nthabiseng Mokoena Cooking Show PREDATORS’ PLAYGROUND NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary RESTYLE MY STYLE Curious Pictures Prod: Anita van Hemert Children’s Programming River of Stones Prod: Wiseman Mabusela Documentary SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Sport Programme SCAREDYKAT Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL E-WASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate SLENDER WONDER FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video SLENDER WONDER GLAM GURU Production House: FC Hamman Films Prod Manager: Odette van Jaarsveld Script: Hulette Pretorius Commercial South african Field Band Foundation Championships Panache Video Productions Prod: Liesel Eiselen Documentary STETSON HATS Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Video Stolen Time Prod: Eric Myeni Feature

Tanzanian Investment Opportunities Benchmark Productions Dir: Dermod Judge Corporate Video Technology Innovation Agency CEO Address Panache Video Productions Prod: Liesel Eiselen Corporate Video Technorati Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show THE AFRIKANER BROEDERBOND It’s a Wrap Productions Dir: Eugene Botha Documentary THE CHEETAH DIARIES SERIES 3 NHU Africa Exec Prods: Vyv Simson/ Sophie Vartan Wildlife Documentary Series THOSE WHO CAN’T Quizzical Pictures SABC Comedy Series TO THE POWER OF ANNE FX Productions Prod / Dir: Robert Haynes TV Series TOUCHING LIVES SEASON 3 GHANA Launch Factory Dir: Spero Patricios TV Series TREASURE GUARDS Tandem Communications Exec Prod: Jonas Bauer / Rola Bauer Feature Triple O Monarchy Prod: Mosibudi Pheeha Feature TRUE DREAM ( Revised Version) South African Great Movies Production Dir: John Wani Feature Vallejo Transformation Media Village Prod: Diane Vermooten Corporate Vehicle 19 Forefront Media Group / Picture Tree / The Safran Company Exec Prod: Paul Walker Feature VERITAS Media Village Prod: Debbie Matthee Documentary VIENNA BOYS’ CHOIR MUSIC STUDY TOUR SummerTime Productions Prod / Dir: Tanya Vandenberg Corporate WALKING IN VICTOR’S SHOES Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary WELLBODI BIZNES Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary ZION Letcosmart Prod: Zibusiso Nkomo Feature

COMPLETE AFROX AFRICA INSIGHT EPS 4 FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX YEAREND RESULT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AMKA Panache Video Productions Dir: Liesel Eiselen Corporate CHINESE SCHOOL, PRETORIA Video clip productions/Panache video productions.

Prod/ dir Rudi Kruger/Liesel Eiselen.

Corporate.

Club Culture Bonngoe Productions Prod: Tumi Rabanye Variety Cooking With Siba Prod: Siba Mtongana Variety DINEO’S DIARY: A MOGUL IN THE MAKING New Vision Pictures and S2 Multimedia Exec prod: Dineo Ranaka Reality DRAGON’S FEAST 3D NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series DURBAN/REEF FUEL PIPELINE Betta Beta Communications Prod / Dir: Tommy Doig Documentary FORMIDABELE VROUE: PETRONELLA Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET

FORMIDABELE VROUE: LEONORA VD HEEVER Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET GNLD AFRICA CONVENTION FC Hamman Films Prod: FC Hamman Corporate Video HARTLAND Bottomline Entertainment / Fix Post Production Michael Modena TV Drama HIGH ROLLERS Rous House Productions Prods: Joshua and Luke Rous Television Drama Series IMPACT CHRISTIAN MEDIA Impact Christian Media Prod / Dir: Carl Schultz TV Series JAM ALLEY CREW VS CREW SEASON 2 Red Pepper Pictures Prod: Melody Xaba Music Reality Competition JERUSALEM, JERUSALEM Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET KLEIN KAROO Kaapland Films Dir: Regard van den Berg Feature Film Lepelle Northern Water SummerTime Productions Prod: Sean Gardiner Corporate Lepelle Water Safety Induction SummerTime Productions Exec prod: Elaine Tribe Corporate MASTERS OF DREAMS Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman /Eric Ellena Documentary MENTALIST MARTIAL ARTS Panache Video Productions Dir: Ryan Blumenthal Training MZANSI LOVE Fireworx Media Dirs: Myrto Makrides, Mmabatho Montsho, Neo Ntlantleng, Zamo Mkhwanazi Anthology series OSCAR PISTORIUS ABC America Documentary POPCRU 7TH CONGRESS FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Event SHAKESPEARE IN MZANSI: FORCED LOVE Dirs: Itumeleng Wa Lehulera and Annalet Steenkamp.

Penguin Films Drama mini-series SHORELINE REVISITED Homebrew films Documentary series SING YOUR SONG Dir: Susanne Rostock Documentary SPACE, ALIENS, UFO’S AND RELIGIOUS TRADITIONS Eugene Botha Productions / It’s Wrap Productions Exec prods: Eugene Botha / Anna Teichert Documentary The Animal Communicator NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary THE BLACK JEWS AND THE LOST ARK OF THE COVENANT Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary TOUCHING THE DRAGON NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary VKB BRANDING LAUNCH FC Hamman Films Prod: FC Hamman Corporate Video

APRIL 4 – 7 The African Film Festival Australia 24 – 26 Sydney www.afroklectic.com 6–7

MIPDOC

Cannes, France www.mipdoc.com

6 – 11

NAB Show

Las Vegas, USA www.nabshow.com

8 – 11

MIPTV

Cannes, France www.miptv.com

20

Africa Movie Academy Awards

Nigeria www.ama-awards.com

18

Screen Africa Golf Day 2013

Johannesburg, SA ellen@screenafrica.com

25 – 5 May Hot Docs Canadian International Doc Festival

Toronto, USA www.hotdocs.ca

MAY 15 – 26

Cannes International Film Festival

Cannes, France www.festival-cannes.fr

27 – 30

Satcom Africa, Broadcast Show Africa & Submarine Networks World

Sandton Convention Centre, Johannesburg www.terrapinn.com

JUNE 6 – 23 Encounters South African

International Documentary Festival

Cape Town & Johannesburg www.encounters.co.za

13 – 23

Los Angeles Film Festival

Los Angeles, USA www.lafilmfest.com

7 – 8

Showbiz Entertainment Arts Expo

Gallagher Convention Centre, Johannesburg www.seaexpo.co.za 16 – 22

Cannes Lions International Festival Of Creativity

Cannes, France www.canneslions.com/

JULY 11 – 15

Uganda Film Festival International (UFFI)

Kampala, Uganda www.ugandafilmfestivalinternational.org

17 – 19

Mediatech Africa

Coca-Cola Dome Northgate, Johannesburg www.mediatech.co.za 18

Screen Africa Technology & Production Conference

Northgate, Johannesburg ellen.oosthuizen@pixie.co.za

18 – 28

Durban International Film Festival

Durban www.cca.ukzn.ac.za

19 – 23 Talent Campus Durban

Durban www.cca.ukzn.ac.za

20 – 23 The Durban Filmmart (DFM)

Durban www.cca.ukzn.ac.za

Advertisers List

|

AJA Video Systems.......................19

Markex............................................39

Atlas Studios .................................45

Mediatech Africa...........................33

Avid..................................................15

Nates Audio Visual

Blackginger.......................................3

Solutions...........................FC

Blackmagic Design..........................7

Obeco..............................................31

Case Connection, The.................46

Panasonic..........................................9

Digitalfilm....................... IBC

SAFTAs..................................24 – 27

Electrosonic ..................................44

Satcom.............................................17

Screen Africa relies on

Gallo Music Publishers................31

Screen Africa Golf Day..IFC

accuracy of information

General Post..................................44

Sony.................................................13

received and cannot be held

Global Access................................45

SOS..................................................21

responsible for any errors

Harambe

Telemedia..................... OBC

or omissions which may

Technologies................ FDPS

Timbre Broadcast Systems.........29

occur. E-mail production

Jaycor...............................................40

Vision Cases...................................44

updates to:

LaserNet.........................................37

online@screenafrica.com April 2013 | SCREENAFRICA | 47

Social

|

CTO DBSF – Johannesburg

Broadcasting Services Botswana’s Didibeng Hodge Semakula (East Modisenyane and Calvin Goiletswe Africa Communications Organisation)

George Twumasi

Gunnar Garfors

Wandile Tutani (ICASA)

Jean-Frabcois Kipp

Aldred Dreyer (NBC) and Hema Suri (Exset)

Stephen Mncube ICASA

Nadia Bulbulia (NAB)

David Hemingway

Babu Katanga (Pygma Consulting)

Dina Pule

Lynn Mansfield

AfricaMagic Viewers Choice Awards – Lagos, Nigeria

Akin Omotoso and Bongiwe Selane

Anita van Hemert and Bubu Mazubuko

Majid Michel, Jakie Appiah, Karen Ugho and Helen Paul

Bongiwe Selane, Lani Lombard and Jeneel van Rensburg

Nolwazi Shange and Rosie Motene

Hakeem Kae-Kazim and Rosie Motene

Olu Jacobs and Joke Silva with Screen Africa’s Chinaka Iwunze

Kalu Ikeagwu and friend

Praiz

Kene Mkparu

Waje

Kunle Afolayan and Omoni Oboli

Zama Mkosi, Biola Alabi and Koo Govender

Frank Meyburgh’s Farewell Dinner – Montecasino, Johannesburg

Sue and Frank Meyburgh

Natalie Haarhof, Riley Grunenwald, Dave Forbes, Nadine Forbes and Pius Okaba

Martin Smookler and Renato Acquisto

Themba Masondo, Eddie Seane and Mafadi Mpuru

Jason Sproat and Armand Claassens

Arne Sack (front), Tink and Suzette Minster

Turkish Film Festival

Karen Tayler-Vermaak, Chris Vermaak and Dirk Mostert 48 | SCREENAFRICA | April 2013

Jan Botha and Rudi Ahlstrom

Paulo Areal, Robbie Thorpe and Theo Antoniou

Jerry Matlala, Paris Ndlovu, Maggie Mashishi and Isaac Mashishi Gokce Gul-Yilmaz, Sevgi Becerik and Ambassador Kaan Esene

‘Bon Voyage’ Frank Meyburgh ODE TO FRANK Tai Krige – SASC I heard the news today Frank is going far away Whatever are we going to say Whatever are we going to do?

Without Frank.

It will be the end of an era when Frank goes back to the U.K. I have known him since 1972 when he was a budding focus puller and I a technician at General Optical (later to become Samuelson Genop).

Frank, as a member of the Meyburgh family, was destined to become a filmmaker in one form or another. Being a colleague and friend for some 40 years plus it is wonderful when a friend remains the same. In Frank’s case friendly, knowledgeable and generous.

No Frank to call for help No Frank to advise & explain

All the best with your future endeavours.

Oh Frank, it’s such a shame No, it wont be the same.

Fondest Regards, Tink Minster

For no one can replace And no one can compare No, no one can even dare No, it wont be the same…..

Do we really know what we will lose?

For no one ever can fill his shoes The Brits will never know What wisdom he can bestow Oh the Brits will never know What following he has in tow Oh the Brits will never know…

He is such a lekker ou.

Frank has been like a rock throughout my career. Always ready with kind advice, always ready to go the extra mile and then some, always concerned and able to bend over backwards to make the deal fit the budget, even though he has such a bad back! I will miss him, but am happy for him. His contribution to the South African film industry as a whole must be cherished and celebrated.

David Max Brown – Producer Cam-A-Lot Rentals has always looked at Frank as the Big Daddy of the video rentals industry.

From when we started 7 years ago up until about a week ago, we have on numerous occasions approached Frank for advice, drawing from his vast array of knowledge and at times just asking for his expert opinion when making technical decisions. It has been a privledge knowing him & we wish him a healthy & happy future Glen Theron – Cam-A-Lot In the early 90’s I managed to scrape enough money together to purchase my first camera.

When handing the cheque over to Frank I nervously told him that this was the biggest cheque I had ever written, he promptly took it out of my hand and told me to get used to it. He then surprised me by including a tripod, sound and lighting to complete the kit and told me than when I could afford my own I was to return his.

Not only did Frank give me a leg up into this industry, but also through the years his advice and unconditional support. We will miss you Frank!

Michael and Vanessa Yelseth – Time Frame Productions

Hi Frank, Being at the end of the grapevine I only heard about this yesterday.

I have no idea what you are going to be doing or where you are going and I would love to know.

Frank.. I guess I have known you for quite a while, and have always considered you as a true gentleman, generous, helpful and always available for advice, information and ideas.

I value the fact that we have known one another, and I wish you all the very best in your move to London and your future life.

You will be missed but not forgotten, and maybe we will meet again when I am next in your part of the world Very best regards Andy Stead

More importantly I would like to say: You are a LEGEND in the industry and in my opinion a true gentlemen. I hope this deal has put a smile on your face and a whack of cash in your pocket because anyone who has dedicated themselves to this industry as you have deserves it.

I truly pray you are going to still be around because if you are leaving us then the Joburg TV industry won’t be the same ever again and I am not ready for a new area!

God Bless Frank Dirk J Harding – Malapati Productions I do not recall when I first met Frank. It was that long ago that it feels as though it has been forever.

Running a successful rental business requires a unique skill set. Customer service, dedication, in depth knowledge of equipment details, staying abreast of technological developments, attention to detail and strict control of the paper trail to name but a few.

Frank has all the above in abundance.

His willingness to share his considerable knowledge with anyone who asks is a wonderful attribute.

Best wishes for an exciting next chapter and looking forward to hearing of your next successful endeavour.

Neville Reid What a shock it is to learn that Frank is selling Digital Film (put retiring if you think its more appropriate)! He is one of those people who you can’t imagine the industry doing without and he will be sorely missed!

Frank has always been so supportive of our CSI initiative, SA’s Next Top Filmmaker, always donating the use of his equipment to the finalists along with the usual invaluable advice.

We will miss him but we do wish him a well-earned rest!

Kirsty Galliard – General Post

Frank Digital Meyburgh…

Here is a man who lives his PASSION, Frank is eccentric in his business model always pushing the envelope of cinematography albeit to his own advantage….( of course he would say otherwise)Having said this he was able to see an opportunity and combined with his wealth of knowledge and abundant ‘’knick knacks in the shop’’put together a rig, resembling a Christmas tree with all the bells and whistles that blew everyone apart.

Frank, I remember when I walked into the shop with a DVX 100 camera capable of shooting 25P and you transformed it into an Arri look alike..the rest is history..

Thank you for the valued business shared over the years and for expanding my horizons, go well into the future…

Renato Acquisto – Avmark Systems I have never met another person, not making films themselves, that is as passionate about filmmakers’ projects in South Africa, as Frank Meyburgh. Frank not only supplied me with gear, great jokes and excellent technical support, he also encouraged me to make films with his undying enthusiasm for my projects and the industry as a whole.

Frank Meyburgh is a king amongst men. He will be dearly missed, especially by me.

Pascal Schmitz – Amariam Productions & Amariam Pictures I am very sorry that Franks is off to the UK. Having known Frank for the past 20+ years, I would like to wish him all the best in his new venture. (He will need to purchase some warm clothing!!!) . Frank you must keep in touch. I am sure we will see you at IBC .

Good Luck Neil White and all the staff at SBSS and Camera Station

Frank Meyburgh is synonymous with the South Africa Film Industry.

His name thunders throughout and his legacy is vast. I was somewhat thrown into the deep end and from very early on, Frank threw me a lifeline and guided me through.

This certainly bears testimony to his character and kindness and I am forever indebted. Our loss is certainly England’s gain.

Wishing you and Sue a very safe journey, a smooth transition and all the best with your future endeavours.

May you keep on doing what you do. Thanks for the support, assistance and guidance....

Martin and the guys at Nates Although Frank isn’t a big man, I have always thought of him as the gentle giant. Patient and soft-spoken, he was always ready to help and dispense valuable advice. A giant in the industry, he will be sorely missed.

Bobby Heaney Frank is the epitome of a consummate professional, completely dedicated to his craft.

He is a technical genius and has gotten me out of more sticky situations than I can remember over the years.

Frank’s dedication to service has been completely unwavering over the 10 years I have known him and Digital Film. I will never forget the time Frank came through to my office at 11pm one Saturday night to personally swap out a faulty Beta SP deck I was using for an urgent play out. It is never a problem with Frank, he is dedicated to servicing his clients and has helped on so many levels with my different productions over the years I will be forever grateful.

He too will almost always give you way more information about a specific type of machinery, lens or camera than you ever asked for but it is always useful and constantly highlights his deep knowledge for digital broadcast technology, cinematography, picture quality and beyond.

He will be sorely missed in the industry and will never be replaced in my opinion.

All the best Frank and thank you once again for all your help over the years!

Warm regards, Warwick – Mushroom Media

Z-HD5000 Economical Digital HDTV / SDTV Production Camera

SK-HD1000 Multi-format Digital HDTV Production Camera.

SK-HD1200 Multi-format Digital HDTV Production Camera.

SK-3200

SK-3020P

HDTV Studio & Field Production Camera

Fully Digital Multi-standard Camera

ECONOMICAL HD CAMERAS FOR PROFESSIONALS A Broad Range of Professional Broadcast Cameras • • • • •

3CCDs and 14 Bit A/D Convertors are standard across the HD camera range.

Various models to suit ENG, Studio and OB applications.

P2 Card Recording camera back for ENG purposes.

Various Camera Control Systems and Remotes available.

Control via Fibre (3G) or Digital Triax.

RADIO AND TELEVISION BROADCASTING SYSTEMS PO Box 1853, Rivonia, 2128, South Africa Tel: +27 (0)11 803-3353/4 Fax: +27 (0)11 803-2534 E-mail: sales@telemedia.co.za www.telemedia.co.za