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| IN THIS ISSUE
10 SAFTAs 2016 Winners
30
29
Elements of Cinema: Fight, flight, freeze… action
River Road: the boulevard of affordable Kenyan films
33
42
South African at heart
Minding your ones and zeros
News
SAFTAS 2016 WINNERS
Outside Broadcast
Television
Back to the drawing board for FTA
SAFTAs 2016 winners............................... 10
Introducing GoggleBox SA – Sony Pictures Television’s first locally
Tektronix Prism media
Outside Broadcast – limits of scale....... 20 Specialists in the design, manufacture, installation and commissioning of all professional
analysis platform......................................... 14 Tedial’s The Version Factory
audio, video and broadcast systems...... 21 SilverCam Broadcast offers
and Evolution BPM MAM systems......... 14 JVC GY-HM 620 and
the keys to great broadcast..................... 22 Militia Broadcast provides OB facilities
GY-HM 660 camcorders.......................... 14
for SA Mumford and Son tour............... 23 SABC’s ‘video-on-the-move’
broadcasting licence applications.............. 3 The KZN Film Commission markets a ‘film-friendly’ province.............. 3 LAFF collaborates with Cannes Film Festival and Short Shorts............................ 4 Africa’s first teen movie virtually ready for release........................... 4 ‘Visions of the future’ as DIFF appoints new manager....................... 6 Akin Omotoso awarded Best Director at AMVCA........................... 6 BBC Worldwide invests in SA production company Rapid Blue............... 6
TECHNOLOGY News
Blackmagic Fusion 8.................................. 15 Sony UMC-S3C 4K video camera......... 15 Fujinon XK6x20 4K-compatible high zoom ratio cine lens........................ 15
SA’s super trailers...................................... 26
COMMERCIALS
FILM
Alison film secures theatrical release....... 8 Vir Altyd sets new record
Start investing in
at the South African box office.................. 8 Discovery Networks and
programmatic video.................................. 16 Why I have built myself
MultiChoice announce new channel........ 8 Free State wins Best Director
a lot of pigeon-holes................................. 17
award at LAFF 2016..................................... 8 Comedy Central acquires YouTube hit SuzelleDIY............................... 8 New dates and new board
Buckle up for this impact......................... 18 Arcade Content’s Rob Smith talks branded content............................... 18
Criminal Minds: the writers’ room........ 36
FESTIVALS & MARKETS BBC showcase 2016.................................. 38
Documentary A guide to revolution................................ 41
MediA ASSET MANAGEMENT Minding your ones and zeros.................. 42
The Unseen explores notions of postcolonial identity and existentialism....................................... 27 ‘If it’s not going to be great,
Regulars
there is no need’ ....................................... 28 River Road: the boulevard
Events.....................................................46
of affordable Kenyan films........................ 29 Elements of Cinema:
Production Updates.......................44 – 46 Social..................................................47 – 48
Fight, flight, freeze… action..................... 30 Director Speak: Gert van Niekerk........ 32
members for Jozi Film Festival................... 8
www.screenafrica.com
OB solution................................................. 24 Sony PSMEA powers
commissioned show.................................. 34
South African at heart............................... 33
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From the editor Hello everyone and welcome to the April edition of Screen Africa. This has been a challenging one to put together as Screen Africa underwent a major change over the past month. We recently bid farewell to deputy editor Carly Barnes, who decided to move on after two vital and highly productive years on our editorial team. I’m sure many of our readers will have crossed paths with Carly and I have no doubt that her absence will not go unnoticed. The work that has been done to drive Screen Africa forward over the past couple of years has been truly collaborative in nature, with Carly, journalist Chanelle Ellaya, and myself, each playing important roles in the magazine and website’s development. Carly took the reins on a number of our initiatives, such as our move into video content production and mobile journalism. These have now become an integral part of the work we do. Her energy and ideas will be missed but we wish her all the best in her new ventures. As we say goodbye to Carly, we also welcome a new member to our team. Cera-Jane Catton comes to us with considerable journalism experience and a love of documentary films. I look forward to seeing what she will bring to the Screen Africa mix and I have every confidence that she is the ideal new addition to the reconstituted trio that is the Screen Africa editorial team. In this issue, among other stories, we take a look at the outside broadcast sector, we offer some important guidelines to media asset management, we report back on BBC Showcase, held in Liverpool earlier this year, we break down the components of a fight scene and we meet the new director of the Durban International Film Festival. One of the challenges of my job is continually trying to find a balance between the various categories of the film and television industry. It is a multifaceted industry that includes technical, creative, business and even political points of view. Unavoidably, each issue ends up leaning slightly towards one of these directions in terms of content composition, reflecting not only what content is ready to hand at the time, but also, I am sure, my own biases. I am enthusiastic about all areas of the industry but there are only so many pages each month. I am always eager to hear feedback from readers as to what you think we should be doing more or less of, or what we might do differently. Please feel free to drop me an email with your suggestions. Enjoy this edition and see you next month. – Warren Holden
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The Team Editor Warren Holden is a writer and journalist whose lifelong love of film and television prompted him to study for his BA in Motion Picture Medium at AFDA Johannesburg, specialising in writing and directing. After graduating, he worked for three years in the television industry before following his aptitude for writing into the world of publishing. He then worked for five years as assistant editor on the arts and culture publication Classicfeel, before taking the helm of Screen Africa, where his experiences in the separate streams of motion picture and publishing have finally come together. In addition to his work on Screen Africa, he is also hard at work developing stories for film and television and studying for a second degree in economics and African politics.
JOURNALISTS Cera-Jane Catton is a writer and journalist with years of experience in community newspapers, blogging and freelance journalism. She has migrated to Jozi from Durban to join the team at Screen Africa in the hope of sampling lots of free popcorn. Cera has worked in a cache of capacities, often finding herself behind or in front of the cameras, intentionally and less so. She has been a stunt double in two Bollywood movies, has worked in various capacities on a number of natural history documentaries, and other international productions shot in South Africa. She studied journalism and photography and is always eager to learn something new. She speaks up for the voiceless, is a dedicated movie lover and a wannabe doccie maker.
Chanelle Ellaya is a writer and a journalist. She completed her BA Journalism degree at the University of Johannesburg in 2011. While writing is her passion, she has a keen interest in the media in various capacities: In 2012 she co-presented the entertainment and lifestyle show Top Entertainment on TopTV and later that year she was handpicked as part of a panel of five dynamic young Africans to interview Winnie MadikizelaMandela on a youth focused television show called MTV Meets. Chanelle is an avid social networker and a firm believer in the power of social and online networking. Between writing and tweeting, she finds time to feed her love for live music.
CONTRIBUTORS Ifeoma ‘Oma Areh runs WildFlower PR and Company, a Nigerian based entertainment and digital PR company. She has worked on some of the biggest campaigns in Africa. She is also the convener of Africa’s first ever ‘Digital Entertainment Conference’ #DECAFRICA. She lives in Lagos with her husband and children. Sam Charo is an independent writer, producer and filmmaker based in Nairobi, Kenya. His passion is sharing great stories about the continent with rest of the world. Claire Diao is a French and Burkinabe cinema journalist. She covers the African film industry for various international media and moderates the Afrikamera Festival in Berlin each year. In 2015, she co-founded Awotele, a digital magazine that focuses on African cinema. Ian Dormer – Born in Zimbabwe, Ian has been in the TV business since the 1980s, having served in various positions at the SABC, M-Net and SuperSport. Ian currently works and resides in New Zealand. Louise Marsland is a veteran editor and journalist with over 20 years experience in the advertising, media, marketing and communications industries. Based in Cape Town, South Africa, she worked as the editor of AdVantage magazine, as well as Bizcommunity.com. She is currently publishing editor of TRENDAFRiCA.co.za. Andy Stead is a broadcast industry professional with over 40 years’ experience in both South Africa and the UK, having worked at a number of leading industry organisations including the BBC and Chroma Television. Now retired, he is based in Cape Town. Nompi Vilakazi is a South African writer with a history in TV drama series. She has worked as an editor in the cutting rooms of numerous productions and is currently the script development executive at Coal Stove Pictures.
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Back to the drawing board for FTA broadcasting licence applications It was 18 years ago that e.tv received its individual commercial free-to-air (FTA) television-broadcasting licence. It took until 2014 for the Independent Communications Authority of South Africa (ICASA) to invite applicants to join this market. The broadcasting regulator said that more commercial TV stations were needed to increase competition and to improve the quality and variety of television broadcasting services in the country. Despite this e.tv remains the sole commercial FTA broadcaster. On 15 March 2016 ICASA officially announced its decision to reject all current applications for new licences. Five applicants sought licences in 2014. One, Medo Investments, retracted their application late in 2015 when they were sent an invoice for a non-refundable application fee of R500 000. Medo claimed that was the first time they had heard of this fee. All four remaining applications went through after the fees were paid but were then declined for non-compliancy.
ICASA rejected the FTA licence applications of Infinity Media Networks (ANN7), Levoca 565 (Hola Media), Rubicon Investments and Change TV Network (TCN). ICASA’s reasons for rejection included apparent failure by applicants to supply a guarantee of funding, proof of expertise and broadcasting experience. ICASA found problems with applications in terms of foreign and cross-media ownership exceeding regulatory provisions. The process sought to ensure that historically disadvantaged persons were given an opportunity to participate meaningfully in the sector, which ICASA found lacking in the applications. In addition, the corporate, financial, and juristic status of the applicants were deficient. ICASA said research that supported the licence applications was insufficient and there was no ownership by historically disadvantaged persons. Reportedly e.tv had urged ICASA not to issue new licences, pleading that a market study to determine the viability of new
broadcasters was necessary, as was a review of the regulations to protect existing players. ICASA has yet to explain in writing its full reasons for rejecting all applications. It has also failed to advise why and when it will issue a new invitation to apply for commercial FTA TV licences. It has agreed to run a series of workshops to avoid repeating the high rate of rejected applications and urges anyone who would consider applying to strictly comply with all the requirements. What hope does this leave for viewers and broadcasters? While MultiChoice keeps adding channels (DStv), there’s On Digital Media (ODM) and StarTimes SA’s StarSat, together with Platco Digital’s free-to-air satellite OpenView HD service. In February the SABC and M-Net launched a digital terrestrial television (DTT) product, GOtv. In addition, traditional TV viewers are lured away by expanding local VOD services like Naspers’ ShowMax, Netflix SA, MTN’s VU and Google Play TV. Why ICASA is continuing with analogue FTA channel applications is an enigma. It was resolved back in 2006 at the International Telecommunications Union that all countries in Europe, Africa and the Middle East should migrate from analogue
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to digital broadcast services by June 2015. South Africa was one of the signatories of the treaty. ICASA claims it has not processed any digital licences. So while they should be regulating the digital migration of terrestrial broadcasting services they are engaging further FTA licensees. ICASA acting chairperson councillor Rubben Mohlaloga says: “Broadcasting services play a crucial role in deepening our democracy by providing a platform for the expression of multiple views; providing entertainment; promoting information dissemination and education; strengthening social cohesion and giving a voice to various sections of the population. Consequently, the legislature has deemed it fit to place limitations on the ownership and control of broadcasting services in order to promote diversity. “The licensing of additional commercial FTA television broadcasting services will stimulate competition and increase the variety of television broadcasting services available to South Africans.” ICASA cannot confirm when the application process will begin again, but confirmed that it will. – Cera-Jane Catton
The KZN Film Commission markets a ‘film-friendly’ province On 3 March 2016, the KwaZulu-Natal Film Commission (KZNFC) hosted its ‘Homecoming’ event at The Capital Moloko Hotel in Sandton, Johannesburg. The event marked the start of a new drive by the KZNFC to entice KwaZulu-Natal born film talent, currently residing in Gauteng, to use their specialised skills in their home province – to the benefit of both KZN and Gauteng. Facilitated by the KZNFC’s marketing and communications manager, Buhle Malunga, the event showcased the workings of the commission’s various departments and the opportunities available to Gauteng-based filmmakers and talents wanting to work in KwaZulu-Natal with the KZNFC. Everything from available film funding schemes and tax rebates, prospective locations, to marketing and distribution opportunities, as well as the building of a film cluster, were presented at the Homecoming event.
OPPORTUNITIES AVAILABLE: Welcome Msomi, chairperson of the KZNFC Board speaking at the Homecoming event Jackie Motsepe, head of marketing and industry development at the KZNFC, who gave the opening keynote address said: “We go to various markets and festivals around the world, inviting people to come to KwaZulu-Natal to shoot their films in the province, to access our film fund, to access our incentives and we’ve never done it at home. We thought it’s about time that we actually speak to industry in South Africa, but at the same time we also know that a lot of people working in the industry, particularly in Gauteng, are originally from
KwaZulu-Natal. We’re trying to build an industry in the province where currently we don’t have the skills base that we need and we know that many with those skills resides here in Gauteng. So this is a way for us to extend an invitation for filmmakers to look at KwaZulu-Natal, look at the opportunity that we can present for you in terms of using the province as a location for film.” A most noteworthy addition to the KZNFC’s programme which was announced at the Homecoming event: the forming of a film cluster comprising of edit suites, studios, a 50-seater cinema, hot desks, rentable office space and equipment. According to the KZNFC, the facility, which will be launched in July 2016, will be equipped with state-of-the art equipment, to make working in KwaZulu-Natal easier for visiting filmmakers by providing easy access to the infrastructure needed to make great films. Simphiwe Ngcobo, production and development manager for the KZNFC,
commented: “Let’s form a cluster which will ensure that the emerging filmmakers will have all the support they need – promoting synergy and shared knowledge.” Ngcobo says that the Homecoming presentation is aimed at showcasing the achievements of the commission to date and to show Gauteng-based talent what they can expect to see from the KZNFC in the years to come, but most importantly to inform them of what they stand to gain by using KwaZulu-Natal as a location for film. Ncgobo concluded: “KwaZulu-Natal is open for business, this for filmmakers wanting to work in the province, whether or not they have partners in there. The facility is there to ensure that filmmakers do not think hard about doing anything film and TV related in the province. KZNFC wants filmmakers to be able to run sustainable businesses in the province, not only in the production arena, but throughout the film and TV value chain.” – Chanelle Ellaya
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LAFF collaborates with Cannes Film Festival and Short Shorts The 5th edition of the Luxor African Film Festival (LAFF) took place in Luxor, Egypt, from 17 to 23 March and featured a specialised short narrative programme presented in collaboration with Cannes Film Festival in France and Short Shorts Film Festival in Japan. LAFF president Sayed Fouad explained that the programme was conceived after the festival coordinators and curators noticed that the short film submissions each year were not of the desired standard. “We decided to assemble a programme of short narratives to nurture the young filmmakers and film students attending the festival after we had
NURTURING YOUNG FILMMAKERS: LAFF president, Sayed Fouad
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noticed, through the films we receive every year, that their techniques in writing and conceptualising short narrative films need to be polished.” The first part of the collaborative programme consisted of a selection of highly acclaimed short films from the 68th edition of Cannes Film Festival and the 10th edition of Short Shorts Film Festival which were screened at LAFF 2016. In addition to the film screenings, LAFF hosted short film master classes in collaboration with the aforementioned festivals. French producer and lecturer Didier Boujard presented a master class focusing on the characteristics of short films and the ways in which filmmakers can communicate with Cannes Film Festival and its selection standards. Boujard’s master class drew a strong focus on character building and script development for short narratives. Japanese director Yasu Tanaka also helmed a workshop presenting and analysing a select group of short films from Short Shorts, in order to show emerging filmmakers what makes a great short film. “Tanaka presented a detailed master class about the first rules of setting a short screenplay by splitting it into three acts. Tanaka applied this rule to films we know like Star Wars, American Beauty
and Frozen. He then demonstrated that the rule applies strongly to even short films when he screened the 2014 British short film All the Pain in the World by Tommaso Pitta,” comments Sherif Awad, short film coordinator of the 5th edition of LAFF. Fouad explained that future collaborations with both festivals looked promising as representatives from both Short Shorts and Cannes were extremely cooperative and eager to work with LAFF on the short narrative programme: “Short Short’s representatives were very eager to cooperate with us to the point that they assembled two programmes – one Asian and one international – and accepted our invitation to come and helm a master class as well as featured film screenings. The same happened with Cannes’ Cinéfondation who agreed to screen the short film selection of last year during LAFF 2016.” Fouad says that LAFF hopes the programme will grow African filmmakers attending the festival in a way that leads to them developing their short narrative ideas and concepts in a more scientific and three dimensional way. “We believe in doing so, African cinema will have a new generation of great filmmakers with elevated skills,” he concludes. – Chanelle Ellaya
Africa’s first teen movie virtually ready for release Filmmaker Tatenda Mbudzi makes a point of calling Zim High the first African teen movie ever, as a direct challenge to the way in which Africa and Africans have been portrayed and perceived in the moving image. He reiterates that the film is not about cliché stereotypes. “Zim High is truly a first,” he says. “The first African teen movie that isn’t about AIDS, Ebola, blood diamonds, Somali pirates, dudes holding AK-47s, child soldiers, etc, etc.” Mbudzi hopes to shift paradigms about what an African film can be. “Zim High is like Harry Potter but instead of magic, there is casual racism. It’s like The Fault In Our Stars, but the white female character would rather die of cancer than date a black guy,” said Mbudzi. Describing the film as a dark comedy about identity and finding a way to make your dreams come true. “I wanted it to be visually amusing, hence the use of animation and illustration, which also expresses the character’s struggle of being creative as an African,” adds Mbudzi. He turned to crowdfunding to make this film and, through Indiegogo, raised 10 per cent of the goal. “We see so few investments in empowering films about African kids using their imagination. Imagination and self-esteem are key to empowerment,” Mbudzi says. The trailer has been released but the film is still in postproduction with the aim of a May release. Mbudzi hopes for an 4 | SCREENAFRICA | April 2016
SHIFTING PARADIGMS: Behind the scenes on Zim High international theatrical release. “There is the potential,” he says. “It just depends on how the film does at festivals. The dream would be for it to be very well received and then have some sort of a theatrical run in the US or Europe. Ironically and unfortunately for a film to be taken seriously in Africa, it needs to have some clout overseas.” Mbudzi who worked in the Hollywood studio system hopes to create an appetite in African and international audiences for high quality African stories. The film was shot with the Sony a7s and the Atumos external recorder for 4k. “The dynamic range on the camera and high
IOS was great. There are some GoPro shots, and a few Canon shots. I used the a7s because of its lightness, and easy maneuverability.” Mbudzi sourced his crew through the Zimbabwe International Film Festival Trust where he taught a directing workshop and met some of his key crew members: First assistant director Elton Mjanana, and line producer, Nakai Matema. Algerian cinematographer and co-producer Naim Keriah. Production designer and co-producer Carine TredGold. Kuda Gopo costume designer, associate producer Eric Lodde, script supervisor Yeukai Ndirimani. “The crew
was light in numbers, a core team, but very heavy hitting and talented,” Mbudzi says. To get close to the characters Mbudzi chose documentary style. “I combine the slice of life style with animation, and more bombastic elements to show the battle to define the African experience on one’s own terms as an individual. As an African, what do you want the movie of your life to be? I don’t think anyone would say ‘I want the movie of my life to be a depressing documentary with no adventure, imagination or excitement.’” He adds: “It’s also a chance to mock the fact that most non-Africans experience Africa through some sort of documentary type camera which reduces and abstracts what actual life is like, and says a lot more about the prejudices of those filming the documentary, than it does about the subjects.” Mbudzi’s overarching aim is nothing less than “making implausible dreams real. There is raw power in that. I love the acting, I love the writing, and I love seeing it all come together. I enjoy that elusive nature of creativity, of channeling that power.” While he readies the film for release, any interested person or production company can still get involved and support the making of it by contacting zimhighmovie@gmail.com or Twitter: @ta10da. – Cera-Jane Catton
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‘Visions of the future’ as DIFF appoints new manager Upon entering its 37th year the Durban International Film Festival (DIFF) was looking for a young, inspired new face to represent the festival. In March 2016 Sarah Dawson was appointed as festival manager to fulfil that role. Dawson is also the first woman to occupy this position since it was co-founded by Ros Sarkin in 1979. Dawson exudes this year’s festival theme: Visions of the Future. Sharing her thoughts on this theme Dawson says: “We are experiencing a watershed moment, globally and locally, where the traditional narratives of the past are increasingly being forsaken in favour of new ideas, formations and stories.” She believes that “cinema is a tool for visualising realities beyond our own, an eye to see into the future.” At DIFF 2016, roughly 200 fiction, documentary and short films will be presented over 10 days in venues across Durban. “We will be introducing new venues, refreshing our approach to audience development and will be making an exciting foray into virtual reality
for the first time,” says Dawson. New on the agenda is a “spotlight on music, rhythm and dance in films,” she adds. “Audiences can expect an emphasis on African film in the programme presenting films that were censored or banned under Apartheid, and we will bring to light some lesser known gems of Lusophone cinema,” comments Dawson. “In light of the signing of a co-production treaty with the Netherlands, we will also be presenting a country-specific focus on Dutch film.” Over four decades DIFF has steadily grown into one of the largest film festivals on the continent. Dawson believes that the festival creates opportunities to build
Akin Omotoso awarded Best Director at AMVCA
Akin Omotoso
At the 2016 Africa Magic Viewers’ Choice Awards (AMVCA), Spitfire Films’ Akin Omotoso received the award for Best Director for his movie Tell Me Sweet Something. Held at the Eko Hotel and Suites on Victoria Island, Lagos, on 4 and 5 March, the AMVCA rewards the most outstanding performances in the continent’s movie industry, and is held 6 | SCREENAFRICA | April 2016
under the auspices of MultiChoice. Omotoso’s DOP on the film, Paul Michaelson, was also awarded the Best Cinematographer Award. Tell Me Sweet Something was nominated for seven awards at the event, including Best Film and Best Editor. Produced by Robbie Thorpe, the film stars Nomzamo Mbatha and Maps Maponyane.
bridges and forge links that connect the industry on the continent to the world. She encourages filmmakers to tell their stories using advancing available technology. “You shouldn’t wait for the permission or endorsement of a funder,” she says. As a programmer Dawson is hungry for fresh views on the South African experience, “There is a notable lack of black female and LGBTQ voices in SA film. The only way it will change is if these voices are supported in taking command of their own stories.” Deeply passionate about film Dawson brings to DIFF her cultured past. “My experience at other festivals and in journalism have been excellent training in
exercising the ability to see film outside the lens of my own taste. Working at festivals such as Sheffield Doc/Fest and Africa in Motion have helped put in context the idiosyncrasies of screening films to audiences at home.” Dawson comes with a strong academic interest in film, with an MA (cum laude) in the theory of cinema, she also lectured in film history contributing to what she regards as a lifelong obsession with understanding film. Dawson sees “a film programme as being like an eco-system, with a need to strive for a careful, responsive, living balance, in which all forms of filmmaking can thrive.” – Cera-Jane Catton
BBC Worldwide invests in SA production company Rapid Blue On 29 March, BBC Worldwide announced that it has invested in South African production company Rapid Blue. Based in South Africa, Nigeria and Angola, Rapid Blue produces original productions and international television formats for South African, African and international audiences. The investment into Rapid Blue demonstrates BBC Worldwide’s desire to expand in the region and meet the growing demand for high-end, compelling and relevant local content for the African market, in addition to taking African content to the world. Duncan Irvine, CEO at Rapid Blue said, “We are very excited about this partnership as it provides us with access to tremendous development
opportunities, as well as to a deep skills base and support as we continue to grow and develop our staff and the creative and production teams who work with us. The partnership will allow us to accelerate our growth in Africa and increase opportunities for employment and training. In particular, we are looking forward to developing a dynamic drama slate…” Rapid Blue will continue to produce programming for BBC Worldwide, alongside existing and new distribution and production partners.
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Free State wins Best Director award at LAFF 2016
Alison film secures theatrical release The hybrid feature documentary, Alison, has secured a theatrical release with distribution company Black Sheep Films. The film is directed by Uga Carlini from Towerkop Creations and made in association with kykNET Films, the Department of Trade and Industry, the National Film and Video Foundation and Waterfront Film Studios. The film is based on events which occurred in December 1994, when two men raped, stabbed and disembowelled Alison Botha after abducting her from outside her home in Port Elizabeth. Left for dead by her attackers, Botha survived
and went on to publish a book, I Have Life. Twenty years after the attack, Botha shares with audiences her thoughts and feelings on being her own hero on her terms; how trauma is on-going and how she fights to keep it at bay. An outreach campaign, The Safe Room, is planned to coincide with the life of the film. The film will feature many real-life heroes from that night, as well as the acting talents of Christia Visser, Zak Hendrikz, De Klerk Oelofse and Francois Maree.
Vir Altyd sets new record at the South African box office South African romantic-adventure film Vir Altyd has surpassed the number one spot in earnings at the local box office for Afrikaans films. After four weeks on circuit, Vir Altyd earned R13.4 million, breaking records and leaving the filmmakers feeling grateful and humbled. Ster-Kinekor Entertainment, the distributor of Vir Altyd, has released the following statement: “We confirm that Vir Altyd now has the highest box office income for an Afrikaans movie. It has surpassed the box office earnings of Liefling and Pad na jou Hart and stands on R13.4 million. We are overjoyed with the success. We congratulate the producers and everyone involved on this achievement,” said Pieter Geldenhuys.
Discovery Networks and MultiChoice announce new channel Discovery Networks recently announced the launch of the all-new channel, Discovery Family, exclusively on DStv the new channel will showcase the best in edutainment programming for the whole family. The channel launched on DStv channel 136 in South Africa on 31 March 8 | SCREENAFRICA | April 2016
Vir Altyd was produced by 17FilmStreetMedia and The Film Factory.
2016, replacing Discovery World (DStv channel 187) which is no longer airing on DStv. From space adventures and crazy experiments of popular science, to fascinating tales of animals in the wild, Discovery Family, is the channel that will spark curiosity and inspire conversation away from the TV box. Discovery Family will be available to DStv Premium, Extra, Compact and Family customers in South Africa.
The period drama Free State, which was produced in South Africa, has won the Best Director award at the Luxor African Film Festival (LAFF) 2016 which took place from 17 to 23 March in Egypt. LAFF 2016 marks the film’s first appearance at an African festival. The film premiered at the Kolhapur International Film Festival in December 2015 and has screened at a number of international film festivals since then including Chennai International Film Festival, Bangalore International Film Festival, Sangli International Film Festival and the Pan African Film Festival in Los Angeles. “This is a wonderful accolade, made even more special by the fact that it comes from an African festival,” said director Sallas de Jager. Written and directed by Sallas de Jager, Free State is a collaboration
between de Jager’s Bosbok Ses Films and Utkarsh Entertainment in association with Indian production company, Parnam Entertainment. Former supermodel Nicola Breytenbach and ex-Mr South Africa Andrew Govender head up the cast which includes South African talents Leleti Khumalo, Deon Lotz and Rolanda Marais.
Comedy Central acquires YouTube hit SuzelleDIY YouTube star and South African comedy sensation Suzelle DIY has a new DIY project – her very own television series, SuzelleDIY. SuzelleDIY comedy ‘shorts’ will air on Comedy Central (DStv channel 122) every Monday to Friday from 2 May at 20h05 CAT, with marathons on Saturdays and Sundays from 7 May. The creation of South African comedian Julia Anastasopoulos and director Ari Kruger, SuzelleDIY began life
New dates and new board members for Jozi Film Festival For the past four years the Jozi Film Festival (JFF) has been held in February but as of 2016 the festival will be taking place in September every year. “It’s a strategic move,” says JFF founder Lisa Henry. “Johannesburg mostly shuts down over December and early January and we found it too rushed to deliver the festival we wanted to by February. Jury members were pressured to watch films while they should be taking
as a bite-sized DIY web series. The eponymous heroine, Suzelle, a 30-something known for her chic ‘up-do’, retro fashion sense, and sweet but dim onscreen persona, has become an internet celebrity thanks to her bizarre but strangely effective DIY projects. Making its online debut in 2014, SuzelleDIY has won a loyal following. The online series has garnered over 12 million views.
a break and we now won’t be clashing with Oscar releases and the Oscars themselves. University students will also have more time to enter their work in the student category.” JFF has also announced new additions to their board. Ernest Nkosi, director of Thina Sobabili and co-founder of the Monarchy Group, and Mushroom Media’s Warwick Allan have both come on board to help build the festival going forward. The fifth annual Jozi Film Festival will take place from 16 to 18 September, with the opening night taking place at The Bioscope Independent Cinema in Maboneng. Submissions will close at the end of June 2016.
Experience Extraordinary There is a place where the extraordinary happens every day. A place where vision can be transformed into creative reality, where heroes are made, and where the only limitation is your own imagination. A destination, at the tip of the mighty African continent, where breathtaking backdrops, an unbelievable selection of locations, and every facility imaginable combine perfectly to become whatever you need it to be. This place is Cape Town International Convention Centre. And to experience it is to experience extraordinary.
To transform your production into an extraordinary experience contact CTICC: +27 21 410 5000 sales@cticc.co.za www.cticc.co.za
SAFTAS 2016 WINNERS
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www.screenafrica.com The winners for the 2016 South African Film and Television Awards (SAFTA), presented on 18 and 20 March 2016.
Photos by Cera-Jane Catton
SAFTAs 2016 winners
Best Animated Short: MW Guldenphennig: Burgeon
Best Short Film: Nosipho Dumisa and Travis Taute: Nommer 37
Best Achievement in Art Direction or Production Design – TV Comedy: Thabiso Senne for Amanda Scholtz: Those Who Can’t
Best Achievement in Editing – TV Comedy: Alex Fynn, Aurora Drummer and Nicolai Groudev: ZANews
Best Achievement in Sound Design – TV Comedy: Tassyn Munro for Lyle Bennet: ZANews
Best Children’s Programme: Nomvuyo Mzamane: Takalane Sesame
Best Youth Programme: Tarryn Crossman: #YOT Life In A Day
Best Achievement in Scriptwriting – TV Drama: Napo Masheane: Umlilo
Best Achievement in Art Direction/ Production Design – TV Drama: Vallery Groenewald: Umlilo
Best Achievement in MakeUp and Hairstyling – TV Drama: Smartie Olifant: Matatiele
Best Achievement in Editing – Best Made for TV Movie: Kholofelo Malatshi: Rise
Best Achievement in Costume Design – TV Drama: Mercedes de Bruyn: Terug Na Egipte
Best Achievement in Cinematography – TV Drama: Jonathan De La Querta: Umlilo
Best Achievement in Original Score – TV Drama: Joel Assaizky: Rockville
Best Achievement in MakeUp and Hair Styling – TV Soap: Bongi Mlotshwa: Generations
Best Achievement in Editing – TV Soap: Louise Hornsby: Ashes to Ashes
Best Achievement in Sound Design – Made for TV Movie: Janno Müller: Rise
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Best Achievement in Art Direction/ Production Design – TV Soap: Henrietta Moutinho, Loyiso Vikilahle, Carl Portwig, Siyabonga Matolo and Jermaine Johnson: Isibaya
Best TV Drama: Umlilo Team
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Best Actor in a Lead Role – Made for TV Movie: Aubrey Poo: Ingoma
Best Achievement in Art/ Production Design – Made for TV Movie: Charlette Coetzee: Ingoma
Best Achievement in Costume Design – TV Soap: Rochelle Selling and Tshepo Mokgele: Isibaya
Best Achievement in Scriptwriting – TV Soap: Craig Freimond, Byron Abrahams and Neil McCarthy: Rhythm City
Best Achievement in Cinematography – TV Soap: Kobus van Niekerk and Charl Odendaal: Binnelanders
Best Reality Show: Peter Gird: Ultimate Braai Master
Best Magazine Programme: Chris Green, Kamini Pather and Donald Clarke: Girl Eat World
Best International Format Show: Tasneen Fataar, Kee-Leen Irvine and Samantha Dos Santos: Strictly Come Dancing
Best Current Affairs/ Actuality Programme: Joy Summers and Sasha Schwendenwein: Carte Blanche
Best Talk Show: Carien Loubser: Republiek Van Zoid Afrika
Best Achievement in Art Direction, Make-Up and Hairstyling – Feature Film: Niel van Deventer, Julia Rubenstein and Chris Joubert: Dis Ek, Anna
Best Music and Best Variety show: Tebogo Mogola and Anton Cloete: Don’t Look Down
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Photos by Cera-Jane Catton
SAFTAS 2016 WINNERS
Best Achievement in Directing – TV Comedy: Krijay Govender and Segomotso Keorapetse: Ga Re Dumele
Best Achievement in Sound Design – Feature Film: Basiami Bibi Segola: Hear Me Move
Best Achievement in Directing – Documentary Short, Best Documentary Short: Enver Samuel: Indians Can’t Fly
Best Actor in a Lead Role – TV Comedy: Mandla Gaduka: Maboneng
Best TV Comedy: ZANews Team
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Best Achievement in Cinematography and Best Achievement in Editing – Feature Film: Chuanne Blofield and Sibs Shongwe-La Mer: Necktie Youth
Best Actor in a Supporting Role – TV Comedy: Bongani Madondo: Kota Life Crisis
Best Achievement in Cinematography – Documentary Feature: Richard Finn Gregory and Kelly Scott: the Boers at the End of the World
Best Actress in a Supporting Role – TV Comedy: Linda Sebezo: Maboneng
Best Achievement in Directing – TV Soap: Eric Mogale and Siyabonga Mkhize: Rhythm City
Best Achievement in Original Score – Feature Film: Mpho Nthangeni: Thina Sobabili
Best Feature Film: Dis Ek, Anna Team:
Best Achievement in Cinematography, Editing and Sound Design – Documentary Short: Sefon Baily for Chris Bornman and Garth Kingwill: Cape Town Carnival
Best Actress in a Supporting Role – TV Drama: Charmaine Mtinta: Matatiele
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Lifetime Achievement Award: Nomhle Nkonyeni
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Special Recognition Award for Contribution to Persons with Disabilities: Rhulani Baloyi
Best Actor in a Lead Role – Feature Film: Mduduzi Mabaso: For Love And Broken Bones
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Best Student Film: Jenny Grobbelaar and Nadia Darries:
Best Actor in a Lead Role – TV Soap: Vusi Kunene: Isibaya
Best Actress in a Lead Role – TV Soap: Leeanda Reddy: Isidingo
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Best TV Soap: Rhythm City Team:
Best TV Presenter: Katlego Maboe: Expresso Morning Show
Best Actress in a Lead Role – Feature Film: Fulu Mughovani: Ayanda
Best Actress in a Lead Role – TV Drama: Nthati Moshesh: Saints And Sinners
Winners not available for photographs
Best Achievement in Directing – TV Drama: Rolisizwe Nikiwe: Matatiele
Best Actor in a Supporting Role – TV Drama: Deon Lotz: When We Were Black
Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best Best
Achievement in Scriptwriting – TV Comedy: Louw Venter, Thomas Hall, Gilli Apter, Zandile Tisani, Zoe Arthur: Those Who Can’t Achievement in Make-Up and Hairstyling – TV Comedy: Maureen Wells: Ga Re Dumele Achievement in Costumer Design – TV Comedy: San-Mari Compton: ZANews: Puppet Nation Achievement in Cinematography – TV Comedy: Brendan Barnes: Those Who Can’t Achievement in Editing – TV Drama: Ben Oelsen: Swartwater Achievement in Sound Design – TV Soap: Ben Oelsen: Villa Rosa Achievement in Scriptwriting – Made for TV Movie: Kobus Geldenhuys: Fluit-Fluit Achievement in Hair and Make-Up – Made for TV Movie: Islyn Goliath Achievement in Costume Design – Made for TV: Pippa Heimann: Ingoma Achievement in Directing – Made for TV Movie: Johnny Barbuzano: The Gift Actress in a Lead Role – Made for TV Movie: Zola Nombona Achievement in Cinematography – Made for TV Movie: Greg Heimann Made for TV Movie: Ingoma Factual/ Educational Programme: Each One Teach One: Dancer Variety Show: Galaxy of Stars 2014: Don’t Look Down Productions Game Show: Down for the Guap: Launch Factory Music Show: Sessions for ’76: Don’t Look Down Productions Achievement in Sound Design – Documentary Feature: Daniel Eppel: The Boers at the End of the World Achievement in Editing – Documentary Feature: Richard Gregory and Ronelle Loots: The Boers at the End of the World Achievement in Cinematography – Documentary Feature: Richard Gregory: The Boers at the End of the World Achievement in Directing – Documentary Feature: Francois Verster: The Dream of Shahrazad Documentary Feature – Undercurrent Film and Television: The Dream of Shahrazad Achievement in Scriptwriting – Feature Film: Dis Ek, Anna Achievement in Costume Design – Feature Film: Rae Donnelly: While You Weren’t Looking Actress in a Lead Role – TV Comedy: Robyn Scott: Those Who Can’t Actor in a Lead Role – TV Drama: Siyabonga Radebe: Saints and Sinners I Actor in a Supporting Role – TV Soap: Samson Kumalo: Isibaya 3 Student Film: The Animation School: Jabu Actor in a Supporting Role – Feature Film: Marius Weyers: Dis Ek, Anna Actress in a Supporting Role – Feature Film: Tina Jaxa: While You Weren’t Looking Achievement in Directing – Feature Film: Sara Blecher: Dis Ek, Anna April 2016 | SCREENAFRICA | 13
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Technology
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Tektronix Prism media analysis platform JVC GY-HM 620 and GY-HM 660 camcorders
Tektronix, Inc. an industry-leading innovator of video quality monitoring solutions, recently unveiled an industry-first hybrid SDI/IP media analysis platform, Prism, that enables a smooth transition from SDI-based to IP-based infrastructure. The new test and diagnostic solution will be demonstrated in Booth #SU5006 at the NAB Show, taking place April 18 to 21 in Las Vegas. The broadcast industry is at the beginning of a revolutionary migration to an all-IP infrastructure. However, huge investments in existing technology and workflows mean that this transition will take place in phases, creating a need for test and monitoring solutions that can provide visibility into new kinds of problems and then keep things consistent for engineers and operators as they manage hybrid facilities. Prism addresses this need with its unique ability to diagnose and correlate both SDI and IP signal types and help quickly identify the root cause of the error, whether it is in the IP layer or in the content layer. Prism offers input signals identification that can quickly identify the IP streams in the Ethernet link and the content in each of the stream. Various intuitive displays help shorten the learning curve of users. Specifically, Prism provides packet interval histogram and trend graphs that help determine the root cause of packet loss. Graphical displays coupled with historical data help solve intermittent problems quickly. Its timing display helps engineers quickly adjust the timing of the signal within a hybrid environment using PTP or black burst / tri-level sync as the reference source. As a software-defined platform, Prism can accommodate a wide range of application needs and will be continuously updated as new technologies and standards emerge over time. Tektronix products and solutions are supplied in South Africa by Inala Broadcast.
JVC has introduced two upgraded models in its 600 Series of ProHD mobile news camcorders, including the GY-HM660, the industry’s first streaming camcorder with an integrated IFB (interruptible foldback) audio channel (this feature is a free firmware update in the very near future). Both the GY-HM660 camera, which replaces the current GY-HM650, and the GY-HM620, which replaces the GY-HM600, feature new CMOS image sensors for greater sensitivity, together with a brighter LCD display for improved daylight viewing. Both new cameras feature three new 12-bit CMOS sensors with improved F13 (50Hz) sensitivity for superior low-light performance. The cameras also include an upgraded 3.5-inch LCD display, which can be swivelled for use as a talent monitor, as well as a 1.22 MP LCOS colour viewfinder. The integrated Fujinon 23x auto focus zoom lens offers a wide 29-667mm (35mm equivalent) focal range and includes three ND filters as well as manual zoom, focus and iris rings. JVC Cameras are supplied and serviced in South Africa by Concilium Technologies.
Tedial’s The Version Factory and Evolution BPM MAM systems Tedial Evolution Spanish-based MAM technology solutions specialist Tedial has revealed plans to introduce Version Factory, the world’s first true media factory workflow, at NAB 2016, and highlight its newly released Evolution BPM, the industry’s fastest and most flexible Business Process Management workflow engine. Both solutions will be demonstrated in Booth N 5516 throughout the show.
Tedial Version Factory Based on 15 years of innovations, Tedial introduces the Version Factory, the world’s first true media factory workflow, a single efficient and cost effective workflow that supports millions of file input to output configurations that can be managed from a single operator screen. Designed to interface to content management/rights management/ traffic/work order systems for automated operations, the Version Factory stacks chosen media engines (transcoders, quality control, DRM, CDN, etc.), employs SMPTE standardised designs for future proof “N-input to N-output” operations and provides the maximum flexibility and scalability for OTT/VOD Platforms, network operations and media companies focused on managing their brand across all distribution formats.
Evolution BPM Recognising the need for a media-centric truly scalable workflow engine, Tedial introduces Evolution BPM, the industry’s fastest and most flexible Business Process Management (BPMN 2.0 compliant) Workflow engine. Evolution BPM is the answer
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when an operation is struggling to manage an ever-growing number of workflows per day, hour or second. Benchmarked against leading industry workflow engines such as Bonitasoft and Activity and already deployed in sites around the world, Evolution BPM is clocked 17x faster and scales linearly through platform additions, whether physical or virtual, with no limitations! Real world statistics prove Evolution BPM can process 50 000 workflows in only 2.9 minutes on an average sized platform. Evolution BPM provides broadcasters and media companies with a cost effective foundation to operate their businesses practices efficiently. Tedial products and solutions are supplied in South Africa by Inala Broadcast.
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Technology
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Fujinon XK6x20 4K-compatible high zoom ratio cine lens
Blackmagic Fusion 8 Blackmagic Design has released the latest version of its Fusion visual effects software package – the first version available for Mac. The new additions to the suite include: • Easily move projects between Mac and Windows versions of Fusion • Powerful node-based interface • Hundreds of built-in tools, customers can: pull keys, track objects, rotoscope, retouch images, animate titles, create amazing particle effects and much more, all in a true 3D workspace • Import 3D models, point cloud data, cameras or even entire 3D scenes from Maya, 3ds Max or Lightwave and render them seamlessly with other elements • Deep pixel tools can be used to add volumetric fog, lighting and reflection mapping of rendered objects using world position passes so customers can create amazing atmospheric effects that render in seconds, instead of hours • Advanced stereoscopic tools for converting 2D shows to 3D • Advanced optical flow image analysis tools for stereoscopic 3D work, retiming and stabilisation • Support for third party plugins • Remote scripting • Avid Connect, a plug-in that allows customers to use Fusion directly from Media Composer timelines • Support for third-party OpenFX plugins
Sony UMC-S3C 4K video camera The biggest attraction in this new, compact 4K camera is its extreme light sensitivty. Packing the ultra-high sensitivity of expandable ISO 409600 in its compact body, the UMC-S3C 4K video camera features top levels of minimum illumination of less than 0.004 lx. The UMC-S3C 4K video camera achieves this illumination by using its highly sensitive 35 mm full-frame Exmor sensor, optimised E mount lenses to maximise the performance of the sensor, and its signal processing engine. This enables the camera to record crisp, clear 4K/30 fps colour video in the XAVC S format at 100 Mbps and 12 megapixel colour still images with much less noise in extreme low-light conditions.
FUJIFILM Corporation has announced that it will release the XK6x20 as a new addition to the lineup of 4K-compatible digital cinema camera zoom lenses in late June. Equipped with a PL mount, the XK6x20 is a standard zoom lens that delivers T3.5 brightness for the entire zoom range from 20mm to 120mm. Features: • High-precision large-diameter aspherical elements designed with cutting-edge optical simulation technology. It delivers high optical performance and low distortion compatible with 4K cameras from the center to the edge of the screen, and delivers performance comparable to single focal length lenses for digital cinema camera in the entire zoom range. • By integrating the color temperature of the flagship model “HK series” and compact and lightweight model “ZK series”, color grading is simplified when using multiple lens models together. • Flange Back Focus Adjustment Mechanism, used in broadcasting lenses, for optimised mounting with cameras to bring out the full lens optical performance. • Using a 9-blade round iris mechanism to achieve the iris shape as round as possible, enabling natural bokeh in images • Covering a wide field of view from focal length of 20mm to 120mm. • Maintains T3.5 brightness over the entire zoom range. There is no T drop where T number changes according to focal length, enabling comfortable operation. • Equipped with macro function which enables shooting as close as subject distance of 40cm (11cm from front lens). It expands possible shooting scenes covered by a single lens. • The gear pitch for the operation ring of focus, zoom and iris (aperture) is 0.8mm, the same as existing FUJINON cinema camera lenses, for compatibility with standard cine accessories. • Focus ring realises moderate torque with 200-degree rotation angle to aid accurate focusing. • Equipped with a drive unit for electric zooming and focusing that offers the operability equivalent to conventional TV camera lenses. • When the drive unit is not equipped, general full manual operation is possible in motion picture production scenes.
Other features: • Enables smooth 4K/30 fps colour video in almost pitch-black conditions. • Captures blur-less images with high-speed electronic shutter so that it gives users ability to track letters (characters), numbers and human facial expression clearly in poorly-lit conditions. • Adopts a high-quality interchangeable E mount lens, which is used for consumer digital cameras and professional camcorders to give users the flexibility to adjust the viewing angle to fit various environments and applications. • Maximises the benefits of 4K resolution, allowing detailed analysis of specific areas in a scene, together with a wide-area situational overview. • Video and still images can be continuously recorded to the camera’s onboard SD memory card or put out via an HDMI interface, instead of connecting to network. With a 64 GB memory card, users can record up to 125 minutes of 4K footage with standard quality (30 fps/ 60 Mbps). • Extremely lightweight, (approximately 400g), allowing users to easily install it to various mobile products such as vehicles and robots.
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Start investing in programmatic video While ‘programmatic’ is a word that scares media owners and media agencies alike, it’s slowly moving towards becoming a global standard in digital advertising around the world, and is now being touted as ‘the next big thing’.
Moment targeting
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t’s all about the data. Big data has been a trending topic for a few years now; and as marketers and advertising agencies start harnessing consumer data with the appropriate tools, clever digital folk have been streamlining digital advertising to reach the right customer at the right time using all that data. Programmatic advertising is simply, the automation – using software – of the buying and selling of desktop display, video and mobile ads, with real-timebidding. As Forbes magazine outlines: “Programmatic describes how online campaigns are booked, flighted, analysed and optimised via demand-side software (DSP) interfaces and algorithms.” Programmatic video is when the software is used to buy digital video advertising. And the benefit of programmatic video above that of traditional video advertising sales, is that it uses real-time data to get your video advert in front of the right customer at the right time. According to Harvard Business Review (hbr.org) in an article last year entitled ‘Is programmatic advertising the future of marketing?’, the first banner ad appeared 21 years ago with an AT&T campaign on Wired magazine’s previous website HotWired.com to showcase our digital future. This was actually the dawn of a new era for advertising and marketing, says HBR. I would add for media owners too. With personalised devices on us 24/7 and the ‘always-on’ consumer, it was a matter of time before advertising was personalised for each individual. That’s where big data and programmatic come in. This is what HBR predicted last year: “Soon, every display will be an addressable medium – that is, each will be individually targetable by device and, in many cases, down to a specific user;
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Stijn Smolders
and interactive displays will not only deliver ad messages but also track consumer response. The result is a new era of marketing accountability, in which advertising ‘budgets’ will have turned into marketing ‘investments’. This sea change in mindset will transform marketing forever.” When stats like ‘59 per cent annual growth’ and ‘digital media ROIs have increased six times’ are bandied about by major brands in the United States over the past few years, programmatic advertising cannot be ignored.
Demand According to the Rubicon Project (buyercloud.rubiconproject.com): “Programmatic video has grown partly because internet providers now offer affordable high-speed bandwidth that allows almost every internet user to stream high quality video. This means that more people are watching video online, with some even choosing to ‘cut the cord’ entirely and get all of their video and TV online. To keep up advertisers
have been consistently switching their TV dollars to digital, which has been driving up the demand.” This is great news for production companies, editors and videographers, as their skills will be more in demand, although overall costs for video advertising will fall, because brands can’t afford to spend R3 million on a video/TV ad every time. There will be more call for flexibility and turnaround times will be cut right down to ‘immediate’ as brands respond with video ads or messaging to key issues/ breaking news/ events, as they do with social media messaging these days. Much like TV news crews do. The biggest advantage to purchasing video programmatically, is efficiency, because unlike traditional television advertising for example, programmatic offers brands the ability to reach their target audience based on their “real-time intent signals”. With programmatic video, if someone is searching for or buying an item online, then programmatic signals the relevant advertising, connecting the real live customer at that moment, with advertising on that item.
‘ At a Programmatic 2.0 conference in Cape Town in March, the power of programmatic advertising in 2016 was described as ‘moment targeting’ by Steven Kaufman, executive vice president, Integrated Media Audience X, Los Angeles. His company has taken programmatic into real-time with their moments-targeting software which goes beyond profiles, segments and demographics and silo channel planning, to ‘supercharge’ the performance of all marketing platforms and customer relationship management (CRM). “Think about the digital lives we all lead – the ‘exhaust’ we leave behind is becoming big data… five billion smartphones in the market by 2017; 500 million on social networks; 2.5 quadrillion (one thousand trillion) bytes of data… Now we can take that data and with real time bidding technology, every impression as it comes in has a certain value.” Kaufman’s company targets specific moments in a day in an online consumer’s life, whether at work, home, the gym or out shopping – however they are interacting in real time during different moments in their day. “Big data doesn’t just inform media decisions, it should also be applied to creative conceptualising and development, including ongoing re-energising of the creative. Stijn Smolders, the CEO of Sprout Performance Partners, based in Cape Town, believes that the game changer trend for 2016 is programmatic video because the quality and high-impact awareness of video advertising will accelerate the uptake of the programmatic advertising channel. He believes a growing understanding and awareness of programmatic will increase the quality of advertising inventory and application. His advice: “Start investing (both financial and time) in programmatic (display) media. There is a reason why programmatic is overtaking paid search in the US from this coming year onwards. Spending your marketing media budget in a fully transparent way where you are engaging with your online customer way before they start searching (pull versus push) for your service or product online, is the only solution to outperform competitors with unlimited budgets. “The value of the data that you are gathering at the same time is priceless and will give you a huge competitive advantage against your competitors. Conversion data will always outperform and be of significantly more value than click data,” Smolders reiterates in his 2016 trend predictions. – Louise Marsland
Opinion
I was asked to write an opinion piece on pigeon-holing directors. It’s a subject close to my heart, primarily because being pigeonholed is boring. And a bored director is like a bored dog: not to be left unsupervised in the house.
A
fter much procrastinating – one of the niche skills I have been honing for decades – here are a few thoughts. I’m not sure that I have any insight to offer that we don’t all already know, but I can only speak from my experience. The holy grail for directors is to create a body of work so unique and original, and so unquestionably, unerringly spot-on, that they will get hired to tell those few unique and original stories out there, in whatever way they deem necessary, because it’s obvious they know what they’re doing. In this ideal world, there’s a sense of trust that, as far as telling visual stories and taste go, the director knows best. That trust is, quite rightly, very hard to come by. The rest of us plebs get by slowly and painfully proving our abilities in this or that limited context, and amassing – if we are lucky – a range of niche showpieces so that at least we’re not just stuck with the one. People tend to be literal, and often lacking in imagination, and frequently, if you don’t have something on your reel that looks very close to what they want to make, they’re not going to hire you to do the job. Of course, to some extent that is only fair; you have to have proven yourself, there’s a lot of money at stake. The problem is that far too often this is insanely literal. And that is narrow and limiting not only for the career of directors (which I’m fully aware that no one has any reason to care about but us), but more importantly for the quality and types of stories that are told. If you keep doing the same thing over and over again, it is far more likely that you will fall into the rut of doing it the same way. This makes for boring work with no differentiation which might as well have any old client’s logo stuck at the end. Don’t get me wrong, I see the advantage of specialising. In an ideal world, it means that you go deep, that you master that specific thing, that you avoid being a jack-of-all-trades. But some of these so-called specialist skills are only a matter of common-sense. If someone has a good eye, can structure a story in an intriguing and engaging way, can tug on the heart strings, then chances are
they can tell a food stylist what to do, communicate with a DP about beauty lighting and lensing, keep back at a distance and let the baby wrangler do what they do best. And specialising in something too narrow and niche can lead you down a very boring rabbit hole. Briefly, here’s how it played out in my career, in which I have been very determined to avoid being streamed into just one type of work: From the outset I was aware that it was my job to build myself a reel that reflected the scope of my abilities and continued to create interesting work opportunities. To this end I would say yes to anything I hadn’t done before, and to a large extent that is still the case. In commercials, I started off with lo-fi comedy performance, because those are often the cheap boards that clients will take the risk on a new director with. Along the line, I showed how I could make things look pretty (which is really about having clear ideas and a strong team). I’ve always loved design and fashion, so whenever there was an opportunity to stylise things, I would take it. Then, many years ago I did an epic dance piece involving a lot of different ‘ordinary’ people doing choreographed dance moves. For years, I was inundated with every song-and-dance board out there. Lovely, but I missed the dialogue! I missed the story! And working with actual actors, which is the best bit! Along the line I made sure I could shoot a burger build, and I love the precision and smoke and mirrors that go into filming food, but by heavens I would curl up and die if I had to do a full-on food job more than a few times a year. A couple of years ago I did some baby ads, and, well, now I have done lots and lots and lots of baby ads. So I guess I’ve been relatively successful at diversifying, which I’m grateful for. I enjoy every single one of these things, but mainly in small portions. In my experience, these narrow and literal ways of classifying people are much more extreme in the international market, and with multinational corporations. Which explains why I’ve mainly been flown across the world for choreographed song-and-dance pieces and to shoot
By Amy Allais,
director at Ola Films
Photo by Chris Saunders
Why I have built myself a lot of pigeon-holes
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Amy Allais babies and children, because those are things that many directors don’t have on their reels.
The bad? Well, as I have said it’s unimaginative and often doomed to result in formulaic work. Is this literal-minded thinking on the rise? It certainly feels that way, and it stands to reason. Both globalisation and economic instability exacerbate the issue. Large, bureaucratic multinational organisations tend to have a formulaic and literal approach, which leads to formulaic and literal decision-making. That kind of cumbersome corporate structure also makes people more risk-averse. Then there’s the fact that in tough times, everyone’s terrified of losing
their clients, with the same net result. So they’ll only hire you if you have something very similar on your reel. It’s tried and tested. And safe.
The good? Well, for the industry in general I’m not sure, apart from the obvious. Certain skills are very niche and require a specialised approach. For the likes of me? If you’re lucky enough to acquire some specialised skills and your work attests to it, you will always be busy. And you may get to travel to some cool and interesting places to impart your hard-won wisdom. Will it be your finest work? Probably not. Will it be a lot of fun? Hell, yeah. April 2016 | SCREENAFRICA | 17
COMMERCIALS | OPINION
Buckle up for this impact Pulling at your heart strings with ‘the first kiss’ the latest Western Cape Government’s ad gently sways you into that frame of nostalgia and longing, where you expect to remain. What rom-com twist will reveal the marketing source behind these lovers unable to take that kiss? None. It is the Western Cape Government (WCG) slapping you on the wrist with a stern warning to never take your seat belt off. Ever. This hard hitting creation hits home and leaves its mark. An impactful advert that will linger long after it has finished airing. Director Jason Fialkov from Egg Films was briefed by the Cape Town advertising agency Y&R. Their client: The Western Cape government. “The commercial is based on a similar concept in the UK, we were asked to adapt this for the local market. The agency wanted it to be highly emotive and have more of a build prior to the climax of the commercial,” says Fialkov. He said the original commercial had huge success in reducing road fatalities in the UK, and he was advised to stick to the same structure. “However we were able
Arcade Content’s Rob Smith talks branded content I started making films when I was 14. I’d shoot anything: sports days, music videos, concerts, short films, you name it. They were all awful but, regardless, there was nothing more invigorating than spontaneously putting something together and showing it to my friends, the class, the school, anyone. They watched, some laughed, I was hooked. After leaving AFDA in 2010 it was hard not to be inspired by the words of my directing lecturer, Mr. Yates: “F**k them, go make your movie.” But after my first two years in advertising, it was even harder not to feel disillusioned. With so many creative restrictions, it seemed that filmmaking had lost its sense of spontaneity and fun – the ability to say: “That’s cool, but this could be even cooler.” Fortunately, this changed over the past few years, where I was lucky enough to 18 | SCREENAFRICA | April 2016
to add more emotive scenes through compelling performances.” The impact is clear: “Everyone driving or being driven in a vehicle should ensure that they are buckled up. Although you may think your choice affects only you, this commercial shows how in fact you will cause damage to others in the vehicle by not wearing your seat-belt.” Casting was taken care of by Kayos Casting with the simple goal of finding authentic, believable characters that the audience would fall in love with. Top of their agenda was the chemistry between the two leads, ensuring that it was natural and endearing. Fialkov wanted it to come across as a love story and he succeeded in doing so. “The important thing is that the visuals are beautiful and cinematic while keeping a sense of authenticity,” he says. For the crash sequence slow motion shots Fialkov used the Phantom. “We chose this as it goes up to a frame rate of 500fps. These shots add a sense of drama and emphasise the points of damage caused by our lead’s failure to buckle up,” he says. “We built a gimbal rig, which allowed
Still from the Western Cape Government commercial
us to ‘tip’ the car to a 90-degree angle both forwards and backwards, allowing for the movement of the cast to feel more real and to accommodate the sense of loss of gravity. The rest of the sequences were shot on an Arri Alexa,” Fialkov confirms. The blood was created by a professional make-up artist using specialist substances for the wounds and blood, and aiding in the overall impression of pain left in place of the original longing created by the lighting. The WCG buckle up commercial was shot over three days between 19 and 22 February 2016. All the interior car sequences were shot in studio against a
green screen. The party was shot in a house in the Bo-Kaap and the end sequence was filmed on New Market Street in Woodstock. Key crew members who worked on this production include Willie Nel as DOP, Gideon van Schoor as stunt co-ordinator, Kobus Verhoef on rigs, Shaun Broude as editor and Wicked Pixels on VFX. “Like its UK counterpart,” says Fialkov. “We hope this TV commercial will significantly reduce the amount of fatalities on the road caused by people not wearing their seat-belts.” It certainly gets the message across. Time will tell if it is as successful as the first. – Cera-Jane Catton
to think this freedom paid off, both in the numbers and in the awards. Often without a script, but with a firm idea of what the essence of the idea is, you have to be fully aware of what’s going on, listen to every word that is being said, and actively follow the story where it leads, every step of the way. This notion of leaving much of the story up to chance, right from the get go, is naturally a rather risky endeavour. But if undertaken with that clear, collective grasp on the central idea, it gives birth to a sense of realism and sincerity that traditional advertising will never be able to recreate. Gradually building a story, piece by piece, as it unravels, is both exciting and terrifying – not too dissimilar to the excitement and terror of making a film. You’re very awake, very focused, and constantly calculating how everything will fit together in the end. It takes a lot of courage for both agencies and clients to give creatives and directors this much freedom. There are no storyboards, no
massive PPMs covering every intricacy of every element, there’s just an endless conversation throughout the production that ensures we stay true to the core idea and create something that people will engage with. That’s it. That being said, I find there’s still a misconception about what exactly branded content is. Many people see it as making cheap ads, but cheap ads are exactly that: traditional ads that are shot on lower budgets, yet are somehow still expected to look like multimillion rand commercials. Branded content is something rather different; it requires a different mind-set. Its sole purpose is to create something, anything, that people will choose to watch and then consciously or subconsciously associate with a brand. I know this will be grating for some people to hear, but achieving this often involves giving freedom to filmmakers to do what they’ve been trained to do – tell stories. Although this may have started in many ways, with people such as Sanlam and King James, I hope that bold clients and agencies will keep learning to trust filmmakers, to give them more chances to grab hold of the wheel and guide not only the look and tone of a film but, most importantly, its story. Stories are what people have connected with for tens of thousands of years, and often stories, especially documentaries, can take on their own, better direction. We have to learn to be flexible and brave enough to follow that. Written by Rob Smith, director of the multi-award-winning Sanlam ‘One Rand Man’ and ‘One Rand Family’ campaigns for King James…
Rob Smith
work with some of the country’s top creative minds at King James – the likes of Alistair King, Matt Ross, Mike Wilson and Cameron Watson. They have been brave enough to break away from the age-old traditions of advertising, and have placed trust not only in the people they work with, but also in the power of creative spontaneity. This faith in the authentic, the unscripted, has allowed them to connect people with brands in fresh, innovative ways. From my rather brief undertaking in this sphere, in particular branded documentaries, one thing I’ve rediscovered is the magic that comes from thinking on your toes – shooting something because it feels right, and having the freedom to do so. I was granted an unusual degree of freedom to pursue this ever-elusive thing we call branded content, not only from the creatives at King James, but also from the production house backing – Arcade Content (a division of Egg Films). We like
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Outside Broadcast
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Outside Broadcast – limits of scale C It is a generally acknowledged truism that, as technology advances, functional capacity increases, while at the same time, the packages that house these capacities get ever smaller. This principle is apparent in all areas of the television industry, including outside broadcast (OB).
onsider, for example, the fact that, when television first launched in South Africa in 1976, the SABC’s pioneering OB units – roughly the size of the big HD monsters the corporation currently uses – had the capacity for only four cameras and were not equipped with slow-motion, titling or other extras. All of these were operated in the base studio. In contrast, today you can book one of the country’s smaller, independent OB operators and get a medium-sized van, caravan or even a neat, lightweight flyaway kit, with the capacity to run anywhere between six and 12 cameras, plus on-air graphics, plus slow-motion replay and so on. As production gets more sophisticated, so it also gets more compact and manageable. So does this mean that someday soon, a 24-camera unit could operate out of a car boot? Well let’s not get ahead of ourselves. Hyperbole aside, just like professionals in any other sector, OB designers and operators feel the push to increase the capacity of their product and service while decreasing the size of size and weight of their equipment. However,
Inside SABC’s OB1 HD, the national broadcaster’s flagship unit
MAXIMUM OUTPUT: SilverCam Broadcast’s more compact unit unlike in other sectors, there remains a real, physical limit to this simultaneous expansion and contraction of scale. Brendan Marsay of EFX Productions says: “The acquisition technology in particular has changed a lot over the years and for a small operator, working in a market that is extremely budget sensitive and in which success requires you to be able to adapt and to squeeze the absolute maximum output from whatever equipment you may have, it is becoming relatively cheaper and easier to produce more than we were able to do in the past. “There remains, however, a very big distinction between what a small unit can do and what a big truck can do and that revolves predominantly around camera control. There are a lot of little cameras coming out now that have phenomenal picture quality and that are the size of a Handicam. So you have this incredible picture quality in this tiny lightweight camera. But here’s the thing: the operator isn’t getting any smaller – a cameraman is still a cameraman. And this needs to be kept in mind; there is an ergonomic factor.” One could very easily put a six-camera setup into a vehicle the size of a VW Caddy, Marsay explains. That would include all the necessary switchers and other control equipment, redundant power supplies, cabling. But what do we do then with the eight people required to operate that kit? There are several systems available that streamline and automate production so as to lessen the number of personnel needed. However, high levels of
20 | SCREENAFRICA | April 2016
automation are really only effective on more predictable, repetitive and formulaic workflows. More complicated live productions still require hands-on staff. Lynton Allsop of SilverCam Broadcast echoes this opinion: “Our van currently has the capacity for six cameras,” he says. “In truth, it can accommodate more – we have the cameras and we have all the necessary kit. But at some point you have to realise that your van is only so big and you only have so many team members and pushing beyond those limits will ultimately have an adverse effect on the quality of the service you can deliver. So although the technology offers the capacity for more, in order to do the bigger jobs to the very highest standard, you also have to increase your physical capacity.” The increased possibilities offered by new technology therefore only stretch as far as the capacity of OB units and the staff will allow. While it is cheaper and easier to produce content of a relatively decent quality than it ever has been, the possibilities are not limitless. This is particularly true in outside broadcast, a sector that, by its nature, is constrained by logistical considerations. And it should also be born in mind that content generation is a function of human creativity, aided by technology – not the other way around. Just as anybody can only do the right job if equipped with the right tools, so the best tools will only yield the best results when operated by the requisite number and calibre of personnel.
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the leading Supplier & Manufacturer of Outside Broadcast Vehicles in Southern Africa. We have successfully designed & integrated over 38 OB Vans & 22 OB Custom made fly-‐away kits. Some of the stations include SABC, SuperSport, Jacaranda BROADCAST SG TUDIOS INSTALLATIONS 3D DESIGNS BROADCAST 94.2Fm, Kaya 95.9 Fm, Highveld 94.7Fm, Namibian roadcasting agasi 99.5FM, Vodacom aOUTSIDE nd ROADCAST many more. BROADCAST SB TUDIOS INSTALLATIONS Corporation, 3D DESIGNS OUTSIDE BROADCAST Radio INSTALLATIONS BROADCAST STUDIOS 3D ESIGNS OUTSIDE 3DDdesign Broadcast studios Installations Outside Bbroadcast As a Systems Integrator, NIC has vast experience in designing Custom Solutions for various clients’ needs & as of date, we are the leading Supplier & Manufacturer of Outside Broadcast Vehicles in Southern Africa. We have successfully designed & integrated over 38 OB Vans & 22 OB Custom made fly-‐away kits. Some of the stations include SABC, SuperSport, Jacaranda 94.2Fm, Kaya 95.9 Fm, Highveld 94.7Fm, Namibian Broadcasting Corporation, Radio Gagasi 99.5FM, Vodacom and many more.
As Integrator, NIC has vast experience in idesigning custom solutions for various clients’ needs and & to adate, are the As aaSystems Systems Integrator, NIC has vast experience n designing Custom Solutions for various clients’ needs s of dwe ate, we are leading manufacturer of outside vehicles Vinehicles WeAhave and integrated , NIC has vthe ast lsupplier experience i&n Mdanufacturer esigning Cof ustom fsouthern or various clients’ eeds &s uccessfully adesigned s of date, w e are eading Sand upplier Obroadcast utside SBolutions roadcast in SAfrica. outhern frica. nsuccessfully W e have designed & over 38 OB vans and 22 OB custom made fly-away kits. Some of the stations include SABC, SuperSport, Jacaranda 94.2Fm, integrated oof ver 38 OB Vans & 22 OB Custom made fly-‐away kits. SA ome of the tations SABC, SuperSport, Jacaranda & Manufacturer Outside Broadcast Vehicles in Southern frica. Wse have include successfully designed & Kaya 95.9KFm, Highveld 94.7Fm, Corporation, Radio Gagasi 99.5FM, Vodacom many more. 94.2Fm, aya 9 5.9 Fm, H ighveld Namibian 94.7Fm, NBroadcasting amibian Broadcasting Corporation, Radio Gagasi 99.5FM, and Vodacom and many more.
Vans & 22 OB Custom made fly-‐away kits. Some of the stations include SABC, SuperSport, Jacaranda Our success in delivering such vehicles is due to the fact that we invest a lot of time & energy in Research & Development. ighveld Our 94.7Fm, Namibian roadcasting orporation, Radio Gagasi 99.5FM, Vodacom and many more. success in delivering such vehicles isB due to the fact that we investC a lot of time & energy in Research & Development.
NIC’s other major advantage is that we have a suitable premises and facilities specifically for custom design, construction, manufacturing & installation. All steel work, carpentry, acoustics, coach building, electrical, aircon and relevant work is done 100% in-house at NIC’s Factory in Johannesburg & any required services are not sub-contracted out. We are therefor able to monitor & maintain a high standard of workmanship on all aspects of the project. We keep up to date with the latest technology and/or solutions and therefore our designs are Our such due tocontinually the fact that invest a& crucial lot of of time and NIC’s mostsuccess significant advance in design has been withvehicles the generator,is power Aircon systems. Power is thewe important evolving with the Our successinindelivering delivering such vehicles is &due to the fact thatmost we invest atimes. lot time &energy energyininresearch Researchand & development. Development.
NIC’s other major advantage is that we have a suitable premises and facilities specifically for custom design, construction, manufacturing & installation. All steel work, carpentry, acoustics, coach building, electrical, aircon and relevant work is done 100% in-house at NIC’s Factory in Johannesburg & any required services are not sub-contracted out. We are therefor able to monitor & maintain a high standard of workmanship on all aspects of the project. We keep up to date with the latest technology and/or solutions and therefore our designs are continually evolving with the times.
aspect to any successful OB van and we have successfully designed a reliable, fail-safe & intelligent power solution, which keeps all your vital equipment protected & working under all challenging OB Environments. Our new technology generators are highly reliable & NIC’s other major advantage we systems.workmanship on all aspects of the alltoyour vital equipment protected and efficient, fitted with intelligent controlis&that protection We have also incorporated a design that project. allows generators be permanently have a suitable premises and facilities keep enclosed up to date the latest& vibration isolation working under mounted inside the vehicle with custom, in & out airflowWe solutions, in a with custom acoustic housing. Our all challenging OB under-bench & multi-ducted Aircon solution uses custom technology design airflow and systems and has and been therefore highly successful latest OB Vans.Our new technology specifically for custom design, solutions our in our environments. This solution has negated the need toand cut & fit unsightly vent airflow continually panels into theevolve sides orwith roof the of thetimes. vehicle and there is no longer construction, manufacturing designs generators areany highly reliable and efficient, mounting or water leaking issues. All these solutions are installed in such a way that they are hidden & non-intrusive yet have simple installation. All steel work, carpentry, NIC’s most significant advance in design fitted with intelligent control and access for maintenance purposes.
NIC’sother mostmajor significant advance in we design been with the generator, powerspecifically & Aircon systems. Power is the most important & crucialaircon Our under-bench and multi-ducted NIC’s advantage is that havehas a suitable premises and facilities for custom design, construction, manufacturing solution uses custom design aspect to any successful vancarpentry, and we have successfully reliable, fail-safe & intelligent power solution, which keepsatairflow all your & installation. All steel OB work, acoustics, coach designed building, aelectrical, aircon and relevant work is done 100% in-house NIC’s systems and has been highly successful in vital equipment protected & working under all challenging OB Environments. Our new technology generators are highly reliable & Factory in Johannesburg & any required services are not sub-contracted out. We are therefor able to monitorour &latest maintain a high standard OB vans. This solution has of efficient, fitted with intelligent control & protection systems. We have also incorporated a design that allows generators to be permanently negated the need to cut and fit unsightly ing such workmanship vehicles isondue to the factproject. that We wekeep invest lotwith ofthe time energyand/or in Research &therefore Development. all aspects of the up to a date latest& technology solutions and our designs are acoustics, coach inside building,the electrical, aircon has been with theout generator, power and protection systems. We have also vent airflow panels housing. into the sides or roof of mounted vehicle with custom, in & airflow solutions, enclosed in a custom acoustic & vibration isolation Our continually with the times. and relevant work is done 100 per cent aircon systems. Power is the most evolvingincorporated a design that allows the vehicle and there is no longer any under-bench multi-ducted Aircon solution uses customspecifically design airflow systems and has beenmounted highly successful in our latest OB Vans. in-house NIC’s Factory in Johannesburg important crucial aspect to any generators to be permanently mounting ormanufacturing water leaking issues. All these ge is that we athave a&suitable premises andandfacilities for custom design, construction, NIC’s mostservices significant design been the generator, power & Aircon systems. Power is the most important & crucial This has negated the needinto cut &has fit van unsightly vent airflow panels into the sides or roof of the vehicle andarethere is no longer and anysolution required are not advance successful OB and with we have inside the vehicle with custom, in and out solutions installed in such a wayany that work, carpentry, acoustics, coach building, electrical, aircon and relevant work is done 100% in-house at NIC’s sub-contracted out. We are therefor able successfully designed a reliable, fail-safe airflow solutions, enclosed in a custom they are hidden and non-intrusive yet aspect to any successful OB van and we have successfully designed a reliable, fail-safe & intelligent power solution, which keeps all your mounting or water leaking issues. All these solutions are installed in such a way that they are hidden & non-intrusive yet have simple have to monitor and maintain a high standard of and intelligent power solution, which keeps acoustic and vibration isolation housing. simple access for maintenance purposes. vital services equipment are protected & working under allout. challenging OB Environments. new technology generatorsaare highly reliable &of any required not sub-contracted Wefor are therefor ableOur to monitor & maintain high standard access maintenance purposes. fitted with intelligent protection systems. We have alsoand/or incorporated a designand that therefore allows generators to be permanently cts of theefficient, project. We keep up tocontrol date &with the latest technology solutions our designs are mounted inside the vehicle with custom, in & out airflow solutions, enclosed in a custom acoustic & vibration isolation housing. Our continually with thedesign times. under-bench & multi-ducted Airconevolving solution uses custom airflow systems and has been highly successful in our latest OB Vans. This solution has negated the need to cut & fit unsightly vent airflow panels into the sides or roof of the vehicle and there is no longer any dvance in design beenleaking withissues. the generator, power Aircon systems. Power is hidden the most importantyet&have crucial mountinghas or water All these solutions are& installed in such a way that they are & non-intrusive simple access for maintenance purposes. B van and we have successfully designed a reliable, fail-safe & intelligent power solution, which keeps all your
ed & working under all challenging OB Environments. Our new technology generators are highly reliable & gent control & protection systems. We have also incorporated a design that allows generators to be permanently cle with custom, in & out airflow solutions, enclosed in a custom acoustic & vibration isolation housing. Our ted Aircon solution uses custom design airflow systems and has been highly successful in our latest OB Vans. he need to cut & fit unsightly vent airflow panels into the sides or roof of the vehicle and there is no longer any ng issues. All these solutions are installed in such a way that they are hidden & non-intrusive yet have simple access for maintenance purposes. Contact Person: Karl Britz Cell: +27 82-‐851-‐9744 Email: karl@newco.co.za & richelb@newco.co.za
Contact Person: Karl Britz Cell:+27 +2782-‐851-‐9744 82-851-9744 Email: & richelb@newco.co.za Contact Person: Karl Britz Cell: Email: karl@newco.co.za karl@newco.co.za & richelb@newco.co.za April 2016 | SCREENAFRICA | 21
Outside Broadcast
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ADVERTORIAL
SilverCam Broadcast offers the keys to great broadcast High-end outside broadcast facilities were once the domain of major corporate broadcasting companies like the SABC and Multichoice. In recent years, the South African OB space has opened up considerably, with several smaller players now offering their services alongside these industry titans. There are two major factors that have contributed to this expansion. Firstly there is a higher demand for OB services, with many more, smaller production units that don’t have the need or the budget for the large-scale offerings of the major broadcasters. Secondly, broadcast equipment has become more compact and, with the arrival in the market of brands such as Blackmagic, more affordable. This means that smaller OB operators can now offer more and better services than were previously available at costs that small and medium enterprises can safely accommodate in their budget. Regardless of how much more open and affordable this industry sector may become, the keys to strong production remain the same: knowledgeable and well-trained staff and good equipment.
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When it comes to the second key, the debate continues as to whether the more affordable brands can really offer a quality of production on or near par with premium kit. And whether or not one is convinced either way, depends on what kind of production is under discussion. As a result, there exists a spectrum of OB services. At one end are the likes of the SABC and SuperSport, operating monster rigs powered by names like Sony and Grass Valley. At the other are the smaller operators, making use of the cost-cutting opportunities afforded by Blackmagic and similar brands. The distinction between these is not so much a question of which is better, but rather a consideration of scale and budget. Carving out its own niche somewhere along this range is the Randburg-based company SilverCam Broadcast. Founded by Lynton Allsopp, a long-serving veteran of the South African television industry, SilverCam appears relatively small in terms of capacity, operating with a five or six-man team and one six-camera OB van. As far as kit is concerned, however, SilverCam competes at the higher end of
the spectrum, boasting a chain of Grass Valley LDX 80 Premiere cameras, Ross Carbonite and Crossover switching desks, Sony PTZ robotic cameras and Riedel Artist mainframe, among others. Allsopp entered the industry at the very dawn of South African television back in 1976. In the late 1980s he began assembling his own OB unit, which notably saw action at the celebration of Namibian independence in 1990. He later sold this unit to a major broadcaster, for which it operated for years as a flagship OB van. Aside from acquiring high-end equipment, SilverCam also works to very lofty standards when it comes to staff. To the company, which was founded in 2010, Allsopp brings his years of experience, his entrepreneurial approach and a strong work ethic. These qualities are instilled in
each SilverCam crew member, all of whom are trained by Allsopp himself. With a strong client base that includes some of the country’s major broadcasters, studios, production facilities and houses of worship, SilverCam is firmly set on an expansion path over the next few years. It can currently produce five productions simultaneously and is planning to increase this capacity, with plans to augment its OB fleet, upscale the camera inventory and invest in the latest high-end RF facilities. At the heart of SilverCam’s work, Allsopp says, is a drive to provide the best possible specialised equipment, operated by the best possible, specialised personnel, thus placing the two keys to good production safely in the grasp of any producer.
ADVERTORIAL
Militia Broadcast provides OB facilities for SA Mumford and Son tour Militia Broadcast, a Johannesburg-based broadcast and production services company recently put their outside broadcast unit through its paces to impressive effect on Mumford and Sons’ six-show tour of South Africa in February 2016. The OB van features a six-camera HD plug-and-play fibre solution for any HD multi-cam recording, broadcast and livestream. Prominent among the unit’s equipment are cameras and either items supplied by Blackmagic Design. This made the Mumford and Sons tour a success story both for Militia and for Blackmagic. The show, directed by Steve Price, featured a live-to-screen fibre optic workflow incorporating Blackmagic’s studio cameras, ATEM 1 M/E Production Studio 4K and HyperDeck Studio Pro. For the band’s first ever tour of South Africa, promoter Hilltop Live approached Militia Broadcast, with nearly 150 live shows under their belt, to supply the
IMAG projection, PPU, camera packages and crew during the band’s Cape Town, Durban and Pretoria gigs. Armed with the tour’s technical rider, the Militia Broadcast team, led by managing director Eban Olivier, specced out the tour’s production requirements. “We spoke with Steve Price, the live show director, via Skype and ran through our workflow using a wall-to-wall Blackmagic solution, which reassured him that it would deliver on all his expectations, including tally, programme return f or monitoring in-camera and remote shading to address any shifts in colour when using pyrotechnics,” explains Olivier. Coverage of the shows consisted of five ground positions, including two Blackmagic Studio Camera 4K with 400mm and 600mm long lenses, two 24-105mm pit cameras on dollies as well as an interchangeable, shoulder mounted stage camera for capturing any downthe-line shots and pick-ups. A Micro
MILITIA
Studio 4K was also used to capture a reverse shot of the piano, alongside two Pocket Cinema Cameras on the drum kits. Militia Broadcast ran optical fibre feeds back into the eight-channel ATEM Studio Converter and then split each ISO signal to its own HyperDeck Studio Pro for recording while also routing them to the ATEM switcher, where Price produced the live feed for the two big screens, flanking either side of the stage. A pair of 17 inch SmartView 4Ks were used for monitoring, whilst shading ran through the ATEM’s Software Control on a laptop. S1 Sennheiser Aviator Headsets were used for programme audio and show calling. “The all-in-one modular approach of Blackmagic’s studio cameras means they are pure utopia for a traveling tour such as this. You simply drop down one fibre cable per channel and that gives you camera control, tally and talkback as well as shading,” explains Olivier. “The cameras themselves are robust, take up a
M
| Outside Broadcast fraction of the storage space and can effectively become any shot you want, at any given time.” Militia Broadcast was confident from the outset that a Blackmagic multicam workflow would meet the rigors and demands of a six-date tour in South Africa. “Eban’s confidence and enthusiasm helped to allay any initial concerns I had coming into this leg of the tour,” explains Price. “He went out of his way to ensure that I had everything I needed to do my job well, and unimpeded.” “Having never worked with Blackmagic’s ATEM switchers before, I found it simple and intuitive to operate, while the camera crew supplied by Eban were all first rate,” concludes Price. “Regardless of the camera system you use, it will only ever be as good as the crew you have operating them, and these guys were good.” Militia’s services range from corporate livestreaming events, live to IMAG screens at music concerts, church events, product launches, live press releases, live multi-cam DVD productions and television production for multi camera studio shoots – indoors or outdoors. “With 15 years’ experience in live broadcast event coverage, we know how important it is to get it right the first time with no technical hassle,” concludes Olivier.
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April 2016 | SCREENAFRICA | 23
Outside Broadcast
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ADVERTORIAL
SABC’s ‘video-on-the-move’ OB solution
Pulling off good sports coverage is challenging enough in a single location such as a stadium. Imagine the challenges of covering an event that is constantly on the move, like a marathon or cycle race. The outside broadcast division of the South African Broadcasting Corporation (SABC) currently has the most advanced solution in the country for purposes such as these. The complex solution incorporates several OB units, mobile MCUs, motorcycles, helicopters, fixed wing, satellite communications, bonded cellular microwave transmitters and voice over IP into a single, seamless workflow. 24 | SCREENAFRICA | April 2016
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side from the technology involved, SABC OB’s marathon workflow requires the carefully coordinated interaction of a team of dedicated specialists. Under the guidance of general manager Cosmas Tshabalala and manager hi-tech and microwave links Pete Knevitt, the team has perfected a process that harnesses a myriad of bouncing signals and constantly switching frequencies, to create the smooth transmission that viewers receive in their homes. The basic workflow is illustrated in the diagram above. Each member of the team offers their explanations of the solution and their particular place in it:
Zanele Mashiyane –Comms For video-on-the-move or +40km marathon, a cable camera from the OB Van covers about 5% of the marathon, so motor bikes are utilized to cover the marathon between the start and the finish point. The bikes use mobile cameras or camcorders and wireless communication systems. The primary wireless
communication is cellular network technology or GSM where mobile phones are used to communicate with the cameramen on the bikes. We use quad-band GSM mobile phone hybrids to dial the mobile devices on the bikes and the devices are set on “Auto Answer” so that when the line breaks it can immediately be dialled and answered without disturbing the cameraman on the bike. Depending on network availability from the mobile phone network service providers, communication can be smooth and clear throughout the marathon. In the areas where there’s poor network signal on cellular network, RF Technology is used. Handheld UHF Radios are used for comms to the bike cameramen. Since the helicopter hovers above the bike all the time, communication can be clear. In cases where the signal is out of range, a fixed wing aircraft, which is fitted with receive and transmit antennas, acts as a comms repeater. We also use bonded cellular systems and VOIP communication for a more
ADVERTORIAL
stable and clearer communication path. My role in marathons is to set up and establish communication between the OB van, the bikes, tracking sites and the studio in Johannesburg.
Jaco Coetzee – Motorbikes In 2015 TVOB acquired two new BMW 1600 GT motorbikes for live transmission of sport/news productions. These high-torque bikes are ideal for low speed filming and are completely rigged and ready to go when used in conjunction with bonded cellular units, DMNG (digital mobile news gathering). The bikes are equipped with full communication facilities with a stand-by (different platform) to and from the remote location. This is done on 4 GHz so we can get pictures to the final stage without interference. Two switchable HD video sources (1080i50) are available from the motorbikes. Pictures get transmitted to the helicopter with the latest HD transmission equipment. All equipment is powered locally from the bike so there is no need to carry extra batteries. Marathons often take place in harsh RF environments, where size and weight combined with broadcast performance is important. A compact digital microwave transmitter is fitted on each bike to tackle these challenges.
Khutso Matlala – Helicopter receive I have been working on helicopter receive, better known as helicopter tracking sites for a number of years now, which has allowed me the opportunity to see the technology change from analogue links, to standard definition links and now HD links. Helicopter tracking is a major part of the complex process of broadcasting long road races and special productions. The improvement in video quality has been our biggest advantage from the technology advancements over the last 10 years, with the robustness of the links between helicopter and tracking site being my number two advantage. At number three I would say the improved practicality of the links. Video quality is now HD H.264 from the origin of the signal (the camera on the bike) to the repeater in the helicopter and then to the helicopter tracking site and from there to the OB site at the finish with the final contribution link via satellite to SABC MCR. In the past we constantly switched from different formats like analogue to standard definition and ASI just to get the signal through its path but now we are able to keep the signal in the ASI format until the OB at the finish where the pictures need to be seen and used by the production team. This method preserves the high quality of the original picture because there is no decoding and encoding at the various repeater points
before the signal reaches the OB point. In the past you needed to be above a significant RF signal level to be able to decode the picture, for example – 55 dB signal strength for analog and about -70 for SD links. Currently with our very robust and efficient links we can decode these pictures as long as we can sniff a bit of the signal between -85 dB and -90 dB! What this translates to is that we can track the helicopters for much longer distances, literally being limited only by the earth’s curvature. This big advancement and gain is due to our new and highly efficient and linear amplifiers, modulators and demodulators by Gigawave. The system is far more practical than it used to be as well. In the past we needed to rig an RF head for every signal that we needed to transmit or receive between OB point and tracking site at fixed bandwidths. This has now changed. The current links can transmit up to 90 Mb/s of data at customizable bandwidth slots of up to 30 MHz meaning that we can now multiplex multiple and different audio and video streams on to one RF head and one Triax cable between points. This means that we don’t have to carry or transport as many RF heads, triax cables, dishes and tripods like we used to. The encoders and decoders can also process two video streams with four audios each simultaneously and you can still swap any of the encoder modules for an ASI multiplexer allowing the freedom to choose various configurations. We are now able to cover ultramarathons such as the 90 Km Comrades Marathon without any video break up between the helicopter and the tracking site giving the viewer at home smooth glitch-free HD viewing of their favorite road races and aerial pictures.
Matthew Marlow and Heinrich Petrus – Radio Comms and IP Comms There are four main comms systems that we use:
• VOIP (Voice over IP) This type of communication is purely network based; we mainly use it on the Ethernet back-bone via an ADSL router that creates a VPN (Virtual Private Network) link from the Master Control Room and the site that the far end system is being used. We can, through on ADSL line, create up to 50 independent four wire comms lines that can be used to communicate anywhere in the world. This system was first used in SABC in 2010 for the FIFA World Cup. It was used to communicate between the IBC, SABC MCR as well as to the studios at the Sandton Convention. It has also been used for the Brazil FIFA World Cup 2014 to communicate between the SABC crew in Brazil and the SABC studios in Johannesburg. Recently it has also
been used for the Rugby World Cup 2015.
• SIP(Session Initialisation Protocol) is also a system interface that we implement at SABC for comms to a cell phone via 3G as well as for our internal conference calls that run on the same VOIP server as the system above creating a system that is very flexible.
• ISDN This system is in the process of being phased out by the service provider Telkom. We mainly use this interface when connecting to GSM, analogue systems or when ADSL lines are not available.
• GSM Hybrids GSM hybrids are used mainly in circumstances where there is no Telkom access, sometimes this could be on top of a mountain or on a farm. This is also implemented for breaking news applications where there would not be time for a line to be placed at the venue. On the two motorbikes that we have recently procured, a GSM hybrid has been developed in house.
• Radio Communications When there is a need to communicate over vast distances (up to 40km) we use radio communications. This is implemented mainly when we cover marathons. We use a fixed wing aircraft that repeats the comms signals and up to three helicopters and four motorbikes that receive the comms signals from the fixed wing. Recently SABC has procured digital radios that give superior bandwidth and quality over analogue radios.
Tsakani Malwandla – Satellite transmissions This is the form of transmission that we use to get the signal from a remote point back to MCR, mainly for sports and news productions. Satellite transmission equipment is built into Digital Satellite News Gathering (DSNG) vans for ease of operation but we also have flyaway satellite equipment that comes in piece and require assembling first before operating. The way that satellite communication works is that the signal is sent on a designated frequency with specified parameters to the satellite in space, which has several transponders. The transponders then amplify the signal and retransmit it back to Earth on the downlink frequency. Our Main Control Room (MCR) receives the downlinked signal for further processing at Auckland Park. We make use several satellites on an ad hoc basis. The choice of which satellite to use is dependent on its footprint and the strength it has in the particular region in which we would like to operate. For marathon productions satellite transmission still plays a critical role. We have several single camera units (SCU)
| Outside Broadcast that are positioned at critical points on the route. We have had as many as 11 positions on the Comrades Marathon, where some of the SCUs cover two positions. The second busiest event in terms of SCU positions, is the Two Oceans Marathon in Cape Town. These SCU positions generally make use of a DSNG or a flyaway unit to transmit the signal back to the finish position where they will be downlinked and handed over to production in the OB van. After the OB van these are then sent for final uplink also via satellite back to MCR.
Kagisho Maesela – Bonded Cellular The current bonded cellular technology uses eight built-in cellular modems to combine all eight signals together into a single throughput. This enables us to use all of the available bandwidth to transmit video and audio. Of course it all depends on the bandwidth that is available to us in any particular area. But we can also expand upon what the capacity offered by the eight internal modems. We can optimize the connection by adding external modems. We are able to move data at high rates. Most of the time we get 10Mb/s. On a good day that can go to over 20Mb/s. The units offer us a lot of flexibility in terms of the kinds of connections we can use and the data rates it can handle. We can connect using WiFi and LAN. We can connect via satellite using ASI output. The DMNG, our recently acquired bonded cellular system, has a number of functions. There is the ‘live’ function, which enables you to transmit live in real-time from the unit Besides transmitting live, you can also record or auto-record while going out live. The unit can also facilitate audio comms through the cellphone networks and it offers a number of connectors such as BNC for SDI (HD and SD) and HDMI. It can handle both interlaced and progressive video. You have the option to change the aspect ratio to match your source. We can also use the DMNG for streaming. Let’s says we are broadcasting live through the unit on one of the SABC channels, we can also go out at the same time to YouTube or any other platform for streaming. We can stream using apps on mobile devices. Cosmas Tshabalala concludes: this workflow is currently the most advanced available in South Africa for the production of moving video sport production. The workflow is a multifaceted one with many variables and our team has to overcome a number of physical and logistical challenges in their work. Like everything in the broadcast industry, the move to IP will change the game and make such workflows even smoother… But as it currently stands, SABC TVOB, using this solution, can comfortably produce world-class coverage of marathons, cycle races and similar events. April 2016 | SCREENAFRICA | 25
Outside Broadcast
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ADVERTORIAL
Sony PSMEA powers SA’s super trailers South Africa’s OB sector is relatively diverse, including a number of players of varying sizes. When it comes to the top end of the spectrum – the operators of those multi-cam titans we see parked next to stadiums on match days – the field is still dominated by two companies: the public broadcaster SABC and pay-TV sport specialist SuperSport. Both run fleets of OB vehicles of varying sizes, including several ‘supertrailers’ – big triple-axle trucks with expandable sides, equipped to house production units of 30-plus people, together with a lengthy inventory of equipment. Sony Professional has played a major role in the design and build of OB units for both broadcasters, they delivered four 24-camera HD units to SABC just prior to the 2010 FIFA World Cup, and put a brand new one into commission for SuperSport just last year. In June 2015, SuperSport took delivery of OB4HD, the latest addition to its fleet, which was made to more or less the same spec as the existing coaches. OB4HD is fitted with 18 3G capable HDC-2400 system cameras, two HDC-3300 Super Motion cameras and two HDC-P1 cameras while OB6HD contains HDC-1500s, 3300s and P1s. In
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addition each truck has a MVS-8000X video switcher, PDW-HD1500 XDCAM and HDW-M2000P recorders and Sony video monitoring. This ranges from BVM-F170 monitoring for critical evaluation in Vision Control to PVM-1741s for Vision Control Preview and LMD monitors of various sizes. Former head of OB at SuperSport, Johan Chandler, insisted on a standardised spec throughout all OB
units to ensure that engineers could move from one truck to another without the need for retraining. The commissioning of Sony equipment indicated the OB team’s confidence in the brand. A major consideration for OB crews is reliability. As Chandler himself stressed, no doubt speaking from bitter experience earlier in his career, OB units often operate far outside of business hours, and hundreds of kilometres away from anyone who can
offer support in the event of equipment failure. Anyone looking to equip an OB van therefore has reliability at the top of their minds. Sony is such a tried and tested brand and is an easy choice; another significant factor is the easy availability of technical support in South Africa. OB4HD and its older siblings are regularly in service, having recently been used on the Nedbank Golf Challenge, the IRB Sevens and the SA/ West Indies cricket tour. The SABC’s four trucks were designed not only with sport in mind but are meant to suit all types of programming. Each of the units, now in service for almost six years but still going strong, were set up with 15 HDC-1500s; eight VTRs, including XDCAM HD 422 and three HDC-3300 super-motion cameras; an MVS-8000G multiformat vision mixer; 256x256 HD video router; VSM Studio Manager control system; eight EVS video servers; and a full function video system with onboard non-linear editing. In terms of audio, they are fitted with Lawo 5.1 surround digital system. These trucks are now tried and tested workhorses, having operated throughout the 2010 FIFA World Cup and the funeral of former President Nelson Mandela in 2013, and still take on various news, sports and other events on an almost daily basis.
NAMIBIA
| Film
The Unseen explores notions of
postcolonial identity and existentialism
FICTION AND DOCUMENTARY, BLURING THE LINE: Still from The Unseen
Starring Antonio David Lyons (American History X, Hotel Rwanda), Mathew Ishitile and Senga Brockerhoff, Perivi Katjavivi’s first feature film The Unseen is a powerful commentary on what it means to be a young person in modern-day Africa. Born in England to a Namibian father and an English mother, Katjavivi moved to Namibia at the dawn of independence in 1990 where he has spent the majority of his life ever since. Growing up mixed-race in postcolonial Namibia, Katjavivi says he has been each of the three main characters in The Unseen at some point in his life.
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hot on location in Windhoek and surrounds, the 70-minute film – presented as a set of three somewhat interconnected black and white vignettes that blur the line between fiction and documentary – is a contemporary look at Namibia, through the eyes of three very different individuals from diverse backgrounds. Though these characters are different in the traditional sense of the word, they are connected by their longing to belong, to ‘find themselves’. There’s Marcus
(Lyons), an African-American actor who is visiting Namibia to play the role of one of the country’s historical leaders. With little guidance from his director, Marcus is left to research the role on his own, hoping to find his own ‘truth’ in this unfamiliar landscape. Honesty – an on-going theme in the film – is also a major concern for the character Anu (Ishitile), an aspiring local musician who struggles to find his defining voice amidst his muddled Western and traditional influences. Anu begins to look to more mystical sources
for answers and becomes increasingly isolated from those around him. The Unseen also follows Sara (Brockerhoff), a disillusioned, severely depressed young woman who returns home to Namibia with thoughts of suicide. Katjavivi, in short, describes the film as an open-ended essay that explores what it means to be alive in independent Namibia. “I was interested in the idea of following these three wandering souls that were all being pulled and tugged in opposite directions,” Katjavivi comments. “Somewhere in the middle is something beautiful, something terrifying, something unseen…Something that would blur the line between documentary and fiction and give a never-before-seen look at contemporary Namibian society…And deal with questions of identity, language, culture, dreams, ambitions...” Displaying striking imagery of the Namibian landscape, the black and white film is frequently intercut with shots of flowing water and trees blowing in the wind, Katjavivi says he chose to use this cinematic techniques as a way to connect his three main characters: “That’s a character in the film…It’s just this way of connecting them all. All three characters and their stories – and the water, wind, trees, grass and so on are like this unseen force or personality that ties us all together. Something alive but intangible. It’s very transcendental…” Written and directed by Katjavivi, and co-produced by him, Ronald James, Shalongo Nambala and Cecil Moller, The Unseen was shot by DOP Antonius Tsuob
on a Canon C300 over 14 days in May/ June 2015 and premiered to rave reviews at the Pan African Film Festival in Los Angeles earlier this year. The film was crowd-funded in its entirety, in what Katjavivi describes as “old fashioned crowd-funding.” “We wanted to show we could make a film… Regardless of not having access to major funding. It was crowd-funded but really crowd-funded. House to house, door to door…The old fashioned way. No internet,” he explains. An Old Location Films production, The Unseen lacks the components of a typical feature film in that there is no conventional beginning, middle and ending, no definite character build, or resolution found for the issues plaguing the three main characters. Katjavivi says the film is more of a conversation and commentary on “the big questions” that plague us all, questions about God, identity and belonging. “It’s a film for the young contemporary African who is just trying to figure shit out. You know the big questions,” he comments. “…And I made it for them and I’m just really into asking questions. No expectations. Just how does this film contributes to that conversation about art, identity, colonialism, space, Egypt, love, marriage, suicide, etc? It’s less about finding resolutions for these characters as it is about evoking atmosphere and creating a space for us to engage with questions of postcolonial identity.” – Chanelle Ellaya
April 2016 | SCREENAFRICA | 27
FILM
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NIGERIA
‘If it’s not going to be great, there is no need’ The favourite mantra of Kemi Akindoju, popularly known as Lala, provides insight into what has guided her career as an award winning entertainer who has built a career as one of Nigeria’s most influential and bankable producer/actors from the stage to the Nollywood big screen.
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er career started after her first degree (in insurance) when she followed her love of acting into Nigeria’s underground theatre scene. She ran up an impressive resume for five years before taking the plunge into film. Stage plays would hone her artistry and establish her reputation as one of Nigeria’s best stage actresses. “I worked strictly in theatre for five years and it was deliberate. I didn’t study theatre arts as my first degree so I felt that I had to work hard on perfecting my art.” During her stint as a theatre actor, Lala also dabbled in production and that is how her production company, Make It Happen Productions was born. The actress would start with producing small scale stage plays with the launch of her ground-breaking ‘Open Mic Theatre’ a platform for innovative theatrical and music performances. She also produced the Nigerian version of The Vagina Monologues among others. During her early years, in which she helped to open up Nigeria’s hitherto underground theatre scene to a mainstream audience, the respected actress and producer was known predominantly in theatrical circles and was jutted into the limelight after winning the Actress of the Year Award at The Future Awards in 2010. Even then, Nollywood movie roles didn’t come flooding in, especially because the actress was very picky about the roles she would accept. Her breakthrough movie was Tunde Kelani’s 2014 Dazzling Mirage. She explains that her formula was about working with the ‘right people’. “The right people have to see that talent that you have and then expose it to the right audience. I had a list and I had to actively work towards this dream. Tunde Kelani, Kunle Afolayan, Mildred Okwo, Akin Omotoso, Ego Boyo – all these amazing filmmakers. I made sure I contacted every one of these people. I’m not someone who is afraid of auditions because of my experience. Once there is
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a part I feel I can be good at, you will see me there. “Even though I’d worked with Kunle Afolayan on Dazzling Mirage, he was shocked to see me at his auditions; he asked me what I was doing in the queue. I just wanted him to know I was very serious. When Mo Abudu was going to make her movie Fifty I already decided I was going to be in it. People ask me why I accepted a non-leading role in Fifty and I say to them; there PERFECTING HER ART: Lala Akindoju are no small roles, only small actors. You can be in a film for one scene is very accomplished. They had this and it could be so good radical idea to make this film on Snapchat that it could become known as your – following the example of the UK’s first big break.” Snapchat movie. The film explores the When asked how she could identify a potential loss of privacy that comes with great project before it kicks off, she social media. Lala explains that they had explains: “You can do a film that won’t be to tweak a few things to give it a more promoted, a film that won’t travel. For me authentic Nigerian feel.” it’s important that I am in a zone that has Snapped Nigeria stars Adeolu a lifespan. By this I mean a film that will do Adefarasin, Nkem Marchie, Sylvya Oluchy, the festivals, awards, cinemas, television Amarachuks Onoh, Olumide Adisa and rounds before DVD. By the time the Gbolabo. “We were very impressed by movie is on DVD it’s like a new film for the the delivery of the actors… Also bear in DVD audience. It gives you longevity.” mind that every scene is a snap of 10 Lala has featured in two of Nigeria’s seconds each. Even though there is a top ten grossing films of the past two director, performers had to hold the years – Dazzling Mirage and Fifty. “These phone themselves.” The 10-minute film are two movies that took me five years to premieres on 2Far Media’s socialmovies accomplish. It feels good to make the Snapchat account late in March and will bankable actors list by consistently subsequently be available on YouTube. featuring in movies that do very well. In March 2016, a shocked Lala was Mildred Okwo’s Surulere was just awarded the Africa Magic Viewer’s released but is also doing very well at the Choice Awards (AMVCA) ‘Trailblazer of box office. I’m not in a hurry, I will just the Year’ accolade, which was presented keep doing what I know how to do.” Late in 2015, Lala was approached to together with a new SUV. “I was shocked, produce Nigeria’s first Snapchat movie, nothing in my wildest dreams prepared Snapped Nigeria. “It was conceived by me for this,” she explains. “They had the writer Bola Agbaje of 2Far Media who made a great fuss about me presenting
an award that day. I had done rehearsals and all. I didn’t understand it then because maybe I would have stepped out or something. When my name was called I was shocked into stillness.” “Winning this award was like a flashback through all the 11 years I have given this craft: theatre, movies, everything. I hear people say things like it’s long overdue, they have been overlooking you for a long while. I just feel like when it is time it is time; I am incredibly honoured.” So what is next for Make It Happen productions? “We are a production company for all the platforms, we tell amazing African stories and we will continue doing plays as we have always been doing. We have a full-length movie in 2016. We are also looking to do more collaborations because I believe they help dreams come true faster!” She advises young people: “Keep doing what you know how to do best, work on your art; one day people will cheer you, but before then don’t expect it to be easy, because believe me, it won’t be.” – Oma Areh
River Road: the boulevard
KenYA
| Film
of affordable Kenyan films Jonathan Kariuki, 24, an ambitious auteur of average height clutches his Canon 6D, his backpack safely hanging on his shoulders, squints on the viewfinder and screams ‘Action’. The light skinned miniskirted femme rumbles into a Kikuyu rant with her index finger poking on the face of a shabby looking man with a chunk of belly fat that spills out of his trousers and who stands unresponsive and then… the man gives the woman a hard slap, she tumbles on the ground, yowling curses… welcome to River Road, the boulevard of affordable Kenyan films.
CREATIVE IN ALL ANGLES: Jonathan Kariuki
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ere in this garish frontier, films are produced on affordable gadgets – bought or rented – and repetitive stock characters are played by actors, who, in just a few short years, can claim to have over 300 films in their showreels. In the 1950s, the ‘who’s who’ in Kenyan politics used to wine and dine in these streets. Well- known politicians and influential business men say that this dusty, urine-reeking strip of bars and restaurants used to be ‘the place to be’ if you wanted to see the best of Nairobi. That was then, now nothing much has changed in these mean streets, if you visit River Road at night this is what you will see; prostitutes lined up soliciting what are known as ‘shorts’ – quickies. You will see a whole lot of bars full of young men and women nursing beers and chatting with friends, you will see plain clothes cops harassing idle men on these streets and hawkers vending their goods. Then you will hear underground music from clubs lined up on this thoroughfare with the DJ barking in Swahili ‘Kama imekubamba wapi nduru wewe’ – ‘if you’re feeling this, scream out loud…’ When the sun’s yellow sheen gleams the next morning, and its rays beat on vintage walls of these longestablished buildings, the noise level doesn’t drop much but now its source and purpose are quite different.
From seven o’clock in the morning you will hear screeches of loud music from speakers hanging in open electronic shops and young girls beckoning you to buy a speaker, a microphone, an ‘original phone’ or a guitar. It is no wonder that the creatives of Nairobi come to this bustling and chaotic district for inspiration and an outlet. Thousands of people flock to this part of Nairobi city to buy film and music DVDs, because here, you will get whatever you want; newly released films and documentaries, all types of music at a very affordable rate. In these streets upcoming filmmakers like Jonathan can spark out an idea, do a casting call, shoot the film and publish it on DVD and voila! There’s a ready market right there. “I have done a couple of films in my language –Kikuyu,” Jonathan says. “Every time I release a film, I have had it sold out; I first printed 500 DVDs and I would sell all of them.” Jonathan handles his distribution and he has a team of ‘investigators’ who look around for any shops that sell his material unsolicited. “One has to be creative in all angles,” Jonathan explains. “In this age of digital production, you can maximise on your potential and your creativity and profits by handling everything in one office.” Since 2006 the Kenya Film Classification Board has championed for a 60/40 viewership package for content distributors and media outlets in the country. This would mean that 60 percent of airtime on Kenyan television channels would be set aside for local content, with the remaining 40 percent open for imported content. “I think this is a great initiative,” says Joshua Okoth, a 35-year-old film producer. “We are headed in the right direction and I am happy that our children will watch and local content and apart
from that, content creators like me will have a field day because we have a great number of platforms to choose from when we want to distribute our content.” The rise of digital film production has made it easier and affordable for content creators such as Jonathan, to tell ethnic-based stories that are aimed at a specific viewership. “River Road enables me to target specific types of viewership,” he explains. “If I want to do a story on gangsters or thieves, I can do it from a specific ethnic group, a point of view that has a ready market, I won’t be fumbling in the dark trying to guess whether the viewers will like my story or not because when I was originally writing the screenplay I had a target viewership in mind.” What about the quality? “I try and offer quality, I am a trained filmmaker with a journalistic background; I know a good film, a bad film and a great film. Right now I am doing good films, but I am going to do great films in the future – it’s only a matter of time.” Recently the River Road Film Festival concluded with dozens of TV actors and actresses recognised for their artistic talents both on television and film. “It was a great honor to be a part of this,” actor Jacky Wambui beams. “Regardless of how River Road is viewed across the nation, this recognition and award makes me feel like I am doing the right thing and headed along the right path in my career.” River Road’s path to providing a platform for filmmakers is still a work in progress but weighs heavily on the film culture that is picking up steam in the Kenyan arts. Jonathan adds: “We are running on over a 60 million dollar turnover base; what makes you think River Road is not a force to be reckoned with?” – Sam Charo April 2016 | SCREENAFRICA | 29
FILM
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Elements of Cinema:
Fight, flight, freeze… action
HIGH IMPACT: A fight scene in a scene from For Love and Broken Bones
A fight scene can determine the impact a film has on its viewers. Screen Africa asked the key crew members about the making of this scene in For Love and Broken Bones – the story of a stoic debt collector who falls in love while on assignment. A jazz infused mise-en-scéne, an ominous antihero and vibrant wedding planner set the tone for this epic finale.
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Zeno Petersen on cinematography and lighting
Dylan Lloyd on production design This scene was a pivotal point in the film, where our hero and antagonist finally engage physically. Visually, this was a point where four worlds combined. The look and feel of this fight scene was loosely based on an African film noir ideal. Motheo’s (the debt collector’s) environment is cold and inert while Refilwe’s (his assignment) is colourful and hopeful. Here we see Motheo wearing a pink waistcoat, a reflection of him warming to Refilwe’s life. While his hat remains firmly on his head during the fight, resonating with his character. In this scene there was money flying everywhere and we needed to have enough to do another take straight away. With experience you learn to over prepare yourself for an action scene by considering everything that could possibly go wrong.
This fight scene takes place right in the end of the film and basically concludes the story. It took careful planning days before we rolled the cameras, because we only had one day to complete the whole sequence. Using movement and people crossing the frame helped us cheat and hide action in the scene, which would normally take more time to complete. We looked at the movie as a whole to chose the camera and used the Arri Alexa. This camera was used with a handheld rig for this scene. It was shot outside during the day so no light was used. I added in some fill with two pollyboards on the edges of the shots. I shot the most important shots earlier and later and the cutaways mid day. This allowed some control over my backlight and fill. For the opening of the scene the crane allowed me to achieve the shot that looked down on the final scene and all the people running around. For the second half we used tracking shots to help us with the movement and action in the scene. That was intercut with all the hand-held shots I did between the people.
| FILM
Philip Miller on sound
Tebogo Malope on directing Andrew Traill on editing The shots I had to work with were so perfectly composed for the fight scene that all I really needed to do was make it look extremely sexy. The entire scene was shot at hi-speed giving me the opportunity to do a lot of ramping of most of the shots, letting me do what I do best: edit. The challenge was that it was a single camera shoot, there was not the perfect continuity for crossover editing luxury. That said there were quite a few well thought out cutaways in the scene allowing me to get around the fight without any continuity issues at all.
Every aspect of a film needs to serve the narrative. Can this fight scene tell the protagonist’s emotional arch? It’s emotion before physicality and once we are happy with that then the dance begins. Working closely to choreograph the movements to assure that it read as an authentic fight scene, the challenge was to find the balance between aggression and gentleness. With the limited time we had to execute, it was a blessing in that we had no time to question our creative choices. By the time we got to the set, the actors knew their blocking, my DP knew the camera movement and I could sit behind the monitor and enjoy the show.
Mduduzi Mabaso on acting With every scene one needs to be mentally prepared but with fight scenes especially you’ve got to be alert, hence I meditate and centre myself to clear anything else from my current head space and allow myself to be in that scene, in that moment mentally, physically and emotionally. Besides, anything can happen so I prepare myself for just that. I strongly believe in researching each character. Training is very important to me because I get to relieve stress and clear my mind. So I’m always doing some kind of physical exercise just to pump up my craft. A bit of skipping or weight lifting does help. I am meticulous about my craft. I love acting so I always welcome a challenge.
Right at the beginning of the film, we discover that Motheo plays the trumpet. As the composer I understood that the trumpet was his soul, depicting a man with a big heart trapped in a violent profession. The fight scene needed to cover the ambivalence of his character. The music had to convey both the danger and tension of the fight but at the same time his unwillingness for violence. I chose to use the harmonica to emphasise the mood, worked with electronic drones and drums, which I mostly created myself and brought in the trumpet right at the end of the scene. The scene was cut and slowed down which made it mesmerizing and stylized. It was at times like a dance as the actors lunged at each other. This unusual approach in the editing and direction helped me to take a risk and compose something that was poetic as if I was composing ballet music to accompany the choreography of their fight. Compiled by Cera-Jane Catton
April 2016 | SCREENAFRICA | 31
FILM
| Director Speak
Gert rk Nieke van
This year Gert van Niekerk was nominated for a South African Film and Television (SAFTA) award for Best Director in the TV Soap category. Before taking his place behind the lens, van Niekerk was in the spotlight as an actor, which he believes has helped hone his skills as a director for e.tv’s Ashes to Ashes. What is your background and how has it shaped you as a director? I am a trained actor and spent the first five years of my life on stage. Then I was lucky enough to get a lead part in the iconic Arende. I was dialogue coach for three years at Egoli... I still act when I get the parts. Discipline from theatre, patience and understanding from working with actors as a dialogue coach, as well as a curiosity to tell stories with pictures so that anybody can relate to them, has shaped me as a director. I have a good understanding of the actor’s side of things and what it feels like to stand in front of the camera when they say: “Action”.
32 | SCREENAFRICA | April 2016
What is your favourite SA TV show to date? I obviously like Ashes to Ashes and my other favourite was The Wild. There is a great show on KykNet called Boekklub – one of the best ever made in Afrikaans.
What has been your hairiest moment on set? Patrick Shai asked me a question and I had no idea what the answer was...
Where do you find inspiration? Watching people do what they do every day – the different way everybody reacts to the same stimulus. That’s what sets us apart and makes for great characters.
When you’re not busy directing how do you spend your down time? I take my old 4x4 and go camping with the dog and a friend where there is no internet and no cellphone signal. I braai three times a day, bake bread over the fire and spend a lot of time staring into the bush thinking of absolutely nothing.
Do you have any mentors? I do. Bobby Heaney taught me a lot about directing and how to work with actors and crew and I still phone him if I get stuck. My best friend Sandi Schultz – she will slap me even when she knows I will be angry. What are your personal career milestones? The first big TV acting job. The first episode I directed on Egoli. The movie I did with Sandi and the story in Binnelanders where I acted opposite her. The job on The Wild. The day Clive Morris asked me if I wanted to do Ashes. Which projects are you currently involved in? Ashes takes up all my time at the moment... I try to direct at least one play a year ... to keep in touch. I am a board member of the Theatre Benevolent Fund. I am a trustee in the complex I live in... I’m developing two projects with very clever writers ... I try to see my father as often as I can ... I have two friends, a partner and a dog. The other four hours I try to sleep. What are your least favourite parts of the job? Waiting.
Who would you cast as yourself in a TV series? Marcel Schoeman. Who in the industry would you really like to work with? Connie and Shona Fergusson. Describe yourself in five years? Doing what I do now... just better. What or where is your happy place? Water... any water. River, sea... even a fishpond or rain makes me feel calm. If you could have any filmmaker superpower, what would it be? Knowing how it will turn out even before I get to the edit and slowing down time. Compiled by Carly Barnes
| Film
South African at heart
IN THE FAST LANE: Sharlto Copley with the Jaguar F-Type
While viewing the Jaguar F-Type at Ellerman House Wine Gallery in Cape Town’s Bantry Bay, Screen Africa’s Andy Stead also got to meet Sharlto Copley – who was in South Africa for a few days as a brand ambassador for the iconic sports car.
A
n intimate media lunch at Ellerman House provided such an opportunity, not only to get to know Copley a little better and to meet his wife, international supermodel Tanit Phoenix, but also to savor a delicious meal created according to themes from Copley’s movies – and to see the delectable Jaguar F-Type. All this and a brief one-on-one with the star rounded off a perfect function organised by Jaguar and Copley’s producing partner and international media liaison Stephanie Macrides. District 9 was Copley’s introduction to international stardom as this pioneering
production became a world-wide success. Released in 2009 and directed by Neill Blomkamp, it was nominated for four Oscars and Copley’s leading role as harassed bureaucrat Wikus van der Merwe was instrumental in the film’s success. Copley then starred in 20th Century Fox’s version of The A Team. In 2013, he played fictional astronaut James Corrigan in Europa Report and in the same year he portrayed Agent Kruger, the secondary antagonist in Elysium, and also played villain Adrian Pryce in Spike Lee’s Oldboy. He then starred opposite Angelina Jolie in the 2014 Disney film Maleficent and played Chappie in his first motion capture performance role, also directed by Blomkamp, shot in South Africa for several months in 2014. Copley discussed his latest film, Hardcore Henry,“The studio films like The A Team, Maleficent and Elysium are important and do well at the box office – but my new movie Hardcore Henry, which I also executive produce, is ridiculously pioneering and regardless of what it does or does not do at the box office it will make a big impact on filmmaking. “It’s a small indie movie that we sold at Toronto and it won The Audience Choice award at Midnight Madness at the Toronto Film Festival and got picked up for wide release in the US. It is different in that the audience is the central character in the entire movie.” Hardcore Henry is shot in Russia and targets gamers and action fans alike – it is clearly a significant movie as the industry is talking about its pioneering spirit – as they did with District 9. Post-production is
Sharlto Copley (left) with Screen Africa’s Andy Stead now complete and the movie releases on 8 April in the USA and is out in South Africa on 8 July 2016. “What I’d like to do next is to direct something I write and even better to act in it as well just to see if I can tell myself what to do,” Copley laughs. “But getting back to why I am here. Being a Jaguar brand ambassador has big upsides. I had some great fun this morning with Championship racer Deon Joubert – even did doughnuts in the F-Type! “Even though the Jaguar F-Type was launched some time ago – they have
been meaning to get me back with a really professional driver who could teach me some of the awesome stuff this car is capable of.” Copley is something of an enigma. He now lives in the hills overlooking Los Angeles and works in the heart of the Hollywood dream factory. Yet he remains true to his roots, unlike many other South Africans who have made this move. Even as his film work goes from strength to strength he appears to remain an easygoing South African guy, characterised by his sense of humour and friendly personality. He is philosophical about the differences between his two home countries: “I find that I need to be in LA when I am not working. So I don’t know if that means that I am based there – but in my head I am always based in South Africa,” he says. “At times it has been tempting to live as an American – you know, the accent, etc, but I just felt I was losing myself and my sense of myself so I am still very South African. “The beauty about being in LA is that the respect and the support for creative endeavors there is incredible. This was always and area of frustration for me in South Africa. I guess it’s that we (South Africa) are essentially a gold mining country – and so it’s not really a country that has grown a thriving entertainment industry. It’s become powerful because it has the minerals. So it’s a different ethos, and if you are going to spend $225 million dollars based on a piece of paper it’s quite a different business mindset that is required than when you are pulling something from out of the ground.” – Andy Stead April 2016 | SCREENAFRICA | 33
Television
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Introducing GoggleBox SA –
Sony Pictures Television’s first locally commissioned show On 3 March 2016, Sony Pictures Television’s first locally commissioned show, GoggleBox South Africa, aired on the Sony Channel (DStv Channel 127). GoggleBox SA takes viewers into the homes of everyday people and allows them to be a fly on the wall while these families watch and discuss South Africa’s favourite TV shows.
T
he concept for Gogglebox originated in the United Kingdom. The British reality show first aired in March 2013 and went on to win a number of awards including a BAFTA, and became a word-of-mouth hit that had the Twittersphere buzzing with enthusiasm for its unusual style and content. The success of Gogglebox in the UK naturally resulted in numerous spin offs in countries around the world – and now finally in South Africa. The format for GoggleBox was conceptualised based on the fact that almost everyone loves watching TV and in turn loves talking about TV. “The idea was to create an interactive show where ordinary families sit comfortably in their living rooms where they discuss, laugh, cry or debate about what they see on
34 | SCREENAFRICA | April 2016
WORD-OF-MOUTH HIT: Pippa and Ian, one of the featured households on GoggleBox SA season 1 TV,” says Sonja Underwood, Sony Pictures Television territory director for the network’s Africa Channels. “Sony Pictures Television chose to bring Gogglebox to South Africa as a result of the Sony Channel wanting to create a show that resonated well with viewers across the country. The show itself is perfectly positioned as a result of the diverse cultures and people living in South Africa. Gogglebox has been produced for viewers to connect with their TV, favourite actors, shows and story lines.” A cross selection of shows on the Sony Channel (DStv Channel 127), Sony Max (DStv Channel 128), as well as the most prevalent and most watched entertainment, sport, news, politics and current affairs shows that aired on DStv during the week are reviewed by the GoggleBox SA families. Episodes are filmed seven days prior to airing every Thursday, in order to keep the content current and topical. The downside to this is that the turnaround time for each completed episode is extremely short – a few days at most, says GoggleBox SA director Jane Kennedy (Trinity Productions), resulting in all-nighters particularly for the edit team. Producer Gary King (Picture Tree) agrees that the tight turn-around in the editing
process has been one of the biggest challenges in producing GoggleBox SA, “with very little time and hours of footage, it is extremely difficult to edit an hour programme within such a limited number of days,” says King. “The content that the families are observing is from the last seven days so the filming needs to be current. Thanks to a great team of editors and Jane Kennedy, the director of the series, we are managing to meet our deadlines.” With the help of casting director Bonnie Lee Bouman, the households featured on GoggleBox South Africa were selected from ordinary citizens on the street – albeit with a little pizazz. King, Kennedy and executive producer Stephen Le Roux (Eject Media) wanted a cast that represented the diversity of South Africa, complete with differing opinions and high emotions. “…it was imperative to find the perfect cast for Gogglebox South Africa,” says King. “This was a huge challenge, as what the viewer is going to find appealing is subjective. We looked for opinionated TV viewers when it comes to what’s on the box. They needed to be entertaining, outspoken, emotional and irreverent and also needed to be friends or families that love to watch TV. Further to this, they also have to love talking about the television
shows they watch. Once they ticked these criteria, the question I always asked was ‘Will they give the viewer a warm feeling?’” GoggleBox SA was captured using Datavideo PTC150 cameras: “We were looking for the best in remote control cameras in terms of lens range and exposure/Fstop flexibility,” says Kennedy, adding that the goal was to capture the most authentic responses from the cast, which would have been somewhat inhibited had there been a physical production crew in the room with them. “Charl Fraser was the DOP who set up the lighting and camera configuration in each house but we now have four different cameramen…we send four teams out a night for five nights of filming. Each team has its own camera operator,” she explains. The fundamental feature of Gogglebox, South Africa or elsewhere, is to showcase the ‘realness’ factor, “that sets this show aside from anything else on TV,” says Sony Pictures Television’s Sonja Underwood. “Nothing in the show is scripted and this is a fresh format that has never been seen in South Africa. Gogglebox has a strong social element and we encourage viewers to share their thoughts and opinions on what they view on the show.” – Chanelle Ellaya
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Television
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SCREENWRITING
Criminal Minds: the writers’ room By Nompi Vilakazi
An insider’s view on how a procedural writers’ room in Hollywood is run.
“I
n hour-long dramas if the story doesn’t quite add up you forgive it, because you are laughing. In a procedural like Criminal Minds there is no laughter or rich home life to sell the drama. It is all about the case and this is what the audience expects, a mystery that is well told. They are watching the clues very carefully. They love to be fooled and be corrected in a way that is consistent with the clues that they have been shown. This is the elegance of telling a mystery story,” says Breen Frazier, show runner for Criminal Minds. The setting is Quixote Studios in Los Angeles, California. I sit opposite Breen Frazier, show runner of one of the most successful crime dramas on American television, as I try to unravel the mystery of the procedural. This is a rare moment, a result of a serendipitous meeting; I happened to be at Story Expo in LA on a trip sponsored by the Writer’s Guild of South Africa (WGSA) and the Department of Trade and Industry (dti), when a chance meeting with Breen Frazier led to an invitation to visit the Criminal Minds writers’ room. As luck had it, Coal Stove Pictures, for whom I work as a script development executive, saw the benefit of sending me to Los Angeles. The interview unravels slowly like a good mystery. The nuts and bolts of it aren’t so complicated I soon discover – they are really quite straight forward, I daresay. There is a genius and sophistication to achieving simplicity and it all begins in the writers’ room.
Running the room “One of my responsibilities is to ensure that the room is always moving so that production doesn’t catch up with us and that the stories we are telling are good stories,” Frazier says. It’s the usual suspects; story and schedule that are at the heart of the matter. The writers’ schedule begins promptly in June, one month before production starts. “The job of each writer is to come in with three pitches and all those pitches need to be is ‘bad guy’ stuff,” says Breen. There is a method to this, I soon discover. Having writers pitch the antagonist and the world they live in is in sync with 36 | SCREENAFRICA | April 2016
UNRAVELLING LIKE A GOOD MYSTERY: Nompi Vilakazi with Breen Frazier in the Criminal Minds writers’ room
mystery writing simply because knowing who the killer is, is knowing what the case of the particular episode is about. Once all the writers have pitched their ideas and the episodes are assigned, the team begins to brainstorm – a process typically referred to as breaking story in the US. Within the period of a month the first eight episodes have been broken, meaning the room is well ahead of production.
one and act two – are structurally almost always the same if not identical from episode to episode. “Once you get past the profile, then you’ve got to do some dancing as in you’ve got to come up with some really interesting stuff. The content changes but the format really doesn’t,” he adds. This is the formula at work. The writers write to it every time, therefore delivering on the promise of the procedural.
The board and the formula
Research
Once the story is broken the team begins to progress through each story line in the place of the show’s Behavioural Analysis Unit (BAU), mapping the way in which the BAU would decipher the clues and the way that the audience would experience the story. “Once we know what the bad guy is doing, we can fill in how the BAU team works deductively to catch the bad guy,” Breen says. In order to fill out the episode on the board, the writers need to be of one mind. This synergy of thought is created by a procedural formula which, in its structure, has assimilated the world of FBI profiling. In the writers’ room a glossary of common FBI profiling terms is up on a board for ease of reference. Terms such as stressor, trigger, victimology and the different categories of killers are among a few that influence the room’s thinking as the writers fill the board. The organic assimilation of these terms has been the result of research, which includes consultations with Jim Clemente, an actual FBI profiler and a writer on the show. “We have more than ten years of history on the show and you sort of know what it is you need to do in every act and that gives us a road map to follow,” says Breen. He points out that the teaser – act
One might ask if the formula is limiting? Having witnessed the room at work I’m confident to say it is liberating. There is a clear sense of what needs to be done when the room assembles. The art is in finding new ways to tell the same story. One avenue for this is through the scientific theories and research that Criminal Minds explores. “Research is my bread and butter,” Breen says. He draws an example from a Season Ten episode where he explored delusional parasitosis, a hallucination in which affected people believe bugs are crawling under their skin. The challenge in the episode was to bring the scientific idea and theory into the structure of Criminal Minds, creating a connection between the delusion and the killer’s motivation to kill. Finding the link between the killer’s motivation and his delusion created a theory where the killer throws his victims into a bathtub filled with bugs in an effort to convince them that they have bugs under their skin. If the experience with the bathtub fails to convince the victim, the killer kills them. “Once I’d figured this out I knew then what the structure of the criminal’s thinking was and then there was enough to back fill the episode,” explains Breen.
The writer as producer The writers on Criminal Minds produce their own episodes. They are involved during pre-production, which involves processes such as tone meetings with the director and the various departments. They are present for every take on set and when the episode is cut in post. As a result, Breen points out that: “On a 22-episode show one cannot have a team of less than eight writers. If you have a smaller staff than that and you lose writers to production, you don’t have the benefit of their perspective.” The room not only has to come together to break story, they need to give notes on each writer’s episode, outline and the various drafts. There are no script editors similar to those in the South African working processes. The writers read each other’s scripts and then receive and give feedback.
Wrapping up Breen concludes: “Like a clock that is put together just right there is an elegance to a mystery that is uniquely enjoyable for audiences and for writers. Who knows what TV is going to be in ten years. I know eyeballs are leaving the television screen and going to computers. Realistically we are all probably going to be getting our media entertainment through an internet cable. What that will look like I don’t know; there is one thing of which I’m certain and that is that people love mysteries. The mystery in its form has been in place for centuries. I believe even if we are watching tenminute mysteries on YouTube the structure is going to be the same and that is something that I’ve learnt on this show. There is a formula and the formula is valuable.” – Nompi Vilakazi
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TV
BBC Worldwide Showcase 2016
A MAJOR EXPORT: The new Top Gear crew: Matt Le Blanc, Sabine Schmitz, Rory Reid, Chris Harris and Chris Evans
It all started in 1976 in the English seaside town of Brighton, as around 25 international TV content buyers crowded into a pub to watch a handful of (then) premium BBC shows, which the British public broadcaster hoped to sell for distribution outside of its home territory. 40 years later, the BBC Showcase is the largest single-vendor content market in the world, attended by 700 buyers and offering thousands of hours of content of all varieties. This year, Screen Africa was in attendance at the Echo Arena in Liverpool.
T
he BBC is a vast organisation with many divisions and subdivisions. Showcase is the domain of the broadcasting giant’s international distribution arm, BBC Worldwide. According to Grant Welland, executive vice president for Central and Eastern Europe, Middle East and Africa, BBC Worldwide is the largest global distributor of television content aside from the big United States studios. It is a wholly owned subsidiary of the British public service broadcaster, tasked with generating income through the sale of BBC content to international markets. This allows for reinvestment in new content and also alleviates the financial burden on the British TV licence holder. In
38 | SCREENAFRICA | April 2016
the previous year, the BBC netted some £350 million at Showcase. The final takings at this year’s market have yet to be announced but it was projected to grow. In terms of the international market for television content, the BBC is a premium brand strongly in demand even outside of its natural cultural and linguistic context. It produces material that caters to all tastes and that travels remarkably well. While foreign buyers may be putting up a lot of money to acquire the content for their own territories, there appear to be none who feel that this content is not worth the expense. There were 700 of them at this year’s event and that number is expected to increase in future. To give
an indication of the diversity of the buyers, during the course of the Showcase, a number of major deals were announced, including a digital deal with China’s Mango TV and a format licensing agreement for Slovenian broadcaster ProPlus, among many others. The central part of Showcase is the screening facility, at which the buyers have the chance to sample the content first hand, many of them sitting for eight hours a day, watching show after show on about 600 specially provided viewing systems. Alongside the viewings, a range of seminars, masterclasses and presentations are given, highlighting BBC content, interrogating on various themes that the international TV industry
currently deals with, and launching new shows. After business hours, the hosts entertain their clients with a series of special themed soirees enabling networking and the opportunity for the BBC to show off some of its major stars and properties.
Where does Africa fit in? Africa remains an important growth territory for, BBC Worldwide, which opened its regional office in Johannesburg, South Africa at the end of 2014 to deal directly with clients across the region. There are essentially four ways the BBC can do business with its international clients: it can run its branded
TV
| FESTIVALS & MARKETS
Sir David Attenborough with Louis Theroux
channels across regions through partnerships with the local pay-TV platforms; it can license content to other broadcasters to be aired on local channels; it can license formats to various territories, allowing unique local versions of those formats to be produced for domestic markets; or it can engage in the co-production or commissioning of new content. In Africa, Welland explains, the BBC’s business has largely taken the first form – that of branded BBC channels on local platforms. “We run the full sweep of BBC branded channels in Africa. So there’s BBC First, which is a premium drama channel; BBC Lifestyle; BBC Brit, which is a male-skewed entertainment channel; BBC Earth, which is natural history and science; and then CBeebies. So across that sweep of channels, they pick up the lion’s share of our new programming. That is our primary route to market in South Africa and wherever else Multichoice operates across the continent. This is our first window in Africa” he explained. This year, new African content outlets were high on the agenda as video on demand (VOD) platforms rapidly establish themselves across the continent. “What we are finding now is that the
emerging SVOD services that want to compete with Multichoice are very interested in taking a second window and what tends to work in that area is drama, children’s content, documentaries… quite a range. Our business to date has been very much focused on South Africa and reaching Africa through the Multichoice platform. But we are increasingly, now that we have a local presence, meeting with people in Uganda, Kenya and other countries. We are looking to really grow and we are interested to see what they want,” Welland said. Joel Churcher is based in Johannesburg, South Africa, heading up BBC Worldwide’s African office, with all the corporation’s business on the continent falling under his purview. He noted that BBC is eager to capitalise on the new outlets opening up throughout the continent. “First and foremost we are a premium distributor of content, regardless of what kinds of platforms we sell to. Traditionally all our business came from our free-to-air and pay-TV partners. Now we have those plus DTT (digital terrestrial television) plus mobile, plus VOD, and those give us the opportunity to expand our audience base. Our content has tended to be locked in away in a premium, exclusive payTV
environment. So for us it is great that these new technologies are opening pathways for people in middle and lower brackets, people who only have $5 or $10 a month to spend on content, rather than $60 or $80.” What kind of content sells most in Africa? The answer is a complex one, according to David Girow, Head of Sales for Africa. “There has always been a tendency to look at Africa as a single unit – as a country. Well of course it isn’t and you can’t approach it that way. Each country has its own preferences and demands. For example Kenya has a strong liking for documentary content, while, in Uganda, we sold Keeping Up Appearances a few years ago and that, and comedy shows like it, continue to be popular there. In general, our children’s content has resonance across the continent – that is one universal trend we have noticed. Other than that we take it on a country-by-country basis.”
Content franchising An important aspect of business at Showcase is the sale of BBC formats in other territories. Heading up international format sales is Sue Kendrick, who said that the BBC’s current catalogue of
unscripted formats include around 150 titles. At the Showcase, her unit announced a number of new formats up for grabs to international broadcasters looking to make their own versions. These included The Getaway Car, For What It’s Worth and Everybody’s Business. In South Africa, BBC formats still enjoy considerable success, with local versions of Come Dine With Me (actually not an original BBC format but licensed from ITV, although the South African versions were BBC-commissioned) and The Great Bake-Off still drawing audiences. It was recently announced (after Showcase) that the BBC was investing directly in Rapid Blue, the local company that has produced several previous and current South Africa iterations of BBC formats. So this would surely indicate that there is more to come. One of the BBC’s most globally successfully formats – although it has been licensed for domestic versions in only eight countries so far, with international viewers generally seeming to prefer the British original – is Top Gear. Fans around the world – including thousands of car-crazy South Africans – are anxiously anticipating the show’s new look after long-serving presenters Jeremy Clarkson, James May and Richard April 2016 | SCREENAFRICA | 39
FESTIVALS & MARKETS
Hammond bowed out. The relaunch was one of the major events at Showcase, with all five of the new presenters there to make a case for the series’ continued success. Headed by Chris Evans and former Friends star Matt Le Blanc, the new Top Gear crew seemed at pains to emphasise that this is not the first relaunch in the show’s 22-season history and that fans can expect the same formula they have come to know and love – just a little bit different. Fans in the UK and elsewhere remain skeptical, and the news that the three former presenters will soon launch their own show in direct competition – on the Amazon VOD service – will certainly make things interesting. Evans and Top Gear managing director Adam Waddell seemed unfazed by this development. “There’s room for more than one car show,” Evans said.
‘A truthful image of the natural world’ The BBC has well-earned and longstanding reputation for its natural history productions. Although the illustrious history of the BBC Natural History unit is the result of the combined efforts of many talented people, it is still inextricably linked, in the minds of several generations of television viewers, with one man and his unmistakable voice. This one man is, of course, Sir David Attenborough. The legendary broadcaster and naturalist, only a few months away from his 90th birthday, was in attendance at the Showcase to promote two new series’: Planet Earth II and Attenborough and the Giant Dinosaur. Of course, there is more to Attenborough’s career than his work in writing and presenting natural history documentaries. In the 1960s and 70s he was in senior management at the BBC controlling both television channels 40 | SCREENAFRICA | April 2016
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TV
(there were only two in those days) and in the running for the post of directorgeneral. He ultimately left his post in 1973 and, in a few years, had begun work on the series that would set the tone for all future wildlife filmmaking, Life On Earth. “I don’t particularly wish to be remembered as an individual in the future,” Sir David told a small group of journalists from the EMEA region. “What I would like to think is that I have helped this organisation, the BBC, to the best of my ability, to produce a truthful image of the natural world as it is and to introduce people to animals they had never dreamed of, and more important still, to concepts they had never dreamed of. It had never occurred even to naturalists 50 years ago, that we could possibly destroy the environment – it never crossed our minds. Our whole attitude towards the natural world has changed and people are conscious now of all kinds of bizarre animals. It’s a paradox that the human world has never been more divided from the natural world than it is now and yet we know more about the natural world than we ever have. And if it is true that we know more about it than ever, television has been responsible for that.” When the original series of Planet Earth was screened back in 2006, it pioneered the use of HD, revealing gorgeous, never-before-seen details of the natural world and pushing the format into the mainstream. The second series, shot in 4K, is set to do the same for ultra-high definition. Also, much like its predecessor, Planet Earth II offers a definitive, incontrovertible answer to the question that most TV viewers – and probably most natural history documentarians as well – ask themselves all the time: what can there possibly be in the natural world that we haven’t already seen? Sir David presented one scene that had particularly astonished him even after all his years filming wildlife. Involving a high-speed
(and high-stakes) chase on the hot sand of the Galapagos Islands, the scene is dramatic as well as fascinating and offers a glimpse at happenings on this famous location that even the experienced naturalist had no idea about. Wendy Darke, head of the BBC Natural History Unit explained that the production of Planet Earth II took full advantage of the variety of drones and remote cameras, that are currently all the rage, in order to capture these newfound natural ‘secrets’. They also made extensive use of cameras with lowlight capabilities to capture events unfolding in total darkness. Other innovations being developed by the unit are virtual reality and live, digital short form programmes. In August 2015, they broadcast live from the world’s biggest gathering of blue whales, in the Pacific Ocean off Monterey, California. “We were lucky enough to be live on the air, on this boat, and a blue whale came up. It was a magic moment, because we had about five million watching at the time and of course everyone’s talking about it on social media. So our world is changing drastically in terms of the accessibility of our content,” Darke said.
Crime pays The BBC is not only about reality TV and natural history. There was plenty of scripted content on offer at Showcase as well. It was announced during the course of the event that more than 900 hours of crime drama content, including titles like Luther, Sherlock, Ripper Street and Happy Valley, had been sold to broadcasters worldwide. Among these was Multichoice, which picked up a number of titles for its Showmax VOD platform. The BBC had around 70 onscreen and off-screen talents present to promote various series in this genre. Most notable was a master class on screenwriting
partnerships (more on this in a future issue of Screen Africa) that featured Sherlock’s Mark Gatiss and Steven Moffat, SS-GB’s Neal Purvis and Robert Wade; and Jack and Harry Williams, who were presenting the new drama they recently penned – One of Us. Actor Sanjeev Bhaskar, who was at Showcase to promote his new detective series Unforgotten, said of the appeal of crime drama: “Think about fairy tales – they’re all quite dark, aren’t they? Right from when we’re kids we’re drawn to that darkness. But it’s also a vicarious experience. We don’t’ have to deal with those horrible people and events because those characters on the screen are doing it for us. We can explore that darkness from a safe distance. And on top of that there is the attraction of the puzzle, the mystery. It’s curiosity. No matter how dark the story gets, we still want to turn the page and see what happens next. And at least with these stories we know that there will be some kind of an ending, a resolution.” The BBC, much like its American counterparts, has become a major exporter of its home nation’s cultural and aesthetic ideas. Content creators elsewhere in the world, including here in Africa, can currently only aspire to this kind of cross-cultural appeal. Some in Africa even tend to be wary of the continued popularity in our territories of British and, by extension, Western content. But, for the most part, people just want good stories, well told, regardless of their origin. “I think that people perceive British content in a much bigger context than just its cultural background,” Churcher says. “We, as a nation, have a really rich history in storytelling and TV production. What we are trying to do is create strong content that resonates globally and I think people respect that.” – Warren Holden
A guide to revolution Born in Nouakchott (Mauritania), Rama Thiaw came to Senegal aged six and then moved to France because of political pressures. She wanted to be a poet but her mother refused. So she studied Economics, Sociology and Cinema and shot her first documentary in 2009, Boul Fallé. In 2016, she received the FIPRESCI Award and the Caligari Film Prize at the Berlinale for her second feature, The Revolution Won’t Be Televised. She talked to Screen Africa. How long did it take to make this movie? Rama Thiaw: Three years. I got the idea in 2005. In 2008, I told local rap artists Keur Gui that we should make a movie about them, but everyone was busy. In October 2010, I came back from my location scouting in Abidjan for Zion Music (her next documentary, about the political history of reggae music in Africa) and told them that we should shoot in February 2012 (during the Senegalese presidential elections). At the time, they were the only ones to criticise Abdoulaye Wade (former Senegal president) openly and I was sure they will do the same during the campaign. My second argument was that this delay would allow time to write the story and find money. So we shot in January, February and March 2012, then in June and July 2013, then, episodically, between September 2013 and February 2014. I’m used to shooting movies alone but for this one, I needed two cameras to construct shot/ countershots because Thiat and Kilifeu didn’t have the same schedules. What relationship do you have with the Keur Gui? RT: We are friends. The first time I met them, I was taking pictures of singers for a music festival in Dakar’s districts. The Keur Gui were thin, brawny and barechested. They were known for doing ‘bad boy’ postures. I told them they were ugly (she laughs). They answered they were the best: “We are truly politically committed. ”So we start talking about politics, especially with Thiat. It was a friend/artist relationship. My movie proposal was weird for them because they were not mainstream, they came from the underground scene and they were diabolised in Senegal: no one wanted to deal with them. Even though the national hip-hop scene recognised their career, they had no commercial success. When did the Y’en a Marre (We Are Fed Up) movement became famous? RT: We talked in October about the movie and then two months later, they launched Y’en A Marre. The Keur Gui was a collective of 20 people from Kaolack
CAMPAIGN FOR CHANGE: A scene from Boul Fallé with Fadel Barro, an investigative journalist, Denise Sow and Aliou Sané. I moved for one year to Paris to find funding. Even if the Revolution started in 2011, I kept the idea of shooting in 2012. But when I came back to Senegal, I discovered that there were plenty of young TV journalists from US, Europe, Japan – many women – filming roundthe-clock Thiat, Kilifeu and the other members. The Senegalese media was also there. Y’en A Marre (Fed Up) comprises a group of Senegalese rappers and journalists, created in January 2011, to protest ineffective government and register youth to vote and this group was a meeting point between the youth’s gloominess and the Keur Gui fans. The audience believed in this group because they had 17 years of activism in Senegal: they are true; we know them. So they joined the cause. What was the impact of this unexpected fame on your project? RT: For me, it was a shock. It created difficulties during the shooting. I had difficulties with the other members of the group because they were familiar with being filmed by international journalists and I was only there to film the Keur Gui. Thiat and Kilifeu were the stars of the movement so there were conflicts. As they were a collective, decisions must be taken through consensus. They had never-ending debates to decide if I was allowed to shoot. I was the only one who came with authorisations and a script I showed everyone to confirm that I was not doing the same. You must understand
SENEGAL
that in Senegal, a Senegalese is technically illegitimate. No one saw my arrival as a good thing. I was considered less competent than the white journalists. People didn’t really know documentary. So it was extremely difficult. I had to deal alone with a young team, without budget and with technical problems on one side and I had to deal with my friends who became important figures historically and politically and on the other side. They also faced a few attempts on their lives and were completely paranoid. Boul Fallé is a movie about Senegalese traditional wrestlers. The Revolution Won’t Be Televised is a movie about political fighters. What is your interest in struggle? RT: With my next project Zion Music, those three films will form a trilogy about fight and artistic activities. Through the artistic activities – and music that I adore – I trace the political history of people’s everyday struggle. In The Revolution, I wanted to show the backstage, their daily life. Because I’ve always thought that a revolution is not a key moment, when emerge the revolution, from a long, slow and daily process. To only reduce a revolution to a demonstration means reducing a revolution to a symptom. Those movies are a way to leave a trace of our political story for future generations, to talk about modern history. My main question is: what is commitment? We cannot only be committed on stage or in the media. It is through private life that we see if someone is truly committed. I’ve read Karl Marx. But when I learnt he quit his rich position to go on the workers ‘side and create his newspaper with Engels, I thought: “He is coherent, committed.” It is really important for me. There is an extension of what he is through his work. The engagement is not a story of being a left-wing activist, we are all engaged from the moment we believe in what we do. I think there was a conflation in the ’60s and ‘70s, when people believed committed meant left wing. No. There are right wing activists, including extreme right-wing committed persons. Like Yanick Létouneau’s documentary The United States of Africa, your movie shows hip-hop artists as new civil society leaders. RT: I think hip-hop artists became the new leaders of this youth but not only that. New movements like punk in the Middle East or in Cuba are doing the same. Hip-hop became the first music in the world for the youth. So it came back to its orthodoxy, committed hip-hop. The first hip-hop track, ‘Rappers’ Delight’ is well known. The first Jamaican reggae artists joined the electro music created by black people in Detroit, and launched the hip-hop movement. It was a meeting point between Jamaican MCs, talking on tracks and scratching and electro. They
| Documentary
were doing big parties in the ghetto and this is how hip-hop was born. The second movement came through Afrika Bambaataa, Guru… It is a conscious hip-hop, related to the 1970’s Spoken Word movement, of which Gill-Scott Heron took part. Yes, through my movie, I wanted to show to young people how to make their own revolution: through music and artists who build a civil society and obtain a participative democracy. What I also wanted to know was: would these artists remain artists or will they become politicians? Thiat says: “A hip-hop artist must remain a hip-hop artist!” Hip-hop is a wonderful tool but if the singer is not committed, he will definitely end up joining the other border. So hip-hop mobilises people but this is not enough. It depends on who is this mobilising person, and his engagement. This is a personality trait, a persuasiveness to resist to the exposure’s temptation. You mentioned Gill ScottHeron. Why did you choose his song as your movie’s title? RT: Gill Scott Heron passed away in 2011 so I listened again to her song The Revolution Will Not Be Televised. The words touched me. Describing the New York of the 1970s, it remains me exactly what we were living in Dakar with the Keur Gui. Related to media, this song talked about what I wanted to do as a filmmaker. To deconstruct an image of the African black man. A part of the song uses cinema lexical vocabulary to criticise American medias of that time. Many journalists made a documentary about the Y’en A Marre movement because, in one way, this Revolution was broadcast. I also wanted to talk about Revolution because people use to mix ‘Revolution’ and ‘bloody Revolution’. Even if there were 100 dead people during the Senegalese Revolution – that’s too much – this was a pacific revolution. The various media have done huge harm in relation to this. Revolution means changing a system, a system and setting up something else. We have now in Senegal a strong civil society and we opened a new era for participative democracy. The civil society makes a link to the politics: there is a transmission from the ground to the top. What kind of reception do you expect for the movie in Africa? RT: I cross my fingers to find distributors worldwide. We are negotiating with a sale agent. A few film festivals are planned. I hope to make my Senegalese premiere in May. And I hope to be selected at Encounters and Durban International Film Festival because DIFF supported a lot the movie: I was a Talent Campus alumnus, and then I came back as a Hot Docs alumnus. This is highly symbolic. I would also like to start shooting my next project Zion Music in South Africa. Compiled and translated from French by Claire Diao April 2016 | SCREENAFRICA | 41
MediA ASSET MANAGEMENT
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Photo Courtesy University of Southampton
Minding your ones and zeros
ABSOLUTELY NECESSARY TECHNOLOGY: 5D laser writer
Screen Africa’s resident technophile Ian Dormer offers support to all those who have run afoul of the seemingly simple, yet often maddening ins, and outs of asset management – from acquisition to archiving.
M
y name is Ian and I am a… media manager. With a plethora of codecs, quick data transfer for dailies, transcode queues and watch folders, managing media these days has become increasingly tricky and quite often, one feels the need for group support and advice from kinfolk of common suffering. We no longer shoot projects with just one camera. Low-cost B cameras, action cams and slomo cams have added to the gigabytes of data we film on a daily basis. We are producing multiple versions of each project to accommodate different platform types and almost every project is being re-versioned three or four times for the needs of broadcasters.
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While there are a growing number of tools available to make the media management process a whole lot simpler, there are a few components that curators of said media need to deal with… and these are the human (error) component, capacity (limitation) component and technology (failure) component. It’s enough to drive you to drink, but if you follow a simple 3-2-1 backup strategy as a starting point of your own 12-step backup programme, you’ll easily prevent yourself falling off the rails. As the number of video, audio and graphic assets grow, so has the need to organise this content efficiently. Too often, stakeholders have a hard time
Fujifilm LTO 7 tape case
finding the content they need – and when they can find it, it’s often not in the right format, or there are multiple versions with no indication of which is the final one approved for publication. Managing media and the subsequent archiving of it has been discussed at length in previous issues and while there is no definitive ‘best overall system’ out there, we all have our favourites for various reasons. Media management in the entertainment industry is so necessary now that many
universities around the world are offering specialist MBA degrees in digital media management and associated technology management. It doesn’t take a degree to realise that following the basic rules of backing up data in any form, be it newly acquired or media ready for archiving, is essential. Most disasters and media loss occurs through simple human error and not backing up. Media is not safe media unless there are three copies of it. IT professionals have long promoted a 3–2–1 backup strategy for secure, redundant backup of your data, and it certainly applies in the entertainment industry. 3 backups of your data, on 2 types of media, 1 of those off-site. Recent ‘cloud’ developments have introduced exciting options for off-site storage as part of your plan. Companies like Backblaze and Crashplan allow subscribers to store unlimited amounts of data on their servers. It’s a great way to go and covers the ‘2 types of media’ and ‘1 off-site’ parts of your 3-2-1 strategy. There is a downside though; depending on your broadband speed it could be slow to upload to and retrieve – so beware if you need it in a hurry.
Photo Courtesy University of Southampton
| MediA ASSET MANAGEMENT
5D Optical Disk
Media management 101 Media management starts in the acquisition phase. Camera generated metadata adds critical information that can be used further down the line in a number of processes in post production. Silly as it may seem, making sure the camera’s system date and time are correct often proves invaluable when recovering data for a specific shot later down the line. As most RAW formats are not really suited for editing (in general) I always advise people to rename the RAWs per project using a production code (there are numerous software packages around that will do this for you in batches. Adobe Bridge is a good example and is really intuitive and easy to use). Back them up to secondary hard drives and LTO (safe back up) and then transcode the media to your user-friendly in-house codec for post purposes. Don’t use the old ‘Final Cut’ way of naming your clips eg: 09 – Day 2 – Cape town International Airport – sunny morning pan left to right, rubbish audio on channel 2 (yes people do this). Windows does not like this long naming style and most tape back up systems will reject anything too long. This kind of detail should be done in logging within your media asset management programme or your edit software. I have adopted a simple 10 letter/ number code that has to date provided a fool proof method that just works. Using a Random Code Generator (software package) each production is allocated a 4-digit code. For demo purposes I have generated the random code sQR4, which is my production code for a shoot done in the Antarctic recently. There were seven cameras and two audio recorders on the four-day shoot. Each camera and audio device gets a letter of the alphabet
associated to it. The shoot days are also allocated a letter of the alphabet. Each clip is renamed with the Shoot Code (sQR4), Device code (eg Alexa = A) and Day Code (eg Day 2 = B) and then a four-digit number sequence starting at 0001 – resulting in a 10 digit string sQR4 AB0001 (Antarctic, Alexa, Day2, Shot 1)
data evolve. The traditional spinning hard disk drive (HDD) is slowly being edged out of the storage market– at least in terms of capacity. Eight terabyte (TB) drives are in develoment but, judging by the technology forecast, it is possible that 10TB’s might be the limit for HDD. Solid state drives (SSD’s) are increasingly
Table 1 DEVICE CODE
PROJECT CODE
A l ex a C a m
=A
B / m ag i c C i n e m a C a m
=B
S o n y N XC a m
=C
G o P ro 1
=D
G o P ro 2
=E
D ay 1
=A
D ro n e
=F
D ay 2
=B
U n d e r wat e r C a m e ra
=G
D ay 3
=C
Zoom Audio
=H
D ay 4
=D
Ta s c a m A u d i o
=I
The result is that if I need to recover sQR4 FD 2136, I know from my methodology that it was from the Antarctic shoot, Drone camera on Day 4 shot number 2136. This style of naming clips can easily be adapted to edited sequences, output files, finished programmes etc. It is simple but it works and integrates into all MAM software packages where you can log and tag for quick and easy retrieval and track the assets through various stages of production.
Capacity limitations As technology develops new devices and methods of managing data and archiving
P ro j e c t
= sQR4
D AY C O D E
getting faster and more rugged, however there are minor issues with lifecycles and therfore longevity of the product. SSD or flash capacity is due to surpass that of HDD with tests currently being conducted on a 30TB SSD due for release in around 2018. SSD costs are calculated to drop to around US$0.12 per GB by then making solid state a more cost effective, faster and potentially more stable option to spinning disk. Imagine a single 16 bay raid unit housing 480TB of SSD storage! The competition between flash and hard disk-based storage systems will continue to drive developments in both. Flash has the upper hand in performance and benefits
from Moore’s Law improvements in cost per bit, but has increasing limitations in lifecycle and long term reliability. LTO tape is still my preferred choice for more permanent archiving and the launch of LTO 7 has increased both speed and capacity for archiving and retrieval. The LTO product roadmap programme has in fact already included generations 9 and 10. LTO-9 will offer up to 25 TB of native capacity and LTO-10 will offer 48 TB. Transfer rates are expected to increase at a larger rate than previous generations. LTO-9 and LTO-10 will offer transfer rates of 708 MBps and 1,100 MBps, respectively and new magnetic coating technology on the tape itself means the shelf life will be longer. Speaking of longevity, scientists at the University of Southampton have made a major step forward in the development of digital data storage that is capable of surviving for billions of years. Using nanostructured glass, scientists from the University’s Optoelectronics Research Centre (ORC) have developed the recording and retrieval processes of five dimensional (5D) digital data by femtosecond laser writing. The storage allows unprecedented properties including 360 TB/disc data capacity, thermal stability up to 1,000°C and virtually unlimited lifetime at room temperature or 13.8 billion years at 190°C, opening a new era of eternal data archiving. 5D data storage obviously has potential as an archival format for museums and galleries, but the scientists involved believe it could be also be commercialised in the not-too distant future. So the future has been sorted and I am happy – my files are safely transcoded, logged, backed up and archived so I can sit back and relax and I think I’ll have that drink now…cheers! – Ian Dormer April 2016 | SCREENAFRICA | 43
P R OD U CT ION
UPDATES
FOR FURTHER DETAILS VISIT www.screenafrica.com
Those productions in red are newly listed this month Production Updates Order of Information 1. Title 2. Production Company 3. Director 4. Genre
IN PRODUCTION 20 and Free X CON Films Dir: Munier Parker Documentary 50/50 Clive Morris Productions Current Affairs 53 EXTRA M-Net Inhouse Productions Dir: Navan Chetty Magazine A BROTHER’S LOVE 1300 Pictures (Pty) Ltd Dir: Elvis Nkosi Feature A CALENDAR OF EVENTS – MEDUPI & KUSILE Betta Beta Communications Prod: Tommy Doig Documentary A MAN OF HIS OWN PRINCIPALS Sekgopha Productions Prod: Buhle Mofulatsi / Thapelo Hlagala TV movie AQUELLE’ MIDMAR MILE 2015 Media Ventures Prod/Dir: Chris Moolman Documentary AFRICA 360 eNews News Head: Patrick Conroy Current affairs AFRO CAFÉ SEASON 7 Bonngoe Productions Prod: Pepsi Pokane Music ArtsCulturex Talent 1000 Championships Michics Global Communications Exec Prod: Mishack Motshweni Series Auditor General Global Access Creative Agency Dir: Brad Montgomery/Natalie Varoy Corporate BACKBONE PROJECT Global Access Creative Agency Prod: GA Creative Agency Documentary BIG BROTHER MZANSI Endemol South Africa Prod: Terja Beney, Liza Kleitman Reality BINNELAND Stark Films Prod/Dir: Friedrich / Elsje Stark Series BRAVO! Homebrew Films Prod: Jaco Loubser Magazine BONISANANI Grounded Media Talk Show Bugatti Together Lucky Fish Productions Dir: Raphaël Crombez Commercial CAINE’S LEGACY Media Navigation Prod/Dir: Dan Akinlolu Short Film CARTE BLANCHE (INSERTS) Modern Times Prod: Sophia Phirippides News Carte Blanche shorts TIA productions Prod / Dir: Tarryn Lee Crossman News CLAASENS DESIGNS MARKETING VIDEOS Panache Video Productions Prod/Dir: Liesel Eiselen Marketing videos CLASH OF THE CHOIRS Endemol South Africa Prod: Josh Feldman Talent / Reality COOL CATS Red Pepper Pictures Prod: Cecil Berry Children’s Show CORTEX MINING FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video
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COME DINE WITH ME SOUTH AFRICA Rapid Blue Prod: Kee-Leen Irvine Reality CUTTING EDGE SABC News Current Affairs Debra Deel Khaki Productions Prod/Dir: Christelle Parrott, Wynand Dreyer Series DIAMOND BROKER OF CONGO Bendimir Productions PTY LTD Prod: Dede Tshibangu Documentary DIMENSION DATA Global Access Creative Agency Dir: Natalie Varoy Corporate DINNER DIVAS 2 Blonds and a Redhead Filming Prod: Anne Myers Series DISHONEST Inhlakanipho Films Dir: Vusi Nhlapo Feature Film Ditokelo tsa Medupi LMOL Production Dir: Lizzy Moloto Feature DIY MET RIAAN Prod: Riaan Venter-Garforth Magazine EARTH BEAT Tekweni TV Productions Prod: Sandra Herrington Series EASTERN MOSAIC Red Carpet Productions Prod: Saira Essa / Mark Corlett Magazine END GAME Fireworx Media/ Tunc Productions Prod: Bridget Pickering Dir: Akin Omotoso/ Thandie Brewer/ Thabang Moleya Feature EXPRESSO (Season 2) Cardova Prod: Paul van Deventer Series FACE OF GEMINI Footprint Media TV Prod: Cheryl Delport Series Facility Management Lectures (A4FM) Panache Video Productions Dir/ Prod: Liesel Eiselen Educational Faith Today Impact Christian Media Prod: Carl Schultz TV Series FOX NEWS CHANNEL Betta Beta Communications Prod/Dir: Tommy Doig News Free State Toursim Indaba Our Time Productions Dir: Jaun de Meillon Corporate FRENZY Red Pepper Pictures Prod: Morena Sefatsa Variety FRIENDS LIKE THESE Urban Brew Studios Prod: Trishana Singh Game show GENERATIONS Morula Pictures Prod: Mfundi Vundla Series GOOD MORNING AFRICA Planet Image Productions SA Prod/Dir: Wale Akinlabi Magazine GOSPEL GOLD Engage Entertainment Prod: Sthembile Mhlongu Music Got It Global Access Creative Agency Dir: Guy Sclanders Corporate GROEN Homebrew Films Prod: Jaco Loubser Wildlife HEAT WAVE Ruby Rocket Media Dir: Eddie Edwards TV Series HECTIC 99 Okuhle Media Prod: Wilna van Schalkwyk Magazine HITACHI POWER AFRICA MEDUPI AND KUSILE Betta Beta Communications Prod/Dir: Tommy Doig Documentary
HOUSE CALL Urban Brew Studios Prod: Lawrence Molepo Talk Show IGNITE Footprint Media TV Prod: Cheryl Delport Reality IHAWU LE SISWE Provoke Entertainment Dir: Sechaba Morojele TV Series iParent training clips Global Access Creative Agency Dir: Guy Sclanders Corporate IMIZWILILI Ukhamba Productions Prod: Alfred Mpofu Music INKABA Urban Brew Studios Prod: John Kani Telenovela In search of our own Open Window school of film arts Prod: Adriaan De la Rey Documentary ISIDINGO Endemol South Africa Prod: Pumla Hoppa, Leo Phiri Soap JOBURG TAXI Xcut Studios Prod: Dave Kaminer Documentary JOU SHOW Homebrew Films Prod: Jaco Loubser Talkshow comedy KHUMBUL’EKHAYA Urban Brew Studios Prod: Khulile Nxumalo Factual Entertainment KOKKEDOOR 2 Homebrew films Prod: Jaco Loubser and Paul Venter Cooking reality series KOLLIG Homebrew Films Prod: Jaco Loubser Magazine KONA The Directors Team (Pty) Ltd Prod/Dir: Laurence Lurie / Cathy Sykes Series KOOLCON CORPORATE VIDEO FiX Post Production/ Marketing AV Marketing Video LATE NITE NEWS ON E.TV Diprente Productions Prod: Tamsin Andersson Series Light Girls South African Unit White Heron Pictures Prod: Themba Sibeko Documentary LIVE Urban Brew Music LIVE AMP Urban Brew Studios Prod: Sjula Dlamini Music Show LIVE LOTTO SHOW Urban Brew Game Show MAHADI SEASON 2 Urban Brew Studios Prod: Khulile Nxumalo Reality Show Mandela’s Gun DV8 films Dir: John Irvin Feature Marang Estate: Mixed Used Development Nov/ Dec Our Time Productions Dir: Jaun de Meillon Documentary MASHELENG1 LMOL Production Dir: Lizzy Moloto Feature MASHELENG 2 LMOL Production Dir: Jonny Muteba Feature MassTalk Global Access Creative Agency Prod: Brad Montgomery Corporate MATRICS UPLOADED Educational Improvement and Study Help (EISH) Prod: Lisa Blakeway Educational MOTSWAKO Carol Bouwer Productions Prod: Grant Paul Roy Talk Show
U C T INO NU P UP P R O PDR UO CD T IO DDAATT EE SS MCA Training Global Access Creative Agency Dir: Guy Sclanders Corporate M-NET SHORT FILMS Current Affairs Films Prod/ Dir: Jane Thandi Lipman Film MURDER OF A FORMER FIRST LADY Sabido Productions Dir/Prod: Catherine Rice Documentary MUVHANGO Word of Mouth Prod: Pieter Grobbelaar Feature MY GENERATION Current Affairs Films Dir: Jane Lipman TV Series My name is Funeka Sabido Productions Dir/Prod: Catherine Rice Documentary MZANSI INSIDER Bonngoe Productions Prod: Pepsi Pokane Magazine NEILL ANTHONY – THE PRIVATE CHEF Okuhle Media Prod: Grant Flynn Cooking Show NET1 – SASSA Betta Beta Communications Prod: Tommy Doig Corporate NEWS NIGHT eNews Prod: Nikiwe Bikitsha Current Affairs Oscar Pistorius Documentary Inserts TIA Productions Dir/ Prod: Tarryn Crossman Documentary PASELLA Tswelopele Productions Dir: Liani Maasdorp / Werner Hefer Magazine PAWN STARS SOUTH AFRICA Rapid Blue Prod: Kee-Leen Irvine, Ed Worster, Johan Naude and Kat Weatherall Reality PHUNDEKA READING PROGRAMME SummerTime Productions Exec Prod: Phundeka (NGO) Documentary POWER COMBAT ZONE Mixed Motion Entertainment Dir: Dieter Gottert Sport PROJECT MV Zen Crew Prod: Laura Tarling Music Rands with Sense 2 Blonds and a Redhead Filming Prod: Anne Myersin Education RHYTHM CITY Quizzical Pictures Prod: Yula Quinn Soapie RIVONINGO Asi-B Films Prod: Asivhanzi ‘Asi’ Mathaba Children’s Show ROLLING WITH KELLY KHUMALO Red Pepper Prod: Cecil Barry Reality ROOTS Ukhamba Communications Prod: Alfred Mpofu Music SAINT AND FREEDOM FIGHTER Blue Marble Entertainment Dir: Eugene Botha Documentary
SAKEGESPREK MET THEO VORSTER SEASON 5 Dirk Mostert Camera Production Prod/ Dir: Dirk Mostert Series SAUBA IMAGOFILM Prod: Tam de Vries Reality TV Series Shreds and Dreams Penguin Films Prod: Roberta Durrant TV Series SOUTH AFRICAN TOURISM Rapid Blue Prod: Kee-Leen Irvine Global TV Commercial SCANDAL Ochre Moving Pictures Prod: Romano Gorlei Soapie SCHOEMAN BOERDERY – MOOSRIVIER Khaki Productions Prod/Dir: Christelle Parrott / Wynand Dreyer Documentary SELIMATHUNZI Sikhoyana Productions Prod: Baby Joe Correira Variety SHIZ NIZ Red Pepper Pictures Prod: Allen Makhubele Variety SHIFT Urban Brew Studios Prod: Bongani Maphumulo Talk show SISTERHOOD Red Pepper Pictures Prod: Andy Leze Variety SIYAKHOLWA – WE BELIEVE X CON Films Dir: Munier Parker Edutainment Slender Wonder Doctors Conference Grey Cloud Productions Dir: Jacques Brand Prod: Slender Wonder Corporate Video Slender Wonder Patient Testimonial Videos Grey Cloud Productions Dir: Jacques Brand Corporate Videos SOCCER ZONE SABC Sports Head: Sizwe Nzimande Magazine SODA AND Mayoral Awards Global Access Creative Agency Guy Sclanders Corporate SPRINGBOK STORIES Angel Music Studio Productions Dir: Chrissie Rossouw TV Series STUDY MATE Educational Improvement and Study Help (EISH) Exec Prod: Lisa Blakeway Educational SUIDOOSTER Suidooster Films Prod: Colin Howard Soap SUPERSWIMMER Media Ventures Prod/Dir: Chris Moolman TV Series THE CHAT ROOM Eclipse Prod: Thokozani Nkosi Talk Show THE COMMUNIST REPUBLIC OF SOUTH AFRICA Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary
THE JUSTICE FACTOR eNews Prod: Debbie Meyer Current Affairs THE REAL GOBOZA 10 Urban Brew Studios Prod: Sydney Mekgwe Magazine show The Revolution Betrayed Shadow Films Prod/Dir: David Forbes Documentary THE RUDIMENTALS Periphery Films Prod: Simon Taylor Feature THE TECH REPORT Homebrew Films Prod: Jaco Loubser Technology Magazine TOP BILLING Tswelopele Productions Prod: Patience Stevens Magazine TOP TRAVEL (Season 3) Cardova Prod: Bradley van den Berg Series Troopship Tragedy (working title) Sabido Productions Prod/Dir: Marion Edmunds Documentary TSHIPE BORWA MANGANESE MINE Betta Beta Communications Prod / Dir: Tommy Doig Documentary Vaseline Experience Xcut Studios Dir: Lee Anne Theron 4D AV production VELDKINDERS Kilroy Was Here! Productions Prod: Gideon Breytenbach Documentary Series VILLA ROSA Spectro Productions Dir: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit Series Volkspele South Africa Grey Cloud Productions Dir:Jacques Brand Prod: Bertie Brink Documentary WARD 22 TIA Productions Prod/Dir: Tarryn Crossman Documentary WEEKEND AM LIVE SABC News Current Affairs WIZARD OF ZIM Away From Keyboard Dir: Samora Sekhukhune Documentary YILENGELO LAKHO Prod: Nndanganeni Mudau Current Affairs YOTV Urban Brew Studios Prod: Adelaide Joshua Youth show ZOOM IN Footprint Media TV Prod: Cheryl Delport Talk show
IN POST-PRODUCTION A BUSHMAN ODYSSEY Onetime Films Prod: Richard Wicksteed Documentary A DIFFERENT COUNTRY Sabido Productions Dir: Lisa Henry Documentary series
1464 Vragboot Steet Cnr Vooraadskip Streets Laserpark, Honeydew
3787 SA-01-2016 ad* 3/1/16 10:20 PM Page 1
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PRO DU C T I O N UPCOMING EVENTS
|
APRIL 4 – 7 MIPTV
Cannes www.miptv.com
8 – 10 Vancouver South African Film Festival
Canada www.vsaff.org
21 – 23 Bokeh South Africa International Fashion Film Festival
Cape Town www.bokehfestival.co.za
13 – 24 Tribeca Film Festival
New York www.tribecafilm.com
28 – 8 May Hot Docs Canadian International Documentary Film Festival
Toronto www.hotdocs.ca
MAY 11 – 22 Festival de Cannes
France www.festival-cannes.com
12
Screen Africa Golf Day 2016
Johannesburg www.screenafrica.com
Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709
U PD ATES A FATAL ENCOUNTER – THE MARLEEN KONINGS STORY Sabido Productions Prod/Dir: Johann Abrahams Documentary A Love Letter to Luxor Shadow Films Prod/Dir: David Forbes Short Film A MOTHER’S MADNESS Sabido Productions Prod/Dir: Ayesha Ismail Documentary A STOLEN LIFE – THE SASHA LEIGH CROOK STORY Sabido Productions Prod/Dir: Catherine Rice Documentary AFROX CO2 PLANT FC Hamman Films Prod: Odette van Jaarsveld Corporate Video AFROX FINANCIAL RESULTS FC Hamman Films Prod: Odette van Jaarsveld Corporate Video AFROX RAU INSIGHT FC Hamman Films Prod: Odette van Jaarsveld Corporate Video ALL FOR NOTHING – THE LIFE AND DEATH OF BRUNO BRONN Sabido Productions Prod/Dir: Barbara Friedman Documentary BEAUTY CONTEST Phoenix TV Productions Prod/Dir: Koketso Sefanyetso Short Film CAESAREAN COMPLICATIONS SummerTime Productions Exec Prod: Professor Eckhart Buchmann Documentary Challenge SOS 2 Blonds and a Redhead Filming Prod: Anne Myers Reality Collide Media Village Productions Prod: Ardeen Munnik TV Series CROSSBOW KILLER Sabido Productions Prod/Dir: Barbara Friedman Documentary DEBRA DEEL Khaki Productions Prod: Christelle Parrott TV Series DIE WASGOEDLYN Kilroy Was Here! Productions Prod: Gideon Breytenbach TV Series FASHION GURU SA Pro Media & Spider – Co Productions Prod/Dir: Dee Vanzyl Reality FORMIDABELE VROUE: CISSY GOOL Khaki Productions Prod/Dir: Christelle Parrott/ Wynand Dreyer Documentary HAD BETTER DAYS Uniquely Novel Productions Prod/Dir: Deon VD Merwe Feature Film HISTORICAL DOCUMENTARIES: KIMBERLEY: SOUTH AFRICA Spike Productions Prod/Dir: Steve Muller Documentary THE HOCKEY STICK KILLER Sabido Productions Prod/Dir: Melanie Rice Documentary
HOPE NHU Africa Prod: Vyv Simson / Donfrey Meyer Documentary HOUSE OF ENCOURAGEMENT Panache Video Productions Dir/Prod: Liesel Eiselen Corporate I AM…CRAIG Away From Keyboard Dir: Samora Sekhukhune Documentary IQILI Impucuzeko Prod: Sharon Kakora Feature Joyous 18 RM Recording Prod: Lindelani Mkhize Other JULIUS HAS A DREAM Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary KADARA Media Navigation Prod: Dan Akinlolu/ Biola Karonwi TV Drama Kerels wat Kook Penguin Films Prod: Roberta Durrant Reality TV Series KNYSNA West Five Films Prod/ Dir: Maynard Kraak; Andre Velts Feature Film LINCOLN CLAN Total Recall Media Ltd Dir: Adebanjo Oluseyi TV Series THE MIME ARTIST Phoenix TV Productions Prod: Koketso Sefanyetso Short Film MURDER ON MILLIONAIRE’S MILE Sabido Productions Prod/Dir: Barbara Friedman Documentary MY SIGHT FOR SORE EYES Enigma Ace Films Prod/Dir: Ryan Kruger Feature Film NEW LAND Plexus Films/ Four Corners Media Dir: Kyle O’ Donoghue TV Series NIGHT OF THE MASSACRE Tshepo Lesedi Projects, Mathope & Izibuko Films Dir: Charles Khuele Documentary NIGHTCLUB KILLER Sabido Productions Prod/Dir: Nobathembu Stefane Documentary NORTH WEST KILLER Sabido Productions Prod/Dir: Ayesha Ismail Documentary Nyaope Gangsters LMOL Production Dir: Lizzy Moloto Feature PERFECT SHISHEBO Quizzical Pictures Prod: Nthabiseng Mokoena Series PLAY MORE GOLF FC Hamman Films Prod: Odette van Jaarsveld Commercials Pushi- Passion LMOL Production Dir: Lizzy Moloto Series
THE QUIET BOY Sabido Productions Prod/Dir: Charlene Stanley Corporate ROSA 3 Two Oceans Productions Prod: Giselher Venzke & Bertha Spieker TV Feature SAFE BET Sukuma Media Producer: Nokuthula Sakhile Mguni / Bonginhlanhla Ncube Feature Film SAMURAI KILLER Sabido Productions Dir: Catherine Rice Corporate SECRET PAIN #1 Makoya Entertainment Prod/Dir: Prayer Ndlovu TV Drama SHALLOW GRAVE Sabido Productions Prod/Dir: Meggan Raubenheimer Documentary SLENDER WONDER FC Hamman Films Prod: Odette van Jaarsveld Corporate Video SLENDER WONDER MJ LABS FC Hamman Films Prod: Odette van Jaarsveld Corporate Video SWARTWATER Quizzical Pictures Prod: Bianca Isaac Dir: John Trengove/ Jozua Malherbe/ Denny Y Miller Series SUPERDAD Two Oceans Productions Prod: Giselher Venzke & Bertha Spieker TV Feature SURVIVOR Endemol South Africa Prod: Anton Burggraaf, Josh Feldman Reality TELKOM: BUSINESS INSIGHTS WEBSERIES UZI Films Prod/Dir: Steven Hall Corporate TESSA BEETGE – A Life Interrupted Sabido Productions Prod/Dir: Meggan Raubenheimer Documentary The calling LMOL Production Dir: Lizzy Moloto Feature THE CODE BREAKER NHU Africa Prod: Vyv Simson / Donfrey Meyer Documentary THE FAMILY PUZZLE Site et Sons media productions Prod/Dir : Zamo Missie Feature THE LAST GREAT TUSKERS NHU Africa Prod: Vyv Simson / Donfrey Meyer Documentary The Message Reel Edge Studios Dir: David Golden TV Drama Series THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary TOWNSHIP TERROR Sabido Productions Prod/Dir: Melanie Rice Documentary TROOPSHIP TRAGEDY Sabido Productions Prod/Dir: Marion Edmunds Documentary Traffic Penguin Films Prod: Roberta Durrant TV Series UNDER THE MOUNTAIN Plexus Films Prod: Miki Redelinghuys,/ Lauren Groenewald Short film UNSOLVED – THE STORY OF THE CAPE RIPPER Sabido Productions Prod/Dir: Johann Abrahams Documentary VKB LANDBOU BEPERK FC Hamman Films Prod: Odette van Jaarsveld Corporate Video When I Was Water Shadow Films Dir: David Forbes Documentary XJ-1 Eternal Film Productions Prod: Marius Swanepoel/ Dana Pretorius Feature You Deserve It Penguin Films Prod: Roberta Durrant TV Game Show Screen Africa relies on the accuracy of information received and cannot be held responsible for any errors or omissions which may occur. E-mail production updates to: online@screenafrica.com
| Social Photos by Cera-Jane Catton
SAFTAS 2016
Nadine Theron with Max and Susan Guldenphennig
Willie and Ekatarina Botha
Vallery Groenewald and Keith Botha
Angie Boshoff and Chris van Latum
Templer Makwetu and Ntombi Masakazi
Roxanne Joyner and Dieter Coetzee
Callum Hill and Renate Shulz
Mgah Nyembe and Mzwandile Sovendle
Jacqueline and Hein van Zyl
Gerard Feris, Dudu Mphuthi, Charl Timotheus and Terri-Sue Arendorf
Ben and Annetjie Oelsen
Loyiso and Lauren Mkungela
Charlene Brouwer, Niel van Deventer and Julia Rubenstein
Phindi and Sebe Tsotetsi with Zola Nombona
Masego Mmutle and Tebogo Moeng
Neo Wethu and Tessa Twala
Ravi Desai and Dineo Nkwe
Malcolm and Jessica Phillips
David Spielberg and Durand Albertson April 2016 | SCREENAFRICA | 47
Social and Behind the Scenes (continued)
Photos by Cera-Jane Catton
SAFTAS 2016
|
Kobus Prinsloo and Kobus Swart
Justin and Louise Hornsby
Kgopotso Thabane and Didie Makobane
Lucky Sithole and Kopano Gololo
Lindani and Siphelele Ngcobo
Sthandiwe Shabangu, Lala Tuku and Xolile Shabalala
On 24 March 2016 Upstairs Ludus Johannesburg hosted their first birthday party at their offices in Hurlingham. The lumo themed party was attended by colleagues, clients and post production aficionados.
Photos by Cera-Jane Catton
Ludus turns one
Melanie golden, Luaan Hong and Vicky Young
Mody Motholo and Lauren Ash
48 | SCREENAFRICA | April 2016
Ashleigh Oates, Greg Shaw and Marcelle Mouton
Schalk Willem Tron and Shan RobbertseÂ
Jade Bowyer and Mark Ash
Loli Bishop and Di Col
Darren Gordon and Adam Thal
Riordan Allen, Liz Dahl and Gaye Leong
Jacqui Mendelson and Vern Simpson
Gary Willaby, Graham Grier (Screen Africa) and Kaylan SabbadinÂ
G O L F
D A Y
2 0 1 6
The Annual Screen Africa Golf Day will take place on Thursday 12 May 2016 at CMR Golf Club in Maraisburg, Roodepoort.
A cocktail party and prize-giving is held at the CMR Clubhouse following the competition, which provides great networking opportunities. Secure your sponsorship and 4-ball by 12 April 2016. Date:
Thursday 12 May 2016
Venue:
CMR Golf Course
Sponsorship:
Hole 1 – R7 500.00 (ex vat)
Halfway House:
All other holes – R5 750.00 (ex vat) For your own account
Green Fees:
R300.00 per player (inc vat), cocktail snacks and prize giving
Start:
Shotgun Start @ 11:45am
Contact: Ellen Oosthuizen Cell: +27 (0)83 268 6868 Fax: +27 (0)86 670 6809 e-mail: ellen.oosthuizen@pixie.co.za
LIVE PRODUCTION
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VP and GM, Camera Product Group
Founding Member
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