Screen Africa August 2017

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

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VOL 29 – August 2017 R38.00

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| IN THIS ISSUE

11 New Bobtail TVC racks up the views and the tears

19

32

DIRECTOR SPEAK: Rainn Vlietman

Celebrating 50 years of IBC

41

28 DRONES: How this emerging technology is influencing media and entertainment

Presenting yourself as a freelancer

News

ADCETERA

ADVERTORIAL

FESTIVALS & MARKETS

Brendan Gabriel appointed as VP of creative and production

Toya Delazy gets into

Teradek Real-time iOS Monitoring....... 25 Alternative lifestyles

kykNET Silwerskerm Fees

for The Africa Channel................................ 3 Discovery Channel announces Top 10 finalists for its JFF award.............. 4 Sony affirms their commitment to the South African market..................... 4

production with her latest album......... 10 New Bobtail TVC racks up

promises a slew of fresh short films.... 36 Durban FilmMart 2017:

the views and the tears........................... 11 The evolving role of

explored on Counter Culture................... 26

MEDIATECH 2017

technology in marketing.......................... 12 Key advertising trends

DRONES: How this emerging technology is influencing

ZIFF at 20 – at the crossroads.............. 39

through a different lens........................... 38

BUSINESS & LEGISLATION

from Cannes Lions 2017......................... 13

media and entertainment ...................... 28

and Best Actor awards at DIFF 2017...... 6

Shining a light on everyday workers..... 14 Defining intersectional

VIRTUAL REALITY

TECHNOLOGY NEWS

feminism in SA today............................... 16 The Jameson Music Video

at Mediatech 2017.................................... 30

REGULARS

IBC 2017

Mediatech 2017..............................42 – 43

A decade of Rhythm City.......................... 5 Inxeba scoops both Best Director

Telestream’s ScreenFlow 7.0 .................... 8 Dejero demonstrates new connectivity and video transport solutions................... 8 Megahertz to unveil fast responding news gathering truck................................... 8 Lawo adds SIP to RELAY Virtual Radio Mixer Software................... 8 Globecast new Media Manager Platform............................ 9 Formal release of Crystal Vision’s IP gateways....................... 9

Grant spotlights young creatives........... 18 Director Speak: Rainn Vlietman............. 19

FILM Potato Potahto:

Home Affairs: a production-industry partner............... 40 Presenting yourself as a freelancer....... 41

An immersive experience

Celebrating 50 years of IBC................... 32 In conversation with Michael Crimp, CEO, IBC........................ 34

Social

Marketplace................................................ 44 Upcoming Events...................................... 44

Till divorce do us part?........................... 20 Liyana – A Swazi story told through the voices of children............... 22 From the producer’s mouth: Will Nicholson.......................................... 24

Calrec Audio’s Artemis Ray ...................... 9

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From the editor

The Team

The Screen Africa team is still recovering from a jam-packed last two months that saw us attend and cover Mediatech Africa and the Durban International Film Festival (DIFF) and FilmMart. It’s been a whirlwind of tech trends and film premieres as well invaluable discussion about various technological topics and new realities currently facing the industry.

The conversations that defined these events will no doubt continue for months to come.

With that said, we welcome the relatively quiet month of August with open arms. This month we celebrate Women’s Month, and what a time it is to be a woman! We’ve chosen to celebrate – in this issue – by featuring female voices, filmmakers, and women-led productions as much as we could.

Let’s get straight into the issue. In our Adcetra section, explore the evolving role of technology in marketing with Net#work BBDO’s head of Innovation, Sarah Snyman.

In the piece, Snyman argues that “The role of technology in marketing and advertising is no longer to baffle, amaze and dazzle. Technology should be a functional, valuable support, never a driver for your brand message.” Be sure to check out her argument on page 12. Another notable contribution to the section comes from Louise Marsland who presents us with a comprehensive report of the key advertising trends that arose from Cannes Lions 2017.

In our film section, we take a look at the awardwinning production Liyana, where the filmmakers share their 8-year journey with us – from start to finish. On page 20, get inside the making of director Shirley Frimpong-Manso’s Potato Potahto which had its African premiere at the recent DIFF. On the tech front, resident techy Ian Dormer gives us a peak into what awaits attendees to the much-anticipated IBC Show 2017, taking place from 14 to 19 September in Amsterdam. Keep an eye out on the next issue for his post-show report.

We wrap up the issue with a concise and personal recap of the 2017 Durban FilmMart from the point of view of filmmaker Themba Sibeko who attended the Mart this year. From the weather, the parties as well his favourite conference sessions, he lets us in on his most noteworthy aspects of this year’s event.

Until next time!

– Chanelle Ellaya

SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com Editor: Chanelle Ellaya: editor@screenafrica.com Journalists: Gezzy S Sibisi: news@screenafrica.com

Design: Trevor Ou Tim: design@suncirclegroup.com Website Updates: Tina Tserere: tina@sun-circle.co.za Subscriptions: Tina Tserere: tina@sun-circle.co.za Delight Ngwenya: admin@sun-circle.co.za Accounts: Helen Loots: accounts@sun-circle.co.za Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Graham Grier: graham@sun-circle.co.za

Editor 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. 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.

JOURNALISTS Gezzy S Sibisi is a journalist and photographer with experience in print, broadcast and digital media. Her portfolio of work includes working as a lifestyle reporter as well as contributing business and education articles to The Times, Sowetan and Daily Despatch publications. As a freelancer she has worked on content development for corporate newsletters, community newspapers, blogs and educational websites.

Louise Marsland is an editor, journalist and columnist in the media and marketing communications industry in South Africa, who has been writing about the industry for over two decades as a former editor of publications: AdVantage, Marketing Mix and Bizcommunity. com. She currently writes extensively about industry trends and consumer insight.

Lara Preston is a passionately committed marketer and strategist with a focus in promoting African content and events. Two decades of working across Africa have provided her with insights and experience that she puts to work for the projects she manages. In 2006, Lara founded, and still personally manages, Red Flag Content Relations, a full service below-the-line agency that also focuses on African entertainment and lifestyle brand marketing, strategy, and publicity.

David Cornwell lives in Cape Town, where he writes fiction, films and features for a variety of publications. His debut novel, Like It Matters (Umuzi, 2016), has been long-listed for the 2017 Sunday Times Fiction Award.

Ian Dormer was born in Zimbabwe and 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.

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Postal address: PO Box 559, Fourways North, 2086 Editorial Disclaimer The views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Screen Africa or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use. Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable.

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Brendan Gabriel appointed as VP of creative and production for The Africa Channel South African Brendan Gabriel, former head of Creative for Endemol Shine Africa – the largest independent content production company in Africa – has joined The Africa Channel (TAC) as vice president of creative and production.

N

o stranger to the industry, Gabriel has enjoyed a remarkable career thus far in both television and digital platforms across the African continent. After achieving his Bachelor of Arts in Media & Communications, Gabriel took a gap year to travel and as fate would have it, landed a job as a writer and producer of a kid’s radio show in Taiwan – and the rest (as they say) is history! “After two years in Taiwan and travelling through Asia I decided to come back to get serious about my career – I really wanted to be a genius creative director of an advertising agency. I ended up coming back to Durban and working for African Mediums Advertising for two solid years as a creative strategist,” he shares.

Thereafter, a then 27-year-old Gabriel worked as a creative director at FinePoint Productions, an above the line Johannesburg-based agency which ultimately led to him joining Endemol Shine Africa: “My former senior producer, now at Endemol South Africa, had told them about me,” he explains. “Endemol South Africa decided to take a calculated risk by hiring me – this young creative director from the TV commercial world.

With that said, I took equally big a risk in jumping ship into an industry I knew very little about. In fact I didn’t know much about Endemol South Africa until I sat in their reception and realised that these guys were giants in the television content world. When I got the position as key creative I soon realised that I was working for the world leaders in television content development. Endemol was television – the definers of reality television, game shows and scripted content. I realised I wanted to be a part of this industry and most importantly I wanted to make an impact in the world of content.”

In his time at Endemol, Gabriel pitched and realised his first original development ever commissioned Step Up or Step Out, which he cites as one of his career highlights: “I learned about going with gut feeling with this particular project – I knew it was going to be a success as dance and Africa are a match made in heaven. Though I never anticipated that it would out perform its competitors in the most coveted Sunday reality primetime slot. Ever since my break with Step Up or Step Out

it’s just been success after success.”

Today, Gabriel’s impressive portfolio of work includes both scripted and non-scripted production development, including award-winning dramas like Tempy Pushas on SABC1, the reality TV series Reality Check on e.tv, the local format adaptation of Clash of the Choirs South Africa, to pan-African hit adaptations such as Big Brother Africa and Survivor South Africa.

Having enjoyed almost eight successful years at Endemol Shine Africa, Gabriel says that when the opportunity to join The Africa Channel came, he was itching for a new challenge. “It just so happened that I had a meeting with The Africa Channel at DISCOP Africa which turned out to be a discussion about our future collaboration together,” he explains. This discussion resulted in Gabriel’s current role as VP of creative and production for TAC. In his new position Gabriel will be taking up a more executive role on the production and creative front. “I will still have my hands involved in the creative process however I will also delve more into the business strategy of The Africa Channel with particular focus on building TAC studios which is our production and creative development division.”

The Los Angeles-based TAC Studios, launched at DISCOP Johannesburg last year, gives African producers that coveted Hollywood outlet “to realise local ideas on a global scale,” says Gabriel. “My purpose is to constantly engage with local producers and talent with this mandate in mind. I do believe that the next big idea will come out of the developing world and the one thing that Africa really brings to the fore is our passion for creativity and the arts. Our oral history lineage makes us natural story tellers, our innate rhythm makes us born entertainers and our expansive biodiversity creates the ideal stage for untold stories.”

Gabriel says that for him, the key to African producers unlocking international audiences is “thinking out the proverbial box”. He explains: “One really has to think big. If you want to compete on the same level as the writers of Veep and the creators of Big Brother, then you have to start thinking like them. Far

A home-grown success story: Brendan Gabriel

often we have restricted ourselves by conservative broadcasters and nervous commissioning editors who would much rather take a safe editorial approach to content. Now this doesn’t mean ideas need to be expensive and over the top because no one is just going to bet their money on an African producer with the next Jurassic Park idea. I’m particularly referencing creative development by writing characters that are different and that push your reader’s expectation.

Our continent is thriving with inspiration and unimaginable possibilities.”

Despite coming from a previously disadvantaged township, Gabriel says that he never limits himself in anything

he does, and that is partially what he attributes his success to. “I never really saw myself as limited in opportunity. In fact I have always felt that I was given the upper hand by experiencing so many more textures of life in a working class household and community.

Though I believe that the true key to my successes has been driven by my curiosity to discover more and this has in turn resulted in me discovering so much more about myself and my true potential,” he concludes.

– Chanelle Ellaya

August 2017 | SCREENAFRICA | 3

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Discovery Channel announces Top 10 finalists for its JFF award The search for the winner of Discovery Channel’s brand new award category at the sixth annual Jozi Film Festival has heated up. After receiving over 200 entries from across the continent, the channel has announced the Top 10 finalists for the Discovery Channel Don’t Stop Wondering award.

From 31 July and throughout August, each film will be broadcast on Discovery Channel and it will be up to viewers to decide which film should be chosen as the overall winner. Voting closes on 28 August 2017 and each filmmaker stands the chance of winning a cash prize of $5 000 from Discovery Channel to go towards their next filming project.

“While this was Discovery’s first category in the Jozi Film Festival, we were thrilled with the quality and diversity of entries that we received,” says Dilek Doyran, VP of commercial development and country manager for Africa and the Mediterranean. “Our hope was to find films which captured the ethos of curiosity and celebrated the uniqueness that the African continent has to offer, and with films from Namibia, Swaziland, South Africa and Uganda, we are confident the shortlist represents this. We look forward to broadcasting the Top 10 films on Discovery Channel, and showcasing the many different ways of celebrating Africanism.”

In January 2015, the Sony Corporation announced that they would be closing down their local South Africa offices, opting for a distributor-based business model to service the South African market moving forward.

In an interview at Mediatech Africa 2017, managing director of Sony Middle East and Africa (MEA) Rob Sherman, explained the company’s decision to shut down its local office, stating that: “The consumer division – which is by far the larger business – felt that the market in the region was shrinking to a point where the cost of running a full-scale local operation could no longer be justified.”

Sherman opines that while he feels that the company’s decision was the correct move under the circumstances, the manner in which it was communicated created uncertainty regarding Sony Professional’s continued 4 | SCREENAFRICA | August 2017

• Discovery by Manqoba Shongwe from Swaziland We explore every day but neglect to learn. In this film, Shongwe took the time to pay attention to some of the things he saw in his everyday explorations and shares what he gathered.

• Puppetsula by Michael Rodrigues and Shaun James from South Africa Puppetsula follows Jabu, a puppeteer who travels to instill joy in all those that witness his fiery performances of traditional dances.

• Sithaidi: The traditional Xhosa Bead Artist by Caley Kolk from South Africa This film follows Sithaidi’s journey to work every day: a scenic six hour trek in rural Transkei. The story showcases how creativity overcomes seeming

human adversity, old age and a lifelong polio condition, and how creativity ultimately inspires us to live.

• The Ascension by Dieter Du Plessis from South Africa This short documentary follows the journal of a trail runner, with a voice-over that relates life to mountain climbing.

• The Tragedy of Africa by Dusty Van Niekerk from South Africa The Tragedy of Africa looks at Africa’s beauty inside and out, following the sad reality behind the harsh rhino poaching crisis that South Africa faces.

• Mr Ability by Okuyo Joel Atiku Prynce from Uganda This is a story of Simon Peter Lubega, a physically impaired, creative artist who wakes up early every morning and works against all odds on his art pieces to raise money to support himself and his family.

Photo by Nicole Barnes

Sony affirms their commitment to the South African market

The Top 10 films:

Rob Sherman on the Sony stand at Mediatech presence and availability in South Africa, which is a perception that he wishes to challenge moving forward.

“The South African market has always been important to Sony Professional because it is one of the more developed markets in the African region – particularly in the broadcast and AV areas,” Sharman states. As such, while the consumer division has committed themselves to a solely distributorbased business model that is centrally managed from Dubai, Sony Professional has retained certain key personnel in the country to provide customers with on-going support and customer care.

“Sony Professional has not left the country,” Sherman emphatically states.

The MCX-500 multicamera live producer Sony Professional decided to use Mediatech Africa 2017 to showcase the MCX-500 multi-camera live producer. The MCX-500 is an affordable, uniquely userfriendly and flexible production switcher that makes it simple for a single operator or small team to produce a broadcast quality live event. Multiple video inputs include professional 3G-SDI, HDMI, Composite Video, as well as dedicated DSK, which means that you can mix and match kit as needed for each production.

The MCX-500 is ideal for a wide range of live and recorded applications from

• Egg Slap by Pressilla Nanyange from Uganda Egg Slap explores a childhood game, football, but with a twist.

• Sjangalala: The New Era by Siphiwe Phiri from South Africa Sjangalala: The New Era is a documentary about a pastor who is breaking the stereotype surrounding the art of spinning cars.

• Non-People by Wesley Rhode from South Africa This documentary celebrates the trials and tribulations of South Africa’s informal recyclers – people that are over looked and ignored.

• Another Sunny Day by Tim Huebschle from Namibia Another Sunny Day tells the story of how life must be for someone whose skin has no protection from the sun, living in a country that averages over 80 per cent sunshine during any given year. Welcome to Paulus’s life in Namibia.

Voting is open on the Discovery Channel website and closes at 10h00 on 28 August 2017. The winning filmmaker will be flown to Johannesburg to receive their prize at the Jozi Film Festival awards ceremony on 24 September 2017.

music concerts, private functions, educational seminars, corporate presentations, and at houses of worship.

The MCX-500 multi-camera live producer has all the specifications necessary to enable a professional producer to achieve optimal results, however, in the interests of servicing the end user, Sony has developed a mobile application, launched at Mediatech Africa 2017 as a world-first, which makes the technology accessible to a novice user.

“With a 30-second demonstration of the application, you can turn anybody into a switcher expert” Sherman explains.

The nett result is that a user – be it a small to medium enterprise, a large corporation, religious organisation or institution of learning – can produce multi-camera productions that can be streamed live, recorded and or distributed, without needing to hire a professional crew.

“Moving forward, Sony South Africa will be a different company, one that will focus on services and that will be a part of the market rather than just being a supplier to the market.” Sherman concludes.

– Nicole Barnes

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A decade of Rhythm City

The cast of Rhythm City

The vibrant energy of the night intensifies as fun seekers enter the northern suburb’s 011 Club. Up on the club stage singer Bongi Diamond emerges from a smoky entrance, the crowd goes wild with excitement. Back in the township, ladies are getting their hair done at the salon with bubbly stylist Jamaica, as they catch up on the latest entertainment news and listen to their favourite radio station 9-Nine FM; they too will be joining the party scene soon, however in their local Diepkloof club, Kilowatt.

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hythm City brings both worlds together under one roof at Sasani Studios in Highlands North. The week-day soapie is set against the backdrop of the South African music industry with the behind-the-scenes highs and lows taking centre stage.

It was on 9 July 2007 when the show was first introduced on e.tv on a threemonth contract. “It was a time of rapid growth of new companies in the music industry and we thought the universe was rich for exploring the passionate people and relationships that we were witnessing in real life,” says Quizzical Pictures managing director and Rhythm City executive producer, Harriet Gavshon.

Since then the popular soapie has soared and endured to tell some of Mzansi’s most loved tales. This July, the series celebrated a decade on the small screen with an exclusive birthday brunch at Sasani Studios.

At the event, Rhythm City stars

Mduduzi Mabaso (Suffocate), Mpho Molepo (Fats), Jamie Bartlett (David Genaro) and Sethlabi Taunyane (Kop) were honoured for their contribution to the iconic show. A special mention was made of female actress Teboho Khalo (Puleng) who could not make it to the event. The four actors and actress have been with the show since it started ten years ago and were given special recognition and certificates as a token of appreciation.

Apart from the five cast members, 35 production crew members have also been with the show since its inception.

Through the years, writers have come and gone, while others have risen in positions shares Gavshon. “There have been a few head writers – Neil McCarthy who was one of the original creators with Rolie Nikiwe was head writer for some time.”

“Neil McCarthy has just stepped down but he has been replaced by Zeli Zulu Rodgers who has been on the

Quizzical Pictures managing director and Rhythm City executive producer, Harriet Gavshon writing team from the beginning.

Other people like Darryl Bristow Bovey and Craig Freimond who are also on the writing team have been on the show for ten years.”

“Our present creative director Eric Mogale has also been there from the beginning – and started as the floor manager,” she adds.

Rhythm City has won several awards through the years including Best Soap, Best Soap Director and Best Writing Team at the 2016 South Africa Film and TV Awards (SAFTAs).

“Every day one and a half episodes are filmed, one episode is edited, one is final mixed and one is delivered. Five scripts come out a week,” shares Gavshon.

Currently the production is two months ahead with shooting, while the writers are already scripting the festive season storylines. “The show has a mix of serious social issues plus wonderful music, fashion and lots of drama. The team

works hard to keep it fresh and exciting.”

Through the years Rhythm City has incorporated real life musicians into fictional roles, thereby giving a priceless platform to local artists. KB Motsilanyane, Thembi Seete and Kelly Khumalo are just some of the musicians that have tackled issues such as drug abuse, alcoholism, and depression through their roles on the show, reflecting some of the real stories that affect many of our celebrities behind the fame.

In an attempt to further elevate the local creative community, the series has been known to showcase aspiring talents: “Rhythm City was Amo Chidi’s first acting role, although she was known as a singer; Lungile Radu who played Sbu Vilikazi had never acted before although he was a presenter; Dumisani Masilela who plays Sfiso was a professional soccer player and an Idols finalist but had never acted before Rhythm City,” highlights Gavshon.

Apart from the musical scene, the local soapie also has roots in the township where current societal issues are exposed. “The writers and key creatives are all active members of our communities so obviously they are aware of the social issues around us. Quizzical Pictures has a long history in producing social impact drama so we try to be keyed into issues in our society. Once we decide on exploring an issue we will often work with an organisation that is involved in these issues or get researchers working on ideas drawn from actual case studies. We have been known to convene focus groups too,” says Gavshon.

Currently the team is working with a men’s health and empowerment organisation called Brothers 4 Life regarding a rape story told from the viewpoint of a young man. Actress and acting coach Ferry Jele usually helps cast members when they need to portray such emotional and sensitive scenes.

Counselling is also provided to the actors.

Upon reflecting on some of the narratives that have moved her thus far, Gavshon says: “The issues that speak deeply into our society’s challenges are always so compelling; the partner abuse story was chilling and very resonant, the nyaope story was very current and handled extremely well, Mampho’s coming to terms with her HIV positive status was important as well as the many trials that Mapula and Sabelo and the children face living without parents in an informal settlement. But again, in ten years there have been many stories and hopefully many more.”

“We have some truly great storylines coming up. Thank you for all your support, we hope you keep watching us for the next years!” she concludes.

– Gezzy S Sibisi

August 2017 | SCREENAFRICA | 5

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Inxeba scoops both Best Director and Best Actor awards at DIFF 2017 Inxeba (known internationally as The Wound) scooped both the Best Director award for John Trengrove and Best Actor award for Nakhane Touré at the 38th annual Durban International Film Festival which ran from 13 to 23 July 2017.

T

he win was announced at the closing ceremony, held on Saturday, 22 July. This is a latest in the film’s award-winning streak, which has seen it pick up a number of accolades from all around the world.

Inxeba had its African premiere in competition at DIFF, screening at The Playhouse in Durban. The film was in competition against Serpent (South Africa), Le Clair Obscur (Turkey), La Belle et la Meute (Tunisia), El Hombre que Cuida (Dominican Republic), Asinamali (South Africa), Liyana (South Africa), Atanyn Kereezi (Kyrgyzstan), and Basta (Morocco).

Described by Variety magazine as “a milestone in South African cinema,” the film stars musician and novelist Nakhane Touré as Xolani, a lonely factory worker who joins the men of his community in the mountains of the Eastern Cape to initiate a group of teenage boys into manhood. When Kwanda, a defiant initiate from the city discovers his best kept secret, Xolani’s entire existence begins to unravel.

“From the very beginning, the process of making Inxeba was characterised by intense collaboration and risk taking. This film demanded everything from those who came on board,” says director John Trengrove.

“I am so grateful to the incredible cast and crew who put their faith and trust in this journey. This film is a testament to their efforts. I want to dedicate this award to the silent and faceless queers throughout the African continent who face insurmountable obstacles every day in a struggle for identity and dignity”.

Inxeba, which premiered internationally at this year’s Sundance Film Festival and later opened Berlinale Panorama, was a 2014 Durban FilmMart project. The initial pitch enabled the team behind it to obtain funding from a number of international financiers, resulting in a co-production between South Africa,

6 | SCREENAFRICA | August 2017

France, Germany and The Netherlands.

According to a Sundance review, “John Trengove’s hard-edged but beautifully wrought study of clashing Xhosa models of masculinity will be an eye-opener to outsiders — and some South Africans too.”

Inxeba is the first feature from writerdirector John Trengove, and is co-written

by Trengove, Thando Mgqolozana and Malusi Bengu, and produced Urucu Media. The Xhosa initiation ritual which

forms the landscape of the film is also the subject of Inxeba co-writer Mgqolozana’s novel, A Man Who Is Not a Man. “We know that Inxeba will spark strong opinions among local audiences,” says Trengrove. “We encourage this debate and hope that local filmmakers will dare to take greater risks and question the wisdom of existing models in South African cinema.”

Other noteworthy wins for the film include the Best Film Award in the

International New Talent Competition, at the Taipei Film Festival, which ran from 29 June to 15 July. The festival screens 160 films from more than 40 countries to around 100 000 visitors each year and is recognised as the most influential showcase of international cinema in Taiwan.

At Cinema Jove, the Valencia International Film Festival, held in Spain from 23 June to 1 July, the film was awarded the Luna de Valencia prize for Best Feature Film, as well as the Best Actor Award for Nakhane Touré.

At one of the world’s longest-running film festivals, the Sydney Film Festival, held from 7 to 18 June, Inxeba won the Audience Award for Best Feature, with ScreenDaily describing it as “a measured consideration of class, race, self-loathing and self-assertion.”

At the 41st Frameline – San Francisco’s international film festival – held from 15 to 25 June and where 147 films were screened, Inxeba won the First Feature Award.

Shortly before that, it was awarded the prize for Best Feature Film at the 32nd Lovers Film Festival, an LGBTQI festival held in Turin, Italy from 15 to 20 June.

In April, the film received the Jury Prize for Best Narrative at the 19th annual Sarasota Film Festival in Florida, in the US. The festival is known as a world-class platform for thoughtprovoking films from some of the best known and emerging independent filmmakers. At the MOOOV International Film Festival held in March 2017 in Belgium, it garnered a Special Mention.

Inxeba will continue to travel around the world, having been sold to 19 countries for theatrical release thus far, and will be distributed in South Africa by Indigenous Film Distribution. It will open in cinemas nationwide on 2 February 2018.

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Megahertz to unveil fast responding news gathering truck

Telestream’s ScreenFlow 7.0 Telestream has announced ScreenFlow 7.0 – the latest version of the company’s award-winning video editing and screen recording software for the Mac. ScreenFlow’s intuitive design makes it easy for educators, vloggers/bloggers, marketers, online trainers, app developers, gamers or any aspiring video producer to create high quality video content.

ScreenFlow version 7.0 adds a variety of new features that give users more creative options, reduce the often-repetitive nature of video editing, and makes it easier than ever before to export videos.

Additional New Features in V7: • 60fps editing – supports editing at 60 frames per second • Reverse Clip – allows timeline clips to play in reverse • MacBook Touchbar support – displays timeline in touchbar equipped Macs • Waveform progress UI displays background audio rendering status • Enhanced motion blur – Light, medium, heavy blur strengths • Kerning tighten/loosen UI buttons – quick adjustments of kerning in the text inspector • New audio pan/volume control for audio devices • Mp4 performance improvements – easily navigate through large mp4 clips with less delay

Megahertz Lt has announced that a state-of-the-art fast response newsgathering outside broadcast (OB) vehicle will take centre stage at its stand during IBC 2017.

The featured truck is one of 25+ vehicles that Megahertz has delivered to a major broadcaster to replace its entire News fleet. It supports quick, simple and reliable on-location content acquisition, editing and transmission for live broadcast missions. Journalists using the mobile unit can gather content via small handheld cameras or the stored on-board ENG camera, or source it from other news crews in a mix of file formats. Audio and stills can also be gathered via iPhone or iPad and edited and transferred through the van.

The long wheelbase Mercedes Vito Dualiner with auto transmission can accommodate a driver and a passenger, along with an extra 100kg of broadcast equipment. It enables the reporting teams to carry out live broadcast quality video contributions to a variety of destinations, via satellite connectivity.

Lawo adds SIP to RELAY Virtual Radio Mixer Software Lawo’s RELAY Virtual Radio Mixer software has been upgraded with the ability to use SIP streams as on-the-air audio sources, as well as several other enhancements and updates.

RELAY is radio software that enables broadcasters to build “virtual broadcast studios” using today’s inexpensive and powerful desktop and laptop PCs. The RELAY line includes VRX8 8-fader and VRX4 4-fader Virtual Radio Mixer software, VPB Virtual Patch Bay software, and VSC Virtual Sound Card software. All are AES67 compliant for use with standard AoIP networks.

The AES67 networking standard specifies SIP (Session Initiation Protocol) as its connection management for unicast streams, and RELAY v3.0.0.136 gives users the ability to use SIP streams as direct audio sources.

Other additions to this software version include upgraded ASIO audio client handling, enhanced program logging features, and improved integration of the open-source Ember+ protocol for control of studio peripherals.

Dejero demonstrates new connectivity and video transport solutions Dejero will be demonstrating its latest innovations in the field of IP network blending at IBC 2017 and how it can support newsgathering and remote broadcasting as the industry transitions towards IP. Dejero’s EnGo Vehicle Mount Kit with integrated signal booster will be shown at IBC for the first time. The kit enhances the RF performance of the Dejero EnGo mobile transmitter by providing a mounting option inside a newsgathering or production vehicle that connects to roof-mounted high-gain antennas placed for optimal performance. This is of particular interest to news crews broadcasting live while they travel to a location, and where cellular connectivity may be challenging. The kit essentially converts the Dejero EnGo into a rack-mounted encoder found in cellular, satellite, or multi-transmission path vehicles. It can then be quickly disconnected and placed in a backpack, or mounted directly on a camera, to give crews maximum mobility when on the scene of breaking news and live events.

8 | SCREENAFRICA | August 2017

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| TECHNOLOGY NEWS

Calrec Audio’s Artemis Ray The Artemis Ray digital audio console will make its European debut at IBC 2017. Artemis Ray has 456 fully featured input channels — making it more powerful than Artemis Beam. Further, Artemis Ray can handle up to 72 faders, the same as the larger Artemis Shine model.

Via a brand-new fader/monitor panel, Artemis Ray sports a new surface layout that allows more faders in a reduced surface area. The panel — also available on Artemis Light, Beam, and Shine models — is the same width as a standard Artemis fader panel and includes eight full-size faders to give operators even more control and a higher fader density in a smaller footprint.

This configuration saves around 200 millimetres when compared with similar control surfaces.

Artemis Ray provides the same functionality as previous Artemis models, but with more channels and faders in the same footprint. In situations where space is at a premium, like in OB trucks, a high fader density is not only desirable, but essential. With the new chassis and fader/monitor panel, Artemis Ray’s 72-fader layout fits into a mere 2372 millimetres (93.39 inches) of space, delivering more power than ever in such a small footprint.

Globecast new Media Manager Platform At IBC 2017 Globecast launches its new integrated platform that enables its customers to clip, edit and publish high-quality content instantly across multiple outlets. Customers can create video-on-demand files from live streams and syndicate to multiple online services and across social media.

Globecast’s powerful expertise in covering live events enables its customers’ editorial teams to package action highlights during and after an event, then to publish to all screens. Globecast’s intelligent media management system automatically allows content owners to increase viewer/follower engagement, grow their audience and introduce new monetisation models.

Formal release of Crystal Vision’s IP gateways IBC 2017 sees the formal release of Crystal Vision’s future-proof IP gateways, which combine purpose-built video over IP hardware with flexible software-based processing. Ideal for integrating SDI into an IP environment, their useful features including clean switching between flows, sophisticated synchronising (including PTP support), unicast and multicast transmission support, signal status monitoring, IP traffic shaping and up to ten frames of video delay. The gateways initially support the SMPTE 2022-6 and SMPTE 2022-7 protocols and can be easily reconfigured via a software upgrade to support SMPTE 2110 essence-based protocols.

The SDI6-IP-VF encapsulates baseband SDI to IP to allow the transport of uncompressed video over 10GbE IP networks. It converts up to six HD/SD or three 3Gb/s SDI input connections and allows flexible assignment of the converted flows to either of the two output 10GbE links; alternatively the second 10GbE link can be configured for SMPTE 2022-7 redundant streaming. The IP-SDI6-VF de-encapsulates baseband SDI from 10GbE IP networks. It converts to six HD/SD or three 3Gb/s SDI output connections, with flexible assignment of the converted flows from either of the two input 10GbE links; alternatively the second 10GbE link can be configured for SMPTE 2022-7 redundant input streaming. Broadcasters are discovering they have all sorts of new issues to solve using IP, and the unique IP-IP-VF IP to IP translator – which features four bi-directional 10GbE IP network interfaces – is ideal for any applications where network settings need to be changed in some way, such as network address, multicast to unicast and protocol translation.

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www.visioncases.co.za August 2017 | SCREENAFRICA | 9

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Toya Delazy gets into production TECH with her latest album CHECK We were first introduced to Letoya Buthelezi aka Toya Delazy through her upbeat, playful tunes and corresponding colourful personality when she released her debut album Due Drop, under Sony Music Entertainment.

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ince then the Durban-born singer, now London-based, has taken bold steps under her own production company, Delazy Management.

In her upcoming album she gets more involved in the production aspects of her music including producing the video for her latest song No Follow.

“I have always had input when it comes to what I want to portray in my music videos but this time was more hands on than usual I definitely will be doing more of it,” says the star.

“The No Follow concept is about being stuck in a life that you do not want, and you get people that share the same feelings hiding behind masks instead of taking the decision to not follow a path that is not made for them,” she shares.

Delazy encourages people to walk the path that fills them with passion and a zest for life rather than conform to their environments.

In the video the singer features some of her industry friends including South African personality Sade Gilberti, as well as her London pals, rapper Aaron Beezy, aspiring actress Manuela, and her housemate and graphic designer Luca Cassaza. The director of the film Costanza Bongiorni also happens to be a friend of Delazy. The two met by what some would deem a twist of fate and great creative energy.

Bongiorni shares the story of her encounter with Delazy: “We met because we lived in the same building in London. We met for the first time in the elevator actually. As creatives we talked about collaborating and making something together, but

Still from the No Follow music video

there wasn’t a good time until the opportunity of No Follow came along.”

The two creatives later learnt that they also shared a sense of desolation as foreigners abroad. “Like a lot of foreign people living in London, Toya and I suffered the absence of a feeling of warmth, of community; not only because of the weather but because of how hard life and people are here. London is an urban jungle and it feels like people are unhappy. All around you (there are) workaholics – zombies in suits.”

The pair decided to use the despair they felt as inspiration for the No Follow music video concept: “We sat together and I listened to Toya’s input and what she wanted to get out of the video.

There were key words and suggestions.

I took a few days to come back to Toya and Allison with a treatment where I shaped the idea and added my own to it. They liked it and so we went off and did it,” shares Bongiorni.

In the video Delazy is seen tied to a chair in an office-like setting in a dark, secluded area. Masked characters then enter the scene trying to feed her drugs and alcohol, while pricking and intimidating her. Delazy manages to free herself and charges for the masked men and women, with comic strip puns displayed onscreen as she fights and unmasks these characters.

We then see her emerge from the dark, depressing building, standing on a bridge taking in the beauty and calmness of her new surroundings as she is about to set out to the world.

“The idea was to create something that felt a bit Tarantinian (Reservoir Dogsesque) but with less colour. I wanted it to be predominantly blue and to re-create the feeling of cold. On set we noticed we could use the shadows projecting on

the walls a lot and we set up the lights to make the shadows as relevant as proper characters,” explains Bongiorni.

“We had LED lights that we diffused massively to create shadow games: two at each side of the set, and one behind Toya. We attached a stabiliser to one of the cameras; it gave us the chance to have very smooth moving shots, slightly voyeur,” she adds.

Toya – being the singer and lead character in the video – portrays herself, while the masked characters depicting animals, creatures and even Donald Trump are played by her four friends.

“The idea of the masks in the video… the pig, pigeon, dog, Trump (symbolise) ‘the followers’ and Toya (symbolises) the different one, who not only fights the system but also sets these people free by being herself. We are all people after all; we just forgot how it feels to be free,” Bongiorni shares.

The video was shot at the Swordtail Studios in eastern London using the Canon 6D and Sony A7S cameras. Impressively, it took the team one day, from morning to noon, to shoot the entire video.

Additionally, Bongiorni dealt with post-production duties which included editing and colour-correcting.

No Follow was released in early July on Delazy’s Vevo channel on YouTube and has been well-received by her music fans in Africa and abroad. “Everyone loves the way I have balanced out the singing and the rap they say it’s the perfect mix of both,” she shares.

“It’s not just a beautiful music video of me posing; it actually has substance and a message and action. I want it to jolt people into following their intuition and be inspired to make a move towards a life that makes them

No Follow was shot using the Canon 6D and Sony A7S cameras

KEY CREW Director: Costanza Bongiorni Producer: Delazy Entertainment (Latoya Buthelezi and Alisson Chaigneau) D.O.P: Junior Monney – AJ Lamb Editor: Costanza Bongiorni

100 per cent happy,” Delazy adds.

“I think we tried our best and people felt something when watching it – the prison and the liberation – which is a good achievement,” Bongiorni concludes.

– Gezzy S Sibisi

“I want it to jolt people into following their intuition and being inspired to make a move towards a life that makes them 100 per cent happy.” – Toya Delazy 10 | SCREENAFRICA | August 2017

| ADCETERA

New Bobtail TVC racks up the views and the tears South African dog lovers and outdoor enthusiasts took to social media en masse in June to share their love for Journey, a new Bobtail dog food ad about a man’s journey to find himself – with his Staffie.

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n its first week online, the ad racked up over 300k views and more than 2k shares on Facebook alone, where fans hailed it as ‘the best ad ever,’ admitted it brought tears to their eyes and compared it to Jock of the Bushveld.

Egg Films’ Jason Fialkov directed and shot the Mortimer Harvey spot over five days along South Africa’s ridiculously beautiful Wild Coast.

In his treatment, Fialkov recommended shooting handheld with a small crew and natural light on location in the Wild Coast, rather than using multiple Cape Town locations to stitch together a similar look. “It just didn’t feel right,” he says of the Cape Town forests and beaches they considered.

According to Fialkov, the biggest benefit of shooting on the Wild Coast wasn’t even the gorgeous locations.

“There’s something magical that happens when you’re in the wild together,” he says. “In Cape Town, everyone would have been on laptops and cellphones.

When you wrap, everyone goes home.

In the wild, there are no distractions; you’re eating together, you have a drink and talk about the next day, then go to sleep in tents. It was beautiful; an amazing energy. You can never achieve that feeling in Cape Town, and it brought out the best on this job.”

Jason took just an Alexa Mini with a baby zoom, 35mm prime lens, and underwater housing, as well as a focus puller, a PA, a production manager and a producer.

“We were chasing a dog the whole time, so we needed something compact and light,” says Jason. “Benson was amazing, but he’s not a trained dog. He’s a real character, full of life, who just wants to explore and get on with it. So we were actually amazed at the footage we got; the Alexa’s a beautiful little camera.”

Even an Alexa Mini gets heavy when

Bobtail dog food commercial

you’re hiking long distances over rough terrain though. “We had a 4x4 and a combi, but the one day we had to walk 16km. Five kilometres to get to a cave – which we never even used because it felt too picturesque, like something from a South African Tourism campaign – and then we couldn’t turn around.

We didn’t shoot anything all day; I was ready to murder someone,” he laughs.

Fialkov consciously avoided ‘proudly South African big vista shots,” rather keeping the focus on Benson and his co-lead, actor Chris Fisher. “There’s a lot of over-produced work at the moment, that’s over-stylised and over-graded,” says Jason. “My focus was to bring a rawness to the shoot and make it feel real and believable, not overly polished.

People are touched by authenticity, by stuff that’s raw and honest.”

Andy Rice named the spot a ‘Hero’ on The Money Show on 702, while Publicis Machine’s group creative

director Brendan Hoffman gave it a Special Mention on ididtht’s SA Film Reel for its “incredible” camera work and “subtle” storytelling.

The buzz extended beyond the trades too: 2OceansVibe called it “a wonderful, heart-warming advert,” adding, “It’s awfully sad it’s only 45 seconds,” while Channel24 said the ad “tugs at the heartstrings and makes us feel all warm and fuzzy inside. No, we’re not crying. It’s just raining on our face.”

International media were just as impressed, with the spot featured on Adforum’s Top 5: Best of the Week and Shoot’s The Best Work You May Never See, not to mention Ads Of The World, Adland, and BestAdsOnTV, among others.

Fialkov thanks everyone who made the job such a success, especially his “incredible” lead actor Chris Fisher; Mortimer Harvey’s Christopher Potter and Karolin Steenkamp; RCL Foods’ Aamina

Shaik and Geran Moodliar; and Benson the Staffie, who he says deserves “a gigantic shout out and head rub.”

– Kevin Kriedemann

TECH CHECK EQUIPMENT • Camera: ARRI Alexa Mini

“We were chasing a dog the whole time, so we needed something compact and light… we were actually amazed at the footage we got; the Alexa’s a beautiful little camera.”

– Director Jason Fialkov

August 2017 | SCREENAFRICA | 11

ADCETERA | OPINION

The evolving role of technology in marketing Technology – whether it’s a home assistant device, a VR headset, or intelligence hiding inside your hairbrush – is no longer this big scary ‘other’ world to marketers. It’s inside your home, in your hand, in your car, and constantly engaged in everything you do. Savvy marketers have realised that it’s no longer about digital marketing; it’s about marketing in a digital age.

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arah Snyman, head of Innovation at Net#work BBDO, says that just a few months ago, the industry was keeping up with ‘how social media has changed everything’. But, she says, that message is already old and uninteresting: “The role of technology in marketing and advertising is no longer to baffle, amaze and dazzle. Technology should be a functional, valuable support, never a driver for your brand message.”

Snyman says that early forays into the optimisation and performance marketing space were exciting in that it was finally possible to serve a target-appropriate banner ad to someone who was in the research phase of a car purchase funnel after they had engaged with a competitor model, for example. “But then everyone learnt how to do it…”

“The industry is full of clutter and half-hearted attempts at understanding a consumer journey. But many people are wearing banner ad blinkers and installing ad blockers to get away from your ‘cleverly retargeted banner set’,” says Snyman.

“Marketers need to move away from the desire to infiltrate every single possible platform and journey, and rather focus on how and when the message will be valuable to the consumer, while fitting seamlessly into their experience, remembering at all times that this consumer is a human, not a digit it a data set.”

So, if all of that’s in the past, what’s the ‘next big tech thing’?

“Voice is the new video,” asserts Snyman.

“Advertisers are understanding the power of the human voice. The accuracy of voice recognition has hit 95 per cent, which is the same as the peak of human understanding in everyday life. There are even devices in the making that view voice as a form of intellectual property; something that needs its own form of privacy.”

And after that comes real-world engagement via mixed reality technology – a merging of virtual and augmented elements that technology is finally mature and advanced enough to explore, exploit and find real-world value for. But again, says Snyman, this doesn’t mean that marketers should deliver mixed reality engagements for every single campaign just because they can. “This is an opportunity to provide more ease of use for consumers, but for appropriate brands and services. The experience must be valuable.”

Snyman says that the industry needs to acknowledge the space where their marketing message isn’t wanted before they can offer a seamless journey. “Finding our place is vital to our continuing existence. If we don’t establish a usefulness, we’ll never win against the ad-blocking, banner-hating cynical user.”

Further, Snyman asserts that, in

order to compete, agencies need to ensure that they’re competent with the latest developments and able to execute interesting creative, regardless of the platform.

“Net#work BBDO relies on strategic decisions and big idea thinking. And, unless our big idea translates into a specific platform or device, we won’t explore and develop something just to be the first to market. Just because there’s a cool piece of tech, or a new platform that people are adopting, it doesn’t mean that it’s the next big thing for your brand. Not every brand needs an app. Not every campaign will work with a Facebook bot. Not every execution would deliver better results if served in HTML5.”

Snyman also advocates a multi-skilled in-house team that leaves the way open for hand-picking the right skills when needed, and switching suppliers when the demands and technology on offer change.

Bringing it home, Snyman says that South Africa has many interesting nuances when it comes to the landscape that marketers are playing in, which has resulted in development of specific technology, that’s born out of necessity. “Similar to the creation and success of MPesa in the Kenyan market, SA’s reliance on mobile and the mass market behaviour has brought with it a new set of challenges which help us come up with a whole new set of solutions that are specific to our audience and world-class in execution.”

“Essentially its African solutions for African problems; we recently built a solution for Tusker off the USSD platform, and provided state of the art VR technology for Mercedes-Benz while building a Facebook based ChatBot for the same brand.

An array of technologies each appropriate at that specific moment in time.”

But, Snyman says that the world-class work being produced locally generally isn’t the latest premium brand campaign: “It’s more often than not the smaller piece. The one with almost no budget.

The one where we have to not only solve a business issue, we also have to overcome a real-world problem.”

Net#work BBDO’s award-winning Vagina Varsity campaign saw this ‘society-solve’ come to the forefront of the work. They didn’t build an app, they didn’t set up a bot, and they didn’t film anything in 360. Instead, they ran an email campaign with video support (low-res for low data usage), built a simple, mobile-first website, and ran a Facebook campaign that spoke to the audience in a space where they were already talking.

“We didn’t change the face of technology, but we did use the tech landscape of our consumer to supply useful information, on their terms, at their convenience. And that is, what I believe, world-class work,” concludes Snyman.

Sarah Snyman, head of Innovation at Net#work BBDO 12 | SCREENAFRICA | August 2017

Key advertising trends from Cannes Lions 2017

| ADCETERA

Written by Louise Marsland

Artificial intelligence is currently the dominant industry trend and research presented at the 64th International Festival of Creativity (17 to 24 June 2017), has revealed that companies which are consistently creative have better business performance.

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ndustry veteran, Ann Nurock, a former CEO of Grey South Africa and president/CEO of Grey Canada, now the Africa Partner of Relationship Audits and Management, a global consultancy specialising in the measurement, risk mitigation and optimisation of B2B relationships, attended Cannes and reported back on the key trends in a presentation sponsored by Bizcommunity.com and Ster Kinekor/Cinemark.

At the presentation, Nurock was joined by creative directors who attended Cannes or were also judges, in curating the key advertising communications trends apparent at Cannes from the award winning work; as well as the high profile talks by business leaders and celebrities like David Droga, chairman of Droga5; David Remnick, editor of the New Yorker; actress Helen Mirren; Facebook COO Sheryl Sandberg; and punk rock activists, Pussy Riot.

Joining Nurock in Cape Town in analysing the trends from Cannes, were: design juror Jenny Ehlers, ECD, King James Group; mobile juror Camilla Clerke, creative director, Hellocomputer; promo & activation juror Michael Lees-Rolfe, creative director, FoxP2; and Ryan McManus, ECD, Native VML, who attended Cannes.

Fearless Girl statue which has faced down the Wall Street Bull, as part of a campaign by State Street Global Investors to encourage investors to invest in companies which empowered women, has since become a global symbol of women empowerment.

making a meaningful contribution to something other than themselves.

7. Stop making ads: McManus said brands need to start existing in the content people want to watch. And creatives need to create cultural capital on behalf of brands. He quoted David Droga telling the audience to care about what they were doing and ask themselves the question: ‘if they would do it if it was their money?’ Advertising is not the goal, advertising needs to open people up to new ideas and connect brands to people, McManus said.

3. Clients want more craft: Nurock quoted P&G CMO, Marc Pritchard, who said the industry needs to produce “Less crap, more craft”.

Clients want better content, more measurement of digital and for ad agencies to eliminate waste and focus on growth and innovation.

Insights are key and both clients and agencies need to focus on the users, the consumer, at all times.

And clients need to talk to agencies and treat them like partners.

8. Storytellers will unlock the value of technology: McManus urged the industry to overcome the disconnect between platforms and people, saying that the success of technology and the platforms is in the hands of the storytellers. All the platforms we now consume are just vehicles for the stories that we have been telling all along. “Stop interrupting and start adding value as much as we can as marketers… and start thinking about what we are adding to the world.”

4. Embrace diversity, kill gender stereotypes: Gender stereotyping adverts have effectively been banned from Cannes from this year, after a powerful movement, the #unstereotypealliance, was introduced at Cannes last year.

Unstereotypical ads have also been shown to be 25 per cent more effective, reported Nurock. The Nike campaign You’re Made of What You Do, won gold this year in showing how not to stereotype young girls.

9. Mobile is misunderstood: Clerke added that we are living in a mobilecentric world, but the story still sits in the centre. “It is how you build on that story… Make sure mobile is at the heart of the idea. Mobile needs to be the vehicle to share the story. Mobile has the potential to connect people in an intimate way.”

Ann Nurock

Top trends 1. Artificial intelligence (AI) dominated the conversation: Nurock said AI came up in all the specialist and celebrity talks at Cannes this year.

The suite of technologies such as Siri, Alexa, Google Home, bots… these invisible deep learning machines powered by AI, have the ability to take over the cognitive tasks which used to require human intelligence and will change the world like the internet did, reported Nurock. “It will radically change the nature of marketing and communications,” she predicted. The implications for creatives is that they have to partner with technology.

2. Brand purpose is more important than ever: Advertising can change societal norms, people and often save lives, Nurock said, quoting Unilever, which says “Purpose leads to purchase”. Nurock added: “Millennials in particular need to see brands as having a purpose, and going beyond functional purpose. For brands to break through the clutter is to get people to care about them.” She referenced an example of Unilever’s Savlon campaign in India which won gold at Cannes this year, where special chalk sticks infused with soap were created and distributed to schools in India, where children still use chalk boards and chalk to write with in the classroom. There is a lack of soap and mainly water is used to rinse hands before eating. In this case, the chalk turned to soap when children put their hands in water.

The campaign was so successful it has been rolled out to more than a million children in India. Ehlers said much of the winning work at Cannes this year addressed a social issue and that it was wonderful to see brands

5. Be a more effective client: Agencies are also looking to clients to have a deep understanding of their own brands: understand their differences in the market and know their own value, in order to create tight briefs. Nurock said it emerged that the biggest issue that agencies have is the quality of the briefs they get from clients. Another is that clients are risk-adverse. “The biggest risk of all is not taking risks…

Don’t be a client, be a partner.”

6. It’s still all about the big idea: Rapidly evolving technology is putting pressure on agencies, but they still need the big idea, Nurock said. The

Nurock also reported on industry laments about how expensive Cannes has become – from ticket prices for the priceless talks (R45 000 for a delegate pass) to entries (R10 000 each entry), which is what prompted one of the world’s largest agency networks, Publicis, to pull out of all global and local awards for a year. Locally, this affects Saatchi and Leo Burnett.

But, as she emphasised, it is the only festival that brings together the communications agencies from around the world, with the companies that are shaping our future: Google, Facebook, Alibaba, and so on.

“The work that wins the Grand Prix is as much about culture, as advertising,” Nurock emphasised.

August 2017 | SCREENAFRICA | 13

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Shining a light on everyday workers

When the morning breaks, the city is gleaming with pride and alive with possibilities as a result of the men and women who continue to nurture it tirelessly, in its dark hours.

Still from the Metropolitan commercial

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dward Molefe, a hardworking taxi driver and family man taking care of his family of six; and Miles Maja, a determined young man who works as a security guard and is also completing his degree in business management are just some of the real characters featured in the latest commercial for Metropolitan.

“The idea behind the campaign was to shift the focus off Metropolitan and onto its customers, with the message: We see you. We’re for you,” explains director Sunu Gonera.

“My treatment focused on introducing these diverse characters to the world in a heroic and cinematic way – irrespective of their trade or profession. I loved filming real people – taxi drivers, security guards and shopkeepers as though they were the stars of a feature film.

It’s how they deserve to be seen.”

Coincidently Gonera happens to share some of the same sentiments as the characters he shot for the commercial, that was until Ogilvy & Mather gave him his first break.

“I have a long history with Ogilvy. I owe a lot to them; they were the first agency to take a chance on me. I did my first commercial for them – a freebie for the Sports Trust – that went on to win a bunch of awards and opened a lot of doors for me,” he shares.

Gonera also recently shot a KFC and a Castle Lager advert for the agency. The Metropolitan ad is his

latest work for Ogilvy and features musician, Spoek Mathambo, who plays the narrator of the story.

“Spoek was the perfect spokesperson for this film. His acclaimed documentary Future Sound of Mzansi saw him traveling the country in search of raw talent within our electronic music scene, so we knew that giving credit where it’s due came naturally to him,” says Gonera.

The spot follows musical pioneer Spoek Mathambo around Johannesburg between midnight and the early hours of the morning, as he acknowledges real people for what they’re already doing to make everyday a success.

“Spoek acts as our guide and allows us to steer away from the typical vignette formula,” Gonera explains.

Besides shying away from classic insurance scripts, one can’t help but notice the rich African elements that we have come to know from Gonera’s recent works which include the awardwinning One Source music video with Kuli Chana for Absolut with Native VML. “I’m wary of the idea of having a ‘trademark’ in my work; I believe the concept should always dictate the style of the commercial. So I always start with the brand and the idea behind the board, and then come up with a treatment that suits those.” “(With) that said, I have enjoyed exploring an unapologetically African aesthetic in my recent work.

There’s so much beauty here that’s been underexposed globally, so I’m passionate about using our own lives as our primary reference point, rather than trying to imitate Hollywood or anywhere else,” Gonera adds.

Gonera confirms that it is through his work on One Source that he landed this project. “I feel like I found my voice on One Source and Metropolitan was a brief that allowed me to continue to push that kind of Afrocentric aesthetic,” he says.

As a financial service provider, Metropolitan puts commendable effort in trying to get into the minds, hearts and financial situations of their everyday client, as they push forward with the brand’s essence in amplifying African success.

“Sharing success is a very South African concept. So many of our everyday heroes originate from tiny towns, small suburbs and townships, and return to their roots to share their success, because they know that they are who they are because of the people around them. I hope the ad will help people see themselves as the heroes of their own stories and will help people realise there are no small parts in life – we all have an important role to play in making South Africa a success.”

The spot was shot in the heart of Johannesburg; perfectly positioned at the economic hub of the country also

“We wanted to bring to light what’s done in the dark – giving praise to those who might think they aren’t being seen.” – Sunu Gonera 14 | SCREENAFRICA | August 2017

known as the city of golden opportunities and where some of the characters work and trade for a better living.

Shot on the Alexa Mini with anamorphic lenses, Gonera says that the camera was predominantly handheld to keep the feel organic, with a drone used on a couple of scenes to give scale.

Shooting took place at night with two lighting teams set for the task ahead – one with camera and the other pre-lighting. Lighting was also kept simple in order to focus the attention on the main characters in the spot. “We largely used single source lighting to highlight the idea that our characters mostly work in isolation during the dark hours of the night.”

“We wanted to bring to light what’s done in the dark – giving praise to those who might think they aren’t being seen,” Gonera shares.

Nic Apostoli from Comfort & Fame did the grading; while the Deliverance Post team had Ricky Boyd on edit and David Oosthuizen handling online work.

Since the ad has started airing, it has received a positive response and also been featured on Shots.net, an international platform that showcases the most creative commercials, music videos, short films and animation from all over the globe. “It was also great to be featured on Shots, somewhere we look for inspiration and which doesn’t feature many South African ads,” concludes Gonera.

– Gezzy S Sibisi

TECH CHECK EQUIPMENT • Camera: Alexa Mini and a drone

“The camera was predominantly handheld to keep the feel organic, with a drone used on a couple of scenes to give scale.”

CONFERENCE & AWARDS 9 nov 2017 the maslow sandton

ENTER THE 2017 AWARDS NOW Deadline 25th August Gold

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Any Questions? Email vanessa@promaxasia.tv

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Defining intersectional feminism in SA today

Blaq Beauty

Womxn We

The advocacy of women’s rights and the challenges women face in African society take centre stage in Jabulile Nadia Newman’s work.

The writer and director of the 70’s inspired semi-autographical web series, The Foxy Five is being celebrated

by Smirnoff as part of its Change Makers campaign.

16 | SCREENAFRICA | August 2017

A

ccording to Smirnoff marketing manager Kyle Lesch, the idea for the Smirnoff campaign – which kicked off in June 2017 – stemmed from the brand’s purpose to drive a more inclusive world.

“We were looking for individuals and/ or collectives who not only share similar beliefs but also are actively driving an inclusive society within their sphere of influence and communities. Our search was not only limited to South Africa but also at a global level. We worked with our partners and we settled on three ‘change makers’, namely DJ Jeffrey Jewell, Lukhanyo Mdingi and Jabulile Newman,” shares Lesch.

DJ Jeffrey is an international deejay with albinism, who uses his platform to highlight that music has no colour and encourages open-mindedness in those around him; while Mdingi is a fashion designer with his label ATIFY (Africa This IS For You) celebrating African aesthetics and heritage in its designs.

Newman, who is the first and only local female ‘change maker’, uses her lens as a photographer and

Prolly Plebs

filmmaker to educate audiences about intersectional feminism in South Africa’s post-apartheid landscape.

“It (the series) was made for and by South African women of colour but also speaks to the diaspora and any women struggles around the world. It’s an honest and authentic representation of what women are speaking about and thinking about now and I just hope to make other women of colour proud. I want the impact to be spreading information, authentic stories as well as to inspire other women of colour to work in the film industry and take ownership for their stories and creativity,” shares Newman on her first web series and break-out project.

The former political student from the University of Cape Town (UCT) took part in the #FeesMustFall movement where she met other inspiring, defiant women and was introduced to intersectional feminism – which focuses

on how women of different colour, classes and sexuality have multiple identities that influence the degree to which they experience oppression.

To better explain and explore this concept Newman decided to put her degree on hold and began to conceptualise on how to educate others regarding her findings. “The Foxy Five concept came about in 2015 during the first #FeesMustFall protests. I was so inspired by the women student-led movement that I started writing a script that wanted to tell the stories of what black women are experiencing today and what we’re discussing,” says Newman.

The young artist scripted a 15 minute six-part web series with the help of other female writers.

The series explores the issues of intersectionality through five female characters: Qiniso van Damme (Prolly Plebs) tackles classism, Tatenda Wekwa Tenzi (Blaq Beauty) challenges racism; Qondiswa James (Femme Fatale) exudes sexuality and confronts issues of transmisogyny;

| ADCETERA “We were looking for individuals and/or collectives who not only share similar beliefs but also are actively driving an inclusive society within their sphere of influence and communities.” – Kyle Lesch

TECH CHECK EQUIPMENT • Camera: Sony A7S

The Foxy Five web series was shot using Sony a7S cameras

Smirnoff Change Maker Jabulile Nadia Newman

Femme Fatale

Nala Xaba (Womxn We) inspires debates on gender roles, while Duduza Mchunu (Unity Bond) is the group leader and unifies all these issues together.

“I want each character to be relatable to every women whereby you could feel like Prolly one day and then by the next day relate more to Femme. It would have been impossible to only have one character to explain all the nuances and issues that one woman of colour goes through on the daily so I created five to try and explain what it’s like to be a sole woman in South Africa today,” shares Newman.

Being a feminist at heart and staying true to her struggle, Newman also recruited a predominantly female production crew. “The production team is made up mainly of women of colour and involves recent film graduates as well as artists, musicians, actors and academics,” she adds.

The series was initially shot on the Blackmagic Design Cinema camera but

Unity Bond

the crew later decided to use Sony a7S cameras. “We mainly used the Sony A7s because we had access to those and three people in our crew had those camera and lenses.”

Post-production was sponsored by the Visual Content Gang Production and was done by Sisanda Msimango. The series also features animation work by Staurt Kets and some editing by Chris Kets.

The first episode was released in June 2016 and celebrated over 10 000 views.

Presenting a catchy 70’s aesthetic and theme song; we are introduced to the fashionable, bubbly, social conscious and diverse women identities.

“The Foxy Five is about five women who are best friends and who are just trying to navigate their way through a patriarchal society. They decide to try start fighting structural oppression on

the streets but find that often internal issues or personal strife gets in the way of their initial plans to save the world. Each character represents a different struggle and oppression in society as well as plays on the stereotypes on how society would portray feminists,” explains Newman.

The characters display these issues in a conversational, witty and educational format with dialogue that is appealing and comprehensible to the educated, open-minded youth of today.

“I use a lot of humour in The Foxy Five and try to make it as stylised as possible, using different techniques and motifs to challenge the audience. This was essentially my student film and I wanted to experiment a lot. Trying out as many different styles as possible and playing around is a good way to engage with your audience,” Newman shares.

The crew were able to successfully shoot and deliver Episode 1 to 3 but found themselves struggling financially to carry on shooting the remaining three episodes. They then set out to request funding from the public through crowd-funding platform Thundafund.

This resulted in successful feedback

and led to The Foxy Five series being able to shoot Episode 4 and 5, while the finale was supported by the Smirnoff campaign, which continued to assist Newman’s cause, bringing the series to more audiences using different platforms.

Smirnoff’s Lesch confirms: “We are using our platforms to broadcast their message and providing financial support to assist in their respective projects.”

“The reception has been amazing and interesting,” shares Newman. “My next step is to push it overseas and see what an international audience thinks as well as try and get it into rural areas in South Africa where this type of media is needed,” she concludes.

All episodes of the web series can be found on the YouTube channel, The Foxy Five TV. – Gezzy S Sibisi

August 2017 | SCREENAFRICA | 17

ADCETERA

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The Jameson Music Video Grant spotlights young creatives Written by Robyn David

Over the last 30 years; directors, producers and artists alike have established music videos as an invigorating and captivating art form.

T

here is no denying that music and film are uniquely intertwined, an affinity that few other creative mediums share. So it is almost unsurprising that music videos have grown to be one of the most pervasive and influential art forms of recent times; allowing directors to offer musicians an artistically stimulating visual to their work, whilst providing us – the viewers – with a unique impression of the composition. Music videos have shaped popular culture. They have captured our attention be it with fashion statements, dance moves, taboo subjects or a unique story or cultural insight; many of them visual masterpieces that leave an important message behind. And with the ‘smartphone generation’ and their consumption of social media, apps, and digital platforms; music videos arguably are more important than ever.

But it is not often that young creatives get a break to voice their unique opinion; which is one of the many reasons why Jameson introduced the Jameson Music Video Grant in 2016, and earlier this year they searched for a director with a fearlessly authentic music video concept.

“As a brand we are constantly inspired by the creative depth of young South African filmmakers, something we continually share on the Jameson INDIE Channel. And in order to get more meaningfully involved with the film and music community, we introduced the Jameson Music Video Grant to provide not only funding but a platform to launch a music video for a director who is brave enough to do things differently. The trick was each director who submitted a treatment needed to first find a musical collaborator and secure a track to use.

The track had to be South African, with no existing video, and have been recorded within the last six months of the submission period,” explains Nicole Hewitt, brand manager for Jameson.

Over 550 entries were received, and after clawing their way through them

18 | SCREENAFRICA | August 2017

Portrait illustrated by Karabo Poppy Moletsane for the Jameson INDIE Channel

“There is no denying that music and film are uniquely intertwined, an affinity that few other creative mediums share.” with a judging panel of industry experts and meeting with the Top 10 for their treatment presentations; Carl Houston Mc Millan, was ultimately selected as the winner, winning R200K to shoot a music video for Impepho by Trap Funk & Alivio featuring Morena Leraba & ManKind.

Impepho is a powerful high-energy track with lyrics fusing slang phrases in Sotho, Pedi, Tswana and Zulu. The song was created through inter-continental collaboration with Trap Funk & Alivio a DJ from Salvador, Brazil. Morena Leraba is a musician and shepherd from Lesotho whose lyrics, sounds and aesthetics are deeply rooted in tradition.

His delivery is influenced by the poetic freestyles that the shepherds perform.

Juxtaposed against his voice is that of ManKind – a fresh voice hailing from and making waves in the heart of Jozi.

The music video will be a visual exploration and celebration of Basotho shepherd culture shot on location in the heart of the highlands of Lesotho; exploring the tensions between rural and

urban, traditional and modern, African and Western, the music video will offer a refreshing and honest look into an authentically African subculture that’s seemingly survived external influences.

Houston Mc Millan’s concept won the judges over as Sunu Gonera from the judging panel explained that it provided “A simple, yet emotionally evocative idea that explores a unique aspect of African culture. What struck me the most was how deeply rooted the idea was in a specific African aesthetic. Yet, I feel it is something that an international audience would react to. I am super hopeful that the team will rise to the challenge and give us something that all of us Africans can be proud of.”

Houston Mc Millan has an irreplaceable relationship with Lesotho, as in fact this is the area in which he grew up and where he completed his primary and secondary school. Although of Irish decent, he lives between South Africa and Lesotho, with the majority of his work exploring the latter. “I really appreciate my intercultural

childhood having attended international schools. I feel it has helped in developing a humble understanding of different cultures,” Houston Mc Millan explains.

Having graduated from AFDA film school in 2009 with awards for Best Director and Writer he has since gone on to direct commercials and short films all with a very local flavour. Seeing a gap in Lesotho for a production company he founded Happycow Productions and has since been producing and directing local Sesotho commercials.

The Jameson Music Video Grant will allow for Houston Mc Millan to run with his own production team.

“Jameson embodies the spirit of fearless authenticity, which is why Carl Houston Mc Millan will retain the rights to the video, but it will be premiered and hosted on the Jameson INDIE Channel,” concludes Hewitt.

Director Speak

| COMMERCIALS

TOP THREE FAVOURITE DIRECTORS? WHY THEM? Alejandro González Iñárritu: He is a brilliant story teller and has been able to challenge traditional cinema through his style of cinematography. He is constantly producing first class films showcasing new, innovative ways of telling a story.

Barry Jenkins: His work is pure visual art. I fell in love with Moonlight. His ability to create feeling/mood through elements of colour, sound design, non-verbal acting from his performers and cinematography is remarkable.

Wes Anderson: I have always loved his unique and quirky style of film. He has always remained true to it and constantly creates timeless pieces of work. His art direction, characters, storytelling, and composition of shots separate his work from many other films out there.

WHICH PROJECTS ARE YOU CURRENTLY INVOLVED IN? I have just finished a Protea Women’s Cricket South Africa advert – keep a look out for it on TV! WHAT KIND OF CONTENT DO YOU ENJOY CREATING? I love creating online content, television adverts, brand films, fashion films and short films.

Meet 24-year-old Rainn Vlietman – a young female director on the rise…

WHAT IS YOUR BACKGROUND AND HOW HAS IT SHAPED YOU AS A DIRECTOR? I was born in Nelspruit, Mpumalanga. My mom is an artist (sculptor, painter, photographer and welder) and my father is a businessman. To be honest, I never knew I wanted to be a film director. I was assigned a project in grade 12 in which I had to create a film and that was the first time I ever picked up a camera. The film was received really well, but I never thought much of it. When the time came to decide what to study in university, my dad encouraged me to get a degree in business management. He wanted me to have a secure job and I don’t blame him. The day before I applied my mom sat me down and said “I don’t think you should go through with this, I think you should become a film director”. I remember laughing at her and explaining to her that I have no background in film. She believed in my creative potential and somehow predicted a career that I never knew I could be great at. Since that day I have never looked back.

DESCRIBE THE MOMENT, IF THERE IS ONE, WHEN YOU KNEW YOU WANTED TO BECOME A DIRECTOR? After two years of studying a film and a television degree.

I felt the class projects/films were not substantial enough to build my showreel or help me exhibit my potential as a filmmaker. I knew I had to go above and beyond what was assigned in class. I decided to do extra work outside of university to force myself to grow. I invested in a basic DSRL camera and started looking for competitions to enter. I had to be extremely resourceful with each film I made as I had to write the script, direct, shoot and edit it. When I started out initially, I wanted to be a cinematographer, but during the process of making my first public service announcement (PSA) for The Smile

n Rainma n t Vlie

Foundation, I realised I wanted to be involved in the whole production process. I wanted to be the person responsible for bringing the final vision to life. The PSA was well received and the SABC decided to broadcast it on national television to help support the foundation.

Seeing my work on television made me aware of the profound impact telling stories can have. It was in that moment that I knew I made the right career choice.

WHERE DO YOU FIND INSPIRATION? I live on Vimeo, Nowness, Pinterest and YouTube (any platform really!). I’m constantly watching short films, fashion films and advertisements to keep up with what is relevant. I get inspiration from films I love, interpret them in my own way and challenge myself to make something refreshing and unique.

WHO ARE YOUR MENTORS? I don’t have one mentor in particular, I have a lot of different people that I have learnt valuable lessons from.

These people often work with me on set and teach me new things every day. Greg Lomas and Gareth Whittaker helped me a lot when I first got into the industry. They are great teachers and were extremely patient with me.

I also look up to Peter Carr, he has always guided me through my career choices and been a great support.

WHAT HAS BEEN THE HIGHLIGHT OF YOUR CAREER THUS FAR? I recently won an award at the Bokeh Fashion Film Festival for Best Mobile Short film. I had to shoot a fashion film on an IPhone camera using Lime Lenses. This was a really special project because it proves that it doesn’t matter what equipment you have, if you have the vision and you use whatever resources you have to execute it, you are winning!

AS A WOMAN WORKING IN A MALE DOMINATED INDUSTRY, WHAT DO YOU FIND TO BE THE BIGGEST CHALLENGE AND HOW HAVE YOU OVERCOME THIS? The biggest challenge for me is the constant fear that people instil in you before you even step foot on set. When I was younger I was told over and over again that this is a ‘boys club’ and ‘you’ll never survive’. I was intimidated when I first started and felt like I was too young, and sometimes doubted my competence for the job. But I had a great team behind me with people that believed in my vision and my talent despite my gender. I’ve been lucky enough to create great friendships along the way.

IF YOU COULD PRODUCE AN AFRICAN VERSION OF A HOLLYWOOD CLASSIC, WHAT WOULD IT BE? The Never Ending Story.

TOP THREE FAVOURITE FILMS OF ALL TIME? • Moonlight • Children of Men • The Revenant.

WHAT IS YOUR DREAM SHOOT LOCATION? That’s a tough one, I have a few – India, Russia and probably a desert.

WHO WOULD PLAY YOU IN A BIOPIC? Charlize Theron.

August 2017 | SCREENAFRICA | 19

FILM

|

Potato Potahto:

Till divorce do us part?

OC Ukeje and Joselyn Dumas as Tony and Lulu

What happens when a divorced couple decide to live together in their ex-matrimonial home? Dirty fighting and cunning tricks as both parties flex their scorned egos in a bid to make each other jealous.

“R

elationships are perhaps the most complex subject in humanity and more often than not it’s laced with a lot of intrigue, comedy, drama and so much more. I like to study people and then write about them, mostly the conversations we have with ourselves and our loved ones,” says Shirley Frimpong-Manso.

Frimpong-Manso is an awardwinning Ghanaian director and CEO of Sparrow Productions alongside her life partner and film producer Ken Attoh. As filmmakers they are known to explore romantic chronicles in films including Love or Something Like That and Devil in the Detail.

Their latest offering, Potato Potahto is a hilarious African romantic drama exploring a love dilemma between the characters played by Nigerian film actor, OC Ukeje (Tony) and Ghanaian actress, Joselyn Dumas (Lulu).

Tony and Lulu are successful and headstrong individuals who decide to get married, however soon after tying the knot, the couple realise that their marriage is not working. The pair files for divorce but with both parties contesting everything; a judge tries to offer them an unfavourable but fair solution – split items equally.

“I wanted to treat divorce from a totally different angle, working the relationship backwards. It’s about a young divorced couple who are unwilling to depart from the house they built together during their marriage and so decide to share the space equally.”

“It’s relatable and gives a fresh angle to a very old relationship

20 | SCREENAFRICA | August 2017

BTS with Shirley Frimpong-Manso and Ken Attoh on the set of Potato Potahto subject. It’s funny, sexy and lesson abound,” shares Frimpong-Manso Set in Ghana, the film stars Nigerian and Ghanaian household names including Nollywood veteran, Joke Silva who plays Tony’s mother.

“I wanted a happy setting – colourful and alive – the costumes, music, locations, lighting and cinematography all embodied this look and feel,” shares Frimpong-Manso.

Potato Potahto was shot in just two weeks on a Sony FS7 camera, which Frimpong-Manso says was selected for its high resolution images with good colour renditions. “We shot in 4k. This was important because I wanted the pictures crisp and enduring. Lighting, sound and the general tone had to be the same. Even though the topic was divorce I was determined the look and feel would have the opposite effect. So I went in for a yellowish hue depicting sunshine and promise. The set itself had to be alive so we chose one that had a story to tell on its own.”

Potato Potahto is a collaborative project between Swedish, French, British, Nigerian and Ghanaian film

producers, with the aim of establishing global markets. “There is strength in numbers. You get different expertise coming together to work on one project which gives it legs for other opportunities,” affirms Frimpong-Manso.

Post-production duties were handled by 19th April Pictures, which is privately owned by Attoh and Frimpong-Manso.

Potato Potahto had its global premiere at the Cannes Film Festival and was met with positive feedback and reviews. The film later had its African premiere at the Durban International Film Festival (DIFF).

“We are doing the festival rounds at the moment. The audience responses so far from Cannes and Durban have been my main highlight especially because these are not from home.

There’s something to be said about strangers laughing at your stuff, the feeling is great.”

Though the film is set to release in cinemas in Ghana later this year,

Frimpong-Manso says that the film industry in her home country is currently facing inequality and instability.

“Presently the Ghanaian film industry is not doing very well. We are competing with the influx of foreign material especially on our television screens which these stations have gone further to translate into our indigenous language. The masses are hooked to these materials which bear no resemblance to who we are as a country and where we are going. I hope that the new government will curb this so that local producers have a fair chance to get their content across. Meanwhile I am hopeful that a lot more women will join the new narrative of filmmaking to enhance the image of our women.”

Recently Frimpong-Manso was awarded at Glitz Africa with the Ghana Women of the Year in the Arts award. This recognition has fuelled her ambitions to improve her country’s creative industry.

“It’s (the award) encouraging and also strengthens my resolve to do more in terms of championing the course of the Ghanaian/African woman through my films.”

Recently her friend, Aseye Tamakloe launched a strictly women film festival in Ghana titled the Ndiva Women’s Film Festival. “Her focus is offering a platform for all women involved in the filmmaking process along with female actors a chance to present their work and gain exposure for it. Also personally I think some of the strongest filmmakers in the country now are all women, Leila Djansi, and Juliet Asante come to mind easily,” she concludes.

– Gezzy S Sibisi

TECH CHECK EQUIPMENT • Camera: Sony FS7

“We shot in 4k. This was important because I wanted the pictures crisp and enduring. Lighting, sound and the general tone had to be same.”

– Shirley Frimpong-Manso

SIZE DOES MATTER

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It’s been said that size doesn’t matter, but when it comes to creating extraordinary experiences for your guests, delegates or attendees, we have to disagree. That’s why we recently expanded the CTICC with the sole aim of giving our clients and guests more…

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To discover the massive positive impact our bigger and better convention centre can have on your brand or business, contact the CTICC today on +27 21 410 5000 or email sales@cticc.co.za

FILM

|

Liyana – A Swazi story told

through the voices of children Bittersweet memories and fond imaginations of a group of young orphans from the Kingdom of Swaziland tell the tale of the award-winning African animated documentary, Liyana.

“L

iyana is a story born in the imaginations of five orphaned children in the Kingdom of Swaziland. The film follows the children: Zweli, Sibusiso, Phumlani, Mkhuleko and Nomcebo, as they collaborate to tell the original tale of Liyana, a fictional character whose early life bears remarkable similarities to their own. The world that the children imagine for Liyana is brought to life in an innovative style of animated artwork.

This hybrid film weaves documentary scenes together with the animated adventure,” explains Amanda Kopp, the co-producer and co-director of the film.

Amanda’s husband, Aaron Kopp who was born and raised in Swaziland, has played with the idea of portraying his home country in its vast beauty and through its authentic stories for some time now. “Swaziland was a wonderful place to grow up in. I hope to be able to

22 | SCREENAFRICA | August 2017

raise my children there some day. Swazi culture is beautiful and it was important for us to showcase that in a detailed and positive way. Growing up I did a lot of hiking, exploring, and swimming in rivers. I developed an appreciation for the natural beauty of the country. I was also very fortunate to attend Usutu Forest Primary School and Waterford Kamhlaba High School, where I had many teachers who invested in me and introduced me to art, literature and so many great stories from around the world,” shares Aaron.

While the filmmakers’ creative works have made them global citizens and award-wining artists in their specified fields of interest; the pair frequently visit Swaziland and the orphanage where they found the five young storytellers.

Amanda and Aaron have grown to know these children individually as well as the stories that have brought them there.

“The children in our film live at Likhaya Limphlo Lensha, a very special place where they have loving moms and are very well taken care of. Sibusiso is an artist. He still draws all the time. He writes

stories and creates comic books. We are so excited to see him develop his love for story and images. Of course each of the kids has their own interests and talents. Zweli loves history and politics, Mkhuleko wants to be an engineer. As they all go out into the world we are excited to see all the amazing stuff they will do. And we hope to start a college fund that audiences can support to ensure the kids have the opportunity to fulfil their potential,” informs Aaron.

Amanda and Aaron have in the past worked on documentaries; however Liyana is their first feature film as well as their first venture into the animation genre. As they set out on taking on this challenge, they decided to work with some of the creative industry’s greatest figures in various fields, including South African storyteller, Gcina Mhlophe.

“As anyone who has ever read her work, or seen her perform can tell you, Mama Gcina Mhlophe is brilliant! In pre-production I spent time reading about creative art therapies as well as traditional stories in Swaziland. It soon it

became clear that the use of a fictional character, created by the children, could serve as a unique window into their memories and emotions, while still ensuring some privacy. As soon as we decided on this approach, we contacted Ms. Mhlophe. I first saw her on stage when I was a teenager and remember being transfixed by her performance. We knew she would be the perfect guide for the children in their creative process. She did a beautiful job of giving just the right combination of structure and freedom in their storytelling journey,” shares Aaron.

Mhlophe hosted storytelling workshops with the children aged between 10 and 12 years old. The children made sure not to be outdone by the acclaimed storyteller and were bursting with ideas and stories, and it showed in their screen interviews.

“We have had the pleasure of knowing these kids for many years now, and so we had a pretty good idea of how they would do on camera. As we expected they let their imagination run wild. It was difficult to keep up with all of the

ideas they had but Gcina Mhlophe was a huge help in guiding the children in their collaboration. And of course there was still a long process in post of cutting down the hours and hours we had of each kid describing their version of each scene. We easily have enough material for a couple more films!” remarks Amanda.

The children developed a female character known as Liyana which means “it’s raining” in siSwati. “The children decided to tell their story about Liyana, a young girl who was born during a rain storm. As the story they tell unfolds she becomes a kind of collective expression of all of the children’s own real-life backstories, and their dreams and fears about the future,” Amanda explains.

In the film Liyana’s world is turned upside down when her father contracts HIV and she loses both her parents. The orphaned character and her siblings then encounter another unfortunate event when their homestead is under attack – a scene inspired by a recent real-life robbery that the children experienced.

In the aftermath of this terrible ordeal, Liyana has to go on a dangerous pursuit to rescue her young twin brothers. However the journey into the wilderness is filled with occasional obstacles, moments of humour and uncertainty as Liyana and the family bull soldier on in their quest.

“At our premiere in LA someone asked the children why they chose a girl and their response was amazing.

They described how in Swaziland the lives of young women can be especially difficult and so if she was a girl she would make a better hero because she would have more challenges to overcome,” Amanda shares.

“We were honoured that the children were willing to share their stories with us. Throughout the filmmaking process we felt a lot of responsibility to do everything we could to do their stories justice. They wouldn’t be where they are today if they hadn’t faced some serious challenges early in life, but just like any of us, they don’t want to be defined by the worst things that have happened to them. They want to be defined by their abilities and ambitions,” Aaron adds.

The film’s art director and animation artist, Shofela Coker was tasked with visually interpreting this Swazi story authentically while bringing the people and elements around Liyana to life.

This involved sending Coker lots of reference items from Swaziland, affirms Aaron. This included images of people, towns, rural areas, plants, animals and various types of clothing and fabrics.

“Shof was born and raised in Nigeria.

Of course, to start with this didn’t give him any special insight into the aesthetics of Swaziland, but it did give him an understanding and appreciation for the detail and specificity of different cultures and regions in Africa. I think if we had worked with someone who wasn’t African it would have been easy for them to slip into a generic, stereotypical ‘African aesthetic’. We wanted to create a film in which the Swazi people could see their beauty reflected. We are delighted to report that this seems to be the case.

“We were honoured that the children were willing to share their stories with us. Throughout the filmmaking process we felt a lot of responsibility to do everything we could to do their stories justice.” – Aaron Kopp Several Swazi’s who have now seen the film have commented on just how ‘Swazi’ it is. One Swazi man told us, that Liyana’s grandmother in the film is THE perfect archetypal Swazi grandmother.

As you can imagine we are thrilled by this kind of response!” exclaims Aaron.

“He (Coker) is incredibly talented and brought so much life and beauty to Liyana’s world. Shof worked his heart out for years for Liyana. We are all very proud of the result. He and his team created something really special,” he adds.

The music for the film was also developed through an extraordinary journey taken by South African composer, Phillip Miller. “He worked with a group of older traditional Swazi musicians called Bashayi Bengoma. They performed on traditional instruments such as the Makhoyane bow and the Stontolo.

They were delightful. It was their first time working on a film score so it was all new. But they were champions. We also worked with a young up-andcoming vocalist in Swaziland, Nqobile Mamba. She impressed us at every step of the way. Philip also recorded with the amazing, Siya Makuzeni in South Africa. Philip took on our requests for a score filled with choral voices and traditional instruments used in unexpected ways, further than we dreamed. He also incorporated some cello pieces that are so beautiful one could weep,” shares Aaron.

Other contributors included Swazi producer, Sakheni Dlamini and British/ Zimbabwean actress, Thandie Newton who is the film’s executive producer. “It’s been a total of around eight years in the creative process. We’re thankful that the story is one that stands the test of time.

We have hundreds of hours of footage, but the bulk of the storytelling workshop and interviews took place over just a few weeks. It was a slow process to find the funding we needed, and animation is a very long process,” says Amanda.

Liyana was shot using the Sony EX-3 camera with the filmmakers working together with Coker and his team to ensure the animated and documentary scenes were combined seamlessly.

“Each scene is based in real space and only realistic camera angles and movement were used. The characters are designed to be quite naturalistic, while the backgrounds are more painterly and impressionistic. We worked to unify the documentary and the animated scenes through creative transitions and colours that speak to each other,” explains Aaron.

“Our animated characters were sculpted in 3D software. Shof and his team painted the 2D layers of background and foreground in Photoshop. These layers were then composited in Adobe after effects

where we added motion, particles and other effects to bring to life a ‘breathing painting’ sensibility,” he adds.

Editing was done by Aaron and Davis Coomb, while finishing and other post-production duties were handled by their company, Intaba Creative in partnership with Shine Global.

Amanda says that the young storytellers were excited to see their stories on screen for the first time: “They were naturally the audience that we most hoped would love the film, so we’re so glad they do. Zweli reacted with, ‘It’s more than amazing!’ And Phumlani remarked that the film made him, ‘feel like a hero,’ she shares.

The film had its international premiere at the Los Angeles Film Festival where it won the Documentary Award. “We had a sold out screening and were delighted when the characters in our film came on stage and were met with a standing ovation. To win the Documentary Award was great affirmation of the project we care about so deeply. We’re relieved and excited that the meaning behind the film is resonating so strongly with audiences,” Aaron shares.

The film was also showcased at the Durban International Film Festival (DIFF) where it was nominated in the Fiction category. The film went on to be awarded with the Artistic Bravery title at DIFF and received outstanding reviews at both festivals.

“We made Liyana for Africans to enjoy. While it’s appealing to a very broad audience, we know our film will hold a special place in the hearts of those who are from the region in which it takes place. This is especially true for Swaziland, but I think there is so much crossover with South Africa that will be meaningful to people. Elevating African voices and their perception in the world is our career mission. So connecting with the South African film industry is a big priority for us. Also, we have big plans for outreach and community engagement in Southern Africa, so being here allows us to connect with heads of organisations working in areas such as art, storytelling, HIV/AIDS, and orphaned children. We look forward to partnering with many in the future,” Aaron shares.

After the film’s festival circuit, the filmmakers want to bring Liyana back to Swaziland where it will be shown privately to the rest of the kids and house moms at Likhaya Lemphilo Lesha.

– Gezzy S Sibisi

| Film

TECH CHECK EQUIPMENT • Camera: Sony EX7

“Each scene is based in real space and only realistic camera angles and movement were used. The characters are designed to be quite naturalistic, while the backgrounds are more painterly and impressionistic. We worked to unify the documentary and the animated scenes through creative transitions and colours that speak to each other.”

KEY CREW Directors: Aaron Kopp and Amanda Kopp Producers: Amanda Kopp, Aaron Kopp, Sakheni Dlamini, Daniel Junge and Davis Combe Executive Producers: Thandie Newton, Lisa Schejola Akin, Susan MacLaury and Albie Hecht Animation Artwork: Shofela Coker Original Score: Philip Miller Editors: Aaron Kopp and Davis Coombe

August 2017 | SCREENAFRICA | 23

FILM

|

From the producer’s mouth:

Will Nicholson

Arcade Content co-founder, the multi-talented Will Nicholson chats to Screen Africa about how he got his start in the industry, the highs and lows of producing, his current passion project, and the constant battle between his creative and business sides…

What is your background and how has it shaped your career?

Since quite a young age I’ve been torn between my creative and my business sides. The one bullies me when I pursue the other, so I seem to be a slave to trying to make both of them work. I suppose this has led me to producing, which is a curious balance of the two.

What are you currently working on?

On the commercial side of things, an exciting campaign for a major international brand that I wish I could tell you more about, but I had to sign an NDA. On the passion side a science fiction short film that explores the impacts that technology might have in making our base reality indistinguishable from computer simulations.

What’s a day in the life of Will Nicholson like?

I snooze at least three times before getting up, scroll through Twitter while I eat breakfast, and then get stuck into what the day has for me. Being a producer makes it hard to chip away consistently at long-term goals, because when production commences on a big project you generally have to drop everything until after the shoot. But I try my best to keep focused on the long term and not just the urgent. I like to end the day with a few lengths in the pool, a beer with the boys, or a YouTube marathon with my lovely girlfriend.

I don’t know of many other directors who have succeeded as well in navigating both commercial work and passion projects. On the local front, if I start listing the directors I admire I’ll inevitably forget someone and hurt their feelings, but I count myself lucky to work with Kyle Lewis – watch this kid, he’s only getting warmed up!

In addition to producing, you direct and write short films in your free time.

Which of the three do you enjoy most, producing, writing or directing?

This is a question I grapple with every day of my life – again that Jekyll-andHyde battle between creativity and business. I think I might have the biggest aptitude for producing, especially in the commercial setting, where directing is to a large extent about how much your “vibe” resonates with a broader audience. However, my next short is an experiment in pushing myself into more commercial territory as a director.

24 | SCREENAFRICA | August 2017

What’s the toughest part of your job?

The stress is pretty hardcore. If you can’t handle pressure then producing really isn’t for you.

What has been your career highlight(s) to date?

In the three years since we kicked off Arcade I’ve been incredibly lucky to work with several amazing agencies, clients and

Do you have any local mentors? Why them?

I’m lucky to have a few but in the film space it’s definitely my partner at Arcade, Colin Howard, who is also the MD of our sister company Egg Films. His focus and consistency is mind blowing.

How do you stay inspired?

I don’t. Someone told me years ago that inspiration is an unreliable muse, so I don’t wait for her/him anymore. But you can do things to lure inspiration into your life: seek out unusual experiences and savour the creative work of those around you.

What advice do you have for young people wanting to follow in your career footsteps?

Firstly and most importantly, unless you’re really in love with the medium rather do something else. Film is fun but tough.

Secondly, learn from the best. Don’t start by chasing a pay cheque – that will come. My entrance into the industry involved five months of an unpaid internship at a production house that didn’t need me, while I worked six shifts a week at a restaurant to cover my rent until I eventually got a stipend.

If you can delay leaving the nest while you get your foot in the door, take advantage of mom and dad’s kindness!

Finally, try as quickly as possible to do the thing you want to do. Don’t get stuck in assisting or interning for too long if that’s not what you want: it’s good for a year or three but after that you need to find ways to take on the mantle you’re aspiring towards. If you want to be a focus puller, then you must pull focus!

What do you attribute your success to?

100 per cent privilege, luck and support from family and friends. 100 per cent hard work, focus and determination.

100 per cent trying to constantly learn from those around me.

As one of the founding members of Arcade Content tell us what led to the making of the company?

I approached the managing director of Egg, Colin Howard, with the idea of a branded content arm of Egg Films and it turned out he had been entertaining the same idea for some time. This was aligned with the thinking of our third partner, the brilliant Lebogang Rasethaba, so we combined our skills and resources to painstakingly create something the three of us are really proud of.

If you could with work with one director, local or international, who would it be and why them?

I’ve had a creative crush on AG Rojas since he burst onto the scene early this decade. His work is weird, uneasy and

To date, you have predominantly worked on commercials and short films. Any plans for a feature in the future?

Maybe. I’ve watched several friends go through the long haul of development and financing hell and I have immense respect for them, but I can’t say it’s made me fired up to do the same. I’m also not currently in the position to take an extended sabbatical required to do a feature properly. Say what you want, but money is a factor.

crew, but on a pure enjoyment level my highlight was producing 011 Beats for VW via our friends at Ogilvy, with Kyle Lewis directing. It was three consecutive nights of shooting in downtown Joburg, in the dead of winter, flying drones and even locking off Nelson Mandela Bridge to get some epic shots. Couldn’t have done it without our incredible production team.

What next for Will Nicholson?

I need to make that damn short film!

If you weren’t working in film, you would be…?

Probably somewhere in advertising, with a strong attraction towards the digital frontier. Or maybe I would have studied business science and tried to work for a consultancy, like a career advisor advised me to do when I was seventeen. To this day I find myself wondering what that parallel life might have looked like…

– Compiled by Chanelle Ellaya Will Nicholson

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August 2017 | SCREENAFRICA | 25

Television

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Body builder Achmat Richards

Comic fan Nici McGeorge

Alternative lifestyles explored on

Counter Culture

As humans we are quick to judge the lifestyle choices of others without actually getting to know them, or what led them to pursue their unique path in life.

A new show on SABC3, Counter Culture, offers the nosy neighbour a front row seat into the homes and playgrounds of their weird neighbours as it explores the alternative lifestyle choices and diverse co-cultures practiced in some South African communities.

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“I

have always been interested in the weird and wonderful, the things that people love doing and to find out why they do it. Counter Culture is a tribute to the lives so many people lead in SA and showcases the lifestyles, hobbies and obsessions of ordinary people,” says Lucilla Blankenberg, executive producer of the show.

Counter Culture is the brainchild of Blankenberg and her team at Community Media Trust (CMT), a non-profit media communications company that aims to empower and educate its viewers with thought-provoking content that opens the door for free discussions and sometimes heated debate.

Previous CMT shows include the health documentary Siyayinqoba, as well as prime-time dramas Amaza and JAB. Their latest production Counter Culture, takes the viewer on a journey of exploration as weekly characters that seem “normal” at first encounter, later challenge the status quo embracing their own sense of normality and invite us to peer into their ‘counter culture’.

“Counter Culture is all about

Naturist Serge Pavolvic

acceptance, sharing and not judging anyone for their lifestyle or beliefs.

‘Anything goes, we don’t judge’. The series is light-hearted, quirky and entertaining and the characters are open and honest,” explains Blankenberg Narrated by Zikhona Mda, the show follows nudists, cage fighting/martial artists, drag racers, pageant divas, swingers, bodybuilders, cosplay (comic fans), graffiti artists, witches, drag queens and many more as individuals let the viewers into their private spaces and lifestyle communities.

A CMT study on some of the show’s episodes and stories reveals the following findings:

Naturism Doing things in the nude is becoming more popular as individuals seek to rid themselves of their daily constructs and revel in the liberation of their naturalness.

According to the South African Naturist Federation (Sanfed) this lifestyle choice has been growing rapidly in South Africa, from 130 people in 2009 to more than 8 000 members currently. While public nudity in South Africa is not legal it is allowed within certain parameters and things are most certainly changing in response to this lifestyle choice.

Graffiti/Street Artists No other place is home to more captivating or inspiring graffiti than the District Six neighbourhood in Cape Town.

You’ll come across images of Maasai people, imitations of contemporary African lifestyles, representations of South African political figures like Nelson Mandela or Steven Biko, and paintings dedicated to public awareness goals – like the protection of human rights, freedom or honour. Cape Town’s urban art makes a powerful statement in times of uncertainty and decay. Graffiti works are generally seen more as a burden than as a form of art, but the majority of Cape Town’s graffiti artworks deal with current issues, concerns and public sentiment – the things that matter.

Drag Queens A drag queen is a person, usually male, who dresses in clothing of the opposite sex often for the purpose of entertainment or fashion. Drag has a rich cultural history and men have been performing on stage as women since the Ancient Greek tragedies with Shakespeare famously casting men as women. Making a crossover to mainstream entertainment and society there is still often a stigma attached.

While drag is very much associated with gay men and gay culture, there are drag artists of all sexualities and gender identities. There are many kinds of drag artists and they vary greatly from professional performers to those who simply prefer clothing and makeup that is usually worn by the opposite sex in their culture.

| Television

For the love of Drag

Martial artist Anthony Mailer

“I have always been interested in the weird and wonderful, the things that people love doing and to find out why they do it.

Counter Culture is a tribute to the lives so many people lead in SA and showcases the lifestyles, hobbies and obsessions of ordinary people” – Lucilla Blankenberg Pageant princess Michaan Ferreira

Wicca

Embracing diversity

Modern witchcraft or Wicca has many negative connotations attached to it – people often assume it’s connected to Satanism but contrary to what many people believe; Wicca is a very peaceful, harmonious and balanced way of life which promotes oneness with the divine and all which exists.

Most modern Wiccans are not spending their days casting spells, although that does form part of the religion, but the majority are just ordinary human beings, holding down normal jobs in finance or admin, raising their children.

Wiccans believe that human kind is not superior to nature, the earth and its creatures but instead are simply one of the many parts, both seen and unseen that combine to make the whole.

The 13-week show is produced and directed by Meesha Aboo and codirector Laddie Bosch with their crew of researchers. A variety of ‘counter cultures’ from all over the country were researched by the team, informs Blankenberg.

This was followed by a selection process of what the team thought were the most interesting characters and scenarios to showcase to the viewer.

However even in a country where embracing diversity, tolerance and respect is part of the constitution, some lifestyle groups remain marginalised which as a result left some people uncomfortable with the thought of being publicised on the show. “As we are dealing with real people’s stories sometimes it was hard to find participants who were willing to reveal their lifestyles on camera but we persevered and through hard work and research we were able to find participants who were willing to help us tell their amazing stories,” Blankenberg shares.

The show strives to teach people to respect and understand the cultural beliefs of others, which they hope will lead to less conflict within our society and eventually eradicate the persecution of marginalised groups.

“I hope audiences enjoy learning and observing people who are different but still essentially the same as you and I, and take the time to listen to others and give some thought as to why they do what they do,” says Blankenberg Each episode is 48 minutes long

Drifting/Drag Racing Illegal car racing on public highways is becoming an urban issue no matter where you are globally or in South Africa.

Society presumes it is for delinquent ill-educated males who are trying to increase their status in their group or gang. One of our case studies dispels this stereotype as it involves someone from a good background and happens to be a woman who is also trying to change the illegal face of the sport.

and lets the viewer understand the context and history associated with the specific ‘counter culture’ while also letting the characters show the world their way of life as well as their reasons for adopting their lifestyle choices.

The Cape Town-based company filmed most of their stories in Cape Town including its surroundings at Atlantis, Wellington and Stellenbosch however there were some stories that led them to travel as far as Gauteng and North West for interesting participants.

Counter Culture was shot on the Sony FS7 and OSMO cameras with snippets of the characters’ family archives also helping to tell the tales.

“We used a script format across the series and guided the directors and crew on style and script segments. It’s a documentary series about real life, so we used mainly natural light.”

CMT did all the production and post-production of the show headed

by Laddie Bosch. “The series is post heavy because of the reality style of shooting and the length of each episode,” remarks Blankenberg.

“I think Counter Culture will resonate with South Africans because it’s about South Africans. It’s interesting and has never been done quite like this on SA television,” she concludes.

The show commenced on 30 July 2017 and airs on SABC3 every Sunday at 21h30.

– Gezzy S Sibisi

TECH CHECK EQUIPMENT • Camera: Sony FS7 and OSMO

Counter Culture was shot on the Sony FS7 and OSMO cameras with snippets of the characters’ family archives also helping to tell the tales.

KEY CREW Executive Producer: Lucilla Blankenberg Producer/Director: Meesha Aboo Supervising Editor/ Director: Laddie Bosch

August 2017 | SCREENAFRICA | 27

MEDIATECH 2017

|

DRONES: How this emerging technology is

influencing media and entertainment

Drones are here to stay and this emerging technology is unleashing new possibilities and opportunities for private and commercial use, with a noticeable adoption of the technology by those in media, live events, video and film production.

S

urging in popularity, drones are totally reshaping these industries, and according to a May 2016 PwC global report on the commercial applications of drone technology – they have the potential to replace billions of dollars in business across key areas of the economy, including transportation, security and agriculture. The value of drone-powered solutions to all applicable industries has been pegged at a staggering US$127 billion dollars.

The media and entertainment sector is right in the crosshairs of this shift with a possible impact projected at US$9 billion.

According to Mediatech Africa trade show director, Simon Robinson, just like the IT revolution re-engineered how businesses operate, so too are drones drastically altering the events, media, and filmmaking industries.

“The most obvious application is aerial

photography and filming as they offer a safe, cost-effective and easily deployable alternative to traditional methods – and can capture images and video with greater flexibility too,” says Robinson.

According to Visual Impact director, Goran Music, where you would normally need moving platforms and rigging to shoot aerial and high angle shots – with the application of drones, this constraint can in some cases be removed; though shots within 50 metres of people, buildings and public roads would be precluded due to stringent drone regulations in SA, with the exception of such operators who have obtained an exemption from the SACAA and are listed in their operational specifications.

“The technological capabilities of drones have dramatically improved, and this evolution allows you to attach the same camera you would use for stills onto a heavier weight-bearing drone.”

More than this, Music adds that drones have the potential to improve production times if the operator is highly skilled and has all the legal approvals to operate a drone in a particular place – which in turn can pass on cost savings. “The bottom line is further impacted by the fact that drones move effectively and in a controlled manor and one drone can replace two or three outmoded solutions.

Creatively you can do so much more with a drone operated camera which also opens up new opportunities for those who produce TVCs – particularly when cars are involved,” says Music.

“Due to the dynamic filmmaking capability of drones, directors have increasingly and specifically been writing scripts for shots that use drones,” says Jonathan O’ Connell, owner of Timeslice Cinematography, a specialist high end feature film and TVC drone operator offering Arri Alexa Mini and RED Weapon camera options on its drones. O’ Connell elaborates by saying, “drone shots have a unique capability of romance; they take the viewer on a journey that evokes emotions few other methods of filmmaking can. By being able to offer an anamorphic lens option on our drones, this emotion is further amplified.”

“While technology is ever evolving and improving, great results are also dependent on the pilot, camera operator, operating conditions and clear communication between team members,” says O’ Connell. “Directors and creatives are constantly seeking to push boundaries to create sensational and intriguing content. Our aim is to work with creatives to be able to achieve these results in a safe, professional and reliable manner.” South African Aviation

Legislation, Part 101, pertaining to the use of drones is considered to be amongst the most stringent in the world.

“Flying drones for commercial purposes in South Africa thus requires very serious considerations from legal and logistical standpoints, as well as performance limitations,” says O’ Connell.

Of course outside of the production environment – drones are making waves in the sporting and events industry – adding novelty value on the show floor and occasionally to outdoor events.

The challenge to craft events that are matchless, unforgettable and noticeably unique has never been greater and 28 | SCREENAFRICA | August 2017

| MEDIATECH 2017

“Drone shots have a unique capability of romance; they take the viewer on a journey that evokes emotions few other methods of filmmaking can. By being able to offer an anamorphic lens option on our drones, this emotion is further amplified.

– Jonathan O’ Connell

“We are seeing exciting developments in technology particularly as far as drones are concerned. Not just in the film and events industry but also for doing great good for social causes – delivering medicines to war torn countries and addressing rhino poaching are examples of this. It probably won’t be long before we see drone highways.” – Simon Robinson

drones have the ability to meet this requirement. This is particularly true internationally where drone usage is less regulated than in South Africa.

“Competition being what it is – it’s no longer enough to have run of the mill events and giving audiences something that will heighten their in-the-moment experience and later continue to connect emotion with the event is a predictor of success,” says Robinson. A great example of such an occasion; Intel staged a light show with 100 drones moving in concert to orchestra music – taking entertainment with drones to a whole new level. “Drones present unparalleled possibilities at events by

blending the best of technology with the power of human interaction and can contribute to the staging of amazing experiences. Whether something like this could ever be pulled off in South Africa is debatable – not because we lack skill and talent – but because our controls would make it impossible.”

Something that has taken off locally and is proving hugely popular is FPV drone racing which is a big spectator sport that has a lot of money behind it. Spectators watch the FPV feeds of drone pilots as they navigate tight sequences, going head to head through exciting neon-lit race courses.

The pilots compete for serious prize

money when it comes to international competitions like the World Drone Prix.

“This is a real example of when sport meets technology,” adds Robinson.

“We are seeing exciting developments in technology particularly as far as drones are concerned. Not just in the film and events industry but also for doing great good for social causes – delivering medicines to war torn countries and addressing rhino poaching are examples of this. It probably won’t be long before we see drone highways,” concludes Robinson.

This year biannual media and entertainment trade show Mediatech Africa – which took place between 19

and 21 July at the Ticketpro Dome in Johannesburg – introduced a drone cage exhibition which showcased the best cameras and drones the industry has available. Leading operators were present to discuss operating within the current legislation and the impact of drone usage in film and broadcasting production.

August 2017 | SCREENAFRICA | 29

VIRTUAL REALITY | OPINION

An immersive experience at Mediatech 2017 Mediatech 2017 at the Ticketpro Dome was filled with all kinds of exciting new technologies.

The Visual Impact stand had an extensive range of technology on display including the whole range of LED lights available from Arri, the entire Arri camera range as well as other new products like the Movi Pro with the Freefly system. While these big brand items attracted huge interest and constant crowds, one little corner in particular generated a lot of traffic and that was because of two VR 360º cameras on display there.

Insta 360 Pro

V

isual Impact recently became the agents and distributors for the Insta 360 Pro as well as the agents and resellers of the Z-Cam S1 and S1 Pro series of cameras. Mediatech 2017 was the perfect platform for us to launch these models into the South African rentals and sales markets. The decision was made within our company to not pick just one model but to rather find a suitable solution to meet the needs of our entire client base.

The Insta 360 Pro and the Z-Cam S1 are both manufactured in China and both do 360º video but are very different camera systems. The Insta 360 Pro can do it all – 8K, 4K, 100FPS, Stereoscopic VR, Stream, pre-stich – and it comes with all its control and stitching software included. It’s a wonderful, affordable all in one solution for most VR/360 applications. There is only one drawback – the image is “very video” as it only shoots in REC 709 and the imaging sensors and glass reflect the price tag.

The Z-Cam S1 however is aimed at a different market, that being those more concerned with the quality of the imaging and less with being able to do almost anything. The Z-Cam S1 series has two models, the standard and the Pro. The latter being around the $17 000 mark, excluding any software required. The standard version however is much more affordable but also does not come with any software which is around the R35 000 mark for the entire software package

Written by Stefan Nell,

head of Digital Imaging and Rentals, Visual Impact

Z-Cam S1 that includes Wonder Stitch, Wonder Live and Assimilate VR for grading in a VR space with the addition of an Oculus Rift headset. The S1 is limited to 6K but has 4 x Sony Exmor R sensors as found in the RX series of Sony cameras and allows for 10 bit Log acquisition in the form of Z-Log. It also has a very handy battery system that allows for location shooting at a fraction of the price of proprietary batteries found in most other cameras. It actually uses the same 3000MA batteries that the vaping cloud crowd use in their vaporisers which are easily accessible and relatively cheap.

Even with these cameras on display there was another doing the rounds and generating vast interest on our stand and that was the Insta 360 Air that Zelda Wilson had connected to her Phone and was shooting pre-stitched videos on her Android mobile device.

These models come in an Android and an IOS version. Insta 360 really have penetrated the VR market in a massive way by bringing products that connect to all social media platforms, that support 360 video, with relative ease.

The adoption of this technology globally by a consumer mass has been extremely rapid and the potential user base encompasses half the global population – basically anyone who owns a smartphone is a potential end user or broadcaster. Whether using the technology as intended by full immersion or just viewing in 360, which is a by-

product of the technology, users have been driving this tech by sheer mass demand. This is evident by the service of live 360 being offered on all social media platforms including Facebook, Twitter, YouTube and Periscope, all in a relatively short period. This however is just the start of this global trend, VR technology is finding its way into all spheres of broadcast and content delivery including marketing, advertising, training, education, sport and narrative filmmaking.

At Mediatech 2017 I was also fortunate enough to have had two presentation slots on VR cameras and technology.

I was really taken aback by the reaction I received from the people attending the presentations and it dawned on me that the level of interest and scope of application of this technology, crossed areas I have never worked in. I had numerous conversations and resulting meetings with potential clients regarding VR acquisition which spans all areas of media and broadcasting. Most encouragingly I was presented with potential uses of VR/360 technology in spheres so far removed from the film industry that have totally captured my attention and imagination. This technology has unlimited applications!

VR and all that is associated with it, is the new flavour right now and is not there to replace anything, it is simply another medium. Right now there is a massive demand and as a result there is a huge push for content creation systems and content to drive this trend. The one area that is lagging behind as this moment is content production. As service providers in acquisition systems and back end services gear up and embrace this platform this will change. Immersion is a new world that brings with it a new way of looking at content delivery, creativity and technical skill sets. All of us at Visual Impact are really proud to say that we are out there testing and finding the best possible solutions to make our client’s virtual dreams a reality. Immerse your imaginations; it’s a new world out there.

“VR technology is finding its way into all spheres of broadcast and content delivery including marketing, advertising, training, education, sport and narrative filmmaking.”

30 | SCREENAFRICA | August 2017

Celebrating 50 years of

IBC 2017

|

IBC

32 | SCREENAFRICA | August 2017

Fifty years ago, a group of broadcast equipment manufacturers in London, decided to organise a unique exhibition – the first of its kind – one run by the industry, for the industry. Lead by John Drew Tucker (EMI), John Etheridge (Rank Cintel) and Tom Mayer (Marconi), 33 other exhibitors joined them in a conference room at the Royal Lancaster Hotel to display their technology wares to a group of about 500 delegates. The year was 1967 and the International Broadcast Convention (IBC) was born.

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B

roadcasting in the 1960’s was a very different business – colour television was in its infancy, the entire broadcast chain was analogue and there were no desktop computers or cell phones, one wonders if any of those pioneering manufacturers ever imagined a world of touch screens and ultra-high definition video? IBC lasted just one year in the Royal Lancaster Hotel before needing more space. It went to the Grosvenor House hotel on London’s Park Lane for a while, before heading south to the Grand Hotel in Brighton. IBC’s popularity and rapid growth meant that it ended up also filling the next door neighbour Metropole Hotel and Conference Centre as well – one extremely busy year there was even a pavilion on the beach, too!

By 1990, the lack of exhibition and meeting space – and a chronic shortage of hotel rooms had reached crisis point and something had to be done to save the conference from collapse. Under the inspired and visionary leadership of John Wilson, IBC became an independent body, owned by six partner bodies: IABM, IEEE, IET, RTS, SCTE and SMPTE, with a full-time professional staff and IBC moved from the UK to the Netherlands in 1992 to the Amsterdam RAI. The strong association with the six leading trade bodies, and the committee structures for exhibition and conference, ensured that the event was still run by the industry for the industry. From 1994 IBC became an annual event, and it has remained in Amsterdam ever since.

2017 and IBC celebrates its 50th year,

still as the leading event on the global stage for everyone involved in content creation, management and delivery. It is the world’s leading Media, Entertainment and Technology show. Over 55 000 industry professionals from more than 170 countries converge to network, discuss and debate across a broad range of topics including OTT, 4K, HDR, Streaming VOD, Cloud Hosting, Ultra HD, VR and IPTV. Bringing together a visionary conference and dynamic exhibition with unique and carefully curated feature areas, IBC provides a unique combination of meetings, discussions, demonstrations, new product launches, seminars and networking opportunities.

This year’s IBC conference programme will yet again offer the opportunity to network and debate with over 400 of the highest calibre international speakers, visionaries and thought-leaders who are shaping the industry. The overall theme of the IBC2017 Conference is: Truth, Trust & Transformation. The opening keynote, entitled Fans, Friends and the Future of Broadcasting, will highlight the changing ecosystem of the industry as the lines blur between traditional broadcasting and online video and will focus on how the rise of fan and friend power is influencing global viewing decisions. Another one to watch out for is IBC’s Platform Futures, Sports Business and the Consumer conference thread which tackles the big business of fan engagement in sport and will examine the expanding business opportunities surrounding traditional and alternative sports coverage and rights management, with a focus on the crucial topic of fan engagement.

A growing trend and a radically-new business model is innovative postproduction providers embracing cloud virtualisation and remote working to deliver services. Cloud-based post has only now become a reality as developments in public cloud technologies, connectivity and industry software tools have coincided, enabling content to be produced wherever and whenever is needed without carrying the capital cost of an expensive facility.

Don’t forget to join the delegation at the “Cloud: how far can it go?” conference discussion on Friday, 15 September to gain more insight.

For those wishing to follow the future in depth, the conference keynote presentation on 16 September not to miss looks at the road ahead for Virtual Reality (VR). The What’s Happening in VR, AR and Mixed Reality session will look at the emerging swathe of consumer devices and services as well as showcasing successful VR experiences across platforms, from entertainment to sports content. The VR thread of conference sessions is going to be well worth attending.

A new innovation this year at IBC is the Startup Forum, an initiative that brings together innovative digital media startups, media houses and investors for a day of keynote presentations, panel sessions, pitching and networking. Another

IBC 2017

conference session thread that is bound to be packed to the rafters is the IBC Cyber Security Forum, a series of sessions that will allow businesses to gain the latest insights into the threat posed from cyberattacks, including the most common risks and how to mitigate them. Delegates will also learn how adopting a good cyber security policy can offer competitive advantages in the marketplace.

As usual, the IBC Exhibition will cover fifteen halls across the whole of the RAI spanning the creation, management and delivery of electronic and media entertainment. IBC is far more than a conference and an exhibition. Over the years they have developed a whole series of events and free-to-attend added value features that enhance your IBC experience. From industry starters, through to the top C-Level executives driving the industry’s agenda; theatres hosting demonstrations, workshops, presentations and briefings; the future of technology and research from leading R&D labs; and even the odd blockbuster on show at their custom built IBC Big Screen!

A definite must-do will be The Future Zone. This year, the focus is on multisensory virtual worlds and imagery of the future. You will have the opportunity to step through the Future Zone ‘time tunnel’ into the exciting realms of mixed reality, 3D audio, mind-blowing video displays and holographic projections.

This 6m x 2.5m LED tunnel will be displaying some of this year’s most exciting and innovative content. The IBC Future Zone is also home to the IBC Future Reality Theatre. Free to all IBC attendees, the Future Reality Theatre will present a programme of creative, business and technology sessions, which will explore the current and future impact of new technologies and the opportunities, challenges and implications around VR, AR, MXR and beyond. If you have the time it’s worth attending the IBC Awards ceremony in the RAI’s Auditorium. All visitors to IBC are welcome to attend the Awards ceremony on Sunday, 17 September – your ticket to the ceremony will be included in your IBC Exhibition pass!

It’s too soon to speculate on what new equipment and gear might be launched at IBC; the mega-trend toward IP based infrastructure that is transforming the industry at lightning speed is bound to present us with new innovations. I wonder if we will see Samsung’s new monster 10.3m HDR LED cinema screen in action? Who’s going to surprise us in the camera world? You can be guaranteed the exhibitors will deliver the best of the best as they usually do, something well worth celebrating, so ‘Proost’, here’s to the next 50 years, IBC! – Ian Dormer

August 2017 | SCREENAFRICA | 33

IBC 2017

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In conversation with Michael Crimp, CEO, IBC IBC CEO Michael Crimp discusses the evolution of IBC, what to expect from this year’s event, hot technological trends, the value of trade shows for the industry and the importance of non-European visitors to the show…

IBC is celebrating its 50th anniversary this year. What is it doing to celebrate this occasion?

50 years is a great achievement, and of course we will be recognising it.

We are producing a commemorative book, and our annual party will be particularly special this year.

IBC is also starting a new charitable venture, supporting an Amsterdam group that provides support through sport for disadvantaged and disabled children. If you want to play against former Ajax players in our Saturday night match, bid now to join the IBC All-Stars!

But the most important way we can celebrate the golden anniversary is by carrying on being the leading global forum where the real issues of the industry are discussed and new strategies developed. Back in 1967 the founders of IBC knew that to be a success the event had to have three strands: a comprehensive exhibition, a visionary conference, and the networking opportunities to share ideas.

50 years on we have a huge amount to talk about: from Ultra HD to 5G connectivity; from IP to cyber-security.

And IBC is still the best place to do that.

How has IBC evolved over the past 10 years?

The simple answer is that IBC has evolved along with the industry, or rather IBC has strived to identify the key trends which will transform the industry, and ensure that we are ahead of the curve.

Looking back 10 years, digital cinema was still a work in progress: the total transition we have now seen was just beginning. We had dedicated areas focused on mobile video and digital signage, again things that we take for granted today. You can see the equivalents in IBC2017, like the IP Showcase and all the work done on interoperability.

The one area I would say that IBC has evolved significantly is that we are much more proactive in leading strategic thinking and business transformation.

Five years ago we started our Leaders’ Summit, the behind-closed-doors conference for CEOs from the top broadcasters and media organisations, and it has proved hugely successful.

This year we are adding two more 34 | SCREENAFRICA | August 2017

Michael Crimp similar, invitation-only events, this timed aimed at CTOs. We have a day focusing on cyber-security and another looking at the potential for 5G – a great example of IBC’s ability to look ahead and help determine the media industry’s position on new opportunities.

We are also trying a new business match-making venue this year, the IBC Startup Forum. Working with Media Honeypot, we are aiming to bring startups and scale-ups together with the media companies that might want to use their talents and the investors who might back the deals.

Will IBC and annual trade shows still be relevant in another 50 years?

Yes, I firmly believe they will. Of course you will be able to research basic information online – you can do that now. We have added to the online resources available with our IBC365 year-round online presence.

But it is much harder to exchange opinions and experiences that way.

Human nature dictates that we learn best from direct contact, from friendly discussions, from chance conversations.

You cannot do that online. It is why we regard the opportunity to meet old friends and new peers as one of the key parts of the IBC experience.

What are some of the most important decisions you face in your job on a daily basis?

IBC is an interesting business to head. In some ways, of course,

my job as CEO is the same as the head of any other company: make sure the staff are all pulling in the same direction, the customers are happy, the finances are secure.

But IBC is unlike any other business because our focus is on spreading and sharing knowledge, and because our shareholders are our customers.

IBC is organised by the industry for the industry, and at the top of our organisation is the Partnership Board which contains representatives of the six leading professional and trade bodies in the industry: IABM, IEE, IET, RTS, SCTE and SMPTE. So, my day job revolves around the invaluable feedback we receive, from our partner bodies and from the committees which again draw upon industry knowledge. I take all that input and try to develop a strategy for the continuing development of IBC as an agile platform for industry education, ready to respond to new trends and technologies as they arise.

Why are trade shows important for the business community, and why does IBC consider itself to be at the top tier?

Trade shows are the opportunity to get hands on with technology, and to ask the awkward questions of the vendors. With the whole industry in one place, it is also the chance to bring technology partners together, to talk through the details of interactivity and interoperability.

IBC is the best place to do this because we work hard to deliver the best experience for the visitor. More than just ensuring that all the industry’s vendors are present, we lay out the show floor logically by technology. Visitors looking to compare products will find them all near each other, minimising the unproductive time walking across a vast site.

Then we add value to an exhibition visit through free events like the movie screenings and our Awards Ceremony; through presentations on stages around the exhibition and in the IBC Big Screen; and through providing enough catering facilities and informal meeting space to maximise networking.

We do all that in Amsterdam, one of the friendliest, most accessible and cosmopolitan cities in the world.

IBC is welcoming to everyone, which is why last year we had visitors from around 170 countries.

What are you most excited about for IBC2017? What do you hope attendees take away from it?

To take the second half of the question first, IBC attracts around 55,000 visitors and every one of them has a different agenda. My fervent wish is that every single one finds the answers to their own particular questions.

What am I most excited about?

Personally, I know I am in the right job at around 11.00 on Friday, when the exhibition halls get that first surge of visitors and the hum, the noise of business being done, begins to rise.

The charity football match on Saturday night is going to be a good event, too!

In terms of technological trends, what are you most excited about as we approach IBC2017?

It is not really my role to get excited about technological trends. Our exhibitors, our conference and events team and our committees identify where the industry is going and therefore where IBC needs to be. My role is to empower them to deliver the best possible IBC. But I do see IBC as an important enabler for change in the industry.

Last year we pulled off an incredible achievement, with our partners, in building the first IP Interoperability Zone, bringing together large numbers of different vendors to demonstrate that the next stage of the IP transition, live production, was practical and the big challenges could be resolved. That was an initiative of massive global importance.

As IBC2017 progresses, I have no doubt there will be equally ground-breaking events.

How are the attendees and companies participating in IBC changing? How are you continually growing attendance for IBC each year?

The industry is so much broader than it once was. Consumers used to watch television, because that was all that the technology could achieve. Today, they expect to choose

| The response has been better than ever, with a huge response from all around the world. Our finalists range from a small French-language service based in Canada to Google Earth; from a new approach to transmitters in the USA to an online service in India; and from Asia’s biggest broadcaster to the Spanish national railway company.

The Awards Ceremony on Sunday night is always one of my highlights. This year there is a special guest presenter: the academic and broadcaster Dr Helen Czerski. The show lasts about an hour and is free to all IBC visitors – I really cannot recommend it highly enough.

what they want to watch, when and where they want to watch it, on the device and platform which happen to be convenient at the time.

As the industry expands, so does the IBC community. This year, for example, we have the biggest temporary structure we have ever built for an IBC, to house hall 14, dedicated to content everywhere.

How important are nonEuropean visitors for IBC? Given that international travel can be painful, what compelling reasons should those outside the EU consider?

The ‘I’ in IBC stood for International in 1967, and we absolutely regard ourselves as the one true global event in our industry now and into the future.

Amsterdam is, in truth, a very easy place for visitors in any part of the world to reach. Its airport is a global hub, of course, but the country and the city have a centuries-old traditional of welcoming outsiders. The EU maintains an open attitude and a practical approach to visas when required, so there should be no barriers to anyone wanting to visit IBC. And why would you not want to visit IBC? The same open and welcoming attitude to IBC visitors applies to conference speakers and exhibiting vendors. Where else would you be in September?

The IBC Innovation Awards are always a draw. Can you comment on the calibre of entries this year?

When we decided to add the IBC Innovation Awards to our programme, our aim was to reflect the real nature of the industry. While other awards give prizes to new gizmos, we wanted to reward the real-world projects, where users and technology partners got together to tackle a real challenge and come up with a solution that was much more than the sum of its parts.

It is one of my personal pleasures that this concept has worked so well that the IBC Innovation Awards are the most respected in the industry.

This year we tweaked the categories slightly to reflect the changes in the industry. We are honouring the best projects in content creation, content distribution and content everywhere.

What are the latest developments in adding capacity at IBC? We have a very strong working relationship with the RAI. The team there understands IBC and its future strategic vision very well. We are already talking in detail about our plans out to 2020 and 2021 and we are confident that, together, we will meet all of IBC’s needs.

There is always talk of the need to move to another venue, and of course as a responsible business we keep this continually under review.

But where would we move to?

There is nowhere that offers the same combination of exhibition space, conference facilities and catering and networking under one roof.

There is nowhere than can provide the range of hotels at all prices that Amsterdam offers, nor its friendly and welcoming atmosphere.

Talking of hotels, visitors this year may notice a large building site between hall 12 and the station. This will be a large on-site hotel, scheduled to be open in time for IBC in 2019.

And regulars who have resigned themselves to walking around the hoardings covering up the now not-sonew underground station will be pleased to hear that the North-South metro line is due to open in July 2018. Test trains are already running, and visitors to IBC next year will be able to speed from the centre of the city in under 10 minutes.

Is IBC seeing the same growth in outdoor exhibits?

The outdoor exhibits – not just OB trucks but satellite links, drones and more – are always popular, and identifying space is always important for us. I cannot visualise an IBC which does not have an outside exhibits area.

Incidentally, accounts of IBC 2017 talk about the two new outside broadcast trucks parked next to the venue, and the popularity of their exhibits.

The over-arching theme for IBC2017 is “Truth, Trust and Transformation”. What is the rationale behind this?

No-one can have failed to notice the rapid proliferation of terms like “fake news” and “alternative facts” over the last year. Broadcasters have traditionally been the trusted brand for news: is

the era of social media and universal internet access changing that?

It is a critical topic to debate at IBC, because the industry’s response to it is central to its future, commercially as well as technically. Providing true, accurate and honest access to news (and related genres like sport) is expensive and demanding. How do we address this key issue.

The phrase has resonances in other ways than the obvious, too. One of the challenges of the transition to IP connectivity is the risk that the media industry will become a major target for malware and hackers. As the transport platform becomes more open, the more we need to focus on cyber-security and the intrinsic design of safe, secure systems.

OTT and social media delivery is sometimes seen as “disruptive” but probably “transformative” is the better word. It brings new challenges for creativity and business, and it is right that IBC looks at them. It runs right through the conference, not least in a keynote session from Brian Sullivan, president of the digital consumer group at Fox, in which he says “In a digital world the consumer has the power. Deal with it.”

Will VR and AR be addressed at this year’s conference?

Of course. And in the Future Zone, and no doubt on the show floor.

This is a great example of where IBC adds so much value to the industry.

Technologies in this area are tumbling out, but the business and creative case seems to be lagging behind. We know what VR can do, but how can we tell stories with it? How can we monetise it?

IBC can bring all the sides of the industry together to dig into all the issues. And not just in debate but by seeing and experiencing the state of the art.

What is the thinking behind the new C-Tech Forum?

The Leaders’ Summit, our invitationonly, behind-closed doors strategic conference for CEOs, has been a success for around five years. Last year we tried a special session for CTOs, which turned out to be very successful and left the crowd wanting more.

The desire seemed to be for sessions which provided technological debate at a strategic level, aiming to help C-level executives understand the implications for business transformation.

So, the C-Tech Forum is just that: two days of specialist presentations and debates, on the same behind-closeddoors basis as the Leaders’ Summit.

This year we are tackling two topics: a threat and an opportunity. On Friday we will look at cyber-security, and on Saturday it will be the possibilities of 5G and persistent, universal very high speed connectivity.

As ever, IBC is trying to anticipate the needs of the industry. This is a new initiative, and we will judge future plans based on the reception that the C-Tech Forum receives this year.

IBC 2017

Cyber security and security breaches are becoming more frequent. How will IBC address these challenges in the conference?

Cyber-security is such a critical issue that we have devoted a day to it in our new C-Tech Forum.

Beyond that, we have an important session on cyber-security on Friday in the main conference, with experts from around the world and around the industry debating what can and should be done to protect content and operations.

Incidentally, we are also looking at artificial intelligence and machine learning, with conference sessions in both the technology and business transformation strands.

Why is the Startup Forum important to IBC? Our industry is based on innovation, on people with bright ideas who can create new techniques and the technologies to support them. A decade ago no-one had even heard the term “app”: now we expect to be able to do anything and everything on our phones.

IBC has always strived to help new companies find a place in our community, through pod exhibition spaces or in special zones like the Launch Pad we introduced last year.

Now we are trying a more proactive approach, the IBC Startup Forum.

We are working with a specialist agency, Media Honeypot, to bring together startup and scaleup businesses, investors and media houses. There will be a Deal Room as well as networking areas and a seminar programme. The goal is to take the best new ideas from a spark of invention to full fruition.

What is the Platform Futures – Sport conference aiming to address?

Platform Futures is one of the strands running through the conference.

It looks at how the latest delivery and engagement technologies are opening new opportunities for the presentation of content.

Sport has always been a major driver – perhaps the major driver – of innovation in television and media. For many years now we have had a sport day as part of the conference. This year, we are dedicating the Platform Futures strand to sport on Sunday.

The stream looks at how new technology is pushing boundaries for live sports coverage; the increasing importance of fan engagement; and the phenomenon of ‘alternative sports formats’ like Twenty20 cricket and Rugby 7s, which provide exciting and lucrative alternatives to traditional competitions.

It will also examine the unprecedented growth of eSports, and the exponential opportunities for broadcasters in a market that is now pushing towards the half-billion dollar size.

August 2017 | SCREENAFRICA | 35

FESTIVALS & MARKETS

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kykNET Silwerskerm Fees promises a slew of fresh short films The kykNET Silwerskerm Fees is gearing up for its eighth instalment in 2017, as the successful local festival continues to bring industry personalities together to provide a platform for the next generation of South African filmmakers to showcase their work.

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est news of all, both for long-time fans of the Silwerskerm and for South African television viewers alike, is that the immensely popular short film competition will feature an expanded field of entrants this year, with both 12- and 24-minute films to be screened at the festival (and a selection of which will later be broadcast on kykNET).

The Silwerskerm Festival started in Prince Albert in 2010 before moving to The Bay Hotel the following year.

Partly due to this evocative Camps Bay setting, the festival has been nicknamed “the Cannes of South Africa” – but to focus only on its glamour misses the critical role the Silwerskerm Fees plays in the development of the local film and television industries.

According to Karen Meiring, M-Net’s director of Afrikaans channels, the “motivation for starting the festival was to create opportunities for new,

36 | SCREENAFRICA | August 2017

established and veteran filmmakers to get together and to be exposed to one another’s work. From the beginning, it was a way to create a platform for the development of new filmmakers” – exhibiting films in several categories such as features, documentaries, experimental films and, of course, the dynamic short film competition.

Some of the country’s brightest – and busiest – young filmmaking talents have emerged from the ranks of the Silwerskerm short film competition, where a selection of scripts are given funding, feedback, guidance and production assistance as bold ideas become transformed into compelling pieces of cinema. Meiring understands the financial restraints on young South African filmmakers, and sees the short film competition as an effective means of “encouraging and engaging people who are passionate

and determined to make movies.”

The 2012 entry Buurtwag (Neighbourhood Watch) won two awards – Best Director (Jaco Smith) and Best Screenplay (Beer Adriaanse) – and was subsequently developed into a 13-part television show, written and directed by Adriaanse, which aired on KykNet in 2015. While the writer and director of that year’s winning film, Nantes – René van Rooyen – has been prolific, penning the features Mooirivier, Hollywood In My Huis (with Corne van Rooyen) and the upcoming Vaselinetjie.

In 2013, it was Christiaan Olwagen’s turn to impress, with his short film Toevlug (Refuge) picking up three awards, and landing him a three-film contract from M-Net in the process.

His first feature, Johnny Is Nie Dood Nie – about a group of old friends who gather to reminisce about the impact that Johannes Kerkorrel and the Voelvry

Movement had on their lives – was released this year to great critical acclaim, confirming Olwagen’s reputation as one of the country’s most promising auteurs.

Described by early reviewers as one of the strongest South African films of the year, Johnny Is Nie Dood Nie was awarded seven Silwerskerm Awards in the Feature Film category at last year’s event.

Gambit Films, the production house whose short film No. 37 won at the 2014 event, present an even more resounding success story. As Meiring explains, through the networks created by the competition, “established producers can become involved in mentoring inexperienced producers until they are strong enough to stand on their own feet.” Gambit, who received this kind of support and guidance from Homebrew Films, has flourished, being “involved with numerous projects for kykNET and kykNET & Kie. They were responsible for

Photo by Julie Neethling

| FESTIVALS & MARKETS

Winner of the 2016 Best Script award Willem Grobler

Ons Stories, a series of 20 television films, and – after a thorough tender process – they were also chosen as the producers of Suidooster,” a Western Cape-based soap opera that has racked up more than 100 episodes and, more importantly, led to the development of Atlantic Studios, “a much-needed new studio complex in Cape Town, which provides almost a hundred permanent job opportunities in the television industry.”

Another prominent entry to the 2014 competition, Vuil Wasgoed (Dirty Laundry), led to its producer Bouwer Bosch starting a production company that has just overseen the development of a feature-length version of the film; while the writer, Bennie Fourie, has also contributed to the popular kykNET series Sterlopers and Hotel, for which he and fellow writer Stian Smith recently won a SAFTA. Smith, who won Best Script at the 2015

awards for Beurtkrag (Load Shedding), has seen his short film be adapted for the stage by director Jozua Malherbe, another Silwerskerm alumni and the director of the award-winning series Swartwater. The play, which is currently touring on the Afrikaans theatre festival circuit, is yet another example of the “exciting and sometimes unexpected creative opportunities” that the short film competition can provide.

Last year’s competition saw Matthys Boshoff win Best Director for Vlees van My Vlees (Flesh of My Flesh), which also won Best Short Film. Meanwhile, Willem Grobler picked up the Best Script award for the sci-fi-tinged psychological thriller Hum, and the young filmmaker is already building on this momentum with the development of an ambitious “neo noir” feature project called God Is Good.

And, of course, the successes noted above say nothing about the myriad

other cast and crew members – from performers to costume and make-up artists, sound engineers, gaffers and DOPs – that have benefited from being involved in the Silwerskerm short film competition over the years. By giving these individuals the opportunity to gain on-set experience – not to mention the exposure that comes from having these films screened at the festival and later broadcast on kykNET – the competition is making a vital contribution to skills development across the board.

Meiring notes that this is one of the most gratifying things about the short film competition, the way she sees production values improving year upon year, and she points out that this has always been part of what the Silwerskerm Fees is about. “We want to keep nurturing a culture of sharing,” she says. “In today’s rapidly changing digital landscape, the opportunities are

growing, with options such as television becoming more attractive to filmmakers.”

With 258 entries to the 2017 Silwerskerm Fees (up an incredible 48 per cent from last year’s 174), there is clearly a font of young South African talent yet to be discovered.

While the final programme is still to be confirmed, this year’s instalment of the festival will make its selection from a pool of eight documentaries, four films in the Experimental category and 32 short films, which will compete in two streams: ‘kort films’ (24 minutes) and ‘kort-kort films’ (12 minutes).

The 2017 Silwerskerm Fees will take place from the 23 to 26 August at The Bay Hotel in Camps Bay. A limited number of tickets will be available to the public from the 14 August.

– David Cornwell

August 2017 | SCREENAFRICA | 37

FESTIVALS & MARKETS | OPINION

Durban FilmMart 2017: through a different lens

Written by Themba A. Sibeko

As morning broke on a blustery cold Joburg winter morning, like any savvy social media consumer, I picked up my smart phone and logged onto Facebook and saw a fellow filmmaker post pictures of a sun-drenched Durban beachfront taken the same morning. Hours later, as my mid-afternoon flight descended on King Shaka, the skies were grey and the winter rain fell below. So much for the sun.

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s I descended on the 8th Durban FilmMart, which took place from 14 to 17 July 2017 at the Tsogo Sun Elangeni Hotel, it was abuzz with local tourists, primary school sports teams mingling with aspirants and veteran filmmakers. After a very short wait at the DFM registration booth (they’re efficient), I made my way to meet with my fellow filmmakers, who were milling around the second floor pool deck.

Several of us had made it to the Durban International Film Festival (DIFF) opening night film screening, Serpent produced

by Video Vision. For those squeamish about snakes in a tent – this is not for you. I can attest to this by the amount of times my chair was kicked by the lady behind me every time the black mamba raised its fanged head and hissed.

Afterwards, a group of us made our way to The Chairman, arguably South Africa’s most diverse and funky nightclub. A mix of Mzansi cool, Cuban murals, Greenwich Village New York City flair and New Orleans art decor.

For us right-brained people, between the vibey sounds of Afro Punk Band Urban Village and the DJ’s rare grooves, we could not ask for more – or so we thought. As we enjoyed the vibe, I noticed that there were more female

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filmmakers who had joined the little cipher we had gathered – refreshing.

Women-led film It was Friday, the DFM had officially opened and it was evident that the narrative was to focus a good part of the programme on women filmmakers.

I attended a conference session titled ‘Women-Led Film: In conversation with Tilane Jones’. Jones is the executive director of ARRAY, an independent film distributor co-founded by African American director Ava DuVernay (Selma, The 13th, Queen Sugar). The session was facilitated by Moikgantsi Kgama of Image Nation, an independent film exhibitor in Harlem, New York. The discussion was centred on the innovative business model that ARRAY had set up in the last few years. ARRAY’s primary focus is on women-led films; written, produced and directed by women with “original voices”.

Since opening their doors in late 2013, all films distributed by ARRAY have made a profit. Yes, you read that correctly – profit. Jones says that for them, the key to making a profit is that they ASK audiences what types of films they would like to see.

Themba A. Sibeko

The Emerging Black Filmmakers Scheme On Saturday, early morning grey clouds gave way to a warm winter’s sun. I made my way to the beachfront and made good use of the outdoor gym facing the Indian Ocean. Later that day, the Department of Trade and Industry (DTI) held a workshop on The Emerging Black Filmmakers Scheme. Hats off to the DTI for being transparent and open to questions.

At the workshop, the DTI shared that R362 million has been earmarked for the rebate scheme for the fiscal year 2017/18 and of that, R100 million is allocated to emerging filmmakers. Yes, it seems like a contentious issue – who is considered emerging? But hey, here is a government agency rolling out a scheme that is there to financially support content creators, which gives a 50 per cent rebate of the first R6 million and is 25 per cent above the QSAPE (Qualifying South African Production Expenditure). You will be hard pressed to find that anywhere else in the world.

20 years of co-production with Canada On Sunday, 16 July, the day ended with the National Film and Video Foundation (NFVF) hosting The Canada Media Fund to acknowledge the 20th anniversary of the SA/Canada co-production treaty.

We were packed in like sardines, as the Canadian High Commissioner lauded South Africa’s local film sector for engaging in over 20 co-productions in as many years with our Northern partners in film. Facilitated by SA ex-pat, producer Lance Samuels of the Blue Ice Film Fund (The Book of Negroes), and

Nigerian-Canadian producer/director Alfonse Adetuyi (Molo Fish, Jozi H, Love Jacked), the accolades were many.

The Canada Media Fund, which has an estimated $365 million Canadian dollars, is encouraging more coproductions with South Africa. So polish off that script and make tracks to Toronto International Film Festival in September.

The wrap-up It’s said that in today’s business world you are either the disruptor or your become disrupted. What is your business going to be? On the last day of DFM, a panel titled ‘Virtual Reality (VR): What’s Happening in Africa and What Can We Make Happen?’ was held. From the conference sessions held this year, it is evident that DFM seeks to keep pace with the global trends that impact on all in the sector. It’s a different lens we have to look through when faced with the fast-paced changes taking place in the area of filmmaking, changes which include gender issues, immersive entertainment (VR), screen-based media content and new distribution platforms (streaming, VOD), skills development and transformation of the local film industry as well as ownership of content as content developers.

As the weekend wound down and the Durban winter seemed to tease us with its unseasonable warmth, I once again held fort at the proverbial altar of filmmakers alike – the hotel pool bar. Its here you can feel the temperature of the Mart. I eagerly listened and drank my cider. It seemed the Mart had met the expectations for the majority of us, me included.

ZIFF at 20 – at the crossroads Z

Photo by Rashde Fidigo

Photo by Peter Bennett

IFF at 20 is therefore at crossroads, having to straddle the line between being simply a local cultural event and being a major pan-African industry opportunity. This crossroads comes with challenges that were highlighted at this year’s event, but that will also provide ZIFF with the opportunity to grow into a more sustainable and influential event.

As a cultural happening, ZIFF has always been uniquely and proudly Zanzibari, and this strong heritage is the heart and soul of a festival that truly celebrates the culture of the region of the Dhow countries. Local films, filmmakers, music, art and politics are always at the centre of the event and the opportunities for the local and regional creative industries are therefore immense.

Locals proudly and rightly claim ownership of this event, but after 20 years, it has grown bigger and more international in focus, outgrowing its previous incarnation as only a local event. This outward focus needs to be delicately balanced with the festival’s Zanzibari heritage in order

to ensure it can grow and effectively contribute to both the cultural and economic prosperity of the region.

This year, the festival hosted its first official market, SOKO FILAM, along with the China-Africa Film and Television Cooperation Forum, attracting international delegates all looking to do business. This growth in terms of ZIFF as an industry event has not gone unnoticed, with the announcement just before the start of the festival of DISCOP Zanzibar, to take place during ZIFF in 2018.

The growth in the reputation and stature of ZIFF means more and more filmmakers and industry players are attending every year, sometimes stretching the under-resourced infrastructure of the festival, and even of Stone Town, to its limits.

ZIFF in 2017 included more programmes, workshops and events than any previous festival.

With 15 different workshop streams that hosted nearly

Adiaha Award jury, Lara Preston at ZIFF 2017

200 people, the festival also welcomed over 50 filmmakers, over 60 media, a host of juries, and approximately 100 SOKO FILAM delegates.

With venues across Stone Town and beyond, ZIFF is growing, and in order to sustain this growth in a manageable way that continues to respect its local heritage, but still cater to its growing international reputation, change is needed.

Mostly run by part-time volunteers (full disclosure – I am one of them), ZIFF is now at a pivotal point in its history and more than ever needs the support of both government and the private sector to provide the funds for the necessary transition to a year-round fully staffed operation.

This year saw the inclusion of many new partners including Trace Mziki,

Showmax, The US Embassy, Hennessy, and The Milele Zanzibar Foundation amongst others, joining long time partners such as the Danish Film Institute, Danida, Goethe Institute, ACRA, GIZ, and a host of other embassies.

The support of these partners and others will be essential going forward to ensure that ZIFF lives up to its full potential as a unique and truly African event – one that both honours its unique flavour whilst providing opportunities for all that attend.

This year’s event can be hailed as a success, with its diversity of programming that attracted more international visitors, the festival also attracted larger local crowds than ever before.

Despite a few hiccups, the festival was a wonderful demonstration of how culture and commerce can cooperate for the benefit of all involved.

In this way, ZIFF can truly celebrate the heritage if the island of Zanzibar by continuing its legacy of trade, open exchange and sharing.

– Lara Preston

Photo by Rashde Fidigo

As the Zanzibar International Film Festival (ZIFF) reached its 20th year milestone this year, the festival took major strides towards further cementing its place as one of East Africa’s major cultural and industry events. More than just a cultural celebration of the Dhow Countries and of African (and international film), perhaps for the first time, the festival has also become a recognised destination for the business of film.

Photo by Peter Bennett

| FESTIVALS & MARKETS

MPA audience at ZIFF 2017 MPA Safi Theatre Group at ZIFF 2017 August 2017 | SCREENAFRICA | 39

PHOTO CREDIT: www.capetownmagazine.com

BUSINESS & LEGISLATION

|

Home Affairs: a production-industry partner Written by Bobby Amm,

executive officer, Commercial Producers Association of South Africa

RSA visa applications just got easier for foreign production stakeholders…

I

f you’ve ever brought a foreign client or production specialist into the country for a shoot, you know how complicated visa acquisition can be. And in the fast-paced production industry, with specialists constantly on the go, you don’t always have the time or the means to meet the requirements, like regular travellers do.

The CPA and its partner organisations have worked closely with Home Affairs to make the visa application process easier.

And we’ve come a long way. This is what we’ve done and what it means for you…

Where it all began Late in 2014, after intense lobbying by the CPA and two partner associations, Home Affairs granted a special concession to the film industry. This enables clients working in a supervisory capacity to enter South Africa on a visitor’s visa, rather than having to apply for a Section 11(2); a visa that requires the applicant to pre-apply in their country of residence.

For most clients who come from visa exempt countries, a visitor’s visa is easy to obtain and there is no pre-approval process – the endorsement is made in the passport upon entry into South Africa.

This doesn’t apply to all stakeholders, however. A specialist group (including directors and DOPs) still had to pre-apply, but their requirements were reduced and their visas processed within five days.

All applicants needed to leverage this concession is a letter issued by the CPA and its partner organisations. So the Film Industry Visa Assistance (FIVA) office was formed to handle the admin. Today, FIVA 40 | SCREENAFRICA | August 2017

processes about 12 000 letters per year, providing a life-line to local companies that wouldn’t otherwise be practical partners for foreign stakeholders.

Persistent issues Until recently, despite these concessions, challenges remained that made filming difficult for production companies and their international clients.

For instance, as directors and DOPs fall into the specialist group, they were required to pre-apply for visas in their country of residence.

This was inconvenient because, as they often travelled and worked in remote locations, it was difficult to visit embassies at short notice.

Another problem was that each visa was made out in the name of the company that had applied, meaning that the only work the specialist could undertake was for that company.

If the specialist wanted to work on another job while in South Africa, they’d have to return to their country of residence and reapply each time.

The latest updates After many discussions with the CPA and our associates, Home Affairs has recently agreed to allow all productionrelated applicants to apply for a threeyear visa that’s processed within ten days. This allows applicants to move between jobs without reapplying for a visa each time. The only condition is that the local company apply to FIVA each time, so that an accurate record

can be maintained of the work the specialist is doing in South Africa.

Home Affairs is also issuing extensions on 90-day visas, so that the Section 11(2) permit can be extended to 180 days. This enables directors and DOPs to obtain one visa for the entire summer season.

Embracing change Making use of these special allowances is easy. Just follow these four steps: 1. Register with FIVA on www.fiva.tv.

All applications are made via the local service provider on behalf of their foreign clients. Do this as soon as you can, so you’re ready to apply when you need to.

2. Apply for a letter from FIVA. The local service provider must apply on the client’s behalf and it can all be done online (you’ll find instructions on the site).

3. Hand in your letter to the South African Embassy, along with the other required documents, at the visa appointment. FIVA can advise on these procedures and assist in making emergency appointments, if required.

4. Allow at least five working days for your application to be processed. Apply as soon as a job is confirmed, to be on the safe side.

Looking ahead Going forward, the CPA hopes to streamline this process further. For instance, we think the biometric testing (a process that’s currently carried out at the South African Embassy appointment) can be done at the airports. This could make preapplication unnecessary, as visas could be issued on entry into South Africa.

With our communication channels open and strong, Home Affairs’ recognition of our legitimate and economy-boosting industry is growing.

It’s an exciting time to be a part of it. Until the next update, may your international production projects thrive!

Presenting yourself as a

OPINION

I was an animator before I moved to freelance storyboarding. I learned some lessons during the move that may help you make the leap yourself.

| BUSINESS & LEGISLATION

freelancer

Written by Kay Carmichael

M

y article is primarily for students or those entering a new phase of their careers. Also, I speak from the experience of an artist working in the Cape Town film industry, but I believe the same principles can apply to you whatever your speciality.

Getting started A portfolio: It gets you the work you want. Putting together a portfolio, you want to consider what sort of work you want to attract; if you are an animator who’s found yourself building rigs you’re not excited about, putting that on your website will attract more rigging work.

On the topic of websites: buy yourname.com or .co.za. Unless you’re actually forming a company, your name and associated job title is what clients need to remember when telling their friends about you. Clients have finite time – make your website clear and easy to navigate, and make sure anyone can tell at a glance who you are and what you do. Ten or so pieces should be enough to give a good idea. If you’re an artist, show variety in style and genre.

Be specific in the project descriptions about your role if multiple artists were involved. Being a generalist or multiskilled is fine, but keep it simple and easy to remember. If you were a movie, could you give me the elevator pitch?

Getting work There are many marketing techniques; social media, cold-calling, emailing production houses, event networking, business cards, or just showing up and introducing yourself. Ultimately, it comes down to doing good work and putting it in front of relevant people and then reminding them that you exist. Remind your friends at studios or ad agencies that you’re available and looking, ask people to introduce you at parties, follow people on Twitter, get involved in industry forums. Form relationships, not just cold business contacts.

Be graceful in rejection; it’ll happen. A no today isn’t a no forever, and it’s never personal.

Getting paid I can only advise other storyboard artists on what to charge. But you know a professional in your field whom you can ask. Bug them. Buy them beer. Most people are happy to help: it’s in their best interest that you charge properly for services they also provide. Undercharging can create a false standard rate for the industry, and nobody wins a race to the bottom. This doesn’t mean you can’t negotiate, but starting from a strong number and working down is infinitely easier than starting from a weak rate and trying to push for more later.

For a young person starting out, it can be frightening to ask a rate that sounds like way more money than you’re worth. Experiment and ask it anyway.

Clients are less interested in the artistic merits/faults of your work than they are in paying lots of money not to have to worry about that ‘thing’. If you can be the freelancer who makes problems disappear for a client and helps turn a headache of a project into a rousing triumph, they’ll be calling you again.

Getting good clients Charging like a pro is important for another reason: you attract good clients and get skirted by the bad.

If you’ve encountered neither yet, here’s a short guide to telling the difference: Good clients pay. They’re business people who understand that services get paid for, promptly.

Bad clients come in all shades of uncertainty; from inexperienced and non-committal to occasionally outright deceptive. Bad clients are coy about money and use words like ‘exposure’; good clients talk about money upfront and in plain terms. Good clients write

single line emails. Two lines if they want to ask how your day is. Bad clients obfuscate with huge paragraphs, leaving you feeling annoyed and confused, even attacked and guilty, and unable to draw a solid conclusion about where your money is.

Good clients have clear direction and finite expectation of changes, pushing for as much as they can get for the time they can afford you. They do their research, give you references for the things they can’t describe accurately, and answer all your questions until they are certain you see what they see. Bad clients are insecure in their vision and expect others to execute it via telepathy, without any legwork on their part. Good clients treat you like an adult. They pay you well and expect the work done well and on time.

If you are in bad-client hell right now (and you’ll know), then chances are you’re undercharging. You may have to cut ties with your bad clients and turn away offers of future work from them. The PH-test of a bad client is always how they react to the question of money, but if you’re not great at seeing warning signs, you may want to put some protective measures in place. A half-upfront rule, a milestone payment system, signing contracts before work begins, or getting an agent or a more experienced friend to sound off of are all options for you.

Lastly...

Find a community – Every job is different at first. Finding freelancer friends and mentors to talk to about the specifics of each case can be a huge help and can rebuild your confidence if things go wrong.

Agents – Having an agent can be helpful in dealing with contracts and client stress. In my experience, though, agents will not jeopardise a working

relationship with a client to get you your money. Also, exclusive contracts with agents have not worked for me in the past – an agent should earn their percentage by bringing you new clients, not by you bringing your clients to them.

Tax – If tax freaks you out at all, get an accountant. Most charge very little to put in tax returns and are willing to talk to you about what expenses to keep track of and how.

Deadlines – Don’t miss ‘em.

And don’t put yourself in a difficult position by promising the earth in a day. If a client has no time-budget, it’s not up to you to catch them. It’s okay to turn away work you know you can’t do in the given timeline.

Listen and teach – Every client is different. Some may be a little inexperienced and not know what you actually do or how to communicate what they want. Be patient and let them feel heard, and educate them in how your job happens, the time involved, the steps to completion. Don’t be afraid to offer your expertise – they’re paying for it after all. But remember that you’re there to make their problem go away, not to take over the project.

Ask dumb questions – Part of this is getting a good brief, but it’s your responsibility to make sure you know what a client wants. Playing knowledgeable while not knowing what’s going on is a terrifying position to put yourself in. Much rather risk a moment’s embarrassment in the boardroom than a whole lot of embarrassment and broken promises closer to deadline.

If you have questions – or horror stories – get hold of me on Twitter: @Kay_Carmichael.

August 2017 | SCREENAFRICA | 41

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Mediatech 2017 Photos by Graham Grier

All the action seen at Mediatech 2017 at Ticketpro Dome, Johannesburg.

Aamir Vohra, Sikky Jooma (Spark SA)

Adriaan Shipalana (Harambe) and Leonard Matjila (Tru-Fi)

Adrian Richmond, Adrian Smith (Axon), Martin Dyster (Telios ) and Frank Burger (Riedel)

Adrian Smith and Teo Garcia (Dalet)

Alan Atkinson ( File Catalyst), Neil Owens (AP ENPS) and Tamas Vass (Pebble Beach)

Andrew Cole (Concilium) and Mark Cooke (Ross Video)

Andrew Moyo and Catherine Nyaumwe (Vision cases)

Christian Heinz (Panther) and Jonathan Sack (Pro-Sales)

Christo Conidaris, Mark Weekes and Hilton Haefele (Quantum)

Thabiso sefara, Dennis Msimango, Lele Msimango, Marinki Seakgosing and Andy Mehale (Centrax)

Gary Botha (MMPA), Peter Passion (The Telios Alliance) and Leonard Matjila (Tru-Fi)

Jacques Breytenbach (Harambe) and Abdul Hakami (Evertz)

42 | SCREENAFRICA | August 2017

The Datavideo team: Dave Short, Rika Kock, Ian Thornhill, Karen Wiese, Johan Lieffers and Eric Wiese

Gerhard Roets, Charl Van Der Merwe and Neil Du Toit (Media Film Service)

Jaycee Milner, Tatiana Golub and Gerhard Strydom (Sony Professional UAE)

Daine Pearson (Cinedeck) and Casper Klopper (Zimele)

John Paul Meeser (Telemedia) and Colin Wood (Vislink)

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Kim Reed, John Harrison and Kierryn Harris (Movie Vision)

Jonathan Gibson and Phil Eade (Ooyala)

Philippe Van Walle (EVS), Ralf Schimmel (Lawo), Felix Trapiello (EVS) and Colin Wainer (Inala)

Ntisane Kolisang (Harambe), Thomas Lebreton (Avid) and Adriaan Shipalana (Harambe)

Richard Villhaber (Egripment B.V), Joseph White (Miller) and Anselie Furnell (Jasco)

Roger Machin (Canon SA)

Stefan Nell and Roedolph Louw (Visual Impact)

Macita Hardacre and Storm Ward (Rocket Science)

Peter Kavenagh and Suzan Harrison (Imagine)

Rob Stanley (Pixel Power), Antoinette Morgan and Elna Goosen (SABC)

Sean Loeve (Panasonic)

Nicolo Oliva, Davide Muziod (Spotlight,) Kim Reed and Kierryn Harris (Movie Vision)

Greg Pokroy (Jaycor)

Eddie Seane and Mafadi Mpuru (Vision View)

Lauren Badenhorst and Pieter Badenhorst (Cine Photo Tools)

Nico Lewis (Bosch Eindhoven) and Richard Fulton (Tru-Fi)

Elelwani Nthulane, Morena Matsena,Tineal Meyer and Jacques Scorgie (Audiosure)

Sisi Banda, Goran Music and Nicky Lee (Visual Impact)

Unni Krishnan, Rob Sherman and Paul Martin (Sony Professional UAE)

August 2017 | SCREENAFRICA | 43

M ark e tplac e UPCOMING EVENTS AUGUST 2 – 12 Locarno International

Film Festival Switzerland www.pardolive.ch/ 3 – 20 Melbourne International

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Film Festival Montreal www.ffm-montreal.org

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& Technology Summit

Los Angeles www.variety.com 14 – 19 IBC2017 Amsterdam www.ibc.org 20 – 22 Drones Africa Summit 2017 Johannesburg www.smart-link.co.za/index. php/drones-africa-summit-2017/

ManUFaCtUReRs oF: alUMiniUM, wooden, polyethelene FabRiCated Flight Cases, tUbes & CoRdURa nylon padded bags & CoveRs

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