Screen Africa Digital Magazine July 2013

Durban FilmMart DIFF Mediatech Africa k Africa l a t d il W n a Durb BROADCAST, FILM, TV, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS

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VOL 25 – July 2013 R35.00

Community TV sector under threat The South African community TV sector has formed an industry body, ACTSA, to lobby against recent policy recommendations proposed by the Department of Communications (DoC) to regionalise community television to broadcast at provincial level.

ACTSA (Association of Community Television South Africa) also opposes the DoC’s push for the boards of community television stations to be appointed by government.

Membership of ACTSA comprises existing community television licensees Soweto TV, Cape Town TV (CTV), Bay TV, One KZN, Tshwane TV, North West TV and Bara TV. According to ACTSA spokesperson Colin MacKenzie, the organisation was formed so that community TV stations could speak with a unified voice as a sector instead of individually.

“We convened a meeting on 30 May in Johannesburg, following Deputy Minister Stella NdabeniAbrahams’ Budget Vote speech a week earlier, in which she outlined the DoC’s plans for the community TV sector. Some of these plans are cause for concern.

“The community TV stations present at the meeting signed a Memorandum of Understanding and outlined what needs to be addressed in the sector. Our next step is to draw up a charter and set up task teams to deal with issues such as governance, ownership and control, programming, revenue streams and distribution platforms. We expect that ACTSA will be registered in 30 days.

“It’s our view that until now no-one has taken community TV seriously and yet we cover a viewing population of 10 million people. We speak to, and

represent, diverse communities and we prize our editorial independence – we don’t want to be told what to broadcast,” says MacKenzie.

He notes that the community TV sector comprises a group of highly knowledgeable, astute and experienced people.

Commenting on the deputy minister’s Budget Vote speech in his capacity as broadcast manager of CTV, Mike Aldridge says: “The deputy minister stated that the DoC was finalising the new Community Broadcasting Support Policy which would extend government support to the community television sector. On face value this is to be welcomed, because government has singularly neglected the sector over the decades.

“However, Ms NdabeniAbrahams mentioned that the – continued on next page

SA Film Commission controversy On 26 June a newsletter circulated by Cape Film Commission (CFC) CEO Denis Lillie announcing the establishment and registration of the South African Film Commission prompted the National Film and Video Foundation (NFVF) to issue a statement noting its ‘great shock’ at the news.

According to the statement, the NFVF has “distanced itself from the utterances of Mr Lillie, who in his statement claims that he has been provided permission by the NFVF, Department of Trade and Industry (the dti) and the

Department of Arts and Culture (DAC) to start such a Commission.

The NFVF has never been, and is not, in talks with the CFC and Mr Lillie, regarding the establishment of the South African Film Commission”.

NFVF CEO Zama Mkosi is quoted in the statement as saying: “The establishment of a South African Film Commission will be effected through an act of parliament and is the sole responsibility of DAC and not of an NGO or any other private entity. It is unfortunate that the CFC and Mr Lillie have decided to hijack the process, thereby

misleading the industry.”

Screen Africa contacted Lillie for feedback. He responded: “For those who have read my newsletter it is clear that we did not claim that we had been given permission from the NFVF for this initiative. We do not need permission from the NFVF for such an initiative. Furthermore, the documentary evidence in our possession proves that we took our original initiative to the NFVF and DAC in early 2012. The point is that they hi-jacked the initiative not us, it was our initiative. My understanding is that the CFC – continued on next page

NEW SA FILM: Petronella Ngubane in Of Good Report, the opening night film of the Durban International Film Festival. See pages 22 to 24

Industry flocks to Durban Some 350 local and international delegates are expected at the 4th edition of the Durban FilmMart (DFM), which runs from 19 to 22 July at the Blue Waters Hotel on Durban’s beachfront.

DFM is a joint programme between the Durban Film Office (DFO) and the Durban International Film Festival (DIFF), South Africa’s largest and longest running festival that takes place from 18 to 28 July (see pages 22 to 24).

In a first, DFM and DIFF have formed a strategic partnership with Durban Wild Talk Africa, the continent’s most respected natural history film festival and conference (Docklands Hotel, 23 to 26 July). (See page 28)

Another first saw the DFO’s Toni Monty marketing DFM at this year’s Cannes Film Festival.

Says Monty: “Cannes went very well for us. There seems to be great interest in African content and there is a sense that funders and financiers are excited about DFM as it provides the platform to source new projects and meet with and develop relationships with African filmmakers. This certainly appears to be giving the DFM an edge and a unique selling point.

“As part of the official South African delegation to Cannes, one of our objectives was to promote DFM, as well as communicate with existing partners and take the opportunity to meet potential new partners and network. For example, we were able to convene with the Independent FilmMakers Project, which is a new DFM partner, to confirm the relationship.”

Monty notes that the Blue Waters Hotel, introduced last year – continued on next page

Continued from page 3 Community TV sector under threat

IN PRODUCTION: The CTV studio DoC has spent over R400m on community radio over the past two decades, which is in stark contrast to her department’s lack of support for the community TV sector, having invested in nothing more than a few conferences and some research over the years. This neglect has resulted in most community TV stations turning to commercial partners to run their operations, which has caused problems for the sector. It is interesting that at a community TV workshop in January 2013, this same deputy minister slammed the over-involvement of the business sector in non-profit community TV operations.

“At the same workshop, the DoC presented its model for community TV. It is premised on the idea that local (ie. metro-based) community television ‘will never be sustainable’. This is despite the existence of community TV channels at the local level in many countries around the world, and the continuing operations of the present incumbents in South Africa.

Instead, the DoC proposes to license provincial community TV, in the context that ‘only one provincial community TV licence should be issued per province’.”

Aldrige points out that these provincial TV stations will follow the typical public service broadcasting mandate – to inform, educate and entertain – and will be provincial public entities as classified in schedule 3 of the Public Finance Management Act (PFMA).

“The boards of these organisations will be appointed by government (probably provincial government, although this is not

yet finalised), from a list of persons nominated through a public process,” he continues. “In other words, these stations will be mini-SABCs – ie. a public service broadcasting model as opposed to a community broadcasting model.

Community TV channels will be prohibited from carriage on subscription platforms and they will not be allowed to carry national advertising. While the stations will ‘enjoy editorial independence’, they will be governed by a charter which will be ‘decided by Parliament as part of national policy formulation’.”

As such the community TV sector will be ‘overseen’ by a body called the Community TV Council, made up of the chairpersons of each licensee (ie. those appointed by government to this role). Those community TV licensees that don’t fit into this mould will cease to exist from 2016/7 onwards.

“In essence the DoC is planning to do away with community television and to implement state-controlled public service broadcasting in its place,” explains Aldridge. “Since there is no provision for this in the Electronic Communications Act, it will have to be amended.

“It seems that the DoC, having failed to implement its vision for regional public service television broadcasters through the SABC plans on taking over the community TV sector instead. These channels will be reliant on government funding and the politicisation of boards and political interference in their workings. The factors which characterise the SABC today will be firmly entrenched.”

Industry flocks to Durban as the DFM venue, worked very well. “Our delegates loved being on the Durban beachfront and being so close to the Suncoast cinemas where many of the DIFF screenings take place. The hotel, as the DFM and DIFF hub, is a short walk from Suncoast and easily accessible to other venues that are part of the programme.

“The beachfront location created a very positive vibe as delegates felt that while they were there for work, they were kind of on holiday. We believe this contributed to the productivity of the market. In fact, one filmmaker, on yet another glorious blue-skied Durban winter day, remarked that it was ‘even better than Cannes’.”

DFM organisers continually look at expanding the market’s reach of African projects into the global markets.

“We are encouraged to see filmmakers returning to the Mart, as they are comfortable with the DFM format and the platform it provides to network and develop relationships, further fuelling the notion of ‘Africa meets the World in Durban’,” continues Monty.

Financiers and international acquisition and distribution executives set to participate in DFM’s Finance Forum include the BBC’s Kate Townsend; Ingrid Hogtun (MD and producer for Barentsfilm AS in Norway); Lucinda Englehart, head of production at film finance company, Aramid; Daniel Chabannes from distribution and production company Epicentre Films; Michael Auret, a partner and MD of Spier Films; Alexandra Abykova from M-appeal, a young world sales company based in Berlin;

Claire Aguilar, executive content advisor at the Independent Television Service (ITVS), Denis Vaslin from Volya Films in Netherlands; Rene Burah (ARTE); and Justine Atkinson – director and CEO of Aya Distribution.

DFM partners since its inception include WorldView (UK), ARTE France, Canal France International, Media Mundus Boost!, IDFA Bertha Fund (Netherlands), International Organisation of La Francophonie and EAVE. “This year we are pleased to welcome three new partners – Paris Project, Independent FilmMakers Projects based in New York, and Produire au Sud from the Nantes Film Festival. Paris Project is the film mart of Paris Cinema. The projects that they selected, one of which was from our 2012 DFM projects (David Horler and Jenna Cato Bass’s Flatland), were announced in Cannes.

“An objective of the DFM is to create a network of partners across the globe that will assist our selected projects get to other markets and experience them and network and develop relationships through these markets. It is hugely significant that in just four years we have managed to establish such a strong base of partners.”

Eight documentary projects and 10 fiction projects have been selected to participate in DFM’s Finance Forum this year.

As part of DFM’s conference programme there will be sessions on transmedia; marketing and publicity for cinema; and pitching primers, among others.

For more information on the DFM programme see page 27.

ORGANISED AND READY: DFM’s Mona Pilane and Toni Monty with Chris Mason (Durban Wild Talk Africa) and DIFF’s Peter Machen and Tiny Mungwe

SA Film Commission controversy and other film offices and commissions in South Africa were established through support from the DTI, hence them falling under provincial and city departments of economic development and tourism.

“The NFVF falls under the DAC (ie. Arts and Culture). Their mandate is different as they are promoting South African expressions of culture through film and associated aspects. The Commissions are about economic development, job creation, sustainable employment, festivals and markets, training, etc., all under the promotion of the territory for filmmaking, irrespective of whether it is South African or international.

“This is why we believed a ‘national’ commission would be complementary.

Both organisations work with support from different government departments and as

such can co-exist and support each other. It is therefore disappointing to read the knee-jerk reaction from the NFVF who appear to be overstepping their functional mandate and refer solely to the DAC and not the dti, etc. We have been attempting to meet with the NFVF for several months to advise them on the timescale for the process we are following. They have been aware of our proposals for over 14 months.”

In the NFVF statement Mkosi stressed that the establishment of a South African Film Commission is the responsibility and falls under the ambit of the DAC and the NFVF as the agency of the DAC responsible for the film industry in South Africa.

Stated Mkosi: “In his statement during the release of the economic baseline study on 10 May 2013, Minister of Arts and Culture Paul Mashatile said: ‘The DAC is

currently in the process of converting or re-structuring the NFVF into a fully-fledged National Film Commission’. This process has commenced with the NFVF having successfully applied to register the trademark ‘South African Film Commission’ and together with the DAC is currently following appropriate parliamentary channels to amend the relevant legislation in order to give effect to such proposed changes.”

According to Lillie the South African Film Commission he registered should be opertional by the end of 2013. “We should be running a decent service by the end of this August,” he said.

As to the Commission’s funding model, Lillie anticipates support from the dti, the Media Information & Communication Technologies Sector Education & Training

Authority (MICT SETA), the National Lotteries Board and through the Commission on certain services such as insurances. The Commission’s model is based on the CFC and the requirements of the Association of Film Commissioners International (AFCI).

Lillie concluded: “The initial reaction from the industry about the Commission has been extremely positive and we were pleasantly surprised by the number of responses stating that ‘this is about time’ and ‘congratulations’.

“Please note that there is absolutely no intention to undermine or compete with the work of the Gauteng and KZN Film Commissions, the Durban Film Office and other film offices around the country. And, contrary to rumours and speculation, the CFC will continue to exist.”

From the editor

C o n t e n ts

A smorgasbord or industry events If you’re involved in the film and television industry in South Africa, the month of July is synonymous with a plethora of industry events – Mediatech Africa, the Durban International Film Festival (DIFF), Durban FilmMart (DFM), and Talent Campus Durban.

This year sees a fifth major event join the July calendar – Durban Wild Talk Africa, the continent’s leading wildlife and natural history film festival and conference. Durban Wild Talk Africa has entered into a strategic partnership with the DIFF and DFM and now runs concurrently with these events to take maximum advantage of synergistic crossovers. In addition, nine of Durban Wild Talk Africa’s festival films have been incorporated into the DIFF programme.

For anyone involved in film and TV production, broadcast, asset management and storage, etc., the Mediatech Africa advanced technology trade show at Johannesburg’s Coca-Cola Dome is not to be missed. Technology gallops along so fast that it’s inadvisable not to keep up. This issue of Screen Africa includes a preview of just some of the products that will be on display at the show.

Excitement about these wonderful industry events aside, the lead story on our front page reflects some sinister news – the Department of Communication’s apparent desire to turn South Africa’s community TV stations into state-controlled, public service regional TV stations. Should these plans come to pass, there will only be one community TV station per province. The Department of Communications needs to be reminded that the whole point of community TV stations is that they cater to, and reflect, specific communities and that the core of their being is independence in terms of ownership, governance and editorial policy.

Also of concern is the controversy surrounding the South African Film Commission, as established and registered by Denis Lillie of the Cape Film Commission. The National Film and Video Foundation (NFVF), an agency of the Department of Arts and Culture, believes that the formation of a national film commission falls under their remit, while Lillie believes film commissions are about economic development and job creation rather than culture. The NFVF points out that, as per Minister of Arts and Culture, Paul Mashatile, the NFVF is currently being re-structured into a national film commission.

A highly entertaining read is Anton Crone’s Adcetera opinion piece, No money is worth it, which delves into advertising folklore and the world of Orson Welles voiceovers. The point Crone makes is that no amount of money will make up for a bad script.

This month’s Director Speak focuses on Riaan Hendricks, whose film, The Devil’s Lair, is the hot South African documentary de jour, having been selected for the recent Hot Docs and screening at DIFF. Hendricks reveals that he is about to realise a dream of many years standing – to make fiction films.

Joanna Sterkowicz

SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com Editor: Joanna Sterkowicz: editor@screenafrica.com Journalist: Martie Bester: news@screenafrica.com Contributors: Andy Stead, Ian Dormer, Anton Crone, Carol Mohlala, Sammy-Jane Every, Andrew Moore

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15

Riding shotgun for the ‘Fastest Film Ever Made’

Phil the Legend

19 Spud 2: The success story continues

28

23 Feature films at DIFF 2013

20

It’s Durban Wild Talk Africa time!

38

Powerful soundtrack supports strong narrative

Looking back in time

SPECIAL FEATURES MEDIATECH AFRICA PREVIEW

NEWS

FILM

Community TV sector under threat; Industry flocks to Durban; SA Film Commission controversy............................. 3 / 4 Henley Studio 6 update; Gauteng through the eyes and minds of young filmmakers; Big demand for DISCOP AFRICA........................... 6 ‘Noble’ co-production in the works; Riding shotgun for the fastest film ever made..... 8 Pitching to Al Jazeera English; Big boost for skills development................................. 10 Jaycor recognised as Belden Preferred Partner; The ICT Policy Review Framing Paper: a great start; but there is still a long way to go... 12

Spud 2: The success story continues; Equals in craft and friendship...................................... 19 Powerful soundtrack supports strong narrative........................... 20 Director Speak – of personal relevance....................................... 25

Looking back in time........ 38 / 39 FORscene launches in SA......... 40 Sony; SAE Institute...................... 42 Concilium Technologies; Blackmagic Design...................... 44 Avmark Systems; AJA Video Systems.......................................... 46 Broadcasting Solutions / Zimele Broadcasting Services; Questek Advanced Technologies ............ 48 Datapost........................................ 49 Jasco Broadcast Solutions; Protea Electronics....................... 50 Telemedia...................................... 51 Panasonic...................................... 53 Avid................................................ 54 Harambe Technologies............... 55 CNBC Africa goes CLEAR....... 56 SABA seminar.............................. 57

DURBAN INTERNATIONAL FILM FESTIVAL World cinema comes to Durban..................................... 22 Feature Films at DIFF 2013...... 23 Documentaries; Workshops..... 24

ADCETERA Lindsay directs Kids Haven; An organic music video.................... 14 Trio of TVCS strikes emotive brand chord; Phil the Legend... 15 No money is worth it................ 16 Idea company rather than ‘ad’ agency; Your brand is a joke.

Or, at least it should be............. 17

FESTIVAL It’s Durban Wild Talk Africa time!................................... 28

TELEVISION Honouring real-life heroes........ 30

CAMERAS Action camera – it’s all go!....... 34

BROADCAST LTFS and LTO unpacked............ 36

AFRICA Africa’s digital transition............ 58

REGULARS Production Updates......... 60 / 61 / 62 / 63 Events............................................. 63 Social.............................................. 64

News

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Henley Studio 6 update Screen Africa readers may recall that Studio 6 at SABC Henley TV Facilities in Auckland Park, Johannesburg, was gutted by fire on 13 June last year. Since then it has been almost impossible for outsiders to determine when the studio and surrounding areas will be operational again.

Following several attempts by Screen Africa to get clarification on the matter, Tseliso Ralitabo, acting GM of the Technology Division of SABC Henley TV Facilities, revealed at the end of June 2013 that the studio itself had not yet been renovated.

“This is because the processes of clean-up and damage assessment are still

ON THE MEND: SABC Henley Television Facilities

Gauteng through the eyes and minds of young filmmakers

HATCHING NEW TALENT: A still from Dada the Dancing Swan On 26 June Big Fish School of Digital Filmmaking and The National Lottery Distribution Trust Fund showcased projects by film students called ‘Gauteng through the eyes and minds of young filmmakers’ by screening three short films. The movies Dada the Dancing Swan, Shwe Shwe Poppis and The Poet Inside were shown.

“The Lotto funded our graduates from nine provinces to make films about their own home provinces. It is a wonderful initiative and most of the students learned an enormous amount as many of them went overseas for the first time and won awards,”

6 | SCREENAFRICA | July 2013

underway due to certain statutory requirements that need to be followed when dealing with civil works of this nature.

The two other adjacent studios have been returned to operational status, though not fully as some infrastructure was shared. Our popular sopaies, Generations and Muvhango, have moved back into these studios. Isidingo is currently being recorded at Sasani Studios.

“The process of cleaning up the toxic rubble and recovering the surrounding area affected by the fire is being conducted under stringent control measures.

Renovations and the recovery process that will return the affected areas to good standing for long-term normalisation of operations should ensure completion around the end of the second quarter, or latest early third quarter of this year. This includes civil work to renovate the site of the fire.” – Andy Stead

said Big Fish CEO Dr Melanie Chait.

The students tell stories about what they know, stories of hope, stories which allow all South Africans to understand and accept each other as the nation tries to create social cohesion, begins to understand the complexities of diversity and attempts to work toward true nation building.

Commented Chait: “Big Fish has always had the ethos of socially responsible filmmaking. We continue to expose our students to advocacy training, whether for human rights, environmental, gender or social justice issues. It is therefore important that these new founded hubs provide a space for local stories to be told and to address social justice

issues.”

Chait said Big Fish is grateful for support from Barclays Absa, the GFC and DAC for the short courses they run with the organisation and also to the EU and to Anglo Plat for the funding of the students.

She also thanked the Lotto for its insightful and innovative initiative of giving young people the opportunity to go and make films in their own provinces to gain more experience and to become greater producers and directors while making memorable films. – Martie Bester

Big demand for DISCOP AFRICA

CONTENT FOR SUCCESS: A conference session at DISCOP AFRICA 2012 Following hot on the heels of last year’s highly successful DISCOP AFRICA event, held for the first time in South Africa, comes the news that exhibition space for the 2013 edition, to run from 6 to 8 November at Johannesburg’s Convention Centre, has already sold out.

DISCOP AFRICA is positioned as Africa’s premier TV content development, production and distribution gathering. This 8th edition expects to attract more than 2 000 delegates from over 70 countries.

“National umbrellas representing the UK, France, the US, China, Korea, Kenya, Nigeria and South Africa will also be on the floor,” says Patrick Jucaud-Zuchowicki, general manager of The DISCOP Organisation. “There’s never been a better time to approach the future of content business in Africa with confidence. Africa is empowered by young populations, rising advertising markets, rapid digital switchover processes, strong broadband and mobile penetration, and continued growth in multiscreen viewing and subscription revenues.”

The three-day agenda includes a vibrant market showcasing top regional, multicultural and global film and TV brands and their latest content.

An important element of DISCOP AFRICA is its varied conference programme, which focuses on production fund-raising and hands-on learning opportunities. Developed in partnership with trade associations representing Africa’s most active production communities, the conference programme will address issues of concern and interest for emerging and established content creators, helping them to develop practical survival skills, build relations, access game changing-information and navigate the co-production and funding terrain. The conference programme will also provide valuable insight into co-production dynamics, regional and international distribution opportunities and the tools available to support the rapid growth of Africa’s independent content production sector.

The second edition of the FORMATS FROM AFRICA pitching competition promoting TV formats created in Africa that have local, regional and international appeal will run alongside numerous networking opportunities, including two major celebrations – Bollywood’s centenary and Nollywood’s 20th anniversary.

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News

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‘Noble’ co-production in the works Uzanenkosi Mahlangu, creator of InterSexions and Samad Davis, producer of The Spirited Actor have announced a new South African and US co-production with the working title Asylum Down.

Hollywood actor Morris Chestnut (Boys in the Hood and The Best Man) will play a reluctant Tswana king who has to make difficult financial decisions that will affect his kingdom and those around him. Chestnut is also the executive producer of the film.

Davis initially wanted to portray the fictional Ashanti Kingdom in Ghana in the film, but after deliberations with Mahlangu it was decided to base the movie on the Royal Bafokeng tribe of the North West province in South Africa.

With funding from the IDC (Industrial Development Corporation), the DTI (Department of Trade and Industry) and the National Film and Video Foundation (NFVF) already in place, 75% of the movie will be shot in South Africa while the rest of filming will take place in New York and London.

CROSSING BORDERS: Tarek Stevens, Morris Chestnut, Uzanenkosi Mahlangu and Samad Davis Mahlangu mentions that when he read the treatment, he found it similar to the story of Patrice Lumumba and the vision the great Congolese leader had. “Our character has a vision of doing things in a way that goes completely against the status quo, it is going to change business, it is going to

affect what happens in Wall Street, and some people are not going to like that. We are happy to say that in the film, which is based in the present, we will make him overcome all the evils that are directed toward him and he will be able to realise his vision.

“I don’t feel we have enough of these kinds of stories. What drew me to the project is that it speaks about someone like a Sobukwe or a Malcolm X who impacted on the lives of the people they lead.”

Mahlangu says the budget has not been determined yet, but adds: “It has to stand out as a big-budget film as we are not small time.”

Viewed from a business perspective, the film will be distributed widely in the US, the UK, the Caribbean and Africa.

Davis says: “When you get to distribution it is all about who stars in the movie. So there is a fine line between bringing in new talent and also casting people who are recognised by distributors, as these factors matter when making projections about the movie’s box-office success.”

Mahlangu adds: “We will cast purely based on talent. Whoever benefits the project will come on board. It is a wonderful opportunity to have a lot of our local actors alongside people with a box-office history so that South African talent can establish their own box-office histories.”

The filmmaker and businessman concludes: “South Africa is the only place in the world to make films. I don’t understand why anyone would want to make a film anywhere else in the world.”

Pre-production of Asylum Down begins in January 2014. – Martie Bester

Riding shotgun for the ‘Fastest Film Ever Made’

FOR THE RECORD: The team on Shotgun Garfunkel It’s official – South Africa holds the Guinness Book of Records for the ‘Fastest Film Ever Made’ – 10 days, 10 hours and 30 minutes.

This beats the previous record holder Sivappu Mazhai, a 2010 Tamil action film made in 11 days, 23 hours and 45 minutes.

The 85-minute South African film Shotgun Garfunkel was conceptualised, scripted, shot and edited by three Johannesburg-based production companies, working collaboratively and proving to movie skeptics and supporters alike that conventional methods of

8 | SCREENAFRICA | July 2013

big-budget movie-making are being successfully challenged.

Directed by Johnny Barbuzano, Shotgun Garfunkel centres on a group of friends who are trying to recapture the partying days of their youth. On-screen talent included Jenna Dover, Meren Reddy, Eduan van Jaarsveld, Tiffany Jones Barbuzano, Bryan van Niekerk and Asher Stoltz.

Sponsors included Sony Broadcast, Nates Audio Visual and Produce Sound.

Mushroom Media handled the postproduction, editing and grading of the film.

“Nates Audio Visual contacted me after hearing about the new Sony F55 camera,” says Sony South Africa’s Jess Goedhals.

“We then did presentations to DOP Trevor Brown to convince him that the camera would be suitable.”

‘Team Best’ then formalised the arrangement with Sony. Everyone commented on how easy the camera was to use on the shoot, including the DIT (digital imaging technician) when he was data wrangling the 4K material. A key feature which contributed to the speed of shooting the movie is the ability of the F55 to record the master material and the HD dailies simultaneously.

“We have a really close working relationship with the guys at ‘Team Best’ and when they called and pitched their idea to beat the world record for the fastest film ever, we decided to get on board instantly and supply the gear,” comments Nates Audio Visual’s Martin Smookler.

“Having had the brand new Sony F55 on back order, we managed to liaise with Sony South Africa and secure the F55 demo unit for the film.

“Being a little hesitant to use a new and unfamiliar camera for a speed record, our fears were immediately allayed when we brought the team in for a demo of the camera. They were all instantly blown away and relished the opportunity to use this

superb camera.

“Besides the camera gear and accessories, we also supplied the lighting, grips, dolly and one of our panel van vehicles.”

Mushroom Media’s Warwick Allan adds: “We chose to cut on the Adobe Premier CS6 system. As we had no time to transcode and CS6 worked with the HD proxy clips natively, the 4K RAW footage from the Sony F55 was graded in Resolve later. All three edit suites cut the project simultaneously via our centralised storage. It took four days for offline and only one day for the grade.

“Working under these stressful conditions actually became very motivational as everyone was very goal-focused. At the end of the day it became a fun project.”

“It was very exciting, very quick.

There wasn’t a lot of time to go back and fix things. I’m glad to have been part of it,” comments Produce Sound’s Louis Enslin.

With traditional production methods involving a six-phase process consisting of story generation, scriptwriting, casting, shooting, editing and screening, Shotgun Garfunkel has set the bar for the burgeoning South African film industry. – Andy Stead

News

|

Reports by Joanna Sterkowic z

Pitching to Al Jazeera English Sixteen South African documentary filmmakers were given the opportunity to pitch proposals to international news broadcaster, Al Jazeera English, in Cape Town on 15 June, as part of the Encounters South African International Documentary Festival.

This was the second year in a row that Al Jazeera English has heard pitches at Encounters.

Says Al Jazeera English senior producer Dominique Young: “I was very impressed with the quality of the pitches this year, and felt that the Encounters organisers understood what Al Jazeera English is looking for in both our Witness and People & Power strands.

“A wide range of subjects were covered in the pitches: the value of forums like Encounters is that they are the only way we

REAL STORIES, REAL PEOPLE: Osama Aseed

have access to some of these stories. A number of the pitches were potentially suitable for Witness; they require some further development but I hope that we are able to commission at least a couple over the coming year.”

Al Jazeera English People & Power executive producer Diarmuid Jeffreys adds: “Encounters was excellent this year and it’s becoming an increasingly important event for us. The pitching forum delivered some good ideas and gave us an opportunity to meet several new and interesting filmmakers. I hope to take at least two of the projects forward to commission for People & Power.”

Prior to the pitching session Young and Jeffreys made a public presentation to reveal exactly what Al Jazeera looks for.

“The value of these sessions lies in our ability to explain, face-to-face, how the commissioning process works both editorially and practically,” continues Young. “Among the points raised were the global remit of our programming output and the need for stories to appeal to an audience worldwide; the need for filmmakers to understand the slot they are pitching to, and to tailor their proposals to that slot; and the importance Witness places on giving a voice to those who are often disregarded by media.”

Osama Saeed, Al Jazeera’s head of international and media relations, also visited South Africa during Encounters.

He says: “We decided to hold the pitching session at Encounters again this year to support local documentary filmmaking and to unearth new talent.

Furthermore we want to find authentic films made by people who are close to, or are affected by, the subject matter.

“When commissioning projects we seek stories told by real people. We’re not necessarily looking for headline news, what we’re really looking for goes back to the DNA of the Al Jazeera network, when it started in 1996. The aim was to tell the stories of people on the street in the Arab world, rather than just reporting on royal news and government issues and not putting real people at the heart of stories.

Al Jazeera is not about being sensationalist.

In fact, I truly believe that if more people watched Al Jazeera the world would be a better place.”

As to whether people who haven’t watched Al Jazeera English think it has an Islamic bias, Aseed responds: “Some people might have that perception but it’s definitely decreasing. The advantage we have is that we’re a prism and we really don’t know where the next big story is coming from. Some news channels always want lead stories from their own country, whereas we don’t have a large domestic audience. Al Jazeera English is broadcast in over 130 countries and to over 270 million households.”

Big boost for skills development Twenty interns and 135 students have benefitted from the inaugural skills development partnership between the Media Information & Communication Technologies Sector Education & Training Authority (MICT SETA) and the National Film and Video Foundation (NFVF).

The partnership entails two programmes, a bursary scheme for students as well as an internship programme for unemployed graduates to address the issue of the scarcity of skills within the film and television sector, particularly focusing on individuals from disadvantaged backgrounds.

Ten interns have been placed at public broadcaster SABC, six at the NFVF, with the remaining four at Quizzical Pictures. The internship programme runs for a year.

Quizzical Pictures was approached by the NFVF via Intsha Consultancy, the project coordinator, to partner in the internship programme.

Says Viva Liles-Wilkin, Quizzical Pictures PR & Communications executive: “We have run an internship programme internally for many years, as our managing director, Harriet Gavshon, believes in nurturing young talent and mentoring people in the industry. The new partnership with the NFVF and MICT SETA is a welcome development to our internship offering as it allows us to expand the amount of positions available to youth looking to gain experience and skills in the industry.”

The NFVF obtained and consolidated all the applications from youth wanting to

10 | SCREENAFRICA | July 2013

participate in the programme. Quizzical Pictures then identified the key areas / positions for which they would be able to provide internships.

Liles-Wilkin continues: “The NFVF sent us a shortlist of candidate CVs for review. We reviewed and interviewed all the candidates to select the final interns to fill the internship positions.

“The interns joined us on 3 April this year and are placed in our Finance, Editing, Camera and Sound departments. They work on a number of projects simultaneously. We are delighted to have such enthusiastic and passionate young people join our team.”

MICT SETA conducts site visits together with the project coordinator, who monitors the interns telephonically each week.

“Quizzical Pictures doesn’t guarantee employment after the internship but more often than not, our interns return to work for us as freelancers and go on to succeed in their fields of expertise,” notes Liles-Wilkin.

In terms of the bursary scheme, the selected students are enrolled for film and television related qualifications at various accredited South African institutions of higher learning.

The intern and bursary beneficiaries were revealed at a function held in Johannesburg on 18 June.

Charlton Philiso of the MICT SETA said he viewed the Electronic (Media and Film) sector as very important. “We believe this sector can play a vital role in establishing

DRESSED TO SKILL: Quizzical Pictures interns Mandla Mbatha, Aluta Mlisana and Doctor Jethro Maseko

companies – there are lots of one-man companies in the film and media industries.

“As a SETA we are responsible for sector skills training. Our goal is to turn every workplace into a training space.”

NFVF CEO Zama Mkosi stressed that for the 15 years of its existence, the NFVF had been committed to developing skills and readdressing historical imbalances in the industry.

“According to recently released statistics, unemployment is on the rise in South Africa – a situation that needs to be reversed. The

NFVF has found amazing partners in the MICT SETA, Quizzical Pictures and the SABC, institutions that all share our vision in terms of developing skills in the industry. The internship programme is the fruit of this partnership. This is only the beginning and we trust we can do much more in the future.

“But it’s also up to the students and learners to embrace this programme.

You are the only ones who can make your light shine bright,” stated Mkosi.

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News

|

Jaycor recognised as Belden Preferred Partner

Belden, a worldwide leader in the design, manufacture and marketing of broadcast, enterprise, industrial connectivity and industrial networking products, has appointed leading signal transmission solutions company Jaycor as an authorised Channel Partner in the Belden Preferred Partner Program.

“Jaycor takes great pride in its ability to meet the local requirements for Belden Specialised Cable & Wire Solutions in South Africa,” says Jaycor’s Greg Pokroy.

The Belden Preferred Partner Program offers high-availability and service excellence for Belden solutions at the local level. Membership of the Preferred Partner Program ensures that Belden customers receive a secure supply chain of products

sourced direct from the manufacturer.

Local access and high availability of the Belden inventory, as well as manufacturer-backed warranty for products can be procured from authorised Preferred Partners. Belden Partners are deemed to have the necessary technical competence required to select the right solution for customers’ needs, and offer world-class support from trained and certified service agents.

Pokroy continues: “Belden warns that when purchasing from unauthorised channels customers run the risk of goods being ineligible for Belden manufacturer’s warranty. Products may be fake, cheaply produced look-a-like products often branded as ‘Belden’ or referred to as ‘equivalent’.

“Together with Belden, Jaycor delivers the most advanced products supported by superior technology and know-how for mission critical applications. Belden’s inventory comprises tried and tested signal transmission solutions that will make companies operate faster, better, longer, more safely and more economically.”

REGISTER ON OUR DATABASE Mindset Network is a non profit company that sources and creates multi-media content (mainly video and print) and delivers its content on a mass scale to the schooling and health sectors.

MINDSET HEALTH creates video educational content and delivers it through satellite broadcast to over 600 public health care facilities in all provinces of South Africa. The content, mainly about HIV/AIDS, TB, Mother to Child Transmission is accessible to visiting patients at those clinics and hospitals.

MINDSET LEARN produces educational content for learners and teachers for Grades 10 - 12. The content is aligned to the national curriculum of public schools and covers critical subjects. The content is then delivered to learners and teachers (end-users) via our DStv and TopTV Channels 319.

CONTENT PRODUCTION EXPERTS NEEDED For Mindset to continue creating and delivering quality educational content, we need to update our database of service providers in the sector.

Should you want to register on our database for script writing, graphic design, production, camera, sound or editing, kindly forward your details to us.

Website: www.mindset.co.za Email: screenafrica@mindset.co.za Tel: 086 100 MIND (6463) MINDSET - EMPOWERMENT THROUGH EDUCATION 12 | SCREENAFRICA | July 2013

By Carol Mohlala

The ICT Policy Review Framing Paper:

a great start; but there is still a long way to go!

The ICT Policy Review Framing Paper (‘Framing Paper’) is indeed a breeze of fresh breath, being comprehensive and progressive. It has asked the necessary questions that may lead to progressive solutions towards the improvement of the ICT policy and regulatory framework The Framing Paper also seeks to understand what key stakeholders in the ICT industry consider as the fundamental principles / objectives that need to underpin the new policy framework. This is a useful and necessary exercise that will form a solid foundation for a renewed ICT policy outlook.

Even though most people may concur with the broad principles proposed it is still unfortunate that there wasn’t sufficient attention given to broadcasting overall. None of the principles emphasise strongly enough the importance of having an enabled environment that will encourage the diversity of ownership in the means to communicate.

The principles are assumed to subsume and adequately encapsulate significant and contested issues in the broadcasting and related sectors including language, local content, intellectual property, etc, which may be lost along the way as the Review unfolds. It is important that the Framing Paper looks into the issues of the production sector and how it can contribute to local content. After all, content is KING in the broadcasting sector. With no content we might as well forget about broadcasting.

Another burning issue that the Framing Paper missed is the issue of intellectual property rights. This has been a highly contested issue in the broadcasting sector and needs sufficient attention. Producers have continually complained that they have limited or no rights on what they actually produce.

The Framing Paper has no specific section dealing with public broadcasting – as we all know public broadcasting is for everyone, it is a public good. Hence it deserves principles that will guard and improve it; principles that will ask the questions that will help lead it to stability.

Without such principles there is a harsh possibility that public broadcasting can be forgotten in the ICT policy review process.

It is also of extreme concern that the three-tier broadcasting system was mentioned only once throughout the Framing Paper, with no clearly articulated principles for public, commercial and community broadcasting. It is important for the Framing Paper to consider, to the extent that it is necessary, the inclusion of clear principles applicable to each broadcasting tier, recognising that the environments under which they operate and challenges they face are varied.

With all this said, it is important to re-emphasise that this is hopefully a good start to an inclusive, transparent and participatory ICT policy review process, that will lead to an appropriate, needed and cutting edge policy in South Africa.

Carol Mohlala is the coordinator of the SOS: Support Public Broadcasting Coalition. Follow them on Twitter @soscoalition and on Facebook. Visit: www.soscoalition.org.za.

ADCETERA

| Report on the South African commercials industry

Lindsay directs Kids Haven Velocity recently completed an effective and creative interactive campaign for Kids Haven that successfully combined social media and film.

The campaign was directed by Gordon Lindsay of Uprising, an offshoot of Velocity that houses the researchers who assist the various directors in the Velocity stable, but who are also aspiring directors themselves and building their showreels.

Together with Velocity executive producer Peter Carr, Lindsay conceptualised the interactive campaign to raise awareness and funds for Kids Haven.

Lindsay directed the interactive movie while Velocity Afrika produced the campaign.

Says Lindsay: “The concept for the Kids Haven THANDOMEANSLOVE campaign came from visiting the charity last year. I was struck by the amazing work they were doing despite the obvious financial constraints of a small charity. After sitting down with them, we agreed that in order to assist them with funding, we needed to make people aware of what they are doing at Kids Haven.

“We decided the best approach was not to just make a TV ad but to utilise the internet and social media to build awareness for the charity and create a campaign that would have some longevity for the home.”

Lindsay and his team started by making a film that would show viewers what Kids Haven does for street children in need.

“From there we devised the THANDOMEANSLOVE campaign,” continues Lindsay. This integrated the film into a website which was designed to inspire people to donate money to the cause. Our primary focus was to turn the act of giving into a rewarding and social experience.”

Using social media Velocity was also able to get people involved through Facebook and Twitter, thus growing the Kids Haven profile.

“I am a firm believer in thanking people who donate to charities and making sure they feel recognised. To do this we created a map where people could write messages of hope from their location and view other donors’ messages as well as posting on their own Facebook wall. Donors were thanked with a ‘thank you’ video we created alongside the film and were given an origami daisy (Kids Haven’s logo) to make on their own.

“We wanted to create a rewarding, informative and emotional experience that was highly shareable and hopefully inspired people to give and make them feel involved.”

He extends ‘a huge thanks’ to all the

people who worked on the project and gave of their time for free, as well as the team at 3fifteen who built the website.

And of course to the people at Kids Haven for inspiring us to get involved with the selfless work they do every day.

An organic music video

for Hero.

“I wanted to explore an organic emotion approach – literally to arrive on location and build the concept from scratch, with what was available,” explains MQ. Contrary to what one might expect, the absence of a shotlist did not hamper the sixhour shoot, which took place on 1 June at the Media Film Service studio in Johannesburg.

Says Thorn Bubble Films producer Marilyn Ngubane: ““There was a certain drive and energy in MQ on the day, which made the production process interesting.”

As to whether MQ would use this approach again in the future, Ngubane responds: “Mmmm…..knowing MQ, he may!”

She notes that MQ was particularly drawn to the Media Film Service studio location as he’d always wanted to use it and it fit his vision for the Hero project.

Cameraman Lebo Moabi shot on a Canon 5D Mark II and a Canon 7D Mark II.

“The Canon 7D performs very well when one attaches prime lenses and MQ chose to use his favourite 50mm lens,” continues Ngubane. “This combination allowed us to film well under low light. The camera is well known for its big sensor, which gives one a shallow depth of field.”

Both cameras belong to the Ngubanes’ close friend and fellow filmmaker, Diliza Moabi.

Media Film Service provided Kino Flo lights, an 8x8 Chroma cloth, a smoke machine and a 9-inch monitor.

Although the band performs the song in the music video, MQ was quite specific about treating the video similarly to filming a sitcom – pulling focus from background to mid-ground or vice versa.

“The aim was to tell layered stories in a single frame. So, we had the lead vocalist in our foreground looking extremely emotional while the camera pulled focus to the mid-ground, with the band performing.

For once, MQ stayed away from the

tracking shots he likes so much,” comments Ngubane.

The music video was edited by Tongai Furusa at 14 10th Street in Sandton. Furusa and his team keyed in pictures of the selected ‘unsung heroes’ on chroma boards used on the day.

Nbgubane notes that the shoot had a ‘tiny crew’ with MQ doubling as director, spark and runner.

“Ironically, our kids were assistants – 12-year-old Brendan and 15-year-old Themthe,” states Ngubane.

Reeburth comprises Mpumi Baaji, Oscar Lemphane, Nathi Louw, Thapelo Mohapi and Lesego ‘Smokey’ Ntombela.

Commenting on the music video, a representative of the band says: “Rock n’ roll music, especially within black communities, has negative stereotypes and myths. It was important for us to showcase that although we are a rock n’ roll band, that we draw from personal experiences and spread this into our music.”

When Soweto-based alternative rock band Reeburth needed a music video for their second single, Hero, they turned to filmmaker Mqondisi ‘MQ’ Ngubane of Thorn Bubble Films.

Hero is ‘a song dedicated to the legacy created by fathers who raised us’.

No stranger to the music industry MQ himself has experience in artist management and branding, something he learnt many years ago under the wings of mentor and well known record label guru, Dzino from Outrageous Records, as well as from another great mentor, Diane Coetzer.

Taking a radically different approach to his normally disciplined way of shooting commercials, MQ deliberately steered clear of conceiving a treatment and storyboard

Reeburth music video for their single Hero 14 | SCREENAFRICA | July 2013

Kids Haven

| ADCETERA Trio of TVCs strikes emotive brand chord Howard Music was recently commissioned

by House of Brave to compose three contemporary orchestral soundtracks for a trio of TVCs (TV commercials) for insurance company 1Life Direct.

The campaign comprises three different emotive tales – Wedding, Rebel and Pilot – and each concept has a two-minute TVC permutation, as well as a 60-second and 30-second cutdown.

Adam Howard, Howard Music’s owner and composer, worked closely with Miles Goodall and Gareth Paul, co-directors of production company Sweet Spot Content.

“We initially met to discuss the potential music options before the shoot,” explains Howard.

“The scripts were evocatively written by House of Brave copywriter Peet Engelbrecht and I could get a sense from the start that these commercials were going to be epic. Each story revolves around individual characters with strong relationships.

“Miles, Gareth and I agreed that music was integral for the emotive success of the campaign. We bounced a few ideas off each other and managed to evolve a vision as to how the music should work to picture.

“I started composing to the approved edits and within two days I had three strong tracks ready to present. The pictures demanded live musicians and so I recorded a small string ensemble and multi-tracked them to sound like a full 40-piece string

conducted the session in studio, which gives the music more passion.

Says Engelbrecht: “Howard Music helped us craft a sound that resonated with each

picture and heightened the emotional connection with the viewer. The end result was breathtaking and we couldn’t have asked for more.”

The orchestral brief was a perfect match for Howard’s talents, as he regularly conducts for the Johannesburg Festival Orchestra and has played principal trumpet in many orchestras around the world.

All three TVCs were produced by Linda Notelovitz of Sweet Spot Content and edited by Nic Goodwin. House Of Brave’s Vanessa Pearson and Loli Bishop were creative director and agency producer respectively.

Howard is also working as musical director for William Kentridge’s international production, Refuse The Hour, which toured to great acclaim in 2012 at festivals in Amsterdam, Avignon, Rome and Athens.

This year, the project tours Paris and Vienna with more tours planned for the future.

He also is responsible for final mix at Ministry of Illusion in Bryanston, works as musical director for corporate events, heads up the Johannesburg Big Band and has published a musical children’s book, The Tale of Sting Ray Charles, which has played to sold-out audiences at arts festivals all over South Africa.

Howard also performs, produces and is musical director for many of South Africa’s top musicians, including Hugh Masekela, Mafikozolo, Parlotones and Freshly Ground and AKA. He performed at the 2010 FIFA World Cup Kick-Off Concert broadcast with John Legend, Alicia Keys and Angilque Kidjo.

and he is quite prepared to tell everyone on his blog at http://www.philthelegend.com as he gives advice about office etiquette, help with women and how to regain sexual confidence.

Produced by Velocity, the campaign incorporates video stings, digital, a face printout, a calendar and T-shirts featuring Phil (Neil).

Phil’s videos are available on YouTube at http://www.youtube.com/channel/ UCoMvkd8yH4ueH75aWv3hmbg and he gladly chronicles all his adventures

to viewers.

Gavin Whitfield is the executive producer behind the campaign while Mimi Cooper (who also wrote the copy) and Yvonne Hall are the associate creative directors. The ad was directed by Leigh Ogilvie and produced by Candice Brouwer, Alli Coetzee, Shannon Gloyne and Karen Kloppers.

The campaign was shot at various locations in Sea Point in Cape Town on the RED digital camera and post-production was done by Deliverance – Martie Bester

Adam Howard (left) with orchestra, recording for 1Life commercial

orchestral,” explains Howard.

He took the music into notation software Sibelius so that the musicians could read and play the score. In addition, he

Phil the Legend Phil is an average guy with tremendous sex appeal. He thinks most women can’t resist him since he discovered how to get his confidence back.

But who is Phil? He is a creation of a new ad campaign by Saatchi and Saatchi in Cape Town that had to launch a medication to assist with men’s inability to have sex without being able to talk about the product.

Saatchi & Saatchi’s brief was the introduce a new affordable pill from Pharma Dynamics aimed at men in their 40s who experience erectile dysfunction for the first time. The team says: “We wanted to encourage potential clients to ‘get their confidence back and then some’ and created a character, Phil, who embodied this feeling of confidence.

“Because the internet is the one place that men go to find out about things that they are uncomfortable discussing, we created an online video and a website to introduce our character and our erectile dysfunction pill.

“As erectile dysfunction can do serious damage to the male ego, we really wanted to stay away from dramatising the negative effects, which invariably make men feel

Pharma Dynamics worse. Instead we highlight what can happen when men get their confidence back in a light-hearted way,” the creatives add.

Casting was imperative for the success of the campaign. The team comments: “Our main character had to remain likeable while believing that he is God’s gift to women.

We were incredibly lucky to spot Adam Neil relatively early in the casting process. He brought real professionalism and his great sense of humour to a tricky role.”

When you’re a stud like Phil, life isn’t easy

July 2013 | SCREENAFRICA | 15

ADCETERA

|

OPINION

No money is worth it

By Anton Crone

Anton Crone

A voice artist walks into a booth. He reads for a series of frozen food television commercials. Disgusted by the writing, he challenges the writer and director on the other side of the glass. He is of course Orson Welles – actor, writer, producer, director and the last American to speak proper English – to pronounce the word ‘herb’ with an ‘h’.

Big, bold and dare I say sexy, Welles is the voice of brands like Carlsberg and Nashua. His 1938 prelude to the War of the Worlds radio drama has listeners believing the Earth was under attack by aliens. Most significantly his voice is so powerful that people consider changing their brand of peas.

But it’s not the power of a voice alone that is convincing, it needs good writing.

That the voice challenged the writing in the frozen food series is the nub of this essay.

By the time we hear Welles trying to get his tongue around the crumb, crisp coating in the second script, he has used wit and irony to belittle the writer, promised to go down on him if he can prove a sentence can begin with the words ‘In July’ and

eventually has the studio director accepting responsibility for the writer’s errors.

“This is a very wearying one, It’s unpleasant to read. Unrewarding,” Welles complains about the second script. Midway through the third script he gives up and growls: “This is a lot of shit, you know that!”

The writer protests and Welles retorts: “You are such pests. Now, what is it you want? In the depths of your ignorance, what is it you want?” As he walks out of the session the microphone picks up his last words: “This isn’t worth it. No money is worth listening to this.”

When Welles did read a complete sentence it was like a symphony. His delivery of the word ‘fjords’ alone is worthy of a thesis on the application of the Nordic “j” in conversational English. But he knows how to deliver the words ‘shit’ and ‘pests’ with malice and how to impose the full weight of his disgust on the word ‘depths’.

This candid recording is probably the unsung Grand Prix of Craft.

This is a daunting essay for me to write, associating it as I do with Welles. But don’t forgive me any errors because my aim is to encourage readers to be more critical of their own writing and that of others, especially when it comes to those bread and butter jobs. Before putting pen to paper or finger to keyboard, we should perhaps put ourselves in that recording studio with Welles.

For a start, Welles wouldn’t agree to end a radio promotion with: ‘Ts and Cs apply’.

It’s infantile. It can’t possibly be a legal disclaimer if there are no words that apply.

It could be ‘Tits and Carrots’ or ‘Tango and Cash’. Who knows? It’s a waste of the second it purports to save. You may as well round it off with ‘Hugs and kisses’.

When one thinks of Nashua, one thinks of the pay-off: ‘Saving you time. Saving you money. Putting you first’. It’s not just thanks to Welles’ delivery of the line, it’s thanks to good writing – the product’s attributes and the benefit to the consumer are wrapped up in one line.

So, how would Welles read: ‘Life is Good’ from LG? Or Rolex’s ‘It doesn’t tell time, it tells history’? They are simply not believable lines. And what advertising is believable these days? If Welles were alive he would lament the lack of authenticity.

A recently overplayed radio ad has a man on his way to the airport phoning his wife to help him find his traveller’s cheques. The

Orson Welles in a Nashua commercial

“This is a lot of shit, you know that! This isn’t worth it.” – Orsen Welles

poor fellow is subjected to a patronising lecture from his wife expounding on FNB’s travel related products and advantages.

Any writer handing Welles a script like that would be suicidal.

Phone conversation radio ads or ‘let’s talk product over tea’ television ads are common: friends, family and strangers punt everything from washing powder to erectile dysfunction remedies to one another as if they’re reading product manifestos from a call centre. It doesn’t happen, so why try and fool an audience that it does? That is the most patronising thing of all.

If a client insists on getting all their

product attributes across, give Welles a manifesto and set him up as the company spokesman. He would get on with it and, after a few grammatical corrections, he would do a marvelous job. The audience would probably appreciate it for what it is: an ad. And that’s nothing to be ashamed of.

After earning respect as one of the greatest artists of his time, Orson Welles wasn’t afraid to stand in front of a photo copier and tell you just how damned good it was. And he did it well because he had a good script. It may not win an award, but no money is worth writing a bad one.

“You are such pests. Now, what is it you want? In the depths of your ignorance, what is it you want?” – Orsen Welles 16 | SCREENAFRICA | July 2013

OPINION

| ADCETERA

Idea company rather than ad agency?

By Sammy-Jane Every The Innovation Lion – the 10th new category to be added to the Cannes Lions International Festival of Creativity in the past eight years join the Titanium and Mobile category to yield some of the most exciting ideas at this year’s (recently held) festival.

These categories see old SIM cards become textbooks, redundant Apps reborn as organ donor Apps, IBM creating smarter cities with effective, and yes, smart hoarding, and Ogilvy Brasil immortalising football fans through an organ donor incentive. The list goes on and remains impressive throughout the range of metal awarded. Which begs the question, do we want to be known as ad makers or problem solvers?

Crispin Porter Bogusky is manufacturing and marketing its own rum. Bartle Bogle Hegarty has created software that teaches people how to play the piano, and Deutsch LA (remember mini-Darth Vader VW) is backing a floral-delivery service and an independent movie as part of its employee entrepreneurial programme. The trend not only seems to be a move away from traditional ad thinking but also away from industry boundaries altogether.

But why should we bother transforming ourselves from ad agencies into idea companies?

1. We are no longer in control, the

Your brand is a joke.

Or, at least it should be…

By Andrew Moore

Y&R Johannesburg copywriter

Sammy-Jane Every consumer is. We need to be relevant in their eyes, not our own. Edward Boches notes: “The consumer’s ability to control and influence content requires all of us to get better at creating experiences and social value if we’re to serve and guide clients in their branding efforts”.

Advertising 101: your ad’s job is to get people to notice whatever thing, deal or belief you’re trying to sell. There are probably as many ways to do this as there are things to sell, but even if you’re competing almost entirely on cost, then at some point you’re going to want to make a connection with your customer. That’s what advertising is for.

When your brand makes a connection with someone, they internalise it a little. Of

2.

3.

To expand our thinking. What haute couture is to prêt-a-porter, so should our ideas be for the world. “We are a source of intellectual capital,” says Anomaly’s Carl Johnson, “We don’t want to limit ourselves by simply being labeled an ad agency.”

To engage employees. “We want to

course, when shoved into a small room with researchers asking them oblique questions about what they feel when they hold a bar of soap, your customers are not going to declare undying devotion. But there is going to be some hook in their subconscious.

That’s because emotions aren’t rational.

They just recognise something that sparks them. I’d love it if we could convince people with simple logic; that we could say: “These are the reasons everyone must buy it”. But people aren’t robots. They’re insane meat-bags with credit cards pretending to be robots – badly. We’re not very rational, but we are very good rationalisers, explaining our illogical, emotional decisions to ourselves.

Whatever we’re selling needs to be wrapped in some emotional connection: joy, concern, pity, smugness, desire, wonder, hope, fear, anger, belonging or a thousand others. And the ways to evoke them are just as varied. The simplest is humour. A joke entertains, draws people in, and creates the emotion that your brand’s needs. Great jokes achieve the holy grail of modern marketing: going viral; where your consumers share and spread your ad for you.

Except, we’re surrounded by marketers who consider their brands too serious for anything that resembles humour. They’re scared – scared that the consumer won’t take their product as seriously as they do.

nurture the spirit of entrepreneurialism in ad agencies,” says Kim Getty, Deutsch partner (this way they also get to attract great thinkers and retain the good ones).

4. Change the world we all live in for the better, as evidenced by the Cannes winners or the three executives at MMB, who created a line of charity-focused, environmentally-friendly kids’ clothes with the proceeds going to animal-related charities.

So how do we go about transcending industry norms?

In a word – courage. David Ogilvy lists it in the Top 3 qualities he looks for in a creative leader. John McKinley of Acumen Fund cites it as one of the three characteristics of people who can transform a good idea into real impact. But perhaps Henri Matisse said it best: “Creativity requires courage”. Without it we all stay the same and the world stays the same.

Creating a culture of courage requires leading by example and creating a fearless environment for employees to think and act bigger. It requires collaboration with clients and outsider experts and putting ourselves out in the world, researching in the field and not in focus groups.

At the end of the day business favours the brave, as does history. And it certainly seems that for the ad / ideas industry, Cannes does too.

While that’s understandable, it’s also impossible. Marketers spend a lot of time with whatever gewgaw it is they’re selling. They know how it works. They know what widgets make it different from the opposition’s, and the reasons why they think consumers should buy it.

Or, at least, why people would buy if they were robots.

They’re not, they’re human. And humans love to laugh. At dumb things, clever things, silly things, weird things and things that can seem wildly inappropriate.

Everything.

Of course, humour isn’t a cure-all.

It’s jarring when a previously serious brand goes in a slapstick direction, and often the only thing the consumer will remember is how weirdly out of place it was. Worse, jokes that simply aren’t funny waste everyone’s time and money, disappearing from the public consciousness before they’re even finished playing. But then again, that’s true of any badly planned and executed piece of advertising.

Still, if you can get past the worry that not being serious means people won’t take you seriously you’ll be able to connect with your customers in a way that’ll make them smile – in a way that they’ll remember.

Andrew Moore July 2013 | SCREENAFRICA | 17

| Film

Spud 2: The success story continues The highly anticipated Spud 2: The Madness Continues has released in South African cinemas to the excitement of fans of John ‘Spud’ Milton and the rest of the ‘Crazy Eight’. Martie Bester writes about the second part of this cinematic journey.

“I really like the film, I think it has captured the tone of the book in many ways and that’s really all you can hope to do. It is like a second life for my story,” says author John van de Ruit of Spud 2: The Madness Continues, praising writer and director Donovan Marsh’s adaptation of his novel for the big screen.

Together with producer Ross Garland, the three have been on a journey of

dodged’ the mountain that made up 50% of the background.

Says Marsh: “We shot on the RED which was Lance’s preference. We had two cameras running all the time. It was a tight shoot, a lot to shoot in five weeks, but it was great. The cameras performed absolutely beautifully, we didn’t have any troubles and we didn’t lose any footage.

“As we shot in winter in Cape Town I thought it was going to be tough, the sun sets early and it’s cold and raining, but we sailed through, it was amazingly smooth. It was a golden time, we fulfilled the challenges of every day. It was a great experience.”

Fact and fiction LUV ‘THE GUV’: John Cleese in a scene from Spud 2 collaboration and exceptional team work, which ensured a smooth shooting schedule with no technical glitches.

Garland and Marsh agree that having the same team work on Spud 2 led to a seamless, quicker process. “So that was a huge advantage going into the second movie. Donovan did a lot of hard structuring work to get the narrative to ‘kick’ and the film has that real ‘engine’ in it.

It’s got this pace and I think that’s what people are responding really well to,” says Garland.

He continues: “I think we are all feeling very positive and we’ve got a big release in between 85 and 90 screens nationally. In terms of overseas distribution, Spud sold in about a dozen countries and we’ve just

started the process now of selling the sequel to those buyers.”

Momentum Spud 3: Learning to Fly is currently being filmed in Cape Town and plans are to complete filming on Spud 4: Exit, Pursued by a Bear in 2014. “Once we get to this point with the kids at their age we are going to have to kick on and finish it all. So we kind of want to use the momentum now,” comments Garland.

Marsh mentions that the biggest challenge of Spud 2 was shooting the movie at SACS in Cape Town instead of Michaelhouse in the Midlands. However, Marsh and DOP Lance Gewer expertly

Van de Ruit says: “Although Spud is the typical archetypical boarding school story of boys running wild, it is a bit of a mythology story. I think people buy into that mythology and they almost take it on and own it themselves. So it is a funny mix now when I try to unpack what my experience and what Spud’s experience is.

“In terms of remembering that time, my mother has completely lost her grip about what’s real so when she read the manuscript she sort of started castigating me for being suspended and doing all this drinking at school. She said that time was ‘very difficult for them’. I had to remind her that those things didn’t actually happen,” Van de Ruit jokingly concludes.

Spud 2: The Madness Continues is showing nationally at theatres in South Africa and is distributed by Nu Metro.

Equals in craft and friendship Though generations apart, actors John Cleese and Troye Sivan have discovered both an on – and off-screen friendship, fulfilling the many roles of good rapport in each other’s lives.

Playing ‘The Guv’ and John ‘Spud’ Milton in Spud 2: The Madness Continues, respectively, the actors share a bond that transcends age, finding in the other inspiration and intelligent conversation, treating each other like equals and both learning from the other.

“John Cleese has been a great influence on me. I just feel so lucky to have him around and to be able to work with him. I don’t think it is an opportunity that many actors get so I am grateful to have him in my life,” says Sivan.

Cleese comments about their friendship: “We just like each other and I am very interested in what Troye has to say, not just about movies. When you have someone who is as bright as he is and at the same time as non-egotistical you can have real

conversations and talk about real things.

“I am very curious about Troye, I want to know what makes him tick and he feels the same way about me. So there is a real friendship there. I think this kind of friendship is often rare because older people feel that they have to tell young people things. It is as though they assume a sense of superiority. If you talk to them as intellectual equals then there is a relationship immediately.”

Both Cleese and Sivan express their joy at having the opportunity to work with the same team and cast on subsequent Spud movies.

“To work with a familiar team kind of feels like coming back home. Professionally, I’d like to keep things fresh and show the growth of the character throughout the series. I am proud of the second movie, I think we’ve shown a lot of growth since Spud. To make one movie with this team was incredible, but to come back is kind of like a miracle,” says Sivan.

Cleese comments: “What I love about Spud is that I come back and it’s pretty much the same family. Spud 2 is a noticeably funnier movie than the first one.

People who’ve seen it say this is what the books are about so we’ve really moved forward.”

Known for his iconic comedic roles, Cleese says playing a serious role has been challenging and rewarding. “It was a little scary in the beginning but really interesting because I have never done it before. I usually groove every bit of my performance and then I do it like a metronome, just making sure I don’t miss a single beat, but it’s not experimental, there’s no sense of exploring. And with a role like ‘The Guv’ I can do things I’ve never done before. It’s nice to know I can,” mentions Cleese.

“Some of my best friends are the ‘Crazy Eight’ now and every time we get together it’s like we never left,” says Sivan.

– Martie Bester

SPUD BUDS: John Cleese and Troye Sivan July 2013 | SCREENAFRICA | 19

FILM

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Powerful soundtrack supports strong narrative

By Martie Beste A new Afrikaans movie touches on several contemporary issues while never losing the rhythm of being part thriller and part love story with its strong storytelling and powerful, sensual soundtrack set against the magical backdrop of the Karoo.

Director Deon Meyer

DANCE OF LOVE – A scene from Die Laaste Tango (The Last Tango)

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ie Laaste Tango (The Last Tango) was filmed in Loxton, a tiny Karoo town in the Northern Cape. Secluded, with wide open spaces and skies that stretch on endlessly, this is where acclaimed South African writer Deon Meyer found the perfect setting for the dramatic thriller and love story he tells with compassion and a love for the land which inspired both the movie and its compelling, haunting music.

Geo Hohn composed the soundtrack to a movie that requires both balance in the spirit and boldness of the tango, the vocals of South African artists who lend musical depth to a tale of hope through struggle, a destination that is reached without pity for the many victims who triumph over themselves.

Meyer, who wrote the script and directed the movie, says: “From the beginning my hope was to create a soundtrack that would be in the modern idiom. We wanted a very full, rich sound. Geo immediately understood what I wanted and created this big-budget sound. It adds so much value to the movie.

“I think it was a difficult soundtrack to write as it is both a thriller and a love story and we wanted to include the Latin influences of the tango but also wanted the retain the drama and suspense. And to reconcile the one with the other was a big challenge which he pulled off effortlessly.”

Hohn comments: “Deon and I started discussing the soundtrack in December 2012. At that stage I already had a copy of the script and we went through a process to determine what the feel should be within the parameters we had determined in the beginning.”

Collaboration For the first time, the music of Lize Beekman, Zanne Stapelberg and Kathleen Tagg was used in a movie, while Anton Goosen especially contributed to the soundtrack. Karien de Waal, who recently

20 | SCREENAFRICA | July 2013

completed her studies in music scoring at the University of Boston, wrote two tangoes for the film.

Hohn adapted the soundtrack to reflect the magical quality of the Karoo. “The Karoo creates a certain emotion in me which is a mixture of peace, sadness, longing. That is what we tried to capture in this specific theme and I think we succeeded in doing that. I also think in the Karoo there is a sense of seclusion, which brings one to a place where you can ponder and have introspection and, as musician, introspection is a regular journey.

“Spain, from where the tango originates, looks a lot like the Karoo and also imitates that feeling of loneliness, seclusion and desolation. I think that is portrayed in the music written for Die Laaste Tango.”

Story Die Laaste Tango is based on one of Meyer’s short stories Verslag oor ‘n Verdwying (Report about a Disappearance).

Meyer says: “It was a great script to write, the story is about a detective who not only tracks down a serial killer, but goes through terrible hell as he suffers from posttraumatic stress disorder. He has lost his ability to look at a woman, to ‘see’ a woman.

I think the essence of the movie is about his recovery. The Karoo is a tremendously healing place. It is not utopia, but it is a sustaining, caring environment. To go there is good for one’s soul.”

The movie was shot over 19 days in Cape Town and in the Karoo. “We worked like we were possessed. DOP William Collinson did a phenomenal job,” recalls Meyer.

Louw Venter (Bunny Chow, Semi-Soet, Jimmy in Pienk) portrays the role of detective Herkulus de Wet who learns to live and love again through the tango, ‘the dance of love’ he does with cancer sufferer Ella Winter, played by Antoinette Louw in her first silver screen role.

“Die Laaste Tango is one of the greatest

movies I’ve done, but it was incredibly difficult as it was very consuming, mentally and physically. Antoinette and I learned a lot about the message of the film through the tango, which serves as a metaphor for the complexities of relationships between men and women – conflict, sensitivity, sensuality, attraction and harmony,” says Venter.

Transformation Louw shaved her hair for the role of Ella. “I couldn’t portray a cancer sufferer without going through that kind of physical transformation. The text demands that Ella should not be portrayed as a victim, as she is mentally strong, but physically she is very vulnerable and her femininity and sexuality have been affected,” says Louw.

Although Ella’s character is dying she experiences spiritual rejuvenation and is able to help Herkulus through his pain.

“He’s been through decades of damage, the only thing he is still aware of is the potential he has to be violent, which is countered by Ella’s character who has life and who tries to pull him through. It’s not that they’re just opposites, they’re also similar in many ways. They are both victims, but victims that we as actors can’t feel sorry for,” adds Venter.

Louw says: “One of the reasons Deon Meyer is such a great director is the space he creates to have freedom as an actor. It was never about egos but always about what was good for the movie.”

The movie also stars, among others Marius Weyers, Loukmaan Adams, Stian Bam, Heino Schmitt, Lize-Marie Swart and Rob van Vuuren.

Meyer and producer Diony Kempen are the founders of production company The Karoo Film Company and they have formed Sizzle, the musical component of the business, with Hohn. Meyer confirms 10 other movies are in pre- or post-production stages.

World cin ema comes to Durban For 10 days in July, the best films from South Africa, Africa and the rest of the world will be showcased at the 34th edition of the Durban International Film Festival (DIFF), South Africa’s oldest and longest running film festival.

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IFF 2013, which runs from 18 to 28 July, will see more than 200 screenings of films of various genres screen at venues all over Durban.

Included in the DIFF line-up are 13 feature films from South Africa and seven features from elsewhere in Africa.

Special focuses at the festival are films about sexual diversity; a ‘Zombie Fest’ (which includes the South African première of Evil Dead, the much anticipated remake of the 1981 Sam Raimi cult classic, and Zombie Fever 3D, the first mainstream zombie film to come out of Russia); and American Independent Cinema.

This will be first edition of DIFF to run under the management of Peter Machen, a former DIFF programme consultant and juror.

Machen notes that in preparing for this year’s festival he has viewed some 500 films over the past year.

“When selecting our line-up we look for the best films from all over the world so as to achieve a geographically representative cinematic spread. We specifically look for films of quality and diversity; films that are unique and have strong individual voices.

Our aim is obviously to have as many premières as possible.

“Each year we have a particular focus on South African and African films, as one of DIFF’s most important functions is to be a platform for local cinema,” says Machen.

Some top international titles were secured for DIFF 2013 as a result of Machen’s visit to the Cannes Film Festival.

These include Le Passé (The Past) by Oscar nominee Ashar Farhadi (A Separation), in which an Iranian man deserts his French wife and two children to return to his homeland. Starring Bérénice Bejo (The Artist), the film won the Ecumenical Jury award at Cannes as well as the best actress award.

The DIFF team with Peter Machen (centre back row)

South African films While the number of South African films submitted for this year’s festival is down on 2012, Machen believes this year’s crop is of very high quality.

“For our Opening Night Film we have the world première of the thriller, Of Good Report, directed by Jahmil XT Qubeka (A Small Town Called Descent). Shot in black and white, Of Good Report is the story of a serial killer and displays a really strong directorial voice.

“Durban Poison is the new film from Andrew Worsdale. It is a noir romance set among the marginalised white underclass.

Inspired by a true story, this is a road movie within a road movie that follows a police investigation into four murders and charts the doomed romance of the outlaw lovers,” explains Machen.

Directed by American filmmaker Andrew Mudge and shot in Lesotho, The Forgotten Kingdom is a South African production that contrasts urban life with the desire to go back to one’s roots. This film touches on issues of gender and HIV. From the director of the comedies Copposites and I Now Pronounce You Black and White, Oliver Rodger, comes Actoholics.

The thriller African Gothic is a US / South African co-production directed by American Gabriel Bologna and scripted by

Damon Schalit, who also stars in the film.

Machen continues: “Phil Harrison’s The Good Man is a co-production between the UK, South Africa and Ireland, about a young Irish banker whose life begins to unravel after causing a boy’s death in an accident in Cape Town.

“Another film set in Cape Town is Roberta Durrant’s Felix, a heart-warming film about a young township boy who wins a bursary for an elite school to study music.

“DIFF 2013 will screen Everyman’s Taxi, the directorial debut of famous actor Ian Roberts. This film has a conciliatory theme and is about a man who spends all his money on a taxi and drives it around South Africa.”

Machen describes the animated feature film Khumba 3D as ‘fantastic’, and notes its excellent use of South African landscapes.

“Layla Fourie, a co-production between Germany, South Africa, France and Netherlands, is a very human film, about how we make mistakes and find ourselves in situations of our own making.

“I was riveted by the new local horror film, Blood Tokoloshe, while the World War II fighter pilot drama, Angels in the Sky, is very slick with good production values,” comments Machen.

Titles from the rest of Africa include The Baobab Tree (Senegal / US); It’s Us (Kenya); The Battle of Tabatô (Guinea Bissau / Portugal ); Virgin Margarida (Mozambique); Something Necessary (Kenya / Germany);

Yema (Algeria); and Le President from Cameroon / Germany. African Metropolis is a compilation of several short films from around Africa.

Documentaries Machen and his programmers have managed to secure a selection of top factual films from around the world, on The Indian film, Algorithms, is about blind chess players, while Ken Loach’s The Spirit of ’45 is an essay on the changes in Britain’s social and political landscape in 1945.

The Lebanese Rocket Society focuses on the Israeli bombing of Lebanon in 2009.

Other titles include I Am Divine (a biopic of drag artist Divine); Valentine Road (about a transgender child who allegedly killed himself); My Afghanistan – Life in the Forbidden Zone; Touching the Dragon (about diving with crocodiles); and Pussy Riot (about a feminist punk-rock band’s Anti-Putin protest in a Moscow Cathedral in 2012).

South African documentaries include Sara Blecher’s Two Men and a Wedding, and Riaan Hendricks’ The Devil’s Lair, which recently screened at Hot Docs in Toronto.

The DIFF programme also includes an intriguing line-up of local and overseas short films.

F eature films at DIFF 2013 THE BATTLE OF TABATO

FAT SHAKER

LE PRESIDENTE

THE PLACE BEYOND THE PINES

Guinea-Bissau/Portugal

Iran

Cameroon/Germany

USA

Dir: Joao Viana

Dir: Mohammad Shirvani

Dir: Jean-Pierre Bekolo In this mix of mockumentary and drama, the disappearance of the Cameroonian President a few days before the elections is a sign that the ‘spectre’ has taken over.

Containing stories of succession, independence and revolution, this film presents a very different African narrative, one that attempts to interrupt notions of genre in its treatment of form and imagery.

Dir: Derek Cianfrance The highly anticipated new drama from director Derek Cianfrance (Blue Valentine) precisely and powerfully explores the consequences of motorcyclist Luke’s (Academy Award nominee Ryan Gosling) fateful decision to commit a crime in order to support his child. He is targeted by policeman Avery (Bradley Cooper) and the two men become locked in a tense collision course.

In The Battle of Tabato, first-time feature director Joao Viana explores music, magic and post-colonial angst in Guinea-Bissau.

When the father of a teacher who is about to get married in Tabatô returns home from Portugal, his return unearths the buried trauma of his experiences as a soldier in the colonial war decades earlier. Viana’s low-budget labor of love is a raw but luminescent gem of a film that shifts the discourse of African filmmaking.

BERBERIAN SOUND STUDIO UK Dir: Peter Strickland In this darkly macabre tribute to the power of sound in cinema, a British sound technician is brought to Italy to work on the sound effects for a gruesome horror film, which we never see but only ever hear. The nightmarish task takes over the sound technician’s psyche, resulting in a disturbing stylistic tour de force into the nocturnal landscape of cinema that is also a persuasive study of personal breakdown.

This surreal exercise in absurdism from Iranian director Mohammad Shirvani revolves around a particularly odd father and son. In a series of cryptic and strangely hypnotic episodes, a tyrannical paternalism is revealed. Boldly and unabashedly experimental, the film challenges audiences to engage with its strange filmic language.

Fat Shaker won the Tiger Award in Rotterdam earlier this year.

INTERIOR. LEATHER BAR. USA Dir: James Franco and Travis Mathews This film occupies a particularly unusual space between fiction and documentary in its exploration of contemporary masculinity.

It is a reconstruction of a censored segment from the controversial 1980 Al Pacino film Cruising, intercut with interviews with gay and straight actors conducted during the making of the reconstruction.

MIDNIGHT’S CHILDREN Canada/UK

THE RELUCTANT FUNDAMENTALIST

Dir: Deepa Mehta At midnight on 15 August 1947, as India declares independence from Great Britain, two babies – the bastard child of a beggar woman and the only son of a wealthy couple – are switched in a hospital. This stirring, beautifully filmed and highly personal history of India perfectly captures the epic complexity of Salman Rushdie’s celebrated novel.

USA/UK/Qatar Dir: Mira Nair The Reluctant Fundamentalist tells the story of a young Pakistani man who chases corporate success on Wall Street, only to find himself embroiled in a conflict between his American dream and the enduring call of his homeland. A powerfully sustained portrait of a man adrift in a world gone mad.

OF GOOD REPORT – OPENING FILM

VIRGIN MARGARIDA

South Africa

Mozambique

Dir: Jahmil XT Qubeka

Dir: Licinio Azevedo

KHUMBA South Africa

Belgium/UK/North Korea

This third film from South African director Jahmil XT Qubeka tells the sombre tale of a small-town high-school teacher with a penchant for young girls. The result is a hypnotically engaging journey into the soul of a mentally troubled man who embarks on an illicit affair with one of his pupils.

Dir: Nicholas Bonner, Anja Daelemans, Kim Gwang-hun

ONLY GOD FORGIVES

Dir: Anthony Silverston

COMRADE KIM GOES FLYING

France/Thailand/USA/Sweden

LAYLA FOURIE

Dir: Nicolas Winding Refn In this latest film from the team behind Drive, Ryan Gosling plays Julian, a respected figure in the Bangkok criminal underworld who runs a Thai boxing club as well as a smuggling ring, together with his brother Billy. When Billy is suddenly murdered in revenge for the death of an under-age prostitute, matriarchal crime-lord Crystal (Kristin Scott Thomas) arrives from London to bring back the body of her favourite son and forces Julian into settling the score with his brother’s killers.

Germany/South Africa/France/ Netherlands

THE PAST

Dir: Pia Marais Layla Fourie tells the harrowing story of a young single mother in South Africa who receives a job assignment as a polygraph operator with a company specialising in lie detectors and security. When she becomes involved in a fatal car accident, Layla becomes a suspect herself. This filmic and intellectually ambitious drama is best described as an existential thriller.

Dir: Asghar Farhadi The Past comes from masterful director Asghar Farhadi whose A Separation won both the best Foreign Picture Oscar this year as well as best film at DIFF 2012. It picks up almost exactly where A Separation left off, with a husband and wife divided by a literal partition, both barely able to communicate.

In this latest outing from Cape Town’s Triggerfish animation studio – which gave us last year’s DIFF award-winning Adventures in Zambesia – a half-striped zebra is rejected by his superstitious herd and embarks on a daring quest to earn his stripes. He learns that diversity is essential for survival and that one’s difference can be one’s strength.

Filmed in North Korea and co-directed by Kim Gwang-hun from North Korea, Nicholas Bonner from the UK and Anja Daelemans from Belgium, this outrageous film tells the story of an adult coal miner and acrobat who is discovered by the national trapeze team. The first Westernfinanced fiction feature made entirely in North Korea, the film marks a milestone in film history.

France/Italy

This account of a dark chapter in Mozambique’s history is set in 1975. The newly installed government rounds up suspected prostitutes and sends them to re-education camps to become ‘new women.’ Among them is a teenage virgin who shows the women that their new masters are as brutal as their former colonisers.

WADJDA Saudi Arabia/Germany Dir: Haifaa Al-Mansour Set in Saudi Arabia, Wadjda focuses on the experiences of a young girl who challenges her country’s traditions and tries to raise enough money to buy a bike. This innocent ambition is politically loaded in a society that sees bicycles as dangerous to a girl’s virtue.

YEMA Algeria Dir: Djamila Sahraoui Ouardia prepares her son Tarek’s body for burial but is confined to her home by a guard who takes orders from his superior. It transpires that the superior is Ouardia’s younger son, a mujahideen fighter who she blames for Tarek’s death and who stole his wife. Beautifully photographed, Yema (Mother) has the look and feel of an ancient classic. It won the 2013FIPRESCI Prize at Dubai.

Do cumen taries

2 MEN AND A WEDDING

BORN THIS WAY

South Africa

United States, Cameroon

Dir: Sara Blecher

Dir: Deb Tullmann, Shaun Kadlec Visiting the country on tourist visas, the filmmakers had to resort to guerrilla methods to make this compelling portrait of the gay and lesbian underground in Cameroon, where homosexuality carries a penalty of up to five years in prison.

THE CREATORS South Africa, United States In many African countries homosexuality is a criminal offence. This film focuses on two gay lovers whose plan to marry in Malawi at the end of 2009 erupted in a threat to the country’s democracy.

ANGELS IN EXILE South Africa Dir: Billy Raftery

Dir: Laura Gamse, Jaque de Villiers Weaving through the lives of Faith47, Warongx (afro-blues), Emile YX? (hip hop), Sweat.X (glam rap), Blaq Pearl (spoken word) and Mthetho Mapoyi (opera), this award-winning documentary delves into subversive art and explores just how it fuels the many clashing and merging cultures in South Africa.

PUSSY RIOT – A PUNK PRAYER Russia, United Kingdom Dir: Maxim Pozdorovkin, Mike Lerner

Angela Davis soon became the victim of a campaign to disallow her from teaching in the States. This gripping film unfolds through a series of interviews with Davis.

JEPPE ON A FRIDAY South Africa, Canada Dir: Shannon Walsh, Arya Lalloo

THE SPIRIT OF ‘45 United Kingdom

THE DEVIL’S LAIR South Africa Dir: Riaan Hendricks In this verité style film, we dive deep into the constrictive, claustrophobic space of a Mitchell’s Plein gang leader whose plans for escaping a life of poverty have still not and probably never will, come to fruition.

Facing the constant threat of violence, rape, trafficking abductions and death, Durban’s street children truly have little hope and usually find themselves resorting to drugs and crime. Director Billy Raftery spent eight years focusing on two of these children.

Works hop s As part of its mission to stimulate industry capacity, the Durban International Film Festival (DIFF) incorporates extensive seminar and workshop programmes, including the developmental initiative, Talent Campus Durban, as well as the film financing market, Durban FilmMart (DFM), a partnership with the Durban Film Office.

This year 40 emerging African filmmakers, selected out of 482 submissions, will take part in Talent Campus Durban, run in conjunction with the Berlinale Talent Campus and the Berlin Film Festival. The ‘talents’ emanate from Cameroon, Congo, Algeria, Egypt, Ethiopia, Ghana, Kenya, Morocco, Mozambique, Namibia, Nigeria, Rwanda, Senegal, Tunisia, Uganda, Zimbabwe and South Africa.

According to Tiny Mungwe, Talent Campus Durban manager and DIFF workshop programmer, there are three hands-on programmes within Talent Campus Durban. The first is DOC Station, where three’ talents’ receive hands-on mentoring with Don Edkins, executive

FREE ANGELA AND ALL POLITICAL PRISONERS United States, France Dir: Shola Lynch Drawing fire for her political allegiances – labelled provocation by the Reagan government – young UCLA professor,

In March 2012, three members of the all-female art and punk rock collective in Moscow, Pussy Riot, were arrested and tried after performing 40 seconds of the anti-Vladimir Putin anthem “Mother Mary!

Banish Putin!”

Shot by a team of up-and-coming South African directors, the film is a rollicking look at a diverse group of people in Johannesburg’s Jeppe neighbourhood.

ORANIA

Dir: Ken Loach A nostalgic look back on the era in the UK immediately after WWII and the spirit of unity that carried Britons through the years of conflict and inspired a vision of a fairer society.

STATE 194

Germany, South Africa

Israel, Palestinian Territories, United States

Dir: Tobias Lindner In this eye-opening documentary, German filmmaker Tobias Lindner embarks on a journey to South Africa’s Orania community that intentionally lives and works in isolation from people who are not white Afrikaner.

Dir: Dan Setton A look into the world of very diverse men and women who are working to seize an historic opportunity to resolve the Middle East conflict by implementing a two-state solution.

Video Foundation’s Sediba SPARK, is the Writer’s Circle. The idea is to pair aspiring African scriptwriters with script editors who have gone through the Sediba SPARK programme,” explains Mungwe.

For the first time, Talent Campus Durban includes a new programme created to encourage an interest in classical film among Tom Tykwer master class at Talent Campus Durban 2012 aspiring filmmakers. The producer of Why Poverty?

Films That Made Me will be “These three talents will also participate presented by South African filmmaker in the DFM’s DOC Circle Pitching Forum – Jahmil XT Qubeka, whose new film, Of an increasingly good platform for helping Good Report, is DIFF’s opening night film. projects come to realisation. In fact, one of Qubeka will talk about five films that the DOC Circle projects from 2012, Riaan inspired him.

Hendrik’s The Devil’s Lair, is screening at “The Talent Campus Durban programme DIFF this year. is very exciting. Producer Michael Auret “Another programme within Talent (Layla Fourie, Of Good Report) will present Campus Durban is Talent Press, held in a master class on film financing, while association with FIPRESCI and the Goethe Damon Foster (Touching the Dragaon) will Institute of South Africa. Four talents will be present a master class on documentary selected to participate in this programme filmmaking. There will also be an interesting which aims to develop African film critics. panel on sound design, The Sound of Story, “The third programme, organised in presented by Jim Petrak and Jahmil XT conjunction with the National Film and Qubeka among others,” comments

Contact: Tel +27 (0) 31 260 2506 / 1816 Website: www.durbanfilmfest.co.za

Mungwe.

For emerging filmmakers interested in applying for development programmes like the Durban FilmMart, DIFF presents a series of four primers presented by Howard Thomas of Busvannah Communications.

These sessions will cover the basics of proposal writing, research and pitching and will be presented as part of Africa in Focus.

This series of workshops features filmmakers who work within the African context in discussion about salient issues in African cinema.

“A panel that is sure to be fascinating is about forging your own path in fiction writing,” continues Mungwe. “This session includes the writers / directors of Francine, Brian Cassidy and Melanie Shatzky, as well as Adam Dugas from the film Dust.

“Ingrid Kopp, the director of the Digital Initiatives at the Tribeca Institute in New York and in charge of Transmedia projects (http://sandbox.tribecafilminstitute.org/) will conduct a panel on how to identify, structure and promote transmedia projects.”

There will be DIFF discussion panels about a wide variety of topics, such as sexual identities on screen; music rights in film; a critics panel; funding for films; and the rise of zombie films.

Twitter: @DIFFest

Compiled by Martie Bester

| Film

Director Speak Of personal relevance Renowned documentary filmmaker Riaan Hendricks is celebrated for pushing the boundaries of the genre. His latest movie, The Devil’s Lair, was the only South African offering at Hot Docs Canadian International Film Festival, opened the Encounters South African International Film Festival and screens at the Durban International Film Festival in July. Now, after being at the helm of more than 20 documentaries, the producer and director says he is ready to enter the world of fiction cinema.

Why have you decided to make fiction cinema?

In the next couple of years I’ll be entering my 40s. I remember that when I was about 26, I accepted the notion that I’ll only be ready to make features by the age of 40. For some people this might happen earlier, but it helps to have a mature sense of storytelling before embarking on aspects of fiction cinema where exploring truths with actors largely depends on life stories and experiences you might share.

What shaped you to be a documentary filmmaker?

I really spent the younger years of my life engaged in documentary cinema. I was naturally drawn to observational cinema as it was meant to be the exit point into drama. A highlight in my career was perhaps feedback from critics describing The Devil’s Lair as watching a feature film unfolding.

What influence did the Encounters Documentary Film Lab have on your career?

It really shifted my notions of what documentary cinema is – and what it could be. My first film, A Fisherman’s Tale, reflected those freedoms of the medium. And every subsequent film I made still somehow references the Encounters Documentary Film Lab experience.

How did your background shape your career as a filmmaker?

Stories are intimately connected to struggle. Where I come from, you first have to overcome poverty and its physical and mental implications before you can pursue your dreams as a young person. During that process, much of life is learned. All my films have personal relevance to my life.

How do you choose the subject matter to make a film?

When a story moves you it’s hard to let it go. There were bread and butter years and there were years when it

READY FOR FICTION – Riaan Hendricks

would have been better to listen to logic and reason since our work doesn’t always pay off! But once you fall in love with a story, it’s just a matter of managing the conditions of that storytelling relationship. One can get very philosophical about the subject of story choice. I personally believe that a story chooses me. If it did not, it would be easy for the next person to step into my shoes with the same resonance and affect an audience.

In The Devil’s Lair, the main character, Braaim, is a friend of yours.

Do you have personal ties with people in your other movies?

It’s hard for me to press the record button if I have not connected to the character off-screen as well. My connection to my characters informs the very choice of my cinematic composition. In The Devil’s Lair, the main character is someone I’ve known since childhood, yes.

But with all these years gone by new emotional connections and experiences still have to be forged.

Were you scared filming The Devil’s Lair on your own in gang territory?

Well, there were some very uncomfortable moments.

And it really does not help when you look like one of the characters in the movie, and when the antagonistic forces are an anti-gang squad that first kicks and slaps before asking questions or an army of gun-slinging rivals who operate on the same premise.

What is the highlight of your career so far?

Perhaps my first film, A Fisherman’s Tale. I remember showing the film for the first time to a group of students at the Community Video Education Trust office in Cape Town. When I switched on the lights there was absolute silence and some teary, red eyes. That’s when I realised, actually, I’ve got something going here!

What are the biggest challenges that documentary filmmakers face?

For me, the lesson really is about craftsmanship. I think

many documentary filmmakers set out to make their first documentary with the intent that it will be great.

The truth is like any other craft, you have to explore the story by making it, by making as many films and as well as you can make them.

You can’t grow otherwise. Filmmakers hold on to their ideas for too long, they need to let go and explore. Failure and embarrassment is part of the process.

Which other subjects interest you in other documentary filmmakers’ work?

The beautiful thing about documentary is that it offers an endless palette of film language. I still remember the time I watched Ken Kaplan’s drama Pure Blood. Some critics were disappointed but I could not stop praising the film. It was a political thriller that made an acute statement about South Africa, but it showed too early to be appreciated. The same goes for films that matter to me, which shaped my sense of cinematic self.

Films such as ‪Voice of the Moon by Richard Stanley had the greatest impact on me followed by works of Victor Kassokovsky. These moviemakers are people who are masters at their craft.

If your life had a soundtrack, which movies would be on it?

It would be the duet track on the movie The Road to Perdition. It speaks of the relationship between a filmmaker and his film. It’s one of constant struggle. A struggle with conviction. A struggle with finance. A struggle with getting in and being noticed. A struggle with the self.

What are you currently working on?

I just finished a romantic comedy for Fireworx Media. It’s a time of transition for me. I will always love documentary but I hope to spend the next years exploring the many dramas I’ve written that I hope will transcend local borders July 2013 | SCREENAFRICA | 25

Durban FilmMart at the Durban Internat

ional Film Festival 20

13

19-22 July 2013 Durban FilmMart is a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF).

Visit www.durbanfilmmart.com for more info.

ARTWORKS.CO.ZA

4th

Durban FilmMart at the Durban Internat

ional Film Festival 20

PROGRAMME

13

Friday 19 July

Saturday 20 July

Sunday 21 July

Monday 22 July

08h00 - 16h00

08h00 - 16h00

08h00 - 16h00

08h00 - 16h00

Registration: Durban FilmMart

Registration: Durban FilmMart

Registration: Durban FilmMart

Registration: Durban FilmMart

08h30 - 09h30

08h00 - 10h00

08h00 - 09h30

09h00 - 10h00

09h00 - 10h00

DFM 101: With 2013 Project Selection Panel

DFM DIFF Media Briefing

NFVF: Coproducing with South Africa and New Zealand breakfast (invite

World Documentary Exchange Morning (Official

NFVF in conversation at the DFM Lounge

NFVF in conversation at the DFM Lounge

only)

Documentry Projects only)

10h00 - 12h00

10h00 - 12h00

Master Class: Marketing & Publicity for Cinema ‘The mentality to promote’ with Álvaro Vega

Co-production Master Class: The Art of Working together with Christoph Thoke

Scriptwriting Master Class Strategies for development: the Agony and the Ecstasy with Clare Downs

12h30 - 13h30 DFM Lunch

12h30 - 13h30 DFM Lunch

14h00 - 15h30

14h00 - 15h00

14h00 - 15h30

14h00 - 15h30

Africa Connect Panel: The Future of African Stories

Africa in Focus: Back to basics with Howard Thomas – Researching film and TV data without having to pay for it

Africa in Focus: NFVF Industry Engagement - SA Industry Feedback

Talent Campus Master Class: Financing and International Co-production with Mike Auret

15h45 - 17h00

16h00 - 17h00

Africa in Focus Panel: DFM Success Stories from crowd sourcing to full houses

Africa in Focus: Back to basics with Howard Thomas - The Four Rules of Targeting an audience

17h30 – 19h00 CALLSHEET COCKTAIL

17h30 – 19h00 CODED LAUNCH COCKTAIL

Saturday 20 July 10h30 - 18h00 DOC CIRCLE PTICH FORUM

10h00 - 12h00

12h30 - 13h30 DFM Lunch 14h00 - 15h00 Africa in Focus Panel: NFVF SEDIBA Script Development – the Journey from idea to Screen

15h45 - 17h00

15h30 - 16h30

Africa in Focus Panel: Harnessing the power of Media in Distributing your film

Africa in Focus Panel: Back to Basics with Howard Thomas – Transferring what’s in your head to a short description

17h30 – 19h00 ZULU COAST FILM OFFICE COCKTAIL

Sunday 21 July 09h00 - 17h30 DOC CIRCLE PITCH FEEDBACK (CLOSED TO OFFICIAL PROJECTS) 09h00 - 17h30 FINANCE FORUM MEETINGS (CLOSED TO OFFICIAL PROJECTS)

09h00 - 09h45

10h00 - 12h00 Transmedia Master Class with Jonathan Reiss

12h30 - 13h30 DFM Lunch 14h00 - 15h30

14h00 - 15h30

Africa in Focus Panel: Request for Proposals

Talent Campus Master Class: Transmedia Spotting with Ingrid Kopp

15h45 - 17h00

16h00 - 17h00

Africa in Focus Panel: Window to the World - An insight into Global World Trends

Africa in Focus Panel: Back to basics with Howard Thomas Getting to a workable budget

19h30 – 23h00 DFM CLOSING AWARDS

18h30 – 20h00 DIFF BEACH PARTY

info@durbanfilmmart.com • www.durbanfilmmart.com

Monday 22 July 09h00 - 17h00 FINANCE FORUM MEETINGS (CLOSED TO OFFICIAL PROJECTS)

19-22 July 2013

FESTIVAl

|

The Animal Communicator

Radioactive Wolves

It’s Durban Wild Talk Africa time!

Ten Quintillion

The 5th edition of Durban Wild Talk Africa, South Africa’s premier wildlife and natural history film festival and conference, runs from 23 to 26 July at the Docklands Hotel and Conference Centre on the Durban Waterfront.

A

Touching the Dragon

The Unlikely Leopard

28 | SCREENAFRICA | July 2013

n established event on the international natural history and wildlife calendar, Durban Wild Talk Africa incorporates film screenings, industry specific workshops, seminars, pitching sessions and panel discussions, as well as evening networking events.

This year Durban Wild Talk Africa has partnered with the Durban International Film Festival to present a strand of stunning wildlife and natural history titles on the big screen, featuring some of the best films from around the world.

Among the exciting titles to look out for is Bidder 70, George Gage’s controversial environmental documentary that follows Tim DeChristopher, a young man who won the bid for thousands of acres of pristine land around Utah’s national parks and was promptly sued by the US Government.

In Broken Tail, leading tiger cameraman Colin Stafford-Johnson travels through India piecing together the mystery of a charismatic tiger cub’s sudden disappearance and revealing important truths about India’s last wild tigers.

Another highlight is the South African première of 2 Wings Many Prayers, a film about pair of daredevil friends who decide to make a small plane and fly it around the world, a trip which proves to be a non-stop roller coaster of excitement and terror.

The Unlikely Leopard, from South Africa’s world renowned wildlife filmmakers Derek and Beverly Joubert, follows an awkward and often comical young male leopard from when he is just a few weeks old until he ventures out on his own and makes his fist significant kill.

Fascinating and chilling, Klaus Feichetenberger’s Radioactive Wolves shows a post-nuclear landscape of Chernobyl, which now harbours the largest population of wolves.

Verity White’s Natural World: Queen of the Savannah uses ground-breaking

close-up photography to reveals the life of the queen bee and her colony as they fight to survive.

Anna Breytenbach has dedicated her life to what she calls interspecies communication. Craig Foster and Swati Thiyagarajan’s The Animal Communicator is the first full length documentary film on the art of animal communication.

Richard Matthews and Brad Bestelink’s A Wild Dog’s Tale is the moving story of a female African wild dog who, on losing her pack, seeks a new family in the unlikely form of jackal pups in the Okavango Delta.

The Arctic Giant from Adam Schmedes features an incredible reconstruction which shows the life journey of the bowhead whale, a mammal that can live for more than 200 years.

Short films include Dean Leslie’s The Beauty of the Irrational (South Africa); Romilly Spiers’ Ten Quintillion (Australia); Christiane Hitzemann’s Treibjagd (The Driven Hunt) (Germany); A Return to the Sea directed by Otto Whitehead and Lauren De Vos (South Africa); and Makhulu’s Amazing Grace (Zambia).

Conference element As in previous editions, Durban Wild Talk Africa 2013 incorporates an intensive conference programme in which local and overseas experts unpack key industry issues.

The Future of Distribution Seminar will assess traditional and emerging platforms, discuss TV on the internet and look at emerging technologies that will change the landscape completely. Speakers include Bo Stehmeier (MD, Distribution, Off the Fence); Benjamin Cowley (CEO, Gravel Road); Chris Fletcher (director of Programming and Sales, Earth Touch); Graham Wallington (CEO, Wild Earth TV); and chairperson Edwina Thring (CEO, Wild Thring).

Thring will also present the International Distribution Workshop where delegates find out if they can sell their films internationally and how to do it.

A diverse panel ranging from wildlife film producers, journalists, conservation organisations and the rangers on the ground, will share their ‘war stories’ in the Rhino Poaching Seminar. This debate will include an honest observation on the impact the media hype and film coverage has had in this war which has seen close to 2 000 rhino poached in South Africa.

Panellists include Julian Rademeyer (author of Killing for Profit); Richard Slater-Jones (director of Saving Rhino Phila); Peter Lamberti (CEO, Aquavision and executive producer of Battleground: Rhino Wars); Lawrence Munro (Rhino Operations manager, Ezemvelo KZN Wildlife); Julie Laurenz (Nguni TV); and chair Chris Galliers (WESSA).

NHU Africa’s Vyv Simson will present a master class entitled The Art of Storytelling. Delegates will learn about the key elements essential to any story and how to include them in their projects.

Editors Elmien Fourie, Candice Odgers and Susan Scott of the South African Guild of Editors (SAGE) will present a master class focusing on their work in award-winning films. They will also share their practices in the cutting room and highlight editing techniques from classic Hollywood films.

In the State of the SA TV nation session, local broadcasters will give an honest overview on their network’s current state of affairs. Educational bodies will also have the chance to tell delegates what training is available for aspiring filmmakers. The discussion will revolve around South Africa’s imminent transition from analogue broadcasting to digital terrestrial television and how broadcasters are to populate the plethora of new digital channels.

film festival and conference

TELEVISION

|

Honouring real-life heroes

By Martie Bester

The Centrum® Guardian Project, now in its fourth season on SABC3, recognises and showcases real-life, unsung heroes in the South African Emergency Services. With a dedicated film crew who perform miracles to tell these heroic stories, the series has steadily evolved into a winning formula.

Natural challenges

RESCUE STORIES: Thomas Pretorius and DOP Ian Miller

E

ach year emergency workers in the South African Emergency Services such as fire fighters, members of the South African Police Service, rescue technicians, paramedics, lifeguards, and off-road and sea rescue volunteers submit stories of courageous deeds which are then shortlisted by a panel of judges to appear on the popular television series The Centrum® Guardian Project. This year, seven stories were chosen by an expert panel of judges to be re-enacted and filmed.

Initially, the series started off as three-minute fillers and now, in its second year of 24 minutes per episode, it screens on Sundays on SABC3 at 16h30 from 4 August and is presented by well-known television personality Ruda Landman. The Centrum® Guardian Project has been nominated for two SAFTAs (South African Film and Television Awards) for best directing and best cinematography.

“It is a beautiful series,” says core producer Jasmyn Asvat. “This is also the

30 | SCREENAFRICA | July 2013

first time that we’ve actually done reenactments the way they should be done.

It’s shot incredibly well.”

Rescue situations Timeframe Productions in Johannesburg produces the series for client Pfizer.

Producer Vanessa Yelseth consults with and provides equipment to Asvat who, with a team of five, pull off the incredible feat of dramatic re-enactments of real-life rescue situations ‘starring’ the survivors and the emergency personnel who were involved in the incidents.

“We don’t have a special effects budget and we have to create all of these big fires and floods and disaster situations. So the actual emergency personnel do our special effects for us. Everything is shot very abstractly with these beautiful flashes of what happened on the day so we have to be really innovative with how we film it because we don’t want it to be cheesy.

Creativity is essential, as there are tons of challenges we face every day,” says Asvat.

She notes that filming is never without its unique trials which require extreme inventiveness and a sense of humour. On a tight two-day shoot for each of the seven episodes in the series, the team has to adapt… or adapt.

Re-enacting and filming the dramatic rescue operation in Hoedspruit in Limpopo, when severe flooding left 200 households in crisis in January 2012, proved to be particularly challenging. As ‘weather days’ don’t feature in the budget, the clear skies on the day of the shoot called for special measures.

“We didn’t have any spare days in our budget, but we used an Atlas Oryx helicopter for the re-enactment. The Oryx hovered over the Blyde River for 15 minutes to create the effect of wind and chaos and then filmed the scene of people being pulled over the river with rescue ropes,” says Asvat.

Also in Hoedspruit, a hippo and her calf proved to be tough customers. Shooting was about to commence when the protective mother and her offspring surfaced from the water, characteristically greeting onlookers with the tips of their ears and snouts, these seemingly gentle but dangerous creatures. The team had to relocate to another pool under close supervision of rangers who had to ensure the hippos were not in the mood of repositioning too.

“The situations in which we shoot and the plans we have to devise push us creatively and it becomes almost guerrilla style indie filmmaking,” says Asvat. “We’re pros at shooting on a tight budget.”

Unbelievably, Asvat reveals that only six crew members are involved with the making of the documentary dramas. With Asvat fulfilling the role of producer, art director, make-up artist, props master, caterer and nurturer, Michael Yelseth directs, Ian Miller is the DOP and Thomas Pretorius the second camera operator with a sound operator and an assistant cameraman rounding off the team.

Each 24-minute episode is followed by a safety tip run by the emergency services training unit which informs people how to react and what they can do if they find themselves in similar situations.

The public and a judging panel vote for the ‘guardian’ of the year and the winner of 2013’s series will be announced on 15 September.

“A lump sum is given to the station, to buy more equipment or to assist with training. So all the money goes back into making the community EMS or SAPS station better to be able to help people more effectively,” says Asvat.

The team shoots on three Panasonic HDX 900s. Says Asvat: “We use lots of GoPros for our action shots and this year we’ve added a Canon 5D. Generally it is a three-camera set-up for the interviews, GoPros for the action shots and sometimes we use the 5D if we’re shooting in a pipe or something similar. That’s our key gear.

“I think people want to have big budgets and all the toys and gadgets. But as filmmakers we have to create magic. And that is our job, we create magic.”

Nicola de Chaud and Sharron Hawkes from Backyard Productions are handling the post-production of The Centrum® Guardian Project 2013.

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CAMERAS

|

Action camera – it’s all go!

By Andy Stead

Action cameras, as they are known, have seen huge growth over the years, the best known being the GoPro

T

he history of the GoPro can be traced back to when its creator, 30-something-year-old Nick Woodman, had been on a surfing trip to Australia where video cameras were being used from the shore to take footage. This video footage, from such a great distance, was poor quality and viewers could hardly enjoy the low resolution and distant images.

Woodman decided then and there to come up with some way of creating a small, lightweight camera that could even conceivably be mounted on his surfboard in order that maximum enjoyment could be achieved when watching the visual footage.

Fast forward several years and we find Woodman, now CEO of the ultra successful GoPro company, releasing the GoPro Hero3 series. This series includes the professional Black edition and boasts 1080p60/720p120/1440p48, 4kp15/2.7kp30, WVGA-240fps, 12MP/30 fps Burst, built in Wi-Fi, GoPro App compatible and Pro Low-Light Performance. A far cry from the low resolution, 10-second record time of the original device introduced some nine years ago.

Woodman is in fact a wave rider, race-car driver, mountain biker, and snowboarder and lives the lifestyle his indestructible cameras capture. The new Wi-Fi BacPac, which adds remote capture and sharing features, forms its own feedback loop that continuously adds functionality without making older equipment obsolete. The backward compatibility with cameras dating to the original HD Hero from 2009 keeps customers happy, and the large supply of upgrades encourage people to buy deeper into the GoPro system.

The resulting combination of customer enthusiasm and loyalty has sold more than 800 000 cameras last year to users, some of who upload videos to YouTube once every 34 | SCREENAFRICA | July 2013

sports a 1.5in LCD for reviewing footage and changing settings, and can capture 1080p at 30fps, as well as time lapse video.

Prestigio

2 ½ minutes.

South African agent Omnico has been selling GoPro cameras for almost three years and is already selling the new HERO3 range which includes the entry level White, mid-level Silver and the professional Black.

“All models are supplied with a waterproof housing safe to 60 metres and a skeleton back door,” says Omnico’s Rene van Aswegen, “and they generally all have some flat and curved mounts and extension arms. There is a wide variety of mounts available which cater for many different sports and mounting situations. The Black Edition comes with a Wi-Fi remote control.

Our most popular range so far has been the HERO3 range and we are still experiencing between 200% and 300% growth year on year.”

Bandwagon It’s not all GoPro however and many other manufacturers have jumped on the action camera bandwagon. Names such as Contour with built-in GPS, Drift, Liquid Image, Cam Sports, Oregan Scientific, Stamex, Hoyt Technologies and Polaroid all have offerings, each vying to offer something more. Indeed, even the big guys like Sony with their new action cam offering full 1080P, built in Wi-Fi, waterproof housing and image stabilisation have recognised the growth market.

JVC is also in the action camera market with its GC-XA1, which boasts Wi-Fi, allowing you to use your PC or Android/iOS device as a portable viewfinder. The JVC

On the South African market another lesser known entrant is making inroads. Prestigio manufactures various IT products from tablets to cameras, and Midrand-based Discspeed & Cornerspeed is the local distributor for the Prestigio camera range of products.

“We started selling Prestigio cameras in late 2012 and we have sold just over 300 of the 700X models,” says Discspeed’s Gerrit de la Rey. “The majority of buyers use the 700x and 710x for action sport. However, these units double up nicely as a daily surveillance camera in your vehicle to record any unfortunate incidents that might occur.

“Probably the main advantage of the 700x over the GoPro is the value proposition; Prestigio bundles a huge range of accessories as standard with the 700x and 710x. The latest GoPro models do have the edge in terms of raw processing power thereby offering an advantage in changing light conditions.”

A brief browse of various Chinese websites shows the myriad of action cameras on the market today, however with questionable support behind these products, it is advisable to purchase your action camera from a reputable manufacturer.

So when will it end? How much smaller and more versatile can these action cameras become? Already the 1080p full HD quality is astonishing and quite comparable with far larger and more expensive cameras. Perhaps the way forward is miniature zoom lenses rather than the almost standard 170 degree fixed lenses and more processing power?

Whatever the answers to these questions, there is little doubt that the action camera market is wide open and growing at a phenomenal rate.

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STORAGE

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LTFS and LTO unpacked

By Ian Dormer

There has been a lot of buzz around LTFS (Linear Tape File System) in the LTO (Linear Tape-Open) environment. There is also a lot of confusion as to when to use it and more importantly, why. As international broadcasters are now insisting on certain file-based delivery on LTO using LTFS, it is important to take a few notes of its limitations when used incorrectly and when not supplied correctly by vendors.

L

TO is a tape-based storage medium.

The fifth and sixth generation of the LTO standard is known for its embracing of LTFS and the goal of incorporating it was to broaden LTO’s range of use, increase flexibility and facilitate the exchange and transport of data. LTFs provides users with disk-like access to browsing and OS level functionality without the need for software. So while it appears ‘disk-like’, the LTO tape does not replace hard drives.

Because many vendors promise end users that you just plug it in and it will mount on the desktop the same as a hard drive, users expect it to behave as such. To write a file to tape, you drag it onto the drive symbol or the window of the tape, just like you would with a disk. But this is where the similarity ends.

The one major drawback of tape technology is its linearity; it takes time to position the tape to a certain point. Then it takes more time to read the data off the tape as this involves spooling hundreds of metres of tape and positioning through thousands of tracks. An LTO-5 tape is 846 metres long and contains 1 280 tracks on a 1/2 inch 6.4 micrometres thick magnetic

36 | SCREENAFRICA | July 2013

band.

Since tape is a linear medium, access to files works completely differently than with disks. Files are always appended to the end of the previously written data partition.

Deleting a file does not free up space – to delete a file and free up space it is necessary to delete all the previous files and rewrite them back to tape again. Just reading a fully populated 1TB tape can take up to three hours. Writing back to tape can take just as long.

LTO-5, through the implementation of LTFS, introduced an option to partition the tape media. Partition 0 (37GB in size) holds the index and Metadata, whereas Partition 1 holds the actual data as well as a backup copy of the index. During a read process, the index is read from partition 0, placed into RAM of the connected computer and copied into a temp directory respectively.

There the index is updated and written back to partition 0.

In addition a backup copy of the index will be written after the actual stored data (on Partition 1). When it comes to delivering file-based footage to international broadcasters for example, this is an important area to fully understand.

Broadcasters are now supplying XML templates for the suppliers to complete indicating the type of source footage (XD Cam, EX, RED, GoPro and so on) and this file has to be written onto Partition 0 and not directly onto Partition 1 as you normally would. This is an advanced function available in the LTFS driver setup. Failure to do this will result in a QC rejection. Currently over 90% of LTOs being delivered are rejected by this simple error in procedure.

Vendor independent One factor in favour of LTFS is that it is vendor independent, since no software is required for reading and writing to tape; only driver software is needed.

Being ‘vendor independent’ means that LTFS written tapes can be interchanged between different drives and other LTFS users. When LTO devices are not vendor independent then the problem of compatibility arises. Unless it clearly states LTFS, do not expect what you have written to tape to be read by another LTO device.

LTO running LTFS does have problems but the lifespan of the media is what makes it attractive if you adhere to a few simple rules: • Do not write single files.

Rather select all the files you wish to save, collect them in a folder on disk and copy them into a batch.

• Do not execute concurrent writes, meaning to start one copy and then another and another at the same time.

LTFS is capable of executing them but, this will mix the blocks of the different files on the tape and will extremely degrade retrieve times.

• Do not attempt to open or edit a file directly in the LTFS file system. This will take a lot of time and many applications will not be able to handle the delay appropriately. Make a copy to disk first.

• Keep in mind that deleting files will not release the space they occupy on tape. It will only remove their reference in the directory.

• Renaming a file is OK. This will not cause a new copy of the file. However, it will cause a change in the directory and may cause the directory to be written out. Writing the directory causes repositioning, interrupts the write stream and takes a lot of time.

• Avoid mounting and unmounting a tape. Keep the tape mounted as long as possible until you have completed copying all your files. This will extend your tape’s life.

The primary reason that LTFS, as a standalone application, was developed is to transport data between sites and to exchange data. If you employ it for what it was designed for, you will find it to be a valuable tool. If you are looking for deep archiving of media and data long term, then LTFS combined with priority cataloguing software is another story, something we will cover in a future issue of Screen Africa.

RAI Amsterdam Conference 12-17 September : Exhibition 13-17 September

IBC2013 Discover More IBC stands at the forefront of innovation, drawing more than 50,000 creative, technical and business professionals from over 160 countries. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected peer reviewed conference that helps to shape the way the industry will develop.

Also, take advantage of a variety of extra special features included as part of your registration at no extra cost: •

IBC Connected World a special area of IBC which encapsulates the very latest developments in mobile TV, 3G and 4G services

•

IBC Production Insight centred around a professional standard studio set, attendees have a host of the latest production technology to get their hands on

•

IBC Workflow Solutions dedicated to file-based technologies and provides attendees with the opportunity to track the creation management journey

www.ibc.org IBC Third Floor 10 Fetter Lane London EC4A 1BR UK t. +44 (0) 20 7832 4100 f. +44 (0) 20 7832 4130 e. info@ibc.org

•

IBC Big Screen providing the perfect platform for manufacturer demonstrations and ground breaking screenings

•

Future Zone a tantalising glimpse into the future of tomorrow’s electronic media

•

IBC Awards celebrating the personalities and the organisations best demonstrating creativity, innovation and collaboration in our industry

at r w no giste r te g/re s i r g Re ibc.o w. w w

| PREVIEW

Looking back in time

By Andy Stead

This year’s Mediatech Africa advanced technology trade fair, which runs at the Coca-Cola Dome from 17 to 19 July, will have an exhibit with a difference. Instead of looking ahead at what technology has in store for us, this area will be dedicated to how the South African motion picture industry got to where it is today, and how technology development over the years molded our future and created an industry on a par with any country in the world.

LIGHTS, CAMERA, ACTION THE PAST: Early follow spot (Courtesy: DWR)

Nagra professional sound recorder

Filmo 16mm film projector

S

outh Africa’s motion picture industry has a grand past. Entrepreneur JD Schlesinger set up African Film Productions (AFP), which on 5 May 1913 screened the first of its weekly newsreels, African Mirror. In 1915 the Schlesinger-inspired Killarney Film Studios produced South Africa’s first animated film, Artist’s Dream. And so began South Africa’s involvement in the film industry.

Items of filmatic interest kindly loaned by The Film Lab will be on display at Mediatech Africa, as well as a pictorial history of some of South Africa’s best known technical and production personalities. The oldest exhibit will probably be an upright Moviola, the first machine for motion picture editing, invented by Iwan Serrurier in 1924. There will also be the well-known, well used Steinbeck six-plate flatbed table and a Pix Sync courtesy of Pro-Sales and Timbre Audio.

Arriflex and there will be an Arri 2A and a 120-S Blimped 35mm with 10:1 extension port and front matte box among others.

on Arriflex, and examples of Kodak, Bell & Howell and Auricon among others, but on

early examples of video cameras including Sony and its full range of Betacam cameras (courtesy of Visual Impact), will be on display.

Cameras Several items depicting early camera, sound and lighting equipment will be on display. Examples of early motion picture cameras will include the famous

38 | SCREENAFRICA | July 2013

The introduction of the Arriflex 35 took place in 1937 at the Leipzig Trade Fair in Germany. It was originally designed as a hand-held newsreel camera and had the dubious task of recording the rise and fall of Hitler’s regime and was used for many World War II documentaries. American soldiers brought back cameras they’d captured, therefore introducing the Arriflex to the US. The first Hollywood feature film to use the Arriflex was Dark Passage in 1945.

The camera exhibition will not focus only

The Scientific and Technical Club in Johannesburg took over on 1 July 1924. On 15 September of the same year the Cape and Peninsula Broadcasting Association started a similar service in Cape Town. The Durban organisation began broadcasting on 10 December 1924. Financial support came from listeners’ licences.

The inception of an FM broadcast service in South Africa began on 1 September 1961 from the Brixton Tower (now known as the Sentech Tower). There were a total of six dual 10kW transmitters at this site, originally supplied by Rohde and Schwarz. These ‘veterans’ were replaced in 1987, after 26 years of service, with 10kW NEC tube rigs.

An early receiving device was the Crystal set, one of which a GECophone, will be on display. The unit is a classic from the early 1920s and uses no active parts. Detection is done using a galena crystal and cat’s whisker which must be poked around on the surface of the crystal until detection occurs. It boasts two sets of headphones as in the 1920s it was not uncommon for two people to listen at the same time.

But all these early technologies were replaced by vacuum tubes in the late 1920s because of their superior performance and amplification. Several examples of early valve radios including Philips, Telefunken and Stewart Warner will also be on display.

Television Radio The first radio station in South Africa was put to air by the South African Railways in Johannesburg on 29 December, 1923.

The first South African television broadcast was made by the SABC in 1976. This was an extremely late entry into the wonders of television; the world’s first broadcast was made by Baird Television’s

Photo courtesy SAIEE

including RCA which is on display. Visual material was recorded on two-inch quadruple recorders and editing was accomplished using a magnetic viewing device and a splicing blade! Several other examples of early broadcasting history from the SABC will also be on display.

In conjunction with television broadcasting an infant post-production industry was born, and what became known as post-production facilities offered producers an independent means of making their commercials, dramas and documentaries. These facilities companies offered the latest post-production equipment, including the famed ‘Flying Spot’ telecine machines which outperformed the photo conductive devices used by the SABC. An example of an early twin lens flying spot gate will be on display. One-inch C format machines were also introduced, and an example of a so-called ‘portable’ machine, an Ampex VPR 20 will be on display.

Large vision mixing desks became the

SOUTH AFRICAN PIONEER: Dr Trevor Wadley with range finding equipment

Mediatech 2013 Stand E35

electromechanical system over a BBC radio transmitter in September 1929. Television services were introduced into (the then) Southern Rhodesia as early as 1960.

Examples of both Philips and Grundig television sets from this period will be on display, as well as an early example of a South African set.

The SABC commenced broadcast in colour using various studio cameras

vogue and the Grass Valley 300 was the mother of all vision mixers. An example of the Grass 200 desk – slightly smaller than the 300 but nevertheless huge – will be on display.

On the domestic front television also became popular as a recording medium for home entertainment. The first portable colour video recorder and camera, the Akai VT 150 used ¼ inch tape as the recording medium. An example of this machine will be on display. Microphones both for broadcast and domestic use were widely used and several examples of these will also be on show.

Probably the most prolific collection of electronic equipment in this country is housed at the South African Institute of Electrical Engineers (SAIEE) in its Sir Herbert Baker designed premises in Observatory, Johannesburg. It is hoped that several items from this collection will be released for display at Mediatech Africa.

Items likely to be displayed include equipment designed by Dr Trevor Wadley during WW2, who, while working on a wavemeter project, developed a unique circuit for cancelling frequency drift, a circuit later to be known as the Wadley Loop. The first well known implementation of Wadley’s Loop was during the 1950s in the development of the Racal RA-17 receiver. In later years the Barlow Wadley World receiver was the benchmark for portable receivers, one of which will be on display.

It is also hoped that the SAIEE will release their collection of vacuum tubes. This collection includes an original De Forest Audion, a vacuum tube that takes relatively weak electrical signals and amplifies them.

De Forest is one of the fathers of the ‘electronic age,’ as the Audion helped to usher in the widespread use of electronics.

He is also credited with one of the principal inventions that brought sound to motion pictures.

Several other vintage items, too numerous to mention but including vintage lighting courtesy of DWR distribution, will be on display.

The vintage stand will be unique and well worth a visit as it brings home the rapid developments in technology that our industry has experienced in its relatively short history.

| PREVIEW

FORscene launches in SA The online video editing platform utilised by top UK post-production facilities Envy and Halo is now available in South Africa for the first time.

FORscene provides professional editing tools in a SaaS (Software as a Service) package for all video industries and has handled over three million hours of professionally shot content worldwide.

CHANGING THE GAME: Mark Gordon

40 | SCREENAFRICA | July 2013

M

ark Gordon, country manager for Atos, the leading global systems integrator that holds the exclusive South African and continental distribution rights for FORscene, believes it will be a game changer in the local media industry.

“FORscene is a disruptive technology which makes you sit up and think in that it presents a totally new way of working.

Formerly, for any person to enter video editing they would have to spend between R30 000 and R50 000 on a MacBook Pro or a PC and buy software such as FCP, Avid or Adobe Premiere. For people of colour in particular, the barrier to entry in South Africa has been high. FORscene removes that barrier because all you need is a standard PC or Mac and a 1MB internet connection and you can edit in the cloud,” explains Gordon.

He notes that FORscene, being a multi-platform and multi user system, gives clients access to their video editing or video review and approval from anywhere in the world, on any device and on any network. A scalable system, it is fully redundant with multiple backups.

Used by the likes of Wall to Wall and Endemol, as well as on shows such as X Factor and Gold Rush, FORscene was developed by Stephen Streater, CEO of Forbidden Technologies.

“Stephen developed one of the first software-only professional video editing suites in the early 1990s,” continues Gordon. “With the web rising to prominence in the 2000s, Stephen developed the software to work over the internet with the relatively modest connection speeds of 512 kilobits.

FORscene is owned by Forbidden Technologies plc, a company quoted on the London Stock Exchange in the UK.” By using FORscene, production companies can log large amounts of content without duplicating rushes to tape or DVD. The entire production team can access any of the rushes from anywhere at any time. A built-in incremental search

engine assists in this process and is an additional bonus.

According to Gordon, FORscene offers simple but powerful editing functionality which enables producers and directors to select pre-logged shots and add them to the timeline quickly. A drag and drop interface allows users to move clips around on the timeline and trim content easily, in preparation for and speeding up, the offline edit. Full resolution material held locally in traditional NLEs can be reconnected in host NLEs for finishing, using AAF, EDL or XML files. Exported ALE and XML files can be used as digitising lists to reduce the amount of full resolution taken into the craft edit in high end productions.

In terms of FORscene’s application in broadcasting, television stations can capture 24/7 feeds of material to enable remote based editors to access and select news stories for delivery to the station’s websites. Each editor is able to work on multiple station feeds at a time, removing the need for physical staff in each station.

“You can render footage in the cloud and into multiple file formats,” comments Gordon. “Furthermore, you can immediately publish to your own website, or YouTube, MPEG-4, HTML5 (for iPads), OGG, or Facebook. The advantage is that you can do all your editing on FORscene, including dissolves, wipes, colour correction, subtitles or you can export the EDL to FCP, Avid Media Composer or Adobe Premiere and finish the edit there.

FORscene offers frame accurate video editing and will save you between 40% and 45% on your next production.

“The largest broadcaster in the world and others through their procurement processes, have instructed that production companies use FORscene as part of their workflow in order to leverage cost savings.

Education-focused Gordon stresses that Atos has placed a big focus on education and wants to utilise FORscene in this regard.

“In the next five years between 20 000 and 25 000 editors will be needed in South Africa to produce all the new content required for the additional digital channels that will result from the country’s migration from analogue broadcasting to digital terrestrial television. Regulator ICASA has imposed a licence condition that 40% of the content will have to be locally produced.

“Consider that each year 500 000 kids leave school in South Africa. Atos wants to train 1% of these school leavers on FORscene, in partnership with industry players, on an annual basis. In this scenario, production houses and broadcasters may just use students who are trained on FORscene (as NBC did for the Olympics), giving them the opportunity to enter the professional market,” states Gordon.

He maintains that FORscene also opens up opportunities for universities to produce their own user generated content. For example, parts of the State University of New York are using FORscene to teach video editing and students are given usernames and passwords so that they can generate their own video stories.

There are three versions of FORscene available for purchase: the broadcast post-production version (a big server with unlimited users); a mid-range server unlimited users; and individual licences for people that use PC, Mac or Android devices.

FORscene has over 20 000 accounts, allowing these people around the world (including some of FORbidden’s 2 000 shareholders) to use upgrades for the platform and for FORbidden to respond to feedback before they go out to the professional market as tried and tested upgrades.

FORscene will be on show at the Atos Stand Number F31 at Mediatech Africa.

There will be live demos of the entire product at the show, conducted by three Nemisa graduates and Atos staff. Visitors will be able to use FORscene and will be given their own username and password.

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| PREVIEW

Sony At Mediatech Africa Sony will highlight its PMW-300 XDCAM camcorder, equipped with the 1/2-type Exmor full-HD 3CMOS sensors capable of delivering incredible images even in low-light conditions. The PMW-300 is ideal for broadcast producers and corporate event camera operators who require a flexible semishoulder camcorder that can easily be adapted to suit a wide range of production environments.

An evolution of Sony’s industry leading PMW-EX3, the PMW-300 is able to record 50Mbps HD material in MPEG HD422, meeting broadcast standards around the world, including the European Broadcasting Union’s (EBU) requirements on HD broadcast acquisition for long form programme making. The high bit rate ensures excellent capture of fast moving objects, while its chroma subsampling feature is perfect for a wide range of video encoding areas such as VFX and green screen applications. The camcorder can also be upgraded in the future to support Sony’s revolutionary XAVC codec, extending the lifecycle of the product to

SAE Institute Cape Town-based SAE Institute will showcase its offerings at Mediatech Africa, particularly highlighting its recently introduced Bachelor of Arts in Sound Production degree, and their Bachelor of Arts in Film Production degree that will be launched in February 2014.

Says SAE Institute director and principal David Maclean: “We are launching our Bachelor of Arts in Film Production degree to make a significant contribution to the film industry within South Africa, and the African continent as a whole. Our approach and curriculum is unique in that we train our students in relevant and accessible workflows and equipment, to ensure a 42 | SCREENAFRICA | July 2013

ensure maximum return on investment.

The 1/2-type Exmor full-HD 3CMOS sensors offer high light sensitivity and low image noise. As a consequence, it delivers clear high-resolution images even when filming in low-light conditions. The camcorder also includes Sony’s advanced signal processing technology, which suppresses noise effectively and thus creates noticeably clearer images.

As the PMW-300 features the same EX-mount interchangeable lens system as the PMW-EX3, it is compatible with a wide range of 1/2 inch and 2/3 inch lenses. There are two types of lens packages planned to be available for the PMW-300. One is with a 14 times zoom lens, and the other is with a 16 times zoom lens. Both lenses have a focus ring for quick switching between auto

legitimate employment path.

“Many film curricula across the world focus primarily on long-form filmmaking in the Hollywood style, but there are many other creative and employment opportunities that are equally relevant, and should be taught. SAE is renowned for achieving a fine balance between experiential learning and the intellectual enquiry required to produce stellar graduates that can authentically contribute to the film industry.”

SAE’s Film Production degree explores all the creative and technical elements of digital filmmaking, with an emphasis on developing practical skills in preproduction, production, post-production and distribution. Throughout the three-year course students will gain proficiency in the many departments that constitute the production process, learning within an

and manual focus.

An HD-resolution 3.5-inch colour LCD viewfinder (960x540 pixels) enables precision focusing for HD filming, while the 8-pin remote-control and multicamera operation capability allows the PMW-300 to be used in 3D configurations and high-end camera systems.

With an HD-SD/SDI output and an HDMI output, the PMW-300 connects not only to broadcast infrastructures, but also to consumer devices equipped with HDMI inputs. Timecode and genlock interfaces enable use in multi-camera setups and 3D configurations. The 8-pin remote connector allows for remote adjustment from a remote control sold separately.

This camcorder has a standard recording mode of 1080/23.98p, offering a vast range of shooting options, switching down to 720/23.98p to enable up to 2.5x slow motion Based on customer feedback the PMW-300 features an innovative semishoulder design that has a rotary hand grip, allowing comfortable recording over long periods of time. Its magnesium metal body ensures the camcorder is robust and like its predecessor, the PMW-EX3, can withstand even the harshest production environments.

Like all of Sony’s solid state XDCAM

camcorders, the PMW-300 has the most flexible choice of recording media in the market, allowing customers to choose to record on Sony’s professional SxS memory card as well as other media such as SD, Memory Stick and XQD cards depending upon their budget and application.

An optional wireless adapter currently in development will enhance proxy recording, wireless transfers, Wi-Fi viewing and metadata input.

Coupling the PMW-300 with accessories such as one of Sony’s UWP professional audio line-up will ensure a best in class user experience.

“The PMW-300 incorporates all the market leading features from our XDCAM family in a semi-shoulder HD422 50Mbps camcorder,” said Jess Goedhals, general manager, Sony South Africa. “From working closely with our customers we know there is strong demand for a truly versatile semi-shoulder camcorder that has been designed to meet the needs of the broadcast, production and corporate event worlds.”

PMW-300 with a 14 times zoom lens will be available in the market in October 2013.

PMW-300 with a 16 times zoom lens is currently under development, targeting to be available within 2013.

Sony South Africa – Stand Number E23

innovative and hands-on environment that boosts creative confidence and artistic independence, through the completion of a broad range of creative media projects.

In addition to the BA Degree, SAE also offer’s a one-year full-time qualification in Digital Film Production. This course is designed to provide students with experience in the many facets of digital film production, fostering creative confidence and artistic independence in a hands-on learning environment. The course covers the technical and creative components of digital filmmaking, including: conceptualisation, screenwriting, project development, digital camera operation, lighting, production management, directing, editing, sound design, motion graphics and VFx. In creating their own projects, students develop the necessary skills to become proficient filmmakers.

Maclean notes that the inaugural intake of the Bachelor of Arts in Sound Production (the first degree in sound in Africa) commenced in February 2013. “We have 40 students in the class. The curriculum addresses the art, science and technology of sound production across a wide range of applications, from music recording to sound production for film and television, and live concert sound.”

Each sub-discipline of sound production is covered in intricate detail, to ensure all graduates have the superior theoretical and practical skills required to work within the broad scope of the global entertainment and music industries. In addition to the essential skills and knowledge required from a sound engineer or music producer, students are continuously exposed to the pertinent values, attitudes, and qualities expected from an industry professional, with the intention of producing graduates who can function effectively and make a meaningful contribution to the industry and society.

SAE also offers a qualification in Animation & Visual Effects. In this qualification students acquire comprehensive skills in free-hand drawing, stop-motion, 2D and 3D computergenerated graphics, and animation using the industry’s most widely used software.

The curriculum provides an understanding of the workflow and equipment used for creating animation, and the practical experience required for production techniques and design concepts. Students also gain comprehensive expertise of the contemporary ‘infotainment’ industry.

SAE Institute – Stand Number H10

XDCAM HD422 Camcorders.

PMW-400 • Three 2/3-inch type Full HD Exmor CMOS sensors.

• Multi-Format support. DVCAM, MPEG2 IMX50, HD420, HD422 up to 50Mbps.

• Optional XAVC 10-bit HD422 100Mbps and XAVC Long GOP. • Flash band correction.

• WiFi remote control.

• SD/HD-SDI, i.Link, HDMI, TC in/out and Genlock input.

• Optional Digital Triax and Fibre control.

• Two models, PMW-400K (with lens) and PMW-400L (without lens).

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| PREVIEW

Concilium Technologies Harris Broadcast, represented in South Africa by Concilium Technologies, altered the course of channel-in-a-box design for broadcasters when it introduced the Versio integrated channel playout solution.

On show at Mediatech Africa, Versio delivers the industry’s most complete all-in-one solution, by helping customers to rapidly launch, expand and sustain their on-air channels and services, while strengthening revenue growth and protection.

Says Concilium Technologies’ Steve Alves: “The Harris Broadcast Versio solution combines baseband video, channel branding and automated workflow capabilities in an easy-to-deploy, softwarebased, single-rack-unit (RU) solution. Versio significantly reduces the cost and time to launch broadcast, cable and other TV channels and services while offering simple integration with production, traffic and billing, scheduling, asset management, content playout and master control functions. It takes full advantage of existing facility workflows for maximum return on investment.”

Versio’s advanced software compresses multiple single-channel workflows into the 1RU platform, incorporating Harris Broadcast’s video server, channel branding and graphics, and optional on-board automation components. Flexible software-based configurations range from single-channel launches (independently or within an existing system) to multi-channel distribution, expansion and disaster

recovery systems. Broadcasters will quickly accelerate channel launch times, reducing months of preparation to weeks or days by slashing resources required for traditional channel launches.

At Mediatech Africa Concilium Technologies will unveil AST Cobham’s new EXPLORER 710 BGAN terminal for the first time in Africa. The terminal can be seen at Concilium’s OB (OB) section for a live

demonstration of its new size, speed and enhanced features.

The new Explorer 710 BGAN is the first HDR (High Data Rate) terminal that is expected to change the breaking news industry with streaming speeds around 650kbps at full channel, and the ability to offer a bonded solution for up to 1,2Mbps streaming. The enhancement in video quality will set a new standard in live broadcasting from remote regions anywhere in the world.

Concilium will also do live field broadcasting from their outside stand that

Blackmagic Design

44 | SCREENAFRICA | July 2013

will play out on a monitor at their main stand inside.

Other products to be exhibited by Concilium Technologies include Ross Video’s Carbonite series of production switchers – there are two choices of panel size combined with a 16 – or 24-input chassis. Carbonite packs four channels of DVE, four keyers per MLE and four channels of Media-Store into a tiny 2RU chassis.

Features include Ross ‘PanelGlow’ RGB buttons and legendary Ross faders that are guaranteed for life.

XPression, also from Ross, is a high end

3D character generator and motion graphics system that can handle the most demanding applications.

Alves continues: “XPression offers real time layering and animation of 3D models, 2D and 3D text, rendered animations, live video and web content. Designed for the graphic designer, programmer, and on air operator, XPression advances the look of productions, making it easy to create, manage, and get to air. As a data-driven system, XPression is able to integrate real time data into 3D graphics and animations with live connections to spreadsheets, databases, RSS feeds, newsroom editorial systems and other live data sources.”

Brian Murray, who is responsible for Ross Video sales in the Middle East, GCC and Africa, will be at the Concilium Technologies stand.

Concilium Technologies – Stand Number D27

Blackmagic Design recently released its Desktop Video 9.7.5 software update which adds full support for Adobe Creative Cloud software across its desktop video products.

The Desktop Video 9.7.5 software update allows users to take advantage of many new features in the Adobe Creative Cloud desktop applications, such as powerful new editing timelines and shortcuts and audio mixing with Adobe Premiere Pro CC and new creative and visual effects tools with Adobe After Effects CC. Also included is support for Adobe Mercury Transmit that allows broadcast video monitoring to connect directly into the Adobe Mercury Playback engine, which gives an incredible amount of real time effects with any video format or codec.

This update means Blackmagic Design’s DeckLink, UltraStudio and Intensity range will work seamlessly with the new features in Adobe Creative Cloud applications for amazing new workflows in editing, compositing and visual effects. DeckLink, UltraStudio and Intensity include the world’s highest performance capture and playback cards for Mac, Windows and Linux.

Including both PCIe and Thunderbolt based technology, these products come in internal and external models and are used by professionals globally in every aspect of

film and video production.

Customers using Adobe After Affects CC will be able to work in the highest quality compressed and uncompressed video formats up to Ultra HD and 4K, for amazing compositing and graphics production workflows. When working with Ultra HD and 4K video formats, customers can choose between the rack mount UltraStudio 4K and the DeckLink 4K Extreme PCIe card. Both products have 6G-SDI and HDMI 4K video connections to capture and playback Ultra HD and 4K video formats as well as dual stream stereoscopic 3D. Blackmagic Design recently announced a new lower price for UltraStudio 4K to US$995.

“It’s very exciting to see Blackmagic Design’s desktop video products working together with Adobe’s Creative Cloud software and the incredible creative possibilities this opens up with new editing and effects features. Our customers will be able to work with the cutting edge tools in fantastic new workflows,” said Grant Petty, CEO, Blackmagic Design.

Blackmagic Design will exhibit its products at Mediatech Africa with local partner Stage Audio Works – Stand Number H20 and J28.

| PREVIEW

Avmark Systems

Avmark Systems, a Panasonic digital broadcast and AV systems dealer specialing in high definition, P2HD, AVCINTRA, DVCPRO HD, AVCCAM, plasma LCD visual mixers and data video projectors, reports a busy year with several exciting contracts.

Says Avmark Systems MD Renato Acquisto: “Johannesburg-based Ochre Moving Pictures is currently producing new seasons of the children’s show, Takalani

AJA Video Systems

Sesame, for SABC Education. For this studio production we supplied two Panasonic AG-HPX372 P2HD cameras and tripods. A shoulder-mount camcorder, the AG-HPX372 offers 10-bit, 4:2:2, full 1920 x 1080-resolution AVCINTRA recording with impressive levels of sensitivity and an interchangeable lens. The AVCINTRA codec is unrivaled for its full-raster, 10-bit, 4:2:2 sampling.

“We also supplied an AG-HMX100 digital video vision mixer, which integrates an HD/SD video switcher, audio mixer, multiviewer and control panel in a single, compact unit. Also part of the Ochre order were BT-LH1710 professional LCD monitors and wireless microphones.”

Avmark Systems supplied Red Pepper Pictures with 12 of Panasonic’s latest ultra-thin Bezel 55” LCD display, the TH-55LFV50, for their studios in Melville, where the game show Ka-Ching is being recorded for broadcast on M-Net’s Mzansi Wethu and Mzansi Magic channels.

This order included a custom designed and erected stand / frame.

Another order saw Avmark Systems supply the Christ Embassy Church in Randburg with eight AG-HPX250 camcorders, two AG-HPX372 cameras and tripods, an AJ-PCD30G P2 card reader and 20, 64GB P2 cards.

Among the latest products from AJA Video Systems that will be exhibited on the Touchvision stand at Mediatech Africa is the KiStor Dock, which quickly connects any KiStor module. KiStor Dock makes it simple for users to mount their FireWire 800 and USB. The 3.0 KiStor drives on Mac or Windows desktops or laptops and transfers files between them at high speed.

Being an external dock means that there no need to search for cables or connections. The Thunderbolt and USB 3.0 connections ensure fast transfers, even on older KiStor modules.

KiStor boasts sturdy construction for everyday use.

Newly launched is the AJA Mini Matrix App, an on-the-go reference guide for AJA’s Mini-Converter range. Information on the complete line of AJA Mini-Converters is included as a mobile app on iOS. The Mini-Converter product line is extensive and this app helps users find the right converter for any situation, wherever they are. Individual products have links back to the main AJA website for more details and users can email product information directly from the app. The free AJA Mini

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Tel: +27 (11) 463-3167/8 Fax: +27 (11) 463-2534 Email:avmark@icon.co.za

Authorised Distributor

www.avmarksystems.co.za

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Inala Broadcast

Bryce Button Matrix app for iPad and iPhone is available on the Apple iTunes Store.

Bryce Button, the product marketing manager for AJA Video Systems, will be at the Touchvision stand at Mediatech Africa.

Button is responsible for shaping marketing messaging and initiatives for AJA’s award-winning line of digital interface, conversion and desktop solutions for the professional video and film markets. He has been working in post-production since the mid-1980s.

AJA video Systems / Touchvision – Stand Number B23

The theme of the Inala Broadcast stand at Mediatech Africa is to exhibit the products that are relevant in the South African broadcast market, including products that were recently launched at the NAB Show in Las Vegas.

A number of overseas principals will be on the Inala Broadcast stand, including Charles van Gorkum, Sales & Business Development executive from Aviwest, who will demonstrate the PRO 180 and DMNG advanced pocket size cellular video uplinks designed for the broadcast industry and security organisations.

Broadpeak sales manager FrançoisXavier Simon will be visiting South Africa for the first time to demonstrate a variety of solutions to address content delivery on all screens and networks.

A contingency from Dolby will comprise Andreas Spechtler, regional VP, EMEA; Tarif Sayed, regional director Middle East & Africa; Venkat Venkateshwaran, broadcast marketing manager; and Marios Stavrou, sales manager, Africa. They will talk about 5.1 audio, DD+ and audio metadata.

Malcolm Johnson, training manager from ENPS, will attend Mediatech Africa and stay on post event to provide and update training to the South African Broadcasting Corporation (SABC), Summit TV and CNBC Africa.

Ido Nahmany, manager of Regional Sales at Harmonic and Tal Melamed, strategic account manager, will demonstrate the ChannelPort and MediaGrid playout system Nic Ashley, Strategic Alliance director EMEA from Miranda will demonstrate the iTX playout system incorporating a multiviewer.

Filipe Themudo, business development manager for Africa from MOG will demonstrate products for broadcasters to achieve the highest performance in the most diverse file-based workflows.

Tom Gittens, director of sales and Peter Hajittofi, MD of Pebble Beach will visit South Africa for the first time and demonstrate Marina, an advanced playout and distribution automation system.

Oscar Mezquita, international sales manager of Riedel will demonstrate the Artist intercom system and MedioNet integrated signal processing and conversion system.

Tom Perry, channel account manager, Africa, from Tektronix will demonstrate handheld waveform monitors, general test and measurement products plus test signal generators (TSG).

David Cheng, sales manager from TSL will demonstrate professional audio monitoring units (AMU), SoundField, surround sound microphones and processing products for live broadcasting and location recording.

The Inala Broadcast team will be in attendance to provide technology information and attend to customers’ demonstration requirements.

Inala Broadcast – Stand Number C23

www.aja.com

Get Ready For 4K Unite 4K, QuadHD, 2K and HD with breakthrough features and quality.

AJA’s Ki Pro Quad manages HD, 2K, and 4K workflows at 4:4:4 or 4:2:2 with high-quality and efficient Apple ProRes files that are manageable in size and ready to edit immediately. Easily mounted to any compatible camera, Ki Pro Quad can also feed 4K and HD monitors and pass camera RAW data direct to Thunderbolt™-enabled computers.

Futureproof

Quality and Flexibility

Power and Portability

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

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

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

Find out more at www.aja.com Touchvision

Tel: + 27 11 886 8572 • www.touchvision.co.za

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July 2013 | SCREENAFRICA | 47

| PREVIEW

Zimele Broadcasting Services As part of its rapid growth, international system integrator Broadcast Solutions GmbH will participate at Mediatech Africa by exhibiting with partner company, Johannesburg-based Zimele Broadcasting Services.

On display will be the company’s general capabilities as a high class system integrator within virtually any broadcast related project, from the biggest OB (outside broadcast) vehicles to SNGs (satellite news gathering units), to multimedia installations for sport arenas and fixed broadcast facilities. Company representatives will be on site to discuss any requirements with potential and existing customers.

Among the products to be showcased on the Zimele Broadcasting Services stand is Modeo live. This new innovative solution for mobile ENG (electronic news gathering) contribution over 3G/4G LTE networks will make its South African debut at the show.

Positioned as ‘second to none’ in its field, the product boasts a very short start up time, low weight, remote control capability and superior battery capacity. These are just a few of the key features that make it the ideal companion for video journalists.

48 | SCREENAFRICA | July 2013

Modeo live will be demonstrated live at the stand and will be available for demonstrations after the exhibition.

Making their debut at IBC in Amsterdam last year were the ground breaking products from slomo.tv.

“Nine months down the line we can conclude that slomo.tv is a huge success and that market acceptance is now growing rapidly,” says Zimele’s Casper Klopper. “At the exhibition in Johannesburg we will demonstrate the Simple R, which is the smallest professional multichannel recording and replay system on the market.

It’s size is just 1U and the weight not more than 4.5kg. But its variety of features is anything but small, including threechannel in, two-channel out, dissolvable / simultaneous search on all three channels, coupled with a recording capability of 33 hours HD video on internal SSD drive (optional up to 125 hours).

“Slomo.tv offers a wide range of multichannel recording and replay systems geared to meet every need of the modern broadcaster, all at very competitive prices.”

Zimele Broadcasting Services – Stand Number F37

Questek Advanced Technologies Among the Quantel products to be exhibited on the Questek Advanced Technologies stand at Mediatech Africa is Station sQ, a complete, self-contained news production system including video and file ingest, central storage, shared editing and live playout.

Station sQ is built on the same technology platform as its larger brother, Enterprise sQ, which is the leading fast turnaround production system in the world – powering such broadcast giants as ESPN, BBC and Televisa.

Features of Station sQ include the fastest workflow for breaking news; edit-in-place on all workstations including live ingests; comprehensive editing and voiceover features; shared workflow between desktop editors and sQ Edit fully-featured craft editor; instant playout of published edits with dedicated studio control panel; handles SD and HD content – even in the same timeline; and central ingest of XDCAM HD and P2 Camera files.

Also on the Questek Advanced Technologies stand will be VidiGo Visual

Radio, a specially designed product to create entertaining TV content from your radio show without extra staff. It enables radio broadcasters to take Visual Radio broadcasting to the next stage and makes it fun to create and to watch.

VidiGo Visual Radio fits into any radio station production workflow. This allows radio broadcasters to concentrate on making a good radio show while at the same time creating compelling TV. For real-time on-air graphics for sports, news, elections and entertainment programmes and playout automation, wTVision’s solutions integrate with all major graphics engines on the market. wTVision’s ChannelMaker is a scalable and flexible playout automation system with an integrated on-air graphics controller. A ChannelMaker solution consists of a full suite of applications that seamlessly work together to provide optimised workflows for each channel’s requirements.

Questek Advanced Technologies – Stand Number F23

PREVIEW

Datapost Datapost will demonstrate its innovative nfinityX software solutions for the management of rich media content and publishing at Mediatech Africa 2013.

Says Datapost MD Kenneth Maciver: “We will launch our cloud-based digital signage solution, MTVN, which allows users to manage and deliver content to information panels, menu boards, retail stores and corporate communication screens directly from the internet.”

A dual HDMI, preconfigured digital signage media player includes 24 months access to the MTVN Service and 2 gigabytes of storage. Android based media player software is also available for simple deployments like digital menu boards and posters.

“Digital calendars and venue management forms part of the offering and can be managed through your Google Calendars, or you can simply use the calendars provided on the MTVN software.

“Publishing communication to desktops has never been easier, allowing companies to publish communication directly to staff computers connected to the network,” explains Maciver.

Content tools allow users to create content and manage tickers. The template system allows messages to be created and

published quickly and effectively.

Maciver points out that the cost benefit of the hosted software removes expensive setup costs, as users upload, manage and schedule directly from the web interface.

“The interface is simple and intuitive and users can be publishing in minutes. Setup is

simple – just connect the Datapost media player to the internet using a LAN or WiFi connection, plug it into a screen and begin publishing content to your customers and staff.”

A comprehensive support environment including online help, videos and telephone support will allow customers to be up and publishing quickly and efficiently.

Visitors to Mediatech Africa looking for a proven integrated media communication solution are encouraged to visit the Datapost stand to experience nfinityX. “For enterprise and large scale network operators we will be demonstrating the

| nfinityX at the show,” continues Maciver.

“The release of the new Player sync option allows operators to synchronise media players wirelessly, allowing creative content solutions to be configured on multiple screens. The new mobile app allows an unparalleled view into the network using any smart phone.

“The nfinityX software is underpinning some of the largest customer managed digital signage and communication networks in the country, with two of the largest banks in South Africa running thousands of screens throughout Southern Africa. Provantage chose the nfinityX to manage the highly successful Airport TV and TTV network, while Toyota South Africa is using nfinityX to deliver content to its dealer network.”

He notes that the nfinityX solution runs on virtualised environments, and an open architecture allows for integration into existing workflows and IT infrastructure. nfinityQman, a solution for service centres and retail environments, will also be demonstrated at Mediatech Africa. This solution manages queues and consultants and is tightly integrated into the signage portion of nfinityX, allowing the queueing data to manage the content on the screens.

Using the way-finding options allows you to reconfigure your service area as demand requires.

Datapost – Stand Number H33

July 2013 | SCREENAFRICA | 49

| PREVIEW

Protea Electronics

Grass Valley’s GV Director – an all-in-one switcher, server, graphics engine and multiviewer – will be highlighted on the Protea Electronics stand at Mediatech Africa.

This nonlinear live production system is the ultimate multipurpose tool for live production. Integrating video switching, multi-layer effects, animated graphics, multiviewer monitoring, and more, this intuitive and highly creative product packs small, but produces big.

GV Director raises the creative bar for all event producers by removing the typical complexity of production and simplifying

pre-production and production processes using one intuitive and dynamic platform.

Starting from scratch or using a pre-built template, sophisticated productions are easy since elements can be created, packaged, and saved offline using a Mac or PC, then delivered live when needed. With the ability to collaborate and share work-in-progress, producing highly creative and valuable content is ensured.

The system’s interface gives the viewer the choice of how they want to work. There’s a smart control surface with touchscreen panel, assignable buttons, a T-bar, and a multiviewer, as well as a keyboard, mouse,

Jasco Broadcast Solutions Jasco Broadcast Solutions, part of the Jasco Group, will showcase top of the range video capture technologies, editing and production software, as well as broadcast graphics and artwork solutions at Mediatech Africa Products include the Sony PMW-200, a compact camcorder featuring solid-state storage for enhanced speed and reliability, as well as three 1/2-inch-type full-HD Exmor CMOS sensors which offer high resolution, high sensitivity, low noise, and wide dynamic range. The camcorder features high-quality MPEG HD422 (50 Mbps) broadcast-standard recording capability and independent focus, zoom, and iris rings.

“Sony is well-known around the world for its best-of-breed video equipment, and the PMW-200 is the latest example of their innovation. Full HD capability along with a host of enhanced usability and quality features enable professionals to shoot even under the most severe lighting conditions,” says Mark van Vuuren, MD of Jasco ICT Solutions.

and computer monitor for maximum operational flexibility.

While GV Director’s unmatched production capabilities are powerful on its own, it can also be teamed up with GV STRATUS nonlinear production tools to add ingest, logging, content management, NLE integration, and router control. Its compact form factor boosts deployment flexibility and makes GV Director ideal for various environments.

Protea Electronics – Stand Number E54

E F F IC IE N T

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

JHB Tel: +27 (0)11 7709800 KZN Tel: +27 (0)31 5330900 Web: www.electrosonic.co.za

E-mail: sales@electrosonic.co.za

24 Hour Support Lines: AV: 0861 AVHELP (28 4357)

50 | SCREENAFRICA | July 2013

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Telemedia

The new Avid Media Composer Version 7 is an industry-standard nonlinear editor that delivers 64-bit performance, easy-touse video editing tools, and streamlined HD, file-based, and stereoscopic 3D workflows. Based on an open platform, Media Composer enables broadcasters and editors to work with any equipment they choose, integrating into any workflow.

Vizrt’s Viz Artist enables designers to build complete virtual sets as well as complex 3D animations, makes building geometry and creating fonts for lower third graphics more efficient, and offers full support for maps and video.

“Viz Engine enhances this solution, offering the ultimate real-time 3D animation and compositor tool. It renders animated 2D and 3D scenes in real-time, producing high-end animations in SD, HD and 4K,” concludes Van Vuuren.

Jasco Broadcast Solutions – Stand Number G21

On display at Telemedia’s Mediatech Africa stand will be two cameras from Hitachi. The SK-HD1000 is a high-performance dockable design portable HDTV studio and EFP camera. With its new 2.3 million pixels native 1080i 3-CCD, the SK-HD1000 provides outstanding performance. The camera offers sharper and cleaner HD images due to its 16-bit A/D converters and Hitachi’s implementation of the latest digital processing technology. It achieves outstanding high sensitivity and a low vertical smear.

CCU outputs are available with 1080i or 720p; 1080i/720p (switchable); or 720p/1080i (switchable). The camera is upgradeable to CU-HD1000 CCU 1080p 3G. Features include: HD-SDI output directly from camera head and CCU; SDTV PAL output down-converted at CCU; flawless signal transmission offered by the use of a digital optical fibre cable up to 3.000m with CCU power or high-speed Digital Triax cable transmission up to 900m.

The camera has the ability to operate self-contained (without CCU) with standard provision of HD-SDI from the camera head.

It offers independent control of HD and SDTV detail and masking. There is a choice of three different joystick or rotary-type and with LCD-display operation panels.

Other features include: small form-factor master setup unit SU-1000; 9-inch high resolution LCD colour viewfinder (VF-L9HD) and 5-inch high resolution B/W CRT (4:3) viewfinder VF-HD500 available for EFP use; 2-inch high resolution B/W CRT (16:9) VF-402E available for ENG use; VF focus assist (VF area marker, focus indicator and quage); precision focus; cameraman VF video is always HD even if returns are SD digital or analogue; CCU return signal inputs can be HD or SD, analogue or digital selectable; advanced video control functions: full automatic setup using gray scale; direct data transfer from SU or memory cards; HD signal linear masking and 12-vector color painting; Ultra Gamma (Gama table: seven different settings); preset masking (six settings: DEFAULT, ITU-709, SMPTE-240M, SMPT-WIDE, NTSC, EBU); two channels Flesh-tone masking and multiple memories Flesh-tone detail

correction settings; knee saturation and aperture function; pre-gamma level controls for fine reproduction of dark areas; real time and offline diagnostic system with character display superimposed on PIX video output.

Hitachi’s most economical, highperformance, multi-function studio and field HDTV production camera is the Z-HD5000. It is fully RoHS compliant and designed as a full-feature, purpose-specific TV programme production camera.

It features three high sensitivity, high-resolution, low noise 2/3-inch, IT-CCDs, in a lightweight two-piece dockable camera body that offers maximum re-configuration ability.

A new compact digital optical fibre CCU focuses on the specific needs of the smaller production facility thus lowering overall system costs.

Telemedia – Stand Numbers D38 and D40

July 2013 | SCREENAFRICA | 51

The IDC Media and Motion Pictures unit provides development finance to grow and facilitate the creation

Previously IDC-funded productions include internationally acclaimed Hotel Rwanda and the Academy Award-winning

of a sustainable South African film industry.

film Tsotsi.

The unit focuses mainly on projects to enhance the value

If you have the true entrepreneurial spirit and a project that

chain and the development of locally-produced television shows, feature films, documentaries; television, the production of local music, and radio broadcasting, alternative distribution technologies and establishing cinemas in new markets.

can contribute to creating jobs and building South Africa’s industrial capacity, visit www.idc.co.za to find out how the IDC can help you create a winner.

Playing a developmental role in the

Chillibush7838IDC

Media and Motion Pictures industry

Telephone: 086 069 3888 Email: callcentre@idc.co.za To apply online for funding of R1 million or more go to www.idc.co.za

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Panasonic MS 2800 8 or 12 Channel SD/ HD-SDI, Composite, HDMI Panasonic’s AV-HS410 live switcher (AV-HS410N, AV-HS410E) is a serious rival to high-end switchers in terms of performance and ease of operation. It features a compact, integrated body and a user interface designed for live operation and plug-in compatibility for easy expansion.

There are nine standard inputs (eight SDI and one DVI) and six standard outputs (five SDI and one DVI optional), with an additional four inputs and four outputs maximum.

A built-in 178mm multi-mode colour LCD monitor displays versatile menus, an image monitor and waveform / vectorscope.

The AV-HS410 features high-quality primatte® chroma keying and versatile transitions, including DVE functions. An enhanced multiviewer display can accommodate up to 16 splits and enable nine screen variations. A clock, level metre and 4:3 marker display are included.

A video memory function allows playback of two channels of still or moving images, while the memory preview function provides previews of shot memory and event memory image effects.

The AV-HS410 supports plug-in API function for external control, external camera control, output of status data, and so on. Its control panel with additional direct button control and numeric keypad achieves an enhanced easy to operate system.

New to the market is the AG-HPX255E P2HD camera recorder which complements the P2HD series by incorporating the latest technologies throughout – in the lens, camera and recorder sections. The newly developed 22x zoom lens covers a wide shooting range, from telephoto to wide-angle and features three manual rings

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

This is the first handheld model to support the AVC-Intra codecs. This combination provides a level of performance that rivals many full-size shoulder-type camera recorders and adds the high quality acquisition of full HD (1920 x 1080) in 10-bit, 4:2:2 full sampling. Image expression is also boosted by the VFR (Variable Frame Rate) function and system expansion for broadcasting and other production applications is provided by multi-camera synchronising.

Boasting the strongest video performance of any single lens camera, the new Panasonic Lumix GH3 mirrorless DSLR camera (DMC-GH3GC-K is tough enough to withstand the extreme conditions of heavy field use. Its 16.05-megapixel live MOS sensor boasts wide dynamic range and high sensitivity image recording.

In developing the camera Panasonic focused on three areas – minimising noise in the sensor; preventing sensor noise from entering the output signal; and preventing noise from entering the signal processing circuit, power supply line and grounding line.

To reduce noise it is also important to design the power supply wiring and the signal wiring connected to the engine to be as close to the same length as possible.

These measures not only suppress noise but also help to improve processing speed.

These Panasonic products will be displayed at Mediatech Africa by Timbre Broadcast Systems – Stand Numbers B31, B32, B35, B37 and B44

•

Integrated Comms, Tally

•

SDI recorder

•

17’’ Multi preview screen

TP-300 / 400 / 500 Teleprompters for Apple iPad and Android tablets

MVLP On Camera Led lights MVLP-10 : 50 Watts MVLP-30 : 100 Watts Both units : •

run off various Sony batteries, incl. NPF, AA Penlight batteries and Panasonic CGR.

•

Run off 220V with optional PSU

•

With serial number and 1 year guarantee

HS-600: SD 8 channel •

8 channel SD Mobile Video studio

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6 composite video + 2 DVI inputs with Luma Key

•

Integrated Comms and Tally

•

17’’ Multi Preview display

MVLP-6 : 1x1 Studio Panels •

800 Watts – Ideal Redhead replacement

•

Sony V lock (Or Anton Bauer) battery adapter included

•

Light kits available

•

With serial number and 1 year guarantee

For information on these products contact: Macro Video, Pretoria. Tel. Eric 012 346 7601 email info@macrovideo.co.za

Stand A19

Digivision, Cape Town. Tel. AJ 021 422 1103 Natal Video, Durban. Tel. Ian 031 312 7217

www.macrovideo.co.za www.datavideo.co.za Official distributors of Datavideo products in Southern Africa

| PREVIEW

Avid

Avid will have a big presence at Mediatech Africa, with different products exhibited on two partner stands – SEGMA (Stand Number E6) and Jasco Broadcast Solutions (Stand Number G21).

On the SEGMA stand Avid will showcase the following products: Avid S3L; Pro Tools 11; VENUE Profile; VENUE SC48; ICON C24, PT HD I/O; Fast Track and MBox. Avid S3L provides the performance, sound quality and features that countless live sound professionals have come to rely on in a system architecture that’s built for the future. The modular Avid S3L System is comprised of a high-performance HDX-powered processing engine running AAX plug-ins, scalable remote I/O that can live on stage or in a rack, and a headturning, compact control surface that’s built for the road, but equally at home in the studio.

A fault-tolerant Gigabit Ethernet network connects all devices and uses the open Ethernet AVB and EUCON standards for maximum performance and flexibility.

Award-winning VENUE software drives the system, and with Virtual Soundcheck and direct Pro Tools integration, re-creating the sound of the studio has never been easier – or more accessible.

Feature highlights include: highperformance, HDX-powered floating-point mix engine; the ability to recreate the sound of the studio with integrated Pro Tools AAX plug-ins; reliable Ethernet AVB connectivity without the cable bulk; the ability to record directly to Pro Tools (or other DAW) through a laptop Ethernet port; and, the user can take their VENUE show files with them on a USB key for use on any Avid live system.

Also to be showcased on the SEGMA stand is Avid Pro Tools 11 which redefines professional music and audio production for today’s workflows. From all-new audio

and video engines and turbocharged 64-bit performance, to expanded metering and new HD video workflows, Pro Tools 11 enables the user to take on the most demanding sessions and maximise their creativity, without holding anything back.

Pro Tools 11 software (sold software-only and bundled with hardware) provides unrivalled sound quality and powerful 64-bit performance and speeds up mix delivery with faster-than real-time offline bounce. It can create big mixes, with up to 96 audio tracks and monitor record inputs on native systems with ultra-low latency. HD video can be played and edited right in the Pro Tools timeline, while mixes can be polished with over 75 AAX virtual instrument and effects plug-ins.

Rob Allen, Avid Live Sound Solutions development manager will be on the SEGMA stand to introduce the S3L. Sreejesh Nair, Avid Audio Solution specialist will also be on hand to talk about Pro Tools 11 and Pro Tools HD hardware.

Products to be showcased on the Jasco Broadcast Solutions stand are: Interplay Sphere; Interplay Pulse; MAM; Avid Motion Graphics; Avid Media Composer 7.

Media Composer is the top choice for professional film and video editing in the industry. Whether used to edit movies, TV shows, commercials, or other video, this industry-standard nonlinear editor provides 64-bit performance, easy-to-use video editing tools, and streamlined HD, file-based, and stereo 3D workflows. Its open platform enables the user to work with the gear they have or want and integrates into any workflow. It’s designed to eliminate bottlenecks, enabling the user to work faster than ever.

Features of Media Composer 7 include the extension of real-time production everywhere with global collaboration; acceleration of the user’s workflow with timesaving high-res-toHD workflow; and fully automated media management.

Varghese Devassy, Avid Video Solution specialist will be on the Jasco Broadcast Solutions stand to talk about MC7 and Interplay Sphere and how to create a fluid end-to-end, distributed media production environment.

Avid / SEGMA – Stand Number E6 Avid / Jasco Broadcast Solutions – Stand Number G21

Harambe Technologies

Among the many world leading brands that Harambe Technologies will showcase at Mediatech Africa is Ikegami, which offers a broad range of TV cameras for ENG, EFP, studio, HDTV, CCTV, and medical imaging.

“Our featured Ikegami product is the NAC Hi-Motion range, the only HD ultra slow motion camera system employing 3-chip image capture technology. Since its development in 2003, the NAC Hi-Motion has been embraced by sports broadcasters around the world, having featured in the Olympic Games, FIFA World Cup, and the Asian Games, as well as in sports such as golf, football, tennis, cricket, boxing, rugby, volleyball, basketball, hockey, baseball, swimming and motor racing, among others,” explains Harambe Technologies’ Adriaan Shipalana.

MVP is the featured product at Mediatech Africa from Orad, a worldleading provider of real-time 3D broadcast graphic, video server solutions, and media asset management including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement.

Shipalana continues: “MVP provides fast preparation of captivating sports highlight clips to better visualise critical plays, the flow of the game, and post-game analysis. It can be deployed for any type of sport, even golf, baseball or ice hockey where field lines are minimal or non-existent.

“In addition MVP can be used for live productions or highlight shows, from either the OB (outside broadcast) van or the studio. It supports up to 32 different cameras without camera or lens modifications.”

IBIS is focused on the design and delivery of media asset management systems for news, sports and other fast turnaround workflows. Managing video and audio files, metadata and physical media is key to the iFind application set. Using dedicated applications and a web client, iFind brings together storage and production devices with third party scheduling, playout and CMS systems. iLogger provides instant validated

metadata and EDL export against incoming live media – essential to the production process, while iAcquire provides a range of features to ingest content to video server systems from VTR, live source, XDCam disc or by file import.

Shipalana notes that Planar products include display components, completed displays, and display solutions and systems based on a variety of flat panel and front and rear-projection technologies. At Mediatech Africa Harambe Technologies will showcase Planar’s 46” touch and 4-monitor video wall Encompassing the industry-leading brands of Audemat, APT & Ecreso, WorldCast Systems offers a wide range of reliable, innovative and high performing products for the studio site, transmitter site and the coverage area. Product lines include RDS encoders, audio processors, audio codecs, transmitters, monitoring and mobile measurement equipment, high precision test equipment and broadcast facility remote control.

“WordCast designs for a variety of technologies including AM, FM, HD and DAB/DAB+/T-DMB for radio and analogue, DVB-T/H/SH, ATSC, ISDB-T and CMMB for television,” comments Shipalana.

Evertz offers the most complete HD, 3G, and 3D end to end solutions including, master control systems, large, medium and small routers, branding, RF, master sync generation, terminal gear, fibre optics, multi-display monitoring, production tools and interfaces, and closed captioning.

Shipalana continues: “Evertz also provides solutions for post-production, production, and mobile production, IPTV, transport and distribution equipment, and broadcast, satellite, and cable applications.”

From backpacks to smartphones, LiveU offers a complete range of devices for live video coverage. LiveU’s solutions include multiple 4G LTE/3G, HSPA+, WiMAX and Wi-Fi cellular links, which are optimised for maximum video quality based on the available network conditions.

Harambe Technologies – Stand Number C36

| PREVIEW

CNBC Africa goes CLEAR

ABN360 signs with LaserNet ABN360 signs with LaserNet for CLEAR Archive and CNBC Africa international business channel and manage secure online backup their business and administrative data.

CNBC Africa is the business channel of choice for

MAJOR TECHNICAL UPGRADE: Jean Landsberg with the CLEAR Archive installation

makers and the continent’s entrepreneurs. CNBC

CNBC Africa, the first and only pan-African real-time financial and business news network, has contracted LaserNet and its partner Prime Focus Technologies (PFT) to install and commission the CLEAR Archive system.

“Prior to moving to the LaserNet / PFT solution, we had been using an on-site tape library system for archiving our content,” explains Jean Landsberg, CNBC Africa’s head of Technical & Broadcast Operations.

“My main challenge with this system was with disaster recovery, as CNBC Africa has not been storing its content off-site – all the LTO tapes are stored at our headquarters in Johannesburg. This means that if there is a fire or loss of data due to tape damage, then our archived content will be destroyed.”

Landsberg mentions that the CLEAR Archive installation is part of a major technical upgrade that CNBC Africa is undertaking. This involves a media asset management system with Vizrt and new production and play-out servers using Harmonic hardware. LaserNet will assist in integrating CLEAR Archive with these systems.

“When planning the upgrade I looked at various archive systems and while visiting India last year, I was invited by LaserNet founder Ivan Bridgens and PFT to see the CLEAR Archive in operation. The Board of Control for Cricket in India (BCCI) utilises CLEAR extensively and I was fascinated by how fast the system is and how any client can access the content they want from the archive within a few minutes.

“Once integration is fully completed, CNBC Africa will archive 10 hours of content a day off-site through the CLEAR portal at

channels across sub-Saharan Africa. art managed archive and can be expanded into a full a high level of integration with LaserNet’s new and existing systems. and disaster recovery solution combined with total security for the preservation of priceless content and archives. This state-of-the-art digital media asset management system brings a world-class service to all users. backup system for all the organisations valuable documents and data, allowing them to access the data anywhere in the world 24/7 knowing it is secure and redundantly backed up.

The systems was choosen for it ease of use, and compliance that meets all international standards.

With CLEARvault ABN360 can move and access documents, through the organizations existing electronic platform, with all the built in levels of authorization, guaranteeing them security of their data.

IN PARTNERSHIP WITH

Visit us at Mediatech Africa - Stand E35

the LaserNet offices in Sunninghill, Johannesburg. I’m familiar with LaserNet as we’ve been using their TVC (television commercial) delivery system for some time and it’s proved to be extremely efficient,” says Landsberg.

At the moment CNBC Africa’s CLEAR Archive solution is running on LaserNet’s radio network but Landsberg expects to have full connectivity via a 20 Mb MetroClear fibre in the next month.

Says LaserNet’s Ivan Bridgens: “CLEAR Archive is a fully secure, no risk and easy-to-access method of storing content during production and / or post-production through to final material. The system allows the customer to store multiple copies of content – one in a disaster recovery location, another in a fire and earthquake resistant vault.

“It is easy to access, retrieve and digitally deliver content in any format from CLEAR Archive and the system provides immediate notifications for customers via email, to confirm receipt of materials.”

Landsberg adds: “Once CLEAR Archive was installed, I decided to test the CLEARvault Business Backup solution for the whole ABN360 group. This is proving to be a worthy option to have. LaserNet and PFT have been effective thus far in instantly modifying and adapting the system to our needs, by remotely accessing it, thus minimising our downtime.

Bridgens points out that PFT has worked extensively with companies such as the British Movietone Library, Associated Press, British Film Institute, Imperial War Museum, BBC, IMG and Eros International.

LaserNet – Stand Number E35

SABA Seminar FC HAMMAN FILMS

INTERNATIONAL

What ever you can visualize, we can deliver!

Over 70 broadcasters have registered to attend the SABA (Southern African Broadcasting Association) Digital Broadcasting Infrastructure and Platforms Seminar, hosted by Mediatech Africa, which takes place from 17 to 19 July at the Coca-Cola Dome in Northgate, Johannesburg.

This is the first time that the SABA Seminar will take place at Mediatech Africa.

The international three-day event is an interactive forum specially designed to provide broadcasters – TV and radio as well as other industry stakeholders across the region and beyond – with crucial information and industry knowledge on how to successfully build and manage a viable digital broadcasting infrastructure.

Reputable industry executives such as Alexander Zink of Fraunhofer (Germany); Radu Peter Obreja, DRM Consortium (UK); Matthias Stoll, Ampegon AG; George Twumasi, Africa Brodcasting Network (UK); and Brian Seligmann, Huawei; among others will lead the event. Participants will be able to assess options for deploying their own digital broadcasting infrastructure on the various platforms available.

Key themes the workshop will cover: • DTT: transmissions, reception and modulation options and choices;

•

Technology for digital radio and associated services; • IPTV and triple-play services; • DTH satellite broadcasting; • Modeling for successful digital free-to-air TV services; • Digital broadcasting frequencies and spectrum plans; • Working within a multi-channel, multi-screen environment; and • Building a viable local content for digital television.

SABA’s Digital Broadcasting Infrastructure and Platform Seminar will be attended by executives from the media, broadcasting and telecommunications community in Africa and by the 14 member countries of the Southern African Broadcasting Association – Angola, Botswana, Congo, Lesotho, Malawi, Mauritius, Mozambique, Namibia, Seychelles, South Africa, Swaziland, Tanzania, Zambia and Zimbabwe.

Delegates will include CEOs and GMs of Channel Africa, SABC, STV Mozambique, Tanzania Broadcasting Corporation, Seychelles Broadcasting Corporation, and Radio Mozambique to name a few.

To register for the workshop call +44 208 180 9287 or email register@bspmediagroup.com.

Award winning DOP and well know director FC Hamman with Timothy Hamman four times radio controlled South African Aerobatics Champion.

With the latest cutting edge technology plus our own unique developments enables us to deliver footage on 5K or full HD at a frame rate of up to 200fps

Our Showreel will blow you away: http://www.youtube.com/watch?v=RByCC97cxQk

Our Clients Include: Leon Schuster Grey Hoffmeyer Disney Koos Roets Films Peter Lamberti from Aquavision Afrox Eskom Various Music Videos Emperor’s Palace Lost City World of Golf Mr Video & Spotlight Entertainment Stark Films Siyaghopa Productions Krisan Productions Andre Scholtz

ASK US TO QUOTE

SACIA / Govt AV Forum conference In order to celebrate Mandela Day on 18 July, SACIA (South African Communication Industries Association) and the Government AV Forum are hosting the half-day conference, 67 Minutes of Community Service, on 18 July at Mediatech Africa (Coca-Cola Dome, Johannesburg).

The conference will focus on how the broadcast and AV sector is helping create a better South Africa for all citizens.

This is in line with the Mandela Day campaign message: “Nelson Mandela gave 67 years of his life fighting for the rights of humanity. All we are asking is that everyone gives 67 minutes of their time, whether it’s supporting your chosen charity or serving your local community.”

Mandela Day is a call to action for individuals – for people everywhere – to

take responsibility for changing the world into a better place, one small step at a time, just as Mandela did.

SACIA and the Government AV Forum are looking for people to join the debate and specifically share how they’re using broadcast technology to enrich the lives of all South Africans.

For more information call 082 555 5556.

fchammanfilms.co.za Office:(+27)11 465 2210 Cell: (+27)83 653 5400

fch@iafrica.com

We will deliver a showreel to your door

Africa

|

Africa’s digital transition At the annual Broadcast Show Africa which ran from 27 to 30 May in Sandton Johannesburg the resounding message for broadcast in Africa was utilising the power of mobile devices to bring television and film content to millions of users who don’t have access to traditional devices.

With the proliferation of smartphones across Africa, more people than ever have the opportunity to access film and television content. And with the advent of the digital transition in Africa, more mobile users are demanding to be included in the digital revolution.

Therefore the market for VOD (Video On Demand) and second screens is expanding rapidly in many parts of Africa.

Chike Maduegbuna, founder of Afrinolly in Nigeria said: “Now is the time for broadcasters to capitalise on the increase in the use of tablets, other second screens and social media of which the largest are iROKO and Buni TV. Other contenders are Africafilm.tv, Wabona, MyTV and Tuluntulu and music platforms Spinlet, Waabeh.com and Mdundo.

All across Africa tablet use is on the increase with current estimates of well over a million users in South Africa, between 200 000 and 400 000 users in Kenya, approximately 200 000 in Ghana and between 50 000 and 100 000 in Senegal.

The beginning “This is the starting point, not the end,” said Maduegbuna. “A key part of the audience will make use of mobile devices to access content.”

Afronolly.com gives viewers full-length movies, trailers, comedy online and concert videos from across Africa. Users can also watch Bollywood movie trailers while giving them the opportunity to follow upcoming movies, favourite celebrities and entertainment events from across Africa on Android, Blackberry and Nokia Smartphones.

Afrinolly came into being in May 2011 at G-Nigeria in Lagos as African entertainment needed a boost to develop a product that would be relevant for a developing industry.

According to Maduegbana Afrinolly was created to be an app with global appeal as a lot of people are interested in the African entertainment industry and Nollywood.

The ‘share’ option allows users to share their opinion on movies, share trailers and news with friends via email, Facebook, Google+, Twitter and other sharing apps.

Second screen The second screen usage (Social TV) is an innovation that has attracted worldwide attention and was one of the big trends at the 2013 NAB (National Association of Broadcasters) show in Las Vegas earlier this year.

It was reported that ‘content creators, distributors and networks understand that TV viewers are quickly moving into a world where they multitask while watching a show.

Social TV isn’t just about building in ways to tweet or chat in real-time with content, it’s about offering more ways to offer feedback

58 | SCREENAFRICA | July 2013

MAKING AFRICA A VERY ‘APPY’ PLACE: Chike Maduegbuna for that content and to offer that feedback on secondary devices’.

Second screen is the use of an additional monitor (eg. tablet, smartphone) while watching television. It allows the audience to interact with what they’re consuming, whether it’s a TV show, video game or movie.

“There is a paradigm shift with content at audience’s fingertips with the integration of second screen. You need to think beyond television and let your audience engage live via second screen,” said Maduegbuna.

Internationally the second screen concept has been used with the original Money Drop game show with millions of viewers playing the online game. The same rings true for American variety show Your Face Sounds Familiar during which viewers get to join in the action by using a clap app, scoring points and engaging in polls about contestants and their progress.

Locally, the scripted SABC1 drama series Tempy Pushas uses the second screen when characters display their thoughts as they tweet during the television show and these tweets appear in real time. Second screen can digitally be applied to any genre.

A new generation Generations, Africa’s biggest television show on SABC1 and SABC3, has just announced the availability of its online story between episodes and throughout the day.

Exclusive content is available in the form of characters’ thoughts and text messages between them. Additionally viewers can share their views on the story and its

characters by posting comments in a public conversation with other Generations fans and followers.

The platform the SABC uses for Generations is known as Wezwa and this level of integration between a social medium and a TV broadcaster’s content is a world-first. The online initiative is available for free – users only have to pay data costs – and it can be accessed from any internet-enabled cellphone or device.

Short film competition This year, Afrinolly is also launching the first Afrinolly Short Film Competition, which is primarily youth focused and based on innovative concepts from the next generation of African filmmakers. The website states that the competition is ‘designed to expand the conversations on issues about the African continent by Africans, motivate and reward young and emerging filmmakers who exhibit exceptional narrative skills using short movies and documentary as a medium’.

The competition was conceived as an online challenge that is open to Africans from across the world creating or who have created short films and / or documentary films of not more than 15 minutes.

Maduegbuna said: “Our core objective is to empower African youths to tell their own stories from their own perspective and eliminate financial barriers to the production of movies. We look forward to ultimately creating a new generation of content providers in the Africa movie industry and facilitating business model based on sub-15 minutes contents.

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Periphery Films Dirs: Simon Taylor / Julia Taal Feature Drama AFRICAN NIGHTS

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker

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Inkwasi Television Prod: Bell Curle TV Magazine At The Creek Without A Paddle

Zen Crew Exec Prod: Laura Tarling Documentary BAD MEDICINE

Tin Rage TV Production Dir: Enver Samuel Documentary C

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Bagged

Ex Pats

Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series FOR THE NEW CITY – DANCE ON FILM

SWiTCH / Resonance Bazar Prods: James Tayler / Julia Raynham Film FORSAKEN

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature Genius

Inhlakanipo Films Dir: Dumisani Vusi Nhlapo Short Film GOUE STERRE

Suite People TVP Prod: Bell Curle TV Series GRIZMEK

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature HISTORICAL KIMBERLEY

Spike Productions Prod: Steve Mueller Bsc. Documentary HOTEL SONGOLOLO

The Media Workshop Dir: Benito Carelsen Comedy Series IIQ

BLAST FROM THE PAST

IK1 – TOURISTS IN DANGER

Sirius Films Prod: Ian Manly Documentary

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

BODA BODA THIEVES

Indla lifa

Yes That’s Us Prod: James Tayler Feature

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series

BREAD AND WATER

Insila yenkosi

Periphery Films Dirs: Simon Taylor / Julia Taal Feature Documentary

P.I.M.P Dir / Prod: Daniel P Nxumalo Feature (Zulu)

BREAKDOWN

Inventing Africa

Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature

Imageworks Prod: Anthony Irving Documentary

CAPE OF GOOD HOPE

IYEZA THEATRE & TV LIGHTING (PTY) LTD

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Current Affairs Films Prod: Jane Thandi Lipman Feature Film CHILLI CHICKS

International Radio Pictures, Inc Kit Reynolds TV series COILED

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND

SuitePeople TVP Prod: Bell Curle Documentary

Sukuma Media Dir: Bonginhlanhla Ncube Feature

Iyeza Theatre & TV Lighting (Pty) Ltd Prod / Dir: Cal Morris Corporate JAM SANDWICH

Meerkat Media Prod / Dir: Pauli van Dyk / “MQ”, Alvine Darboux Music reality show JAN SMUTS: AN INTERNATIONAL ICON AHEAD OF HIS TIME

Tekweni TV production Prod / Dir: Sandra Herrington / Neville Herrington Documentary KADU’S JOURNEY

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature DYINGCRACY

DAISY

Bamboo Media (PTY) LTD Dir: Marguelette Louw

Sabstance Productions Prod: Edmund Mhlongo Documentary

do good design south africa

LEADERS of AFRICA

Concept Interaction Prod: Karl Fedderke Educational

ECONOMIC TRANSFORMATION

Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary ESCAPE

Current Affairs Films Prods: Jane Thandi Lipman / Beata Lipman Feature Film

60 | SCREENAFRICA | July 2013

Espafrika Prods / Dirs: Rashid Lombard / Yana Lombard / John Bright Documentary

Izithulu Productions Exec Prods: Donovan Mulligan / Mike Westcott Short Film

CHILDREN OF FAMOUS ACTIVISTS

Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709

espAFRIKA presents the Cape Town International Jazz Festival 2013

The expeditionary force Dirs: nicholas schofield / alexis schofield Documentary LION GIRL

DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature Lonely Planet

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MANCHE, THE AFRICAN SAINT

Get the Picture Prod / Dir: Jacky Lourens / Karin Slater Documentary

MHLONGO

Inhlakanipho Films Dir / Writer: Dumisani Vusi Nnhlapo Feature Money in the bag

P.I.M.P Dir / Prod: Daniel P Nxumalo Reality TV show MUTI DOT MOBI

Vuleka Productions.

Prod / Dir: Julie Frederikse / Madoda Ncayiyana Feature Film NEW BEGINNINGZ

Sukuma Media Dir: Bonginhanhla Ncube Documentary Nongoloza

Current Affairs Prod: Jane Thandi Lipman Feature Palace of the Faithless

White Heron Pictures Dir: Themba Sibeko Feature

PASSARES (BIRDISH)

White Heron Pictures / Casa De Criacao Cinema Prod: Themba Sibeko Feature PIETER CILLIERS PRODUCTIONS

Pieter Cilliers Productions Prod / Dir: Pieter Cilliers TV Magazine

RAF INDUCTION VIDEO

Panache Video Productions Prod: Liesel Eiselen Corporate

ROAD ACCIDENT FUND INDUCTION

Panache Video Productions Dir: Liesel Eiselen Corporate SEBOKENG

MPA (Motswako) Dirs: Charls Khuele / Zuko Nodada Feature SHORT BUSINESS FEATURE WITH BBC / ABC

Current Affairs Films Prod: Jane Thandi Lipman Short Business Features Sirens

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series SUPERMAMA

GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK!

International Radio Pictures Prod: D Gillard Musical The 7P’s to propel change

Panache video productions Prod / Dir: Liesel Eiselen Script: Dr Caren scheepers The Black Blonde

Steve Radebe Post Productions Prod: Steve Radebe Feature Film tHE blood kIng and the red dragon

Current Affairs Prods: Jane Thandi Lipman / Mtutuzeli Matshoba Feature the book shop

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series THE CONSEQUENCE

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature The Dreaded Evil Eye from Past to Present and Across Cultures

It’s a Wrap Productions Dir: Eugene Botha Documentary THE EDGE

International Radio Pictures Kit Reynolds TV Series THE FILM MAKER

Elle Bolt Productions Prod: Elle Bolt Reality Series

P R O D U C T I O N U P D A T E S The Flawed Genius of Jan Smuts

Tekweni TV Productions Prod / Dir: Sandra Herrington / Neville Herrington Documentary The Scores Are In

Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS

SuitePeople TVP Bell Curle Documentary

WAY TO ROLL

Blue Ice Productions Dir: Freddie Strauss Feature WARD 22 AKA SPECIAL OPS

DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary Welcome To The Club

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature WHIPLASH

Get the Picture Prod / Dir: Jacky Lourens / Meg Rickards Other Crew: Tracey Farren, Jenny Hicks Feature Film ZERO DIET

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature ZEBRAS

DO Productions Dir: Bruce Beresford Feature ZEN FILM CREW MANAGEMENT

ZEN Film Crew Management Prod / Dir: Laura Tarling Commercial

PRE-PRODUCTION Chabela Day Spa

Grey Cloud Production Dir: Jacques Brand Information Video Die Verhaal van Racheltjie de Beer

Brett Michael Innes Films Prod: Brett Michael Innes Historical feature film

Elegy: forsaken in South Africa

Market Street Productions Prod: Paul Van Zyl Short film

Hermanus Social Upliftment Video

Fc Hamman Films Dir: FC Hamman Marketing Video

Holidays for Madmen

SAFE IN THE CITY

Imani Media.

Comedy

SAINT & FREEDOM FIGHTER

It’s a Wrap Productions Dir: Eugene Botha Documentary Si-solutions

International Radio Pictures Exec Prod: Kit Reynolds Community Project SHAKESPEARE IN MZANSI: A MIDSUMMER NIGHT’S DREAM

Fireworx Media Prod: Bridget Pickering Mini Series

AFRO CAFÉ SEASON 7

Bonngoe Productions Exec Prod: Pepsi Pokane Music Show

AFRO SHOWBIZ NEWS

SABC News International Exec Prod: Jody-Layne Surtie TVMagazine Agape

Gabaza Productions Prod: Sarah Ngubeni Magazine Alex: A history from below

Uhuru Productions Dir: Rehad Desai Documentary

SLENDER WONDER INFORMATION VIDEO

ALL ACCESS

Grey Cloud Productions Dir: Jacques Brand Information Video

Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show

TALK OF THE TOWN

Awesome Africa

The Black Out

barbour and thorne: 60 years strong

SuitePeople TV Productions Bell Curle TV Series Dithakeng Projects and Flms Exec Prod: Thabang Nkunyane Short Film THE LOST ANGEL

Inhlakanipho Films Dir: Vusi Dumisani Nhlapo Feature Film TO CARE FOR YOU ALWAYS

Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM

South African Great Movies Production Dir: John Wani Feature THE MESSENGER

Steplite Films Dir: Jacqui Logie TV Series

Our Time Productions Dir: Juan de Meilon Corporate Video

BBC PLANET EARTH LIVE

Wild Images Dirs: James Smith / Tim Scoones / Roger Webb Documentary BIG BROTHER THE CHASE

Endemol South Africa Reality TV Binneland

Stark Films Prod / Dir: Friedrich / Elsje Stark Daily Soap / Tv Series

Spirit Word Ministries/Footprint Media Academy Exec Prod: Annalise Van Rensburg Series

Bonisanani

UASA GOLF DAY

Firefly Animation Studio Exec Prod: Antony Steel Short Films

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video VROU SOEK BOER

West Five Films Dir/ Prods: Maynard Kraak / Johan Kruger Feature Film WAY TO FREEDOM

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Film WORKERSLIFE FUNERAL PLAN

FC Hamman Films Dir: FC Hamman Marketing Video

IN PRODUCTION

Kagiso TV Talk Show

NHU Africa Exec Prods: Vyv Simson / Donfrey Meyer Wildlife Documentary Carte Blanche (inserts)

Modern Times Prods: Sofia Phirippides / Jon Pienaar Documentary Child Geniuses

Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series Codesign – commercial spot for furniture designers

SWITCH Dir: James Tayler Commercial Cool Cats

Urban Brew Talk Show

Red Pepper Exec Prod: Cecil Berry Children’s Show

IPCC CHURCH CHOIR

3RD DEGREE

CORTEX MINING

JUB JUB DOCUMENTARY (working title)

Baxopath Media Dir: Nolitha Tshinavha Documentary

LET HEAVEN WAIT

Revolution real entertainment Prod / Dir: Deon Potgieter Sitcom Mandela

Synergy Films Drama / Documentary MISTIFY

Gleam studios / Wilddogs productions Prod / Dir: Sonja Ter Horst / Johnny Swanepoel Short film NATIONAL LIBRARY OF SOUTH AFRICA

Panache Video Productions Prod / Dir: Liesel Eiselen Corporate video NUPRO VOERE

FC Hamman Films Dir: FC Hamman Marketing Video PSALTED

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety RATE MY PLATE

International Radio Pictures Exec Prod: Kit Reynolds Community Project

50/50

Clive Morris Productions Current Affairs A 400 year old bestseller – The King James Version of the Bible

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary AFROX LPG RESTAURANT TRAINING

FC Hamman Films Dir: FC Hamman Training Video

ALL YOU NEED IS LOVE 5

Endemol South Africa Reality

ANGLO GOLD ASHANTI SAFETY SERIES

SummerTime Productions Prod / Dir: Sean Gardiner Corporate Video

ABC AMERICA NEWS SPECIAL ON MANDELA

Current Affairs Films Prod: Jane Thandi Lipman Feature News Special

AFRICA FACTS SEASON 3

Lebapi Productions Dir: Daniel Moleabatsi TV Magazine AFRICA 360

eNews News Head: Patrick Conroy Current affairs

www.atlasstudios.co.za

BORDER MARAUDERS

3 Talk

e.tv Investigative TV series

t +27 [11] 482 7111

BOPSY BUNNY

Imageworks Prod: Anthony Irving TV Series FC Hamman Films Dir: Pierre Smith Music Video

Cnr. Frost avenue & owl street | Milpark | Jo’burg

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Come Dine with Me South Africa

Rapid Blue Prod: Kee-Leen Irvine Reality Cutting Edge

SABC News Current Affairs

DADDY’S MESS

Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DIE VIERDE KABINET

Jan Scholtz Productions Prod: Jan Scholtz Series DINNER DIVAS

2 Blonds and a Redhead Filming Exec Prod: Anne Myers Cookery Series DIY Met Riaan

Prod: Riaan Venter-Garforth Magazine EM PETROCHEMICALS TOP END

Betta Beta Communications Prod / Dir:Tommy Doig Training Program EXPRESSO 2

Cordover Trading Prod: Paul van Deventer Lifestyle EASTERN MOSAIC

Red Carpet Productions Magazine Programme

FORMIDABELE VROUE: ANNEKIE THERON

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: CISSY GOOL

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: INA DE VILLIERS

HEAVEN – Africa

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Hectic 99

Okuhle Media Prod: Wilna van Schalkwyk Magazine Show HITACHI POWER AFRICA MEDUPI & KUSILE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET

HOUSE CALL

FORMIDABELE VROUE: UNA VAN DER SPUY

Imizwilili

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FOX NEWS CHANNEL

Betta Beta Communications Prod / Dir: Tommy Doig News Current Affairs Freeway Frog

Firefly Animation Prod: Ant Steel Animation Short FRENZY

Red Pepper Pictures Prod: Palesa Mopeli Variety GENERATIONS

Morula Pictures Exec Prod: Mfundi Vundla Soapie GNLD

FC Hamman Films Dir: FC Hamman Opening Video GOOD MORNING AFRICA

Planet Image Productions SA Prod / Dir: Wale Akinlabi TV Magazine Gospel GOLD

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show GROEN

Homebrew Films Prod: Jaco Loubser Wildlife HEADLINE 5

Bitch Films TV Magazine

Izwe Multimedia / Urban Brew Series Prod: Annalie Potgieter Live Medical Talk Show Ukhamba Communications Music Inkaba

Urban Brew Studios Prod: John Kani Telenovela INSIDE STORY

Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature ISEDALE

Golden Effects Pictures Dir: Kunle Afolayan Documentary Series ISIDINGO

Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama IT’S MY BIZ

Urban Brew Studios Reality business makeover series JAM SANDWICH

Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas Key Crew: Cam / Sound: Jaques Marais / Mzukisi Mtishiselo TV Series / Reality Music show JAM SANDWICH IV

Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas TV series Jim Iyke: Unscripted!

Ifactory Live, Greyology Inc. & Oh Africa Exec Prod: Michael Djaba Reality TV series (AfricaMagic) JOU SHOW MET EMO en Wickus

Homebrew Films Prod: Jaco Loubser Variety Show

July 2013 | SCREENAFRICA | 61

P R O D U C T I O N U P D A T E S Judge For You Self

eNews Current Affairs

Laugh out Loud

Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya

Urban Brew Prod: Enel Viljoen Reality KONA

The Directors Team (Pty) Ltd Prod / Dir: Laurence Lurie / Cathy Sykes TV Series – M-Net East Africa KWELA

Pieter Cilliers Productions Prod / Dir: Pieter Cilliers TV Magazine LATE NITE NEWS ON E.TV

Diprente Productions Prod: Tamsin Andersson Satire Live

Phoenix Rising...The Business of Style

Phoenix Entertainment and Production Prod / Dir: Koketso Sefanyetso Reality Docutainment POWER COMBAT ZONE

Mixed Motion Entertainment Dir: Dieter Gottert Sport Programme Project MV

Zen Crew Prod: Laura Tarling Music Video Religion and the ANC

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary RETROBOUCHON

Tunnelvizion Productions Prod / Dir: Ruan Lotter/Hein Ungerer Short Film RISKCON SECURITY

Urban Brew Music Show

FC Hamman Films Prod: Neels Smit Corporate Video

Live Lotto Show

ROLLING WITH KELLY KHUMALO

Urban Brew Game Show

Maggs on Media

eNews Prod: Jeremy Maggs Current Affairs

MASSMART CSI REPORT

Red Pepper Prod: Cecil Barry Reality Series

RHYTHM CITY

Curious Pictures Prod: Yula Quinn Soapie

SummerTime Productions Prod / Dir: Roxanne Rolando / Sean Gardiner Corporate Video

RHYTHM CITY INTERACTIVE

MATRICS UPLOADED

Rivoningo

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational MGONGO BY SONY

Sony Prod / Dir: James Lennox Lifestyle & Entertainment Million Dollar Race

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MK Campus

Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show MOFEREFERE LENYALONG

Moja Movie Factory Sitcom Montana 2

Penguin Films Exec Prod: Roberta Durrant Drama Series MOTSWAKO

Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MUVHANGO

Word of Mouth Prod: Pieter Grobbelaar Feature MZANSI INSIDER

Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine Music Moves Me

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show News Night

eNews Prod: Nikiwe Bikitsha Current Affairs NIGCOMSAT – TELEVISION COMMERCIAL SERIES

SWiTCH Prod: Sarah Wanjiku Muhoho Commercial Nomzamo

Tom Pictures / Authentic Images Comedy ONS MENSE

Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS

Plexus Films Prod: Miki Redelinghuys Corporate Video PASELLA

Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme PGC

FC Hamman Films Director: FC Hamman Marketing Video

62 | SCREENAFRICA | July 2013

Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media

Asi-B Films Exec Prod: Asivhanzi ‘Asi’ Mathaba Kids ROCKING FUTURE

Summertime Productions Prods: Sean Gardiner / Tanya Vandenberg Educational Video ROER

Homebrew Films Prod: Jaco Loubser Cooking Show Roots

Ukhamba Communications Music Show SAKEGESPREK MET THEO VORSTER SEASON 4

Dirk Mostert Camera Production Prod / Dir / Ed: Dirk Mostert / Rudi Ahlstrom TV Magazine SANPARKS YOUTH & PARKS

Francois Odendaal Productions Prod / Dir: Francois Odendaal Natural History TV Series SA’S GOT TALENT

Rapid Blue Prod / Dir: Kee-Leen Irvine Reality SCANDAL

Ochre Moving Pictures Series Prod: Romano Gorlei Soapie SCHOEMAN BOERDERY – MOOSRIVIER

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary SELIMATUNZI

SISTERHOOD

TOP BILLING

AFROX SHEQ INDUCTION

Siyakholwa – We Believe

Top 10 at 10

ALL’S FAIR

Red Pepper Pictures Prod: Vuyo Sokupa Variety X CON Films Dir: Munier Parker Edutainment

SKETCH U LATER

Chris Morris Productions Dir: Genna Lewis Comedy series Soccer 411

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine Soccer zone

SABCSports Head: Sizwe Nzimande Magazine Sony Presents Mgongo

Sony Variety

Spirit Sundae

New Wave Productions Prod: Mishkah Roman-Cassiem Spiritual STUDIO 53

M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme STUDY MATE

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational TASOL “Old Geezer”

Bragge Film & TV Dir: Guy Bragge Commercial

The B-Ball Show

SABC Commissioning Ed: Dinah Mahlabegoane Variety The Chat Room

Eclipse Prod: Thokozani Nkosi Talk Show THE CHEETAH DIARIES SERIES 4

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary The Communist Republic of South Africa

THE DR MOL SHOW

Prod: Michael Mol Magazine

THE GREAT PENGUIN RESCUE

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary The Justice Factor

Penguin Films Dirs: Roberta Durrant / James Ngcobo Sitcom SKWIZAS 2

Lillian Dube Productions Prod: Lillian Dube Sitcom

TWK AGRI

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video UASA CONGRESS

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video VKB LANDBOU BEPERK

SummerTime Productions Dir: Tanya Vandenberg Documentary Urban Brew Entertainment

Periphery Films Prod: Simon Taylor Feature Documentary Paul Myburgh Film Prod: Paul Myburgh Documentary

Greenwall Productions Exec Prod: Nicky Greenwall Magazine THE WILD

Magic Factory Exec Prod: Bobby Heaney Daily TV Soap TRANSFORMATION STORIES

Media Village Productions Dir: Diane Vermooten Documentary

THE TRANSPORTERS

Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary THERE ARE NO HEROES

AFDA Cape Town Dir: Kyle Stevenson Science Fiction

FC Hamman Films Prod Man: Odette van Jaarsveld Commercial PianoJ Productions Prod: Pia van Rensburg Short Film AMBASSADOR II

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Animal Doctor (Working Title)

Animal Doctor cc.

Prods: Greg Simpson / Jonty Acton TV Series AURECON STAFF INSERTS

Panache Video Productions Dir: Liesel Eiselen Marketing BABALAS

FC Hamman Films Exec Prod: Peter Scott Feature Film Bally Cullen Guesthouse Ad

Panache Video Productions Prod: Liesel Eiselen Corporate

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Anton Dekker Corporate Video

Bitter Root

VILLA ROSA

BLITZ PATROLLIE

Spectro Productions Dirs: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama WEEKEND LIVE

SABC News Current Affairs

When The World Was Here

Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series

Why are We so Angry?

Fuel Media Productions Dirs: Scott Smith / Shaft Moropane Documentary Series Why Poverty?

STEPS International Exec Prod: Don Edkins Documentary Series SABC3 Lefa Afrika Magazine

FC Hamman Films Prod: Odette van Jaarsveld Marketing Video

Workers World Series

Cape Town Television Prod: Sharon McKinnon TV Series WORLDSOUTH

Leago Afrikan Arts Foundation Dir: Sakhile Gumbi Documentary

Yilengelo Lakho

The Tech Report

S.I.E.S (SOCIAL IMPACT AND EMPOWERMENT STRATEGY)

Fuel Media Productions Dir: Marvin Raftopoulos Dance Reality show

The Lighthouse Run – 42 Marathons, 42 Days

SHIZ NIZ

Homebrew films Documentary series

Turn It Out 2

Xihlovo

THE STORY OF LITTLE FOOT

SHORELINE 2

Betta Beta Communications Prod / Dir: Tommy Doig Documentary

eNews Exec Prod: Debbie Meyer Current Affairs

SHARK STORIES

Urban Brew Talk show

TSHIPE BORWA MANGANESE MINE

WORKERSLIFE INSURANCE

Spoon Fed Generation Lerato Letebele Talk show

THE RUDIMENTALS

Shift

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary

The Cypher

Ses’khona

Red Pepper Pictures Prod: Allen Makhubele Variety

TRAPPER IN AFRICA

Wicket to Wicket

THE REAL GOBOZA 7

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary

Don’t Look Down Radio / TV Simulcast

Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary

Sikhoyana Productions Prod: Baby Joe Correira Variety Series Tswelopele Productions Prod: Phuthi Ngwenya Magazine

Tswelopele Productions Prod: Patience Stevens TV Magazine

Grace Bible Church Religion

Imageworks Dir: Kerry Negara Documentary Diprente Films Prod: Kagiso Lediga Feature BUA NNETE

Owami Entertainment Dir: Charles Khuele Short Film Calafornia: Valley Christian School Transformation

Media Village Prod: Diane Vermooten Documentary DEAR SISTER

Media Village Prod: Debbie Matthee Short Film DRAGON’S FEAST 3D

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary ERFSONDES

Imani Media Dir: Peter Heaney TV Drama Freedom Park Installations

Kevin Harris productions / Fix Post production Prod / Dir: Nadiva Schraibman Documentary FROM GUN TO TAPE

Content House/Shadow Films Prod / Dir: Jackie Lebo / David Forbes Documentary GETROUD MET RUGBY SEASON 4

Bottom Line Productions Dir: Jozua Malherbe Series

HALF OF A YELLOW SUN

Prod: Nndanganeni Mudau Current Affairs

British Film Institute Dir: Biyi Bandele Feature Film

Zone 14

HOME OF THE LEGENDS

The Bomb Shelter Prod: Angus Gibson Drama

POST-PRODUCTION 4LIFE NETWORK

Bragge Film& TV Dir: Guy Bragge

Infomercials A BUSHMAN ODYSSEY

Onetime Films Prod: Richard Wicksteed Documentary AFRICA CALLING

L. Dukashe Productions Prod / Dir: Lumko Dukashe / Lulu Dukashe Documentary Hong Kong

Media Village Prod: Diane Vermooten Documentary INTEL HISTORY

Bragge Film & TV Dir: Guy Bragge Corporate IQILI

Impucuzeko Prod: Sharon Kakora Feature Israel Inside (Working Title)

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary

AFROX CO2 PLANT

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

JACK UP YOUR SHACK

AFROX FINANCIAL RESULTS

JAM SANDWICH

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video AFROX RAU INSIGHT

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

Let It Rain Films Prod / Dir: Lee Doig TV Series

Meerkat Media Dir: MQ Ngubane Music Reality TV series JULIUS HAS A DREAM

Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary

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

lmol Production Dir: Lizzy Moloto Feature Film Launch of the Academy of Young SA Scientists

Panache Video Productions Prod: Liesel Eiselen Documentary LIFE UNDER THE FLAG

Lifeundertheflag.Com Prod: Prince Angelo Doyle Documentary LION’S TRACK

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature LOVE ABOVE ALL

Firstfruits media Dir: Nthabiseng Gamede Feature Film MARRY – ANN

Shadow Films Dir: David Forbes Documentary Melodi Jazz Festival 2011

L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD MICROSOFT 365

Bragge film & TV Dir: Guy Bragge Corporate Video

National Heritage Council Educational Outreach Programme

Panache Video Productions Dir: Liesel Eiselen Corporate Video PEACE PARKS

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PERFECT SHISHEBO

Curious Pictures Prod: Nthabiseng Mokoena Cooking Show PLAY MORE GOLF

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercials

Tanzanian Investment Opportunities

Benchmark Productions Dir: Dermod Judge Corporate Video

Technology Innovation Agency CEO Address

Panache Video Productions Prod: Liesel Eiselen Corporate Video Technorati

Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show THE AFRIKANER BROEDERBOND

It’s a Wrap Productions Dir: Eugene Botha Documentary

THE CHEETAH DIARIES SERIES 3

NHU Africa Exec Prods: Vyv Simson/ Sophie Vartan Wildlife Documentary Series THOSE WHO CAN’T

Quizzical Pictures SABC Comedy Series

TO THE POWER OF ANNE

FX Productions Prod / Dir: Robert Haynes TV Series

TOUCHING LIVES SEASON 3 GHANA

Launch Factory Dir: Spero Patricios TV Series

TREASURE GUARDS

Tandem Communications Exec Prods: Jonas Bauer / Rola Bauer Feature Triple O

Monarchy Prod: Mosibudi Pheeha Feature TRUE DREAM ( Revised Version)

South African Great Movies Production Dir: John Wani Feature Vallejo Transformation

Media Village Prod: Diane Vermooten Corporate Vehicle 19

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series

Forefront Media Group / Picture Tree / The Safran Company Exec Prod: Paul Walker Feature

PURPLE TOWN

VERITAS

PREDATORS’ PLAYGROUND

Sukuma Media Dir: Bonginhlanhla Ncube Documentary RESTYLE MY STYLE

Curious Pictures Prod: Anita van Hemert Children’s Programming River of Stones

Prod: Wiseman Mabusela Documentary SA JUNIOR MASTERS

Our Time Productions Dir: Jaun de Meillon Sport Programme SCAREDYKAT

Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL E-WASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION

Philip Schedler Productions Prod: Philip Schedler Corporate

Media Village Prod: Debbie Matthee Documentary VKB LANDBOU BEPERK

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Anton Dekker Camera: Dirk Steyn/ Simeon Hamman Corporate Video WALKING IN VICTOR’S SHOES

Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary WELLBODI BIZNES

Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary ZION

Letcosmart Prod: Zibusiso Nkomo Feature

COMPLETE

Shark Stories

Talking Pictures Prod / Dir: Garth Lucas/ Ann Strimling Documentary SLENDER WONDER

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video SLENDER WONDER MJ LABS

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video

South african Field Band Foundation Championships

Panache Video Productions Prod: Liesel Eiselen Documentary STETSON HATS

AFROX AFRICA INSIGHT EPS 4

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX YEAREND RESULT

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Club Culture

Bonngoe Productions Prod: Tumi Rabanye Variety Cooking With Siba

Prod: Siba Mtongana Variety

DINEO’S DIARY: A MOGUL IN THE MAKING

Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Video

New Vision Pictures and S2 Multimedia Exec prod: Dineo Ranaka Reality

Stolen Time

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series

Prod: Eric Myeni Feature

DRAGON’S FEAST 3D

DURBAN/REEF FUEL PIPELINE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary

FORMIDABELE VROUE: PETRONELLA

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: LEONORA VD HEEVER

JULY 11 – 15

UGANDA FILM FESTIVAL INTERNATIONAL (UFFI)

Kampala, Uganda www.ugandafilmfestivalinternational.org

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET

17 – 19

GNLD AFRICA CONVENTION

Durban, South Africa www.cca.ukzn.ac.za

19 – 23

TALENT CAMPUS DURBAN

FC Hamman Films Prod: FC Hamman Corporate Video

MEDIATECH AFRICA

Coca-Cola Dome Northgate, Johannesburg www.mediatech.co.za 18 – 28

DURBAN INTERNATIONAL FILM FESTIVAL

Durban, South Africa www.cca.ukzn.ac.za

Bottomline Entertainment / Fix Post Production Michael Modena TV Drama

19 – 22

THE DURBAN FILMMART (DFM)

IMATU UNION VIDEO

HARTLAND

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Bob Brown Camera: Dirk Steyn Editor: Neels Smit Corporate Video IMPACT CHRISTIAN MEDIA

Impact Christian Media Prod / Dir: Carl Schultz TV Series

JAM ALLEY CREW VS CREW SEASON 2

Red Pepper Pictures Prod: Melody Xaba Music Reality Competition

JERUSALEM, JERUSALEM

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET

Durban, South Africa www.durbanfilmmart.com

23 – 26

DURBAN WILD TALK AFRICA

Durban, South Africa www.wildtalkafrica.com

AUGUST 27 – 29

SA INNOVATION SUMMIT

IDC, Johannesburg http://innovationsummit.co.za/2013 17 – 19

FILMAID FILM FESTIVAL 2013

Kakuma and Dadaab Refugee Camps and Nairobi www.filmaid.org 23 – 31 ZIMBABWE INTERNATIONAL IMAGES FILM

FESTIVAL FOR WOMEN

Harare, Zimbabwe 28 – 7 Sep VENICE INTERNATIONAL FILM FESTIVAL

Venice, Italy www.labiennale.org/en/cinema/

MASTERS OF DREAMS

Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman TV Series MENTALIST MARTIAL ARTS

SEPTEMBER

Panache Video Productions Dir: Ryan Blumenthal Training

21 – 24

MZANSI LOVE

5 – 15

Fireworx Media Dirs: Myrto Makrides / Mmabatho Montsho / Neo Ntlantleng / Zamo Mkhwanazi Anthology series OSCAR PISTORIUS

ABC America Documentary

POPCRU 7TH CONGRESS

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Event SHORELINE REVISITED

HOGSBACK ARTS FESTIVAL

Hogsback www.sa-venues.com/events TORONTO INTERNATIONAL FILM FESTIVAL

Toronto http://tiff.net 12 – 17

IBC (INTERNATIONAL BROADCASTING CONVENTION)

Amsterdam www.ibc.org 18 – 28

NOLLYWOOD & AFRICAN FILM CRITICS’ AWARDS

Warner Theatre, Washington DC www.nollywoodcritics.com

13 – 29

TRI CONTINENTAL FILM FESTIVAL

Johannesburg, Pretoria & Cape Town, South Africa www.3continentsfestival.co.za

Homebrew films Documentary series

SING YOUR SONG

Dir: Susanne Rostock Documentary SLENDER WONDER GLAM GURU

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercial

Advertisers List

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AJA Video Systems.......................47

IBC...................................................37

Atlas Studios..................................61

IDC..................................................52

Atos.......................................32 – 33

Inala Broadcast..............................13

Avid – Segma.................................54

LaserNet...........................FC

Avid – Jasco....................................55

LaserNet.................................. 39, 56

Avmark Systems............................46

Lexar................................................59

Blackmagic Design..........................7

Macro Video...................................53

Blade bfx...........................................3

Mediatech Africa............IFC

Case Connection, The.................50

MICT SETA....................................31

Concilium Technologies...............45

Mindset............................................12

Côte Ouest Audiovisuel..............18

Nates Audio Visual Solutions.......9

Data Post........................................49

Obeco..............................................59

Durban FilmMart................26 – 27

Panasonic........................................11

Durban International Film Festival

Pro-Sales.........................................35

– DIFF....................................21 – 25

Protea Electronics –

SummerTime Productions Prod / Dir: Tanya Vandenberg Corporate

Durban Wild Talk Africa..............29

Grass Valley.................. OBC

Electrosonic............................. 50, 60

Rocket Science..............................51

FC Hamman...................................57

SAE Institute..................................41

Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur.

E-mail production updates to: online@screenafrica.com

Gallo Music

Sony.................................................43

Publishers..................... OBC

SOS..................................................12

Harambe

Vision Cases...................................60

Technologies................ FDPS

Zimele.............................................48

SPACE, ALIENS, UFO’S AND RELIGIOUS TRADITIONS

Eugene Botha Productions / It’s Wrap Productions Exec prods: Eugene Botha / Anna Teichert Documentary STAND UP AFRICA

On Air Media Dir / Story Ed: Mike Bardsley / Lex Dominguez Documentary THE 7 P’S OF LEADERSHIP COACHING

Panache Video Productions Prod / Dir: Liesel Eiselen Educational (MBA students)

THE BLACK JEWS AND THE LOST ARK OF THE COVENANT

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary VIENNA BOYS’ CHOIR MUSIC STUDY TOUR

Howard Music...............................60 July 2013 | SCREENAFRICA | 63

Social

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Spud 2: The Madness Continues Première

Donovan Marsh, Brad Logan, John van de Ruit and Ross Garland

John Cleese

Josh Goddard and Byron Langley

Troye Sivan (Spud)

Brad Logan, Travis Hornsby, Tom Burne, Blessing Xaba and Sven Ruygrok

Die Laaste Tango Première

Actress Antoinette Louw

Actress Lize-Marie Swart

Director Deon Meyer and composer Geo Hoehn

Lead actors Louw Venter and Antoinette Louw

Louw and Janine Venter

Big Brother The Chase African Media Press Conference

Biola Alabi (M-Net Africa Managing Director) and Terry Mapurisana

Brenda Okofu and Faith Kavamba

Daniel ‘Churchill’ Ndambuki, Stella Mwangi, Biola Alabi and Andrew Masista

Lake Etsegent and Henry Ssali

Melissa Mpofu

Mohau Ndawo, Sam Phiri and Jay J Ndawo

Spitfire Films Party

DraftFCB’s Liam Galt and Grant Sithole

Liesl Karpinski of Spitfire Films and Brent Singer

Ursula Van Zyl (Ireland-Davenport) and Cape Town artist, Sharon Boonzaier

Liesl Karpinski of Spitfire Films and Rob Wilson

Lundi Cavernelis (Mediamark) and Joanna Tzovaras (Applied Media Logic)

Idea Engineers’ Marlé Prinsloo and Renee Conradie

Nicholas Hester

Gigh Zach and Ed Van Blerk from Aces Up Animation

Mediamark Function

Afrikaans girl band BlackByrd 64 | SCREENAFRICA | July 2013

Frank Levy and Kevin Fine (Jacaranda FM)

Tony Koenderman (AdReview), Fran and Roy Coole