Screen Africa July 2017

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

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VOL 29 – July 2017 R38.00

Software Defined Video The Future of Broadcast Networking

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| IN THIS ISSUE

14 Cannes Lions

18

34 DIFF & DFM 2017

Nul is Nie Niks Nie – From novel to big screen

51

25 iNumber Number adapted for the small screen

Mediatech Africa – an event that brings creative thought to life

SPECIAL FEATURES

Showmax Originals to make its debut with new show featuring Julia Anastasopoulos....................................... 4 Triggerfish Animation wins three prizes on three continents in one weekend......... 4 Cell C announces online reality show Hangman................................... 5 DISCOP is expanding with new editions in Zanzibar and Nigeria........ 6

DIFF & DFM 2017

Strong focus on development, women, and ‘tales of transit’ for Durban International Film Festival 2017.................34 Gauteng Film Commission at Durban International Film Festival 2017.................36 Film markets a vital cog in the development of independent films ..........39 From VR with love........................................44 The KwaZulu-Natal Film Commission at DIFF 2017..................................................50

MEDIATECH AFRICA 2017

Mediatech Africa – an event that brings creative thought to life....................51 Harmonic brings market-leading playout capabilities to the cloud....................................................52 Datavideo Mobile Video Studios at Mediatech 2017.............................................53 The GTP-805A comes to Mediatech.......53 Grass Valley helps broadcasters transition to IP...............................................54 Autoscript’s award-winning Intelligent Prompting revolutionises workflow.........55 Award-winning Ross Graphite all-in-one production vehicle on show....56 The future of archiving................................57 Blackmagic Design’s URSA Mini Pro 4.6K digital film camera on show at Mediatech 2017.............................................58

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The Movietex Sewing Room now in-house.................................................58 Canon introduces 4K compact Cinema EOS camera, the EOS C200.......60 Imagine Communications opens its microservices technology platform to the Media and Entertainment industry........................62 SAM’s live production update....................64 AJA Ki Pro Ultra Plus..................................64 Jasco introduces the Leyard LED MultiTouch Video Wall.................................66 LDX 82 Series HDR-capable advanced imaging camera platform...........66 The EXE-VSR at Mediatech 2017.............68 LED lamp market projected to grow more than 12-fold: film industry set to benefit.........................70 Talent in the spotlight at the 2017 Lighting Design Contest...................72 Broadcast technology – media distribution using Internet Protocol (IP) Networks..............74 SuperSport Studios’ LED upgrade............76 Panel shootout..............................................78 ‘No compression, No compromise’.........80 The Kino Flo Celeb 450 LED DMX at Mediatech Africa 2017.................................80

News

AFDA’s new beginnings as JSE-listed institute under Curro subsidiary, Stadio Holdings................................................ 3

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Preparing the creative industry for the future of work................................... 8 The highs and lows of the ghetto.............10 Director Speak: Dan Mace..........................11 “Big Ideas”......................................................12 From the producer’s mouth: Natalia Segerman..........................................13

CANNES LIONS

The culmination of creativity.....................14 Best ever Cannes Lions for Egg Films......16

FILM

LiveTree: From little acorns…...................17 Nul is Nie Niks Nie – From novel to big screen........................18 New tool for cooperation and collaboration in the African film industry: mahala.tv................................20 The rebirth of black history in WWI –Troupes of War: Diturupa............22

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TELEVISION

VIMN Africa connects with local audiences.....................................24 iNumber Number adapted for the small screen......................................25

New Media

Uk’shona Kwelanga – SA’s first WhatsApp series..........................26 Narrow appeal – the secret to a larger audience?................27

FESTIVALS & MARKETS

A good topic isn’t enough – lessons from the Al Jazeera pitching forum................................................28 Digital Lab Africa 2017 set to spotlight VR........................................30

BUSINESS

Another 10 000 night milestone for Cape Town Productions and Protea Hotels.........................................31

REGULARS

Social

Cell C launches Hangman...........................82 Ludus JHB rings in winter...........................83 Marketplace....................................................84 Upcoming Events..........................................84

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From the editor

The Team

Holy smokes its July! And just like that we’re already into the second half of the year. This has been a real bumper issue for us and it’s come with its own hurdles, totaling 84 pages.

A large part of the July and August issues are made up of previews and reports on festivals, markets and expos that have just passed or are coming up in the next few months. Last issue we highlighted the Cannes Film Festival, the upcoming Zanzibar International Film Festival (ZIFF), Durban International Film Festival (DIFF) and Durban FilmMart (DFM), and we touched on the fast-approaching biennial Mediatech Africa show. In this issue we talk Cannes Lions, DIFF and DFM, and provide a more in depth look at this month’s much anticipated Mediatech Africa 2017.

In our Cannes Lions write up, Fort’s Mikhaila Hunter, gives us an interesting and quirky report back on her time at this year’s festival with Fort. From noteworthy African work making waves and trending topics, to celebrity sightings and enviable beach parties, Mikhaila gives us the scoop on pages 14 and 15.

With the annual Durban International Film Festival and concurrent FilmMart just two weeks away, this issue touches on plans and projects for the upcoming editions. Moreover, the section holds a significant piece on pages 40 to 42 highlighting award-winning productions to have previously come out of DFM. Additionally, 2016 festival director, Peter Machen, compiled an insightful interview on Virtual Reality in filmmaking with Ingrid Kopp of Electric South and the Tribeca Film Institute who will be presenting at DFM 2017.

This issue’s Mediatech Africa section is quite lengthy, 30 pages to be precise. The section offers a brief glimpse of what certain companies will be exhibiting at this year’s edition but more noteworthy are the numerous thought leadership pieces and case studies presented. Be sure to check out Ian Dormer’s article on IP technology on pages 74 and 75, as well as Cape Town colourist Donovan Bush’s candid review of the new DaVinci Resolve Micro and Mini Panels.

The Screen Africa team is looking forward to seeing you all at Mediatech Africa and Durban International Film Festival. Till then!

– Chanelle Ellaya

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

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

Editor Chanelle Ellaya is a writer and a journalist. She completed her BA Journalism degree at the University of Johannesburg in 2011. While writing is her passion, she has a keen interest in the media in various capacities. Chanelle is an avid social networker and a firm believer in the power of social and online networking. Between writing and tweeting, she finds time to feed her love for live music.

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

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

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

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

Ian Dormer was born in Zimbabwe and has been in the TV business since the 1980s, having served in various positions at the SABC, M-Net and SuperSport. Ian currently works and resides in New Zealand.

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

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AFDA’s new beginnings as JSE-listed institute under Curro subsidiary, Stadio Holdings “We have been approached by several listed companies and financial equity companies to sell AFDA over the last seven years.

Curro had indicated that they were interested in listing a Higher Education division… We met and decided to pursue a deal with them.” – Garth Holmes

C

urro Holdings has recently added the South African School of Motion Picture Medium and Live Performance (AFDA) to its list of tertiary offerings. The Curro Schools brand first envisioned having a tertiary division after its successful execution and expansion of its nursery to high school targets in its classified schools.

Since then the JSE-listed education company has established Embury Colleges for teacher training in Durban, Midrand and Pretoria. However it was late last year that Curro shared its plans of expanding its tertiary education subsidiary and listing it separately from Curro Holdings.

“We have been approached by several listed companies and financial equity companies to sell AFDA over the last seven years. Curro had indicated that they were interested in listing a Higher Education division. A commercial broker approached us with the potential of meeting with Curro Holdings in late December last year. We met and decided to pursue a deal with them, which finally concluded six months later on 1 June 2017,” says Garth Holmes, co-founder and chairman of AFDA. AFDA has been incorporated into the Curro Holdings’ wholly owned tertiary education subsidiary and also listed on the Johannesburg Stock Exchange (JSE) under Stadio Holdings. The school believes that this JSE-listing will give them more prominence, status and opportunities, which are currently limited.

“I believe that it gives the school a certain prominence and status which is different from its current prominence and status – it allows the public to participate in the success of the school and its expansion, and hopefully it allows us to develop the educational offer, the campus, faculty and facilities with each year,” Holmes shares.

“We will become part of a larger organisation and that financial clout will

allow us to expand the business in a meaningful way. We believe that it will give the brand greater prominence and assurance for all its stakeholders – similarly we will be able to increase the employment opportunities for our management, staff and faculty members,” he adds.

AFDA is a private institution focused on the creative arts with specialised degrees and certificates in filmmaking, performance and design to name a few. However the institution recently AFDA co-founders Garth Holmes and Bata Passchier decided to add two new degrees; the B. Comm current degree and certificate offers in business innovation and Stadio, the new listed entity will and the BcT in digital technology, both allow us to capitalise the growth and of which will form a triumvirate of the minimalise the risk that has become arts, business and technology. This increasingly more onerous for us as a will help broaden the school’s fields private provider,” shares Holmes. of interest whilst also equipping the AFDA was founded in 1994 by young creatives with good business Holmes and Bata Passchier and has acumen and knowledge of modern grown from having just six students technologies needed to sustain them to now having five campuses in in the creative economy. Furthermore, Johannesburg, Cape Town, Durban, and these new degrees coincide with AFDA’s Port Elizabeth as well as in Botswana. new vision to optimise the vocational The school now boasts 2 000 full-time opportunities of content creation in students and many more part-timers. businesses and technological innovations.

Holmes says that the school is aimed “The greatest challenge today lies at producing graduates who are creative, in the exponential changes that we networked, collaborative, skilled and are experiencing as a society moving passionate. This, they do by providing from an analogue to digital society customised and industry-related learning and the attendant shifts in the way principles which are usually inspiring and we access, produce, package, archive thought-provoking for the students. and distribute knowledge (audio – “We have the top people in the visual and text),” adds Holmes. country (faculty) who together with AFDA also hopes that this merger will the enthusiasm, talent and passion help them further add more degrees of the students allow us to constantly and certificate courses to their offerings. be a benchmark institution. We have “They (Curro) are acquisitive and have an excellent track record for expansion a custom-made, market-related, – AFDA would like to expand their project-led, collaborative and socialised

learning system which makes learning challenging and stimulating – allowing students to identify, acknowledge and pursue their aptitudes and passions.

It is a complex process which mimics industry as well as leading the new industry through its post graduate Honours and Masters Degree praxis.”

Holmes’ and Passchier’s vison of creating a world-class institution for the film, television and performance industries in the country spans over 23 years. AFDA students have been known to produce awardwinning shows and performances that have earned recognition locally as well as internationally.

This year AFDA scooped 20 out of 46 nominations at the South African Film and Television Awards (SAFTAs) including Best Actress, Best Film, Best Director, Best Screenplay, Best Cinematographer, Best Editing, Best Sound Design, Best Costume, Make-up and Styling as well as the Youth Achievement award.

– Gezzy S Sibisi

July 2017 | SCREENAFRICA | 3

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Showmax Originals to make its debut with new show featuring Julia Anastasopoulos Showmax has kicked off the first in a series of original productions with the filming of Tali’s Wedding Diary, a mockumentary featuring Julia Anastasopoulos.

Building on the phenomenal success of her SuzelleDIY character, Anastasopoulos stars as Tali, a self-obsessed Sandton princess who’s moved to Cape Town and has hired a documentary crew to film the build-up to her wedding to property-agent fiancé Darren.

Since introducing SuzelleDIY to YouTube, more than 70 Suzelle videos have been created, gaining almost 22 million views. One video alone, How to Make a Cinderblock Bench, has clocked up more than 2.5 million views.

Ari Kruger, co-creator and director of Tali’s Wedding Diary, has worked extensively as a director for commercials, music videos and online content. His short films have gained significant attention online and played in film

festivals around the world.

In 2014, the creative duo combined their skills and passion for comedy and developed a project outside of their commercial work. The result of this, SuzelleDIY, has now grown into a full-scale brand and business. Julia and Ari have since started a production company called Sketchbook Studios – an award-winning production company with a philosophy of creating original and memorable work – which produces SuzelleDIY alongside an array of new characters and online content.

Speaking about the decision to work with Showmax, Anastasopoulos said, “When Ari and I first approached Showmax we knew we had a great concept but weren’t sure if they’d bite – getting backing for a production in

South Africa can be tough. To their credit, Showmax instantly bought into what we’re trying to do. This is exactly the kind of support the film industry in this country needs. We’ve got world-class acting and production talent so it’s a huge boost to see a local company fund local productions.”

In addition to Tali’s Wedding Diary, work is also underway on iNumber Number, an original co-production with Mzansi Magic. iNumber Number is a crime and corruption drama series based on the award-winning 2013 movie of the same name.

Speaking about plans for original

productions, Showmax Africa head Chris Savides said, “Supporting African productions is absolutely part of our strategy. There’s incredible talent and expertise on this continent, so why look anywhere else, especially when you’re trying to tell authentic, locally relevant stories?”

Filming for Tali’s Wedding Diary is currently underway in Cape Town.

The eight-part series will premiere on Showmax in December. Each episode will be approximately 20 minutes long.

– Kevin Kriedemann

Triggerfish Animation wins three prizes on three continents in one weekend Revolting Rhymes recently scored a hat-trick: first winning Best Storytelling at Shanghai International Film and TV Festival in China, then Best Animation at the World Banff Media Festival in Canada, and finishing off with the Cristal for Best TV Production at Annecy in France, the world’s premier animation festival.

Produced by Magic Light Pictures, Revolting Rhymes was animated at Magic Light’s Berlin studio and Cape Town’s Triggerfish Animation. Revolting Rhymes is an adaptation of Roald Dahl and Quentin Blake’s classic book of surprising fairytales. The animation premiered on BBC One at Christmas 2016, opened the New York International Children’s Film Festival in February 2017, and won Best Animated Short at TIFF Kids in Toronto, Canada last month.

Triggerfish’s Mike Buckland and Sarah Scrimgeour also presented at Annecy on Revolting Rhymes’ post-production pipeline – a huge honour in itself.

This is the second year in a row that Triggerfish has worked on a project which has won at Shanghai, BANFF and Annecy, following the success of Stick Man, an adaptation of the Julia Donaldson and Axel Scheffler classic, also produced by 4 | SCREENAFRICA | July 2017

Still from Revolting Rhymes Magic Light Pictures for the BBC. Stick Man went on to win 11 international awards, including four at Kidscreen.

Triggerfish’s hat-trick came just days after the release of the National Film and Video Foundation’s (NFVF) second Economic Impact Assessment on the South African film industry, which found that the sector’s GDP contribution had increased from R3.5 billion in 2013 to R5.4 billion in 2016.

“With South Africa officially in recession, it’s more important than ever that our economy finds new avenues for growth,” says Triggerfish Animation CEO Stuart Forrest. “The animation sector is still the smallest part of the film industry, according to the NFVF’s study, but our three awards on three continents this weekend are further proof that we are punching above our weight. We believe that with continued government

support, animation can become a key, job-intensive growth sector in South Africa.”

At Annecy, Triggerfish also pitched Mama K’s Super 4 as part of Animation du Monde. Created by Zambia’s Malenga Mulendema, the show follows four African teenagers who are recruited for the lowbudget superhero operation of a former secret agent. Mama K’s Super 4 is a result of the Triggerfish Story Lab, supported

by The Walt Disney Company and The Department of Trade and Industry.

Triggerfish is currently animating an adaptation of Julia Donaldson and Axel Scheffler’s The Highway Rat, their third BBC One Christmas collaboration with Magic Light Pictures.

– Kevin Kriedemann

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Image credit: Yolanda van der Stoep

Cell C announces online reality show Hangman

Hangman backer Quinton van der Burgh with the show’s host Maps Maponyane

Hangman – a unique fast-paced online reality show which aims to uncover South Africa’s greatest innovator – was recently announced by Cell C. The stakes are high in this revolutionary new programme offering R1 million in prize money.

“C

ell C’s strategic focus is around bringing relevance to the South African market through service offerings,” says Jose Dos Santos, Cell C chief executive officer. “A key focus is providing value added services and segmented content that is being consumed daily online.

Customers are hungry for new, unique, fresh and entertaining content.”

With this in mind, Cell C embarked on producing the 10-part Hangman series which represents a new genre in unscripted entertainment and follows on the success of Cell C’s first online reality talent show Break the Net which streamed on the service provider’s Cell C Reality App last year.

Hangman is a global first in interactive, immersive entertainment as it puts viewers in the driver’s seat: by ‘investing’ in a virtual Stock Exchange, they can help determine the outcome of the show, while standing in line to win great viewer prizes including a car.

The new reality show also gives wings to the aspirations of entrepreneurs who have identified a gap in the market and have come up with an innovation to bring to the market that fills that space.

Hangman consists of two different content streams. The first is the actual reality online series which would traditionally be consumed on prime-time TV but is now being streamed live online.

Contestants will have to prove their mettle through a series of gruelling challenges but their fate will be determined by more than performance alone as they will have to win the approval of backers, captains of industry and investment with keen business acumen and ruthless standards. These include businesswoman Phuti Mahanyele, celebrity economist Iraj Abedian, self-made billionaire Quinton van der Burgh and Bonang Mohale, chairman of Shell South Africa Energy Limited.

“It’s breakneck entertainment that sees contestants put their bodies on

the line in the pressure cooker of innovation and turns viewers into real-time investors,” says Bl!nk Pictures director Odette Schwegler who was commissioned by Cell C to produce Hangman, a Cell C original.

“We are not seeking out a great businessman looking for an investment for a daily run-of-the-mill business or the sharp up-and-coming exec looking for a six-figure salary. It’s all about the innovators,” she adds.

Hangman is open to anyone residing or working in South Africa who wants to participate in the competition or just view the series. Simply download the Cell C Reality App on Android or iOS to access the shows or to register for the competition.

Access within the App will be zero rated for Cell C customers. Any breakout from the App will be charged as per current data depletion.

The Cell C Reality App is designed with a built-in points programme where points are awarded when customers download and interact within the App. Points are awarded for every week customers are active in the App, every time a video is viewed, when they create a profile, and more.

The second stream comes in the form

of a Stock Exchange called The Exchange.

Viewers can truly immerse themselves in the show, meet the backers, be inspired by successful innovators and get expert business insights. The hub is constantly updated with ‘hot off the press’ content straight from the Hangman set!

To take part in the outcome of the show, win great prizes and rewards, viewers can become virtual investors by trading on The Exchange. They will also help drive the outcome of the competition.

All customers that download the Cell C Reality App automatically receive 100 000 points which they can use to participate in The Exchange.

Points are allocated to play the game.

Customers win a variety of prizes by playing the game. Prizes include a car, smartphones, data, cash and vouchers.

The innovator who succeeds in garnering the support of the backers, while rallying viewer/’investor’ sentiment, could walk away with a R1 million cash prize and everything needed to succeed in a 21st century market.

True grit, determination and prowess will determine the winner of the ultimate prize. Failure means facing the ‘noose’ of the Hangman!

Dos Santos says: “Cell C is delighted to present this fully interactive and unscripted format with Hangman. It offers the opportunity for viewers to track innovator performance and invest ‘real time’ via a Cell C Stock Exchange App. They can also get involved – up close and personal – by helping contestants win their tasks. We are delighted that as an innovator, Cell C is continuing with the delivery of incredible content.”

Entry is open from 21 June to 21 July with the show streaming online from 9 October to 11 December. Contestants and viewers do not need to be a Cell C customer to play or download the App but Cell C customers will receive bonuses for participation and viewing the show.

– Janine Walker

July 2017 | SCREENAFRICA | 5

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DISCOP is expanding with new editions in Zanzibar and Nigeria

BASIC LEAD, the organisers of the region-centric DISCOP markets, recently unveiled plans to encourage more business with and between the rapidly growing countries under DISCOP’s watch that represent 75 per cent of the world’s population.

T

wo new DISCOP markets will be added by the end of 2019: one in Zanzibar, centred on East Africa’s fast-rising independent film, television and digital content production sectors; and one in Lagos centred on Nigeria, one of the world’s most promising entertainment single-market ecosystems alongside China, India and Indonesia.

DISCOP markets have been in existence since 1991. At first, they operated to help companies in the entertainment industry explore opportunities in former Soviet Union Republics. They now help these companies and many others buy, sell and co-produce multi-platform content in 115 fast expanding countries where new technologies, modern infrastructures and rising disposable income fuel growth.

6 | SCREENAFRICA | July 2017

“Movies and TV programmes have always been part of the fabric of the countries we cover with DISCOP. What is changing is the ability for broadcasters, pay-tv platforms, mobile operators and on-demand video services to monetise the consumption of entertainment content, and for local producers to feed an immense appetite for home-grown entertainment,” comments Patrick Zuchowicki, founder of DISCOP. He adds: “These countries will represent in the next five years 35 per cent of global wholesale licensing revenues derived primarily from intra-regional trade. By then and with five DISCOP markets a year, we expect to draw 6 000 delegates, three times more than we do now.”

DISCOP Zanzibar and DISCOP Lagos will have their own personality, format and agenda. Cross-cultural bridges

will be built between these two new markets and the ones in Abidjan, Dubai and Johannesburg. Identical research, promotional meetings, organisation and travel planning services will be provided to all delegates.

DISCOP Zanzibar will partner with the Zanzibar International Film Festival (ZIFF), that is about to celebrate its 20th edition. DISCOP Zanzibar will take place during ZIFF’s 2018 edition, creating the ultimate film and TV event in East Africa. ZIFF is hosting a film and TV content market for the first time and is committed to promoting the business side of the film and television industry.

With this partnership, Zanzibar will become a key destination for content producers, filmmakers, aggregators, broadcasters and all industry players.

Zanzibar International Film Festival director, Fabrizio Colombo, explains further, “As ZIFF celebrates its 20th anniversary, we could not be more excited to partner with the most respected name in African content markets. This partnership is an important milestone for the development of East African cinema and will be instrumental in driving this oftenneglected market forward. DISCOP Zanzibar will be a unique event, as unique as the island of Zanzibar itself.”

More information about these new

developments will be made available at a press conference to be held on Friday, 27 October, the last day of the 2017 Johannesburg edition of DISCOP, taking place from 25 to 27 October.

Launched in 2012, the Johannesburg market has become the world’s number one destination to acquire and coproduce content ‘Made in Africa’ and sell international film, TV series, adaptation rights, digital content and packaged TV channels into Sub-Saharan Africa. More than 1 000 acquisition, development, production and distribution executives from 70 countries will converge in Johannesburg for three days of deal-making, knowledge-transfer and networking opportunities. An excess of 250 public and commercial broadcasters, cable, satellite and mobile pay-TV operators, and streaming services servicing the fast-growing Sub-Saharan marketplace will also be in attendance seeking innovative content, fresh ideas and cross-border projects. With the success of German cold-war thrillers inspiring international broadcasters and streaming platforms to commission German-language shows, Germany will be honored as the DISCOP Johannesburg 2017 Guest Country.

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Preparing the creative industry for the future of work How do you prepare the current generation of advertising and marketing students for a world in which artificial intelligence and robots threaten their future careers and jobs? By teaching them to be more human.

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very industry is facing disruption – from the financial industry with blockchain, to travel with Airbnb and transport with Uber and selfdriving cars. Forecasters predict that everyone from actuaries to journalists will be made redundant or partially so, with artificial intelligence and bots. The speed at which disruptor brands and new technologies are upending the status quo and destroying or denting established brands and industries is mind blowing.

Future proofing jobs and careers is something everyone should be concerned about. To this end the Red & Yellow School of Logic and Magic, an institution in Cape Town’s advertising industry having been founded 23 years ago by industry icons Brian Searle-Tripp and Bob Rightford, is repurposing itself as the Red & Yellow Creative School of Business.

The Red & Yellow School of advertising was bought by Quirk Education, well-known for its digital marketing online courses, in 2013. Quirk digital agency and offshoot Quirk Education were founded by digital entrepreneur Rob Stokes, who is now chairman of Red & Yellow and chairman of Mirum Agency (formerly Quirk).

While the Red & Yellow Creative School of Business, situated in Salt River, Cape Town, will retain its niche positioning in the marketing communications industry with its diplomas, certificates and degree courses in marketing and advertising disciplines, it will add new courses and executive education short courses to transition from the “school of creativity” to the “creative school of business”, officially on 1 July 2017.

jobs that robots can’t do in a future that will be fundamentally disrupted by technology, the beginning of which is happening already from new disruptor brands and services, across industries.

“We are now a business school that believes the most important skill of the future is creative thinking. The core skill that we need to teach people is how to think creativity: the pillars of creative thinking. Design thinking is incredible at solving problems, but what about the non-defined problems?

We want to teach people to question the world, question the status quo.”

“I want to give people the confidence and self-awareness to know the best way of doing things, the confidence to be the one to make the change needed,” Stokes emphasises.

They want to turn out students that have the skills and logic to do a great job, but then from a more human perspective,

Educational activism The whole reason for this evolutionary transformation is the new thinking needed around education today, says Stokes, who sees what they are doing as ‘educational activism’. In a nutshell, they need to prepare humans for the 8 | SCREENAFRICA | July 2017

Rob Stokes

are self-aware enough to change the status quo, to have empathy, intuition, and the ability to approach a problem that doesn’t give them the expected solution.

“So many of our business interactions are about presupposing solutions onto people. We need empathy to drive solutions,” Stokes adds.

The new executive leadership programme which has launched already comprises intensive two-day courses run by leaders in the field and expert trainers on everything from robotics to artificial intelligence in business.

The unique subject matter has already created interest in the business sector.

Disrupt tradition The philosophy that Red & Yellow has embraced is to be unique. There will, for example, be no white cups and the usual supermarket shortbread biscuit platters

on offer at the workshops during break time. But rather gourmet burgers and colourful cups. It may be a small thing, but it demonstrates the school’s new philosophy in trying to disrupt the traditional mould of education and executive training.

Stokes outlines the kind of student they hope to attract with the brand repositioning: “We want the undergrad that sees the value of being in business, but is also possibly more technology savvy and embraces a world full of technology and wants to take a different path. We are not a business school for normal people. It’s not a normal world.

“The qualification we want students to walk away with is a state of mind that can question things. That curiosity, innovation happens at the coalface. It is where the private sector is weak on teaching.”

While Red & Yellow will still keep its DNA as a marketing and advertising college, marketing will now be in one of four facilities centred on the premise that creative thinking is the most important skill of the future: 1. Marketing Faculty: will teach marketing in every format – advertising, strategy, innovation, and so on.

2. Management Studies: it will include leadership, strategy, negotiation, finance, accounting, HR – all the industries being disrupted.

3. Human Studies: it will be a cross over with Management Studies, but leadership with a different point of view – including intuition, persuasion science, empathy, mindfulness in the workplace. Basically uniquely human abilities that AI and robots are highly unlikely to get right and where humans will still have a role in the future workplace.

4. Creative/Production: including current courses in copywriting, web development, photography, production – but with the creative thinking thread running through it all.

They are targeting from undergraduates to executives with three delivery formats: short courses, full-time undergraduate courses (degrees and diplomas) on campus, and corporate training off campus. They also have a policy of funding 10 per cent of students who can’t afford to pay, to ensure that talent has equal opportunity.

“I want to create entrepreneurs, I want to create innovators. I want to teach children things that will give them a career. The commercial logic is to grow successful organisations, but more important is the creative magic to set them apart. We need to teach problem solving skills and leadership from a unique point of view. We will see whole courses on empathy and persuasion skills in the future, for example.

“Creative thinking was applied to marketing, now we are applying it to everything, to business,” as Stokes reiterates. “Let’s produce great people and change the world through education!”

– Louise Marsland

ADCETERA

The highs and lows of the ghetto

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The streets of the ghetto in their vibrant and polished glory present improved houses in manicured lawns, fancy cars parked in double-story garages and ladies and gents donning the latest designer gear. This is the epitome of gleaming success as seen through the eyes of youngsters who are sadly enticed into the world of drugs and crime in the false hope of quick riches and instant happiness.

However this story hardly ever has a happy ending as portrayed in the music video, Ngqangqa by Kanyi Mavi.

“T

Kanyi Mavi in a scene from the Ngqangqa music video

he song tackles a major issue facing Cape Town (and South Africa at large), which is the constant struggle against drugs. Instead of concentrating on the consumers, the song focuses on the dealers, merchants and distributors as they are all part of the same community, all products of the same environment, the ghetto – an environment where criminal acrobatics are not only celebrated, but also respected and praised… The person who helps the community where government falls short, who helps their church raise funds for new windows and doors, who helps the neighbour with groceries when the budget is tight – is the very same person who provides the drugs that the neighbour’s youngest son or daughter is addicted to. It’s the very same person responsible for deaths caused by turf wars, and has the ‘law’ on their payroll,” says rapper, Kanyi Mavi, who is also the director of the music video.

A vocal and assertive female emcee in the male-dominated local hip hop industry, Mavi chooses to converse in her mother tongue Xhosa. Having directed

two of her previous music videos, the emcee says that the biggest challenge she has faced in developing all three videos is budget. “It takes so many people to make things happen and all those people need to be paid for the skill and contribution.”

“As far as challenges during shooting, I’ve been fortunate enough to work with people who are able to share my vision and also help improve it. I had to learn how to let go of the reigns a little bit and trust the abilities of the people I work with,” Mavi shares.

Born in Cape Town, Mavi grew up in Gugulethu and Hazeldean. As a musician, she chose to be a conscious lyricist, taking inspiration from the events happening around her and turning them into a story for others to reflect on. The rapper put into effect the same principles when it came to the making of the Ngqangqa music video. “The entire video was shot in Gugulethu. The aim is to show another side of the ghetto, the side we hardly see. It’s a place with all kinds of people, both rich and poor,” she explains.

The video follow a day in the life of Ngqangqa. “Because the song has so much information, the video needed to be simpler,” says Mavi. “It begins with Ngqangqa at home. We are introduced to her as just an ordinary lady from the ghetto. We then meet her group of ladies. Their scene is centred on a

significant event, the transaction. Post the transaction; we then meet the other side of Ngqangqa, a darker side.”

Mavi says that the most difficult part of the shoot was casting the right characters to portray the story she had in mind: “The characters had to represent women other women could also relate to. They had to be real girls, outside of the media prescription look. It was important that the ladies were different from each other, but still made sense together,” she says.

Cinematographer Mpendulo Mabindisa says that of utmost importance for him was for people to connect with Ngqangqa: “…she’s a boss but a very troubled woman at the same time.

I made sure we got the most of her scenes in slow motion… Seeing her walk around her home in confidence, the camera is following her movement, she’s in charge. It was more of the camera complementing the story through shots.”

Mabindisa used the Panasonic GH4 and a DJI Ronin to shoot the video. “I like the GH4 because it’s a small camera. We were limited with space in the house but having a small camera made it a lot easier for us to move around without wasting too much time. The Ronin always comes in handy for me when it comes to all these steady moving shots and I knew it was needed for this music video,” he shares.

Editor Karabelo Ditira comments: “The

I like the (Panasonic) GH4 because it’s a small camera. We were limited with space in the house but having a small camera made it a lot easier for us to move around without wasting too much time. The Ronin always comes in handy for me when it comes to all these steady moving shots and I knew they were needed for this music video.” – Mpendulo Mabindisa

10 | SCREENAFRICA | July 2017

main goal was to light the set stunningly for colour grading to take place without any fuss, and also to make sure it’s not evident that we lit when watching the video. The outside scene was already lit by lights around the location, so we only had to add a fill light just to make it stand out from other things.”

“The motion of the camera helped to make the video cinematic, which is why as an editor I chose six motion shots to open first for the video. Specifically smooth motion makes the video cinematic and appealing. It also can’t be cinematic if you are not careful about where you cut your scene, as I strongly believe in cutting with the beat when editing anything that has music in it. I do not want the audience to feel out of touch or bored when watching anything that I edited, which is why the edit is smooth and slow then it builds up speed in the middle when the song builds momentum too.”

Mavi says that that since the video has been released, people have been amazingly supportive on social media, more so than on TV, where only two shows have played her video so far.

“I think people like this music video, not only because it’s beautiful and appealing to the eye, but also because it has depth embedded in subtleties, every scene counts,” concludes Mavi.

– Gezzy S Sibisi

KEY CREW Director/Producer: Kanyi Mavi Cinematography: Mpendulo Mabindisa Make up/Styling: Thandeka Steenkamp Editing: Karabelo Ditira Grading: Bladeworks

Director Speak

Dan Mace

| COMMERCIALS

Working professionally behind the camera since the age of 16 means that 26-year-old Dan Mace has over 100 music videos, documentaries and short films under his belt. His work has garnered nearly 20 million views on YouTube; he recently joined South African production company Egg Films; completed an award-winning television commercial for Tusker with Net#work BBDO; and won his third Young Director Award in two years at Cannes Lions. Dan Mace is on the rise…

What is your background and how has this shaped you as a director?

My background consists of being a ‘surf rat’ from Kommetjie, Cape Town. All I knew from a young age was the surf world. I would be on the beach most days and bunk school as much as I could. Along the way, I met a guy called Mikhail Thomson, who became my coach and taught me the power of visualisation. When there were no waves, I used to sit on my carpet with little Lego men I glued to mini surfboards. They’d ride the waves I’d create on the carpet all day. These Lego men became a huge source of my imagination and really taught me to entertain myself with nothing much other than my mind. Long story short, I believe it’s the old days I spent sitting on that carpet that really opened my mind up to a world of imagination that I use every moment of my job now. It’s all up in the air until you’ve got it in an edit in front of you; until then, you’re the only one who knows what it looks like and that takes a shit load of self-belief.

Do you have any local mentors?

I do indeed. There’s a guy called Jonah Lewis, who started a company called IYO Burger in Bree Street.

We’re the same age and from the same friendship circle, but he has an incredibly creative mind that has been influenced by his business. He has become great at making creative sacrifices when he has to in order to grow his business; in the same way, in film I work with a producer to ensure we don’t make a loss by throwing every single creative idea into one massive fail of a commercial. He helps guide me in giving up on my good ideas to make space for the great ones.

There are also guys like Craig Stack from My City

By Night and now Colin Howard from Egg Films.

What kind of content do you enjoy creating?

Anything real. Instead of creating a space, I enjoy looking at the awesomeness that already exists and pointing the lens in that direction, then obviously adding the sparkles it needs to make it cinematic. I believe in keeping it real at all times with performances and not departing too far from what I know and have experienced as a person. I have been pretty fortunate with my shitty experiences in my life so I have a pretty rounded understanding of the good and the bad.

We will leave those details for another interview.

What has been your biggest career challenge to date?

Directing my first TVC for Tusker, for sure. When we wrapped, I just burst into tears and was sick for a week. I had no idea how to handle the stress. But now I am way better equipped, so I am more than grateful for that experience.

Describe the moment, if there is one, when you knew you wanted to become a director?

I used to be petrified of talking in front of anyone. When I was about 15, we had to do Afrikaans orals in front of the grade. I lay awake for nights before this, thinking there is actually no way that I am going to be able to do this.

So the weekend before, I took my dad’s old DV camera, got my mate Gavin over and created a film about Jack the Ripper (which my oral was about). I created an entire plot, with special effects like rain from the sprinkler head and even a murder scene with some fake blood. When I played it to the class, everyone thought it was half alright until the Locnville brothers asked if I’d like to shoot a music video for them. A little later in the ‘shmodel’ days (young surfer boy look), I made enough money to buy a camera. As soon as I held that thing, it was game on. I used to make my sister and parents be my special effects team/extras/lead cast/sound/ even stunt men, setting off firecrackers in pies and all kinds of things… Yeah, I guess I have always just wanted to be a film director; it’s an art form that has completely consumed me.

Where do you find inspiration?

I find that the closer you are to your inspirations daily, the better work you will create. After moving from the small seaside town of Kommetjie to the busy streets of Cape Town, I had to re-adjust and make some new friends. I was adamant about hanging out with the right people – positive creatives with drive and passion for their work. Now six-seven years later, in my group of friends there are business owners, clothing designers, writers, and fund managers. We all push each other and no one is ‘more successful’ or better than the other. We know each other’s trades take time to perfect but most of all we are there for support and to remind each other to live a little. Life can’t only consist of work. The turning point of my career was slowly moving away from hanging out with negative influences. Clean out the trash; garbage in, garbage out!

Which projects are you currently involved in?

I am in post for a Google Africa job, YouTube. I am just about to shoot the new Vodacom campaign and then we’re busy in the early stages of the second instalment of Tusker in Kenya. So yeah times are busy at the moment but my producer Vjorn du Toit is handling it all like a champ.

What has been the highlight of your career thus far?

Having a team that believes in my vision. On our latest job, we all pulled together like I have never seen. It’s great; being at Egg has really given me the opportunity to explore a bit more.

If you could produce an African version of a Hollywood classic, what would it be?

That’s a tough question. I’d have to adapt it and create a version pretty far off or else I’d struggle with the originality of the piece. I’d have to say Requiem For A Dream with local drug and domestic violence issues, but a lighter ending.

Top three favourite films of all time?

• Silver Linings Playbook (so current with mental health issues and it’s done with the right amount of lightness) • La Règle Du Jeu • Requiem For A Dream

Dan Mace

Top three favourite directors: • Darren Aronofsky • Guy Ritchie • David Fincher All three have developed their unique styles that I reference in almost every single one of my films.

What is your dream shoot location?

Every Instagrammer and YouTuber in the world (even my producer) would say Iceland. So I am going to be different and say Easter Island.

Who would play you in a biopic?

Jesse Eisenberg If you weren’t a filmmaker, you would be?

Definitely a composer… or a chef. A chef that composes too (Haha).

July 2017 | SCREENAFRICA | 11

ADCETERA | OPINION

“Big Ideas”

Written by Tongai Furusa, Editor/Director, 14 10th

Is it big productions that bring small ideas? Or is it small productions that bring big ideas. The concept of the big productions creating big ideas is fast becoming a thing of the past.

Tongai Furusa

B

ack in 2003, when 14 10th started, it took a G4 Mac computer and FCP7 software to start this process of change. The world was beginning to change in itself. The move from the now nostalgic film to digital was slow and met with trepidation.

Editors were digitising HDV Cams and editing (Offline, Online and Grade) on one computer…all in one room. Our first project was the full post-production of an entire 48 part series for SABC all done on a Mac with FCP7: shot on digital cameras with a crew of about four people? Big idea…Small production that was The Pure Monate Show.

This allowed for the dramatic change of the editor and edit suite to use one machine to offline, online and grade – all to broadcast quality.

This was the beginning for 14 10th.

Workflow became an easier beast to manage – the industry was changing. The idea of working with new technologies to achieve big results is what has driven 14 10th then and certainly what is driving 14 10th today.

There is a new breed or a new generation of filmmakers who are able to break the ‘quality barrier’ and produce quality content at a more affordable cost and by affordable it does not mean that they lose out financially. What it means, is that this generation is more

12 | SCREENAFRICA | July 2017

skilled and more creative and more in touch with their production as their equipment is allowing them to be more in sync with their subject matter.

The biggest fear of our industry is not transformation whether it will work or not work. The biggest fear is that in a continuous arc, the convention of what is a production will change and we will be left in the battle with big swords and muscles only to be slayed by a boy called a millennial with a sling and a stone. Specialisation might be the cry of the old guard, Jack of all trades and master of nothing – no!

“An expert of every facet of this ever changing world…” Look around you people! Look around you! Millennials are setting the pace of how life is. The great thing about innovation is that it makes execution more affordable and puts the skill back into the hands of the artists.

How many people do you need to take a shot? Well, in today’s ‘advertisingbudget-orientated-commercialfilmmaking-world’ it can be anywhere in the range of R4 million down to probono – it all depends on your budget.

But theoretically if your mobile phone can film 4K and you can rig it to a Rhode radio mic with an Osmo stabiliser, you can achieve pretty much the same thing…and oh, did I mention the iPhone films at 60fps? Did I also mention

there’s a 4K GoPro? No, this does not mean that we can film everything on a mobile phone but like we say to most of our clients if the shoe fits, wear it.

It all depends on your final format.

Ads, trailers, and series are now being viewed across television screens, mobile phones, laptops, iPads and more recently VR glasses.

The ability to survive and adapt to the ever-changing world is what kept 14 10th on a growth trajectory. It is all too often that people in our industry keep using the same model to execute their productions and all too often they come out with the same result, from one job to the other. Consistency is great but how will you ever know if it can be better?

Faster? To get results you constantly need to be in touch with new ways of doing things and that’s why as a business, we are always looking for the next best technology to drive our productions.

This is what makes my job so interesting, keeping up with the ever changing production and postproduction world. It was mind blowing the first time we opened up our FCPX suite and found that there was no digitising, just import. This made sense as all the cameras were recording to drives. The introduction of the Canon 5D was the beginning of the one-man crew, producing quality products

equivalent to a 10-man crew. Things change all the time and we need to adapt. The benefit of working in both post-production and the production world has allowed me to see how technology has influenced the speed of productions for example; postproduction has always crept into production from a preparation point of view, but now with the introduction of the D.I.T post-production has already begun on set. With metadata you can now organise your shots for the edit and ultimately you can lay down the look of the grade as early as digitising phase.

The lines between production and post-production are becoming more compressed, this can be seen even more by the business model of Blackmagic with their cameras that shoot for post grade; it is no wonder that they have extended their DaVinci Resolve grading software into a full offline and online system.

Red cameras come with Red digital cinema software, full grading, organising and transcoding software. It’s crazy to think that the look of your film is sorted before you even start editing.

The time between processes has become compressed. Machines have faster processors and bigger graphics cards which means faster rendering. Software keeps improving and making operations such as tracking easier and more efficient.

The Adobe Creative Cloud package that allows all the essential graphics and motion graphics tools to come together, is a good example of finishing through one machine and on thought process from edit to grade.

This all means that in today’s commercial production world, we must move beyond the question that is often posed to our generation, “can you do the job.” The big question that seems to keep transformation at bay.

The good news is that the question has now shifted to “what more can you do?” It’s not the look of your vehicle that matters it’s the flexibility and responsiveness of the vehicle that will ultimately win the race. 14 10th has realised that the post-production and production phase are now one thing, certainly they are both digital so they both communicate in the same language: How deep is your post-production? How flexible is your production? These are the questions that will create great work.

| ADCETERA

From the producer’s mouth:

Natalia Segerman We chat to Sketchbook Studios’ producer Natalia Segerman about what it was like growing up with a famous father, her career highlights and challenges, and everything in between…

How did you come to find yourself working in film?

Was a career in production always the plan?

shoot. There were many locations and a much bigger crew and cast than normal. I learnt a lot doing that job.

No, not at all. The plan was to be a musician. I’ve kind of fallen into every job I’ve ever had and it was exactly the same for this one. It was a happy accident.

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

What does the job of a producer entail?

You basically have to take people’s ideas and turn them into reality. You need to maintain a constant overview of the entire project, which includes organising the crew, locations, equipment, budget, schedule and everything in between.

As someone who grew up as the child of a famous father (Stephen ‘Sugar Segerman of Searching for Sugarman fame), what was that experience like and how has it shaped your career? If at all…

When the whole Rodriguez thing happened in 1998, I was only 12 so it always just felt normal that Rodriguez would come to South Africa and hang out at my house.

But my dad has only become more well-known in the past few years since the movie came out. He was better known as the owner of Mabu Vinyl.

When I was growing up, I always had this joke that anyone I met had first met my dad. If anything, my dad gave me more street cred, which was pretty funny. Through my dad, I always had a really big interest in music and movies. A career in entertainment was inevitable.

What has been the biggest challenge in your career to date?

My career as a producer has been relatively short, so I’d have to say the short film we made in the beginning of the year as a promo for the UJC. We normally shoot short webisodes in our studio and that was our first big outside

Working with SuzelleDIY has been so rewarding. It’s so much fun to be part of a brand that people love and really respond to. Making and publishing our DIY book and then doing the publicity tour was so crazy because we got to meet so many fans and we realised that a lot of our followers are kids.

It felt good to know that Suzelle is a positive role model for young girls in a world where role models are lacking.

That was a big moment for me.

What’s the worst part of the job?

Working long hours on a shoot is always tough but luckily we’re all passionate about the content that we’re creating.

What kind of content do you enjoy creating and why?

I love producing content that makes people laugh and inspires people. There is so much negative content everywhere you look and we take pride in the fact that we only put out positive stuff.

What are you currently working on?

We are working on a TV show for Showmax called Tali’s Wedding Diary. It stars Julia Anastasopoulos (SuzelleDIY) and it’s going to blow people away.

It’s edgy and extremely relatable and funny. It’s a dream project and we are having the best time on set.

What is your dream shoot location?

I’m spoilt because I mostly shoot in studio, which is comfortable and easy. When it comes to locations, I like a place where we can shoot many scenes in one place and have plenty of space to take over and leave our gear

Natalia Segerman everywhere without worrying about safety, etc. I’m happy when everyone has enough space to work. I know it’s a bit of a practical answer but as a producer that’s the kind of thing I think about.

If you could remake any Hollywood classic with an African twist, which would it be and why?

I personally don’t like remakes.

I’d much rather people spend money and energy producing new content and telling new stories.

Who are your mentors?

Why them?

I don’t have any mentors per se, having being thrown straight into a producing role. I’m very inspired by people I meet who are able to manage their lives and their minds and have a great attitude. You can learn anything just by showing up and doing the work.

It’s the people I work with who always have a smile on their face and a calm demeanour that really inspire me.

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

about the film industry is that anyone can start at the bottom and work their way up. Start working immediately. Take any opportunity that comes your way and get involved. Work hard, ask a lot of questions and say yes to everything.

What’s next for Natalia the producer?

I’m really keen to start developing some new characters for Sketchbook Studios.

We have a lot of great ideas and amazing people to work with. Watch this space...

If you weren’t working in film what would you be doing?

I would be an artist. I love illustration and design. Before this job I was working in interiors and stage design.

If you could work with one director, dead or alive, who would it be?

Preferably someone who’s alive… (sorry, bad joke). I would love to work with Chris Lilley (Summer Heights High). I think that everything he makes is comedy gold and I love how fearless he is.

Having an education helps but it’s not always possible or essential. What’s great July 2017 | SCREENAFRICA | 13

CANNES LIONS

|

The culmination of

creativity

Written by Mikhaila Hunter,

marketing and communications manager at Fort

From the moment you step onto the Promenade de la Croisette in the city of Cannes, where creatives from up to 100 different countries all gather for the largest international showcase of cinematic art, there is a sense of community, we are all connected.

O

nce a year, the South of France becomes a meeting place for some of the world’s most talented cinema players, advertising giants, models and innovators who connect through the notion of creativity. Cannes Lions is a place where diversity is renowned and the creative industry as a whole comes together to acknowledge each other’s work and success, but also to look forward, and find out where the industry is headed. We gather to celebrate the power of creativity in business as an instrument for change and unite as one rambunctious dynamic force ready to take on all the world’s challenges.

Cannes Lions 2017 will be a historic year for the South African advertising and production industry, the year that saw Terence Neale become the first South African director to win a Cannes Lions Grand Prix. There was a sense of accomplishment as a nation to see one of our own be recognised on the world’s most prestigious advertising stage, for a piece of work that truly showcased the calibre of talent that can be found in Africa. Neale won in the Entertainment for Music category for Adidas Originals Original Is Never Finished, which becomes a part of a string of award-winning work by Neale.

South Africa also made a great show in the Radio category, bringing in numerous awards, with Ogilvy & Mather winning a Grand Prix for their work with KFC. The mesmerising One Source, a campaign for Absolut, which starred Khuli Chana, Sarkodie, Victoria Kimani and other African musicians, and directed

by Sunu took home Gold, two Silvers and a Bronze. The piece showcased the artistic side of Africa and how

“The common thread between all the award-winning South African work was most definitely that of being authentically African, and showcasing what that means for a country and continent so richly diverse.”

14 | SCREENAFRICA | July 2017

Fort at Cannes Lions 2017 (Shukri Toefy, Marea Lewis, Mikhaila Hunter, Amr Singh and Robyn Oettlé)

South African creatives no longer need to look globally for inspiration. Sunu proved that we have all the inspiration needed within our own country amongst the diversity of people that make up Africa. Khuli Chana, Native VML’s Jason Xenopoulos and Ryan McManus, with Pernod Ricard’s Melanie Campbell presented One Source as a case study on the main stage during Cannes Lions, where they explored Africa’s creative renaissance and the various opportunities for global brands to capitalise on the vibrant creative revolution that is taking place throughout the continent.

This celebration and embracing of who we are as African’s was a theme seen across all the award winning pieces of

work and people who represented South Africa so well at the festival this year.

And if all that wasn’t enough, filmmaker and director Dan Mace broke records by becoming the first South African to win three Young Director Awards.

His most recent win for his work with Tusker’s Here’s To The Us In Every Tusker is a beautifully crafted 60 seconder that united Kenya, representing the 42 tribes of the country, through one voice.

The common thread between all the award-winning South African work was most definitely that of being authentically African, and showcasing what that means for a country and continent so richly diverse. Africa is rich in talent and skills, and seeing this being acknowledged on a global stage this year has been very empowering, with work such as the above we are most certainly establishing Africa as a front-runner in the creative industry.

On Friday night, 23 June 2017, Fort co-hosted the South African Party at Long Beach, and nothing brings together the South African community like a good party. Complete with free shots upon arrival, open bar, great music by DJ’s

| CANNES LIONS

Fort co-hosted the South African Party at Long Beach

Marc Who and DJ SD and of course a midnight snack of boerewors rolls for all.

The exclusive event allowed Fort and partners to mingle with the industries finest, showcasing some of the best work to come out of South Africa in the past year. If you weren’t mingling with guests, or dancing on the beach you were taking a midnight swim in the Mediterranean – networking at its finest.

When introducing yourself and answering the common “Where are you from?” question, we found that there was a general consensus of admiration and interest in South Africa and our creative industry. It is clear through recent work, and the wins from this year, that South Africans are beginning to assert their identity and unique aesthetic in the industry at large.

The new generation of young South Africans, with their unshackled minds and multicultural influences, will play a powerful role in global creativity in the future. Now is the time for Africa, and it is a favourable time to be African.

Global agencies and brands are seeking to have a connection to Africa, and are open to the many advantages of shooting in our beautiful country and working with our talented creatives.

With the African creative economy gaining momentum, independent agencies such as Fort, have the

opportunity to be the hands on the ground building our own brand as well as the collective brand of Africa’s creative industry at festivals such as Cannes Lions. The networking opportunities are endless, and gave each of us the chance to engage in meaningful interactions as ambassadors of Fort. One might think that these midnight conversations might be centred on frivolous topics; this could not be further from the truth though, as we found likeminded creatives are interested in having serious conversations around the creative economy and how its fairing around the world. There was much interest in the global economy in relation to Africa, and the ever-hot topic of female’s in the industry – with the fact that only 3 per cent of creative directors in the world are female being a central theme of conversation.

Cannes Lions is jammed packed with various activities throughout the day and night – none of which you want to miss out on, which means sleeping and eating whenever you can and running on a constant stream of both adrenaline and Rosé. With the thousands of people

that frequent this week of creativity, it makes it seem as if the community is too large to comprehend, but come night two or three you recognise one another and fast friendships and connections are built. You might run out of the hundreds of business cards you took with you and end up having to make shift new ones on the spot – without your trusty designer and printer – it might not be perfectly on brand but at least you won’t miss out on meeting and exchanging details.

The collective walk over to ‘Gutterbar’ at 2am with the masses of partygoers allows for the opportunity to meet and mingle with the who’s who of advertising.

You never know who you might bump into and what opportunities may come your way. You might find yourself, as I did, having a drink across from Sir Martin Sorrell, walking the streets alongside Demi Lovato, sitting on the

side of the street eating pizza next to Bob Greenberg, toasting Lamorne Morris or casually seeing Future coming out of his hotel – and that is the beauty of Cannes.

The celebration of creativity throughout the week puts no limits on what creativity entails and how it is expressed; from Instagram’s live art installation portraits to the Snapchat Ferris wheel, brands made sure to have a presence that would not soon be forgotten. During the day you can find yourself lounging on the beach with YouTube, Google and Universal Studios, or perhaps you would prefer to be sipping champagne on a yacht with ShutterStock. Either way you are stripped of your normal day-to-day routine of sitting behind your desk, glued to your laptop or shuffling to and from meetings. Whether you were attending The Power of The Purse session with Ellie Goulding and Halle Berry talking about women in the creative industries, sitting at Pastis on Rue du Commandant André having a truffle pizza with your new industry connection, or simply walking the Croisette for the umpteenth time, each moment is charged with a palpable energy that can only be found in Cannes.

“The new generation of young South Africans, with their unshackled minds and multicultural influences, will play a powerful role in global creativity in the future. Now is the time for Africa, and it is a favourable time to be African.”

July 2017 | SCREENAFRICA | 15

CANNES LIONS

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Best ever Cannes Lions for Egg Films Egg Films’ directors took home Grand Prix, Gold, two Silvers, and six Bronzes at Cannes Lions International Festival of Creativity, the world’s most prestigious advertising awards. This was the best-ever performance by a South African production company, at least in recorded history.

Still from the Absolut One Source brand film

Record third Young Director Award for Dan Mace

Still from the Original is Never Finished spot

Terence Neale becomes first SA director to win Grand Prix Terence Neale became the first South African director ever to win a Grand Prix at Cannes. Terence won in the Entertainment for Music category for adidas Originals Original Is Never Finished, largely shot in South Africa for New York agency Johannes Leonardo with RSA Films, starring the likes of Snoop Dogg, basketball star Kareem AbdulJabbar and artist Petra Collins. Original Is Never Finished also picked up Bronze in the Entertainment category and three Bronze Film Crafts for Direction, Production Design and Cinematography.

Terence also won a Bronze in Creative Effectiveness for his previous adidas Originals commercial, Your Future Is Not Mine, also with Johannes Leonardo and RSA Films. Last year, Your Future Is Not Mine won Gold for music, so 2017 is the second year in a row Terence has won top prizes at Cannes.

Original Is Never Finished‘s success in France is just the latest in a string of accolades: the campaign won a Wooden Pencil at D&AD and Silver at the One 16 | SCREENAFRICA | July 2017

Show, was nominated for a Webby, and is up for four Association of Independent Commercial Producers’ Awards. It has just under 25 million views on YouTube.

“We feel so lucky to have had the opportunity to work on a brand like adidas, with an agency like Johannes Leonardo, who were so open and gave us such creative satisfaction,” says producer Rozanne Rocha-Gray.

Sunu wins Gold, two Silvers and Bronze

Sunu took home Gold, two Silvers and Bronze in the Entertainment, Entertainment for Music and Media categories.

Sunu won for directing the music videos and brand films for One Source, Native VML’s campaign for Absolut starring Khuli Chana, Sarkodie, Victoria Kimani and other African musicians.

“For a long time, South African creatives looked overseas for inspiration,” says Sunu, who shot the campaign in Ghana. “In contrast, One Source is a celebration of the creative revolution taking place across the continent as

we embrace who we are as Africans.

All credit to Native VML, Absolut and Pernod Ricard for seeing the opportunity in showcasing Africa in a completely different light on a global stage.”

One Source topped South Africa’s iTunes charts and was nominated for Best Music Video at The South African Music Awards and Metro FM Awards. The campaign was also the most nominated and most awarded campaign at South Africa’s Bookmarks.

“This was a collaboration of truly talented people,” says Egg Films’ producer Kerry Hosford. “We’re immensely grateful to have been able to work with a brave agency and client who allowed us to make work that stands out, at a time when so many brands in SA are playing it safe.”

Both Your Future Is Not Mine and One Source were presented as case studies on the mainstage during Cannes Lions – an honour in itself, considering other speakers included the likes of Facebook’s Sheryl Sandberg, Nobel Peace Prize winner Juan Manuel Santos, and stars like A$AP Rocky, Steven Gerrard and Halle Berry.

Egg Films’ Dan Mace also won his third Young Director Award in two years at Cannes – another South African record.

Dan won Silver in the Broadcast category for the Here’s To The Us In Every Tusker ad he directed in Kenya with Groundglass for Net#work BBDO. Dan was the only winner from Africa in the category. He was also shortlisted in the Changing The World Frame By Frame category for Tusker Flag 42.

Last year, Dan won two Young Director Award Silvers: for Gift in the Short Film category and The Bomb Sniffing Rats Saving Lives in Mozambique in the Changing The World Frame By Frame category.

These are just the latest in a string of accolades for the Tusker campaign, which has already picked up an African Cristal Film Grand Prix; two One Show craft merits; Creative Circle Ad of the Month; Ad of the Week from MarkLives; and a Special Mention on ididtht’s SA Film Reel.

Dan thanked everyone who’s made the campaign such a success, especially Net#work’s creative team of producer Caroline Switala, creative director Tim Beckerling and chief creative officer Mike Schalit; DOP Fabian Vettiger; editor Stephen du Plessis; VFX artist Blake Prinsloo; Sibot and Rob Brinkworth for the music and sound; and line producer Vjorn du Toit.

“We’re so proud of Dan and Vjorn,” says Egg Films’ executive producer Colin Howard. “And we’re super excited about our future together.”

Since joining Egg last month, Dan’s been in demand, directing campaigns for YouTube and Vodacom.

He’s also one of South Africa’s most popular YouTubers, with over 20m views and 70 000 subscribers to his DantheDirector channel.

– Kevin Kriedemann

LiveTree: From little acorns…

| New Media

A socially responsible financial system that benefits everyone?

A system that gives back rather than takes? Surely a Utopian fantasy in a profit-driven global marketplace? Not according to social crowdfunding platform LiveTree, which is busy proving that doing good business and doing good – to charity, people and the environment – are not mutually exclusive.

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iveTree’s alternative funding platform is targeted at creative projects and their creators, including filmed content, music, publishing, journalism and technology. The pilot site launch was last year in February and went fully live in April. In its first year of operation, it has helped more than 100 filmmakers to fund on-screen projects, while simultaneously raising funds for a variety of good causes.

LiveTree is the brainchild of Ashley Turing, a serial tech entrepreneur and consultant. The platform was initially launched as a three-tier proposition consisting of a crowdsourcing social network, a crowdfunding service and an e-commerce marketplace. It soon became clear, however, that this set-up was too complicated – wouldbe creatives and investors liked the idea but were boggled by its practical application. “So we took some painful decisions,” Turing recalls. “We decided to strip away functionality and make the service as simple as possible. We realised people had to ‘get it’ in a couple seconds or they’d just clicked away.”

On the basis that lack of money is a major brake on many worthwhile creative projects, Turing and his team opted to focus on crowdfunding. The next challenge was to rebrand and reposition LiveTree as a simple, userfriendly concept. “We are now slowly experimenting with how to add additional features without compromising that

Tom Hurst, head of business development, Ashley Turing, CEO and Lennard Van Otterloo, chief marketing officer clarity and simplicity,” Turing adds. “We decided to focus on the film industry first, because filmmakers are already familiar with crowdfunding, which meant that introducing them to a new model would be less of a learning curve.”

The philosophy behind LiveTree is a blend of altruism and pragmatism. On the philanthropic front, the objective is to enable human potential by providing a platform that encourages and rewards socially responsible growth, and shares the benefits not only with the stakeholders but with charities. “We also want to raise the reach and power of the individual to the level enjoyed by global corporates,” Turing adds.

And then there’s inconvenient economic truth that the global financial system is no longer fit for purpose. As the crash of 2008 demonstrated, the current system is creating ever-widening pay, social and geopolitical divides that are driving the world into frightening and unsustainable levels of debt. As Turing puts it: “The problem with the present model is that it doesn’t promote real growth – that is, building stuff, creating things and taking care of the environment and the people around us.”

He points out that the European Central Bank is expecting ‘slow’ – “which means virtually no” – growth for the next 50 years. “This is because corporations can make huge sums of money by financialising their assets, playing the stock markets and betting on the financial system, instead of creating jobs, innovating and producing real things in the real world,” he adds.

“But the fraud can’t go on forever.

Governments are reaching 100 per cent GDP debit levels, which means there’s no more money left in the system. Add to the mix environmental concerns and the western world’s rapidly greying population and it’s clear that, unless drastic measures are taken, there’s a real danger of chaos post 2050.”

LiveTree’s response to the broken financial system is to harness new technology to the information economy and good old-fashioned human relationships to create a catalyst for real growth. A key problem with crowdfunding is getting projects in front of the right investors. LiveTree’s solution is to market projects by the time-tested technique of personal recommendation.

To achieve this, the platform has devised a transparent referral (sometimes called affiliate) system called Branch Out, reflecting the imagery of the LiveTree brand. Project creators ‘branch out’ by dedicating a percentage of what they raise to any bloggers, journalists or individuals who recommend potential investors to the project via their networks and social channels. Anyone who shares a project also earns percentage rewards when someone in their network funds it. The commission percentage earned by the promoter – or ‘Brancher’ in LiveTree-speak – is set by the project creator. In this way, ad spend is diverted to people who genuinely care about the project rather than profit-driven corporates. “And as Livetree has no financial interest in advertising, there are no online gatekeepers,” Turing notes.

Project creators can also dedicate a percentage of the funds raised to a nonprofit or charitable organisation, which in turn incentivises these organisations to promote the project. It also means that those who pledge money to a project are supporting not only creativity, but a good cause. Charities, non-profit institutions and industry partners are encouraged to help market projects in return for a portion of the funds raised. The end result is that everyone gains: project creators, Branchers, those who pledge funds and non-profit/charity organisations.

In its beta phase, LiveTree succeeded in building an online community of more than 10 000 investors and raising around £150 000 for a variety of creative

projects. These range from new feature length doc Awake, A Dream From Standing Rock from Illumina Studios due to premier at Glastonbury Festival in June to ambitious creative works, such as the feature film Shakespeare’s Heroes and Villains, written and starring Steven Berkoff (Clockwork Orange, Beverly Hills Cop, Octopussy), which debuted in May. Berkoff’s precursor to the film was the one-man show Shakespeare’s Villains, which had its first run at London’s Theatre Royal in 1998. Since then, what has been described as a ‘masterclass in evil’ and has toured the world to huge critical and commercial success. The feature-film version explores some of the Bard’s most notorious characters – Macbeth, Iago, Shylock, Richard III, Corialanus – as well as some of his most heroic. Berkoff acts as a guide in a performance that is part workshop in Shakespearean acting, part stand-up comedy and part academic analysis.

“I don’t think it’s an exaggeration to call this is a landmark film,” Turing says. “Shakespeare’s Heroes and Villains has huge value to the global Shakespeare community – from actors through academics to fans – and is a great illustration of how LiveTree is helping to realise projects that add to society’s creative wealth and value.”

He adds that LiveTree has also put together a series of collectible items, learning materials and Steven Berkoff memorabilia, which it is offering in return for funding to help market the film.

So what’s next for LiveTree? Turing has a lengthy list: “Developing social networking, time-banking, time-card and listing features, along with a mobile app for instant projects, a socialnetworking crowdsourcing feature, a marketplace, P2P financial services…”

Seems there are a lot more branches on this particular tree.

– Jo Stephens

July 2017 | SCREENAFRICA | 17

FILM

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Nul is Nie Niks Nie – From novel to big screen Filmmakers are increasingly looking to turn popular young adult books into movies. Now, out of South Africa, comes Nul is Nie Niks Nie, a heart-warming and darkly amusing new film about life, death and everything in between.

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he film tells the story of three friends living in a sleepy town – Martin ‘Hoender’ (Jaden van der Merwe), Drikus (Pieter Louw), and Chris (Daniah de Villiers) – who set out to make Drikus’ dying wish come true.

Young adult book to film successes include Whale Rider, a 2002 New Zealand-German family drama film directed by Niki Caro, based on the novel of the same name by Witi Ihimaera,

which earned more than $41 million, as well as an Oscar nomination for 13-year-old Keisha Castle-Hughes. In 2012 The Perks of Being a Wallflower brought to the big screen the tale of a trio of friends struggling to find a place where they belong. The Fault in Our Stars, the 2014 drama directed by Josh Boone, and based on the novel of the same name by John Green about two young cancer patients who meet

at a support group, was a blockbuster that grossed more than $307 million.

Nul is nie Niks Nie is based on the hugely popular Oor ‘n Motorfiets, ‘n Zombiefliek en Lang Getalle Wat Deur Elf Gedeel Kan Word, (About a Motorcycle, a Zombie Movie and Large Numbers Divisible by Eleven), by prolific South African children’s book author Jaco Jacobs who has published more than 100 books for children and young adults.

The film was directed by Morne du Toit: “I read the book Oor ‘n Motorfiets, ‘n Zombiefliek en Lang Getalle Wat Deur Elf Gedeel Kan Word, it deals with cancer and a very strong binary theme of life vs. death. It also had a fun sub-plot of ‘kids making a zombie movie’ that was secure in a metaphor of ‘running

away from death’ – these are good signs for a potentially well balanced and compelling film and I knew I wanted to take on the challenge to make this picture. Films like Stand by Me (Harold Ramis), ET (Spielberg) and What’s eating Gilbert Grape (Lasse Hallström) have always been some of my favourites and looking back at my debut feature film, Hoofmeisie (2011), I think (amongst other genres) I enjoy the challenge of making films with child actors in leading roles who are forced to deal with so-called adult themes like leadership, loss, facing death and choosing life,” he comments.

“It was a big responsibility to adapt the film because Jaco Jacobs is a well-known and much-loved author,” says Lizé Vosloo, who wrote the screenplay for the film and is also a producer with Stefan Enslin, who produced the hugely successful Strikdas: ‘n Familie Gedoente. “There are no rules or guidelines that tell you exactly

“Adapting a novel is challenging. Because words are charged with meaning, they can describe a feeling, a setting, a thought. You don’t have that in film. Your characters can’t say everything they feel or think, you have to show what your character is experiencing. That’s why capturing the heart of this moving, delightful novel was so important.” – Lizé Vosloo 18 | SCREENAFRICA | July 2017

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what makes a novel a good contender for a film. Both set out to tell a story. The difference between the two is that a novel makes use of words to create the world the story is set in. With a film, you tell the story by making use of pictures; you show the story through actions.”

Like the terminally ill teenagers in The Faults in our Stars, the characters in Nul is Nie Niks Nie show readers and viewers that a short life can still be a good life. In between all the pranks, there is a profound, realistic portrayal of teenage tragedy,” comments Helen Kuun of Indigenous Film Distribution.

Vosloo says the first time she read Oor ‘n Motorfiets, ‘n Zombiefliek en Lang Getalle Wat Deur Elf Gedeel Kan Word, she was deeply touched by the story, a factor that helped her convey the essence of the book in the film: “Adapting a novel is challenging. Because words are charged with meaning, they can describe a feeling, a setting, a thought. You don’t have that in film.

Your characters can’t say everything they feel or think, you have to show what your character is experiencing. That’s why capturing the heart of this moving, delightful novel was so important.”

Knowing every part of the story is essential, says du Toit, including themes, characters, setting, and plot. “If you understand the characters, their world, the choices they make, the relationships they have with other characters and with their world, you will be able to capture the essence of the story.”

Nul is Nie Niks Nie was shot on the Red Epic with Zeiss T1.3 Super Speed lenses at 5K in 16:9. “With the story being set in Watervalboven in Mpumalanga I wanted to use the entire frame so that

we could capitalise on the landscape and the town’s setting,” explains du Toit. “The Red Epic was my DOP Eduan Kitching’s camera of preference and I have had great results with this camera on a couple of short films that I made. Kitching is a very well experienced colourist and was also the colourist on Nul is Nie Niks Nie, one of the reasons why I love working with him as DOP is he knows what we can achieve in post. Apart from the fact that the camera has very good low-light capabilities and gives a versatile RAW image, a smooth workflow was also important to us. It is a file format and post process that we are familiar with so it was a no-brainer ‘let’s work with what we know’ and focus on the story. After all, I believe the camera is an extension to assist in achieving a vision, not the hero.”

The film is brought to life by the trio of friends at the heart of the story. Thirteenyear-old Hoender is a mathematics genius and a successful chicken farmer who is missing his father. When Drikus moves in next door, Hoender unexpectedly befriends him and discovers that the new boy has Hodgkin’s disease and dreams of making a zombie movie before he dies. The trio is completed

by Chris, Hoender’s dream girl.

They quickly form an unbreakable bond, and together they escape the monotony of their daily lives – school bullies, Drikus’ overprotective parents and Hoender’s reclusive mother are all forgotten as they focus on making their movie. Together, the friends discover that zero is not nothing – it’s slap bang in the middle of the positive and the negative, signifying pure potentiality.

Du Toit says that the response to the picture thus far has been overwhelming:

“I have never worked so hard on a picture and after viewing the film with channel head’s and commissioning editors at kykNET and M-Net, the response was that they absolutely love the film, which was a major relief. Jan du Plessis (director of M-Net channels) praised our achievement by saying that we made the film look like it was shot with double the budget that we actually had to work with (that made me cry of joy inside), and they are especially impressed with the performances by the young actors. Helen Kuun from Indigenous Distribution was pleasantly surprised that the film turned out to be a very good balance between an art film that deals with sensitive themes, and that is supported with fun adventurous elements which also makes it appealing for a more commercial audience. Box Office release can be very unpredictable so we will have to wait and see what the critics and the general public think, but we are excited indeed,” he concludes.

The Nul is Nie Niks Nie cast includes Morné Visser, Marisa Drummond, Antoinette Louw, June van Merch, Kim Syster, Bradley Olivier, and Francois Jacobs. The film was produced

by Stefan Enslin and Lize Vosloo.

Nul is Nie Niks Nie is produced by Redhead Productions and Faith in Motion Productions, in association with kykNET Films, the ATKV, and the DTI. It is being distributed in South Africa by Indigenous Film Distribution, and will be released in cinemas nationwide on 7 July.

– Monique Verduyn

TECH CHECK EQUIPMENT • Camera: RED Epic

“Apart from the fact that the camera has very good low-light capabilities and gives a versatile RAW image, a smooth workflow was also important to us. It is

Behind the scenes with director Morné du Toit and the young stars of Nul is Nie Niks Nie

a file format and post process that we are familiar with so it was a no-brainer ‘let’s work with what we know’ and focus on the story. After all, I believe the camera is an extension to assist in achieving a vision, not the hero.”

– Morné du Toit

July 2017 | SCREENAFRICA | 19

FILM | OPINION

New tool for cooperation and collaboration in the African film Written by Lara Preston,

owner, Red Flag Content Relations

Anyone who has worked in the film industry in Africa for any length of time knows the importance of cooperation and collaboration. Perhaps more than in other regions around the world, Africa presents many challenges to emerging filmmakers and content producers. However, the sheer vastness of the continent, the expense of internal travel, the difficulties in transferring money, and even language barriers make cooperation and collaboration extremely difficult. Most importantly, the challenge of raising funds to produce films is extremely difficult for just about all African filmmakers, especially those in less developed markets.

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raditional means of raising funds have proven to be unsuccessful at scale – meaning that although there are sporadic and anecdotal successes, no model has yet to truly transform the industry across Africa, combining into one system a way to fund, distribute and then further monetise filmed content.

Traditional models of funding are failing in that although they may provide support on the funding side, there is no link or seamless thread through to the distribution and promotion of the film.

Whilst in countries like South Africa there are bodies like the National Film and Video Foundation, and other funding entities, the process is gruelling and funds are extremely limited. Most other

20 | SCREENAFRICA | July 2017

African countries don’t even have such funding entities and very few have tax incentives for investors within the sector.

It is also virtually impossible for filmmakers to access commercial loans as the banking sector views the industry as high-risk with little chance of return, which, based on the current fragmented systems of distribution, is not an incorrect assessment.

The new model of crowdfunding for film production budgets has proven moderately successful on a small scale, and at least incorporates in its model elements of promotion and marketing, alerting potential markets that the film is being produced, it is still, on its own, not a viable model for the industry at scale across Africa.

What is needed is a model that bypasses the obstacles to the industry, which actually includes government departments, NGOs, banks, and even broadcasters. The African movie industry needs a way to connect producers, advertisers (funders) and consumers in a seamless loop.

A new digital community that is about to launch will do just that. Mahala. tv is a digital platform that will create a virtual community for filmmakers, designed for content producers as a simple way to distribute and monetise content, as well as providing opportunities for pitching, crowdsupport, and funding for productions.

A seamless digital model that bypasses both broadcasters and

cinema chains makes perfect sense on a continent that is seeing exponential increases in mobile phone and device penetration, and broadband access.

Mahala.tv will be an enabler for content producers as well as the many new VOD platforms appearing on the continent. The platform is basically a back-end tool that will enable content producers as well as aggregators and distributors to easily distribute and monetise their existing platforms, be it websites or social media pages.

Unlike existing models such as YouTube and others, mahala.tv enables content producers to share their content via any digital platform (no player required), and to self-monetise content through a variety of subscription and advertising models.

The platform therefore enables content producers to create and own their own communities, and to share content on any social media platforms or their own websites or even via bespoke white-labelled apps.

The platform creates opportunities for content producers and aggregators to advertise within videos, to set up subscription or pay-per-view models, and provides the most advanced and effective way to secure product placement. Viewers can instantly buy any product seen in a video with a simple process supported by a free and secure digital exchange.

This digital exchange also enables real-time payments to producers for

OPINION

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industry: mahala.tv

content downloads, streams or related purchases from anywhere in the world.

With all this functionality, content producers can instantly create their own Facebook shops and add e-commerce elements to their websites. All content views and downloads, along with payments, can be tracked in real time.

Members of the community can also pitch projects to receive funding via the revenue pool created from a percentage of advertising, or via crowdfunding platforms from within the group. The cooperative banking model that underpins the system creates opportunities for filmmakers to secure loans and gather crowdfunding from within the digital community.

This seamless functionality creates a cooperative community where the processes of funding, distributing, promoting and monetising video content are available to any and all producers across Africa in one digital solution.

Once launched, the platform will be open to all content producers who will then be able to easily break down barriers in terms of distribution, advertising, payment, and even bandwidth and data costs.

One of the major challenges to the digital consumption of content across Africa is the cost of data and bandwidth. Whilst the desire for the product is there, and with smartphones and devices more and more becoming the viewing mechanisms of choice, it

is only these prohibitive costs that are preventing the market from exploding.

In order to systematically address this issue, mahala.tv is already in discussions with key mobile network operators across Africa to ensure that viewer’s data consumption costs will be zero-rated across the platforms.

Data costs would be fully subsidised by the advertising revenue raised from the platform – meaning more people can watch more content more often.

This win-win solution, based on mahala.tv’s advanced advertising and cooperative banking model, will see consumers able to watch content at little or no cost and producers able to secure revenue and produce even more content.

By addressing this fundamental challenge on the ‘demand’ side of the digital distribution equation, the platform will be a game-changer for the industry, enabling the increase of consumption and creation in an upward and exponential spiral.

The CEO of mahala.tv is well known and respected South African director and producer Gerard Mostert, who, in the next few months will be taking the platform to various events to engage directly with filmmakers and content producers.

Mahala.tv is the sponsor of the inaugural SOKO FILAM Film and TV Content Market taking place at the Zanzibar International Film Festival from 12 to 14 July. Here, the mahala.tv

team will be meeting with producers, distributors, and digital start-ups, finding further creative ways to assist filmmakers in getting their content distributed across Africa through a secure and sustainable platform.

Mahala.tv is also sponsoring the Pitching Competition and Screening Lounge at DISCOP Johannesburg 2017, taking place from 25 to 27 October.

This year the pitching competition will be based on various categories within the shorts format – enabling a focus on digital distribution.

Mostert has this to say of these partnerships: “To celebrate the launch of mahala.tv, and to start sharing the innovation with producers, we are proud to sponsor the first SOKO FILAM content market at the Zanzibar International Film Festival. We see this market as an opportunity to meet one-on-one with producers, aggregators, and other industry players from East Africa. Mahala. tv has also partnered with DISCOP Johannesburg to put out a call for short format content that will be showcased at the three-day industry gathering. Mahala. tv is especially excited to be hosting the pitching competition and will be offering funding support to winners, as well as welcoming all independents to become part of a new global community of producers that will enable them to create, share, and monetise content.”

Mahala.tv’s presence at DISCOP will be significant; in addition to the competition

that is open to producers from across Africa to pitch their short content ideas from documentaries to animation, short content producers are also invited to submit their content for screening at the mahala.tv Screening Lounge that will be hosted within the main exhibition area.

Selected producers whose content and pitches are accepted will be provided with free accreditation to DISCOP Johannesburg where they can enjoy all the networking and business opportunities afforded by Africa’s largest content market.

The time is right for a solution like mahala.tv to revolutionise the emerging film industry in Africa. With literally millions of stories waiting to be told, and tens of millions of potential consumers, the power to transform the industry into one that is both profitable and culturally relevant will now be in the hands of the content producers themselves. And it’s about time.

The platform will be fully operational in October 2017.

July 2017 | SCREENAFRICA | 21

FILM

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Still from Troupes of War: Diturupa

The rebirth of black history in

WWI –Troupes of War: Diturupa The Diturupa Festival is an annual celebratory affair that takes place on 26 December at Makapanstad; a vibrant community in the North West province that is 100 kilometres north of Pretoria.

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his historical event is influenced by Scottish traditions and was adopted by black South African soldiers who participated in World War I in Europe. The soldiers would come back to their hometown, to a ‘hero’s welcome’ by their community, however this iconic picture is a far cry from the reality experienced by these soldiers both in combat and upon return to their country.

The grimy untold story behind the glorious event is explored in the film, Troupes of War: Diturupa by Lucas Ledwaba and Davison Mudzingwa.

“The film has a unique perspective.

It has a tradition that is appropriated thousands of kilometres away from its home. That alone will spark interest.

Most importantly, it is the perspective of black African soldiers and their role during World War I. It’s a story

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that has not been told exhaustively, so there is hunger for such a story,” shares director Davison Mudzingwa.

Mudzingwa is a former journalist turned filmmaker with a string of films and documentaries that have been featured on the festival circuit. His friend and journalist, Lucas Ledwaba has written a vivid account of his experience at the Diturupa Festival titled, Diturupa, relics from a tragic past.

“We had been friends for some time and Lucas had done a story about the Diturupa festival in the mainstream media publications such as the City Press and the Sowetan. He knew and admired our film work. He suggested that this festival was unique (and that) we could work together to document it through film,” explains Mudzingwa.

While conducting research for the

film in 2014, the pair soon discovered that the content that was archived in history books did not really suit the kind of research they desired to pursue for their film, and for the story angle that they intended to explore.

“We have watched stories about World War I and II over the years. Nothing really struck us as focusing on African soldiers that played a role in these world wars. We thought their contribution to these wars that changed the course of world history deserved a proper place in history and by making such a film, we were in a way immortalising our fore-bearers’ role in shaping this world,” says Mudzingwa.

The pair went back to the drawing board; deciding to make the Makapanstad Diturupa Festival the focal point of their story. “The display and repertoire is the most amazing part of the festival. It is partly Scottish tradition appropriation as well as military drills that are transformed into dance and performance. This tradition is believed to have been brought back by black South Africans who went and participated in World War I. The significance is incredible; it’s an organic commemoration of the role of black soldiers in the Great War. It is a community organised event and the tradition has

The Diturupa Festival has been an annual feature in the Makapanstad village

“The film has a unique perspective.

It has a tradition that is appropriated thousands of kilometres away from its home. That alone will spark interest.”

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TECH CHECK

– Davison Mudzingwa

been passed through generations and it has managed to survive the evolution of time,” says Mudzingwa “I was driven by the colour of the Makapanstad Diturupa Festival.

We discussed as a team that every narrative that will be weaved in, will have to go with the rhythm of the festival. It was a challenge (at first) but once we were in the editing suit weaving the storylines together; the result was satisfactory,” he adds.

Shot in Makapanstad, Cape Town, Berlin (Germany) and France, the film took three years to complete and came with multiple hurdles and accomplishments: “The challenges were funding; we covered the first lap with our own savings.

The National Film and Video Foundation

Men clad in military and Scottish attire celebrate in Makapanstad

came on board and their funding was helpful,” explains Mudzingwa. “The other challenge was finding the right characters to tell the secondary level of the narrative (that of the role and treatment of black soldiers in the war). It took us a lot of time but we managed to have an incredible cast. The last challenge was in postproduction; the Diturupa festival and the role of black soldiers looked parallel, we had to find a storyline that would glue these two narratives together.

Lucas’ research work and passion about this topic became the remedy.”

Troupes of War: Diturupa was shot using the Cannon FX 100 and the Canon 7D. “These cameras are less intrusive to characters and they reproduced amazing colour from the festival,” says Mudzingwa. “Lighting was also crucial for a film of this nature. We used a lot of a new generation of LED lights and sound, we relied on our external recording using the Tascam Field Recorder. Interviews were done with lav (lavalier) microphones.

The editing was mostly driven by the rhythm of music and dance.”

Extra footage for the film was contributed by Ditsong Military Museum, South African National Defence Forces and Shutter Stock. Post-production was done by Mvura Ya Afika Productions; with editing by Themba Vilakazi and animation by Sequence Digital.

“The spine of the story is told through two major characters Frans ‘Rocker’ Monaledi and Simon Mputla.

They are from rival troupe groups in Makapanstad. As we count down to the day of the festival, they speak about their knowledge of Diturupa and its origins and how it has evolved. Human stories are also weaved in the narrative.

As this unravels the film through Lucas’ search for knowledge of how and when this tradition came to Makapanstad, we get to know that it was brought by black soldiers that survived World War I,” Mudzingwa explains. “ “We speak to military historians, who are also descendants (of those) who perished in the accident of naval

ship SS Mendi that was on its way to France with the South African Native Labour Contingent. Over 600 men were aboard. These descendants are Chaplain General of the South African National Defence Forces, Monwabisi Jamangile and Jacques de Vries. We also spoke to a military historian based in Berlin, Romaine Devauchelle, who gave the world view of the role and treatment of black soldiers during World War I. It took us a long time, more than a year to find and convince them to contribute to this documentary, but I guess they appreciated the importance of such a story and we are grateful,” he adds.

The film premiered at the Encounters South African International Documentary Festival this year and is lined-up for other film festivals including the Durban International Film Festival (DIFF) and the Zanzibar International Film Festival (ZIFF).

“The film is just starting out its festival journey and after one festival; we are confident that it will go far.

A major highlight for me was when school pupils in Alexandra township, Johannesburg watched it. They were passionate and interested about this history. This brought some sense of fulfilment that the film is resonating with young people,” shares Mudzingwa.

While the film hopes to shed light on the plight of these men in history, for the families who are left with the tradition, the film brings insight and appreciation of a history untold.

“We believe that once the story has been told like this, we have played the first part of the relay. Our hopes are that this will inspire more support from various players such as the government and corporate sector to support such initiatives that commemorate important events and people that risked their lives for future generations,” concludes Mudzingwa.

– Gezzy S Sibisi

EQUIPMENT • Cameras: Canon FX 100 and Canon 7D

“These cameras are less intrusive to characters and they reproduced amazing colour from the festival.”

Music and dance form part of the annual celebration

KEY CREW Directors: Davison Mudzingwa and Lucas Ledwaba Producer/Writer: Francis Yannicq Hweshe D.OP/Editor: Themba Vilakazi

July 2017 | SCREENAFRICA | 23

Television

|

VIMN Africa connects with local audiences Viacom International Media Networks (VIMN) Africa is a television hub that boasts multimedia entertainment channels such as BET, Comedy Central Africa, MTV, MTV Base Africa and Nickelodeon Africa. With offices in Johannesburg, South Africa and Lagos in Nigeria, VIMN Africa promises to bring more localised content for its African audience.

“T

he reality right now is that Africans, now more than ever before, want more African content – and our business model is built on providing great local as well as international content. Allied to that, people watch what resonates with them emotionally and as long as we continue to tell great stories, people will watch on any screen or platform,” says executive vice president and managing director of VIMN Africa, Alex Okosi.

Viacom International has always tried to get into their consumer’s minds and environments. This, they do by conducting research studies on their target groups for the different channels and programmes. “For broadcasters like us we need to be incredibly nimble and make sure we are in every single space that matters to our consumers, and cater to every taste that interests them,” explains Okosi.

Okosi says that the music and entertainment channel, MTV Base was launched in Africa 12 years ago, when there was very little local content produced on the small screen. “We launched MTV Base in Africa with the vision of giving an African and global platform to major talent – it was about showcasing a vibrant, talented continent; a re-imagined Africa.”

This was also emphasised through the brand’s mission to provide local and African artists with access to global award stages. VIMN Africa introduced the Best African Act at the Europe Music Awards until 2008, when they launched the MTV Africa Music Awards (MAMAs).

Last year, the MAMAs took place in South Africa for the very first time and it is estimated that the event contributed millions of rands to the local economy.

“As a result of the MAMAs, not only have we seen an increase in collaborations between artists of different genres and from different countries, but

24 | SCREENAFRICA | July 2017

also an increasing number of African artists being catapulted onto the world stage – Wizkid being the most recent example. And whilst we can’t claim full responsibility for those successes, we believe that the awards have been a significant catalyst. Similarly with the BET Awards, African artists are presented with the opportunity to take their careers to a new and greater audience.”

Besides musicians, the broadcaster has also played a part in curbing youth unemployment by hosting shows such as the MTV Base VJ Search, which unearths new talent and brings fresh faces to the local entertainment scene.

“VIMN Africa contributes to the economy in a number of ways including direct employment, commissioning programming, and events and activations. Our business employs people across the continent – the majority of whom are young people working across multiple portfolios,” shares Okosi.

“Our channels commission many hours of new and original programming every year which provides work for production companies across the continent… As a result we worked very closely with new production companies to deliver exciting and innovative content, and by implication, creating employment.”

VIMN Africa is also trying to diversify their local content in a number of genres.

These include entertaining, competitive and challenging shows like Lip Sync Battle Africa with Pearl Thusi and Denrele Edun and the Comedy Roast Battles.

The BET channel has also recently premiered its first ever local gospel show, Rhythm and Gospel with Khaya Mthethwa. Vice president of BET, Monde Twala expands: “Gospel is one of the most loved local music

Alex Okosi

“The reality right now is that Africans, now more than ever before, want more African content – and our business model is built on providing great local as well as international content.” – Alex Okosi genres across the continent. Rhythm and Gospel has been well received

by BET viewers and we are excited about this new offering as it speaks to what our viewers want to watch.”

Twala joined VIMN Africa last year after leaving South Africa’s free-to-air channel, e.tv. Apart from heading the BET channel, Twala also takes on the Youth and Music brands of the company. “VIMN Africa continues to make great innovative strides in the market, and localising our MTV Base and BET channels will be one of the key drivers for our growth. Our Youth and Music brands MTV and MTV Base remain competitive, and ahead of youth culture and trends,” he says.

Base@6 is an example of a daily music lifestyle show which captivates the subcultural trends that the youth of today are into; another show is BET-alist with Nandi Madida which offers the latest local and international content in the world of fashion, music and movies.

Black excellence and proudly African content is also expressed throughout the channels, more especially on the BET Channel which has in the past only focused on African-American culture and content. The channel is

home to some of the biggest awards ceremonies which include the BET Awards, the Soul Train Awards, the U.S Hip Hop Awards and Black Girls Rock.

“While the BET brand has its roots in Africa-American culture, our channel is focused on showcasing great AfricanAmerican and African content that reflect the tastes of our local audiences. As an entertainment brand, we also strive to celebrate, elevate and acknowledge excellence by ensuring that we continue to tell authentic and entertaining stories with heart, compassion and soul. We are committed to growing and expanding the BET offering across Africa with localised and international formats of sitcom, drama, lifestyle and reality television content,” says Twala.

Apart from its entertainment programming, VIMN Africa strives to create awareness of ills affecting our African communities with shows such as MTV Suga and the local version Sixteen and Pregnant.

– Gezzy S Sibisi

iNumber Number adapted for the small screen

| Television

iNumber Number, the film which brought Sdumo Mtshali, winner of talent search competition Class Act, his film break will soon be taking over the small screen as a drama series by production company Quizzical Pictures.

“S

dumo in fact was the winner of Class Act 1, our acting reality show and writing a movie for him to star in was part of his prize. This is how iNumber Number was originally born,” says Harriet Gavshon, the managing director of Quizzical Pictures, who is also the producer of the iNumber Number film and now the executive producer of the television series.

In the film by Donavan Marsh, two main characters – Chilli Ngcobo played

by Mtshali and Shoes Moshoeshoe played by Presley Chweneyagae from the Oscar-winning film Tsotsi – are law abiding undercover policemen. Together they solve a huge case but are cheated out of their big reward by their corrupt superiors. This result in a bitter Chilli plotting a way to get him and his partner the money that he feels they were entitled to, which involves busting into a cash-in-transit heist gang scheme. iNumber Number had its international premier in 2013 at the Toronto International Film Festival, the film was then shown locally at the Jozi Film Festival in February 2014 where it earned an audience award, and was released in cinemas nationwide on 25 April 2014.

After a successful reign on the big screen, the remake rights of the film were awarded to Universal Pictures while Quizzical Pictures retained the rights to make a local television series/spin-off of the film.

“The two main characters Chilli and Shoes are great characters which we felt could have a life outside a feature film. They are also wonderful

actors so we are really keen to work with them again,” says Gavshon.

She says that a deal with Mzansi Magic has been in the pipeline since 2015 with Showmax Originals recently coming on board as a co-producer alongside Mzansi Magic – this, after Showmax’s recent venture into original content production.

“This will be amongst the first original productions on the Showmax platform and we’re really pleased to be working with them. This is hopefully a blueprint for the funding of future productions,” she affirms.

The 13-week series started shooting on May 2017 using a different production team from the one used on the movie.

However Marsh, the writer and director of iNumber Number, still assists the new team whenever he can, while pursuing his own film productions.

“Brendan Jury, who did the brilliant original movie soundtrack, is doing this soundtrack too; and Janno Muller from on-key sound is doing the sound design again,” shares Gavshon.

This is Quizzical’s first film-to-TV series adaptation which Gavshon agrees comes with its own hurdles and challenges, however for iNumber Number fans this new format promises new plots and twists to the original storyline.

“It is very challenging. Firstly, a film is a once-off event. The series has to live in people’s home for 13 weeks. The aesthetic has to change; it has to be a much more intimate experience. Also, we spent 25 days shooting the film. We don’t have that kind of luxury here,” she shares.

Set in the upbeat, sprawling

township of Alexandra, Johannesburg and its urban juxtaposing settings in Yeoville and Houghton, “The series is a mixture of gritty and sumptuous – because of the story and where it is set,” explains Gavshon.

The iNumber Number series promises to be action-packed with all the drama and suspense, guns, squibs, car chases and shoot-outs that one can expect from a crime-thriller TV series.

The series is shot on the Sony FS7 cameras. “They handle handheld very well and can shoot up to 4K which we needed for the action sequences.”

Gavshon expands: “The series is being shot on two cameras with easy rigs – so it has a handheld feel, like the original movie, to give it a sense of immediacy.

But it is not as stylised as the movie – we adapted the style to appeal to a television audience and for the small screen. It’s a different proposition but hopefully as exciting and tense as the original movie.”

Mzansi Magic viewers can expect to see the first episode of iNumber Number the series on 9 July 2017.

“The series is tense and exciting but has a very human and compelling emotional story at its heart. There are some big surprises,” Gavshon concludes.

– Gezzy S Sibisi

“The series is tense and exciting but has a very human and compelling emotional story at its heart.”

TECH CHECK EQUIPMENT • Camera: Sony FS7

“They (Sony FS7’s cameras) handle handheld very well and can shoot up to 4K which we needed for the action sequences.”

– Harriet Gavshon

KEY CREW Executive Producer: Harriet Gavshon and JP Potgieter Producer: Siphiwe Hlabangane Directors: Rolie Nikiwe, Catherine Cooke, Rea Rangaka DOP: Gavin Sterley Line Producer: Diane Alex Flak Music Composer: Brendan Jury

July 2017 | SCREENAFRICA | 25

New Media

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Uk’shona Kwelanga – SA’s first WhatsApp series According to the 2017 South African Mobile Report by Effective Measure, 83 per cent of the population are WhatsApp users. This comes as no surprise in a country where #DataMustFall campaigns fall on deaf ears and WhatsApp has stepped in to offer a data-efficient way of keeping in touch and using its list of features which include texts, audio notes, work documents, images and videos – this has resulted in the country’s first WhatsApp drama series Uk’shona Kwelanga.

U

k’shona Kwelanga, is a 7-part series conceptualised and produced by acclaimed TV writer Bongi Ndaba and advertising agency King James Group.

Ndaba has a lengthy history in producing content for the TV market which resulted in some of the most highly-rated storylines and awardwinning shows that include Generations, Home Affairs, Sokhulu and Partners, and Shreds and Dreams which is based on Ndaba’s play that was at the Market Theatre and was then adapted to a television series format.

“King James Group, an ad agency commissioned by Sanlam to do their campaigns found me because of my experience as a TV writer. Then the brainstorm started,” explains Ndaba briefly.

The brief was to find a story angle to portray Sanlam’s new funeral product offerings; however with the competitive and congested market that is already shown on TV, which is no longer enticing to viewers, Ndaba had to find an unconventional and yet relatable way to tell this story and re-engage the audience to one of life’s most dreaded events.

“King James wanted to do something different – not the usual commercial – something accessible to people. Also the Funeral Scheme market is an important business for Sanlam; however in the past they have had challenges making inroads as a brand that is strongly associated with this offering. Besides having a very strong product offering to talk about, they wanted to demonstrate to their market that Sanlam has an understanding of the realities that come with the planning

26 | SCREENAFRICA | July 2017

Bongi Ndaba of a send-off for a loved one. So the creative challenge was to find a way to show this, in a way that would resonate with the target market and through a platform that they already engage with.”

The storyline is centred upon black family dynamics when the unforeseen death of a family elder, Bab’ Langa, occurs. His bereaved family is left with the task of planning and arranging the funeral. The family decides to start a WhatsApp group to plan the arrangements and shared responsibilities toward giving their much-loved family member a proper send-off. However drama sets in as family feuds, money matters and secrets come to bare as the plot thickens.

In order to follow the story, mobile users need to SMS their name and number to 45603 to be part of the

“The relatable story and approach to a sensitive subject matter, done in a fresh and unique way is why it resonates so well with the audience.”

– Kim-Lara King

Uk’shona Kwelanga WhatApp group and receive daily ‘conversations’. A once-off standard SMS rate applies.

“The WhatsApp drama is told through text, audio notes, photos and video – just as if you were following a real family group (it’s an entirely new format). It is light on data so it’s easy for anyone to access it,” informs Ndaba.

Kim-Lara King, the content producer from King James Group and her team had the challenging task of taking Ndaba’s script and laying it out for production. “The most challenging aspects of this project was casting the right on-camera talent as well as nailing the scriptwriting. The message had to be relatable, so creating a fine balance of drama and real-life was key.”

“Collaborating with the best talent on our jobs is key to King James producing quality work. Leeroy Jason (photographer) who’s well known within the soapie industry and whose work reflects real life seemed like a great fit,” King adds.

The series was shot in Soweto and features several TV personalities from various soapies such as Linda Sokhulu and Makgotso M from Isidingo, Ivy Nkutha from Generations – The Legacy, and Bongani Madondo from Skeem Saam.

“It was very important to the team that we keep the overall look and feel of this campaign as authentic and real as possible. Shooting on location in Soweto was crucial in achieving this,” she says.

Jason created the stills for the series using the Nikon D3X, while Yash Lucid from Lucid Media captures the video scenes using a Panasonic GH4 camera.

“Photography took the lead on this campaign, establishing the overall look and feel with video following on to create the same aesthetic,” King shares.

The series has certainly taken the interest of South African mobile users as we are a curious nation with a rapidly growing focus in mobile technology, faster communication and great storytelling.

“The relatable story and approach to a sensitive subject matter, done in a fresh and unique way is why it resonates so well with the audience,” concludes King.

– Gezzy S Sibisi

Narrow appeal

OPINION

| New Media

– the secret to a larger audience?

Have we finally reached FX Network president Written by Akash Bhatia, John Landgraf’s peak TV? By now I think we’ve all chief financial officer & head of Content, Showmax seen the stats on the meteoric rise in the number productions more expensive, but Showmax with incredible Hollywood are we in danger of escalating costs and British content, but also with a suite of scripted original series – up from 182 series in crushing creativity and risk taking? of Polish films and an episodic political How many more safe-bet series and satire Ucho Prezesa (The Chairman’s Ear).

2002 to 455 in 2016. No, you’re not imagining movies based on existing character A Polish political satire – think about universes before audiences revolt? that for a second – dub it, subtitle it, do it, there is way more to watch today than ever The other challenge is viewer fatigue. what you want, but the jokes will never Like an addict, we need bigger and carry. Yet when it comes to our viewing before. Need more proof? Netflix is reportedly bigger hits to feel anything. I’m thinking figures, it turns out that specialised local content is exactly what works. spending $6 billion on content in 2017. I’ll say that 1977 Star Wars vs. 2017 Guardians of the Galaxy II. Both (in my view) Turning to South Africa, we’re fantastic movies, but it’s like comparing currently in the process of filming Tali’s again slowly. Six. Billion. Dollars. In. One. Year. and encouraged to develop distinctive, consistent styles. This made them easier to market to top galleries, and better off, but less likely to engage in the kind of collaborations with fellow artists that spawned new movements. In short, once the dealers and the artists figured out reliable ways to make money, the art became more predictable and less interesting.

This sounds eerily familiar.

TV budgets are getting larger and

mage credit: Adriaan Oosthuizen

I

’ve no doubt we’re in a golden age of TV. Whether we’re at the peak or not is, in a sense, irrelevant. The one thing we know about golden ages is that sooner or later, they all come to an end. Perhaps a more relevant question is: what comes next?

I’ll back up just for a second. So is it inevitable that this incredible era of great TV, started by the likes of The Sopranos and cemented by Breaking Bad and Game of Thrones, will collapse in on itself? There’s a great article

by Ian Leslie in the Financial Times (‘Watch it while it lasts: our golden age of television’) that, among other things, draws parallels between the current golden age of TV with the 1870-1930 golden age in Parisian art.

Leslie explains how the Paris golden age began. Rebel artists, long constrained by the production and consumption hegemony of the Académie des Beaux-Arts, began holding their own exhibitions and collaborating among themselves and developing new styles. Commercial galleries sprang up along with a support structure of independent critics. In short, artists became free to experiment, and with the advent of this distribution channel giving direct access to consumers, the Academy was sidestepped and neutered. The boom ensued.

Sound familiar? Disintermediated by new technology (cable, satellite, DVD, PVR and latterly internet TV), the stranglehold of a few all-powerful TV networks was broken. With content buyers no longer demanding shows that conform to staid, safe network rules, the floodgates opened and here we are.

But Leslie warns that golden ages “contain the seeds of their own demise.” In Paris, as the boom progressed; A hierarchy of galleries had become established, with the big ones exerting disproportionate market power.

Artists were snapped up by dealers when they were young

a scalpel to a sledgehammer. The ‘we need a bigger bang’ mentality will surely hit a wall eventually.

So where does this leave Showmax and our push into original productions?

We think the answer may lie, at least in part, in going hyper-local.

Rather than chasing huge budgets and measuring each show against the potential for crossborder appeal, we’re going the other way.

Our first taste of this was in Poland, where we launched

Wedding Diary. It’s a mockumentary series about a self-obsessed Sandton princess who’s moved to Cape Town and hired a documentary crew to film the build-up to her wedding to her property-agent fiancé. The show stars Julia Anastasopoulos, who’s probably best-known for her YouTube alter-ego SuzelleDIY. If you’re not South African, it’s pretty unlikely you’re going to get the humour. But that’s entirely the point.

If you want to connect to an audience numb from ever-greater spectacle, perhaps it’s time to whisper, not shout.

I love The Big Bang Theory. Showmax subscribers love The Big Bang Theory.

The entire planet, it seems, loves The Big Bang Theory. So who in their right mind starts with the premise that ‘I’m going to do the same thing, but better’? We’d rather give our South African customers the option of the best Hollywood shows out there and at the same time offer something nobody else has – truly local programming made just for them. And we want to do the same in Kenya, and we’re doing the same in Poland, and so on.

No, hyper-local content isn’t new – the SABC (among others) has been doing it for years.

What is new is niche hyperlocal content on an SVOD platform that combines local and international in one place. I’m not suggesting that hyperlocal is going to replace big budget, but I do think the pendulum could well start swinging away from the current model.

Summing all this up: thinking small might just be the next step in unlocking larger audiences.

We’re certainly looking forward to finding out.

SuzelleDIY July 2017 | SCREENAFRICA | 27

FESTIVALS & MARKETS | OPINION

A good topic isn’t enough

– lessons from the Al Jazeera pitching forum Written by Kevin Kriedemann,

publicist for Al Jazeera Media Network, Africa from June 2011-June 2017

The Encounters International South African Documentary Festival hosted the sixth Al Jazeera pitching forum on Sunday, 11 June 2017 at Workshop 17 at the V&A Waterfront in Cape Town.

E

leven projects, selected from across Africa, were pitched to Al Jazeera’s commissioning editor, Farid Barsoum. While Barsoum primarily focuses on oneoff documentaries, special series and the popular Correspondent series; he represented all Al Jazeera strands at the event.

Projects pitched were all selected because they had fascinating topics.

Really fascinating topics. A thriving community living between two live minefields in Zimbabwe. The first pirate

28 | SCREENAFRICA | July 2017

Still from Somaliland: Kill All but the Crows, commissioned out of the 2015 pitches

convicted in America in 100 years. A community of Tanzanian stowaways in Cape Town. A woman in Kenya ‘inherited’ three times as a wife. A sibling rivalry between the director of a humanist school and a priest. A bushman forced to compromise his lifestyle in order to lobby the South African government,

who became famous for shooting an arrow into the parliament precinct…

I could go on. But as anyone who sat through the five previous Al Jazeera pitching forums should have known, a good topic isn’t nearly enough to get commissioned.

Great documentaries have come out

of the forum – like Mayenzeke Baza’s Ndiyindoda: I am a Man or Naashon Zalk and Zacharia Jama’s Somaliland: Kill All but the Crows – but unfortunately too many of the pitches over the years haven’t had more than a great topic.

So, for future reference, you’re not ready to pitch to Al Jazeera if:

OPINION

| FESTIVALS & MARKETS

“Documentaries are particularly risky to commission, because life is unscripted, so you can’t know for sure that a slice of life will turn into a story with a beginning, a middle and an end.”

Al Jazeera pitching forum 2017

about a group of Tanzanian stowaways living under the forlorn concrete flyover of Cape Town’s Nelson Mandela Boulevard.

Their pitch was excellent – apart from one glaring gap: despite living in the same city, they’d never bothered to meet any of the community they were planning on documenting. They’d met other journalists, who’d offered to introduce them, but they hadn’t yet actually spent any time with any of the Tanzanians.

As Barsoum said, “For me to say I’m interested, I need to know who these characters are. What is their story? What access do you have?”

These are the first questions any potential broadcaster will ask you; If you can’t answer either question, don’t bother pitching.

As an aside, Cilliers and Murray also pitched the idea of filming a stowaway as it happened, without explaining the logistics of how this would work: how do you film someone stowing away without drawing attention to their attempt, and if you gave them the camera to film themselves, how would you get that footage back afterwards? The pitch would have been stronger if they had dealt with this.

You can’t explain what audiences will see on screen

Farid Barsoum, commissioning editor, Al Jazeera

You haven’t found your character yet or confirmed access to them Barsoum said that from reading the applications, one project he’d been particularly interested in was Mia Cilliers and Jackie Ruth Murray’s The Beach Boys,

Kaizer Matsumunyane pitched Smiling Pirate, a documentary on Abdiwali Abdiqadir Muse, the first person to be charged in an American court with piracy in over 100 years.

Barkhad Abdi was nominated for an Oscar for his portrayal of Muse in the Hollywood blockbuster Captain Phillips, with Tom Hanks – a film Muse has several issues with, apparently.

In his gripping pitch, Matsumunyane told his impressions of the first time he saw Muse on TV and how this led him to visit Somalia and start an ongoing correspondence with the prisoner.

He clearly had a great character, and he clearly had great access, but what didn’t come across in the pitch is how this backstory was going to translate onto screen.

As Barsoum said, “While I like the story, I don’t have a clear sense of what you’re going to show me.

I really need that dimension: what exactly is going to be filmed and how are you going to tell the story?”

You have too many characters For character-led TV documentaries – like those screened on Al Jazeera’s Witness strand – less is more when it comes to characters. While festival documentaries can run over two hours and contain multiple characters, Al Jazeera only commissions for half-hour or one-hour slots – and hour slots are normally resolved for big issue films.

One of the better pitches was Tapiwa Chipfupa’s Children of the Soil. In her words, “Once considered the breadbasket of Africa, Zimbabwe is teetering on the brink of collapse.

Thrust in this turmoil is its youth; at the cusp of their lives, they should have everything to look forward to, yet now their reality portrays a different story.”

Chipfupa took this concept and then pitched three characters’ stories to illustrate it. Each character was clearly presented and worthy of a film.

But Barsoum’s first question was: “Do you need three people?” He suggested pitching one character for half-an-hour or two characters for an hour documentary, otherwise he warned “the individual stories aren’t given justice.”

If you do pitch multiple characters, be prepared for another of Barsoum’s questions to Chipfupa: “If you could only follow one, who would you chose?”

Incidentally, Barsoum also warned Chipfupa against the temptation to try to tell an entire country’s story through one or two characters, rather suggesting she narrow the scope to keep the focus on the characters, not what they represent.

Your pitch focuses on the ideas, rather than the emotions Lydia Matata pitched Better Sundays, a documentary set in a small religious community in Kasese, Uganda.

The film focuses on the attempts

by Robert Bwambale, the director of the Kasese Humanist School, to transform the beliefs of children and adults through secular teachings.

“Beyond people talking, what are you going to show us?” said Barsoum. “I’m struggling to see the film beyond the debate between two people. I can’t just have one side saying something and then the other side saying something, and so on. How is the narrative going to

move forward?”

During Matata’s pitch, there were glimpses of the potential for an emotional, moving story of the sibling rivalry between Robert and his growing humanist school on the one hand, and his brother, an evangelical priest with a shrinking community, on the other, but that didn’t come through strongly enough in either her pitch or treatment.

You want to tell a story outside of your country or continent Barsoum explained that Al Jazeera prefers to work with local filmmakers, who provide invaluable local insight – and also don’t require flights, accommodation and meals, so that money can rather be spent on screen.

You need more than $60k per half hour or $120k per hour Barsoum says budgets vary depending on the content requirements, so $60k per half hour and $120k per hour should just be seen as a rough guideline.

On that note, don’t spend all your money on the cameras. There’s no need to shoot your documentary in 8K for Al Jazeera. Barsoum suggests you shoot closer to broadcast quality and aim to deliver at 1080p. As he says, “Don’t go too technologically advanced for the end product; you’ll just be disappointed with what finishes up on screen.”

You don’t have any video footage Documentaries are particularly risky to commission, because life is unscripted, so you can’t know for sure that a slice of life will turn into a story with a beginning, a middle and an end. You can spend years only to find a story doesn’t go anywhere, or in directions you don’t want to follow. So your pitch needs to tick all of the above boxes, to reduce as much risk as possible. But even if your pitch gets all of these points right, if you can’t show any footage of your character, you’re at a major disadvantage to those who do. If a picture is worth a thousand words, a video component to your pitch is priceless.

July 2017 | SCREENAFRICA | 29

FESTIVALS & MARKETS

|

Digital Lab Africa 2017 set to spotlight VR Digital Lab Africa (DLA) debuted last year as part of the DISCOP Africa markets. As we gear up for the second edition of the Lab this year, we take a look at how last year’s category winners are doing after undergoing a 6-month incubation programme and find out what’s to come at the 2017 event.

D

LA aims to nurture and grow African talent and conceptions in the categories of Transmedia, Web Creation, Virtual Reality (VR), Video Game and Digital Music.

“The Digital Lab Africa was launched at DISCOP Abidjan 2016 by the French Embassy in South Africa, Trace TV and DISCOP. This initiative provides exposure for African creators of multimedia and multi-platform content.

It is essentially a ‘pitching competition’ providing mentoring, internship and market access opportunities to young talent,” says Patrick Zuchowicki, the founder of DISCOP markets.

In the 2016 edition, South Africans

Patrick Zuchowicki, founder of DISCOP markets 30 | SCREENAFRICA | July 2017

John DeVries and Gregory Kriek won in the Transmedia category for their interactive web series titled Reborn, while the Web Creation category was taken by Ayodele Elegba from Nigeria for his 2D animation family series Area Daddy. The Afro-Congolese online music platform, Baziks Pulse by Baya Ciamala, earned the award in the Digital Music category and Ivory Coast’s Kaba Diakité Amadou’s project, Points, took home the Video Game award. Lastly, a Virtual Reality dance experience titled Round Round by Yetunde Dada and Shariffa Ali from South Africa, won the VR award.

“The response was overwhelming (more than 500 submissions were received in 2016) and the quality of the finalist’s and runner-up projects was astounding enough to pursue the Digital Lab Africa initiative and provide even more exposure to creators, producers,

designers, start-ups, and students with innovative projects,” Zuchowicki says.

All participants were awarded an invaluable residency in France, where they were mentored and hosted by leading French media companies in their specified creative fields.

Round Round has since collaborated with DLA mentor, Antoine Cayrol from Okio-Studio in Paris to create the first ever VR co-production between France and South Africa, while the series Area Daddy and Reborn have attracted potential partners and investors from various international media companies.

Off the back of the undeniable popularity and success of VR content at the recent DISCOP Abidjan market, this year’s DLA programme at DISCOP Johannesburg is set to spotlight VR innovations.

“VR and Transmedia content production was an important part of the DISCOP Abidjan market with 1086 delegates in attendance, a lot of business deals, and the announcement of major co-productions between Francophone TV content producers from Africa and

“This initiative provides exposure for African creators of multimedia, multiplatform content. It is essentially a ‘pitching competition’ providing mentoring, internship and market access opportunities to young talent.”

– Patrick Zuchowicki

international players. The main deals were between RTI (Cote D’Ivoire Public Broadcaster) and ZEE TV (India) and TV5 MONDE (France),” shares Zuchowicki.

As part of the VR programme at the upcoming DISCOP Johannesburg event, a new technology pavilion will be installed to showcase VR equipment and manufacturers. There will also be a VR cinema by INVR.SPACE from Germany: “Germany is our guest country this year and is also one of the most active country-partners benefiting from film and TV co-production agreements with South Africa,” says Zuchowicki.

Masterclasses focused on VR content development and distribution, as well as discussions regarding the future of VR in Africa with leading VR producers will be another one of the highlights scheduled to take place during the DISCOP markets. A full list of the programme with details of the headlining guest speakers and VR producers will be available on 31 July 2017.

“We feel that VR content production will become a very important part of our DISCOP markets, both in Abidjan, Dubai and Johannesburg. One that will allow us to bring together the worlds of content and new technologies – two worlds that are very, very difficult to bring together under one roof. African content producers and creators will play an important role in the global VR ecosystem as they begin to use immersive VR technology to develop documentaries, educational material and marketing campaigns. Up until a couple of years ago there was an absence of African home-grown VR content. Things are now changing and global companies who are at the beginning of the widespread VR adoption are already looking into Africa to find new talent,” concludes Zuchowicki.

DISCOP Johannesburg will take place at the Sandton Convention Centre from 25 to 27 October 2017.

– Gezzy S Sibisi

| BUSINESS

Photo courtesy www.marriot.com

Another 10 000 night milestone for Cape Town Productions and Protea Hotels

On Thursday 22 June, the African Pride 15 on Orange Hotel played host to an event celebrating a significant milestone in the relationship between the establishment and Cape Town Productions: the lodging of 10 000 nights by the production company at the hotel.

D

ouglas Allen, the general manager, welcomed the crowd – which gathered in the hotel’s stylish Judge’s Lounge – and introduced Gavin and Denise Levy, the owners of Cape Town Productions. Gavin then gave a speech in which he shared the history of his working relationship with Allen, which has developed over the course of more than 20 successful years.

After opening its doors in 1988, Cape Town Productions was already a prominent figure in the city’s film industry, when Allen – under the direction of Danny Bryer and Arthur Gillis of the Protea Hotel Group (now Protea Hotels

by Marriott) – approached Levy with the idea of setting up a hotel establishment customised for the needs of the film production business. As Levy explained,

African Pride 15 on Orange Hotel

this model needed to include about “25 key requirements for the production industry, such as centralised checkin facilities, privatised ice-machines, tailor-made collection rooms, clothing rails and steamers” – a daunting list of specifications that was, nonetheless, implemented at Cape Town’s Protea Hotel Victoria Junction in the mid-1990s.

This unique approach to servicing the production industry – where the very construction of the hotel is geared around the industry’s specific needs – has yielded great success for both parties.

After lodging 10 000 bed nights in a four-year period at the African Pride Hotel in Melrose Arch, Johannesburg, Cape Town Productions has now repeated the trick at the African Pride 15 on Orange

establishment, which borders the Mother City’s CBD and has been servicing the production industry since 2010.

Levy spoke about the challenges of the production industry, the vagaries of managing within a field full of variables like “bureaucracy, inclement weather, difficult personalities, tricky clients and sensitive locations” – and he underscored the importance of having reliable partners, especially when it comes to accommodating clients who sometimes need to be away from home for months at a time.

Allen then picked up on this theme of the complexity of the interaction between the production and accommodation industries, highlighting the sheer scale of the logistics involved – from cultivating

“While the function was, of course, a celebration in honour of a very specific milestone in the history of the relationship between Cape Town Productions and the Protea Hotels by Marriott group, it was also a fascinating glimpse into the extent of the film industry’s contribution to the South African economy.”

July 2017 | SCREENAFRICA | 31

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Photo by Tamlynne Thompson

BUSINESS

Douglas Allen, GM, African Pride 15 on Orange Hotel and Gavin Levy, owner, Cape Town Productions

personal relationships, to planning, coordinating and being involved in endless meetings – and he gave more of an insight into what was involved in transforming his establishments into “what we term them now, ‘productionfriendly hotels’.” This included things like complying with requests to have the beds taken out of the hotel rooms to make space for dress rails, needing to set up stations for hair stylists to be able to work at the breakfast tables, and building specialised cabinets to ensure that the keys to the various production vans would never get mixed up or be inaccessible to the crews at any time of day or night.

While the function was, of course, a celebration in honour of a very specific milestone in the history of the relationship between Cape Town Productions and the Protea Hotels by Marriott group, it was also a fascinating glimpse into the extent of the film industry’s contribution to the South African economy.

“The industry generates billions of

Rands in revenue,” commented Danny Bryer, the director of Sales, Marketing and Revenue Management for Protea Hotels

by Marriott, “and it has created thousands of permanent jobs, as well as many part-time jobs. Of great importance, too, is the positive spill-over for many other sectors, such as the accommodation and food sectors, transport, vehicle and equipment hire, among others.”

Levy was forthcoming about film production’s sphere of influence, crediting it with the creation of an “entire industry of suppliers. From hair and makeup and model agencies to equipment rental companies, from catering to location companies, the list goes on extensively. The production industry now, as a whole, generates R5 billion before the multiplier [the aggregate effect of investment over time] – so it actually injects in excess of R8 billion into the economy of South Africa each year. Our industry also employs 26 000 people, and that’s before applying the multiplier.

So it’s truly a significant industry.”

Interestingly, this influence also extends far beyond the hard economics of investment and job creation. In a private interview, Levy revealed that being a pioneer of the South African production industry has led to some high-level responsibilities, “chairing and sitting on a number of steering commissions” that have brought great changes to an array of related sectors.

“The first was the film permit office, where I sat on the steering committee to organise the online film permit system, which the City of Cape Town developed and now uses very successfully” – and then, on an even larger scale, Levy was called upon again when shifting visa regulations in 2014 threatened the industry’s livelihood by changing the status of certain visa exempt countries.

“When the visa rules changed three years ago, it was devastating for the industry as a whole – something to the effect of a 38 per cent drop in revenue

for the industry, in one year. It was very much apparent that a committee needed to be set up on behalf of the film industry to deal with the Department of Home Affairs – which we did, and still continue to do on behalf of our clients.”

Further, the Film Industry Fund is an initiative that ensures that film locations benefit directly from their involvement in shoots. “A certain portion of the location fee is directed into the fund: money which is ring-fenced for use in that specific community. For example, we shot recently in the Bo-Kaap and improved a neighbourhood park, built a jungle gym there, and we built a library with 8 000 books after a shoot in Kommetjie.”

Finally, Levy reflected on what, after 29 years in the business, he sees as one of the most satisfying developments in the South African production industry: “the transfer of skills has been amazing.

You know, 20 years ago, the crews that used to fly in here consisted of dozens of people. Everybody from the hair and make-up department, their assistants, photographer’s assistants, stylists and their assistants – the whole crew used to come out here. But over the years there’s been a significant transfer of skills and skills development, which has created this wonderful local employment base.

And now our clients come out in teams of five – all the rest of the people involved in the project are local. Our skill-sets and our equipment companies, in terms of gaffers, sparks, grips – they are absolutely phenomenal, and every year our clients are more and more impressed by what they’re seeing here in South Africa.”

With this sense of the film production industry’s greater significance to the South African social landscape hanging in the air, it was a fitting end to the function when Volker Heiden, the new vice president of Protea Hotels by Marriott (Marriott International, Middle East and Africa) presented Cape Town Productions with a final token of the hotel’s appreciation: a charitable donation of R10 000 (to represent the 10 000 hotel nights) in Gavin Levy’s name to the Reach For A Dream Foundation.

– David Cornwell

“The industry generates billions of Rands in revenue, and it has created thousands of permanent jobs, as well as many part-time jobs. Of great importance, too, is the positive spill-over for many other sectors, such as the accommodation and food sectors, transport, vehicle and equipment hire, among others.” – Danny Bryer

32 | SCREENAFRICA | July 2017

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DIFF & DFM 2017 | ADVERTORIAL

Strong focus on development, women, and ‘tales of transit’ for Durban International Film Festival 2017 Hot on the heels of the announcement of the 10th Talents Durban participants list – which is predominantly made up of women – the Durban International Film Festival (DIFF) has announced a strong focus on developing local talent and skills transfer during its 2017 edition, taking place from 13 to 23 July.

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ter-Kinekor Musgrave and Gateway, as well as The Playhouse have been confirmed as venues for the premiere and commercial screenings. The outreach programme will see screenings take place in film schools and townships including K-Cap (theatre) in KwaMashu, Luthuli Museum in Groutville, Qashana Khuzwayo Library, Westville Correctional Services Centre, Ohlange Library in Inanda, Creative Arts College, Wushwini Arts Centre, Umlazi Library, Lamontville, uShaka Marine World, Max’s Lifestyle, the History Museum and the Bay of Plenty Lawns.

The weeklong programme comprises screenings and workshops aimed at

Still from Strike a Rock ensuring not just city-wide participation in the festival but also engaging locally-based prospective filmmakers.

In a world in which people find themselves displaced and seeking refuge in foreign lands, the theme for the 2017 festival is Transit Tales, showcasing a number of films capturing the emotive stories of human displacement as result of war and catastrophic events. It is the vision of DIFF’s newly appointed festival manager, Chipo Zhou, for the festival to reinvent what it is to be a film festival within the African context, and to set an industry standard for the inclusion of women and women-led films. As such the festival has a special focus on

“In a world in which people find themselves displaced and seeking refuge in foreign lands, the theme for the 2017 festival is Transit Tales, showcasing a number of films capturing the emotive stories of human displacement as result of war and catastrophic events.”

34 | SCREENAFRICA | July 2017

African content and women-led films.

“We have to redefine what and who tells the tales in society as that has a significant role in how people learn and understand the world, particularly the African continent,” says Zhou.

“The festival this year is giving women a platform to take ownership of our stories, the origins of our stories and how they are told. We have the opportunity to reconstruct our narrative as such that we re-socialise society in order that it reconceives perceptions about women, especially in the wake of the brutality against women we have seen in South Africa recently,” she continues.

“As the East African saying goes, unless lions have their own historians, all tales about the hunt will always glorify the hunter,” she says in a proverbial reference to male domination in ownership and control of media companies. “It is a remarkable milestone that we have some strong female-led films this year.”

Consistent with the special focus on women is the Durban FilmMart’s programme which will feature a session on WomenLed Film Conversations with Tilane Jones, executive director at ARRAY, as well as a WomenLed Film Media Breakfast.

DIFF will go a long way in contributing to Africa’s Aspiration 5 of Agenda 2063 where the role of film in fostering a strong African identity is concerned. The continent has risen to the occasion this year with a significant upward jump not only in the number of submissions but also the quality of the films. In keeping with the African film focus, the KwaZuluNatal Film Commission will host a delegation of Kenyan filmmakers to foster relations between the two countries in the context of film, and to possibly promote co-productions. Additionally, this initiative will see the screening of several Kenyan films at the festival.

The festival will run from 13 to 23 July, returning to its original dates (second week of July) after taking place in June last year due to the 2016 AIDS Conference held in Durban.

Dates for the next three years have been secured to ensure the festival continues to take place in July.

The DIFF awards are scheduled to take place on 22 July, a day before the closing film draws the curtain on this year’s edition of the festival. The awards are where the most outstanding film submissions and filmmakers are honoured.

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DIFF & DFM 2017 | ADVERTORIAL

Gauteng Film Commission at Durban International Film Festival 2017 The Gauteng Film Commission (GFC) is again supporting the Durban International Film Festival (DIFF) which celebrates its 38th edition from 13 to 23 July 2017, with over 250 screenings of cutting-edge cinema from around the world with a special focus on films from South Africa and Africa. DIFF has an important film competition component and also presents screenings in township areas where cinemas are almost non-existent.

As the largest of Southern Africa’s film festivals and the most important film festival in Africa, “the GFC sees this as an important platform to support Gauteng filmmakers to receive exposure and network but more importantly to promote themselves and gain skills,” said Simangele Sekgobela, acting CEO of the GFC.

The GFC’s participation in this year’s edition of the festival can be separated into three tiers: • Talent Campus • Durban FilmMart • Film Awards The GFC will support 10 emerging filmmakers from Gauteng to attend the DIFF Talent Campus. The partnership seeks to provide emerging filmmakers from Gauteng with an opportunity to receive training, information and be able to network with other filmmakers regarding the development of this ever evolving industry. The filmmakers will participate in a five-day programme which focuses on a range of filmmaking disciplines and includes hands-on training programmes, master classes, as well as Africa in Focus and Meet the

Filmmakers sessions. The GFC will also helm a presentation on the role that the commission plays in the film and television industry. Additionally, the presentation will showcase the Gauteng province as a film friendly destination.

For the third year in a row, the GFC will also support the DIFF Awards, which will take place on the 22 July, at The Playhouse. Last year, the GFC supported two categories; The Best South African Short and The Best Africa Short. “We

are excited to be part of the awards again this year, and are confident that these awards encourage filmmakers and bring the best out of them in pursuit of their dreams,” said senior manager, Marketing and Communications, Shalo Mbatha.

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About the Gauteng Film Commission (GFC) The Gauteng Film Commission (GFC) is an agency of the Gauteng provincial government Gauteng, home to Africa’s under the Department of Sport, Arts, Culture and Recreation tasked with the development and promotion of the audiovisual industries in Gauteng, with more focus on the Film & TV industry.

economic powerhouse,

GFC’s core business is to facilitate and enhance the contribution of the Film & TV industry to the economic growth of the Gauteng province.

Johannesburg, boasts an

The GFC continues to give the much needed support to the local Film & TV industry while at the same time promoting Gauteng with its world-class infrastructure, recognised expertise and wide range of locations, as a destination of choice for filming.

exciting mix of urban lifestyle,

The organisation also work with industry, government agencies & departments and other key stakeholders on the development and growth of sustainable audiovisual industry through various support initiatives that prioritise production and project support, marketing & distribution, market development & training.

diverse cultural and natural attractions, as well as

The GFC’s overall objective is to support, develop and contribute to the growth of the Gauteng Film & TV industry through the following key focus areas:

Production & Project Funding - The GFC funds all genres of Gauteng made productions and productions made by Gauteng based filmmakers Distribution & Marketing Support - provide marketing support and explore alternative distribution channels for local content.

Skills Development - address scarce skills in the sector; Advancement of personnel currently working within the industry to increase their capacity; Relevant training and development of emerging talent and contribution to the decreasing of the skills gap as identified in the research conducted by the GFC. Audience Development - develop audiences for the appreciation of local content through the support of film festivals; screenings in townships and support the release of films.

Permit Facilitation & Locations - assist with locations enquiries and facilitate issuance of filming permits and ensuring that all filming activities happen smoothly without any hindrances.

The GFC has a good working relationship with three major broadcasters i.e. SABC, e.tv, and M-Net through one of its channels, Mzansi Magic as well as independent distributors. This has enabled the GFC to increase its support for Gauteng made productions.

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Film markets a vital cog in the development of independent films

By Sharlene Versfeld

The recent report released by the NFVF on the state of the South African film industry, reveals that the industry contributed approximately R5.4 billion to the local economy in 2015/2016 creating some 21 626 jobs along the way. There is no doubt that filmmaking is on the rise.

But the report also shows that much transformation still needs to take place. This also highlights the need to further develop collaboration between African filmmakers. It also implies that more work needs to be done to connect African filmmakers with funders/ financiers/investors and commissioning editors. Simply put, connecting filmmakers to the money. And this is where the world’s film markets can play a vital role in providing a platform for the industry to connect and develop relationships with each other as creatives, as well as with the people who have the funds to get these projects from the page to the screen.

There are countless examples of films that have come through development within markets around the globe. Locally the Durban FilmMart now in its 8th edition, is no exception. The Mart continues to play a pivotal role in supporting projects to get off the ground, and consequently has its own success stories.

The DFM, a joint film industry programme of the eThekwini Municipality’s Durban Film Office (DFO) and the Durban International Film Festival (DIFF), provides a professional springboard for African filmmakers to build valuable business networks during the four days of masterclasses, seminars and industry events. It also includes the important Finance Forum, which provides opportunities for

National Film and Video Foundation SA, and attended by a number of key international partner markets, including Cinemart Rotterdam, International Documentary Film Festival Amsterdam, Hot Docs Canada, Produire au Sud France, Sundance USA, Restless Talent UK, Berlinale Talents Germany, Sørfond Norway, Afridocs, as well as local programme partners, Realness and VideoVision Entertainment. “These strategic partners provide invaluable connections for these filmmakers out into the market,” says Toni Monty, of the eThekwini Municipality’s Durban Film Office, who heads the DFM. “By having these partners well represented at the DFM, delegates also have access to engage with them in the various sessions, networking functions and meetings, enabling them to forge their own relationships going forward.”

Over the years the DFM alumni’s films have caught the attention of other markets and festivals as well as securing independent releases and good distribution deals and winning significant awards.

Success stories include films like John Trengove’s award-winning The Wound (DFM 2014) produced by

Drummond, which went into production in July 2016 will have its world premiere later this year and will be released on circuit in SA next year; Alison (DFM 2014) directed by Uga Carlini and produced by Amy Nelson premiered last year at the Encounters Documentary Film Festival, screened at DIFF, had its theatrical release later in the year, and still continues to enjoy screenings globally. Meg Rickards’ Tess (formerly Whiplash DFM

2013), also premiered at DIFF in 2016, playing to critical acclaim and winning the Best SA Film, Best Editing and Best Actress awards at DIFF. Other alumni include The Train of Salt and Sugar (DFM 2014) directed by Licinio

The Train of Salt and Sugar (DFM 2014).

John Trengove’s award-winning The Wound (DFM 2014).

Durban FilmMart Finance Forum meeting between DFM film project Inkabi “The Hit Man” (left) director Norman Maake, producer Peter Pohorsky (centre) and Emmanuelle Jac (right) of Produire au Sud. directors and producers to pitch to leading financiers, broadcasters and other potential funders.

Every year, about 20 African projects are preselected for this Finance Forum programme. In 2017 10 documentaries and 12 feature fiction films in development are pitching to invited guests, providing them with valuable opportunities to fine-tune and further consolidate their ideas for the market place.

This Finance Forum programme is supported by main sponsors, Industrial Development Corporation SA and the

Urucu Media, which will have its SA Premiere at DIFF this year and will have its theatrical release in 2018; The South African Western Five Fingers for Marseilles (DFM2013) by Michael Matthews produced by Sean

Five Fingers for Marseilles (DFM 2013).

de Azevedo and produced by Pablo Iraola, Pandora da Cunha Telles, and Urucu Media, which won Best Film at last year’s Johannesburg International Film Festival; Jenna Bass’s Flatland produced by David Horler, which won numerous awards at DFM in 2012 and went into production this year; Khalo Matabane’s 28s (formerly The Number) from DFM in 2012 was filmed in KZN last year;

Khalo Matabane’s 28s (formerly The Number) from DFM in 2012..

Find out more on www.durbanfilmmart.com

Ndiyindoda: I am a Man (DFM 2011).

Rehad Desai’s seminal Miners Shot Down (DFM 2013).

Rehad Desai’s seminal Miners Shot Down (DFM 2013) continues to provide a wave of consciousness around the Marikana massacre of 2012, also winning countless awards over the years; including the FESPACO Jury first prize award, SAFT Best Documentary, Britdoc Impact award as well as an International Emmy Award amongst many others. Then the Egyptian film Jeanne d’Arc (DFM 2014) directed by Iman Kamel and produced by Talal Al-Muhanna ) which will be screening at the Eurasia International Film Festival later this year. Durban director Madoda Ncayiyana is preparing to go into production on his second feature film, Hhola Hhola, (formerly Mobile Muthi DFM 2010), a comedy-drama produced

by Vuleka Productions and Videovision, which stars the

Others on the DIFF programme in 2015 included the acclaimed Boda Boda Thieves (DFM 2011) from Ugandan co-operative Yes! That’s Us films; and producerdirector Joel Karekezi’s Imbabazi: The Pardon (DFM 2011), a personal account of the Rwandan genocide; the South African gangster documentary Devil’s Lair (DFM 2012); Unearthed (DFM 2013) which explored the dangers of fracking; and The Shore Break (DFM 2012), which unmasks the attempt of an international mining company to mine for titanium in one of the world’s

The Shore Break (DFM 2012).

award-winning young actors he discovered in casting his first film, Izulu Lami, which opened DIFF in 2008.

In 2015, the DIFF had a bumper year with projects that had their genesis at the DFM including Sara Blecher’s Ayanda (DFM 2013), which opened the 2015 edition of DIFF. Since then the film has opened six festivals around the world in cities as diverse as Switzerland and Maputo and played in more than 50 cities.

last untouched natural areas. The Shore Break went on to premiere at IDFA in 2014 and was the only South African feature length documentary selected for Hot Docs 2015 in Toronto. The film won Best Feature Length Documentary at the 2015 Festival International du Film d’Environnement (FIFE) in Paris and the Backsberg Audience Choice Award at Encounters South African International Documentary Festival in 2015.

Other success stories include the Nigerian film Confusion Na Wa (DFM 2010) directed by Kenneth Gyang and starring Ramsey Nouah, which went on to win best film at the 2013 African Movie Awards, Durbanbased Janet van Eeden’s Shot at the Big Time (DFM 2012) was made into a short film winning numerous local awards, and was selected for the Cannes Court Metrage,

Sara Blecher’s Ayanda (DFM 2013).

The Nigerian film Confusion Na Wa (DFM 2010).

Durban director Madoda Ncayiyana (left) with producer Julie Frederikse (right) is preparing to go into production on his second feature film, Hhola Hhola (formerly Mobile Muthi DFM 2010).

the short film corner of the official Cannes Festival 2014. South African director Mayenzeke Baza’s short documentary Ndiyindoda (I Am a Man) produced by Andy Jones, won Most Promising Documentary at DFM 2011, and then premiered at the Encounters documentary festival and went on to be nominated for two South African Film and Television Awards (SAFTA) in 2014.

Producer Neil Brandt and director Riaan Hendricks’ Devils Lair which chronicles the life of a convicted murderer and gang leader, premiered at Hot Docs and became one of the highlights of DIFF 2013, and then went on to win Best Feature and Best Editor at the SAFTA’s in 2014.

Other films, amongst many others coming out of the DFM process, include The Dreams of Shahrazad (DFM 2010) directed by Francois Verster and produced

by Neil Brandt, Shameela Seedat and Wael Omar; the fiction-documentary hybrid Black President (DFM 2011), produced by Anna Teeman and directed by Mpumi Mcata; as well as the remarkable I, Afrikaner (DFM 2011), produced by Lauren Groenewald and directed by Annalet Steenkamp; and Khalo Matabane’s Mandela: The Myth and Me (DFM 2012).

Some 140 projects have been supported through the DFM over eight years, many making it onto the big screen, after a period of development – some going via other markets, festival programmes, script-doctoring and incubation. For some the journey is a long one, but each time filmmakers engage and discuss and pitch their work, they are provided with opportunities to fine-tune their thinking, and focus on how they can move their ideas through this seemingly complex process.

PITCH PERFECT Which brings us to “The Pitch”. Many filmmakers are terrified to pitch their creative ideas to potential partners and investors or funders. The art of the pitch certainly takes some practice and honing of specific skills.

There are techniques that can certainly be learnt.

So to support emerging filmmakers in honing these skills, the DFM and Produire au Sud, Nantes, have partnered to bring in well-known producer director, Stefano Tealdi, to SA to present a pitching workshop for DFM official fiction projects and DFM’s “Jumpstart” projects. The Jumpstart programme was created in an endeavour to support emerging filmmakers to bridge the gap from self-funding projects to investment/funded ones, this year’s Jumpstart programme offers ten young South African filmmakers an opportunity to develop their pitching skills.

The 2017 DFM edition will also see Nicole Brooks, vice president of CaribbeanTales Worldwide Distribution facilitate the CaribbeanTales Market Incubator Programme.

Brooks will be presenting “CineFAM – Africa, an Accelerator programme for serialised content for African women filmmakers” for pre-selected filmmakers.

Again a brilliant opportunity for those with projects in development Distributor Nicole Brooks to fine-tune (CaribbeanTales Worldwide their skills.

Distribution).

Networking, developing relationships and building bridges Around 500 delegates, from South Africa, the continent and abroad, gather in Durban for the DFM to engage in the “business” of film.

Central to DFM’s objectives is to offer a stimulating environment for collaboration between African filmmakers and international producers and financiers.

This year, key speakers include film distributor Tilane Jones (ARRAY Now), audience development specialist Moikgantsi Kgama (ImageNation), film executive Charles Hopkins (Shoreline Entertainment), writer-

Film distributor Tilane Jones (ARRAY Now) is one of the key speakers at this year’s DFM.

Audience development specialist Moikgantsi Kgama (ImageNation).

director Shmerah Passchier, virtual reality expert Ingrid Kopp, distributor Nicole Brooks (CaribbeanTales Worldwide Distribution), editor-director Karen Harley, editor-producer Sabrina S Gordon, producer Mila Aung-Thwin, screenwriter Busisiwe Ntintili, filmmaker, playwright, poet and activist Tsitsi Dangarembga, producer-director Stefano Tealdi and producer, director and writer Alby James.

Topics covered by these speakers include “Women Led Film – Disrupting the Status Quo”, “Ten Questions to ask yourself before making your Pitch”, “Virtual Reality: What’s Happening in Africa and What Can We Make Happen?”, “Making Socially Impactful Documentaries”, “From Novel to Script”, “Interpreting the Script for the Screen”, “Understanding German Film Funds”, “Coproducing with Canada”, “Film Finance: State of the Industry” and “African Distribution” amongst others.

Women Led Film With the thematic focus of “Women Led Film – Disrupting the Status Quo”, the DFM and DIFF, together with the Durban Film Office, the National Film and Video Foundation (NFVF), the lobby and advocacy organisation Sisters Working in Film and Television (SWIFT), and international partner CaribbeanTales Media Group, are focusing on the role of women in the industry. The programme will present a number of workshops, roundtables and panel discussions with leading women in film.

Parallel to the DFM focus, the DIFF will be highlighting films made by and about women within its screening programme. Festival manager, Chipo Zhou says, “The festival has this year taken considered strides to ensure that the inclusivity of participation by women is measurable across the board from selection, jury and facilitator panels throughout the different facets of our event. This is a conscious move towards making this a permanent feature of the festival as our contribution towards the redress that is urgently required within the film industry.”

“The objective of our women-focused programme is to bring a variety of voices together to discuss and unpack the challenges women face in the industry and to find useful and tangible ways to make the change needed and desired,” says Toni Monty.

“In a world of vast gender inequalities, it is inevitable to reflect at such bitter reality, and more importantly start working towards their redress: which starts with creation of platforms. The Women Led Film Focus becomes one of the many attempts in securing platforms to acknowledge, deliberate, and celebrate woman excellence in the film milieu.” David wa Maahlamela, director of UKZN’s Centre for Creative Arts, hosts of the Durban International Film Festival.

Sara Blecher, well-known South African filmmaker and co-founder of SWIFT (Sisters Working in Film & Television) which aims to nurture and redress the inequalities faced by women in the South African audio-visual industry, echoes these sentiments, “As the women’s struggle in film begins to finally garner the attention it needs around the world, we need to look to achieving some concrete results. We have to really start looking at the local film landscape and our status within this. The focus on women at DFM, will help shine the spotlight both on the representation of women on the screen, but also more importantly on the women behind the screen.”

The NFVF has been working within this space for some time, and will be presenting the successes of their Female FilmMaker Project at the DFM. “The decision to focus on women for the NFVF is a deliberate one. The objective is to break down the barriers to entry faced by women in the industry, especially black women who are the most marginalised. If the industry is to grow, thrive and become sustainable then all South Africans need equal opportunity to participate and contribute. Programmes focused on women will continue to be prioritized and we are encouraged and proud of the success witnessed by the previous female project funding recipient”, said Zama Mkosi CEO of the National Film and Video Foundation.

“Fostering collaboration between African filmmakers is vital for the future growth of African cinema,” says Toni Monty, head of the Durban Film Office.

“The Durban FilmMart aims to provide an effective platform in Durban, to raise the visibility of African cinema, act as a stimulus for production and facilitate project collaboration between African filmmakers.”

Tsogo Sun Elangeni Hotel Conference Centre in Durban

The 8th Durban FilmMart takes place in Durban, at the Tsogo Sun Elangeni from 13 to 17 July 2017, during the 38th edition of the Durban International Film Festival (13 to 23 July 2017).

For more information on the Durban FilmMart, visit www.durbanfilmmart.com. For more information about the Durban International Film Festival go to www.durbanfilmfest.co.za.

Social Media: Facebook: Durban FilmMart SA Twitter: @durbanfilmmart Website: www.durbanfilmmart.com #DFM2017

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DIFF & DFM 2017

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From VR with love PM: Hi Ingrid. Thanks so much for talking to me. I know that VR technology is still in its infancy but how do you think it will change the ways that films are made and viewed as the medium begins to establish itself?

IK: I don’t think VR is replacing traditional film – the two mediums allow for different meaning and experiences.

But I am excited about how VR – and I’m talking about both 360 video and interactive VR here – can tell different kinds of stories and reach people through mobile phone technology, which is so pervasive in Africa.

Nairobi Berries 44 | SCREENAFRICA | July 2017

Peter Machen spoke to Ingrid Kopp of Electric South and the Tribeca Film Institute about the state of virtual reality filmmaking and the importance of ensuring that Africa contributes to the conversation from the outset as the technology grows and evolves. Kopp will be appearing at Durban FilmMart 2017, which includes a special focus on VR this year.

Ingrid Kopp

PM: How does the current VR experience differ from contemporary cinema? Are the essential narratives different to anything that has come before? Or do they echo the timeless quality of story-telling that is one of the fundamental definers of being human?

IK: I think storytelling is storytelling.

But VR does allow for a different storytelling language to evolve, perhaps one that is based more on experience than narrative. That said, I think it’s too early for us to say what VR will and won’t become. This is a time for experimentation and glorious mistakes.

PM: Do you think that at some point, VR narratives/ productions will supersede traditional cinema, or do you think that it’s a case of a new format/medium that will exist side-by-side with cinema as we know it?

IK: I hate predicting the future because I have no idea what will happen and I don’t believe anyone else does either, although some people are more informed and can make better guesses than others, I suppose. I will say that I’m a huge fan of radio – I listen to the radio every day, usually on my smartphone. I think new mediums disrupt old

The Other Dakar

mediums and change them, sometimes drastically, but they continue to live side by side. I always quote Marshall McCluhan on this: “A new medium is never an addition to an old one, nor does it leave the old one in peace. It never ceases to oppress the older media until it finds new shapes and positions for them.”

PM: Can you tell me a little about your experience of VR in Africa with Electric South? What led you to start Electric South?

IK: In 2015, producer Steven Markovitz and I were talking about organising a VR exhibition and workshop for the African Futures event at the Goethe-Institut in Johannesburg. I had just moved back to South Africa after many years working in NYC, most recently for the Tribeca Film Institute. I wanted to get involved in some African VR and interactive initiatives, so I curated the exhibition and worked with Steven and his Big World Cinema team to produce the workshop.

Electric South was born out of this as both Steven and I believed that there was a real need to keep incubating and funding VR in Africa. This is the model for Electric South: we run workshops, work with African artists to fund and produce their work, and then work with partners on exhibitions and festivals. For example, I recently curated the Virtual Encounters exhibition at the Encounters Documentary Film Festival. This is partly to create great contemporary VR and also because I firmly believe that African creators should be part of prototyping what VR will become.

PM: Are the African VR productions distinctly different to other VR productions from around the world that you’ve experienced? What do you think the continent can offer to the global VR industry?

IK: I think African artists bring a perspective that is unique. For example, Selly Raby Kane’s The Other Dakar is unlike anything I have seen before. She weaves the past and future of Dakar together in a delightful fashion that feels very much rooted in a real sense of place. I also think that The Nest’s Let This Be a Warning uses the form to create a really original thought experiment that feels particularly African and very universal at the same time. But I’m also just excited to see African artists making VR. It doesn’t have to be different necessarily. It just needs to be THERE. I, like many others, am tired of stereotypical stories about Africa that don’t tell the full story and are often made by people who don’t live on the continent. There is nothing wrong with telling stories about other places – this curiosity is part of what makes documentary and filmmaking so wonderful. But the stories need to flow in all directions and too often they don’t. As Chimamanda Ngozi Adichie so famously put it, “The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.”

Let This Be a Warning

| DIFF & DFM 2017 PM: Although I, like many filmlovers, often end up watching films on my laptop at home, there is still an intangible magic to the shared experience of cinema, the strange joy of experiencing a narrative in the dark, often with strangers you’ve never met. Is VR destined to be an atomising technology that moves us further away from each other, or is it capable of creating a communal experience in a similar manner to cinema?

IK: It’s interesting that the film world has claimed VR for themselves in some ways.

But other disciplines are also occupying the space and I sometimes wonder if it is problematic to exclusively use film metaphors for VR. Reading is solitary and is not seen as particularly atomising. It is possible to create wonderful, communal VR experiences at film festivals and the like, but I’m not sure that it is necessarily problematic for people to experience stories on their own. The one thing I will say is that whenever I have asked people who work in VR if they go home and put on a VR headset, most people say no. I think VR is absolutely social in the way that it is currently consumed – i.e. mostly at festivals, conferences and other exhibition venues.

PM: One of the objections to VR as a feasible medium at the moment is its cost and the cost implications of VR productions. But it seems to me that Moore’s Law will apply here as much it does to most technology and that cost will ultimately not be a major obstacle. Do you agree?

IK: Yes, I think the costs will absolutely go down, and I’m excited by the potential for VR as an accessible medium in Africa, through smartphones and WebVR for example. But right now it is very difficult for consumers to access VR – from working out which headset to buy to finding good content. To be honest, it’s a bit of a nightmare and everything keeps changing. I don’t know if VR in the near future will look like VR in its current form but, like I said before, I think it’s important that, as Africans, we are part of the prototyping period because we should be part of designing what comes next.

PM: At the moment, the VR interface consists of external glasses as well as other sensory interfaces such as responsive gloves.

While the interfaces will no doubt change in time, do you think it’s possible that the interface will itself disappear and that at some point we will become neurologically connected to the technology?

IK: This is a terrifying question because as much as I have always been a total geek about technology, our future cyborg selves scare me. But yes, I think it is very probable that much of the interfaces will disappear and we will view mixed reality through contact lenses or implants. I’m really concerned about the implications for some of these future scenarios though.

PM: In that light, what do you think of Shmera Passchier’s suggestion that VR, with its multiple eyes and hybridised nature, is in fact the first step – or one of the first steps – towards the existence of cyborg reality?

IK: I think we were already taking the first steps before VR with pacemakers and other medical advancements. And Victorians had stereoscopes and other devices, so there is a long history of augmenting how we see and experience reality. But, yes, I suppose we are closer to a cyborg reality now. Although I think the risk of robots taking most of our jobs is probably much more pressing in terms of a future timeline.

PM: Finally, it’s clear that you are very excited by the future possibilities of VR. Are there possibilities that also disturb you? Do you think that there is a dark side to VR? IK: I think there’s a dark side to any technology – I’m not that sure it’s necessarily greater for VR. I am a bit concerned about some of the flippant comments around VR and empathy, and I think we all need to think deeply as we continue to experiment in this space.

After all, we may be partly responsible for how future generations learn to see and experience the world. We also need to develop a critical discourse around this space so that we are not only getting hyped-up articles from the tech press based in Silicon Valley.

I know I keep saying this, but I also think it’s really important that when we talk about diversity in VR and Mixed Reality, we include the Global South.

I think having a more diverse pool of people creating the future will ensure that it is more inclusive and open and accessible. And that’s a good first step for controlling against the darker potentials of the technology – I hope!

– Compiled by Peter Machen

Spirit Robot July 2017 | SCREENAFRICA | 45

BRINGING STORIES TO LIFE. WHAT IS YOUR STORY?

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DIFF Events DIFF OPENING NIGHT – FILM MEETS FASHION

13 JULY – PLAYHOUSE, DURBAN

RED CARPET – 6.00PM-6.45PM

OPENING NIGHT CEREMONY – 7PM

WAVESCAPE SURF FILM FESTIVAL SCREENING

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22 JULY – USHAKA MARINE WORLD

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DIFF AWARDS

22 JULY – PLAYHOUSE, DURBAN

6PM

July 2017 | SCREENAFRICA | 47

LEADING MENTORS

TALENTS DURBAN 2017 PARTICIPANTS

Alaa Abdelrazek (Egypt) Angela Wamai (Kenya) Belinda Yanga (Nigeria)

Features AT DIFF GERMAN FOCUS GOODBYE BERLIN Fatih Akin, Germany, 2016

Djia Mambu Nlandu (Democratic Republic of Congo) Charles Mawungwa (Zimbabwe) Christopher Sinclair Kets (South Africa) Clare Louis (South Africa) Domoina Marina Ratsarahaingotiana (Madagascar) Gloria Huwiler (Zambia) Gnignipoutya Cyrielle (Cameroon) Harto Macharia (Kenya) Imran Hamdulay (South Africa) Jihene Ayari (Tunisia) Jordan Ndawula (Uganda) Lemohang Mosese (Lesotho) Llewellyn James Rice (South Africa)

‘Fatih Akin’s latest feature film is based on the best-selling cult novel by the late author Wolfgang Herrndorf, Why We Took the Car. The story centers on 14-year-old outsider Maik Klingenberg.

While his mother is in rehab and his father on a “business trip” with his assistant, Maik spends his time during the summer holidays alone by the pool of his parents’ villa. But then Tschick appears. He has a stolen Lada with him, and the two youngsters set off on an unforgettable road trip through provincial Germany.

KARL MARX CITY Petra Epperlein, Michael Tucker, Germany, 2016

Marie Laurentine Bayala (Burkina Faso) Mario Fradique Bastos (Angola) Mia Cilliers (South Africa) Mohamed Aly (Egypt) Mohamed Suliman (Sudan) Moreetsi Gabang (Botswana) Nthabiseng Nontsikelelo Mosieane (South Africa) Rama Thiaw (Senegal) Selaelo Maabela (South Africa) Samantha Nell (South Africa) Samuel Joseph Akiwumi (Ghana) Thembelihle Masache (South Africa) Wilfred Okiche (Nigeria) Yassine El Idrissi (Morocco)

48 | SCREENAFRICA | July 2017

Twenty-five years after the collapse of the German Democratic Republic (GDR), filmmaker Petra Epperlein returns to the proletarian Oz of her childhood to find the truth about her late father’s suicide and his rumored Stasi past. Had he been an informant for the secret police? Was her childhood an elaborate fiction? As she looks for answers in the Stasi’s extensive archives, she pulls back the curtain of her own nostalgia and enters the parallel world of the security state, seeing her former life through the lens of the oppressor. Reconstructing everyday GDR life through declassified Stasi surveillance footage, the past plays like dystopian science fiction, providing a chilling backdrop to interrogate the apparatus of control and the meaning of truth in a society where every action and thought was suspect.

THE PROMISE Marcus Vetter, Karin Steinberger, Germany, 2016

KENYAN FOCUS WAITHIRA Eva Munyiri, South Africa, 2017

‘The gruesome murders of Nancy and Derek Haysom in 1985 were a media sensation. The Haysoms were wealthy, respected members of Virginia society, and the murder conviction of their daughter Elizabeth and her German boyfriend Jens Soering sent shock waves through the rural community of Bedford County. Elizabeth and Jens had met in a university program for high achieving students. She was a product of European boarding schools, he was the son of a diplomat. After being arrested in London, England, for passing bad checks in 1986, they were both extradited to the United States and have now spent over 30 years behind bars. This beautifully crafted film reveals a mismanaged, or perhaps completely corrupted, judicial process.

This was the first criminal trial held in front of TV cameras — the first high profile, international case tried in a small town.

The film follows the director, on a search to remember her grandmother Waithira, and how this woman, who she barely knew, shaped the woman she is today.

She seeks out her grandmother’s namesakes, the firstborns of her generation who live in Nairobi, Dresden and northern Wales. The film weaves what is imagined, remembered and lived, into a tapestry of a family, an ethnicity, and a nation, through the experiences of African women trying, as their grandmother did, to determine their lives.

strike a rock

POTATO POTAHTO Shirley Frimpong-Manso, Ghana, 2017

When Tony and Lulu finalize their divorce after two years of marriage, they agree on a clever settlement that will allow them to share the dream house they built together equally. However, their ingenious arrangement begins to fall apart immediately after Tony decides to seek the services of an attractive female helper who Lulu misinterprets to be Tony’s way of forcing her out of the house. Lulu turns up the heat by bringing in her own help, an overly sexy looking young man who is oblivious to the game plan of the ex-couple. The drama begins to unravel as Tony and Lulu take turns to rile each other up whilst getting their friends and family involved in their awkward fights. But nothing prepares even the ex-couple for the surprises their ‘help’ confer on them as they become victims of their own trickery, turning an already complicated divorce into a mishmash of laughter, tears, and a break-in.

kati kati

A million colours

Mbithi Masya, Kenya, Germany, 2016

Peter Bishai, Canada, South Africa, 2014

When Kaleche, a young amnesiac, wakes up in the middle of the wilderness, she has no idea how she got there. She makes her way to Kati Kati, a nearby lodge, where she meets a motley crew of residents under the leadership of Thoma. As Kaleche strikes up a quick and intense friendship with him, she discovers that there’s a lot more to Thoma and the mysterious Kati Kati.

In the early 1970’s, apartheid divided South Africa, a film was released that brought hope and light to a despairing nation. The two young stars, Muntu Ndebele and Norman Knox, would become friends just like their characters. But they would also face struggles dealing with apartheid. Inspired by a true story full of action, daring escapes, romantic longing, moving personal struggles and humor in unexpected places.

stories of our lives Jim Chuchu, Kenya, 2014

Aliki Saragas, South Africa, 2017

WOMEN-LED FILMS “Strike A Rock” is the story of two South African mothers and best friends, Primrose Sonti and Thumeka Magwangqana. They live in Nkaneng, Marikana, an informal settlement in rural South Africa that sprung up around a mine operated by Lonmin Plc, the third largest platinum extractor in the world.

This company has significant legal obligations to the community that they mine under and around, but does not comply with all their responsibilities. This community became internationally known after the 2012 Marikana Massacre, when 37 striking mineworkers were killed by police. However, instead of improving, the living conditions that motivated the strike in the first place continue to worsen.

And this is what Primrose and Thumeka are fighting against.

CANADIAN FOCUS

stander Bronwen Hughes, Canada, Germany, South Africa, UK, 2003

Stories of our Lives documents the hidden personal stories of lovers, fighters, rebels and the community histories that characterize the queer experience in Kenya.

yellow fever Ng’endo Mukii, United Kingdom, Kenya, 2012

In the early 1980’s, a white police officer (Andres Stander, played by Thomas Jane) in Johannesburg suffers a crisis of conscience due to his involvement in apartheid and becomes a notorious bank robber on the run. Then from 1983 to 1984, the “Stander gang” (Stander, Alan Heyl & Patrick McCall) rob as many as four banks a day.

Inescapable Ruba Nadda, Canada, South Africa, 2014

A short film documenting the daily ritual of the “Sunrise Swimmers”, a group of pensioners who, in an age-defying act, spend the first light of every morning in the ocean – come shark, rain or shine.

One afternoon, on a typical day at work, Adib is confronted with devastating news: His eldest daughter, Muna, has gone missing in Damascus. Now Adib, who has not been back in over 20 years, must return to Syria and deal with his secret past in order to find her. Inescapable is a thriller about a father’s desperate search for his daughter and the chaos of the Middle East he left behind.

July 2017 | SCREENAFRICA | 49

DIFF & DFM 2017 | ADVERTORIAL

The KwaZulu-Natal Film Commission at DIFF 2017 The KwaZulu-Natal Film Commission’s (KZNFC) mandate is to facilitate support throughout the value chain to the local and international film industry, through creating opportunities and also growing the KZN film industry.

The KZNFC has to date introduced various programmes that are meant to ensure successful implementation of its mandate. These include:

Markets and Festivals The KZNFC has a mandate to market and promote KZN as a choice film destination throughout the value chain, as well as grow and transform the local film industry. In achieving this, the KZNFC has once again partnered with the Durban International Film Festival (DIFF), in an effort to create an enabling environment that provides opportunities to engage with local and international members of the film fraternity with the hope to start discussions that may result in co-production and or skills transfer arrangements. DIFF is currently in its 38th year running, and the KZNFC is especially excited about the shift in the direction of the festival, with more focus on localisation of the festival as alluded to

by the director of the Centre for Creative Arts, Mr David Wa Maahlamela during his presentation at the KZNFC Film Indaba.

DIFF has long been a strategic platform where local filmmakers are able to gain access to international filmmakers and a wealth of knowledge which may include latest trends in filmmaking to ensure we as a growing film industry remain relevant and are able to better our chances to compete with the rest of the world.

This year at DIFF, the KZNFC’s programme will focus on Africa, whereby local filmmakers will get an opportunity to engage with Kenya to better understand their film landscape and vice versa, this will also include one-on-one sessions between filmmakers from both countries.

Simon “Mabhunu” Sabela Film and Television Awards Named after one of South Africa’s first black film directors, the awards have seen tremendous growth over the years, with just five awards in 2014 to just over 20 categories in 2017. The awards take place during DIFF annually in order to ensure that we showcase excellence in film to potential investors.

Other KZNFC programmes: The Film Fund Managed by the Production and Development department, the KZNFC is especially excited about the success of this programme over the last year and is especially proud of the recent box office success enjoyed by some of the KZNFC funded projects such as Keeping Up with the Kandasamys. The film generated over R16 million in box office earnings which is an achievement for a local production. The KZNFC is also proud to have been part of brilliant productions such as Kalushi and Beyond the River. To date the KZNFC, through the film fund, has approved 128 projects, with R510 000 spent on Markets and Festivals, and R4.2 million on Marketing and Distribution. Currently there are 11 projects in production as well as 45 that have completed development.

KwaZulu-Natal Film Industry Strategy The KwaZulu-Natal Film Commission has once again been trusted with the KZN film strategy that will seek

to accelerate transformation through creation of sustainable employment in film. The strategy looks at how filmmakers can improve their offering and expand their focus in order to build sustainable businesses in film.

The strategy looks at avenues such as Virtual Reality, gaming and animation amongst others, in view of some being the latest trends in filmmaking and some being income generating avenues.

Film Industry Transformation Initiative (FITI) This initiative is still in its implementation phase and will seek to address the skills in demand in film. Focusing on film graduates, the initiative will focus on experiential training to ensure that the province is able to cater to the needs of major film productions shooting in the province.

Locations and Facilities In March 2017 the KZNFC officially launched its film cluster, boasting rentable offices, editing suites, hot desks, a private cinema and training rooms.

The facility is fitted with state of the art equipment in order to ensure access to facilities for emerging filmmakers and small to medium companies.

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BA Film & Television Honours | Masters | PhD degrees 50 | SCREENAFRICA | July 2017

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Mediatech Africa – an event that brings creative thought to life Few would argue that the tech deployed by the media and entertainment industry is radically progressive and emerging technology is steadily influencing the industry.

From AI, drones, chat bots, and disruptive digital technologies like virtual and augmented reality – these advances are bringing creativity to life.

Showcasing all these tools of the trade, and more, is what makes Mediatech Africa such an engaging platform and why this high energy tradeshow remains relevant and indeed the leading biennial event of its kind on the continent.

Pulling over 7 500 visitors, showcasing close to 800 brands from 150 odd global and local exhibitor companies; Mediatech Africa is undeniably the premier trade show that serves the media and entertainment technology industry.

A

ccording to the organisers, themes and messages will also be detailed. registration for the latest edition Appealing to audiences in the live events of the highly specialised B2B trade industry, the popular outdoor sound demo show has already far exceeded 5 500 will again be on offer, which, according to delegates; a figure that keeps climbing and Robinson, is sure to “blow your hair back”. is expected to surpass the visitor count Highlighting this rapidly growing achieved two years ago. Visitors have the specialist technology product sector, opportunity to pre-register online ahead of this is the first year that Mediatech has the Friday, 14 July cut off and in so doing they will avoid the R100 onsite registration fee. The 2017 event is scheduled to run from 19 to 21 July at the Ticketpro Dome in Johannesburg.

Speaking about this year’s line-up, exhibition director Simon Robinson says, “We have a real feast of state-of-the-art technology – Simon Robinson for our visitors this year – across both components of the Mediatech Africa extravaganza. From the broadcast, introduced a drone cage demo area. “A film and production sector to the powerful emerging technology that is AV system integration and live event reshaping entire industries, drones have technology markets; delegates the potential to replace business across will not be disappointed.” key areas of the economy, including Show highlights include the two transportation, security, agriculture and presentation zones where the latest trends media and entertainment,” says Robinson. in technology will be shared by local and “An affordable technology that can also international experts from the industry be used for good, the potential of these throughout the day. Not just the trends – unmanned aircrafts is unmatched and the tech needed to execute these creative we believe this part of the expo will be a

“To miss the show is to be left behind. Without innovation it’s impossible to remain competitive.”

major draw-card for delegates this year.”

Another first for Mediatech is the introduction of Black Box – an “edutaining” concept developed specifically to showcase how to achieve creativity using technology – and how the technology pulls it off. For Robinson and his team, Mediatech is a trade show that is shaping the way creativity plays, creates and lives and he says that the Black Box is a tangible demonstration of this reality.

The highly anticipated Electrosonic and Martin Lighting Design Competition returns and this year’s showdown for the coveted title will take place on Thursday, 20 July at 17h00. This year’s prizes are sure to attract further interest and with an esteemed panel of judges lined up to do the honours, the competition is expected to be greater than in the inaugural competition.

“The mind-blowing advances in tech today are possibly more pioneering and exciting than in any other industry – at any point in time. Keeping step with these developments is the only way to remain germane for those in the industry,” says Robinson. “To miss the show is to be left behind. Without innovation it’s impossible to remain competitive.”

With six verticals represented at the show, including Broadcast – TV & Radio; Film & Video Production; Digital Media; Pro Audio – Lighting – Staging; Audio Visual Integration; and Studio – Recording – DJ, the audience profile is all encompassing when it comes to media and entertainment.

Owned and managed by Reed Exhibitions and Sun Circle Exhibitions, Mediatech Africa is the largest show of its kind on the African continent, and the three day event attracts regional and international visitors and exhibitors from all over the world.

Unmatched in potential, Mediatech is an experience which visitors immerse themselves in, leaving invigorated and inspired by the possibility of opportunity and a fast forward glimpse into the future.

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July 2017 | SCREENAFRICA | 51

| ADVERTORIAL

Harmonic brings marketleading playout capabilities to the cloud Harmonic is bringing new playout functionalities from its Spectrum™ media server to its award-winning VOS™ Cloud media processing platform and VOS 360 SaaS solution.

New functionality in both VOS offerings includes support for graphics, branding, and digital video effects for both file-based and live workflows.

Leading innovation in the cloud media processing market, Harmonic is helping drive the transition to software-based and cloud workflows, allowing video content and service providers to launch broadcast and OTT offerings faster, increase their operational efficiencies and reduce OPEX and CAPEX. With playout functionality in the cloud, operators can perform channel origination and playout, and drive further

workflow simplification. Harmonic’s VOS Cloud solution handles a wide range of channel origination tasks, from accessing external storage to retrieving files and normalising them as needed, adding secondary events like graphics and triggers, and ensuring that the content is delivered in appropriate format. In addition, operators can support orchestrated VOD and live-

to-VOD playout as well as streamlined acquisition of file-based assets.

These playout capabilities are also available for the VOS 360 SaaS which is hosted in the public cloud and maintained and monitored by Harmonic. As part of the unique VOS 360 service, Harmonic provides around-the-clock support coverage with a professional, dedicated 24/7

monitoring and maintenance service focused on keeping services operational with rapid response time, resulting in better QoE for end customers.

Come see Harmonic’s latest innovations for cloud media processing and delivery workflows at Mediatech 2017 on the Inala Broadcast stand (C23).

HDR Workflow Your Way. Everyone wants less work and more flow in their live productions. That’s where Grass Valley leads the way with HDR-ready solutions including adaptable, ready-for-anything cameras like our new LDX 82 Series, part of the only live production workflow that allows your way native HDR capture that’s supported across our portfolio.

Want it all in your live production workflow?

Come see it all at Mediatech, Stand D11.

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Protea Electronics (Pty) Ltd

Copyright © 2017 Grass Valley Canada. All rights reserved. Grass Valley Canada and LDX 82 are trademarks or registered trademarks of Grass Valley Canada. Belden Inc. Grass Valley and other parties may also have trademark rights in other terms used herein.

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52 | SCREENAFRICA | July 2017

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Datavideo Mobile Video Studios at Mediatech 2017 Datavideo has always had a unique approach to marketing its products.

Many manufacturers produce video mixer/ switchers, monitors, recorders etc., but no manufacturer has been as successful as Datavideo in packaging separate components in an integrated form, calling them ‘Mobile Video Studios’.

Datavideo’s first Mobile Studio (MS) was the 12U high MS-800, based on the SE-800 mixer/ switcher, and required two people to carry this 80 kilogram beast.

The current Datavideo HS (HandCarry) Studio range offers clients a compact studio in a suitcase, based on its current switchers: HS2800/2850, HS-2200 and HS-1200.

In the absence of HS systems for Datavideo’s new small HD mixers – the SE-700, SE-650 and SE-500HD – Macro Video, the South African Datavideo distributor, has come up with its own design for mobile video systems.

All three mixers are presented in

component form housed in sturdy custom-made aluminium cases, which protect the equipment. In the case there are three 1U 19’’ rack spaces, providing space for a recorder like Datavideo’s HDR70 hard drive recorder or Datavideo’s HDR-1 recording to USB, Datavideo ITC-100 Comms and Tally kit, Datavideo NVS-25 video streaming server, as well as various converters i.e. from HDMI-SDI, SDI-HDMI, or SDI to Composite, should these be required. A unique feature is that the monitor is mounted in the lid of the case for monitoring purposes. As

ADVERTORIAL

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The GTP-805A comes to Mediatech The GTP-805A optical media converter is a Single-Port, MidSpan IEEE 802.3at High Power over Ethernet Converter designed specifically to satisfy the growing demand for higher power required network equipment such as PTZ (Pan, Tilt & Zoom) network cameras, PTZ speed dome, colour touch-screen VoIP telephones, multi-channel (IEEE 802.11a / b / g / n) wireless LAN access points and other network devices that need higher power to function normally.

The GTP-805A High Power over Ethernet converter is an ideal solution

each kit is hand built, it can therefore be customised to the client’s requirements.

These are integrated ‘one box’ solutions that are compact and affordable since they are made up of components that clients can buy one by one, eventually building up

to delivering data and power to network devices directly via the RJ45 port interface without the need of installing extra power outlets and electrical cabling.

Come see the GTP-805A at Mediatech 2017 on the Jaycor International stand (D20).

their systems as and when they can afford, thus making these Mobile Video Studio solutions unique.

Come see Datavideo’s Mobile Video Studio at Mediatech 2017 on the Macro Video stand (A15).

July 2017 | SCREENAFRICA | 53

| ADVERTORIAL

Grass Valley helps broadcasters transition to IP Long a proven networking technology for many industries, Internet Protocol (IP) technology is quickly gaining traction across the broadcast television ecosystem as broadcasters look to make their operations more efficient on every level. Understanding exactly how and when IP technology will impact a given business model depends on a broadcaster’s individual situation, but developing an understanding of the technology and how it fits different workflows is critical.

T

he need to manage a growing volume of content continues in the broadcast world (i.e., multiple formats, VOD, OTT, etc.) as the market jockeys to identify the best way to accommodate viewer tastes. Higher quality content (4K/UHD and beyond) requires more horsepower to distribute throughout and between broadcast plants. To remain efficient while satisfying these demands, broadcasters need to choose the technology that has already demonstrated its ability to support the bandwidth that broadcasters require.

In the long term, IP provides the most affordable and sustainable solution.

IP technology is well established and is already delivering benefits in a number of other vertical industry applications, including IT data centers.

The broadcast industry can benefit from a model like this, one that relies on the same scalability, load balancing, use of commodity hardware and redundancy that make IT data centers so ubiquitous and successful. The Broadcast Data Center approach from Grass Valley, a Belden Brand, brings all of those benefits to the broadcast space.

With the agility of IP, broadcasters are set up to handle the growing needs of their broadcast plant today and, perhaps even more importantly, to ensure their ability to continue expanding easily in the future. It’s this agility through technology that makes IP so appealing:

54 | SCREENAFRICA | July 2017

GV Node

GV Convergent

high data rates, wide bandwidth and a system that’s both format agnostic and scalable for whatever the future brings. An IP infrastructure based on open standards provides broadcasters with maximum agility and flexibility to adjust business models, capitalise on new revenue opportunities, and add new capabilities and services without having to constantly rebuild their infrastructure.

The reason for common standards is obvious: interoperable solutions based on widely accepted, open standards have driven the industry’s growth and success for decades by accommodating broadcasters’ current needs and ensuring they’re ready for future advancements. Just as the industry did with SDI, broadcasters must maintain this approach with IP—utilising a single, standardised interface for transmission of video to ensure that widespread signal transport interoperability continues.

As a founding member of the Alliance for IP Media Solutions (AIMS), an independent trade association founded to ensure that all IP solutions brought to market offer complete interoperability, Grass Valley is dedicated to open standards that will integrate seamlessly into current workflow environments. The association’s initial focus is on promoting the awareness, adoption and refinement of open protocols for media over IP. Broadcast television operations are the factories that drive the medium and

IP technology improves productivity.

Going forward, IP technology is changing the way video is produced. IP data transport not only provides a way to move media from point to point, but also enables carriage of additional, timevarying data related to the media itself.

For example, a camera has a fixed location measured with GPS and lens type, based on configuration. As the video is recorded, F-stop and focus are varied. Additional dynamic information related to the recording can be included in the metadata such as time of day, event type, people, places or things, and other keywords associated with the media. This data can then be used to generate and render real-time graphic enhancements, such as first down lines for American football games or other event-specific graphics. As a result, follow-on productions are richer, and offer more value by including additional clips, soundbites or text references based on context.

This is one of the real values of IP. It can be argued that metadata has become at least as valuable, if not more valuable, than the actual video being captured.

And, the way that dynamic metadata is handled by IP technologies powers creativity, through time-aware, data-rich applications that can’t be handled in SDI. In many customer environments around the world, Grass Valley’s Broadcast Data Center enables a broadcast-centric IP plant designed with

the affordability and efficiency of today’s IP networks and COTS switches, while leveraging the reliability, extensibility, functionality and familiarity of the SDI broadcast world. GV Convergent control system controls and manages traffic through both IP switches and SDI routers, while controlling edge switching and orchestrating bandwidth with a design for the needs of broadcasters. The GV Node Real-Time IP Processing and Routing Platform provides vertically-accurate switching. Controlled by GV Convergent, GV Node’s real time, distributed routing and IP processing supports both IP and SDI workflows. Additionally, GV Convergent and GV Node provide other broadcast-centric benefits so that an IP infrastructure mimics traditional SDI workflow and processes.

With the right solutions provided by a supplier that is committed to interoperability and leveraging the benefits of technology from adjacent markets, broadcasters are realising the benefits of IP and are discovering new opportunities for improved efficiency and profitability.

Visit Grass Valley at Mediatech 2017 on the Protea Electronics stand (D17).

THOUGHT LEADERSHIP

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Autoscript’s award-winning Intelligent Prompting revolutionises workflow The demand for more flexibility and speed continues to grow among broadcasters worldwide. As the industry’s leading authority on teleprompting systems, Autoscript has paved the way and answered their customers’ call with their innovative Intelligent Prompting solution. A TV Technology “Best of Show” award winner at this year’s NAB Show, Intelligent Prompting uses IP technology to deliver ultimate connectivity, flexibility, ease of use, and reliability that modern broadcasters need.

“Until now, prompting systems have relied on USB, video, and serial cables to connect the controller to the prompting engine and deliver prompting output to the monitor. Our customers needed a seamless IP prompting workflow for today’s evolving broadcast environments,” said Robin Brown, White product manager at Autoscript. “With Intelligent Prompting, our engineers have redesigned each component within the

system to create a scalable architecture that’s both reliable and flexible.”

Intelligent Prompting is a truly seamless, end-to-end IP solution that delivers the world’s first IP-connected teleprompting monitors. It is a gamechanging solution that enables users to collaborate anywhere on the IP network, offering broadcasters convenient and cost-effective resource allocation as well as flexible integration. This IP workflow also provides users with powerful redundancy for live broadcasts.

Along with software improvements, Autoscript has perfected the hardware, which is now 30 per cent lighter with a 75 per cent decrease in the overall setup time compared to other modern, leading solutions.

“Intelligent Prompting is a result of understanding the trends that are impacting the industry and gives broadcasters a scalable, seamless workflow that’s priced similarly to

traditional prompting systems,” said Brown. “We believe we have developed a revolutionary prompting system that can support users at any stage in their transition to IP and will open up possibilities to enhance prompting

workflows for years to come.”

Come see Autoscript’s Intelligent Prompting solution at Mediatech 2017 on The Vitec Group stand (H17).

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July 2017 | SCREENAFRICA | 55

| ADVERTORIAL

Award-winning Ross Graphite all-in-one production vehicle on show The new Graphite, an award-winning product introduced at NAB this year, will be on show on the Concilium stand (E17). The Ross Graphite is an all-inclusive system that combines superb big switcher performance with visually stunning 3D graphics, instant access clip servers and pristine audio clarity – with the reliability of separate system components.

The production switcher utilises real Carbonite hardware built into a dedicated hardware module in the platform. Carbonite packs major effects and keying power into two MEs. Each ME has four powerful keyers with luma, linear, chroma, and DVE key types as well as an additional fifth transition keyer for animated Media Wipes and DVE transitions. Each ME can access the two advanced Ultrachrome chroma keyers.

Two advanced pattern generators per ME are available for wipes, pattern masks and colour washes. Each ME also provides a clean feed output.

Two configurable MultiViewers (up to 32 windows) are included in the

Carbonite feature set. These clean, low latency MultiViewers have access to all external and internal sources.

Source naming and tally assignment automatically follow window routing selections. Each MultiViewer has user selectable layouts with the individual choice of border, tally and source label display for each source.

XPression Graphite has a direct connection to Carbonite’s MediaStores. Individual still graphics can be transferred and stored for inclusion in the production in addition to the live multi-layered graphics. It is also possible to use switcher media stores as a preview channel for the XPression Graphite application. The renowned Ross Xpression motion graphics system is used by top production studios, sports and news networks together and is supplied complete with Xpression fully featured clip server channels. With all of this great video power a great audio solution was needed so the RAVE audio engine, with a 28channel

audio mixer, external embedded SDI audio from each external input, stereo audio from internal sources is also included and an optional analogue/ digital audio breakout box is available for high quality live audio recording.

Graphite offers all this powerful production equipment in a compact 4RU chassis, but unlike traditional all-

in-one systems – offers unprecedented performance and total reliability. Real Horsepower you just have to see!

Come see the Ross Graphite at Mediatech 2017 on the Concilium Technologies stand (E17).

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OPINION

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The future of archiving Written by Nabil El Madbak,

Technology marketing manager, Sony Professional Solutions MEA

We all know content is king but just as important is the need to prepare, protect and preserve the content through viable and long lasting solutions.

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ithin the video production industry alone, dataheavy content such as HD, 4K and high frame rate videos are exponentially growing by the day. Subsequently, these newly created assets need to be managed effectively, stored safely, and utilised along with the old assets.

Broadcasters, production companies, and other content holders are not only handling large and growing quantities of daily content, but are also much concerned with digitising the massive VTR assets currently sitting on shelves.

As it becomes increasingly possible to effectively manage and rapidly search these materials via shared networks, new potential is discovered for the reuse of such assets.

As data volumes rise, so do storage costs – making it essential to implement storage systems that distinguish between hot (frequently accessed), warm (occasionally accessed), and cold (infrequently accessed) data, and selecting the best storage media for each. The main obstacle for content owners is to ensure the ability to preserve, access, and re-use their valuable assets without incurring repeated investment, and huge running costs.

The requirements of long term reliability, the ability to maintain large quantities of data at relatively low costs, and the ability to maintain data integrity in “green environments” with limited environmental controls are essential.

Sony is convinced that optical disc storage fills all of these requirements, and is therefore ideal for warm and cold storage. The new technology, with open and non-proprietary formats, involves the use of multiple bare discs contained within a robust cartridge and a dedicated disc drive unit with an associated software driver able to manipulate the discs individually – providing a seamless read/write capability.

The non-contact read/write technology offers the ability to access data with remarkable speed compared to tape data that necessitates the physical fast-forwarding and rewinding of a tape, 800 metres or more in length, until the location of the required

data is reached. Also, it’s never going to jam, tangle or snap.

The fact remains that optical discs are considerably more durable than hard‐disk storage systems or magnetic tape based media, with a 100-year shelf life expectancy. The system is highly reliable and optimised for long-term archiving. It also succeeds in keeping down total archiving costs, and has a low environmental footprint. It offers accessibility, high speed, and can be scalable to fit the users’ needs which can begin with small archive stored on a few shelves, and expand into a large library as data accumulates.

Whilst the professional AV media industry has moved steadily from its tape based origins toward file based workflows for acquisition, post-production and distribution, the archive domain continues to remain largely tape‐based.

An alternative modern day solution, the Optical Disc Archive (ODA), has been created helping organisations achieve safe, long-term storage of video, photos, text, and other important digital assets.

Both LTO magnetic tape and Optical Disc Archive are viable cold storage options. The most common complaint from the user community is the constant need to migrate valuable assets from one form of tape media to the next version upgrade simply to maintain a viable archive. This requirement for copy migration every two generations (approximately five to six years), incurs substantial media and labour costs.

By leveraging the proving optical technologies, and inter-generational compatibility of optical discs, ODA technology can store important data safely, eliminating the need for migration every few years. This eliminates the need for media, hardware and software re-investment, as well as the cost of human resources required to perform copying work, resulting in reduced total cost of ownership.

ODA solutions are also ideal for deep archive, whereas data tape does not provide the assurance or meet the need for very long-term archive requirements. It also provides a second copy broadcast archive solution at a remote site and is suitable for business

Nabil El Madbak

continuity, disaster recovery, post house and production back-up and, for video, film and stock footage archives or AV national archives. The system can also be used for news and sports clips that need to be near-online and as an on-line browse and proxy clip store.

Recently, Sony unveiled the second generation of its Optical Disc Archive System, which doubles the capacity of a single cartridge, and doubling read/write speeds over the previous generation, accommodating 4K video in real time, and maintains backwards read compatibility with first generation optical disc drives.

Optical disc archive can serve as the core of highly productive archive systems capable of managing and storing valuable, high-volume data—including 4K video, futuregeneration video, older video assets, and multimedia video content.

The technology is future proof and achieves a revolutionary jump in the world of data storage ideal for any circumstance.

Now and in future, this system delivers an efficient, secure, and reliable archive solution. Unlike data tape technology, where you have to migrate your content or you can’t access it as your technology moves on, the Optical Disc Archive media written today, will be readable by the drives of tomorrow.

Bottom line is with the current region pre-dominantly tape based, it is now time to transition towards the future. Optical disc archiving is the way forward – it is a solution that is long term, economical, and ultimately scalable to grow with your business.

Visit the Sony stand (F25) at Mediatech 2017.

July 2017 | SCREENAFRICA | 57

| ADVERTORIAL

Blackmagic Design’s URSA Mini Pro 4.6K digital film camera on show at Mediatech 2017 The URSA Mini Pro combines the best digital film technology with the most advanced broadcast features and ergonomics available, making it perfect for use in high end feature films, television shows, commercials, and indie films as well as broadcast news, studio and even live multi-camera production.

The camera features a massive number of tactile control buttons, switches and dials that make it faster to use, built in optical ND filters, a new interchangeable lens mount, dual CFAST 2.0 and dual SD/ UHS-II card recorders, and much more.

URSA Mini Pro has a revolutionary

new interchangeable lens mount that makes it compatible with virtually all professional lenses so customers can choose exactly the right lens for the job. Included as standard is an EF mount for working with high quality photographic lenses, but when in use on high-end film shoots or in a broadcast environment, PL or B4 mounts can

The Movietex Sewing Room now in-house Movietex recently announced that its new, inhouse sewing room is open and ready for action with seamstresses industriously working away to create all your textile needs.

Movietex works with only the finest textiles from Roscotex, considered the best in the industry.

Roscotex has a wide range of flame retardant fabrics that comply with the most rigorous EU norms.

Movietex’s sewing room is available for new projects from studio black and chroma key curtains to butterflies, overheads, flags, yashmacs and more. Movietex can also do repair work on clients own equipment that needs refurbishment.

The Movietex team is up to any challenge.

Visit Movietex on the Movievision stand (A5) at Mediatech 2017.

be quickly and easily interchanged.

The camera can record lossless 12-bit CinemaDNG RAW files for the highest possible quality, or 10-bit ProRes files for easy post-production workflows with minimum storage requirements. The URSA Mini Pro

also includes the full DaVinci Resolve Studio software, giving customers a complete post-production solution.

Visit Blackmagic Design on the Africa Broadcast stand (J13) or Stage Audio Works stand (F55).

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58 | SCREENAFRICA | July 2017

| ADVERTORIAL

Canon introduces 4K compact Cinema EOS camera, the EOS C200 Canon Europe, a world leader in imaging solutions, recently announced the launch of the EOS C200, the latest addition to the esteemed Cinema EOS range. Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals.

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s the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0™ card.

Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking.

Capability drives creativity The EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0™ card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format.

Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details.

The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture.

An ISO range of 100 to 102,400

guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.

mounting onto a drone or gimbal.

Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder – the EVF-V70.

Advanced operability and ergonomic design

Cinema RAW Light for next generation workflows

Built for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject.

For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control.

The EOS C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting and will benefit those who are filming for long periods. The compact size also makes the camera suitable for

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access. This format can also be processed using a Canon application, Cinema RAW Development.

Support for Cinema RAW Light is also scheduled for EDIUS Pro, Grass Valley’s editing software, during 2017.

Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X.

Future Firmware upgrade Canon’s XF-AVC video format will be available with a future firmware upgrade.

This upgrade is free of charge and is planned to be available from 1H 2018.

EOS C200 key features: • Internal 4K recording with Cinema RAW Light and MP4 format • Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD • Up to 15-stops dynamic range (Cinema RAW Light) • Professional High Quality image and audio • Dual Pixel CMOS AF with touch control and extensive shooting functions • Easy operation and flexible configuration Come see the EOS C200 at Mediatech 2017 on the Canon South Africa stand (J25).

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Multi-Channel HD Recorder 4K/UltraHD/2K/HD Player and Recorder Introducing Ki Pro Ultra Plus. Building on its fine heritage with 1, 2, 3 or 4-Channels of up to 50/60p HD encoded to beautiful Apple ProRes® files. Choose different profiles for each channel for simultaneous full quality and proxy file encoding or feed four separate cameras into the same recorder and free up your rack and equipment needs.

Simplify 4K/UltraHD workflows with a single HDMI cable with Ki Pro Ultra Plus’ HDMI 2.0 support for capture and playback.

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Multi-Channel HD Capture Ki Protect Ki Pro Ultra Plus offers a cost effective and flexible solution for simultaneous HD multi-channel encoding to high quality Apple ProRes files in a half rack space.

Choose different profiles for each channel to meet the needs of your post production pipeline or capture from up to four completely separate sources simultaneously, all to a single Ki Pro Ultra Plus.

Recording Confidence

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Recording is always nerve wracking, you may only have one chance.

Ki Pro Ultra Plus, in single channel mode, offers up to 50/60p at full 4K or UltraHD for full motion clarity when capturing to Apple ProRes HQ on reliable AJA Pak1000 SSD Media.

Ki Protect provides peace of mind, ensuring that in the event of power loss or accidental media removal during recording, frames already encoded are preserved and recoverable.

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Full HDMI 2.0 support for both input and output on Ki Pro Ultra Plus allows recording and playback of 4:2:2 and 4:4:4 4K/UltraHD 50/60p over a single cable.

| ADVERTORIAL

Imagine Communications opens its microservices technology platform to the Media and Entertainment industry

Imagine Communications, empowering the media and entertainment industry through transformative innovation, is introducing its Open Zenium programme.

T

hrough Open Zenium, Imagine Communications is raising the bar for collaboration, transparency and innovation by sharing source code to the Zenium™ microservices library, the company’s pure microservices technology for building smarter and more efficient media operations, with a community of its customers and partners. Open Zenium provides media companies with the ability to customise, modify, design and deploy next-generation workflows and services with unparalleled efficiency, scalability and performance, as well as gain access to a vibrant software community backed by teams of developers, architects and DevOps engineers. The chief objective of the programme is to deliver the knowledge, tools and technology that will fortify operations with the flexibility, efficiency and scale to meet the unique and evolving needs of consumers and enable rapid response to changing market dynamics.

The Open Zenium initiative marks a milestone in the media and entertainment industry. For the first time, a major technology supplier is providing access to not only the intellectual property underpinning its innovative and marketleading solutions with a community of its customers and partners, it is also building a community based on transparency, innovation and success. Imagine is providing access to the design patterns and best practices it has developed over the years, as well as the technology that powers its industry-leading solutions, including its Versio™, Selenio™ One, and EPIC™ MV platforms. The pureplay microservices Zenium platform provides media companies with an agile and versatile technology foundation that provides unparalleled access to current and future technology, along with industry-leading efficiency and scale.

“By making Zenium source code available to a community of its partners and customers and providing access to the knowledge we have developed with it, Imagine Communications is taking another bold step forward for the industry, setting the bar for transparency, access, knowledge-sharing

62 | SCREENAFRICA | July 2017

Charlie Vogt, CEO, Imagine Communications

and shared success,” said Imagine Communications CEO Charlie Vogt.

“We are sending a strong message that we are ready to explore a more strategic and collaborative relationship with customers and are willing to back up our commitment by exposing the company’s most valued intellectual property in an environment designed to propel all parties toward mutual success in a market that is becoming more competitive every day.”

Vogt added, “While other technology companies have recently jumped on

the microservices bandwagon, Imagine Communications has been building solutions based on microservices for several years and is now taking the next step of sharing the building blocks of our groundbreaking innovation with a community of our customers and partners.”

An early and vocal leader in the transition of broadband to IP, Imagine Communications is in a unique position to accelerate the transformation of the media industry by providing access to this groundbreaking technology with a

community of its customers and partners.

The Open Zenium initiative is designed to put the larger broadcast community on the same innovation trajectory as Imagine, helping media companies of all sizes to unleash their full creativity and revenue-generating potential by eliminating technological limitations.

Opening up Zenium is intended to provide access to a level of transparency, innovation and risk management previously unheard of in the media and entertainment industry. Open Zenium is designed to redefine the way media companies interact with their technology partners and infuse their operations with innovation.

“This is collaboration on a scale that’s never been seen in the media and entertainment industry,” said Brick Eksten, chief product officer, Imagine Communications. “The time is now to leverage the amazing work being done in the broader compute industry and to bring together best-of-breed virtualisation with proven broadcast technologies. We’re opening up Zenium to enable a community of our customers to exploit the capabilities of the technology platform of the future and to inject their businesses with the agility and flexibility that will allow them to thrive in a rapidly and constantly evolving competitive environment.”

The adoption of a microservices-based architecture does not require media companies to make wholesale changes to their networks. Instead, the componentbased, highly granular composition of Zenium enables media companies to make the transformation from monolithic to Cloud-Native applications in a gradual fashion. By making Zenium’s source code available to a community of technology partners and customers, Imagine is accelerating the transition to a technology foundation that is built to withstand the blistering pace of change in the media and entertainment industry.

Visit Imagine Communications at Mediatech 2017 on the Concilium Technologies stand (E17).

IMAGINE SELENIO™ ONE XO

Next-generation, high-density ABR transcoder for OTT and multiscreen Selenio™ One XO is a high-density, adaptive bitrate (ABR) transcoding product built on the nextgeneration Selenio™ One compression platform, which offers media companies a single solution for performing a range of encoding, transcoding, and related processing operations.

ROSS GRAPHITE

All-in-one production vehicle With the Carbonite switcher, XPression motion graphics, XPression Clips server, and RAVE audio engine – total production power is right at your fingertips. Graphite offers all this powerful production equipment in a compact 4RU chassis, but unlike traditional all-in-one systems – offers unprecedented performance and total reliability.

TELESTREAM WIRECAST GEAR

Live streaming production hardware Wirecast Gear is an extremely portable computer workstation for live event production and streaming. With four HD-SDI or HDMI professional camera inputs and all the live streaming production features of Wirecast Pro, Wirecast Gear is a unique blend of performance, ease of use and affordability. Just plug in your cameras and start streaming.

LIVEU LU600

Portable transmission unit for global newsgathering and live sports and events coverage.

Setting the standard for IP bonding,the LU600 delivers the highest video quality and bitrate in the market (up to 20Mbps), fastest file transfer (80Mbps) and lowest delay (0.5 sec). Tailored to the needs of mobile journalists, the LU600 offers a new streamlined user interface in a specially designed smart backpack.

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SAM’s live production update The production demands of today must be able to cope with a range of formats and this is particularly the case with live production environments. Seamless multi-format support and the ability to handle a range of aspect ratios in all areas of the workflow is key. Multi-platform content delivery is also increasingly important to our customers. SAM’s ethos is all about enabling content owners to get their content efficiently to their audience – whatever and wherever that is.

SAM will be demonstrating two key products within its live production solution at Mediatech 2017 on the SBSS stand (E11):

World’s fastest live sports production and replay workflow SAM’s LiveTouch really pushes live sports replay boundaries, enabling mixed formats in anything from SD to

UHD. LiveTouch delivers integrated editing functionality and allows the fastest project sharing between replay and edit in the industry, with no need to move content between applications.

Users can publish highlights and replays straight to air and social media after ingest at the touch of a button.

The most powerful production switcher in its class SAM’s Kula production switcher (available as 1, 2 and 3 M/E versions) handles multiple formats making it both future-proof and adaptable for today’s production environment.

A wide choice of control panels

(from flyway to studio applications) and access to up to 42 inputs makes operations easy, giving users more time to work on other elements within the live production environment. Supporting resolutions from SD to UHD, including 12G-SDI, Kula is the most powerful feature rich switcher in its class.

AJA Ki Pro Ultra Plus

Ki Pro Ultra Plus is a multi-channel Apple ProRes recorder offering up to four channels of simultaneous HD recording, or in single-channel mode, a 4K/UltraHD/2K/HD Apple ProRes or Avid DNxHD® MXF recorder and player supporting the latest connectivity. 3G-SDI, fibre and full HDMI 2.0 digital video connectivity, along with support for large raster HFR workflows up to 4K 60p, and a wealth of analogue and digital audio connectivity gives users the flexibility to handle any project demand with ease.

Suited for a range of broadcast, production, post-production and ProAV environments, the portable device boasts a handle and is rackmountable with half rack wide 2RU high dimensions. It fits seamlessly into studio/truck environments as well as on-set and for digital signage

64 | SCREENAFRICA | July 2017

applications. Ki Pro Ultra Plus enables manageable large raster workflows with the efficiencies of Apple ProRes, supporting a broad range of video formats and frame rates recorded directly to AJA’s proven and reliable Pak Media.

Next generation pristine 4K/UltraHD 50/60p recording in Apple ProRes HQ is offered utilising AJA Pak SSD media, complete with full roll-over capabilities to ensure longer recording times.

Additional features include: 12-bit support on input for Apple ProRes 4444 and planned ProRes 4444 XQ encoding; Ki Protect technology to ensure recorded files aren’t lost in a power failure; multi-channel audio support via embedded SDI or HDMI, AES/EBU, and Analogue; an intuitive webUI for remote monitoring, control and deployment; and a three-year international warranty.

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Jasco introduces the Leyard LED MultiTouch Video Wall Jasco Broadcast has announced local availability of Leyard’s LED MultiTouch Video Wall, the industry’s very first completely seamless touch-enabled LED video wall. It is available in three sizes: 108-inch, 151-inch and 196-inch; and features up to 32 simultaneous touch points. This revolutionary new technology changes the game for professional broadcasters, and opens up numerous other collaborative possibilities across broadcasting, corporate applications and even within educational institutions.

“Thanks to patent-pending Leyard Pliable LED Touch Surface (PLTS) technology, these new video walls are not only smooth, seamless and lightweight, they are also highly durable. With up to 32 simultaneous touch points, multiple users can interact individually at the same time, without their experience being affected by what anybody else is doing.

Aside from professional broadcasting studios, where the video walls can be used to enhance live productions such as sportscasting and weather forecasting, these video walls can also be applied in a corporate setting or at events to take customer presentations to the next level. There are also many possibilities for educational institutions to leverage the potential of these screens for interactive collaboration

applications,” says Paul Divall MD at Jasco Intelligent Technologies.

One of the most important advancements of the Leyard LED MultiTouch Video Wall is the fact that it is completely seamless across the entire expanse of the screen, which offers enhanced visual performance with uniform colour and brightness.

The anti-glare surface also eliminates distracting reflections, and the PLTS

technology ensures the screen has no parallax effect, meaning that images remain consistent and true across the entire video wall both in direct and off-axis viewing.

“The Leyard LED MultiTouch Interactive Video Wall represents the latest in global broadcasting display innovation, offering a sleek look and unparalleled quality along with a dynamic, interactive multi-user

experience. We are proud to be able to bring leading-edge international technology to the southern African market, ensuring local broadcasters and other users can access best of breed solutions to compete on a global scale,” Divall concludes.

Visit the Jasco Broadcast Solutions stand (G27) at Mediatech 2017.

shutter behaviour, which before was possible only with CCD imagers.

Xensium-FT imagers deliver unmatched sensitivity and picture quality even in the most demanding applications.

Understanding that productions need freedom and adaptability, Grass Valley enables users to choose the right solution to fit their specific

requirements. Thanks to the unique GV-eLicense program, LDX 82 Series users have the choice of upgrading their cameras to the functionality of any higher level in the family though a perpetual or 7-day license.

The LDX 82 Series also is available in compact versions, providing even more workflow and creative

flexibility. The compact format enables the highest quality native HD capture in camera positions that are difficult to reach, or are impractical for camera operators.

Visit Grass Valley at Mediatech 2017 on the Protea Electronics stand (D17).

LDX 82 Series HDR-capable advanced imaging camera platform For increased flexibility and a wider range of choice when it comes to HD cameras, Grass Valley recently debuted the LDX 82 Series, which includes four upgradable camera models, offering varying levels of operational flexibility to match every production need. Each model of the LDX 82 Series offers the best sensitivity in all HD formats— including 1080p—a wide colour gamut, and Grass Valley’s XDR (Extended Dynamic Range) operation with a full 15 F-stops (available by GV-eLicense only).

The LDX 82 Series cameras are built around Xensium-FT imagers, a new generation of camera imagers that combine all the advantages of CMOS imaging technology such as high sensitivity in all video modes, high dynamic range and low power consumption. They also include global 66 | SCREENAFRICA | July 2017

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The EXE-VSR, with 46Tb/s of switching capacity in 40RU, revolutionizes the facility router. With 2304 10GbE ports, the EXE provides unmatched exibility and scalability for video transport over IP. Using SMPTE-2022-6, the EXE non-blocking switch fabric supports up to 13,800 uncompress HD-SDI signals.

When compression technology (JPEG-2000, H.264, or MPEG-2) is utilized, the

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hen compression technology (JPEG-2000, H.264, or MPEG2) is utilised, the number of video streams can reach the millions. With the combination of Evertz SDVN and the EXE as the core, facilities become more agile to handle new HD/SD services, new delivery platforms and new video formats (i.e. Ultra HD 4K and 8K).

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The EXE-VSR supports 46Tb/s of switching capacity. By implementing an independent data path, the EXE-VSR supports 10Gb/s, 60Gb/s, 100Gb/s and 120Gb/s interface speeds that can carry uncompressed 3G/HD/SD using SMPTE-2022-6 and compressed video (using JPEG-2000, H.264, or MPEG2). In addition, the EXE-VSR supports multiple timing planes which provides independent SMPTE compliant switching for different digital video signal formats.

de-capsulators, ASI/IP multiplexors, 10GbE multiviewers, and remote hybrid interfacing.

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The versatility of the EXE-VSR to support uncompressed The EXE-VSR supports varying types of port (3G/HD/SD) and compress video signals (JPEG-2000, H.264,interfaces or MPEG-2) provides unmatched stability. including 10GbE SFPs and MTPs. In 40RU, the EXE-VSR is capable of supporting 13,800 uncompressed HD/SD signals over 10 million TS streams (using MPEG-2).

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68 | SCREENAFRICA | July 2017

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The EXE-VSR uses the successful EQX (Evertz 3G/HD/SDI Enterprise Router) as the ultimate design in terms of system availability. The EXE-VSR architecture contains redundant protection for all of the critical system elements. The architecture provides redundant cross-point Comprehensive Control configurations, redundant frame controllers, The EXE-VSR provides comprehensive external redundant load sharing power connectivity to suit the most demanding supplies, redundant easy access cooling installations. The internal frame controllers fans and a dedicated monitoring bus that provide complete connectivity to is independent of the system crosspoints. any number of remote control panels In the event of a failure, manual or and 3rd party control devices such automatic re-routing of signals on an as automation systems via Ethernet output-by-output Path-by-Path basis is ports. Using MAGNUM, as the SDVN fully supported by the system software. orchestration and control system, the Using the EXE-VSR monitoring capabilities, EXE-VSR makes system installations output quality can be verified prior to with advanced tie-lines, automated EXE-VSR40 EXE-VSR28 EXE-VSR40 switching to redundant signal paths. pathfinding, and advanced control Come see the EXE-VSR at surfaces easy to implement and manage.

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LED lamp market projected to grow more than 12-fold: film industry set to benefit

LED lighting has been used for over ten years in the architectural and building industry, but with developments in light-emitting diode technology, there’s been a quiet but steady lighting revolution in the film industry over the last five years.

A

ccording to Visual Impact director, Marius van Straaten, a trend that’s fundamentally impacting filmmaking is the increasing use of LED lamps in lighting fixtures. Adding to this he says that LED lamps have a lifespan and electrical efficiency that’s several times greater than incandescent lamps and they are significantly more efficient than most fluorescent lamps.

“In an age where everyone is moving to more sustainable lighting solutions – this is a profound development for our industry,” says van Straaten, adding “The LED lamp market is projected to grow more than 12-fold over the next decade.”

“Some LED chips emit more than 300 lumens per watt – using only one tenth of the power used by a tungsten lamp. These are remarkable advantages with a huge cost saving on electricity.

Not only do the LED lamps consume one tenth of the electricity of tungsten

70 | SCREENAFRICA | July 2017

lamps, they emit very little heat, saving further power on air conditioning,” adds van Straaten. When looking at the numbers, van Straaten says that on a three month studio shoot, this translates into savings of hundreds of thousands of Rands in power bills.

“On mobile shoots the low power draw allows LED lamps to be battery powered which makes shooting that much easier; particularly in vehicles and airplanes which is an obvious plus. Like incandescent lamps and unlike most fluorescent lamps, LEDs come to full brightness without need for a warm-up time.”

Advancements are such that these lights are now so small and weightless that they can be mounted on a drone with the camera. Keeping step with these developments, Visual Impact’s Light and Motion Stella pro range now offers these LED fixtures for drones.

“Creatively speaking, the RGB-W colour control presents a very significant advantage, giving Directors of Photography and gaffers (chief lighting technicians) a level of control never achieved before,” says van Straaten. “The primary reason for our acquiring the distribution of the Arri SkyPanel and Digital Sputnik RGB-W lights is the additive colour mixing – putting control into the hands of the artist using them.”

Additive colour mixing delivers literally hundreds of thousands of colour options and van Straaten says that this colour control means coloured gels are no longer required in front of lights – saving over R200 000 per feature film in gel costs and labour.

On the downside, the initial cost of LED lamps is usually much higher. There is also a degradation of the LED dye which reduces light output to some extent over time. Despite these factors, van Straaten believes LED’s benefits significantly outweigh the negatives.

“Shooting on moving vehicles, in rain and creating any colour temperature is now significantly easier using highly mobile LED lighting systems. The Velvet

range of weatherproof lights creates beautiful soft light with complete colour temperature control and this too can run on batteries,” he says. “The Light and Motion Stella pro range deliver power and control under water, on land and in the sky. They are waterproof for diving and work well on any camera or vehicle platform and drones.”

“LED technology is in its infancy and the lights will become smaller, cheaper, brighter and more efficient, but by far the most exciting development is the possibilities attendant to their digital nature. Intelligent systems will permeate our homes and our offices – it’s just a matter of time before this becomes the new normal. Imagine self-reporting lights that can switch on when someone approaches and in turn report on movement patterns in a space. Lights so thin they can be mounted against walls in places never imagined by filmmakers.

Lights that can change angle and match the ambient light’s colour exactly. Lights that digitally transmit their colour values to assist post production with CGI and special effects; LED has a bright future indeed,” concludes van Straaten.

Visit the Visual Impact stand (G19) at Mediatech 2017.

|

Talent in the spotlight at the 2017 Lighting Design Contest The 2017 Lighting Designer Contest (LDC), which is proudly hosted

by Electrosonic SA together with Martin Professional (Denmark), Lighthouse Holland and Mediatech Africa, provides an opportunity for contestants to express their skill and creativity. Hopefuls competing for the 2017 title are invited to design the ultimate lighting show and this year, the decision has been taken to open up the contest to all brands of lighting consoles.

A

ccording to Electrosonic SA lighting director Bruce Schwartz contestants may use any brand of lighting console such as MA, Avolites, Chamsys and Hogs. “We will also have the Martin M-Series consoles available for the many M Series users. We believe this decision will open up the scope to a far wider pool of contestants and provide for even more electrifying designs.”

Showcasing incredible talent and the trends in illumination in the live event industry, the competition is a real highlight of the biennial Mediatech trade show this year being staged from 19 to 21 July. With almost 200 attendees at the inaugural lighting competition two years ago, the 2017 demonstration promises to be even more of a spectacle; more impressive and even more widely supported.

Adding further gravitas to the event, the judging panel this year includes an esteemed group of independent professionals, including previous LDC winner Gary Sam, Mediatech exhibition director Simon Robinson, and Peter Dahlin from Martin Professional Denmark. The

72 | SCREENAFRICA | July 2017

scoring of each entry is assessed on creativity; variation; timing; use of a range of functions on the Martin fixtures; and audience reaction.

Five finalists, selected from a vast array of entrants, will present their show during the much anticipated finals event which is scheduled for 17h00 on 20 July 2017 at Mediatech in a specially constructed contest area which will be packed with Martin Professional Fixtures. Although the audience will be participating in the voting process, the results announced by the judges will be final.

With incredible prizes valued at R80 000 up for grabs the organisers are expecting even more interest than in 2015. The prize line-up includes an all-expenses paid trip to Martin Professional’s headquarters in Denmark for the winner, with a Martin M-DMX, JBL Xtreme Portable Speaker and a one-year Martin ShowDesigner licence gong to the first runner up. The second runner up will walk away with a Martin M-DMX and a one-year Martin ShowDesigner licence. Prizes are not transferable and cannot be exchanged for cash.

Mediatech exhibition director Simon Robinson says the initiative aims to engender an improvement in industry standards, while also providing a platform to promote up-andcoming, as well as established designers. “Not only that, the massive entertainment value of the finals event is quite awe-inspiring and really gets your blood pumping. We are really excited to see the evolution of creativity and we are particularly interested in what the fresh talent will deliver.”

Adding to this, Schwartz says, “We eagerly anticipate the finals to see who will be awarded the title of 2017 Electrosonic Lighting Designer Contest winner. It’s encouraging to see the industry interest in the competition and we expect like the previous event, that the uptake will be far greater in this the second year of the contest.”

Almost the full range of Martin Fixtures such as the workhorse MAC Viper range, the MAC Quantum Range and the versatile RUSH MH7 fixtures, will be showcased and can be experienced at Mediatech. “On this note, perhaps the most exciting product point to be mentioned is the integration of the Martin Creative Video Products like the VDO Sceptron and P3 Processor, which will highlight the integration of lighting and video in a live show environment,” concludes Schwartz.

Follow the competition on social media using #LDC2017SA.

| THOUGHT LEADERSHIP

Broadcast technology –

media distribution using Internet Protocol (IP) Networks

For the past few decades, the television industry has been dominated by two major technology transitions. In the 1980’s it was the transition from analogue to digital video signals. A decade later the move from Standard Definition (SD) to High Definition (HD) began. Following the turmoil of these transitions, the television industry is now faced with a third technology upheaval: migrating from SDI to IP-based studio infrastructure quickly, cost effectively and within a common standard.

T

he future of all communications is here, and its name is Internet Protocol (IP). Originally regarded as an IT-only transport technology suitable for data and email traffic, IP has quickly become the dominant standard for all types of communications.

This change is largely due to the inherent flexibility of IP transport, its cost efficiencies and the universal availability of IP networks. Traditionally, broadcasters had been reluctant to consider IP technology for “mission critical” real-time video services. While IP networks have played a role in contribution and production processes, they were typically reserved for non-

74 | SCREENAFRICA | July 2017

real-time applications and there were many vendors developing their own protocols. Today, IP network technology has evolved, and concerns about its ability to support the stringent quality and resiliency demands of real-time video have been addressed. As a result, IP has emerged as a viable technology, and IP-based transport networks are finally being adopted by broadcasters and production services around the globe.

2017 should go down in history as a watershed year for broadcasting. Since its inception there has been division between working groups, equipment vendors and broadcasters alike as to which standard of IP should be adopted

and a battle of control had arisen that threatened to stall the implementation of a common working method. Out of the blue, the fairies of good reason waved their magic wands at NAB 2017 and suddenly there were open talks about compatibility and harmony between all the main user groups with the Alliance for IP Media Solutions (AIMS) coming out the clear leader. Finally, the industry agrees, to adopt a set of open standards, (documented as SMPTE 2110) that broadcast and media companies can use to move from legacy Serial Digital Interface (SDI) systems to a virtualised, IP-based future—quickly and profitably.

Behind the scenes For many years now, SDI has been the common standard for transporting uncompressed video within facilities, and has allowed post-production companies and broadcasters to connect equipment together via routers and switchers. When IP contribution emerged, standards were agreed for the transport of SDI signals over IP – most notably the Society of Motion Picture and Television Engineers (SMPTE) 2022 standards for transport and protection, and the JPEG and MPEG standards for compression. As a result,

IP contribution networks can feature a variety of equipment from different vendors with seamless integration and operability. As IP made in-roads into the studios, it became necessary for the industry to agree on standards that will provide that same flexibility all round and avoid vendor lock-ins. The Video Services Forum (VSF), with the support of organisations such as SMPTE and the European Broadcasting Union (EBU) jointly worked hard on developing a series of technical recommendations for standards that would ensure full interoperability over IP. SMPTE began work in January 2016 to develop a complete set of standards specifying the carriage, synchronisation, and description of separate elementary essence streams over IP, based on the VSF Technical Recommendations, resulting in it being documented as SMPTE 2110.

Delivering Next Generation IPbased Post Production Studios Thanks to the SDI-to-IP bridging support provided by SMPTE 2110, broadcasters and production houses alike can take an incremental approach of the IP transition by building new islands of IP-centric operations while continuing to rely on legacy equipment elsewhere. It’s a scary

“The future of all communications is here, and its name is Internet Protocol.”

THOUGHT LEADERSHIP journey, with many opposing the idea just as vehemently as those who opposed the move away from tape-based workflows with the advent of file-based workflows.

Today, tape hardly exits at all. And like that example, the move away from SDI to IP-based workflows isn’t only about a single specification or industry-imposed technology like the move to 4K. It’s also about a fundamental change in the way video is produced. Many people in our industry view the difference between SDI and IP as just replacing one cable for another, they both essentially connect something to something else in a workflow. But an IP workflow is far, far more than that. SDI can only run parallel to, but cannot talk directly to other devices connected on a network whereas IP makes your production house part of a network infrastructure that is technically connected to every computer and cell phone in the world and more – even the facility light bulbs can be connected and controlled on the same network! One of the greatest motivators for choosing IP-based routing is to accommodate 4K production. Currently it takes four HD-SDI cables to carry a single 4K signal. A single 10Gb Ethernet cable can take that same signal with a light compression. 40Gb and 100Gb interoperable switches are being developed now that would enable even more signals or greater resolutions.

This advancement in interoperability is especially timely as the industry prepares to adopt next-generation formats such as Ultra HD (4K), UHD-HDR and 1080p HDR as successors to HD formats. As a format-independent superset of multiple protocols, SMPTE 2110 is ideally suited for production of any video format, including flows enhanced with any of the HDR formats. It’s also important to note that SMPTE 2110 has been designed to accommodate 8K UHD whenever the market is ready to move in that direction.

IP beyond 4k IP infrastructure development leaders Sony have shown their development strengths whilst working with NHK (Japan) on 8K IP outside broadcast vans for the 2020 Olympics to be held in Japan, and pushing the boundaries further, the Poznań Supercomputing and Networking Center in Poland has installed a unique system to do IP-based 8K 3D production as a reference laboratory and experimental space for UHD technology.

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It has built a 17,382km 100Gbps test optical loop, making it possible to simulate real applications of 8K 3D live transmission, consuming only 30Gbps of bandwidth with only 85ms delay.

How long to switch over?

So, the technology is there but unlike the switch from SD to HD there is no mandate by any government or organisation that is compelling anyone to make the switch to IP in a hurry. In real terms, no broadcaster is going to move from traditional coax-based SDI infrastructure to IP overnight. SDI is simply too embedded — there is a lot of SDI gear in the field, from cameras to switchers to routers, production and playout applications.

Just like moving from analogue to digital and from SD to HD, in each case, most broadcasters constructed islands of the new technology and routed appropriate workflows into and out of them. Media over IP will be no exception. While the HD transition began for many in 1998, it is just wrapping up in some places almost 19

years later. The transition to IP, given the rapidly decreasing cost of development of new technology, should take a lot less time, some even predicting it will be accomplished in or under five years.

Of interest to me is that this major technology shift has merged the disciplines of broadcast engineering and IT, requiring cross functional skills and knowledge from both sectors and is sure to keep the industry very busy for many years to come. Today, there isn’t a camera, production switcher, standards convertor, audio mixer or lighting system that doesn’t have IP connectivity.

The move away from proprietary and bespoke broadcast technology will eventually change the approach for many types of productions, creating new workflows that until now have been difficult to envision: control room in London, studio in Cape Town, recording facility in LA – no problem, thanks to Internet Protocol and those clever engineers who think in ones and zeros.

– Ian Dormer

“…the move away from SDI to IP-based workflows isn’t only about a single specification or industry-imposed technology like the move to 4K. It’s also about a fundamental change in the way video is produced.”

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HDR Workflow Your Way. Everyone wants less work and more flow in their live productions. That’s where Grass Valley leads the way with HDR-ready solutions including adaptable, ready-for-anything cameras like our new LDX 82 Series, part of the only live production workflow that allows your way native HDR capture that’s supported across our portfolio.

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Copyright © 2017 Grass Valley Canada. All rights reserved.

Belden, Belden Sending All The Right Signals, and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affi liated companies in the United States and other jurisdictions.

Grass Valley and LDX 82 are trademarks or registered trademarks of Grass Valley, Canada. Belden Inc., Grass Valley, Canada and other parties may also have trademark rights in other terms used herein.

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6/14/17 3:15| PM July 2017 | SCREENAFRICA 75

| CASE STUDY

The SuperSport Studios in Randburg, South Africa, have made a bold conversion from tungsten to LED technology in four television studios.

DWR Distribution was commissioned to supply and install the new lighting equipment which included dot2 consoles. DimBright Electrical formed part of the installation team.

The new studio lights went live in February; which is one of their busiest broadcast periods; in time for big sporting events like Super Rugby and UEFA.

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roadcasting across the African continent, SuperSport is a group of television channels, owned by MultiChoice, presenting sports coverage on the DStv platform.

“The key word for me has always

76 | SCREENAFRICA | July 2017

Photos by Duncan Riley

SuperSport Studios’ LED upgrade

been colour temperature,” said Jacques Barnard, Vision Control and Lighting supervisor at SuperSport. “Joshua Cutts, our LD and I have wanted to ‘up’ the colour temperature for some time. Just over a year ago, we did a test. We put blue gels on our key lights and it proved that the concept worked. We equalised all the visual plains to the same colour temperature.” In September 2016, the company OK came for the LED upgrade, with low maintenance and a cost saving the crucial influencing factors.

“The studio needed a technology upgrade,” said Joshua Cutts from Visual Frontier, an experienced lighting designer who has worked at SuperSport for a number of years and who ensured the transition retained the studio’s look and

feel. “This was going to be our chance to take technology up a level so that we would not be left behind. With that came the added bonus of solving our design issues of colour temperature.”

While SuperSport Studios already had sufficient lighting, the various light sources such as the back screens, LEDs built into the set, generic light fixtures and coloured lights shining down onto the set, differed in colour temp and as a result appeared different. Now all the light sources have been aligned. “We’ve been very happy with that,” said Cutts.

“The reason we decided to change light for light –for every generic 2K fresnel we had to get an X5 which is a 2K version in LED –was because our design principles were working,” he adds.

“We had sufficient lights, we had the correct lights and style of lighting that we wanted, but we just needed to make them cold and more advanced. We were confident that LED technology in studios had come far enough to switch over. That said, I think on the first day Jacques and I were anxious just because we were going to a slightly unknown territory. We had done all the research and all the tests, but as human beings we get nervous.”

Duncan Riley of DWR agrees. “A day that was nerve racking for me was when Jacques phoned before the project could go ahead, and asked me to bring one of the fixtures to the studio. I think in a way it was unnerving because everything pivoted on this. This was a big step and Jaques needed to put his mind at ease. We got an equivalent in

a tungsten and LED fixtures to carry out a trial using the camera and light metres. He walked away going ‘okay cool, this is the right way of doing it’.”

The test indicated more than enough lumens. The colour temperature was marginally higher than expected, but this ended up being positive and actually assisted in the environment according to Jacques.

The installation was completed within three weeks by DWR Distribution who sub-contracted DimBright Electrical to assist. “It’s important to mention the weekly meetings with the SuperSport and Multichoice Projects department,” said Riley. “I was very impressed because if there was a problem it would have been picked up early.”

Barnard complimented the level of proficiency, attention to detail and the expertise of the installation team. “We have an internal rating system for projects within the MultiChoice Group and the DWR Install team received an almost unheard of high score for this project.

They did it in a record time, we had no snags, and the initial feedback has just been positive. Visual Frontier’s design team Paul Modise and Mpho were really switched on. Paul ensured that everyone understood what was going on, that the lights were in the right place and had the right addresses programmed on the console. He also helped the SuperSport team learn the desks.”

The picture on television speaks for itself. “There is a difference and you can see it,” said Barnard. “As much

CASE STUDY

Jacques Barnard (SuperSport) Kevin Stannett (DWR) Joshua Cutts (Visual Frontier) and Duncan Riley (DWR) as our initial thoughts were colour temperature, there are added benefits like lower maintenance, energy saving, reduced heat in the studios and the opportunity for our staff to grow and learn new gear, particularly on the new advanced control system.”

The equipment supplied included a new control system with MA dot2 consoles. “We also installed numerous QuartzColor Fresnels; Philips Strand SoftLight 300S TV Panels and some Robe Robin DL4S Profiles, along with Robe Robin Spikies. Philips Strand Relayrack panels were installed for all the power distribution,” said Kevin

Stannett, Sales Representative at DWR. “The DMX network was redone with 9 LSC Splitters. They are going daylight on all four studios which basically means there is no need for gelling old tungsten fixtures. The SoftLights are fairly new to the industry and are amazing to create a soft, even wash in studio.”

As much as SuperSport is in the business of continuity lighting, they’ve added a few clever bits of technology.

The DL4S and Spikies will allow the lighting department more creativity when working alongside the production team.

The DL4S help texture the set whenever needed and help fill in on

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different presenter positions should there a new face in the studio last minute. “The units give the freedom to pick up things, while the Spikies are just there to add fun, to do their job and to wiggle and waggle,” said Cutts.

The Quartzcolor surprised everyone, feeling like a 1k or 2k. The level and focus was there too, so it was an easy swap over. “We have more level with the same amount of fixtures than before.

Not only are we running the key lights at a lower level, but it has allowed us to close the camera’s iris –that in turn increases the depth of field and subsequently makes camera operation easier,” comments Barnard. “It was an unforeseen benefit that these lights seem to be more robust in producing more LUX. Levels are balanced and we have pretty pictures consistently.”

Make your money go further.

DWR’s Gareth Chambers and Jannie de Jager presented dot2 training to the SuperSport in-house team. The dot2 has afforded a bit more freedom in terms of controlling the RGB units on set, or when controlling the new movers added to the rig for special broadcasts.

A project is only as successful as the people behind it and Barnard successfully pulled all the specialists together and made sure that the design team and install team were heading in the same direction. “He was a massive part of the project and I don’t think it would have been as successful without him,” concludes Cutts.

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July 2017 | SCREENAFRICA | 77

| OPINION

Panel shootout

Since acquiring Da Vinci Systems in 2009, Blackmagic Design has revolutionised the postproduction industry by drastically reducing the price of its DaVinci Resolve software, making it easily affordable for production companies, smaller post-production facilities and independent colourists alike. However, the one thing that remained out of reach for many of these new users was the Resolve Control Surface, priced at a hefty $29 995.

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s a former telecine colourist, control surfaces or grading panels are indispensable. Designed to limit the use of a mouse and keyboard to administrative functions (like setting up a new grading session), using these surfaces will quickly become like second nature – allowing the colourist to perform a variety of tasks and image adjustments simultaneously, with speed and precision.

Fortunately for those who couldn’t afford the Resolve Advanced Control Surface, there have been a number of cheaper third party panels to choose from – and some of them are pretty

78 | SCREENAFRICA | July 2017

good. I’ve been using the Tangent Elements panels for a while now and most of the functionality that I use most of the time is there – making functions like power windows, HSL keys and so on easily accessible, even if some of these require scrolling through a few menus.

Blackmagic Design recently caught everyone by surprise when they announced two new control surfaces – the Resolve Mini and Micro control surfaces, at a fraction of the cost of the full control surface. Introducing these smaller panels was a stroke of genius – not only are BMD reclaiming

Written by Donovan Bush, Colourist

the control surface market back from their competitors, but the move seems to be in line with their strategy to grow Resolve’s functionality beyond just colour grading – but more about that later. I recently had the opportunity to put these panels to the test.

The DaVinci Resolve Micro control surface Having used several other third party panels, my first impression is that these feel really solid by comparison. The controls feel weighty and tactile, so despite its small size, colourists can grade with a great deal of precision.

The keys are backlit for good visibility in a darkened grading environment, which was lacking in other third party options. The control surface connects to the computer via a single USB-C cable (no power cable), keeping the workspace neat and tidy, while the Tangent Elements, for example, require a number of USB cables – depending on the configuration.

Its small size does mean that it has limited grading functionality, which is limited to primary grading and transport controls, as well as a few other controls like grabbing and playing back still frames

(probably one of my most used grading operations). There are no controls for power windows, HSL, RGB or luminance keys, keyframing or sizing functions, so if you’re doing anything more than basic grading, you’ll have to use a mouse and keyboard. I’ve always maintained that the ability to use the track balls and rings is paramount – the rest can be done using a mouse and keyboard.

That said, it’s worth remembering that these panels only cost $1000, and the functions that they’ve included have been well thought out. These panels are perfect for the colourist on the move, such as those who grade on location where space is sometimes limited, and editors who grade their own projects.

The DaVinci Resolve Mini control surface Without a doubt, these are the panels that I’m most excited about. Most of the functionality of the Resolve Advanced Control Surface (the original Resolve panels) have been packed into a much smaller space. The rings, trackballs and buttons are slightly smaller than the large Resolve panels, but it’s something that a user will soon become accustomed to.

They feature two LCD display panels

OPINION

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“These panels are perfect for the colourist on the move, such as those who grade on location where space is sometimes limited, and editors who grade their own projects.” at the top with four soft knobs and buttons per display – knobs and buttons whose functions change according to the operation selected. Once the colourist becomes accustomed to using these panels, most grading operations can be easily performed on the panels without having to reach for a mouse or keyboard.

Grading adjustments like primary colour controls, custom curves, power windows, key qualifiers, noise reduction, sizing adjustments and many others are all easily accessible, while the LCD panels provide visual feedback about the adjustments being made. Just about any of the functions that a colourist is required to use during the most complex grading session are all there and easily accessible, with a few exceptions.

I should point out that there are a few functions that I would have included if it were up to me:

• I would definitely have included ‘1st frame’ and ‘last frame’ buttons – the ability to jump to the head and tail of a clip is very useful.

• There are buttons to jump to previous and next keyframes, but no buttons to create keyframes, another function that I often use.

• There are ‘grab still’ and ‘play still’ buttons which are great, but it would have been perfect if there was a knob to change the wipe position between the still frame and live picture.

• An ‘add outside node’ would have been great too.

All of that aside, this panel is perfect for any colour grading and online suite. They take up far less space than the Resolve Advanced Panels, and cost $3000 – a good deal less than a new set of Tangent Elements.

What might be worth doing is adding a small programmable keypad (such as the Logitech G13), to which the user could assign any extra macros (such as 1st/last frame) to complete the setup – something that I’ll be doing.

Personally, the question I always ask myself is: could I justify spending my own money on any piece of post-production kit, considering that I don’t have the benefit of a company chequebook? In the case of the full Resolve Control Surface (at $30k), the answer has always been no, but when it comes to either the Mini or Micro panels, the answer is definitely yes!

But there’s another thing to consider – when I first started using DaVinci Resolve, it was strictly a colour grading tool, and so using the full set of panels was nice as it freed me from having to use a mouse and keyboard. This is no longer the case. You see, Resolve isn’t just a grading tool any

more – it’s also a really fantastic online and finishing suite these days, and with version 14, it’s a full audio suite too! As Resolve has evolved, my job has evolved along with it, and so using a mouse and keyboard is unavoidable when performing things like detailed editing tasks, which the control surface was never designed to do. So, if you’re using Resolve as an edit and finishing suite, a large control surface can be cumbersome and get in the way quite easily.

If I had to hazard a guess, I’d say that in a few years the full Resolve panels might become obsolete as colourists and editors opt for the Mini or Micro panels, not only because they’re cheaper, but because they’re ergonomically better.

So, would anybody like to purchase a used set of Tangent Elements?

July 2017 | SCREENAFRICA | 79

| ADVERTORIAL

‘No compression, No compromise’ The advancements in camera technology are coming through thick and fast. HDR, 4K and even 8K are all prevalent in the latest cameras on the market now. Let’s be honest, if you are invested in a great story, then visual clarity helps propel it to new levels.

In 2016, Ikegami introduced its UHK-430 camera, the world’s first camera with the ability to output an uncompressed 4:4:4 resolution RGB transmission of a 4K video signal.

Designed for use in studio and on location, Ikegami’s UHK-430 features three 2/3-inch 4K CMOS sensors and RGB prism optics. Equipped with the new AXII ASIC chip for low power consumption and new processing features, the UHK-430 is capable of 40 Gbps transmission using standard SMPTE hybrid fibre camera cable.

Along with the ability to transmit an uncompressed 4:4:4 4K video signal, it also boasts the capability to transmit eight HD channels from CCU to camera, including multiple return video and two HD prompter video channels, plus one HD trunk channel from camera to CCU, allowing for greater flexibility.

The advantage behind the 4:4:4 uncompressed transmission lays in the fact that it produces better quality images than a compressed 4:2:2 transmission.

When transmission is made with 4:2:2 bandwidth, it affects the chroma key

performance because the bandwidth of the colour difference (Pb/Pr) signals are restricted. Ikegami’s 40Gbps transmission system is transmitted as 4 x 10Gbps with WDM (Wavelength Division Multiplex), benefitting from extended bandwidth, eradicating the issue of loss of transmission distance compared to other 10Gbps transmission systems.

The 4K video signal processing is done at the CCU. This means the processing such as lens aberration correction, DTL and colour matrix are processed inside the CCU. It is for that reason Ikegami employs the 40 Gbps bandwidth, to enable the uncompressed video signals transmission, which is the best possible option for these video processing circuits.

Ikegami has a saying, ‘No compression, No compromise’, and taking away all the technical ins and outs, that is what it is about. Transporting the image that has been so beautifully captured without compromising any of the quality.

The industry is excited to talk about the amount of pixels and frame rates in a

shot, which undoubtedly is paramount to the progression of our industry, but how we handle that that data is surely just as important. The word data is not one that immediately evokes a feeling of creativity, yet it is so important to the final result – which is why Ikegami is proud of its ‘No compression, No compromise’ ethos.

The CCU-430, the camera control unit, ensures the uncompressed magic can happen. Connecting to the camera head by 4km of SMPTE hybrid camera cable, full bandwidth video, audio and control data plus power is carried to the camera. This can also happen with up to 10km of dark fibre, in situations where local power is available for the

The Kino Flo Celeb 450 LED DMX at Mediatech Africa 2017 The Kino Flo Celeb 450 LED DMX is a new addition to Kino Flo’s Celeb Lighting Systems, a range of large LED soft light panels. It is one of the largest LED hilumen panels available on the market. It produces the broad, wraparound light quality that Kino Flo is world famous for.

With its slim profile, the Celeb LED is perfect on location or in studio. The panels are versatile enough to be handheld for walking shots; rig in tight for unconventional spaces; or mount on a light stand for 360 degrees of rotation.

The Celeb 450 is not only colourcorrect (CRI 95+), but has a dialin colour temperature between 2700K-6500K with an extended colour palette from 2500K-9900K. 80 | SCREENAFRICA | July 2017

Like other LED panels in the Celeb range, the 450 has three menu options: “white mode”, “hue/gel mode” and “RGB colour mode”.

The white menu gives you access to dimming, Kelvin and Green/Magenta correction control channels. The first colour menu has a 360-degree dial-in

camera, allowing smooth and easy migration from HD to 4K production.

Ikegami has always made it its mission to be the driving force behind beautiful images, and through its determination on being successful has not only created an industry first, but a world first. Uncompressed video is the future; just remember ‘No compression, No Compromise’.

Visit Ikegami at Mediatech 2017 on the Harambe Technologies stand (F3).

colour. This menu allows you to control the hue angle and saturation, and contains over 100 lighting gel presets such as blue and green screen, sodium vapour, mercury vapour and over 100 well-known lighting gels. The second colour menu provides individual red, green, blue (RGB) control.

The Celeb 450s are passive-cooled fixtures for quiet operation, and are flicker free. You can store pre-sets and custom settings, so you can save the particular lighting look and feel you created, and restore it at the touch of a button anywhere, anytime. They present no colour shifting while dimming, and have an intuitive on-board interface with the option of wireless control.

Whether you are looking for a fill, key, or ambient light, the beautiful quality that Kino Flo produces makes them the go to lighting for industry pros. You can even use them to splash colour into a background in bar situations for example.

These lights can do just about anything, and do it with style and reliability.

Come see the Celeb 450 along with other fixtures from Kino Flo at Mediatech 2017 on the Cine Photo Tools stand (J15).

Social

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Cell C launches Hangman On 21 June, at an exculsive event held at the Sinosteel building in Sandton, Johannesburg, Cell C launched its new online reality show Hangman…

Anna-Marie Potgieter, Beverly Horsley and Shakeera Booysen

Chanelle Sardinha, Nicole van Niekerk and Quinton van der Bergh

Boipelo Mabe, Bonang Mohale and Maps Maponyane

Felicia Muwayi, Schané Venter, Shané Naidoo and Luyolo Mngonyama

Mervyn Naidoo, Prajay Juta, Zaid Mahomedy and Nishale Dajee

Carien Pretorius and Vicky Sidler

82 | SCREENAFRICA | July 2017

Salvador Francis, Gerald Lau and Morne Davel

Dana Bakker and Michelle Beetar

Wayne Merris and Helen Desbois

| Social Ludus JHB rings in winter Photos courtesy Upstairs Ludus

The Johannesburg office of South African post-production facility Upstairs Ludus held their annual winter bash on 15 June. Seen there were…

Tarryn Reddy, Claire Stewart, Simone De Ruyck and Michele Wilson

Teboho Mahlatsi and Thandiswa Ndaba

Andrew Traill and Peter Carr

Colin O’ Mara Davis and Jordan Koen

Phillip Killingbeck, Joe Erasmus and Blair Smith

Neil Ndlovu, Nelson Rebolo, Kym Fiala and Dylon Fiala

Victoria Young and Joe Erasmus

James O’ Sullivan and Thabang Modise

Mark Middlewick and Vanessa La Trobe

July 2017 | SCREENAFRICA | 83

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