Screen Africa July 2018

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| IN THIS ISSUE

32 Pictures built on sounds: The interesting world of Foley

4 Encounters South African International Documentary Festival turns 20

20

35

Durban International Film Festival opening and closing films

The non-negotiable importance of safety on set

NEWS | Fighting intellectual property pirates with the cloud.................................. 3 Zama Mkosi abruptly resigns as NFVF CEO................................................ 4 Civil society saves Encounters................... 4 Cartoon Network launches the Africa Creative Lab................................ 6 Eclipse Innovations supplies Phumelela with the first Sony FB80 and BRC series cameras for sporting in SA............. 7

DFM 2018 | Durban FilmMart 2018.................. 24 – 25

TECHNOLOGY News | Google to open the first AI research centre in Africa............................. 8 IBC2018 to host Cyber Security Forum.............................................. 8 Edgeware unveils live ‘big event’ OTT solution...................... 9

ADCETERA | Mercedes-Benz revisits Chapman’s Peak crash site in new S-Class ad.......... 10 The future of branding is personal........ 12 Lebogang Rasethaba directs new Castle Lite campaign with Nadia Nakai and Frank Casino............... 14 Sierra Leone filmmakers join forces to document the devastating effect of Ebola in their country.............. 16 FILM | The true story behind Kenyan medical thriller 18 Hours........................ 18 DIFF 2018 | Durban International Film Festival 2018........................... 19 – 21

FESTIVALS & MARKETS | Shine on east african film......................... 26 DIGITAL DISTRIBUTION | Faster than fibre!........................................ 28 Cameras & Accessories | South African-based company to revolutionise sports filming for the local market.................................. 30 POST-PRODUCTION | Pictures built on sounds: The interesting world of Foley .............. 32 Quinn Lubbe on composing music for film......................... 34

INDUSTRY REVIEW | The non-negotiable importance of safety on set........................................... 35 TELEVISION | Inside the making of Afrikaans drama, Onder Die Suiderkruis............................. 36 Director Speak: Makere Thekiso............ 38 REGULARS |

SOCIAL

Nelson Mandela Foundation #ShaveToRemember campaign launch......................................... 39 Marketplace................................................. 40 Upcoming Events....................................... 40

ADVERTORIAL BarLeader: Documenting black success in real time........................ 23

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From the editor

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As I mentioned last month, a large part of our June, July and August issues are made up of previews and reports on upcoming festivals, markets and expos. Last month we touched on the forthcoming Zanzibar International Film Festival (ZIFF), Durban International Film Festival (DIFF) and Durban FilmMart (DFM). In this issue we get a little more in-depth with what’s to come at ZIFF 2018 and the inaugural DISCOP Zanzibar, as well as DIFF and DFM 2018.

With the much-awaited annual Durban International Film Festival and its FilmMart just a few weeks away, head over to pages 19 to 25 to get a taste of what to expect in terms of highlights and new developments for the upcoming editions.

In our ADCETRA section this month our resident marketing specialist, Louise Marsland attended a UCT Graduate School of Business public lecture where Dr Talaya Waller, a personal branding specialist based in Washington, USA, and Solly Moeng, one of South Africa’s leading reputational management practitioners, spoke about managing personal and corporate brands in the wake of global and local business scandals. Louise provides a comprehensive report back on the lecture on pages 12 and 13.

In our FILM section Screen Africa journalist, Gezzy Sibisi, takes a look at the documentary Survivor which provides an unconventional look at the 2014 Ebola outbreak in Sierra Leone. We also get into the true story behind the Kenyan medical thriller 18 Hours – head over to page 18 to check it out.

Ian Dormer makes a very informative contribution to the issue with an article titled Faster than Fibre where he looks at the adoption of 5G technology in the broadcast industry. On pages 30 to 31, Nicole Barnes gets acquainted with TopShot – a unique computer-controlled, cable-suspended camera system that uses locally developed technology. David Cornwell gets inside the world of Foley on pages 32 and 33 – a very interesting read.

Until next month!

– Chanelle Ellaya

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The Team

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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.

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.

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.

Nicole Barnes is a technical and academic writer, with experience writing for trade publications, Nicole holds a degree in English from the University of Johannesburg and has more than ten years’ experience in the academic environment. As a classically trained ballet dancer, she has a deep love for the theatre together with an unquenchable interest in development and technology.

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.

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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Fighting intellectual property pirates with the cloud The modern-day pirate has a new target – by stealing original digital content such as films, books and music, they rob hardworking creatives of their intellectual property and income. To address this problem, masterminds at Stellenbosch University in South Africa created a solution to redefine the bounty hunter as we know it, by luring pirates with bitcoin in order to find out the source of the contraband material.

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In early 2016, the first version of the product that is now called Screener Copy was launched. “We needed a way to demonstrate the blockchain tracking technology that we developed and patented,” says Lintvelt. The first version of Screener Copy had very basic functionality: “Users could upload their movies, we would watermark it with the Custos tracking technology, and then send out the copies to the intended recipients. Since then we have built a full stack of modular products on AWS that we can combine to meet the needs of a range of media customers in different markets and regions.”

Last month, about two years after sending the first screener, the company recorded 130 000 sent copies. “As luck would have it, it was a local title that was the 100 000th copy. We are incredibly proud to have helped our customers all over the world protect their content. And protect them we have: Of the 130 000 copies that were sent, we have not had a single leak,” says Lintvelt. “How’s that for effective? Depending on what market you are in, between 20 per cent and 60 per cent of screener copies are leaked. We have taken that down to zero in every market we have entered, all with the power of the blockchain!”

– Chanelle Ellaya

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adapted and re-branded for custom use cases. “Screener Copy uses cutting-edge blockchain and forensic watermarking technology to help filmmakers and distributors distribute and secure their content. Whether you only want to send out a couple of screeners to reviewers, or are marketing thousands of copies daily, Screener Copy is the seamless video distribution software the creative industry’s been waiting for,” explains Lintvelt.

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platform allows Custos to scale easily to address the fluctuation in the demand for its services. Scaling refers to the ability to increase the capacity of existing hardware or software by adding resources,” Lintvelt explains. “As customers upload new media files, such as films at unpredicted times, Custos Media systems need to scale, on multiple regions at different times, from almost no activity to massive load, so that they can process hundreds and thousands of files for watermarking.”

According to Lintvelt, the idea for the solution came about when van Rooyen and Engelbrecht were working as directors of the MIH Media Lab at Stellenbosch University – which focussed on cutting edge new media research. At the time, co-founder Fred Lutz was completing his Masters in Economics – focusing on the economics of piracy – at the university. “The idea that was eventually patented was the culmination of years of industry and research experience in the watermarking industry, and an early interest in blockchain technology,” he explains.

Custos’ flagship product is its enterprise integration service for digital media protection. Clients who wish to protect video, audio, ebooks, or documents can integrate with Custos’ API to register, assign, and monitor media items – with minimal impact on their existing workflow. The online screener distribution tool, Screener Copy, is easily

Film

The result is Custos Media Technologies, a start-up – founded by G-J van Rooyen, Fred Lutz and Herman Engelbrecht – which embeds imperceptible bitcoin private keys in digital files, with different keys for different advance copies of a movie or an eBook.

“Media distribution is broken. Movies, ebooks, software – all are distributed using a paradigm from the 20th century: that the creator has, for the greater part, control over who receives the content, and that unlicensed duplication and distribution is difficult and rare enough to be managed. The cornerstone of this paradigm is intellectual ‘property’, because physical property has these properties of controlled distribution and costly duplication,” comments Herman Lintvelt, chief technology officer at Custos. “However, in the 21st century, this concept has become dangerously broken. Large and expensive digital assets are copied with impunity, and distributed globally. Media creators have little recourse once files are shared on the Internet, because the prolific sharing happens largely anonymously, and often outside jurisdictions where owners can enforce media rights.”

Custos was developed at the MIH Media Lab at Stellenbosch University in 2014 as an answer to this problem. Right from the start, Custos has been underpinned by Amazon Web Services (AWS) cloud. “The low-latency AWS

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Zama Mkosi abruptly resigns as NFVF CEO On 30 May, the National Film and Video Foundation (NFVF) released a statement saying that Zama Mkosi has resigned as CEO of the NFVF with immediate effect.

According to the statement Mkosi’s resignation letter was submitted to the chairperson of council on 27 May 2018.

The council has appointed Shadrack Bokaba as acting CEO “in the interest of organisational stability”, until a new appointment is made. Bokaba is a member of the NFVF council, serving on its HR and audit committees.

Additionally, the NFVF announced the appointment of Joy Mawela as head of Industry Development, Training and Marketing, effective 1 June 2018, and Mbali Buthelezi as chief financial officer (CFO), effective 1 July 2018.

The statement continued: “In the meanwhile, the council has commenced implementation of the findings of the

Zama Mkosi forensic report that was commissioned by the minister of Arts and Culture, Nathi Mthethwa, with regard to the various allegations of impropriety at the NFVF. Equally important to the council is the desire to improve staff morale and brand reputation of the NFVF, amidst all the

negative publicity that has engulfed the NFVF in the past.”

Mkosi was appointed as CEO of the NFVF in 2012. It’s no secret that in recent years the organisation has been embroiled in numerous allegations regarding the mismanagement of funds

by senior executives. These allegations came in the form of an open letter from the NFVF staff themselves.

Screen Africa contacted the NFVF in order to find out more about the said “findings of the forensic report” – which are yet to be made public – and the reasons behind Mkosi’s abrupt resignation. Acting CEO, Shadrack Bokaba asked us to submit our questions which he said he would happily answer, however these questions were never answered.

We let Bokaba know that we would still be running the story, to which he responded: “The NFVF council and I, as the acting CEO, remain committed to stabilising the organisation and following the NFVF’s recruitment process in recruiting a new CEO. The role of the NFVF is pivotal to the success of the film industry and that is why the organisation has continued to ensure the development and funding of South African content. The rebuilding of the image of any organisation that has faced challenges is a long process that requires thorough introspection, engagements with internal and external stakeholders and we are committed to this process.”

– Chanelle Ellaya

Civil society saves Encounters Encounters South African International Documentary Festival has been an essential fixture in the South African film landscape for two decades, but this year it almost never happened.

The festival, arguably the continent’s premier showcase for non-fiction film, lost support from its main funder, The National Film and Video Foundation, just weeks before its 2018 edition. If the festival couldn’t raise R700 000 in a fortnight, this year’s event would have had to be cut short and the financing deficit would have crippled Encounters in one blow. But the festival’s importance and impact on audiences, filmmakers, companies and NGOs proved that South Africans don’t want to lose Encounters.

With the help of civil society there has been a dramatic a turnaround and within two weeks from the start of the financial crisis, supporters stepped forward to help fund the financing gap. The biggest support came from the Bertha Foundation with further backing from Open Society Foundation, and Spier.

The Documentary Filmmakers Association and HCI Foundation also

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contributed as well as over 100 individuals and companies who donated through the festival’s crowd-funding campaign, which raised R128,359.00 towards the rescue fund.

Many filmmakers who have been guests at the festival in the past stepped up including Academy Award nominated and Peabody Award winning filmmaker David France and Joy Tomchin of Public Square Films.

“While Encounters has made it through this year’s festival and there is reason to celebrate the show of support, the organisation still has no secure funding in place for future editions. This year was a crisis and Encounters is grateful that

people showed their love,” the festival said in a statement.

“Encounters believes in the power of documentary film to transform, create empathy and to contribute to mutual understanding and dialogue between cultures. Through its core activities, the

“The biggest support came from the Bertha Foundation with further backing from Open Society Foundation, and Spier.”

festival has continued to be a vital platform where both established and emerging filmmakers and audiences intersect with documentary cinema from South Africa and abroad. The success of the fundraising campaign is proof that South Africans and many others don’t want to lose it. The reality is that Encounters might not happen next year unless the crisis fund becomes something more secure,” the statement concluded.

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Cartoon Network launches the Africa Creative Lab Animation has long shaped the imaginations and aided the development of children.

Taking another bold step in addressing the gap in locally relevant content which offers a viewing experience that resonates with its African audience, Cartoon Network is seeking fresh animation talent set to influence a new generation through storytelling.

Recently named the #1 Coolest Kids’ Channel in Africa at the Sunday Times Generation Next, Cartoon Network has launched a new initiative – the Cartoon Network Africa Creative Lab. “We have worked hard, and had great opportunities to build long-lasting relationships with numerous influential networks, studios and animation associations in Africa, and we are fascinated by how the African filmmaking community brings creatives together from all over the continent. We want to tap into that inspiring pan-African exchange with this project. Through our years in Africa, we have been presented with an impressive number of talented African creatives, and from our experiences, we are convinced that it is important to launch these kinds of initiatives to reach talent,” says Ariane Suveg, head of Programming and Acquisition at Turner Kids Africa.

Ariane Suveg, head of Programming and Acquisition at Turner Kids Africa Entries for the first Cartoon Network Africa Creative Lab opened on 7 June and will close on 31 August 2018. African creatives and African-based companies from across the continent are urged to enter and need to be 18-years and over to participate.

The initiative aims to encourage African talents including creators, writers, graphic artists and animation students to submit their works.

Interested creatives need to produce an English short-form animated comedy piece that is between one to three minutes long, and is targeted at children

“We want to tap into that inspiring pan-African exchange with this project. Through our years in Africa, we have been presented with an impressive number of talented African creatives, and from our experiences, we are convinced that it is important to launch these kinds of initiatives to reach talent.

”

– Ariane Suveg

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between six to 12 years old.

“All kinds of humour, including irreverence and randomness is welcomed, with the comedy being driven by engaging characters and unexpected stories. The piece should portray positive values such as the kid spirit, kindness, diversity and never-ending imagination, with a unique graphism based on any animation technics (2D, 3D, stop motion, mixing real footage etc.),” shares Suveg.

The presentation of the piece should also include a pitch of the story, a description of the main characters, storyline(s) and graphic intention, as well as any additional material including story-boards, animatics and videos that will further enhance the story pitch.

Ten projects will then be shortlisted in September, and the lucky finalists will get the opportunity to pitch their work to Cartoon Network.

Turner has once again partnered with DISCOP Johannesburg, where the last leg of the challenge will take place from 14 to 16 November. “Turner has been partnering with DISCOP since 2016 when we collaborated with Animation South Africa (ASA) as the official sponsor of the first-ever Animation Lounge. That same year, we also hosted the Turner Kid’s

Pitching Competition, a first strong initiative to bring forward African talent…” says Suveg. “Last year, we sponsored the African Animation Network (AAN) Village, boosting AAN’s efforts to develop animation talent in Africa… We believe that the collaboration between Turner and DISCOP is an essential way for us to get straight to the heart of the new and fast-growing African animation industry, and we value the local importance of the festival highly.”

The two runners-up and the winner will be announced during the 2018 DISCOP Johannesburg event. The winner and runners-up will also be given the opportunity to get their project produced as a pilot with Cartoon Network Africa.

The chosen project will then premiere on Cartoon Network Africa and its digital platforms in 2019.

“We are impressed by the African presence at Annecy this year, and we are happy to meet a new generation of creative minds challenging the future of animation in Africa. We are more than excited to get started on the applications for Cartoon Network Africa Creative Lab!” exclaimed Suveg in conclusion.

– Gezzy S Sibisi

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Eclipse Innovations supplies Phumelela with the first Sony FB80 and BRC series cameras for sporting in SA broadcast market it is always something we need to keep in mind as suppliers, as well as to look at final costs for customers in order to get them the most bang for their buck, and the Sony FB80 proved to be the option that best suited the application and budgets. In so many cases clients experience open wallet surgery when doing technical upgrades and it is our aim to best service our customers not only in terms of service levels but also with the most suited products.”

Paul Martin, business head for Broadcast and Media sales in Africa at Sony Professional Solutions MEA comments: “We are very pleased that Phumelela have chosen Sony cameras to capture the excitement and action of horse racing and boxing. These camera systems will help future proof their content for viewers to enjoy on the fast-growing choice of High Dynamic Range TV sets and display devices.”

– Chanelle Ellaya

James Garden (Eclipse Innovations), Jaycee Milner (Sony) and Kevin Keating (Phumelela Gaming and Leisure)

Phumelela Gaming and Leisure have recently acquired the new Sony HXC-FB80 and BRC-X1000 cameras. Delivered through Johannesburg-based broadcast and media production company, Eclipse Innovations, the purchase by Phumelela marks the very first sale of the HXC-FB80 and BRC-X1000 cameras for sporting in South Africa.

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humelela Gaming and Leisure is responsible for all contribution feeds of horse racing from Turffontein, Vaal, Fairview and Kimberley Race Courses in South Afirca.

These pictures are distributed around the world daily. “Phumelela are always updating their systems to keep in line with global trends and broadcast standards. The Sony HXC-FB80 and BRC-X1000 cameras will be installed in our OB van and used to cover daily horse race meetings and monthly boxing tournaments,” comments a representative from Phumelela who praises the price point, flexibility and performance of the cameras.

The Sony HXC-FB80 is a full HD studio camera system with 4K upscale and HD HDR capability. Sony dubs the camera as an ideal solution for 4K/HD live production, delivering efficient operation and expanding applications in the business and industry market, in addition to the content creation applications for

broadcast and production. Sony’s first 4K remote camera, the BRC-X1000 is a 4K pan tilt zoom camera with 1.0-type Exmor R CMOS sensor that remotely captures broadcast quality 4K images with smooth, silent PTZ and excellent low-light sensitivity.

When the discussions to procure new HD cameras for the race course began, Eclipse Innovations knew that the Sony HXC-FB80 HD/4K camera chains would be the best fit for the race track. “This FB80 camera is the latest HD/4K offering from Sony and in our view one of the best available to the market at the moment,” explains James Garden, MD of Eclipse Innovations. “When we needed to look at the remote camera requirement, we used the BRC-X1000 IP camera. This will be operated over fibre and fully controlled in the OB vehicle. With this system being IP-based we can scale it up to 100 remote cameras, future proofing this capital expenditure as and when the need arises.

When it comes to budgets in the

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Google to open the first AI research centre in Africa On 14 June, Google announced the upcoming launch of its AI research centre in Africa, due to open later this year in Accra, Ghana. Google promises to bring together top machine learning researchers and engineers in this new centre dedicated to AI research and its applications.

Jeff Dean, senior fellow, Google AI, and Moustapha Cisse, staff research scientist and lead of Google AI Centre, Accra, commented in a joint statement: “We’ve seen people across Africa do amazing things with the internet and technology— for themselves, their communities and the world. Over the past 10 years in which Google has had offices in Africa, we’ve been excited to be a part of that transformation. Ultimately 10 million Africans will benefit from our digital skills training programme with 2 million people having already completed the course, and we’re supporting 100 000 developers

“In recent years we’ve also witnessed an increasing interest in machine learning research across the continent. Events like Data Science Africa 2017 in Tanzania, the 2017 Deep Learning Indaba event in South Africa, and follow-on IndabaX

events in 2018 in multiple countries have shown an exciting and continuing growth of the computer science research community in Africa.”

Dean and Cisse say that they are committed to collaborating with local universities and research centres, as well as working with policy makers on the potential uses of AI in Africa.

Both Dean and Cisse are passionate about Africa with Dean having spent part of his childhood in Uganda and Somalia, and Cisse having grown up in Senegal. “As such, we’re excited to combine our research interests in AI and machine learning and our experience in Africa to push the boundaries of AI while solving challenges in areas such as healthcare, agriculture, and education,” they share.

“AI has great potential to positively impact the world, and more so if the world is well represented in the development of new AI technologies. So it makes sense to us that the world should be well represented in the development of AI.”

heart of this transition are the business leaders that are expected to design, manage and implement a robust cyber security strategy for their organisation. Now, as media and broadcast organisations develop sophisticated digital IBC2017 (Photo credit: IBC) channels, IBC is bringing together technology leaders to discuss developing an effective cyber security strategy, maximising the return on the and reputation in order to become cyber security investment, emerging cyber secure across an entire organisation. Rob threats and how businesses can future Silvers, partner, Litigation at Paul Hastings proof their organisations to protect & former assistant secretary for Cyber against cyber attacks.

Policy at the U.S. Department of The Cyber Security Forum will include Homeland Security will be exploring the keynotes from Channel 4 CISO Brian relationship between risk and ROI, Brackenborough on cyber security and focusing on how to effectively manage collaboration, as well as Melody cyber risk.

Hildebrandt, Global CISO, 21st Century The event will aim to tackle some of the Fox, who will be exploring risk, resilience most pressing cyber security challenges

faced by the industry, providing a platform for leading executives to discuss the need to drive a comprehensive cyber plan that integrates people, capital and technology risks across the entire organisation. The sessions will explore how various business components – including IT security, human resources, compliance and fraud prevention – can be brought together to create a single cyber resilient organisation.

Jeff Dean, senior fellow, Google AI. (Photo credit: Google) and over 60 tech start-ups through our Launchpad Accelerator Africa. We’re also adapting our products to make it easy for people to discover the best of the internet, even on low-RAM smartphones or unstable network connections.”

IBC2018 to host Cyber Security Forum IBC2018 has announced a Cyber Security Forum to expand its position as the preeminent cyber security destination for broadcasters and media. The event will form part of the annual IBC show taking place from 13 to 18 September 2018.

The Cyber Security Forum is one-day, invitation-only event that will convene chief technology officers, chief information officers, chief information security officers and chief digital officers within media and broadcasting for a conversation on the challenges and opportunities presented by cyber security for broadcasters. Attendees will discuss how to anticipate the next cyber threat, how to manage a breach and how to prepare for the future of cyber security.

The Cyber Security Forum sits alongside the Telco & Media Innovation Forum and Leaders’ Forum as part of IBC’s Executive Forums programme – a new initiative designed to attract 450 C-level experts to debate the industry’s biggest challenges and opportunities.

With cyber attacks becoming increasingly common around the world, organisations are now realising that they need to develop a proactive strategy for dealing with cyber-based crises. At the 8 | SCREENAFRICA | July 2018

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Edgeware unveils live ‘big event’ OTT solution Edgeware has announced a suite of new features that lets broadcasters and content owners deliver live OTT services at a large scale, and in a higher quality than conventional broadcast TV. The technology has been developed for operators that have invested in the rights to popular sporting events and reality shows that attract large audiences all watching simultaneously.

“Onboarding a huge number of clients, each requesting the same content within a very short timeframe, is a challenge for a unicast delivery network,” explains Johan Bolin, VP of Products at Edgeware. “This new suite of technologies makes sure content distributors avoid overloading streaming servers, reduces pressure on their origin servers from cache-misses, and makes sure all users have the highest-quality viewing experience.”

The suite of new features includes Edgeware’s Dynamic Asset Spreading which enables operators to spread popular content across a wider range of servers than would be populated usually.

The more popular the content, the wider it’s spread, increasing the streaming capacity for big events while reducing the risk of overloading servers.

Also new is Predictive Session Load Balancing which dynamically reacts to a build-up in the queue of requests,

monitoring them against pre-set limits. It controls the onboarding of huge numbers of viewers and directs new client requests to the next available server to avoid congestion before it can occur.

Edge Asset Request Consolidation avoids streaming servers sending out many identical requests for the same content if there is a cache-miss. Cachemisses can occur for live content in latency-minimized CDNs because new segments of content may not have been written to the origin server before the client requests them. This feature consolidates thousands of identical requests for new segments into one, before sending it to the origin, alleviating pressure on the origin server and saving backhaul capacity.

Alongside the new features Edgeware is also presenting an Online Monitoring Service which includes a system health check before major events, proactive rapid response to any issues that may occur during the event and additional reporting.

All of the new features are available now, both as part of Edgeware’s software portfolio and on its purpose-built TV servers, and are already being deployed in live networks.

“The task of streaming live OTT programming of the world’s biggest events is onerous and often affects an operator’s most expensive content,” adds Bolin. “That’s why we can’t treat it the same way as other traffic types and need to put in place purpose-built

technologies to deliver the best experience.”

The new feature set complements the intrinsic characteristics of an Edgeware TV delivery system which already scales to support live and VOD content.

Immediate streaming – without the need for full segments to be written into memory – minimises latency. And Edgeware’s frame-accurate segmentation enables glitch-free viewing experience of both content and personalised ads.

Edgeware’s decentralised TV CDN architecture, with servers close to the viewer, reduces glitches and buffering.

July 2018

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Mercedes Benz commercial

Mercedes-Benz revisits Chapman’s Peak crash site in new S-Class ad I

t has been thirty years since White’s almost fatal accident but he remains devoted to the car brand that saved his life.

Mercedes-Benz recently launched its new S-Class – the brand’s latest foray on the road to autonomous driving. In the new commercial, which takes the form of a documentary-style content piece, White revisits the route that nearly ended his life, this time driving hands-free in the new S-Class.

Advertising agency, Net#work BBDO has been working with the MercedesBenz brand for ten years now, says creative director Tim Beckerling. “We’ve created so many great campaigns with Mercedes-Benz over the years, and this one certainly stands out for the whole agency/client team, as it is steeped in so much advertising history and heritage.

10 | SCREENAFRICA | July 2018

What a privilege to revisit one of South Africa’s most iconic advertising stories, with the future facing ambitions of the brand right at the heart of it all.”

While the original 1990 spot was a re-enactment of White’s incredible story of survival; Beckerling says that it left the viewer unsettled and wanting more. With this in mind, Beckerling and his team decided to delve deeper into White’s story in the new commercial.

“We sold Mercedes-Benz a simple idea in the form of a newspaper headline ‘Famous Crash Survivor Returns to Chapman’s Peak in Autonomous S-Class’.

We asked them to take the leap and imagine those very words on the front page of a newspaper, not only as a description of the idea but as the ambition for the project. To create something newsworthy, not advertising

In 1990, Mercedes-Benz released an iconic commercial aimed at showcasing how its vehicles are engineered like no other. The ad told the story of how Christopher White survived a crash that saw him lose control of his Mercedes-Benz after a moment’s inattention and plummet the equivalent of 30-stories onto the jagged rocks below – a crash that he survived only because he was wearing his seatbelt and driving a Mercedes-Benz.

but rather a rich, dramatic story that people would be transfixed by, with the brand at the heart of it. They instantly saw the potential and gave us their full support on the project,” Beckerling shares.

As the starting point Net#work BBDO hired a private investigator to trace White’s whereabouts. Efforts were also

made to find the production team that was involved in the original spot. “We spoke to a number of people involved in the production of the original ad but as you might guess, many of them have moved on and since retired. We managed to get Willie Sonnenberg on a radio interview recounting the filming of the original ad, done by Sonnenberg Murphy

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“We sold Mercedes-Benz a simple idea in the form of a newspaper headline ‘Famous Crash Survivor Returns to Chapman’s Peak in Autonomous S-Class’. We asked them to take the leap and imagine those very words on the front page of a newspaper, not only as a description of the idea but as the ambition for the project.

”

– Tim Beckerling

kind words from people all over the world, from those who remember the original spot and those who weren’t even born when it first aired,” notes Beckerling.

“Hopefully the take out for the everyday South African is that the technology available in every MercedesBenz is designed with one critical thing in mind, their safety,” he concludes.

– Gezzy S Sibisi

Leo Burnett, in the early 90’s and the impact it had on the market at the time. We also had chats with Keith Rose, the director of the original piece, very early on in pre-production,” informs Beckerling.

Cape Town-based production company, 7 Films, shot the new spot with Lourens van Rensburg directing. “Tim and myself go way back. We both love anything that is fast and has wheels.

We’re passionate about motorsport and cars. We are proud to call ourselves petrol heads. We’ve been wanting to work on a project together for a while now and finally I got a phone call from Tim telling me that he has an idea that we can collaborate on. That’s where it started,” comments van Rensburg.

Beckerling briefed van Rensburg on the concept, while the private investigator managed to track down White: “We managed to locate him in East London and explained the concept to him. He is a loyal brand ambassador and absolutely loves the brand. He was keen from the beginning to be involved in this project,” says van Rensburg.

During pre-production, Van Rensburg and his team soon discovered that shooting the ad would come with its fair share of challenges. “Our greatest challenge was trying to close off Chapman’s Peak Drive. Thirty years ago

when the first commercial was made, you were able to lock off Chapman’s Peak easily. Today there are bylaws and restrictions that we have to adhere by.

The Parks Board were incredibly helpful and so was Schalk Bloem and his team.

We had very little time that we could be on the road. We were not able to close the road completely. We had a rolling lock off which meant we had to keep moving and we couldn’t stop. That made it quite challenging having other cars on the road. We had to stay within all the safety parameters and obey the rules of the road. Normally when we lock off the road, we don’t necessarily have to obey the rules.”

Beckerling conducted on-camera interviews with White, while art director Steven Tyler gave White driving lessons in the new Mercedes-Benz S-Class. “We wanted to achieve something real and believable. We didn’t want anything to be overdone. We wanted the audience to experience this like Christopher did,” tells van Rensburg.

“Chris was happy and eager to be involved, but he thought we were just making a film about the old story in slightly more detail. He had absolutely no idea that the car was going to be doing the driving for him until just moments before it actually took place. The film is a real representation of his shock and fear

around the prospect of this as it happened in the moment and his trepidation really come across on screen,” adds Beckerling. After much convincing, White finally lets go of the steering wheel and the new S-Class drives him safely on the route that nearly cost him his life.

The new commercial was shot on the Arri Alexa Mini, with aerial shots captured

by Timesclice Photography. “We wanted it to feel like a modern day Netflix documentary or series… We decided right up front that we were going to do everything on camera. No postproduction, no nothing. That obviously made it more challenging but I believe the end result was worth it,” comments van Rensburg.

Additionally, archival footage was acquired from White along with a few others, as well as from the National Sea Rescue Institute (NSRI). James O’ Sullivan was responsible for editing. “We managed to secure James as our editor.

He is an unbelievably young and talented editor who comes from a film background. We wanted an editor that could tell that story in a specific way and he was the perfect choice. The amount of archival and raw footage he had to go through was a great challenge. We believe that we could not have done it without him,” shares van Rensburg.

The spot was released toward the end of May 2018 and by the first week of June it was awarded Creative Online’s Editors Pick and the Best of the Week title on BestAdsonTV.com. The commercial was also featured as a Cannes Contender on Shots.net and popular SABC3 lifestyle show Top Billing did a behind-the-scenes feature on the ad.

“If there is ever a measure of success for a piece of carefully calculated creative work it is to go all the way back to the start and remind yourself of the objective.

Ours was to make headlines and we have achieved that with aplomb. We’ve had

TECH CHECK EQUIPMENT • Camera: Arri Alexa Mini

The new S-Class commercial was shot on the Arri Alexa Mini, with aerial shots captured by Timeslice Cinematography

KEY CREW Director: Lourens Van Rensburg DOP: Lourens Van Rensburg, Mike Ellis, Luke Van Rensburg Sound: Zahir Isaacs Editor: James O’Sullivan Executive producer: Nina Van Rensburg

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The future of branding is personal

Did you know that the average employee has 10 times more followers on social media than the average company?

Technology has disrupted brand advertising and companies need to realise that the personal brand of an individual is as important as the company brand that individual represents.

Written by Louise Marsland

A

t a UCT Graduate School of Business public lecture in Cape Town recently, Dr Talaya Waller, a personal branding specialist based in Washington, USA, and Solly Moeng, one of South Africa’s leading reputational management practitioners, spoke about managing personal and corporate brands in the wake of global and local business scandals.

Dr Waller, the CEO of Waller & Company, also pointed out that 92 per cent of consumers trust a recommendation from an individual when they get a personal recommendation, over brand advertising: “Marketing shifted from a functional value to an emotional value in the 50s, when companies sought to add value to their goods above those of their competitors.

“Today a brand is no longer built in a silo. Today your brand is managed by consumers, the people in your company.

And those employees are your company culture. The future of branding is personal.”

A public lecture at UCT Graduate School of Business with Dr Talaya Waller and Solly Moeng

“Today a brand is nolonger built in a silo.

Today your brand is managed by consumers, the people in your company. And those employees are your company culture. The future of branding is personal.

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”

– Dr Talaya Waller

So how much do you spend on branding your company, versus how much you spend on keeping your employees as happy brand ambassadors?

What consumers look for in a CEO Dr Waller pointed out that a good CEO can attract people to the company,

attract investors, bolster brand image.

“People don’t expect you to be perfect, but if you lie or manipulate the truth, people lose respect in you. Perception is reality. Personal reputation can cause damage to the company.”

Every organisation has to invest in the people in that organisation if they want to grow their brand. “Consumers don’t really

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Why brand leadership is important

Dr Talaya Waller adresses an audience

trust CEOs anymore. They trust employees and they trust the experts,” Dr Waller emphasised.

Experts believe that the average millennial will have 10 – 15 jobs in their lifetime, given the speed of change and the fact that people are expected to live longer and be more active longer.

“You can’t brand yourself according to your job title. You always need room for traits like experience, good work ethic and reliability. But we must all try to be our authentic selves. We need to differentiate ourselves, whether it is as a product, service or person.

“If you are trying to be a leader, stand out, be noticed, be different.” Dr Waller also emphasised how important it was for organisations to be diverse, to represent internally, the external audience they were talking to.

Moeng, MD, DonValley Reputation Managers, also reminded the audience that leaders need to empower employees to speak.

“Brand identity is what you want to be known for; and brand image is what you are known for. Every brand struggles with that gap. Always make an effort and do your brand health check in your market and internally. You need to interrogate whether your message is being received as you want it to be.”

“At the dawn of our democracy, we came up with a new set of values enshrined in our constitution and a Bill of Rights. This was the country we were going to be. But we have failed over the last 10 years. South Africa failed its own values.

”

– Solly Moeng

Embrace authenticity In order to grow your business, you need to put yourself out there as a brand: teach, lead, be authentic, embrace your authenticity, be empowering, fearless. It is not about being perfect. It is about accepting all those things you are, Dr Waller reiterated.

“Your tribe is out there. They are just waiting for you. Your time is now.”

In a marketplace where your job may become obsolete and you will have to reinvent yourself, possibly more than once in the job market, it comes down to being as “human as possible” in your banding efforts.

“It sounds cliché, but you will be surprised at how often in your day… when you are truly trying to connect to another human being, that you have to be vulnerable. People want to get to know you. You have to talk about the things people don’t want to talk about.

People are going through the same things. That is why we have to bring it into the organisation. That is the future,” Dr Waller explained.

Dr Waller impressed on the audience that personal branding was a destination, not a journey, that had to be managed.

“In this age of social media, people will come out with the truth anyway. Tell your story first.”

Moeng said there was a time when we used to speak about South Africa being “exceptional”. That time is gone, he said.

“Brand leadership is very important.

Whether you are head of a family, a corporation or a country, you have to have values. Be consistent. You can’t change your values from one country to the next, wherever you are doing business…

“At the dawn of our democracy, we came up with a new set of values enshrined in our constitution and a Bill of Rights. This was the country we were going to be. But we have failed over the last 10 years. South Africa failed its own values.”

Moeng stressed that sometimes, leadership can be a lonely place. But he emphasised that South Africans should demand the truth from their leaders, political and business.

Communications and reputation management was, however, routinely underestimated in companies, only prioritised when a problem arises.

“Reputational managers are not like the fire brigade. They need to sit where the decisions are made in the company.”

“Ford Kuga failed. For almost two years they said almost nothing. They listened to the insurers (never accept responsibility); and they listened to the lawyers (no comment). And that is what Ford Kuga did for two years, despite the conversations on social media.

“Sometimes you don’t have to win in court; you need to win in the heart.

Maybe Ford had no one to say to them: ‘Come on guys, call the family’. Brands need to reach out.”

The problem was often that brands were removed from the reality of what their customers were thinking, Moeng said.

“Companies need to know what is happening. The statement you issue today in response to something could hurt you, depending on what is happening in your environment. If you don’t trawl the environment, you don’t know what is happening.”

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July 2018

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Lebogang Rasethaba directs new Castle Lite campaign with Nadia Nakai TECH CHECK and Frank Casino EQUIPMENT

Egg Films’ Lebogang Rasethaba directed Money/Calling, a new multi-format video which includes several TVCs and a music video featuring 2018 SAMA nominee Nadia Nakai and 2017 South African Hip Hop Awards winner Frank Casino with music producer Dellz.

M

oney/Calling is set in a mysterious, moody, cold world of high fashion, rituals, and a council of elders. Castle Lite is lagered at the sub-zero temperature of -2.5°C, so the house is as icy as ever, complete with an ice wall by production designer Chris Bass and falling snow.

Gabrielle de Gersigny and Candice Lee Waldman oversaw the afro-futurist wardrobe, which featured high-fashion pieces from over 20 South African designers, including the likes of Black Coffee, Chulaap, David Tlale, Kiara Gounder, Kisua, Kumkani, and Thebe Magugu. “We collaborated with local designers who make awesome Africanthemed clothes and asked them to inject a sense of futurism into their attire,” says Rasethaba. “It felt like we were able to

14 | SCREENAFRICA | July 2018

• Camera: Arri Amira

Scenes from the Castle Lite campaign

maintain a sense of authenticity in the wardrobe by the sheer scale of collaboration.”

This sense of collaboration extended to Nakai and Casino, who recently shared the stage with Chance the Rapper at the annual #CastleLiteUnlocks concert.

“They were adamant they didn’t want this to be a branded exercise; they wanted to make something they would be proud of, that fitted as part of their individual stories of growth and development,” says Rasethaba.

This campaign for Castle Lite’s new resealable 910ml bottle was Rasethaba’s fourth for Ogilvy and the brand. “This kind of campaign was only possible because of the level of trust and mutual appreciation we’ve developed over time,” says Rasethaba.

DoP Rory O’Grady filmed the campaign on the Arri Amira, shooting at 3.2 Prores 4444, mostly at 50fps, using Leica Summilux 1.4 lenses with a ½ glimmer glass filter. “We wanted to take off the edge of the sharp glass but still maintain the colour and contrast of the

lenses,” says O’Grady. “For lighting, we tried to keep away from the neon trend and be more subtle and monochromatic, with a cooler finish overall in line with the brand signature.”

The spot was edited by William Kalmer at Post Modern and finished at BlackGinger. “Snow elements were added to maintain a consistent density of snow throughout the TVCs and music video,” says Eddie Addinall, BlackGinger Flame artist. “Skin clean-ups and cosmetic work was done on the lead artists as well as extensive cosmetic and clean-up work on all product shots. A 3D-animated twist cap was added to the hero end pack shots and a magical reveal effect was created for the music video for the sign appearing on Frank Casino’s forehead.”

For Ogilvy, Nicholas Wittenberg was executive creative director, Neil White was the associate creative director and copywriter, and Mark Haefele was the creative group head and art director, with Sharon Martin producing.

– Kevin Kriedemann

DoP Rory O’Grady filmed the campaign on the Arri Amira, shooting at 3.2 Prores 4444, mostly at 50fps, using Leica Summilux 1.4 lenses with a ½ glimmer glass filter.

KEY CREW Director: Lebogang Rasethaba DoP: Rory O’Grady Editor: William Kalmer at Post Modern Flame artist: Eddie Addinall at BlackGinger Production designer: Chris Bass Wardrobe: Gabrielle de Gersigny and Candice Lee Waldman

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FILM

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Sierra Leone filmmakers join forces to document the devastating effect of Ebola in their country

A mother with her child who tested positive for Ebola

The 2014 Ebola outbreak, which left more than 30 000 people infected and over 11 000 dead, remains one the deadliest health disasters in West Africa. While the plague is said to have begun in rural Guinea, it quickly spread to other countries, including Liberia and Sierra Leone, challenging the already poor health systems in these countries, and slumping their economies and populations in just 24 months.

I

n 2014, Sierra Leone faced a deadly Ebola outbreak. Out of the country’s darkest moments came great heroes and amazing stories of survival. The stories of these brave survivors are captured in a new documentary aptly titled Survivor.

“In Sierra Leone, we do not have Spiderman or Superman or Captain America as heroes, what we have are these men who are risking their lives to save ours. It can also be seen as raising the confidence bar in Sierra Leone. The lack of confidence in ourselves and our total dependency on the West for aid in everything can be overcome if we are able to see ourselves as being capable. It is my desire for the world to know that we did what we can and what we did as individuals and a country collectively was

16 | SCREENAFRICA | July 2018

worthwhile,” expresses Arthur Pratt, a filmmaker and pastor from Freetown, the capital city of Sierra Leone.

Pratt is the co-founder of the Sierra Leone Film Council, the country’s first media-makers’ union. He is also the co-founder and manager of the WeOwnTV programme, an organisation which was actively involved in informing and educating the nation about the Ebola virus during the outbreak.

WeOwnTV, in association with the Sierra Leone Film Council, designed public service announcements which included short videos to help dissolve the many rumours and myths hindering the fight against Ebola. “The first video we did, titled Waytin ar For No But Ebola (What I Need to Know About Ebola), was designed to answer key questions that

were considered issues by the general population such as: What is Ebola? How is it transmitted? What are its symptoms?

What are the precautionary steps to take in case of a suspected case? The second short film was designed to specifically target the issue of lack of trust for the medical sector – which by then was resulting into an ever-increasing rate of infection as people sought traditional help rather than going to the hospitals,” informs Pratt.

However, in the film Survivor, Pratt decided to pursue a collaborative project whereby he led a team of 18 Sierra Leonean filmmakers to film in different parts of the country. The film, shot over two years, includes accounts from when the outbreak was at its worst, up until the country was declared Ebola-free by the

World Health Organisation (WHO).

Making the film was also a personal journey for Pratt who says that he was sick and tired of the global image depicted about the Ebola virus in his country. “The Western countries were quick to lead with flashy headlines that presented a negative image of Africa playing into and contributing to the stereotype of dependency and ignorance. Most stories focused on the efforts of western intervention. Headlines missed the complexities. Yes, burial practices contributed to the spread of the disease for example, but our religious leaders and institutions were also instrumental in helping communities change their behaviours. Not to mention the omission of the massive contribution of African nationals in the fight. They were the foot soldiers of this war. There

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was an incredible spirit of volunteerism in my country that was missed. I needed to tell the stories of those brave men and women who without the much talked about protective gears and very little or no knowledge of the disease, braved the situation to help those dying and in need.”

In the film, Pratt sets out to explore his characters thoughts, struggles and efforts during one of the most frightening and deadliest times in Sierra Leone. “At the start, we were following many characters, and as the production continues, we began to focus on Mohamed, Margaret and Foday. We developed quite close relationships with them and also felt their stories each contributed unique elements to the story and how it is told,” Pratt says.

It has been reported that before Ebola struck, there were 136 doctors and 1 017 nurses serving six million people. During the epidemic, 488 of these health professionals lost their lives. Mohamed Bangura, a senior ambulance driver and Margaret Sesay, a nurse at the Emergency Ebola Treatment Centre, are two individuals that the film follows as they risk their lives to save those who are infected.

In Survivor we see Bangura carry a sick man on his back because the man lives at the top of a hill, on a treacherous route, that a vehicle cannot access. As a driver, Bangura is forbidden from touching sick people.

Sesay, who has worked with Pratt in various community outreach projects,

initially was not working when the Ebola outbreak hit. She, like many other citizens, was afraid of contracting the disease and feared being abandoned by her family if she continued with her nursing duties.

Pratt intervened, making Sesay recite her nurse’s pledge, and within weeks she was working at the Emergency Ebola Unit without her family’s knowledge.

The youngest person featured in the film is a brave 12-year-old boy, named Foday Koroma, who hustles through life and lives in the streets with his friends.

The film shows the young boy and his friends desperately trying to rent a room when they are told to wait 21 days as most vacancies have been quarantined as a result of former tenants carrying the virus.

Pratt helps the young boy to return home where he finds his old and frail father. His father encourages him to go back to school before he succumbs to his death as a result of a long-term chronic illness. Koroma carries on living in the home he shared with his father while continuing with his schooling.

In darker scenes, health workers are seen carrying dead bodies and sick patients away from their homes as their families look on helplessly.

The film was shot on the Canon DSLR 7D, the Sony EX1 and the GoPro 4. A DJI Phantom 4 drone was also used to capture aerial views in some areas. “The Sony EX1 was very important in terms of the observational shoot, interviews and ambulance chase – the picture and sound

quality is exceptional. The Canon 7D was a ‘ready-to-go camera’, as we used it when shooting in more volatile areas and it is easy to set-up and carry. For obvious reasons, the GoPro camera was used mostly in the red zones in treatment centres and with the ambulance team for pick-ups.”

Survivor recently had its African premiere at the Encounters South African International Documentary Festival in Cape Town and later went to China to showcase at the Shanghai International Film Festival.

“The reception was great. We came to Encounters first because we wanted the African audience. They seemed to understand the nuances of the humanitarian organisations and the communities they serve. They got the humour. We also had many medical workers who had actually worked in Freetown during the outbreak. They commented that they appreciated seeing this side of the story, that it was an important insight and they are now planning screenings of the film for their organisations,” Pratt informs.

Survivor will be broadcast in North America on PBS’s POV television series later in the year.

“We plan to premiere the film in Sierra Leone in November during the three year anniversary of the end of Ebola. We also have extensive plans to screen the film in communities around the country,” adds Pratt.

In conclusion, Pratt says that viewers can learn so much about African people in general, and about his home country of Sierra Leone. “Even though we can be poor, we are not naïve, and we are strong people. The world needs to understand that we agree that there are problems but in my view, they should not be used to negatively brand an entire nation. People should also look at themselves and at the way they interact with their own family and community and country. Our characters make complicated ethical decisions throughout the film. How would you react? What can these heroes teach us?”

– Gezzy S Sibisi

“The lack of confidence in ourselves and our total dependency on the West for aid in everything can be overcome if we are able to see ourselves as being capable. It is my desire for the world to know that we did what we can and what we did as individuals and a country collectively was worthwhile.

”

Margaret Sesay, a nurse at the Emergency Ebola Treatment Centre

Mohamed Bangura, a senior ambulance driver

Film

TECH CHECK EQUIPMENT • Camera: Sony EX1, Canon 7D and GoPro 4 cameras

“The Sony EX1 was very important in terms of the observational shoot, interviews and ambulance chase – the picture and sound quality is exceptional. The Canon 7D was a ‘ready-to-go camera’, as we used it when shooting in more volatile areas and it is easy to set-up and carry. For obvious reasons, the GoPro camera was used mostly in the red zones in treatment centres and with the ambulance team for pick-ups.”– Arthur Pratt

KEY CREW Director: Arthur Pratt Directors: Banker White, Anna Fitch, Barmmy Boy DOP: Barmmy Boy and MJ Sessy Kamara Producers: Anna Fitch, Arthur Pratt, Banker White, Barmmy Boy, Samantha Grant, Sara Dosa Editors: Banker White, Don Bernier

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The true story behind Kenyan medical thriller 18 Hours In 2015 Alex Madaga, a causal labourer from Nairobi in Kenya, was a victim of a hit and run accident.

Madaga was fortunate to survive the incident itself, only to pass away just 18 hours later when the ambulance carrying him was turned away at five different hospitals because he lacked the funds needed to be admitted and treated.

T

he tragic events that led to Madaga’s death and saw Brian Ochieng Odhiambo spend 18 hours in an ambulance attempting to save his life, made news headlines.

“I read the story on the daily newspaper back in 2015 when the story of the late Alex Madaga hit the news. My first impression was, how can this happen in Kenya’s capital city? How can an accident victim be denied admission on the basis of lack of money?

It felt like a story that needed to be told, to serve as a reminder that such a situation occurred, and it should never occur again. It felt like holding up a mirror for our society and pointing out that there are avenues for change, many opportunities to make things right.” expresses Kenyan award-winning filmmaker, Kevin Njue.

Njue was inspired to pen down a film based on the brave paramedic’s ordeal, in an effort to inspire debate and seek change in the regulation of Kenya’s health system.

Odhiambo, the heroic paramedic, worked as a consultant to Njue during the

18 | SCREENAFRICA | July 2018

development stage of the filmmaking process, offering invaluable insight into the life of a paramedic.

Additionally, Odhiambo provided intricate detail on the events that cost Madaga his life on that fateful day.

In the film – aptly titled 18 Hours – Zach, played by Nick Ndeda, works for Raven Paramedics Services. While on duty, he receives an emergency call from a witness about an accident that happened along a highway; a pedestrian has been involved in a high-speed hit and run while on his way home from work.

Zach then sets out on a rescue mission with his driver Mark, played by Brian Ogola.

Zach and Mark find the injured man bleeding profusely from his head and not moving – they manage to get him into the ambulance. The two men are later joined by the victim’s wife Sabina, played

by Sue Wanjiru. Together they set out to different hospitals in a race against time

to save the victim’s life.

Rejected by those who are meant to assist them, Zack makes every effort to keep the man alive. After spending 18 hours in the ambulance attempting to save the man’s life, he is finally admitted to a hospital but dies shortly thereafter.

18 Hours – written and directed by Njue – was shot on the Sony A7s, in and around Nairobi and Machakos in Kenya in just 12 days. “We filmed on the Sony A7s mainly because of its performance in low light. The camera is tiny compared to others which was a bonus for our handheld style,” says Njue. “We wanted to achieve an ‘out of body’ experience with the feel of the film through our handheld documentary style,” he adds.

Production and post-production were handled by Rocque Pictures.

18 Hours made its debut in Kenya late last year, which included a marketing campaign with Kenyan athlete, David Rudisha to advocate for better emergency response in the country. The film was also instrumental in pushing for the Kenya Health Act of 2018 which states that health facilities should administer necessary immediate health care to prevent death or worsening of a medical situation.

“The highlight of the film so far has been the reception it gets from the audience wherever we have screened.

More so, the impact it has had on the health policy push in the country,” Njue comments.

The film will kickstart its festival run with the upcoming Zanzibar International Film Festival, which takes place from 7 to 15 July 2018. “Zanzibar is the first festival screening. We had to start here because it was where we first screened our first short film back in 2014. It is our second home. As for other festivals, there are several lined up within the year,” Njue concluded.

– Gezzy S Sibisi

TECH CHECK EQUIPMENT • Camera: Sony A7

“We filmed on the Sony A7s mainly because of its performance in low light. The camera is tiny compared to others which was a bonus for our handheld style.”

– Kevin Njue

KEY CREW Writer/Director: Kevin Njue Producer: Phoebe Ruguru.

Editor: Mark Maina Sound: Ronald Mugambi

DIFF

T H E C E N T R E F O R C R E AT I V E A R T S ( U N I V E R S I T Y O F K WA Z U L U - N ATA L ) P R E S E N T S

19-29 JULY

20-23 JULY

20-24 JULY

39 durban

THE

TH

film festival full house

DIFF

international

Durban International Film Festival opening and closing films

OPENING FILM: The Tokoloshe

A thriller/horror film and a LGBTI love-story have been selected respectively as the opening and closing films of the 39th Durban International Film Festival (DIFF), taking place from 19 to 29 July 2018.

I

n a move to shift perceptions of how African stories can be told cinematically across genres, DIFF has selected a South African debut thriller/horror feature The Tokoloshe, directed by Jerome Pikwane, as its opening night film, and Kenyan director Wanuri Kahiu’s tender story of lesbian love, Rafiki, as its closing film.

“With the current global focus on giving womxn a voice in a world dominated by masculinity and systemic misogyny, we wanted to book-end the festival with films that tell stories about womxn, their strength and their survival. We also want to showcase, from a cinematic point of view, that there are many ways to tell these stories,” says DIFF manager, Chipo Zhou.

CLOSING FILM: Rafiki

20 | SCREENAFRICA | July 2018

Jerome Pikwane – Director

Director Jerome Pikwane’s The Tokoloshe is the surface. In effect, the Tokoloshe in South African co-written with novelist Richard Kunzmann, mythology has become a foil for abuse that is and produced by Dumi Gumbi and Cati ingrained in our society,” says Pikwane.

Weinek of The Ergo Company.

“The film is not quite what one expects from its title, In The Tokoloshe – starring Petronella Tshuma, so I dare audiences to see beneath the surface,” says Dawid Minnaar, Kwande Nkosi, Harriet Manamela and Zhou. “It is a horror film, crafted so intricately, unveiling Yule Masiteng – a young woman, crippled by the menace that is our everyday burden as womxn in suppressed emotions, must find the courage to face this country. The film depicts the story of a survivor, an insatiable demon, wrought in her own not a victim. It is a chilling childhood, when she tries to save the life of story that gives voice to Wanuri Kahiu – Director a little girl abandoned in a rundown the voiceless.”

Johannesburg hospital.

Closing film Rafiki, “Using the horror genre I wanted to directed by Wanuri Kahiu, investigate how we suppress trauma and produced by Steven what happens when the trauma comes to Markovitz, and

starring Samantha Mugatsia and Sheila Munyiva, is a touching tale of two very different girls living in Nairobi who fall in love. Co-written with South African writer/ director Jenna Bass, the film was the first Kenyan feature film to be invited to Cannes Film Festival where it had its world premiere as part of the Un Certain Regard selection.

Rafiki was a project in the 2012 Durban FilmMart.

“Over the years of developing this film, we have seen worrying developments in the anti-LGBTI climate in East Africa,” says director Wanuri Kahiu. “Local films and international TV shows have been banned because of LGBTI content. This has muffled conversations about LGBTI rights and narrowed the parameters of freedom of speech. My hope is that the film is viewed as an ode to love, whose course is never smooth, and as a message of love and support to the ones among us who are asked to choose between love and safety. May this film shout where voices have been silenced.”

“Rafiki speaks to the issues of patriarchy that has led it to be banned in its own country, and closes the festival with a programme packed with films dealing with a host of current challenges that those marginalised in our society, and especially womxn, are ‘loudly’ grappling with,” comments Zhou.

workshops, master classes and seminars for African filmmakers, delivered by film industry professionals and academics.

Talents Durban attracted over 250 applications from 30 countries throughout the African continent.

This year’s participants include Aliki Saragas (South Africa), Amjad Abu Alala (Sudan), Brian Gitahi (Kenya), Comfort Arthur (Ghana), Desiree Kahikopo (Namibia), Emamodeviefe Edosio (Nigeria), Glele-aboucha Cornélia (Benin), Howard Mashilo Nthite (South Africa), Jessie Zinn (South Africa), Mandimbijaona Andriamaharo Razafimanantsoa (Madagascar), Matamba Kombila (Gabon), Mlingane Dube (South Africa), Nildo Essa (Mozambique), Oluyomi Tolulope Ososanya (Nigeria), Oualid Khelifi (Algeria), Sade Adeniran (Nigeria), Sejang Otumile Tumi Sejoe (Botswana), Tafadzwa Tarumbwa (Zimbabwe) and Tokoloho Masemene (South Africa).

The 2018 talents will be able to interact with delegates from the DIFF and Durban FilmMart and will participate in several projectoriented, hands-on skills development programmes.

Talents Durban is supported by the KwaZulu-Natal Film Commission, Goethe-Institut SA, German Embassy in South Africa, National Film and Video Foundation and Gauteng Film Commission.

DIFF launches Isiphethu

Talents Durban participants at the Durban International Film Festival 2018 DIFF welcomes 19 filmmakers from 13 African countries to the 11th edition of Talents Durban, taking place from 20 to 24 July.

This development programme presented in cooperation with Berlinale Talents, an initiative of the Berlin International Film Festival, is made up of

DIFF launches the Isiphethu – Emerging Filmmakers Hub, industry programme this year, designed for KwaZulu-Natal-based filmmakers to use as a platform to engage with industry experts through master classes, panel discussions and workshops.

“The programme, which is free, is conceived as a vehicle to address the skills and knowledge gaps in the province,” says industry programme curator Russel Hlongwane. “We have named this programme, Isiphethu, the isiZulu word for ‘water spring’ as we see this as an inspirational source for filmmakers,” explains Hlongwane.

Filmmakers and film enthusiasts are able to attend master classes and panel discussions facilitated by international and local guests, and there will be opportunities to network and meet filmmakers attending the DIFF, Durban FilmMart, and Talents Durban.

Of interest at the inaugural edition of Isiphethu: The SABC and KwaZulu-Natal Film Commission will announce their MOU; the DTI will announce its Emerging Black Filmmakers Fund; and the SABC’s content team, will present a panel on the various genres that they are interested in.

Russel Hlongwane, Isiphethu and DFM industry programme curator, Sakhile Gumede, co-ordinator of Isiphethu and short film programme curator, and Menzi Mhlongo, Talents Durban project co-ordinator.

July 2018

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ADVERTORIAL

BarLeader: Documenting black success in real time

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Film

While opponents of reality television, both locally and abroad, often dismiss the genre as lacking artistry and glorifying the rich and famous – the picture is quite different in the South African context.

S

pearheaded by highly acclaimed production company, The BarLeader, the genre has become less about the glitz and flashing lights, and increasingly been recast by the company as a view into the meteoric rise of some of the country’s best known and best loved black stars.

So why is this important? In her TED talk, The Danger of a Single Story, author Chimamanda Ngozi Adichie talks about the importance of positive representations of Africa and Africans. In South Africa, this is particularly pressing considering the state-sponsored efforts during Apartheid to portray black men and women as inferior, inadequate and destined for lives in poverty.

As such, images of Bonang Matheba conquering the local and international media scene are essential for changing the game, and BarLeader channels that through its candid but careful approach to Being Bonang – a new source for inspiration for its viewers. Elsewhere, Living The Dream with Somizi tracks the immensely impressive trajectory of dancer-choreographer turned TV mogul Somizi Mhlongo, who battles not only against outdated representations of blackness, but gender and sexuality stereotypes. And of course, who could forget the epic saga of Dineo’s Diary, which saw Dineo Ranaka balancing life in the public eye with a quest for private spaces to call her own.

“Our intention each week with all our reality shows is to continue to break the negative stereotypes which continue to plague black success.

Somizi has portrayed how beautiful love can be

when there are no bounds, and Bonang in her fearless, fierce and feminine approach to her brand as her business. The viewer numbers these shows are able to garner consistently is a clear indication that black excellence must be continued to be celebrated across all media platforms,” shares Legend Manqele, CEO and visionary behind The BarLeader.

Less an attempt to expose and flaunt, and more a mission to track the true highs and lows of South African public success, the team at BarLeader and its stakeholders are intentional and pedantic about every element – from concept to content – with an equal measure of care and creativity, keeping the true TV mandate of storytelling at the core. “The art of reality television is one that we have been able to refine,” continues Manqele, “our ability to allow each story the space to unfold and every character to evolve as authentically as possible, makes the viewer’s experience so much more pleasurable. Reality is not just what TV wants, it’s what TV needs as audiences gets smarter in terms of identifying with reality on television, content needs to follow suite.,” explains Manqele.

Recently, conversation in film and television circles has evolved from just being about content, to the imagery of black people as well. Blockbuster successes, Black Panther and Moonlight, as well as TV darling Insecure, has helped black viewers to imagine a new visual language. Long before the emergence of these, The BarLeader was making sure its subjects were correctly lit for their complexion and that their wardrobe was not at an attempt to copy the ‘Dash Doll’ aesthetic made popular by the Kardashians in the early days of reality TV. Similarly, BarLeader’s story arches allow its stars to exist effortlessly between their powerful, Sandton-centred work lives while also acknowledging their home spaces, not shying away from shots in rural spaces and traditional events in order to present a fake Western-accented version of their success.

Often unfairly boxed into the reality TV box, The BarLeader has chosen to take the often commercially driven genre and make it part of the legacy of South African storytelling – and an ode to the infinite possibilities of black success.

Legend Manqele July 2018

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at the Durban Internat

ional Film Festival 20

20-23 JULY Visit www.durbanfilmmart.com to register

18

2018 DURBAN FILMMART INDUSTRY PROGRAMME 20 - 23 July 2018

at the Durban Internation

al Film Festival 2018

Friday, 20 July

RegistRation: 08h30 - 17h30 daily 09h00 - 10h00 Celebrating Transformation in the Industry: Panel Discussion led by South African Women in Film & Television Suite 5 10h00 - 12h00 10h00 - 12h00 Are there any Sacred Cows in Co-Production Treaties - Treat Filmmaking? Led by SASFED or Trifle? Panel Discussion Suite 5 Suite 3

09h00 - 10h00 Copyright vs Copyleft: The Future of Copyright: Panel Discussion Suite 5 10h00 - 12h00 A Bird’s Eyeview of Global Industry Trends with Stephen Follows Suite 5 12h00 - 13h00 National Film and Video Foundation: Industry Engagement Feedback Suite 3

12h00 - 13h00 National Film and Video Foundation: Marketing and Branding Your Film Suite 3 14h00 - 15h00 National Film and Video Foundation talks Filming In South Africa 14h00 - 16h00 Suite 3 Talents Durban Master Class 15h00 - 16h00 Suite 4 Whats the Deal with Financing Films in Africa: Panel Discussion Suite 5

14h00 - 15h00 Aesthetics of African Cinema: Panel Discussion Suite 5

16h00 -17h00 Festivals and Funds: Round Tables Suite 4

15h00 - 17h00 Africa Through the Lense with Dayo Ogunyemi Suite 5

16h00 - 17h00 Women Led Film: Round Tables Suite 4

12h00 - 13h00 12h00 - 13h00 National Film and Video Foundation Talks Taking Local Stories Copyright Amendment Bill and Launches Global: Documentary Panel a Gender Matters Study Discussion Suite 3 Suite 5 14h00 - 15h00 14h00 - 15h00 Distribution: Debunking the Myths National Film and Video Understanding the Exploitation Value Foundation Spark Chain: Panel Discussion Master Class Suite 5 Suite 3 15h00 - 17h00 Talents Durban Story Junction Pitch Suite 4

16h00 - 17h00 Documentary Round Tables with Industry Professionals Suite 5

Workshops

Monday, 23 July

09h00-17h00 DFM Official Projects Finance Forum Meetings Suite 2

Sunday, 22 July

RegistRation: 08h30 - 17h30 daily 09h00 - 10h00 Department of Trade and Industry Film Incentives Guidelines Launch (Foreign and Co-Production) Suite 5 10h00 - 12h00 Secrets of TV Serial Stories & How Filmmakers Can Evolve into TV Storytellers with Peter Russell Suite 5

16h00 - 17h00 Breaking through into Business of the Business: Panel Discussion Suite 5

RegistRation: 08h30 - 17h30 daily 09h00 - 10h00 South African Emerging Black Filmmakers Fund Guideline Launch Isiphethu Hub 10h30 - 12h30 BRICS SA Forum: BRICS Film Fund Suite 3

10h30 - 12h00 Is There an Audience for Documentaries in Africa?

Panel Discussion Suite 5

12h00 -13h00 BRICS SA Forum: Distribution Strategies Suite 3

12h00 -13h00 The Medium is the Message: Panel Discussion Suite 3

14h00 - 15h00 BRICS SA Forum: BRICS Audio-Visual Co-Production Treaty Suite 3

14h00 - 16h00 KZN Film Commission: Designing a Creative Festival & Distribution Strategy with the Film Festival Doctor: Rebekah Louisa Smith Suite 5

20-21 July

09h00-17h00

Jumpstart Writers Workshop with Produire au sud

21 July

09h00-17h00

The Africa Pitch for Official DFM Projects

20-22 July

09h00-17h00

Caribbean Tales TV Series Accelerator Workshop

20-24 July

09h00-17h00

Talents Durban Programme for Official Talents Projects

22-23 July

09h00-17h00

Finance Forum Meetings for Official DFM Projects

23-26 July

09h00-17h00

Isiphethu FilmMakers Hub

16h00 - 17h00 BRICS SA Forum: Animation Matters Suite 3

pLEAsE NoTE: All networking events are by invitation only.

09h00-17h00 DFM Official Projects Finance Forum Meetings Suite 2

15h00 - 16h00 Sexual Harassment & Race in the Industry: Panel Discussion led by South African Women in Film & Television Suite 4

09h00-17h00 DFM Official Project Pitching Forum Suite 2

Saturday, 21 July

RegistRation: 08h30 - 17h30 daily

FESTIVALS & MARKETS

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SHINE ON EAST AFRICAN FILM The East African film and TV industries are riding high these days, and this year’s Zanzibar International Film Festival (ZIFF) and DISCOP Zanzibar, while both internationally focused events, will have a strong focus on the high quality productions coming out of the region.

T

his year’s 21st annual Zanzibar International Film Festival will take place from 7 to 15 July in venues in and around Stone Town, Zanzibar.

This year, ZIFF has partnered with Africa’s largest content markets, DISCOP Markets, to present the first annual DISCOP Zanzibar, that will take place from 11 to 13 July at the Hotel Verde Azam Luxury Resort.

A remarkable array of East African, African and international films will be on display at this year’s event which saw a record number of entries across all categories with over 4 000 films submitted across the various entry platforms.

This year also saw a marked increase in the amount of documentaries submitted, with over 800 being entered for consideration. With nearly 400 features being submitted, the selection process for 2018 was extremely difficult.

Entries were also received from all over

26 | SCREENAFRICA | July 2018

the world with submissions coming from over 140 countries, with the USA and India leading the number of submissions.

East African filmmakers have also shown amazing interest in ZIFF with Ugandan filmmakers submitting 55 films, 54 from Kenya, and 31 from Tanzania The films in selection cross a broad spectrum of topics and genres and represent over 40 countries including Tanzania, Kenya, Uganda, Rwanda South Africa, Nigeria, Sierra Leone, Iraq, Western Sahara, Niger, Iran, The United States, France, Ghana, Belgium, Tunisa, Swaziland, India, United Kingdom and many more.

East African films and TV content feature strongly in this year’s line-up, with key films being included in high profile screenings.

Every year the Zanzibar International Film Festival bestows the honour of the Opening Night film on a new and noteworthy African film, and this year is

no different. For ZIFF’s Opening Night 2018, the festival will present the world premiere of the Tanzanian film Bahasha.

The film was the directed by Jordan Riber and featured some of Tanzania’s most talented actors including Ayoub Bombwe, Godliver Gordian, Omary Mrisho and Catherine Credo.

Another film to be screened, with generous support from the Kenya Film Commission, is the inspiring new Kenyan film, Supa Modo. The film which had its much acclaimed world premiere at Berlinale in February this year, has been heralded as a stunning debut for director Likarion Wainaina and its young cast. The Kenya Film Commission will be hosting the screening of the film on Wednesday, 11 July, at ZIFF’s main venue of the Old Fort Amphitheatre with various members of the cast and production team in attendance.

As one of the new editions for this year’s event, ZIFF in partnership with

DISCOP Zanzibar, the Zanzibar TV Series Festival will unfold its first edition from 12 to 14 July 2018. The event aims to highlight series from all over the world and to give an international voice to this increasingly popular and fiercely creative new art form.

Open to the public, the Zanzibar TV Series Festival will celebrate excellence.

Striving to create a stage on which the foremost creators in the world of TV series come together, where tomorrow’s talents are showcased, and a prestigious international competition for a wide range of genres and for series of all shapes and forms is presented. Over 9 different East African TV series will be screened during the two-day event.

Once again, ZIFF will also focus on Zanzibari filmmakers with the Emerson’s Zanzibar Foundation Film Award, whose mission is to recognise the unique and significant nature of the local film talent.

The award aims to inspire and promote

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Zanzibari film artists, who are pursuing their artistic vision in the archipelago, as well as promoting the culture and history of Zanzibar.

It is exciting to see the impact that the Emerson’s Award has had on the recipients’ professional lives and what they used the award money for. Salum Stika, the first recipient for his short film Daladala went on to direct Binti Zanzibar, a Kiswahili feature film, which scooped four trophies, and 4 000 000 TSH from the Azam TV Sinema Zetu Award.

Mbarouk Mussa, a forester and the second recipient for his inspiring documentary about Kokota island in Pemba, has used the award to increase awareness of the important work he is doing on the island. Mussa was nominated for the prestigious BBC Outlook Inspiration Award.

DISCOP Zanzibar’s NEXT Gen programme will also feature a range of East African industry experts looking at topics ranging from Animation to eSports – the fastest growing spectator sport in the world, with an estimated global audience of more than 380 million in

FESTIVALS & MARKETS

2017, and successful competitive video gamers now making millions of dollars annually.

Animation Africa will run its Animation Unites Africa programme and the Annecy International Animated Film Festival and its market, MIFA – the world’s top reference for animation films and industry – returns to Africa to scout for the best talents for Animation du Monde 2019.

Also featured is a focus on Ethiopia, with a journey through the last 30 years of broadcast media in Ethiopia. Experts will look at the state monopoly on broadcasting and the birth of new radio and TV stations, censorship of the media space, how the internet has changed access to information, the rise of new radio and TV stations and the type of content they are focusing on.

East Africa’s thriving music industry will also be in focus with both the Trace Mziki and ZIFF East African Music Video Award.

Additionally, DISCOP Zanzibar will host its DISOCRE programme on the growing global recognition of African music in film, TV, gaming and advertising.

– Lara Preston

July 2018

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DIGITAL DISTRIBUTION

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FASTER THAN 5G networks are set to roll out commercially around the globe from 2020.

T

he current world TV market served by satellite, IPTV, cable and terrestrial broadcast service providers is worth an estimated US$500 billion. However, analysts are predicting that 5G network technology will start taking on established TV mediums, with 5G TV being a key component of the service from very early on. With super-fast chip technology allowing up and downlink speeds of up to 20 Gbps, the mobile network will soon provide the ideal environment for TV broadcasts.

In a nutshell, fifth-generation wireless, or 5G, has been engineered to greatly increase the speed and responsiveness of wireless networks, about 100 times faster than 4G. With 5G, data is transmitted over wireless broadband connections at high speed and offers latency of 1 ms or lower for uses that require real-time feedback. 5G vastly increases the amount of data transmitted over wireless systems due to more bandwidth being available and the development of advanced antenna technology. With these advancements and shifts in technology, recent tests have shown that the 5G network will be able to support 1Gbps data throughput rates. This raw speed would provide the ideal environment for TV broadcasts. Added to the increased performance, 5G brings the obvious benefit of mobility. TV content providers will be able to easily transmit to mobile devices without the need for a fixed internet connection.

At 10 gigabits a second, 5G can send a full-length high-definition movie to a device in about four seconds. It also paves the way for the “internet of things,” where devices from light bulbs to traffic

28 | SCREENAFRICA | July 2018

lights, fridges to soil moisture testers can talk to each other and react when asked.

The technology industry is counting on the new capabilities that 5G is going to offer and will be instrumental in the development of self-driving vehicles , drones, and other machines that transmit massive amounts of data in real-time and use artificial intelligence. The likes of Samsung are working on 5G Fixed Wireless Access (FWA) solutions, which will utilise next-generation network technology to provide faster-than-fibre broadband services to the home. Huawei revealed its WTTx 2.0 wireless broadband solution last year, which similarly provides a home broadband service using mobile network technology.

5G is seen as a next-generation technology for cellular phones, but its potential for delivering camera signals wirelessly cannot be understated. This year’s Winter Olympics in PyeongChang, South Korea, highlighted perhaps the most advanced deployment of 5G seen yet. Intel, Korea Telecom and Toyota installed a commercial 5G network to test the technology needed to carry live video. The system, comprising 22 5G links at 10 different sites, delivered 3 800 terabytes of data during the two-week event. The companies involved built four main test cases to show off the technology, including a system that used hundreds of cameras to capture ice-skating athletes – footage was then broadcast in real-time to virtual reality viewers. Viewers could use the setup to select different locations from which to view the action and could also pause and replay specific parts of the performance.

Other test cases used connected Toyota automobiles and transmitted high-

resolution pictures of cross-country skiers. Thanks to the extremely low latency (almost zero delay) of 5G, tiny fixed lens cameras were fitted to the front of Olympic bobsleighs to offer a driver’s eye view of the descent down the twisting icy track which was then cut into the live HD production. But perhaps the most visible use of 5G technology during this year’s winter Olympics involved a fleet of 300 Intel drones flying in formation during the event’s opening and closing ceremonies.

Intel has already partnered with Japanese mobile phone operator Docomo and has plans to demonstrate 360-degree, 8K-video streams and smart eHealth equipment that leverages 5G technologies including artificial intelligence that can be used by the athletes for training during the summer Olympics in 2020. Their 5G platforms will be used to demonstrate how 5G will massively transform communications through the next decade.

FOX Sports, the Fox Innovation Lab and partners Ericsson, Intel and AT&T, used 5G technology to stream 4K video over 5G for potential broadcast nationwide at this year’s 118th U.S. Open Championship in June. 5G wireless technology was used for the first time in a top-tier golfing event to transmit 4K HDR images from two FOX Sports cameras positioned on the challenging par-3 seventh hole at Shinnecock Hills Golf Club to the FOX Sports production truck.

This ‘test’ was a powerful example of how production companies can reduce live production costs, while enabling ultra-high-definition broadcasting to scale. It also showcased on how the high-speed

and low-latency delivered by this trial allowed the cameras to move without being restricted by cables and created a unique filming environment.

The World Cup in Russia saw a huge leap in 5G technology testing when the Morocco vs Iran game was streamed in virtual reality over a 5G real-time stream.

The Krestovsky Stadium in Saint Petersburg was fitted with high-definition cameras that broadcast the game over a 5G connection to residents of Moscow, some 600 kilometres away. Built especially for the games, the Russian capital’s 5G zone allowed supporters to switch to different camera views as they watched the match in real-time with virtual reality glasses. Again, the near zero latency transmission tests showed, beyond doubt, that 5G is going to provide sport content producers with a whole new range of options, thanks to its game changing technology.

5G is not only going to enable mobile operators to deliver superior and standardised television services over their networks to a large number of mobile users. It could also potentially enable the broadcasting of high quality TV content to domestic TV receivers as a replacement for traditional broadcast services. There are few areas of innovation that have the power to define the future of our economy and the way we live more than the amazing development and pending roll out of 5G technology. With 10Gbps connections in the field, a one millisecond end-to-end round trip delay and 90 per cent reduction in network energy usage, what’s not to get excited about – let’s hope it’s worth the wait!

– Ian Dormer

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July 2018

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Photo credits: Laeticia Nel Photography

Cameras & Accessories

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South African-based company to revolutionise sports filming for the local market Alard HĂźfner and Graham Terrell of Johannesburg-based rigging company Film Riggers, have developed a unique computer-controlled cable-suspended camera system, called TopShot, that allows for the world-class filming of sports events, which is affordable and uses locally developed technology.

30 | SCREENAFRICA | July 2018

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“While drones provide many of the same advantages for the filming of live sports events, their reliance on frequency technology makes them vulnerable to frequency jamming. This is what sets TopShot apart.

”

– Graham Terrell

F

ilm Riggers invited the Screen Africa team to the first live demonstration of their system at Ellis Park Stadium in April of this year, where we had the opportunity to chat with Hüfner and Terrell about what went into developing this outstanding system.

Playing with the possibilities The filming of sports events is notoriously challenging as the action is live, the stakes are high, and options about where to place cameras are often limited. Using a cable-suspended camera system over a sports ground to achieve those firstperson action shots that have become so much a part of watching a live game is not a new idea. The first computer-controlled, stabilised cable-suspended camera systems were released in the mid-90s, and the technology has gained enormous popularity with viewers across the world.

However, this technology has remained in the hands of a select few in the international market. The enormous cost of importing all of the necessary equipment and flying the international crew to South Africa, in conjunction with unfavourable exchange rates, has hindered the use of these systems for local sports broadcasting, with a few exceptions such as at the Football World Cup in 2010.

Terrell and Hüfner are among the country’s most experienced film rigging specialists, and their company has specialised in the rigging of cameras and live loads for more than ten years.

Collectively, they have more than 25 years

of experience flying cameras and performers for the local film industry, and have worked on some of the country’s highest-profile productions, including Fear Factor, Survivor and The Amazing Race, as well as on films such as District 9 and The Avengers, among others.

Having both the technical know-how and the experience behind them, it is not surprising that Terrell and Hüfner have been playing with the idea of developing a computer-controlled cable-suspended camera system for the local market since the international company that assisted with the filming of the World Cup left our shores eight years ago. “Graham, in particular, has been conceptualising what would be needed to produce a computer-controlled cable-suspended camera system for many years. The actual design phase of the project started in about March 2017, when we began investing our own money and actively investigating the type of motors, drums and cables that we would need,” Hüfner explains. He goes further to add that some local broadcasters have been interested in their efforts from the onset.

The Game Plan To turn a great idea into a workable product, the Film Riggers team have employed all of their skill and expertise and have consulted widely with engineers, product designers and software developers to put together a computer-controlled cable-suspended camera system that will rival any in the world but will remain affordable for the local market.

The TopShot.Africa system comprises of four motorised winches, positioned at four points in a venue. A 5mm diameter specialised high strength rope runs from

each winch up to a high point in the venue where it is deviated through an anchored pulley and returns downwards to the centre of the venue where all four ropes meet. The four ropes are then connected to a gyro-stabilised camera platform. This camera platform is suspended in the air by the four ropes and the position thereof is controlled by the system of winches. By controlling the synchronised winding and unwinding of the four ropes, the system allows the camera platform to travel both vertically and horizontally in a predetermined space.

According to Terrell, the system is capable of taking a payload of up to 100kg, depending on the geometry of the configuration, and can achieve speeds of up to nine metres per second.

The system is designed to withstand the elements – particularly important as TopShot will be used in outdoor settings most of the time.

In designing TopShot, the team started with the motors for their winches and turned to SEW-EURODRIVE, a worldleading manufacturer of electric motors for advice. Following extensive consultation, the appropriate motors were identified. Terrell then worked with a local design and engineering team to custom design and produce the drum and housing required for the four winches. The team then needed to decide on a supplier for the gyrostabilised camera carrier, the rope and construction thereof and the software needed to operate the system, all of which has been achieved.

Control of the winch system is achieved through a hard link carried on fibre optic cables that run directly from the control desk to the winches. Control of the 3-axis stabilised camera gimbal, as well as the camera control and picture itself, travels inside the ropes by means of fibre optics.

A camera operator is then able to send commands directly to the camera and remote head without the need for a wireless link, and bring the camera’s HD signal back up the rope to the control

Cameras & Accessories

station. According to Hüfner, the a challenging part of the project was designing a rope that would carry the payload, wind up and down on the motorised winches at high speeds, and still safely house the very fragile fibre optic cable so critical to the system. “It has taken many months and countless tests to come up with the design of the fibre optic carrying rope. We are enormously proud to say that, despite the challenges, our highly specialised rope is locally produced and has proven effective – despite a few tears along the way.”

“SuperSport was only interested in our concept because of the hard link between the camera and the control station. While drones provide many of the same advantages for the filming of live sports events, their reliance on frequency technology makes them vulnerable to frequency jamming. This is what sets TopShot apart,” Terrell explains. The vast majority of the work has been carried out in South Africa – with only a portion of the hardware being purchased abroad and some of the software development being carried out by international suppliers.

Delivering the win Film Rigger’s TopShot has the potential to revolutionise the way that South African fans view local games in the very near future. According to Terrell, SuperSport have had the privilege of testing the system on its very first live rugby game played at Loftus between the Bulls and the Brumbies, with the goal of using it for the filming of high-profile sporting events in the latter part of this year.

“The international guys that have been operating computer-controlled cablesuspended camera systems in Europe and America have years of experience, and we have only been playing with the full-scale model of TopShot for a few months now. We have a lot to learn, but we are enormously optimistic about what our system has to offer,” Hüfner points out.

Having used their own funding for the research and development of TopShot, the team will be the sole owners of the system and will be in a position to make the technology available for a wide range of applications, including flying performers, cameras and even marketing material in a wide range of venues in the months ahead.

– Nicole Barnes

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Photo credit: Pete O’Donoghue

POST-PRODUCTION

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Pictures built on sounds: The interesting world of Foley

Pete O’Donoghue at work in his studio

Foley artists perform a crucial and mostly under-appreciated role during any post-production process.

T

here is no Academy Award given for outstanding Foley work, for instance, but – if the old maxim of ’70 per cent of what you see in film is sound’ holds true – then the importance of the Foley artist, whose work underpins the soundscape of cinema, becomes abundantly clear.

Pete O’Donoghue, an experienced sound artist and founder of Upstanding Productions, provides a sense of the history of Foley and its current role in the post-production process. “It is important to understand the difference between sound effects and Foley,” he says. “Foley – invented by and named for Jack Foley – is the process of recording specific sounds to a particular picture. If I then put Foleyed sounds from a project into my library and use them again in a new project, they are no longer Foleys, they are now sound effects.”

“Traditionally,” he explains, “a Foley artist is the person who makes the noises with [various props] in front of the microphone, while the recordist captures the sounds and, from there, the sounds go to the sound editor. But then guys like Ben Burtt –who invented modern sound design and made all the sounds for the original Star Wars and Indiana Jones films – started going out into the field and compiling libraries of sounds and

32 | SCREENAFRICA | July 2018

effected sounds to add to the process, and from there the need for sound designers and sound mixers grew.

Nowadays, it all kind of rolls into one j ob – usually called ‘sound design and mix’ – but on bigger productions with higher budgets and/or tighter turnarounds, the work is still split up into those separate roles.”

One of the world’s busiest Foley artists, Marko Costanzo, famously described the job as requiring a combination of ‘good hands and a creative imagination’, and our local experts shared some interesting views about this point, as well as about the challenges of the recording and synching processes.

In the opinion of Michael Broomberg, lead Foley artist and sound effects supervisor at Sound and Motion Studios – who has over 160 feature film credits to his name, earning six Emmy nominations and an Oscar win in the process: “A creative imagination is most important because you have to think of how something that doesn’t exist would sound. Having good hands will enable you to delicately and sensitively use the props that you have pulled from your imagination.”

In terms of which aspects of the job he finds most challenging, Broomberg says, “Recording the sounds is very difficult

because you have to EQ the prop to sound different from its actual sound, so a symbiotic relationship develops between a Foley artist and the recording engineer.” He is, however, able to offset some of these difficulties by recording within a Dolby-designed cinema at Sound and Motion Studios. “Meanwhile, synching sounds perfectly requires a very good feel for ‘reading’ body language, because if you’re synching footsteps and it’s a close-up where you don’t see the feet, you have to rely on your sense of that body/shoulder movement to figure out where the sound of the footsteps should land.”

Paul Geddes, sound engineer and operations director at Madhaus Media, says that, “A great deal of the sounds you need to match the footage require creative thinking from the Foley artist.

Once you have the prop to make the sound, though, you need great hands and ears to synch and create the sound.”

He agrees with Broomberg that “recording the sound is probably the more challenging aspect, and the hardest part of all is normally finding the right prop to create the exact sound you need.”

Foley work is, therefore, an equipmentintensive business, and it is unsurprising that all three respondents have clear

preferences when it comes to gear, not to mention an arsenal of specialist props they call on in times of need.

O’Donoghue uses “a Pro Tools Ultimate Native Setup with an Omni, Adam AX3 Fogg 5.1 Monitors, and KRK Rockit 5s for contrast – because if it sounds good on Rockits, it’ll sound good on almost anything! In terms of mics, I switch between a Neumann and a Sure condenser for voice over work, and I have a Sennheiser 416 for ADR [Automated Dialogue Replacement] matching and Foleys. For field recording, I use the 416 with a Zoom H6. In my Foley box you’ll find cat litter, cassette tape, and – as my studio is a home set-up – my greatest asset is all the props I have access to in the kitchen.”

Geddes namechecks similar microphones – “the Neumann U87, shotgun microphones and the Sennheiser MKH416 to get a more isolated direct sound” – and says that although they “have many different mixing consoles available at Madhaus, the main one we use for mixing film and Foley is the Avid ICO| D’Command 24. Synching the sounds is mostly done by feel, with the eyes and ears. There are a few plug-ins that can help with synching, especially ADR, but it always comes down to the Foley artist’s eyes and ears in the end.”

Photo credit Sound and Motion

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In-house cinema (top) and Foley room (left) at Sound and Motion Studios As far as editing software is concerned, all three are consistent in their use of Pro Tools. As Broomberg says, “It is the industry standard for this type of work, which helps with compatibility when transferring session data to clients locally and abroad. We also like Nuendo because of its stripping capabilities,” he says, while O’Donoghue adds that “Cubase is amazing for composing.”

Foley work is subtle and painstaking work, and its fundamental paradox, as O’Donoghue explains, is that “the whole

POST-PRODUCTION

point of good sound design and mixing is that it should go unnoticed – at least, until the experience is over. If people notice the sound design, it means the fluid continuity with the picture has been interrupted, and the illusion is broken.” In a similar vein, Broomberg says that “Foley is part of what I like to call the ‘sonic fabric’ of a movie because it’s mixed in with sound effects, music and dialogue – and if not mixed properly, it will stick out like a sore thumb.”

For those who are interested in the work of Foley artists, but feel like they have been missing out on this aspect of their appreciation of films, we asked Broomberg to name some of the favourite projects he’s worked on. “Some of my favourite movies that I have worked on and that I think sound good are 300, Watchmen, where the beginning fight scene was mostly Foley except for the punches, Spider-Man 3 and The Legend of Zorro, where the wagons, horses and guns were mostly Foley. The Dark Tower was fun to work on – we did some really cool stuff for the last gunfight and also the bullets loading in hyper speed; Jumanji was also a fun project...I’d better stop now!”

– David Cornwell

“One of the world’s busiest Foley artists, Marko Costanzo, famously described the job as requiring a combination of ‘good hands and a creative imagination’.”

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July 2018

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POST-PRODUCTION

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Do you have a project or scene that you’ve worked on that challenged you creatively and unexpectedly?

For Blood and Glory (Modder en Bloed), I spent an entire day composing a piece of music that on the piano worked really well with the scene. I then started to orchestrate it and when I came back to it the next day, I realised that I had composed a piece that would’ve worked well with a sweeping scene in a Disney film. Not quite ideal given the subject matter of the film. I knew that I had to start from scratch, losing a day’s work in the process, but sometimes it’s necessary to scrap something altogether, rather than try and salvage something that might take you in the same direction again.

Quinn Lubbe

Quinn Lubbe on composing music for film Quinn Lubbe is an editor and composer, whose score for Modder en Bloed was nominated in 2017 for a South African Film & Television Award (SAFTA) in the category Best Original Music Score – Feature Film. Additionally, Lubbe has composed scores for Raaiselkind and Ellen: The Story of Ellen Pakkies, and edited films including Vuil Wasgoed and Wolwedans in die Skemer, as well as the TV series Getroud met Rugby and Hartland.

What makes you passionate about Sound Design/Composing?

Composing music for film is incredibly fulfilling because of the powerful impact that music has in supporting and driving the story. As a composer, you’re starting with a blank canvas with a guideline from the director and editor through reference music and discussions that you’ve had based on the offline edit. Although that can be daunting it is also very rewarding once you start creating music to picture and experiencing the impact that the music you’ve created has. Each project is also very unique, even though it may fall into the same genre as a previous project and this allows you as the composer to constantly change and grow.

34 | SCREENAFRICA | July 2018

How did you first get into composing?

My dream was always to write music for film and television and I originally wanted to study music after school. By chance, I walked into the TUT Motion Picture Academy open day when I was researching tertiary institutions. I had studied music throughout my school career, but realised that in order to write music for film, I needed to understand more about the storytelling process. So rather than study music, I decided to enrol at the Motion Picture Academy at TUT. It was there that I was able to write music for some of the short films that were being made by my classmates and leaving film school with some of my work to show (although it was quite modest) definitely helped me to promote myself.

What software do you use?

Is this important for your workflow/creative process?

I use Logic Pro to compose and mix in.

For my sampled instruments I use EastWest Composer Cloud as well as various Kontakt sampled instruments.

Logic is built for composing and although there are many DAWs to choose from, I’ve always preferred Logic because it is very stable. I’m also a Mac fan, and Logic isn’t available for PC. As far as the sampled instruments are concerned I think that EastWest’s Hollywood Orchestra virtual instruments are some of the best out there.

Is your workflow process the same on all the projects you work on?

Although the workflow is usually the same in terms of viewing the offline and discussing the film with the director and editor, the process of creating the music can vary drastically. With each film being unique in its storyline, setting and characters, the music will reflect that and will call for different approaches in the instrumentation, orchestration and tone.

Being a pianist, I tend to sketch a piece on the piano and then build it from there, orchestrating the different parts depending on what is needed for the scene.

What is a common misconception people have about what you do?

I think the biggest misconception is that anyone who can compose or play music, can compose music for film. Film scoring is more about understanding story and supporting narrative than creating beautiful music. As a composer you want your music as a supporting role – you don’t really want people to notice the music while they’re watching the film. It always has to be about the film, not about how much you can shine as a contributor.

What are the challenges you regularly encounter?

Time is always a big factor in completing a project. It takes a huge amount of discipline to sit down each day and write a certain duration of score. It’s often an exponential process in that the going is really slow in the beginning when you’re trying to establish your themes and you tend to write more music towards the end when you have your themes and sub-themes. You’re also under a lot more pressure towards the end and you have to hit a deadline, which for some people works well – I’m one of those!

What advice would you offer someone considering a career in post-production sound?

Understand how story works. Ultimately it is all about the story that is being told.

Understand how what you want to do supports that story and enhances it.

Every person, from the production designer through to the VFX team, is creating elements that will tell the story and fulfil the director’s vision. So if you want to write music for film or television, start by taking a feature film or short film that you know well and write the score to it. Then compare it to the original and see what works and doesn’t and why. Also, work on as many projects as you can, even if they don’t pay at first. It really is a case of, “practice makes perfect”.

OPINION

|

INDUSTRY REVIEW

The nonnegotiable importance of safety on set Written by Bobby Amm,

executive officer, Commercial Producers Association

The recent and very tragic deaths on set of DOP, Carlos Carvalho and actor, Odwa Shweni serve as a stark reminder that safety on set and adequate preparation is not something to be taken lightly and that the production community must do more to ensure that these types of incidents do not happen again.

S

hweni died after been swept over a waterfall in the Drakensberg while rehearsing a fight scene for local feature film Outside while Carvalho, who was an extremely well-known and popular DOP on commercials, was killed after being head-butted by a giraffe while filming an international feature film, Premium Nanny 2 at Glen Afric in Broederstroom, Hartbeespoort.

There will undoubtedly be many questions in the coming months about why these two accidents occurred, how they could have been prevented and what lessons the industry can learn from them.

The reality is that film sets can be very dangerous places and proper provisions must be made by production to ensure the safety of everyone involved in the making of a film or commercial as well as the general public. Although it may seem obvious, it’s worth reiterating some of the important issues that all filmmakers need to consider:

Work with reputable production companies that are experienced As tempting as it may be to save money by using a production company that has limited experiences or makes a habit of

cutting corners to save costs, the consequences can be dire when it comes to safety. When one considers that film sets often incorporate diverse and dangerous elements such as stunts, pyrotechnics, action vehicles, weapons, wild animals and hazardous locations, knowledge and experience count. A lot!

Carry out a proper risk assessment When planning anything that is remotely dangerous, it’s important to make sure a thorough risk assessment is done beforehand to identify any and every thing that could possibly go wrong. To do this, it’s important to bring in an expert with credible qualifications who can advise you of the risks and draw up a plan of action which everyone involved should be advised of in advance and should follow on the day.

Use the services of skilled professionals Stuntmen, precision drivers, certified drone operators, special effects supervisors, armourers, pyro-technicians and a number of other professionals who are trained in safety in their area of expertise are an essential part of the film industry and should always be hired in.

Under no circumstances should production companies try to take these responsibilities in-house as this could constitute negligence should an accident occur. It’s also important to ensure that all non-essential personnel remain clear of the action.

Communicate and make sure you do the necessary paperwork All matters relating to safety on set must be communicated properly by production to everyone involved and records must be kept detailing when and how this was done. Although this kind of record-keeping may seem tedious and unnecessary, it is vital to ensure legal compliance.

Appoint a qualified safety officer and medic to oversee safety on set and attend to any incidents that may occur Where the producer identifies potential risk, a certified safety officer should be appointed to oversee on-set safety and a qualified medic should be in attendance to treat anyone who is injured in an accident on set. When shooting particularly complex stunts or set ups, production should consider increasing the number of medics and having a medical rescue vehicle on standby. The safety officer and medics should always be in close proximity to the action and should not take on unnecessary additional functions or duties that could divert their attention away from potential risks.

If in doubt, say “no” Part of the safety plan on any set should be to encourage anyone who is apprehensive about safety or any activity they are asked to undertake to report their concerns to the safety officer or the

producer without fear of recrimination. All reports should be taken seriously, acted upon and properly documented.

Prioritise Insurance Although it is not a legal requirement, all production companies should carry insurance to cover any accident that might occur on set. This includes: Public Liability Insurance: Public liability protects against claims of personal injury or property damage that a third party suffers (or claims to have suffered) as a result of a production companies business activities. This applies to members of the public who are not involved in your production.

Emergency Medial Cover: This covers the medical evacuation and the emergency medical expenses of crew or cast – or any other nominated person on set – in the event of an accident in which they are injured.

Personal Accident: This cover provides compensation in the event of injuries, disability or death caused by violent, accidental, external and visible events that may occur on set.

It’s also advisable to take out a comprehensive Film Producer’s Package which includes cover for any loss or liability that may occur on a production.

The CPA has recently launched the “CPA Group Insurance Scheme” in collaboration with the Chesterfield Insurance Group in the UK and local brokers, CC&A Insurance Brokers. This is a bespoke insurance product which will substantially increase the benefits that are currently on offer in South Africa and provide increased protection to crew and cast working on set and also to production companies and their clients.

July 2018

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Television

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Inside the making of Afrikaans drama, Onder Die Suiderkruis

The Smithymans

The life of an entrepreneur requires resilience, competitiveness and consistency. From owning a modest school tuck shop, to running a successful chain of varsity takeaways, to being a billionaire farmer and mine owner – Onder Die Suiderkruis explores the experience of being your own boss through the lens of three families.

36 | SCREENAFRICA | July 2018

“I

wanted to explore the influence of parents, environment, school, history, fate, etc. on determining the personality of the child, and also what qualities do you need to tempt fate to become an entrepreneur and be your own boss,” comments writer and producer of the show, Johan van Jaarsveldt. While the show is not an educational programme, van Jaarsveldt says that valuable insight can be gleaned from the exchanges between characters.

Set in the 80s and 90s, the series boasts a talented local cast featuring Alyzzander Fourie, Anton Dekker, Michelle Burger, Christia Visser and

Tinarie van Wyk-Loot. Casting was handled by van Jaarsveldt and director Elizabeth Archer. “In most cases, we agreed on whom we would like to use in the roles. In only two instances we could not get the original choice, due to unavailability of the actors. This is where fate stepped in and provided us with the best candidates for the parts. We only auditioned/interviewed three actors, purely because we did not know them. In all the other parts we cast major actors, with outstanding results,” says Archer.

The storyline centres on three prominent families, namely, the Tredouxs, the Smithymans and the Normingtons.

|

Television

“I wanted to explore the influence of parents, environment, school, history, fate, etc. on determining the personality of the child, and also what qualities do you need to tempt fate to become an entrepreneur and be your own boss.

The Normingtons family The Tredoux family are a traditional Afrikaans family from a small Boland town. The family is headed by a controlling conservative father, a subservient mother and their two offspring, Stephen Tredoux and his younger sister Jane. In their entrepreneurship journey, Stephen embraces the concept of selling to a willing market from an early age, while Jane absolutely detests it and rebels against it. The Tredoux family’s Oupa (grandfather) is the voice of reason and a true freethinking liberal.

The Smithymans, on the other hand, are a wealthy small family, living in isolation on a Karoo Farm. The family is made up of a billionaire farmer and mine owner, and his only daughter. The single father enlists the help of private tutors and governesses to maintain his household. Only the best is good enough for his daughter, who is intellectually above her peers and manages to secure a place at Cambridge University before the age of sixteen.

The final household is the Normington family from Port Elizabeth. This family includes a carefree saxophonist who is married to a primary school teacher. The two clash nonstop but despite their

”

– Johan van Jaarsveldt

The Tredoux family constant bickering it is evident that they truly love one another. The Normington family grows when they become stepparents to a nephew who glides through school and becomes a top student at the University of Witwatersrand.

In season one, set it in the early 1980s, viewers meet the main characters as young children and witness the way in which their parents influence their lives during their primary years. As the series progresses the children blossom into teenagers, then young adults, trying to make the most of their lives with the opportunities presented to them.

Onder Die Suiderkruis, was shot on the Canon C300 camera with Zeiss CP2 lenses. “We decided to go for a cinematographic look and feel in a 1:85 format. This allowed us black bands at the top and bottom of the screen as we did not want the obligatory subtitles to intrude in the picture,” Archer expands.

“Re-creating the different periods from 1980 to the mid-90s was difficult and asked for authenticity, mainly because a huge percentage of viewers remember those years vividly. For instance, CDs came on the market in the mid-80s.

Cellphones arrived in 1994. We are

talking about laptops, what people wore then, hairstyles, accessories, transport, furniture, etc. But looking at the end result, all the effort paid off handsomely.”

“There will be elements, incidents and situations portrayed in the show that viewers will recognise and take to heart, but having said that, our main aim remains to intrigue, to amuse, to stimulate and above all, to entertain,” Archer concludes.

Onder Die Suiderkruis is a 13-part series with each episode running for 45 minutes. Viewers have already shown their love for the storyline and characters of the show, on the Onder Die Suiderkruis Facebook page, which reached 1000 followers on 21 June, just ten days after the show first aired on television.

Dean Kotze remarked: Wow! This is absolutely amazing! Well done to all involved…

While Sunel Nomava Zwane commented: I cannot remember the last time I was so excited about a show, first episode left me shaken. Your cast is amazing but, I was blown away by the performance of Christia Visser, what an amazing talent, in one word WOW.” – Gezzy S Sibisi

TECH CHECK EQUIPMENT • Camera: Canon C300 • Lenses: Zeiss CP2 lenses

Onder Die Suiderkruis was shot on the Canon C300 with Zeiss CP2 lenses.

The cast of Onder Die Suiderkruis

KEY CREW Writer/Producer: Johan van Jaarsveldt Director: Elizabeth Archer DOP: Marc Degenaar Editor: Morne Jacobsz Sound: Craig Ormond

July 2018

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TELEVISION

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Director Speak

re Makkeiso The

This month we chatted to director Makere Thekiso…

WHAT IS YOUR BACKGROUND AND HOW HAS IT SHAPED YOU AS A DIRECTOR? What has really shaped me is growing up in Matatiele, travelling up and down the continent, and embracing my Sesotho roots. I did not go to film school, but every day I am in class learning new skills, you never really stop learning.

DESCRIBE THE MOMENT, IF THERE IS ONE, WHEN YOU KNEW YOU WANTED TO BECOME A DIRECTOR? When I was I was on set as a production assistant I knew this is what I want to do. I directed for over five years before I even called myself a director. I had already won numerous awards and had already done a few popular TV shows for DSTV. I was measuring myself against my favourite local directors, and I felt that I needed to grow more and be less worried about titles, and just focus on working on my skills set.

WHERE DO YOU FIND INSPIRATION? I love photography, art in general, music, meeting different people, great conversations, technology, fashion, reading everything from blogs, books, Instagram feeds, Matatiele, being Mosotho, experiencing different things on a weekly basis to break my daily pattern, African cinema, Asian cinema, American cinema, fashion films and travelling. I am always looking for different things that will inspire me.

WHO DO YOU LOOK UP TO IN THE FILM INDUSTRY AND WHO ARE YOUR MENTORS? My business partner Jobie Bakama is my mentor even though we run Callback together. He spent a few years in Hollywood, so I get to pick up a lot of things from him, and because we work together on everything, we are constantly learning.

Anneke de Ridder (producer of Idols SA) groomed me 38 | SCREENAFRICA | July 2018

when I first started in the industry. She helped us set up all the structures for our company eight years ago; she basically incubated us with Gavin Wratten, the director of Idols SA.

The biggest challenge in our industry is for us as producers, directors and as creatives to own our intellectual property, so that we don’t work ourselves into an early grave.

TOP THREE FAVOURITE DIRECTORS, AND WHY THEM? Ousmane Sembene, he is the father of African cinema, he did so much with so little, and I can really relate with that.

Akira Kurosawa, he designed so many shooting techniques his work is incredible.

Steven Spielberg, he can move from a period piece to sci-fi, action and drama so effortlessly.

WHAT HAVE BEEN SOME OF THE HIGHLIGHTS OF YOUR CAREER THUS FAR? Just making a living out of what I love is a career highlight and having an impact on people through my work is an incredible feeling.

WHICH PROJECTS ARE YOU CURRENTLY INVOLVED IN? I am currently in post with a short musical film that I directed in Ghana, and I am also wrapping up another short film titled Yvonne. Both projects are in post-production.

This year I am going to start pursuing commercials, I spent most of last year busy building my film portfolio and building teams around that. In the last seven years, I have directed a lot of TV shows, and I have put that on pause.

WHAT KIND OF CONTENT DO YOU ENJOY CREATING? I really enjoy films that are the “Mecca” of storytelling, and I also love short form because you can really focus on the small details.

WHAT HAS BEEN YOUR BIGGEST CAREER CHALLENGE TO DATE? Running a business is a not for the faint-hearted. Having a business that has been running for eight years has been the biggest challenge, and I am proud and happy that Jobie and I are still standing. Being responsible for my team’s livelihood is a challenge.

IF YOU COULD PRODUCE AN AFRICAN VERSION OF A HOLLYWOOD CLASSIC, WHAT WOULD IT BE? Even though not Hollywood, I would love to see Once Upon a Time in China, the African version.

It would be great to see a Chinese-African action film with people flying wearing African attire, and it must also be dubbed into English with the lips out of sync – go the whole nine yards.

TOP THREE FAVOURITE FILMS OF ALL TIME? • Madadayo by Akira Kurosawa • Borom Sarret by Ousmane Sembene • 2001: A Space Odyssey by Stanley Kubrick WHAT IS YOUR DREAM SHOOT LOCATION? Morocco, I hear the settings are incredible.

WHO WOULD PLAY YOU IN A BIOPIC? Doctor Khumalo, Psyfo or Kwesta apparently I look like those three people.

IF YOU WEREN’T A FILMMAKER, WHAT CAREER WOULD YOU HAVE CHOSEN? I studied law, so I think I would be a lawyer and depressed.

| SOCIAL

Nelson Mandela Foundation #ShaveToRemember campaign launch

PHOTOS BY Photographer

The Nelson Mandela Foundation in partnership with Philips launched the #ShaveToRemember campaign at the Saxon Hotel in Sandhurst, Johannesburg. Seen there were‌

Marc Duthoit

Luzuko Koti

Ntutule Tshenye

Didie Makobane and Gift Sebiloane

Lesego Maforah

Alek Blak

Nhlanhla Mahlangu

Karabo Rameetse

Alexis Tshangana

Monique Piest and Debbie Fichardt

Soweto Gospel Choir

July 2018

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M ar k etplace

UPCOMING EVENTS JULY 7 – 15 Zanzibar International

Film Festival Zanzibar 11 – 13 DISCOP Zanzibar Zanzibar 16 – 18 Nature, Environment &

Wildlife Filmmakers Congress

Durban, South Africa 19 – 29

Durban International Film Festival Durban, South Africa

20 – 23

Durban FilmMart Durban, South Africa

AUGUST 1 – 11 Locarno International

Film Festival

Locarno, Switzerland 23 – 3 SEPT Montreal World Film Festival

Montreal, Quebec, Canada

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Master Dealer Africa Tel: +27 (0) 762569255 info@mdafrica.com

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AV-HLC100 Live Production Centre

Combining 1ME switcher, PTZ camera controller, and audio mixer functions, the Live Production Center enables easy live streaming with one-person operation.

The AV-HLC100 Live Production Center provides easy and simple A/V production and broadcasting live streaming at various live events or conferences with a limited number of operators. Combining 1ME switcher, PTZ camera controller, and audio mixer functions in a single device, the AV-HLC100 makes it possible for one person to operate everything from PTZ camera shooting to streaming transmission. For PTZ camera operation, the connection and settings can be easily done using the Easy IP connection function, and pan, tilt, zoom, and focus operations can be performed with one hand using the large joystick.

Output format support includes 1080/59.94p and 50p, and there is also a cross conversion (between 1080 and 720) function.

Flexible transmission can be achieved since it is possible to mix embedded, line-input, and mic-input audio and add it to the video.

In addition, supported network protocol the NDITM, NDI|HX and the RTMP (direct transmission to live streaming services such as YouTube Live). High-performance professional operation can be realised even in production environments with few operators and no expert staff.

www.pansolutions.co.za Contact: Sean Loeve Cell: 083 677 4917 Tel: 010 449 0034