Screen Africa - June 2013

AFRICA MEDIATECH ART DURBAN FILMM BROADCAST, FILM, TV, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS

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More funding for local productions in pipeline South Africa’s National Film and Video Foundation (NFVF) is to be developed into a fully-fledged South African film commission and a national film fund is to be established, said Minister of Arts and Culture Paul Mashatile at the NFVF’s Economic Baseline Study launch held on 10 May in Johannesburg.

While Mashatile did not divulge further details about the film commission and fund plans, he assured filmmakers of government’s continued support of the local industry.

“Today marks an important day in the development of our local film industry as we are presenting a comprehensive study about the South African film sector.

“The study includes value chain analysis as well as findings about

improving the number of direct and indirect jobs that are created and shows that the local industry is a major driver of our economic growth and job creation.

“We will use the study to strengthen the work we are doing, to provide increased and sustained support for the industry,” said Mashatile.

The NFVF commissioned Deloitte to research and determine the economic benefits and the value chain profile of the South African Film Industry (SAFI) for 2012.

Judy Prins, Deloitte leader of Sport, Media and Entertainment, presented the NFVF’s Ecomonic Baseline Study using verifiable data from the Department of Trade and Industry (the dti).

“Key findings from this research

show that in 2012 the SAFI contributed R3.5bn to South Africa’s GDP (both direct and indirect spend), created more than 25 175 Full-Time Equivalent jobs, earned over R670m towards the South African GDP, encompassed over 2 500 direct service providers and delivered an economic multiplier of 2.89 for every R1 spent in the industry.

Another R1.89 was generated within the South African economy.

The industry has also shown growth of 84% in the last five years,” said Prins.

For the study, stakeholder interviews were held with the NFVF, FPB (Film and Publication Board), the dti, IPO (Independent Producers Organisation), SASFED (the South African Screen – continued on page 5

Among the international delegates set to participate at the Durban Wild Talk Africa Film Festival & Conference (23 – 26 July) are Gen Sasaki of NHK, Off the Fence’s Alison Bean, Chris Cole of BBC Natural World, ORF’s Thomas Matzek, Jordan Hall of National Geographic Wild, Peter Hamilton of DocumentaryTelevision.com, and BBC NHU’s James Honeybourne.

“We are awaiting confirmation on several other internationals,” reports Durban Wild Talk Africa

festival manager Shani van Straaten. “In addition there will be a strong presence from our local broadcasters, namely e.tv, SABC, Fox Africa and TopTV. All in all we are expecting between 300 and 350 delegates.”

For the first time ever, Durban Wild Talk Africa will take place at the Docklands Hotel and Conference Centre, located along Durban’s new waterfront development and in close proximity to the Golden Mile. The hotel overlooks the harbour and is

close to uShaka Marine Park.

This year Durban Wild Talk Africa’s awards component, the ROSCARS (Rhino Oscars), attracted a record number of entries – 445 – including BBC NHU’s Africa Series and Natural World: Queen of the Savannah; independent offering Bidder 70; and the 2013 SAFTA (South African Film and Television Awards) winner, The Last Lions, made by world renowned filmmakers Dereck and – continued on page 5

TRAINED EYE: South African DOP Lance Gewer on the set of Kite.

See page 24

Film Lab still open for Bigger, better DBN Wild Talk Africa business Contrary to rumours that have been doing the rounds within the South African industry, The Film Lab in Johannesburg is not closing down and is now under the general management of Charmaine Lautré, ex-head of production.

Talk of The Film Lab’s possible demise was fuelled by the retirement of long time general manager, industry stalwart and 2013 SAFTA Lifetime Achievement Award honouree, Tony Boyers, who started out as a

printing operator at 20th Century Fox in Killarney in 1967, working on black and white newsreels.

Says Lautré: “It was always the intention that I take over the reins when Tony retired. His are big shoes to fill admittedly, but it’s an exciting prospect and I’m up for the challenge.”

She notes that The Film Lab has been affected by the transition to digital projection, along with the trend in the market to shoot on digital formats rather than 16mm or 35mm film.

“However, over the past 12 months we have processed over 1.5 million feet of negative film, including features like Videovision Entertainment’s Mandela: Long Walk to Freedom and Jake Paltrow’s Young Ones, which was shot in Springbok and Cape Town.

Among several other features printed by The Film Lab is the – continued on page 5

From the editor

C o nt e nt s

Economic multiplier It’s very encouraging to read in the lead story of the front page of this issue of Screen Africa that South Africa’s film industry has shown growth of 84% in the last five years. This is according to a study commissioned by the National Film and Video Foundation (NFVF) and conducted by Deloitte to determine the economic benefits and value chain profile of the industry for 2012. The study shows that the industry contributed a handy R3.5bn to the country’s GDP last year.

At the launch of the study held on 10 May in Johannesburg, Minister of Arts and Culture Paul Mashatile mentioned plans to develop the NFVF into a fully-fledged South African film commission and to establish a national film fund. No further details were divulged as these plans are reportedly still under discussion so we’ll have to wait and see what happens.

It’s amazing how quickly two years can pass. The last edition of the biennial Mediatech Africa advanced technology trade fair, our local version of IBC in Amsterdam and NAB in Las Vegas, took place in July 2011 and it seems like only yesterday. This issue of Screen Africa features the first of a two-part preview of some of the latest state-of-the-art technologies used in the creation, management and delivery of film and TV content that will be on show at Mediatech Africa 2013, which runs from 17 to 19 July at Johannesburg’s Coca-Cola Dome in Northgate. The amazing thing about digital technology is how there is a never-ending stream of exciting new developments and upgrades, all designed to make us work even more quickly and efficiently than we already do. For that reason no professional working in film, television or new media should miss Mediatech Africa because you simply can’t afford to be left behind.

As part of the Mediatech Africa Preview, Screen Africa’s resident broadcast and technology expert, Ian Dormer, tracks the major changes we have seen in technology since the last Mediatech Africa.

What emerges in Martie Bester’s article in which movie critic Leon van Nierop assesses the South African industry, is that local filmmakers should be seeking truly South African stories for their films. Van Nierop believes that local films should be rooted in local context and tell our stories without using foreign influences as a crutch.

In this issue we report on how famous and glamorous South African showbiz couple, Connie and Shona Ferguson, conceived, developed, executive produced (and starred in) their first drama series for local content pay-TV channel, M-Net Mzansi Magic.

Rockville looks at the dark world of prostitution and is set to enthrall audiences with intrigue and drama. The Fergusons stress in the article that creating and producing a TV drama is all about passion and not about profit.

Joanna Sterkowicz

SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com Editor: Joanna Sterkowicz: editor@screenafrica.com Journalist: Martie Bester: news@screenafrica.com Contributors: Andy Stead, Ian Dormer, Anton Crone, Craig Ogusanyo, Andrew Human, Pete Case, Carol Mohlala, Martin Chemhere, Chinaka Iwunze Sub-Editor: Tina Heron Design: Trevor Ou Tim: design@sun-circle.co.za Website & Production Updates: Chinaka Iwunze: online@sun-circle.co.za

Subscriptions: Tina Tserere: data@sun-circle.co.za Delight Ngwenya: admin@sun-circle.co.za Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Accounts: Natasha Glavovic: accounts@sun-circle.co.za

Sun Circle Publishers (Pty) Ltd Tel: 011 025-3180 Physical address: First Floor, Process House Epsom Downs Office Park 13 Sloane Street Bryanston, Johannesburg South Africa Postal address: PO Box 559, Fourways North, 2086

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18

8 Multi-copter takes to the skies

Soap stars launch new drama

8 Skyroomlive rocks

34

12 SA Music Awards live to TV

10

Techno-talk

22

Local animation has international legs

Dissecting the walking dead

SPECIAL FEATURE MEDIATECH AFRICA PREVIEW

Young filmmaker’s hat trick;

TELEVISION

Camerer at Africa Loudness

Soap stars launch new drama.. 18

Media through space

at Mediatech; Embracing diverse

FILM

and time.............................. 32 / 33

opportunities.................................. 6

Director Speak – Paul Eilers.... 20

Techno Talk......................... 34 / 35

Multi-copter takes to the skies;

Wanted: South African stories. 21

Telemedia (Pty) Ltd /

SkyRoomLive rocks!...................... 8

Dissecting the walking dead..... 22

Panasonic...................................... 36

Factual films in the spotlight;

Transforming anime.................... 24

Concilium Technologies............. 37

Local animation has

Lensing the Bolex....................... 25

Movievision................................... 38

international legs......................... 10

Sony South Africa.............. 38 / 39

SA Music Awards live to TV..... 12

Summit; SABA workshop now

DOCUMENTARY Unwrapping the

AJA Video Systems...................... 39 Inala Broadcast;

ADCETERA

Timbre Broadcast Systems....... 40

‘Respect!’; The power of

Jasco Broadcast Solutions......... 41

mobile – turning fence-sitters

AFRICA

Electrosonic;

into buyers.................................... 14

Half of a Yellow Sun

Cine Photo Tools......................... 42

When training is a laugh, literally;

set for screen /

LaserNet....................................... 43

Malpage joins Velocity;

New board for ZIFFT................ 46

On the road of life..................... 15

Nigeria’s changing broadcast

NEWS

Travelling away from clichés..... 16

landscape....................................... 47

More funding for local

In the future, there will be no

productions in pipeline; Bigger,

discussion about what is and isn’t

REGULARS

better Durban Wild Talk Africa;

digital; Digital is dead!................ 17

Production Updates........48 – 51

Mandela effect.............................. 31

Film Lab still open

Events............................................. 51

for business............................. 3 / 5

Social.............................................. 52

More funding for local productions in pipeline the sector.”

He said that this important study was conducted at a time when local films and actors continue to receive acclaim across the globe.

Global competitor

SUPPORTIVE: Paul Mashatile Federation), Straight2DVD, M-Net, Magic Factory, Indigenous Films, Nu Metro, SAFACT (Southern African Federation Against Copyright Theft), GFC (Gauteng Film Commission), ISPA (Internet Service Providers’ Association), Moonlighting, Chicco Twala and individual producers of low-budget films for broadcasters.

Endorsed by government Mashatile continued: “We believe that this research will contribute significantly to the growth, development and sustainability of our local film industry.

“The study will assist us in our work to generate additional investments in the sector and expand enterprise and business opportunities and create, strengthen competitiveness, build skills-development and provide the necessary support, infrastructure and expand existing and new markets for our filmmakers.”

According to Mashatile the study will assist filmmakers who seek partnerships with the private sector.

“It will also further our ability to attract more investors and leaves us in a better position to identify the best institutional structures to support the growth of

“To us this means that our film industry can compete successfully with the best in the world. It also indicates that the world wants to hear our South African stories, stories of the triumph of the human spirit. I want to assure everyone involved with the local film sector that your work has not gone unnoticed. You have the full support of the government,” stated Mashatile.

Financial aid At the launch the dti’s support for the industry was emphasised. The organisation offers and administrates the dti Film Incentive. Qualifying productions include feature films, television movies, television drama series or mini-series, documentaries and long-form animation projects.

As such, the dti Film Incentive pays out between 25% to 35% on Qualifying South African Production Expenditure (QSAPE) for films that meet the definition of a local production / coproduction and 20% of QSAPE for films that meet the ‘foreign’ film definition. A post-production incentive was introduced in June 2012 and this provides an additional 2.5% and upwards on QSAPE.

Development The dti is developing ‘incubator programmes’ and will reveal more details in three months’ time.

It was, however, mentioned that low-budget films would benefit from the incentive announcement as these films that

Bigger, better DBN Wild Talk Africa

PITCHING SESSION: Commissioning editors at the previous Wild Talk Africa Beverley Joubert.

All ROSCAR finalists will screen in a cinema at the conference venue and nine of these will screen at the DIFF (Durban International Film Festival), which runs concurrently.

The 2013 edition of Durban Wild Talk Africa sees the event move from Stellenbosch back to Durban, where it originated.

Says Van Straaten: “We have been taken aback by how supportive our consistent delegate base has been regarding the move. Durban is not only a picturesque city

but accommodation and costs are more affordable, which appeals to delegates. The mild winter climate and warm Indian Ocean are added attractions and we are providing an array of ocean activities for our delegates to enjoy during the festival.

“In addition to this we are taking our international VIP guests to HluhluweiMfolozi, a few days prior to the festival, to judge the ROSCAR Awards and at the same time to experience a ‘Big 5’ KwaZulu-Natal game reserve.”

Durban Wild Talk Africa 2013 takes place at the same time as DIFF and its co-

| Continued from page 3 Film Lab still open for business international blockbuster, Olympus Has Fallen, as well as many film trailers and commercials.

Due to changing times The Film Lab has had to contain costs. This includes the substantial reduction of staff over the past three years. As the roll out of digital projection progresses, the printing workload will further decrease.

“It’s business as usual though, and we continue to provide all the services we always have,” explains Lautré. “Just last week we took delivery of a million feet of print stock, the second such consignment in the past two months.

“Front end processing has dropped off a lot, but filmmakers need to know that there are wonderful 16mm film stocks available, and we can put together great packages. In all honesty you could probably shoot on 16mm for the same if not less than top-end digital.”

The Film Lab still adheres strictly to

NEW MANAGEMENT: Charmaine Lautré Kodak Imagecare procedure. Control strips for processing baths are sent to Kodak in Chalon, France on a monthly basis for assessment to ensure the highest standard is maintained. – Andy Stead

target the broader demographic are on the increase.

Proposed key issues to address are the development of high-quality concepts and screenplays, increased training initiatives across the value chain, increasing the competitiveness of South Africa versus other countries when attracting foreign films, supporting growth and distribution of low-budget films, supporting the distribution of local films into foreign territories, controlling the negative impact of piracy and supporting the development of local film audiences and association distribution methods.

Some proposed initiatives are the provision of development funding for high-quality concept and screenplay

development, support for training and transformation initiatives, increasing film incentive for foreign films, development of a separate film incentive for low-budget films targeting the broader demographic, development of a separate Film Incentive for low-budget films such as documentaries (that don’t qualify for the minimum threshold under the current Film Incentive).

The initiatives also include the introduction of more funding and support for the distribution of local films into foreign territories, investigating the extent of DVD and online piracy and the introduction of measures to combat it and the introduction of funding for alternative distribution mechanisms into the broader demographic.

– Martie Bester

production arm, DFM (Durban FilmMart).

Van Straaten believes that the fact that these three major industry events run simultaneously will turn Durban’s Golden Mile into the Southern Hemisphere’s own version of the Cannes Film Festival.

She continues: “This stretch of land encompasses the waterfront and beachfront right up to the Sun Coast Casino, with its cinemas and the much anticipated film studios to be built close by, which feeds into a vision that places the city firmly on the international film and television festival map.

“Filmmakers travelling to Wild Talk Africa and DIFF can now attend both festivals more economically. We are curating a strand of our best wildlife and natural history films into the DIFF programme, so their line-up can have a wider appeal and reach the nature-lovers among their audience. DIFF helps us by bringing their strong established brand and presence into the mix to get people into the cinema to watch wildlife films, which in the past has been difficult.”

Durban Wild Talk Africa’s principal sponsor is the City of Durban. Mason notes that the Durban Film Office has been ‘an amazing ally’ and that Ezemvelo KZN

Wildlife is also collaborating in the event.

Conference sessions at Durban Wild Talk Africa include: The State of Broadcasting in South Africa; Filming Great White Sharks: The Ethics; The Future of Distribution; Crowdsourcing; and Combatting Rhino Poaching.

“There is great excitement around speakers such as Peter Hamilton of DocumentaryTelevision.com, who has consulted for broadcasters, governments and NGOs all over the world on television trends and published his own Global Pitch guide. Edwina Thring, a specialist in natural history distribution, will give delegates the lowdown on international TV distribution.

“Among the filmmakers who will showcase their latest projects are Chris Cole, executive producer for BBC’s Natural World strand,” explains Van Straaten.

The interactive workshop series includes sessions on International Distribution; Shooting for Adventure and Expedition; Music Rights Management; Making Content for the Web; and The Art of Storytelling, among others.

For more information about the festival and conference visit www.wildtalkafrica.com.

– Joanna Sterkowicz

June 2013 | SCREENAFRICA | 5

News

|

Young filmmaker’s hat trick New Afrikaans movie Musiek vir die Agtergrond (Background Music), which releases in October this year, was written, directed and produced by Sallas de Jager of Bosbok Ses Films.

The filmmaker, who wrote and coproduced highly acclaimed movie Roepman (Stargazer) as well as Verraaiers (Traitors) says he strives to create the best possible work environment, physically and emotionally, for creative people in which they can reach their potential.

“I spent a lot of time writing Musiek vir die Agtergrond and it was a privilege that I could bring it to life,” says De Jager. “The story always comes first at Bosbok Ses Films and any story that resonates with us on an emotional level gets made.”

Musiek vir die Agtergrond is about a talented young musician and songwriter who is unexpectedly faced with giving up his dreams and compromising his talent and originality for a lucrative yet superficial existence.

Camerer at Africa Loudness Summit

LEVELLING THE SOUNDFIELD: Florian Camerer Florian Camerer, the architect and foremost proponent of EBU R128, the new loudness measurement standard for broadcasting, will speak at the Africa Loudness Summit that runs on the sidelines of the Mediatech Africa advanced technology trade show (Coca-Cola Dome, Johannesburg, 17 to 19 July).

EBU R128 is based on perceived volume.

At the Africa Loudness Summit, organised

by Asikhule Training Partners, Camerer will discuss a range of successful implementations and workflows around the new standard.

Camerer joined ORF (Austrian

6 | SCREENAFRICA | June 2013

BEHIND THE SCENES: Sallas de Jager on the set of Musiek vir die Agtergrond (Background Music)

Broadcasting Corporation) in 1990 as a sound assistant and became a staff sound-engineer five years later, mainly in the field of production sound and post-production. He mixed ORF’s first programme in Dolby Surround, Arctic Northeast, played an integral role in ORF’s move towards multichannel audio transmission and is now involved with all aspects of it at ORF. An international lecturer on surround sound and multichannel audio for HD, Camerer recently expanded his international activities to the field of loudness issues, chairing the EBU (European Broadcasting Union) group PLOUD since 2008. This resulted in, among other things, the recommendation EBU R128, a breakthrough in audio levelling.

As chair of the PLOUD group and active mixing engineer, Camerer is promoting the switch to loudness normalisation all over Europe and overseas. He is also an active member of the AES (Audio Engineering Society), serving as broadcast session chair on the committee for the past five European conventions.

SABA workshop now at Mediatech In a first for both events, the SABA (Southern African Broadcasting Association) Digital Broadcasting Infrastructure and Platforms Workshop will now form part of the Mediatech Africa advanced technology trade show, which runs at Johannesburg’s Coca-Cola Dome from 17 to 19 July.

The SABA secretariat believes that bringing the workshop to Mediatech Africa 2013 will allow SABA’s members to enjoy the obvious synergies that collaborating with an event which showcases the latest technologies used in the creation, management and delivery of film and television content, offers.

“Combining the two events provides

“I think the film tells a contemporary story that a modern audience will relate to and it touches on important decisions that everyone has to make in their lives,” comments De Jager.

“The music and the premise is something new and I feel that audiences will easily identify with the characters because we were able to portray them in such an honest way. It was also an honour to work with a great cast including veterans such as Brümilda van Rensburg, Ian Roberts and Neil Sandilands, as well as newcomers Lizelle de Klerk and John-Henry Opperman, who plays the lead.”

De Jager says producing, writing and directing the movie was initially terrifying, but he ultimately had a great experience because of the wonderful team with whom he worked.

And the secret to his success? Says De Jager: “Trust your instincts.”

Musiek vir die Agtergrond also stars Deon Lotz, Karen Fourie, Neil Bennett, Lare Birk and Terence Bridgett among others.

The movie releases on 4 October 2013 nationwide in South Africa. delegates and exhibitors with access to a high level interactive workshop and the opportunity to engage with broadcasters from across the African continent,” says Mediatech Africa director Simon Robinson.

SABA’s Digital Broadcasting Infrastructure and Platforms Workshop will provide a tailored and credible blueprint for the implementation of DTT (digital terrestrial television).

Workshop topics include: DTT: transmission, reception and modulation options and choices; Technology for digital radio and associated services; IPTV and triple-play services ; DTH (direct to home) satellite broadcasting; modeling for successful digital broadcasting services; digital broadcasting frequencies and spectrum plans; issues in the multi-channel, multi-screen environment; and building viable local content platforms for digital TV and radio.

To register for the workshop call +44 208 180 9287 or email register@bspmediagroup.com.

For more information about Mediatech Africa see the special feature on pages 32 – 43.

Embracing diverse opportunities Malik Yoba who plays the role of Bill Harken on Alphas on DStv’s Universal Channel 117 was in South Africa recently to promote the refresh of the Universal Channel brand.

Yoba has featured in more than 25 movies and Alphas is his eleventh television series.

“It was intriguing to play Bill Harken as I haven’t done anything like that before,” said Yoba. “I enjoyed the action on the show and also the sci fi element. Although Bill has a superhuman ability, I enjoy the plausibility of what the characters can do.”

Yoba has been in the business for more than 20 years and says resiliency is the biggest lesson he has learned. Apart from acting, he is also a writer, musician and an aspiring director and producer.

KARMIC CHAMELEON: Malik Yoba

“One of the most wonderful roles of my career was playing Martin Luther King Jr in the television movie Betty and Coretta. It was a great opportunity.”

Yoba is inspired by the film industry because of the diversity and opportunities it presents. “I create opportunities all day long.”

He also teaches aspiring actors from the ages of 14 to 50. “I love to teach because I’m reminded of how far I’ve come and how grateful I need to remain.”

His next role is in the BBC drama mystery Turks & Caicos written by David Hare (The Hours, The Reader). “I play the role of an officer of the law, but there is a very human side to my character and a lot of interaction with actor Bill Nighy.”

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News

|

Multi-copter takes to the skies FC Hamman, co-producer and director of the successful film, Ordinary People, recently completed his latest feature film Babelas in which he made use of a model helicopter and multi-copter to shoot various intricate action sequences which would not have been possible if fixed wing model planes were used.

By using a multi-copter piloted by Hamman’s son Timothy, an award-winning and South African champion model aircraft aerobatic pilot, it is possible for FC and his team to shoot ‘aerial’ shots inside a building.

This was the case when scenes for Babelas were filmed inside the Emperor’s Palace Hotel on the East Rand.

The fact that Timothy has (through his father) been involved in the film industry for years, means that FC has the advantage of being able to have a pilot at his service who is visually in tune with what the director and the DOP (director of photography) envisage during filming, especially taking frame composition, camera angles and lighting into consideration.

To ensure that all the shots are as stable

IN FULL FLIGHT: FC and Timothy Hamman as possible FC has modified the mobile copters by designing and fitting special brackets and ‘shock absorbers’ to the gimbals, which he developed by using elements such as thick elastic bands found on exercise equipment in gymnasiums. This ensures that there is basically zero vibration on the camera while filming. Therefore

SkyRoomLive rocks!

S

aturday evening in downtown Jozi, the roof-top 20th floor of a skyscraper building in Jeppe Street and it’s rocking! Picture some of South Africa’s top artists performing live to the world via internet streaming set against a sunset backdrop of the Jozi skyline and you have 8 | SCREENAFRICA | June 2013

SkyRoomLive.com, South Africa’s most popular live-streaming Internet portal.

The entrepreneurial company behind SkyRoomLive.com – Mushroom Broadcast – has quickly built up a reputation for being one of South Africa’s top live-streaming solutions, racking up

post-production stabilisation is not necessary.

The conventional model helicopter is normally used when fast action scenes need to be filmed, whereas the multi-copter provides more stable cinematography, however, the multi-copter is able to reach a speed of about 100kp/h. Due to the

multi-copter being slower, it is easier to control, whereas the helicopter can carry a larger camera than the multi-copter.

A big advantage of making use of model planes is that low flying is possible – which conventional aircraft are not allowed to do.

Flight plans are not required either.

– Jakkie Groenewald

273 325 live views via live streamed content for the likes of Sony, Nike and Peugeot and concerts from The Parlotones (live-streamed in 3D to cinema), Jack Parow, HHP, Daniel Bedingfield, The Kongos, Pete Tong and others.

Earlier this year SkyRoomLive.com partnered with SABC1 in the first ever live-streamed music concert series on South African television. Broadcast at 10 pm every Saturday evening the show, described as current and relevant to today’s progressive society, is attracting viewers by the thousand.

Managing director Mark Daubeney claims that the SkyRoomLive.com concept opens up a world of exciting opportunities for any type of event. “This technology affords us the pleasure of being able to broadcast any event in 2D or 3D from anywhere in the world and we’re pleased to be recognised as the team breaking new ground from South Africa’s soil.

“It’s good quality live streaming and we are delighted that the SABC have taken it.

We are in fact half way through first season, and SABC has advised that we are on for a

second season which is great news.”

The Saturday evening shows are also attracting live audiences. Between 200 and 350 music fans make their way downtown for a unique experience to listen to their favorite artist or group, as well as take advantage of the good food and drink available.

“Technically the coverage is of the highest quality, six Sony full HD PMW-EX3 camcorders are used as well as top end multi track sound equipment,” explains Daubeney . “We have a full control room on the 19th floor and the entire production side is set up permanently and is capable of handling any musical event. We are extremely happy with the location in the CBD and have not found it a deterrent from an audience point of view.”

According to IRocke.com (the most comprehensive source for live streaming concerts on the globe), SkyRoomLive. com is rated top 16 in the world under American Express and Google, and is the only South Africa live-stream portal to be rated in the top 50 worldwide.

2012 also saw SkyRoomLive.com achieve world-class status as being in the top 10 views across the globe under the ranks of Rihanna and Deadmau5.

Breaking news is that Nokia has come onboard as the presenting partner for Season 2. The SkyRoomLive.com target market and digital platform align strongly with the Nokia brand, product and services. – Andy Stead

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Factual films in the spotlight Some 430 films from around the world were submitted for the 2013 edition of the Encounters South African International Documentary Festival, which runs from 6 to 16 June in Cape Town and Johannesburg.

Says festival director Lesedi Moche: “We strive to bring the most discussed films in the world to Encounters and also to be a platform for South African films. While it’s been a really excellent year for international films, we haven’t seen quite as many strong films come from South Africa and Africa.

“Interestingly, the South African films we did receive are largely based in townships or deal with history, which shows local filmmakers are fascinated with poverty and the country’s past.”

Moche believes the public profile of documentaries has increased over the years and points out that when Encounters first started 15 years ago, it had 2 500 visitors, while the 2012 edition attracted 11 000 people.

She continues: “I think the big, theatrically released international documentaries about famous people, such as the Oscar-winning Searching for Sugarman and Beyoncé: Life is But a Dream, have helped the public understand documentaries.

“In our 2013 Encounters line-up we have

OSCAR-NOMINATED: The Gatekeepers two Oscar-nominated films – The Gatekeepers and How to Survive a Plague.

The Gatekeepers is fascinating because you hear about Israel from the perspective of the people who protect the country against terrorism – the Shin Bet intelligence agency.

Filmmaker Dror Moreh has made a very powerful story around citizenship and presents a picture of an organisation where not everyone is in agreement. Significantly, this is the first time the Shin Bet has been interviewed.

“There are lots of films about HIV / Aids activism being made but How to Survive a Plague focuses on the civilians who took on the US government and successfully lobbied to turn Aids from a death sentence into a manageable condition.”

South Africa filmmaker Riaan Hendricks’ The Devil’s Lair, fresh from screening at Hot Docs in Canada, was selected to open Encounters. Hendricks is a product of the former Encounters Laboratory, which some years ago nurtured emerging filmmakers.

Local animation has international legs Creators of award-winning 3D animation feature film Adventures in Zambezia, Triggerfish Animation Studios in Cape Town, continue to deliver the goods as their new feature Khumba has been acquired by a well-known French production company at the recent Cannes Film Festival and has been selected for competition at Annecy International Animation Festival that runs until 15 June 2013.

“We expected that Adventures in Zambezia would do well, but I don’t think anyone could have predicted how well it’s been doing in some territories where we’ve beaten many of the big studio animated films,” says Stuart Forrest, producer and CEO of Triggerfish.

“We’ve been in the Top 20 in the Netherlands for more than three months.

As of mid-March 2013, Zambezia has either beaten or earned at least half the box-office of its rivals in 50% of the territories in which it’s been released. This includes major studio films like Frankenweenie, The Pirates!, ParaNorman, Brave, Wreck-It Ralph,

10 | SCREENAFRICA | June 2013

STAR WITH STRIPES: Khumba the main character in Khumba Rise of the Guardians and Hotel Transylvania. So it’s a great accomplishment for our first film made on a fraction of the budget of its rivals.”

Khumba, which releases on 25 October 2013 is Triggerfish’s latest 3D offering. The animated feature is about a half-striped zebra that is rejected by his superstitious herd. Then he embarks on a daring quest to earn his stripes, but finds the courage and self-acceptance to save all the animals in the Great Karoo.

Director Anthony Silverston, who

co-wrote the script with Raffaella Delle Donna, was inspired by the discovery of the quagga which was thought to be extinct and turned out to be a sub-species of zebra.

Silverston found it fascinating how a name or identity could be defined by skin markings, so the zebra became a visual metaphor that spoke to themes of difference as well as our common humanity.

“The name Khumba comes from the word ‘isiKhumba’ which means skin, so essentially it’s a story about a hero growing

Moche continues: “Riaan has made films consistently since then so opening Encounters with his latest film is a celebration of a prolific career. With all the films that are shot on the Cape Flats about gangsters, this is the first one shot in this intimate way, following only one character.

So the audience sees the human being behind the gangster.”

For more information about the festival, visit www.encounters.co.za – Joanna Sterkowicz

into his own skin and accepting his difference. Anthony and I were both inspired to tell this story because it’s a theme that everyone can relate to – we all have that one thing about ourselves that we wish we could change,” says Delle Donna.

She continues: “Locally we hope to break records. Khumba should have huge appeal to a South African audience so we’re aiming to hit this out of the park. Khumba is also in competition at the Annecy Animation Festival this year and we’re sure that it will raise the profile of the South African animation industry.”

Delle Donna says they are currently developing the script for the sequel to Adventures in Zambezia with director Wayne Thornley. “We all cut our teeth on Zambezia so it will be exciting to apply what we’ve learnt to make an even better sequel.

I can’t reveal too much at this stage, but I could probably best sum it up as an Indiana Jones-type adventure set in ancient southern African ruins against the backdrop of epic 3D flying sequences.

“I believe that animation is South Africa’s greatest hope for a worldwide breakout hit – simply because it travels so easily. So I think it is imperative that we develop storytellers who grasp this medium and what it can do for the way they tell their stories.”

Triggerfish’s latest feature, Sea Monster, which is currently in production, is one of the selected projects at this year’s Durban FilmMart which runs in conjunction with the Durban International Film Festival from 19 to 22 July. – Martie Bester

Facebook: Twitter: Linkedin:

www.facebook.com/verticallimitproductions twitter.com/vlptweets za.linkedin.com/in/verticallimitproductions

You Tube: Email: Tel:

youtube.com/vlphighlights info@vlproductions.co.za 083 299 5287

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SA Music Awards live to TV As the project custodians of the MTN SAMAs (South African Music Awards), Vertical Limit Productions provided a complete 360˚ event, production and live broadcast solution for this year’s edition, which took place at Sun City on 10 and 11 May. Vertical Limit Productions executive producer Delmarie Seaward describes the MTN SAMAs as one of the highlights of the year. “We always push to be different and are never scared to take a bit of a risk to ensure that we produce something that does not just make our client feel proud, but also all the sponsors and the artists on our stage, as well as the TV viewers at home.”

In terms of the SAMA broadcast on SABC1, TV director and co-executive producer Gavin Wratten of Nevermachine was faced with the challenge of creating a show that was as entertaining for the live audience as for the viewers at home.

“A great deal of creative energy and time

12 | SCREENAFRICA | June 2013

Photo courtesy Duncan Riley

News

PUSHING THE LIMIT: The MTN SAMA Awards

was spent in trying to make each performance memorable in its own special way,” explains Wratten. “We introduced elements that took the show outside of just a stage production. For example, the ChianoSky number where we started her performance backstage, and the Desmond and the Tutus performance where they crashed through the set onto stage.

“We tried to ensure that each performance had moments that were uniquely special for the TV audience and other moments that were special and exciting for the live audience.

“This was only achieved with all the

different departments working closely together to ensure that staging, lighting, creative, music, choreography and TV fit together seamlessly.”

According to lighting designer Joshua Cutts, a unique element of this year’s production was the use of time-code built into the audio tracks to help sync the lighting with the audio and video.

“This allowed us to trigger the lighting cues with precision and musical accuracy. I believe the strong beam work we were able to achieve with the 48 Clay Paky Sharpy fixtures in the rig was a first for South Africa,” comments Cutts.

Sean and Robert Hoey of Dreamsets, who were responsible for the set design and technical elements of the show, say: “Vertical Limit Productions is the best production company you can ever dream to work with and to collaborate with them on the SAMAs was a highlight for us.”

Also full of praise for Vertical Limit Productions is Nhlanhla Sibisi, CEO of the MTN SAMAs. “My dream production team of Vertical Limit Productions and Nevermachine outdid themselves this year. They delivered the best MTN SAMA production yet!” says Sibisi.

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Report on the South African commercials industry

African Category are that ads must reflect South Africa’s uniqueness; concepts must only work in South Africa.

Klerck notes that the popularity of this category has increased in leaps and bounds over the years.

She continues: “Over the past four years we’ve expanded this category to make provision for several subcategories namely television, radio, general and campaign. The quality of work in this category is of an exceptionally high standard.”

important for us to keep Pendoring’s unique and distinct South African flavour and tone. It appears that Pendoring is perceived by the industry in a much more serious light, enjoying the recognition it deserves from people of all cultures and creeds in the advertising industry. It is also no longer perceived in the industry as a ‘white’ Afrikaans awards show.

“Attendance of the 2012 gala event, the award winners, comments on Twitter and Facebook, as well as the general feedback from the industry, clearly reflect South Africa’s multi-cultural demographic, confirming wide acceptance across Sterling EQ performing at the 2012 Pendoring Awards language and cultural divides. Personally, this is the biggest and most significant change that I have witnessed over the past two years and is by far The advertising campaign for the 2013 Pendoring’s proudest Pendoring Awards is embodied in the world achievement.” ‘respect’ – what it takes to get it, show it Klerck maintains that and keep it.

South Africa boasts some Originally created 19 years ago to of the sharpest creative celebrate Afrikaans-language advertising, minds in the global Pendoring has evolved into a industry, many of them comprehensive campaign aimed at creating Afrikaans speaking.

The Umpetha Award for 2012 went to Joe Public & Trigger for their Nike integrated campaign titled Run Jozi greater awareness of the power of “The challenge for communicating in the home language of Pendoring is to keep these the target market, be it Afrikaans, Zulu, powerful when delivered in the home minds in our country by isiXhosa, and so on. language of the target market.

Pendoring has now registered the brand creating a renewed interest in Afrikaans and Says Pendoring general manager “By creating and advertising in the target name Truly South African and last year, for preventing them from seeking Franette Klerck: “Pendoring also serves as audience’s mother tongue, the continued the first time, the overall winner in this opportunities abroad. The reality is you an ideal vehicle to promote creativity and a existence, as well as the development, of category walked away with the new don’t have to live in London or New York to renewed interest in indigenous languages. innovative and creative advertising that truly Umpetha Award (R20 000). do great work. You can do it here.”

Our challenge is to grow Afrikaans and resonates with the target market, is This year Pendoring will take place in Entries for the 2013 Pendoring Awards other indigenous languages to take their secured. Pendoring invests in the future of Cape Town as part of Creative Week, are open until July 13, with the gala event to rightful place in the advertising Afrikaans as well as ‘Truly South African’ alongside brand communication awards, take place at the Cape Town International environment. The style, wit and impact of a advertising.” the Loeries. “When we considered the Convention Centre on 20 September. To commercial message become far more The only criteria for the Truly South move to Creative Week Cape Town it was enter go to www.pendoring.co.za.

‘Respect!’

The Power of Mobile – Turning Fence-Sitters into Buyers Recent statistics in the market indicate that in Africa, mobile phones represent more than 90% of all telephone lines. By the end of 2013, mobile is set to encompass 25% of all internet traffic in Africa. InMobi, the largest global independent mobile ad network delivers in excess of 5 billion mobile ad impressions to South African mobile web browsers per quarter.

According to Russel Stromin, CEO of Strike Media, South Africa’s premier full service mobile marketing agency, Mobi sites are not simply scaled down versions of websites. “One has to take into account the context of mobile rather than the richness of content typically found on the web,” says Stromin.

Mobile sites need to be uncomplicated and easy to navigate. In South Africa, the demographic is such that many Mobi site visitors have been introduced to the internet solely via mobile.

Around four years ago, when Mobi was in its infancy, Strike Media recognised that

14 | SCREENAFRICA | June 2013

most web designers assumed that the websites they had created would also simply work on mobile. However, one cannot assume that a website will render appropriately on any mobile phone.

Properly developed Mobi sites need to ensure that the best possible user experience for the specific device accessing the site is correctly presented. For example, if a cell phone can support Flash, the Mobi site should deliver Flash. There are over 6,000 different devices with varying screen sizes, browser software and input mechanisms currently in the hands of South African consumers.

“At Strike Media, we have invested resources into developing our handset content adaption engine in order to provide the best possible user experience for visitors to Mobi sites that have been designed and developed by us,” says Stromin.

“Just as your potential customers automatically expect to be able to find you

CEO of Strike Media Russel Stromin on the web, they are now expecting to find you within the mobile realm. As a brand, you need to make sure that your presence is available and marketed in this highly pervasive medium.”

Many mobile service providers are aware that poor experiences don’t convert customers. When viewers visit a website on

their smartphone that is not mobileoptimised, they will go elsewhere.

According to Google Mobile Statistics, 40% of people will move to a competitor.

Therefore, just having an optimised site may not be enough if the information provided is completely irrelevant to the user at the time of scanning.

Identifying what information the consumer is looking for can be difficult, however statistics show that most people scan QR codes for product information. In addition to tailoring the mobi site, brands can tailor their products for mobiles with QR codes printed on the packaging which links directly to useful product information – so consumers can make an informed decision in the shopping aisle.

Product information is a fairly broad description though, but if we break these down into more specific types that users are looking for, it can be categorised as reviews, price compare, store location, specific features, how it works and other more creative options. If mobile marketers link to this information when printing QR codes on product packaging, they will be able to turn fence-sitters into buyers in no time.

| ADCETERA Malpage joins Velocity

When training is a laugh, literally

Drum it in A new commercial doing the rounds on Summit TV shows how humour can be used in corporate training videos.

Produced by Comedy@Work, the commercial, Drum it in, demonstrates the ‘what not to do when training’ approach in the form of an over-zealous trainer, played

by Greg Viljoen, beating a drum to try and train a room full of astonished trainees.

Viljoen, a well-known face in mainstream commercials, and Jo Wood formed Comedy@Work in 2010 to create corporate training videos that make use of comedy.

Their clients include Absa, SARS and the RMI. Says Wood: “We were very inspired by

the series of training videos that John Cleese of Monty Python fame did. These made us realise that corporate training needn’t be boring especially in a country like South Africa, which is full of comic opportunity.”

Viljoen notes that corporates love the idea of humour-based training. “I think it gives them a break from office routine.”

Wood adds: “Training is often dry, boring and takes a lot of concentration to retain all the information that is thrown at you.

Comedy assists this process – not only does it make people more receptive to learning, it actually helps them retain the information better. Training is something that people

often dread, we want to change that.”

Comedy@Work produced their commercial in one day, with a skeleton crew. It was shot on a Panasonic AF 101 and post-produced at CSquared.

According to Viljoen, feedback to the commercial has been very positive.

“Summit TV is full of fairly dry and serious stuff, and Lee-Ann Harding, the channel’s senior account executive, says the commercial has been a breath of fresh air.”

The ‘what not to do’ approach is the team’s favourite and has proved incredibly successful.

“By showing people what not to do, it almost frees them up to be not as afraid to make mistakes themselves. This is true of the video we shot for ABSA on the CPA (Consumer Protection Act). Everyone – staff and management – were petrified of this Act. It has changed the way companies do business and is a lot to take in and remember. So we created a character who was afraid of it too, and constantly messed up, bumbling through the CPA and eventually getting it right. This was a real ice-breaker,” explains Viljoen.

He and Wood stress that they’re very passionate about what they do.

“We find it incredibly meaningful and fulfilling to impart knowledge and we thrive on the challenge of taking very technical, boring and complex information and creating something funny with it. We think that if we can make the CPA and eFiling fun – we can do anything,” they say.

On the road of life

Imperial The concept of looking at life in kilometres lies at the heart of car hire company Imperial’s new TVC (television commercial), produced by Picture Tree for ad agency Switch.

Explains Picture Tree’s executive producer Gary King: “Because Imperial is positioned as the leader in mobility and literally adds kilometres to people’s lives by helping them to get around safely when they travel, Switch asks the question – what would happen if life was measured in kilometres?

“Switch’s concept is based on the premise that when you live for the road the

way Imperial does, every kilometre is a unique moment and a rare experience.

Therefore, let’s live life in kilometres.”

Filming this panoramic commercial required the Picture Tree crew to travel extensively across South Africa, with the use of remote helicopters to shoot some of the footage. The latter was used for wide shots that show off the scale and beauty of South Africa.

King continues: “To start with we flew to Port Elizabeth and then drove to Plettenberg Bay. From there, we drove to Knysna, Wilderness, George, Outeniqua Pass, Uniondale, Colesberg, Gariep Dam, Graaff-Reinet and ended off the trip in Bloemfontein. After we flew home we shot a Johannesburg leg

Rob Malpage has joined Velocity’s stable of directors. One of South Africa’s most prolific DOPs (directors of photography), Malpage, has spent the past 12 years refining his talent and unique vision, becoming a favorite DOP to leading directors worldwide. A desire to see the idea come to fruition is what motivated Malpage to take a step towards his directing career. He has directed and shot striking music videos with controversial and demanding artists such as Die Antwoord and recently completed some humorous ads for Uniball through TBWA Hunt Lascaris.

Rob Malpage

in Alberton.

“As logistically challenging as this job was, one don’t often get the opportunity to have so much fun on shoots. It was a hectic filming schedule that required us to travel continually and chase the light and the clock.”

Logistics included coordinating the vehicles, obtaining various local permissions, casting locals for some of the cast and organising traffic / road control.

There were also weather issues as well as animals, namely a large flock of sheep in the pouring rain. As bad luck would have it, it rained for the first time this year in the area in the Karoo where the crew had to shoot.

The Octocam (model helicopter), supplied by Aerocam in Plettenberg Bay, filmed footage at the Outeniqua Pass as well as the Gariep Dam. King describes the quality of the remotely shot footage as excellent. “The stability, maneuverability and ease of set up and use, was remarkable.”

For the rest of the footage DOP Willie Nel shot on an ARRI Alexa and various GoPro 3 cameras.

The commercial was edited at Left Post Production.

“Alun Richards did the superb original composition that was used for this campaign,” concludes King.

June 2013 | SCREENAFRICA | 15

ADCETERA

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OPINION

Travelling away from clichés

By Anton Crone Heard of Dodoma? It’s the capital of Tanzania and has been since 1973 although Dar es Salaam is far larger and more accessible. Dodoma was chosen because it’s in the centre of Tanzania. But it’s very far from anywhere significant, up on a balding plateau – featureless except for granite hills that have long since given up the mystery of ancient rock paintings, now canvases for painted billboards advertising tires and condoms.

If you add the population of Tanzania’s prominent cities together – Mwanza, Arusha, Iringa, Mbeya and Dodoma – only then do you come close to the population of Dar. But this small capital buzzes. Taxis vie for space, bicycles weave between them, pedestrians pop umbrellas shading themselves from the sun. You can picture it, right? Actually, you can’t. What you have in mind is Nairobi, or a small section of Durban or Cape Town meant to look like Dar or Accra.

Because it’s easier to film in the likes of Nairobi, it’s often as close as we get to the Africa we are trying to portray in commercials – except for the odd venture into Lagos we swear never to do again. But you cannot capture Dodoma without granite hills. Mwanza is nothing without Lake Victoria as Mbeya is without truckers and Arusha without legions of safari vehicles. Each of these cities is distinctly different, and so is their culture. Although we can’t cover it all in an ad campaign carpeting a whole country or region, time and research spent in Dar might give you some impression, but imagine the impressions you would get from people and places outside of the main hub.

We look at the market through the monocle of research often garnered in a conference room in a pricey hotel few of the target market would ever stay in, and we ask them pointed questions while a video camera’s red light flashes, letting them know we’re watching.

If we go ‘exploring’ into people’s lives, we make the mistake, once again, of shoving a camera in their face. Then, back at the agency, we watch European and American ads for inspiration or trawl the net for Africana. Inevitably, we apply Western themes to African ads and never really get to know Africa. We should step away from the filter of the screen and look around.

Obits vs ads The TV in my cheap Dodoma motel room is a small Chinese LCD affair – not a wooden box set from the 1970s that many TV commercials lead one to believe. There is no cliché in this room, no art directed ensemble of doilies and corrugated bed spreads. I recline on what appears to be a hospital blanket, then I turn on the TV and watch the obituaries.

16 | SCREENAFRICA | June 2013

A local Tanzanian with Anton Crone

Here in Tanzania, you’ve got to vie with obituaries for ad space. Sounds easy to stand out but, even in the bar I find myself in, no-one changes the channel or turns away when the obits come on, not like they do for the commercials which are so extremely polar to the obits, news bulletins and political forums that you cannot get your head around, with their choreographed dancing, bubbling washing powder and beaming faces. Perhaps we should pay our respects and portray Africa, not as what we want it to be, but as it is.

And it is, by no means, a horror story.

Real stories In Mzuzu, Malawi, I met a young man who gets kids off the street by training them to play tennis. He started with a net strung between two chairs in a dusty parking lot.

Now they play on concrete and he’s trained two Malawi champions.

On a trucking road leading up to a mountain pass in Tanzania, people manufacture and sell blocks of wood.

They’re tapping a market in trucks so poorly maintained they often break down under the strain of the climb and the wooden blocks serve as chocks, preventing them from rolling downhill.

A young Maasai woman from the Loita plains of Kenya, Christine Malaso, has flown in the face of Maasai convention by not marrying and instead going to school and working harder than any man to become a safari guide. Her actions inspire other women to do the same. These are African stories. There are tens of thousands of them, but you won’t find them in a hotel room in the city.

In a small restaurant in Dodoma, the Italian owner, Massimo, greets me warmly.

He has grey hair and glasses so thick they are kaleidoscopic. He came here as a doctor decades ago and never left. His wife, Sipe, is the namesake of the

Safari guide Christine Malaso

restaurant. A Tutsi from Rwanda, she has an air of confidence that belies a history I can only imagine, yet her smile is the brightest I have seen. Inside the restaurant, a bookcase is filled with books on Tanzania, most of them pre-1996, none of them touching on Dodoma except to remark on granite outcrops and a stop along the railway. The books could never capture the story that these two people can tell.

Over strong espresso one morning, Massimo expounds on the complex culture of this country he loves. I learn more about Tanzania than I ever thought possible – how this obscure city became the capital is a story of its own.

In every corner, in every person of Africa, there is a story that hasn’t been told. And it shouldn’t be filmed in Nairobi.

OPINION

In future, there will be no discussion about what is and isn’t digital

By Pete Case

founder and CEO at Gloo With the rapid rise of social media and mobility over the past five years, together with the increasing growth of new digital touchpoints, many marketers are asking what comes next. Which digital tool is emerging and which will have the most influence in the market place? Will it be a new type of tablet, a wearable computing device, or perhaps a new social networking service that is still a glint in some entrepreneur’s eye?

While no-one can predict where the next Instagram or Twitter will come from, or whether smart watches will change the way we interact with technology, the one certainty we have is that digital technology is being woven deeper into consumers’ everyday lives all the time. This means that

Peter Case

| ADCETERA

the relevance and influence of digital across the communication landscape is growing for marketers.

We need to create long-term strategies that integrate digital into the hearts of brands and organisations. These should not be fuelled by trends, but rather by a sound understanding of how consumers are using digital as part of their lives – seamlessly jumping between many different mediums and devices every day.

Digital is changing the ways that consumers think and behave, enabling them to interact with brands beyond the shopfront and the product. A huge portion of our population is already actively using digital technology to add value to their lives and take control of brand conversations.

Interactive social tools have given them a voice they are not shy to use, and mobile technology means they expect to be able to engage brands 24 hours a day, seven days a week.

This is the world of increasing (and I hate to use the buzzword) convergence, where technologies, media platforms and the consumer are all coming together to form an evolved behavioural model. Digital is no longer simply a website or something your customers do in isolation – it is far more integrated into their daily routine. For example, they are also influenced by the growing number of digital screens they see

in the retail environment, the new digital outdoor billboards, as well as the phone applications that help add value to their lives on the move.

We are also seeing business solutions converging with marketing and media.

Owned media such as websites and mobile apps are transactional platforms, as well as spaces brands use to communicate with their audiences. Loyalty cards are being tied into mobile apps and digital points of sale.

These solutions don’t just converge a range of technologies, but also blend marketing and transaction with customer relationship management.

Getting it right is complicated and requires a relook at the agency partnerships around the table, and very often a relook of the remuneration model too, as mediums are no longer influencing in isolation.

There are many fragmented pieces to put together and many moving parts to manage, and when done correctly, this evolving space undeniably offers enormous potential for brands – but only if we stop looking in isolation at digital and embrace a longer term and more integrated view of the increasingly digitally enabled consumer.

Gloo was recognised as South Africa’s Digital Agency of the Year in 2007, 2008, 2009, 2010, 2011 and 2012. Gloo was also named overall Ad Agency of the Year at the 2012 AdReview Awards.

what they want to engage with. People don’t hate advertising – they just hate bad advertising.

Every day, millions of people choose to watch television commercials on YouTube. But to be one of the chosen ones – to be the one that people choose to watch – you need to climb out from the morass of mediocrity and be something special. Something to talk about, to tweet,

to send to a friend and to like.

Agencies on both sides of the ‘digital divide’ now understand this. The hard and fast line between the ‘traditional’ and ‘digital’ is being rubbed out rapidly from both sides. In the last year, several ‘digital’ agencies have hired award-winning creative heads from ‘traditional’ agencies – and at the same time ‘traditional’ agencies have hired similarly respectable creative heads from ‘digital’ agencies. Theo Ferreira moved from Draftfcb to Aqua, Suhana Gordhan from Black River to Native, Fran Luckin from Ogilvy and Conn Bertish from JWT to Quirk – and Clint Bryce from Quirk to TBWA \ Hunt \ Lascaris. Mark Tomlinson and his entire shop (Hello Computer) moved to Draftfcb. This talent swapping can only be good.

Of course we need somebody who’s able to tell bits from bytes, and know what colours are web friendly (whatever that means). We need somebody to show us cool things we’ve never seen before and new tricks. But the medium shouldn’t be driving the solution. We don’t want to sell clients an online game because we know how to make one (and because it’s fun and might win an award).

With enough DNA-swapping across the digital divide, we’ll emerge with agencies that don’t care about the medium, only the problem and how best to solve it.

Digital is dead!

By Andrew Human

CEO of the Loerie Awards A new award has been launched to promote a new medium. A new technology is going to revolutionise the way companies advertise their brands. Consumer engagement is going to rocket to new levels.

What are we talking about? Online?

Mobile? Social media?

Actually, it’s 1978 and public broadcaster SABC is introducing television commercials to South African consumers, who have only had TV in their living rooms for two years.

The Loerie Awards is the vehicle that will showcase how much you can achieve with this new medium.

Every medium we now take for granted was once new. The reality is that there will always be new media, ways to communicate a brand promise on platforms that don’t even exist today. But the one thing that all of these platforms require is content: creative and innovative messaging that will engage the consumer and offer them a compelling reason to act. The idea needs to live across media and platforms; the message needs to be tailored to each medium as it is used. A bad idea will remain a bad idea – it’s only a question of whether that bad idea is broadcast on television, set in print, or flashes onto the screen of your

TWO HUMANS – Andrew Human and Benjamin mobile device.

So when I say digital is dead, what I mean is that it was never about digital in the first place.

What we really need are ideas, communication that people want to engage with. It has already been shown that the advance of digital media has made more creative work even more effective because consumers now have even more choice of

June 2013 | SCREENAFRICA | 17

TELEVISION

|

A NEW ROLE: Connie Ferguson

Soap stars launch new drama

By Joanna Sterkowicz

Wednesday 19 June will see the debut of Rockville, the first drama series conceived and produced by South African TV stars Connie and Shona Ferguson for local content pay-TV channel, M-Net Mzansi Magic.

L

ast seen on M-Net’s glamorous, location-based soapie The Wild, Connie (Generations, Soul City) and Shona Ferguson (Muvhango, Scandal) are famous for their on-screen talents.

In August 2012, in response to Mzansi Magic’s commissioning brief, they conceived the idea for Rockville, a 10-part one-hour drama series produced by their company, Ferguson Films.

“We went through a very long pitching process as M-Net Mzansi Magic is very strict with its drama commissions,” explains Shona Ferguson. “Together with our head writer Phatu Makwarela, Connie and I were instrumental in shaping the scripts.”

M-Net director of local interest channels, Yolisa Phahle adds: “Rockville underlines Mzansi Magic’s commitment to producing quality entertainment, with a focus on story and production value. Our mission is to provide a range of South African stories that present the diversity of life in our country today, while giving fresh talent the opportunity to work with industry stalwarts and learn from their experience.”

Both Fergusons play key roles in Rockville, which portrays three very different worlds that define black South Africa today. The series focuses on the drama, sacrifices and subterfuge that it takes to get to the top in modern-day South Africa.

Connie notes that when the team was developing her character in Rockville the emphasis was to create a role totally different to anything she’d played in the past.

“I really wanted to stretch myself as an actress. And because Shona and I had played a couple on The Wild, we didn’t want to play one in Rockville,” she says.

Unusual premise Commenting on the concept behind the series, Shona stresses that they wanted a premise that had not been explored before 18 | SCREENAFRICA | June 2013

into that, he took it to another level.”

The Fergusons note that they are under enormous personal pressure to create a high-quality product.

“One can get complacent in this industry,” states Connie. “Shona and I have been in the business for 20 years so we should be able to create something of quality. I don’t want people watching Rockville and thinking: ‘Is that the best those two can do after all their years in the industry?’”

Product placement

PASSION PROJECT: Shona Ferguson on South African television.

“We chose the world of prostitution,” he continues. “This is such a sensitive subject because some people see prostitution as ugly while others see it as a means to an end.

“We tell a story about people within this world and how society views prostitution.

“Our drama is about what draws people into this world and how money lies at the root of it all.”

The series was shot over six weeks between February and April this year.

Locations include Soweto, Rosebank, the Johannesburg city centre and the Eye of Africa Golf Estate near Klip River.

“Even though Mzansi Magic broadcasts in SD (standard definition) we decided to shot in HD (high definition) in case the series is sold internationally,” notes Connie.

Experience counts The Fergusons are the executive producers

of Rockville and brought on Bobby Heaney of Imani Media as series producer.

Connie continues: “We’d worked with Bobby on The Wild and developed an amazing relationship with him; Bobby basically adopted us. We learnt so much from him as the series producer on The Wild. I’ve never worked with anyone who works as hard as Bobby does. He’s incredibly passionate about his work and a great teacher and he showed us the ropes behind the scenes of The Wild.

“I wish more veteran producers would be selfless like Bobby and take new people in under their wing, as he did us. That’s what Shona and I want to do – nurture young producers.”

Rockville is directed by Johnny Barbuzano. Says Shona: “Connie and I worked with Johnny on The Wild and he’s the most hyperactive director I’ve ever met.

He has such a brilliant mind and amazing energy. Prior to production we discussed our vision with Johnny; not only did he tap

The Fergusons took great care to make the product placement in Rockville subtle.

Lewis Stores furnished the house in Soweto, while Eye of Africa allowed the crew to shoot on its estate.

Chrysler South Africa provided access to a world of cars, so that the ‘rich’ characters could be filmed driving expensive cars.

Connie points out that a common misconception among the TV viewing public is that producers are rich.

“They have no idea that making a TV series is all about passion and not about profit. It’s our responsibility as executive producers to create high-quality work. If we cut corners as producers just to make a profit then it will show on screen.

Shona and I have poured our heart and soul into producing this series,” she says.

Rockville is designed to go into successive seasons, should Mzansi Magic decide to re-commission it.

“We’ve already started conceptualising the second season so we’re crossing thumbs that we get the go-ahead,” concludes Shona.

Rockville stars include Trevor Gumbi, Mbali Mlotshwa, Bonnie Mbuli, Luthuli Dlamini, Minnie Dlamini and Boity Thulo.

The series broadcasts on Wednesdays at 19h00 on Mzansi Magic (DStv Channel 161), with repeats on Mondays at 9.30pm.

| Television

Hitting the right notes with food and music

By Martie Bester

C

ooking Gospel is South Africa’s free-to-air channel e.tv’s first local cooking programme. The highly popular lifestyle show combines soulful gospel music and Sunday cooking.

Sponsored by Spekko Rice, Cooking Gospel features recipes that have been developed by Dorah Sithole, author of Cooking from Cape to Cairo.

Every Sunday at 11h00 host Zandile Nhlapo cooks up a storm with a South African celebrity while playing traditional gospel music.

“I am excited that the combination of food and music works so well and that Zandile brings out the best in each guest,” says Matla Ragoasha, general manager of communications at e.tv.

The heart-warming tone of the show, combined with celebrities, is perfect for a Sunday morning adds Ragoasha. She says putting on a new show is always a risk, but in this case it was a calculated risk. “We were excited about the show from the start as it combines two genres that were not previously available on the channel,” Ragoasha mentions.

Pepsi Pokane of Bonngoe Media Holdings, producers of Cooking Gospel says the show’s unique and rich concept attracted him. “I mean, how often do you come across a show on a relaxed Sunday morning that brings you the smooth blend of uplifting gospel music, a great celebrity and some scrumptious cooking?”

Pokane has worked on several projects over the years, including the SAFTA award-winning shows Afro Café and Making

By Carol Mohlala Moves, as well as Mzansi Insider and Beyond Positive.

He says he knew the show would be a success. “When one works on a concept, one tends to go in with the hope and expectation that it will work, especially if you have a team that buys into the concept and is willing to make it succeed.

“We knew the show would be popular as cooking and music are firm favourites with our core target market. The relevance of gospel to our target audience, the featured celebrities and easy-to-make recipes make the show extraordinary.”

The producers, e.tv and Nwabisa Lukwe from Pioneer Foods agree that the best ingredients of the show are great music and great conversation, topped off with a well-prepared meal that people at home can’t wait to prepare in their own kitchens.

Cooking Gospel, which has proven to be a huge success with viewers, is already in production for its second season.

“We are planning to take the series up several notches and are introducing a tighter structure with fresh elements, the recipes are even more mouth-watering and the music choices will be fresher.

“The overall balance of the show is key and that is what we are working on improving. It’s proudly South African and these are dishes that we can see ourselves enjoying over a great family Sunday lunch,” mentions Pokane.

“The aim now is to stay focused and give our viewers something to look forward to every Sunday only on e.tv,” he concludes.

No ‘quick fixes’ to SABC’s problems Like any other cyclical problem, you cannot bandage it and hope it will silently heal on its own. South African public broadcaster SABC’s boards and their executive management teams have faced cyclical problems since 2007. When the IB (interim board) was appointed in 2008/9 it inherited a much wounded SABC. The situation for the 2013 IB is not much different. They have found an in-debt SABC that is most likely to face long tenures of instability, and an SABC that has failed to produce innovative citizen-oriented programming.

Solutions to the problems the SABC faces are not easy.

However, there is a starting point – the SOS Coalition strongly believes that if the IB prioritises the following suggestions it will lay a foundation for a stronger and better SABC. Such action would kick-start a healing programme for the deeply wounded public broadcaster.

The Coalition highly recommends the IB do the following: Ensure that a permanent, suitably qualified CFO (chief financial officer) and COO (chief operating officer) are appointed. This process must be in line with the SABC HR (human resource) policies and must commence with a public advertisement for the positions, stating necessary educational qualifications and relevant experience. These appointments must be made by the board without the ministerial interference that has dogged all previous executive appointments for the past seven years.

Ensure that the editorial policies review takes place and is a major public process as promised by the CEO (chief executive officer). Further, that compliance with the editorial policies is consistently promoted and enforced at the SABC. Make sure that the RFP (request for proposals) book comes out to ensure we have a transparent commissioning process and to publish figures reflecting the SABC’s compliance with current local content and independent commissioning quotas as provided for in ICASA’s local TV content regulations on its website, and also to commit to implementing the proposed changes to its current intellectual property practice recommended in the 2008 report jointly commissioned by SASFED (South African Screen Federation) and the SABC. To make sure that the SABC formulates, presents and realises its vision for the digital incentive channels and publicises these across all of its communications platforms.

To ensure that the SABC staff is involved in finding sustainable strategy solutions to the challenges faced by the SABC, particularly in respect of its financial sustainability together with a need for increased local content.

To formally commit to complying with the corporate governance principles and procedures as articulated in relevant legislation, policy directives and internal policies for how the IB will operate / vote / hold meetings, etc. to avoid the problems that created divisiveness in and tore previous boards apart and to develop agreed areas of board competencies including, in respect of executive appointments, to protect the IB from ministerial interference.

By doing this the IB would have lay a good foundation for the future board. It is also important to note that even if the IB does this, there is still a serious necessity for an ICT policy review. This policy review will deal with gaps in the current policy and could possibly promote further independence of the SABC.

Carol Mohlala is the coordinator of the SOS: Support Public Broadcasting Coalition. Follow them on Twitter @soscoalition and on Facebook. Visit: www.soscoalition.org.za SOUL FOOD: Zandile Nhlapo June 2013 | SCREENAFRICA | 19

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Compiled by Martie Bester

Director Speak Paul Eilers “Acting is easy for those who can’t, but difficult for those who can.” – Clint Eastwood After an illustrious career as an actor, playing his first role in 1959 and establishing himself as a household name in the popular Afrikaans prison television series Vyfster in 1984, Paul Eilers’ attention shifted to directing after he was approached to make Roepman (Stargazer) in 2011. The movie became a nationwide phenomenon and a hit at the box office, receiving wide critical and public acclaim which cemented Eilers firmly in his new role as director. Currently he is busy directing his third film, Stuur Groete aan Mannetjies Roux (Send Greetings to Mannetjies Roux).

QUALITY ON HIS MIND: Paul Eilers on the set of Verraaiers

What do you enjoy most about directing?

I enjoy seeing how the text comes alive and how the actors bring life to something that I’ve only planned in my head. It is a good feeling to have the last decision about which shot to use. Although this is a stressful experience, it is amazing when it turns out to have been the right call.

I like the whole team’s enthusiasm and how they work together – it is an amazing environment in which to be creative. So far, I’ve been lucky enough to have worked with the best producers and technical teams in South Africa.

Do you still work as an actor?

In rare circumstances if the role suits me and if I am happy with the situation in which I have to work.

What is the greatest satisfaction of being an actor?

To focus the initial feelings of fear that one goes through into creative work and to sit back and finally say: “That was well done”. Clint Eastwood was right when he said that acting is easy for those who can’t, but difficult for those who can.

The South African movie industry is going from strength to strength.

What excites you about the future of South African and Afrikaans movies?

It would give me a lot of joy if more quality movies and less box-office driven movies were made. Unfortunately it seems that South Africans (and specifically Afrikaans moviegoers) aren’t really interested in movies that require thinking. I don’t think more movies should be made. I think more movies that require thinking must be made even if it takes a while for audiences to get used to the concept. One can’t live on cake alone!

Why did you decide to become a director?

In the beginning of my career I edited television movies and series such as Die Genesis-kontrak (The Genesis Contract) by Jan Scholtz, Die Fluiter (The Whistler), James (both Eilers Films) and King of Diamonds, a television series for Dirk de Villiers. After that I started acting. When Piet de Jager approached me to direct Roepman, the decision to become a director was made for me. The rest, as they say, is history!

20 | SCREENAFRICA | June 2013

You directed Roepman and Verraaiers (Traitors). the movies cover diverse subjects yet there is cohesion. How is this achieved?

The same team made all three movies. I would like to believe that the ‘cohesion’ is a sign of honesty and painstaking work that took a lot of trouble and effort to make by an outstanding team of actors and group of technical people without ever wondering whether the movie was going to make money. I tell the producer that I can’t promise that I’ll make money for him or her; I can only promise that he or she won’t be ashamed to have his or her name attached to the movie.

Who inspires you as a filmmaker?

A good story and script and enthusiastic, honest producers such as Piet and Sallas de Jager and their team with whom I work are my biggest inspiration. Their enthusiasm rubs off on those around them.

What are the greatest challenges as filmmaker?

To maintain your focus at all times. Making movies is a team sport and you have to be able to work with a variety of personalities.

Until now I’ve been very lucky in that regard.

Which movie (Afrikaans or international) has the most personal significance for you and why?

There are too many to mention, but obviously Verraaiers has a very special place in my heart. The German movie Das Leben der Anderen (The Lives of Others) is another film that has great meaning and inspiration.

What do you consider as your greatest success as a filmmaker?

I think Roepman and Verraaiers top the list at the moment.

Who are your favourite actors internationally?

Al Pacino, Daniel Day-Lewis and Meryl Streep are supreme actors.

If your life could have a soundtrack what would it be?

It would probably be the song My Way. What would surprise people?

That I cry easily.

If you could have a super power as filmmaker, what would it be?

The power to see into the future.

What is your favourite oneliner from a movie?

“I’m in the dark here!” uttered by Al Pacino in Scent of a Woman.

| Film

Wanted: South African stories Filmmakers should be brave enough to tell more truly South African stories says renowned movie critic, script writer, presenter and author Leon van Nierop. He tells Martie Bester about the state of film in our local industry, which he says is more than capable of delivering diverse and authentic material.

O

ver the past year, three South African movies have impressed Leon van Nierop in terms of script, character development and technical expertise. These are movies that each pulled at the heartstrings of local audiences in very different ways.

They are the feature films Verraaiers (Traitors), a drama with a strong narrative set during the Anglo Boer War (written by Sallas de Jager and directed by Paul Eilers); Die Wonderwerker (The Miracle Worker), a touching biographical period movie about the tumultuous and ingenuous life of Afrikaans poet and writer Eugène Marais (written by Chris Barnard and directed by Katinka Heyns), and Material, a comedy drama set in Fordsburg in Johannesburg, which reveals the intricate family politics of a strict Muslim family and their ‘wayward’ son (written by Ronnie Apteker and Craig Freimond and directed by Craig Freimond).

Local content “These movies tell original South African stories which are very much based in a local context. In my opinion, there are too few locally made movies that tell our stories without using foreign influences as a crutch or depending on American or British formulas for their success. Or for that matter, that don’t copy other movies that have already been made in South Africa.”

Van Nierop says that it goes without saying that he is excited about the fledgling industry and because many more industry professionals are being employed on a more regular basis.

However, South Africans could learn from the Australians regarding the

sustainability of a successful local industry.

“The Australian film industry really flourished at one stage, because they made movies about themselves and didn’t copy other countries.”

Familiar vernacular Van Nierop’s choices are not limited to the three films mentioned earlier. Other movies which depict South African narratives in an extraordinary way are Darrell James Roodt’s Little One, highly acclaimed Otelo Burning, and White Wedding and Jerusalema.

“I liked Semi-Soet too because it is very Afrikaans and it was the first Afrikaans romantic comedy without sex, without toilet humour. I simply don’t understand why sex always has to presented in Afrikaans movies as either ‘hilariously’ vulgar or absolutely horrible. What is funny about that? Of course a movie can contain vulgarity, such as in The Hangover franchise, but then you need to know exactly what you’re doing.”

With more than 40 years’ experience in the industry and the screenwriter of box-office hit Wolwedans in die Skemer, Van Nierop says not enough attention is given to script writing and development.

The shortage of able script editors is a real concern, he says, one to which not enough attention is given.

“How can a movie be successful if it has poor characterisation and development and lacks engaging storytelling? It is up to the script editor to see that these things are adhered to, but in South Africa there are one or two people who step up to the plate at the moment in terms of script editing.”

He mentions Hanneke Schutte and Danie Bester as two script editors who treat writers with the respect they deserve.

Alienating a writer during the script editing process can have devastating effects.

“I admire directors who have courage and who are brave enough to tackle issues that others are too afraid to address,” continues Van Nierop.

In one of the most unforgettable scenes in Verraaiers, veteran actress Rika Sennett takes off all her clothes (sans soft lighting and other tricks of the trade) and staggers into the veld, naked and vulnerable, hopeless, distraught, destroyed, upon

learning of her husband’s imminent execution.

“That scene overwhelmed me, I was overcome with grief. And the scene in which all the men but one are executed was brave. It was portrayed with so much raw emotion and respect. I was impressed with the valour I saw in Verraaiers. I think more respect should be shown in South African movies regarding the subject that is being addressed.”

Different culture Material, which received four SAFTAs (South African Film and Television Awards) this year for Best Movie, Best Director, Best Actor and Best Supporting Actor is an excellent example of filmmakers who are aware of what is happening around them and build stories around that awareness says Van Nierop.

“Material brought a culture to me that I knew nothing about. A culture that introduced me to a certain thought process and the clash between old and new, how people react towards each other and the incredible love that exists between them.

Material showed audiences that even if father and son are in conflict with one another the Biblical command that you should love your neighbour like yourself is applicable, you forgive, you reach a place of compromise,” comments Van Nierop.

“To tell successful South African stories, we don’t have to go back into history, our present is rich for the taking. So where are the stories about why expatriates are coming back to the country, about the mine disasters, the striking workers, the disintegration of family life and farm murders? Would it be politically incorrect to make these movies? Are we afraid?”

Van Nierop continues: “There are also extremely funny things that happen in our country that Leon Schuster managed to capture in some of his previous movies such as Mama Jack. But the moment when we make comedy, it is vulgar or romantic, but it’s not really funny.

“However, a movie that touched on contentious issues and which worked was Fanie Fourie’s Lobola. And Die Wonderwerker was a phenomenal film, a directorial tour de force.”

Relevant and beneficial Van Nierop says: “I would like to see South African productions such as The Hurt Locker being made, which question a man’s place in the world today as this is so relevant in our society.”

Van Nierop highlights the scene in which Jeremy Renner’s character, Sergeant First Class William James has returned from the war in Iraq where he disarmed bombs without as much as breaking a sweat.

However, when he is confronted by rows and rows of breakfast cereal in a supermarket, he is frozen to the spot.

Immobile, he regards this inconsequential situation and suddenly and overwhelmingly questions his reason for being.

Other international movies that made it onto Van Nierop’s radar recently were Silver Linings Playbook by David O. Russell and Life of Pi by Ang Lee. “Everything about Silver Linings Playbook was refreshing because Russell did not shy away from presenting modern day issues in a provocative and entertaining fashion, while adhering to all the principles of excellent filmmaking, while Life of Pi was completely original in the way it presented this unusual story and honoured the voice of Yann Martel, the writer of the novel.

“At the end of the day, I think moviemakers should ask themselves why their movie is necessary to make? Why and how would a South African audience, first and foremost, benefit from this film?” concludes Van Nierop.

June 2013 | SCREENAFRICA | 21

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TV

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Dissecting the walking dead Why has the world become obsessed with zombies on television and in film? Martie Bester, a self-confessed zombie junkie, tries to unravel the mystery behind the success of the walking dead.

W

hen a man rides into Atlanta, Georgia on a horse and there is destruction all around him, and there are thousands of flesheating creatures clawing and fighting their way towards him, what does he do?

Does he head to the nearest fast food joint to carbo load and super size or does he man up and size up his backbone? Does he depend on the kindness of fellow human beings, irrespective of their backgrounds, to rescue him? Does he embrace the situation with a brave heart and a courageous spirit and trust those around him for his next breath of air, regardless of how long he has known them? And does he totally believe that they will come through for him, no matter what?

In the 1940s, when zombies regularly started appearing on movie screens, they weren’t taken very seriously. But then, it was fresh after World War II, when millions of ordinary men had become heroes in the eyes of their family members and peers and an even greater number of ordinary people had struggled for survival and lived to tell the tale. Hope was in the air.

Then, a man named Viktor Frankl, the father of existentialism, had just survived the death camps of Auschwitz and later inspired global audiences with his book, The Meaning of Life. Out of all the destruction came a sense of rejuvenation, of rebuilding, of rejoicing. Heroes abounded.

Today, Tony Stark (aka Iron Man) is our hero. Batman sends our pulses racing. The Avengers cash in on our existential angst.

Who are we? Why are we here? These questions have never been more pertinent.

22 | SCREENAFRICA | June 2013

GROSSLY POPULAR: A scene from The Walking Dead

Most watched Similarly, words such as ‘camaraderie’, ‘valour’ ‘trust’, ‘honour’ and ‘brotherhood’ have become almost extinct. Are these qualities deceased? Not on American horror television drama The Walking Dead which started airing in 2010. These qualities, on one of the most watched shows on earth, matter most. On The Walking Dead these characteristics are prerequisites for survival.

Lead actor Andrew Lincoln is revered by millions around the globe in the role of Rick Grimes. Reminiscent of screen heroes of days gone by, Lincoln is handsome, but not overwhelmingly so.

Rather, his face is absorbingly constructed and his eyes are by far his most important physical attributes as they blaze bright blue when he is angry (often), lilt like the ocean when he embraces his son (regularly), and reminds us of a gentle hue when he is content (seldom but sincerely).

His shoulders are pulled back, his body is strong, lean like that of a predator, but his most powerful ally is the strength of his mind. That combined with his convictions, principles and determination that cannot be swayed. The world needs heroes and Rick will do just fine, thank you.

Success Half of the success of The Walking Dead is anchored in the fact that Rick’s love for his son, wife, friends and even enemies are unequalled in any show on primetime television.

This man is stripped raw every week, but he still comes through for the only remaining survivors after the zombie apocalypse. He is a man to be admired. (If zombies had a bit of sense, they would like him too.)

He is the personification of what we see so little of in the ‘real’ world – a man who is afraid of nothing, is in control without being a jerk, has his weaknesses but overcomes them, trusts again and again, believes in himself and his fellow men and women and doesn’t hold a grudge, keeps all his promises and fiercely loves his family.

This man is purely fictional, of course. But how we all wish he were real.

The writers of The Walking Dead cleverly conceived Lincoln’s character from all the characteristics humans most aspire to but fail to reach in today’s world as instant gratification becomes an even bigger foe than flesh-eating monsters.

Audience identification Rick Grimes is patient, fair and nonjudgmental. Audiences strongly identify with the alpha male in him, yet admire him for being gentle yet dominant. He isn’t sexist, racist or egotistical. But he is unashamedly zombie-ist.

Why is The Walking Dead such a devastating success? Blatantly, it gives us hope. It wrings hope out of the characters’ souls right into audiences’ hearts.

But is The Walking Dead about zombies, or what happens when humans are forced to band together and have to make decisions for the goodwill of one another?

Zombies are, after all, humans distorted by a terrible virus that rots their brains.

Zombies could happen. It’s a bit like getting the flu, but two weeks’ bed rest won’t cure it.

No one on The Walking Dead is spared the atrocities of living – or for that matter, dying. The zombie attacks are relentless, destruction seeps through everything, people die courageously – and cowardly, but really, there is no time to mourn or wallow in self-pity.

Togetherness However, there is a sense of togetherness that used to exist before technology bombarded us in ways that no longer require the need for physical interaction; so different from the very act of survival of seeking out each other’s company as displayed in The Walking Dead.

Lo and behold, in this series, there are no cellphones, no one sits around in adult diapers playing the latest video game to death, and there is no time to complain and debate and have conversations about the same old thing for days on end. When you fight the disease called ‘zombie’, there is no treatment or cure. It is do or die.

The Walking Dead, for all its gore and horror and special effects wizardry and prosthetic makeup genius, cuts to the bone of what we all desperately want to believe – that we are still a noble race, that we are still capable of doing great things and could very well be everyday heroes.

We need to be reminded of this fact as thousands of ‘friends’ flash across lonely hearts in cyber space, as neighbours hear the rustle of strangers next door. How very neat and tidy our world has become… and how extraordinary empty.

Movies about zombies have slowly become more popular with titles such as 28 Days Later by Danny Boyle, The Evil Dead and Army of Darkness by Sam Raimi, the Resident Evil franchise starring Milla Jovovich and Shaun of the Dead all pulling in huge worldwide audiences.

Now the globe waits for feature film World War Z (about zombies obviously) with Brad Pitt starring in what is probably one of the most important roles of his career.

I simply can’t wait for the zombies to come out and play and be pulverised. And without a doubt, Pitt will give us all hope…

The IDC Media and Motion Pictures unit provides development finance to grow and facilitate the creation of a sustainable South African film industry.

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

The unit focuses mainly on projects to enhance the value

If you have the true entrepreneurial spirit and a project that

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

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

Playing a developmental role in the

Chillibush7838IDC

Media and Motion Pictures industry

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

FILM

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Transforming anime

By Martie Bester

Lance Gewer, DOP (director of photography) on Oscar-winning South African feature film Tsotsi and the highly acclaimed productions Otelo Burning, Spud and Elelwani, recently completed filming on the new movie Kite, based on the Japanese anime

by Yasuomi Umetsu.

CELEBRATING ART: Lance Gewer

“M

aking a film based on an anime work is like a celebration of art. So with each frame we were actually creating a piece of art that people are going to look at and appreciate like they do with a graphic novel. My job was to create frames that look like paintings,” says Lance Gewer.

Shot in downtown Johannesburg, the world of Kite was transformed into a space that humans had already destroyed. “There are so many abandoned derelict buildings in Johannesburg, beautiful buildings that are unoccupied,” he continues.

Thus, a world was created where people are unsafe, “an insecure environment where gangs rule, where crime pays and where criminals run amok. Where no one is actually safe and in which social structures have fallen to pieces,” says Gewer.

Smoke and mirrors With Gewer’s trained eye, an apocalyptic society rose from Johannesburg’s sidewalks and in the empty spaces where evil lurks in the destroyed remnants of civilisation.

“We used a hell of a lot of smoke to create that as I wanted a very diffused look.

The idea was not to put the actors directly in the light, rather to let the light bounce off things and find the actors. So that they were kind of in an illuminated space, but I wasn’t lighting them directly.

“It was a new approach for me. I didn’t always get it right, as on a 30-day schedule 24 | SCREENAFRICA | June 2013

one doesn’t have time to play around. I sometimes had to take a more traditional approach for the sake of the schedule and production.”

Post-apocalyptic Because of the comic-book look that was required, Gewer says muted colours were used as well as very dramatic set-ups that were not entirely realistic. “We wanted to place everything in another world, a world beyond our world, a sort of postapocalyptic derelict world where things are falling to pieces.”

He calls the universe of Kite “a kind of terminal genre where people have to use whatever is at their disposal because the world isn’t really producing much anymore.

Whatever resources exist is kind of precious. So we wanted to create that kind of world.”

Gewer mentions that one of the biggest challenges he and his team experienced was working with stunts, armourers, special effects, prosthetics, stunt doubles and CGI on such a tight schedule. “Because of the genre we did a lot of work on tripods, a lot of static and classically composed frames and then also a fair amount of Steadicam work.”

India Eisley portrays the role of Sawa, who is determined to find the people who killed her parents. Now a trained assassin, all memories but those about her father’s murder are vague. Driven by revenge, Sawa goes on a killing spree with Kala Aker

(Samuel L. Jackson).

“India is unbelievable. She is a superstar of note,” mentions Gewer. “She always has to look like an angel, so we kept her lit separately, which was challenging. We had to maintain that angelic look about her. She always glowed a little bit more that the other actors.”

Crew Some of the crew members have been working with Gewer for more than 20 years.

“We have incredible crews in South Africa.

Most overseas directors are so impressed, especially with our focus pullers, lighting teams and gaffers that they want to take them back with them.”

He adds: “We are hardworking crews who are passionate about what we do. We work long hours and are constantly trying to develop ourselves and get better at what we do all the time.

“It is a matter of being honest and being real and asking what knowledge can be gained from the production. How can we develop our skills, how can we raise our game? We want a product that we can be proud of, that is of an international standard and which can stand up to any international film in the world.”

Cinema “No matter what I’m doing, I’m doing cinema. Whether it’s documentary, whether it’s drama, regardless of the genre, it must

always look like cinema,” says Gewer.

Moviemaking runs in his blood, pumps through his veins. “It’s not about the budget, it’s about what you do with the camera and where you put the camera.”

Kite was shot on RED Epics, shooting at 5K, using a full complement of Cooke Classic S4 prime lenses and Angenieux Optimo and 30 – 80mm Angenieux Optimo zoom lenses, as well as SFX filters to help break down the digital image.

All the lighting, cameras and grips equipment were supplied by Media Film Service. Gewer says the service and backup was of an international standard. “We got through the film without a glitch on the technical side.”

On fire “Shooting Kite felt natural and quite real at times and rather gritty, which was the look we were after with director Ralph Ziman.

We wanted a dark, dingy, dirty kind of look.

Nothing was clean. We never washed a window, never cut any green foliage, we scattered litter right across the city and pumped smoke in. It felt like Johannesburg was on fire half the time.”

Kite also stars Australian actor Callan McAuliffe and South African actors Carl Beukes, Terence Bridgett, Jaco Muller, Lionel Newton and Russel Savadier, among others.

The film is produced by Brian Cox and Anant Singh.

DurbanFilmMart 19 – 22 JULY 2013 About the Durban FilmMart www.durbanfilmmart.com

The Durban FilmMart 2013 programme is presented in three strands – Finance Forum, Master Classes and Africa in Focus.

The Durban FilmMart (DFM) is a finance and co-production market which aims to create partnerships and further the development and production of film on the African continent. It’s a co-production between the film industry development arm of the city of Durban and the Durban International Film Festival (DIFF), South Africa’s largest and longest-running film festival and a flagship project of the Centre for Creative Arts (University of KwaZulu-Natal). This collaboration brings to Africa, growth, recognition and the opportunity to develop strategic relationships between film financiers and African filmmakers. The Durban FilmMart continues to raise the visibility of African cinema, stimulate production, and facilitate project collaboration between African filmmakers.

Partners and supporters of the Durban FilmMart 2013 include International Film

Durban FilmMart Experts Masterclasses will be held over the four days of the DFM. Key experts include:

Clare Downs Film expert, Clare Downs, will be a guest speaker at this year’s Durban FilmMart and will deliver a scriptwriting masterclass titled Strategies for Development: the Agony and the Ecstasy.

She is a founder member of the script analysis team of EAVE. She served as the joint head of studies of the Scottish/Irish EAVE Regional programme and the EAVE Greek regional programme. She also served as a script analyst for the EAVE International Programme, Ties that Bind and for International Jerusalem Film Lab. EAVE aims to provide training opportunities and bring producers of different regions together to facilitate co-production relationships. She’s versatile as a script consultant, trainer and writer who started her career in 1978 as executive co-director of the Association of Independent Producers. In 2008 she wrote Taken Twilight, an adaptation of a true story set in Burma, for Dorm Film in Austria. Two years later, in 2010, this film fundi wrote Underbelly for VR Productions in Norway.

Internationally Clare has delivered numerous script-writing workshops and master classes in screenwriting. She works as a consultant, writing reports and working on individual projects with both film funds and filmmakers throughout the world. For 12 years she was the director of Council of Europe’s First Film Europe.

Clare served as director of International Creative Affairs for the Ladd Company/ Warner Bros from 1981 to 1983.

Jon Reiss Jon Reiss is a media strategist who helps filmmakers and companies navigate the new distribution and marketing landscape. He has worked with and consulted for Paramount Pictures, the Sundance Institute, Screen Australia, Film Independent, Creative Scotland, The South Australian Film Corporation and numerous film schools and festivals to devise ways to educate and help independent filmmakers in the new economic landscape. He has conducted his TOTBO Master Classes over four continents, is the year-round distribution and marketing lab leader at the IFP Filmmaker Labs.

Named one of “10 Digital Directors to Watch” by Daily Variety, Jon Reiss is also critically acclaimed filmmaker whose experience releasing his feature Bomb It with a hybrid strategy was the inspiration for writing Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing in the Digital Era (TOTBO), the first step-bystep guide for filmmakers to distribute and market their films. He also co-wrote Selling Your Film Without Selling Your Soul.

He is currently producing The Cure, a feature documentary and global transmedia project about breast cancer as well as releasing Bomb It 2 this coming June.

His upcoming books concern new models of artistic entrepreneurship and the Producer of Marketing and Distribution. He teaches at the Film

Festival Rotterdam’s (IFFR) CineMart, the International Documentary Film Festival Amsterdam (IDFA) and the IDFA Bertha Fund, the Berlinale Film Festival as well as Dubai Film Connection. DFM has continued to build on its partnerships locally and internationally to include Arte France, COA Group, Hot Docs – Blue Ice Documentary Film Fund, Independent Filmmaker Project, National Film and Video Foundation, Organisation Internationale de la Francophonie, Paris Cinema – Paris Project, Videovision Entertainment, WorldView Film Fund and others.

Finance Forum, Master Classes and Africa in Focus make up the Durban FilmMart 2013 programme. Delegates of the Durban FilmMart will have full access to the leading experts in the Master Classes who will share their expertise in the areas of finance, marketing, distribution, project packaging, co-production, New Media as well as access to Talent Campus. Delegates will also have the opportunity to attend Africa in Focus where a range of seminars and panel discussions featuring local and international filmmakers and industry experts with a special focus of African issues and initiatives will be discussed. Delegates seeking co-production partners can interact during several scheduled networking sessions.

The official selection of Durban FilmMart projects comprising 10 feature films and 8 documentaries. The selected projects will participate in one-on-one closed meetings within the Finance Forum. Filmmakers who are not in the official selection still have an opportunity to register and attend Durban FilmMart as delegates.

Directing Program at Cal Arts.

Reis will present a pioneering masterclass on digital marketing and distribution at the DFM.

Christoph Thoke Christoph Thoke, attending DFM this year will present a co-production masterclass titled The Art of Working Together – Co-producing Strategies for an Open World.

With an extensive array of work produced, Christoph Thoke’s films have been selected for 600 festival selections.

He has raked up a whopping 120 awards in the process. Having started as a studio executive at German major Bavaria Film, Christoph, throughout his career has worked with highly acclaimed directors such as Rachid Bouchareb, Jean-Pierre, Luc Dardenne and Apichatpong Weerasethakul. In 2007 he launched Mogador Film in Berlin, Frankfurt from where he is currently producing and financing for both local and international markets. The German film producer and president of Mogador Film made a name for himself having served on the main jury of the 5th Dubai International Film Festival and on the international jury of the 31st International Film Festival of Durban. Christoph is voting member of the European Film Academy and of the German Film Academy. His films were officially selected for main competition at the prestigious Cannes Film Festival.

Here, Lorna’s Silence and Tropical Malady won top awards with the latter being named Best Film of the Year 2004 by film magazine’s Cahiers du Cinéma. He works regularly as moderator at the Cannes Film Festival for The Producers Network, organised by the Cannes Market.

Christoph also shares his expertise at education training programmes that

include the Film Business School in Spain, the Young Asian Film Market in Nepal and Beyond Borders in Tunisia.

Álvaro Vega Álvaro Vega is a film promotion expert who graduated in marketing, advertising and PR. For the past five years he has managed the marketing and publicity of one of Spain’s main film distributors, Vértigo Films. Álvaro is behind the marketing of more than 70 films that include blockbusters like Stieg Larsson’s Millennium Trilogy.

He is the CEO and founder of DobleSentido (based in Madrid Spain), a marketing and communication agency that develops activity into the film industry. Although still in its infancy (formed in 2013), DobleSentido has influence in the areas of films, festivals and events promotion, as well as consultancy and training programs.

Already its clients include distributors and production companies such as Avalon, Versus and Oliete Films, Ridley Scott Associates, Almería Western Film Festival and Phenomena Experience. EAVE, the international professional training program is also a DobleSentido client. His lecture at the Durban FilmMart is entitled, Marketing & Publicity for Cinema – The Mentality to Promote.

For more information on DFM 2013 contact: Mona Pilane – DFM Project Manager Tel: +27 31 311 4243 Direct: +27 31 311 4248 Fax: +27 31 311 4092 email: mona@durbanfilmmart.com Alt : info@durbanfilmmart.com

DurbanFilmMart

www.durbanfilmmart.com

Durban FilmMart 2013 Selected Documentary Projects Behind the Falls

Miners Shot Down

Producer: Sydelle Willow Smith Director: Rowan Pybus Country: South Africa

Director/Producer: Rehad Desai Producer: Brian Tilley Producer/Writer/Co-Director: Anita Khanna Country: South Africa

Behind the Falls is a documentary film that follows the lives of conservation activists living and working in Livingstone, Zambia.

Their aim is to curb rampant deforestation of Zambia. The film follows their efforts to create micro nurseries, shift mindsets, approach government on their exorbitant electricity prices and educate ignorant consumers on the destruction caused by the buying of rare woods. Director, Rowan Pybus runs the production company Makhulu. Shot for Ogilvy, his Adidas Three Stories Campaign video won a Loerie Award. Accomplished photographer and videographer, producer Sydelle Willow Smith has a keen eye for detail and a passion for telling vivid, visual stories that celebrate the strength of the human spirit.

With the Lonmin Marikana Mine massacre still fresh in the South African memory, Miners Shot Down, delves into the numerous historical and sociological truths that speak to the fault lines in South Africa’s democracy, gaining access to mineworker strike committees and mining communities. Producer / Director, Rehad Desai serves as the chairman of the Human Rights Media Trust and has conceived and produced over 20 documentary films. Writer and co-director, Anita Khanna has written and directed several documentaries, including Looting the Nation, co-directed and produced with Brian Tilley.

Blindness

Not Just a Stripper

Producer: Jean Meeran Director: Sarah Ping Nie Jones Country: South Africa

Producer: Izette Mostert Director: Izette Mostert Country: South Africa

Every aspect of life in apartheid South Africa was determined by skin colour. Yet what if you couldn’t see skin colour?

Blindness follows the stories of three blind South Africans trying to make sense of the society around them without the privilege of sight. Cape Town-based Jean Meeran is a co-member of the creative trio named Team Tarbaby and, is the recipient of several awards. With an MA in film, the young filmmaker is an accomplished writer, director and producer. Sarah Ping Nie Jones completed a fellowship in film at Harvard having produced content for a range of NGOs including seven films documenting youth work across SA.

Not Just a Stripper takes the audience into the world of the dancers, viewing it from their perspective and asking what has brought each of these women to this world. Was it desperation? Was it a lack of education? Was it just the wrong choice or was it a deliberate choice? With award winning documentaries, The Black and The Fight under her belt Izette Mostert delves into the word of the female stripper. Izette Mostert obtained an Honours degree in Theatre and Drama at the University of Stellenbosch. She has directed and edited various programmes for the national broadcaster, e-TV, M-Net, kykNET and DSTV.

Searching for Janitou GITI – Paradise in Hell Producer: Yves Montand Director: Yves Montand Country: Rwanda GITI – Paradise in Hell tells the story of Edouard Sebushumba, who was appointed by the government from 1982 to 1994, as mayor of the GITI district. Like any other senior leader, he was, during the mass genocide that rocked Rwanda in 1994, supposed to execute the government’s plan to exterminate Tutsis – a plan that he opposed.

The film was directed and produced by Yves Montand, is a Rwandese film director, whose debut short film was Maibobo. That film was selected as part of International Film Festival Rotterdam’s Forget Africa project in 2009.

Producer: Anusha Nandakumar Co-Producer: Claire Mazeau-Karoum Director: Mohamed el Amine Hattou Country: Algeria The 1980s Bollywood film, Janitou, holds an important place in the collective memories of the Algerian people. The film became an overnight, unexpected sensation and permeated all strata of society. Searching for Janitou is a road film, a journey undertaken in Algeria, going into people’s homes and asking them about their stories of love. Anusha Nandakumar graduated from the Satyajit Ray Film and Television Institute. She was awarded the prestigious national award, The Silver Lotus by the President of India for her short documentary The Boxing Ladies in 2011.

Mohamed el Amine Hattou directed the short fiction Down to Earth and is an alumni of Berlinale Talent Campus and Talent Campus Durban.

DurbanFilmMart

Projects Unearthed

We Want Development

Director / Producer: Jolynn Minnaar Producer: Dylan Voogt

Producer: Atieno Odenyo Director: Phillipa Ndisi-Hermann Country: Kenya

Fracking, a controversial gas extraction process, is threatening the town in which director/ producer Jolynn Minnaar grew up.

Although previously optimistic about what shale gas could do to alleviate poverty and ease the national energy crisis, an anonymous call leads the 24-year-old South African to dig further, unearthing deadly findings. Dubbed “the next generation Erin Brokovich”, Jolynn Minnaar has presented her findings at national conferences locally and abroad. She graduated with a distinction from UCT with a triple major BA degree in Film, Media and Media Production. Dylan is a member of the South African Independent Producers Organization and was recently invited to be part of the 2013 Berlinale Talent Campus.

We Want Development explores the extent to which the land and space we inhabit influences who we are. Lamu is a remote Islamic island on the coast of Kenya and it is here that the audience meets Bibi and several other characters that include a hotel owner and a fisherman. Philippa Ndisi-Hermann studied filmmaking and her short film Gubi – The Birth of Fruit, premiered at The Brooklyn International Film Festival. Film producer, life coach and international development consultant, Atieno Odenyo produced Score for Sasja, a short documentary on a girls’ soccer initiative in Nairobi’s slums

Fiction Projects Andani and the Mechanic

Five Fingers for Marseilles

Producer/Director: Sara Blecher Country: South Africa

Producer/Director: Michael Matthews Producer/Writer: Sean Drummond Country: South Africa

In a community vibrant with migrants from across the African Continent, against the backdrop of unspoken love, Andani and the Mechanic is a coming of age story about a young woman who tries to navigate a path for herself. But this is a world where everything keeps shifting – everything except the one thing that really does need to change. Andani and the Mechanic presents a new role model to young girls – on the cusp of adulthood – that allows them to consider new options and possibilities for their own lives. It showcases a successful, young woman, an entrepreneur, who manages to navigate her way through the grease and garages that define a man’s world. Director and producer, Sara Blecher is best known as a journalist and documentary filmmaker for SABC’s award winning current affairs programme, Special Assignment. Her feature film Otello Burning has played to many audiences internationally and was the opening film for the 32nd Durban International Film Festival.

Twenty years ago, the young ‘Five Fingers’ fought for the rural town of Marseilles, against brutal police oppression. Now, after fleeing in disgrace, freedom-fighter-turned ‘outlaw’ Tau, returns to Marseilles, seeking only a peaceful life. But he finds the town under new threat and reluctantly fights to free it.

Will the Five Fingers ride again? Michael Matthews has directed over 60 short films, music videos and creative works. Sean Drummond’s recent high-profile work includes the science fiction short, Sweetheart, which toured festivals extensively, catching the eye of studios including Warner Brothers and Fox, and in 2013 is the subject of a series of European academic papers on African genre film.

Free the Town Black Sunshine Producer: Julio Chavezmontes Co-producer: Angele Diabang Director: Akosua Adoma Owusu Country: Ghana Black Sunshine tells the story of promiscuous hairdresser, Effie Konadu, who lives with her 15-year-old albino daughter, Asabea. The film is about the conflict between a black mother and her albino child. It unravels with various scenarios that include Asabea creating a black imaginary friend, Effie’s shame of mothering an albino child and the belief that albinos hold supernatural powers. Producer, Julio Chavezmontes graduated with honours from the University of Chicago and holds a MFA from the School of the Art Institute of Chicago. Director, Akosua Adoma Owusu received an MFA from CalArts and has served on the jury and screening committees for Festival 3 Continents and AFI Silverdocs.

Producer: Vincho Nchogu Co-producer Nikkia Moulterie Director: Nikyatu Jusu Country: Kenya In Free the Town we meet a local virgin, born of a mother who was murdered at the hands of witch hunters (Binta), a Brooklyn teen (Michael) and a myopic filmmaker (Amy). Binta is the central character and she serves as the catalyst. These disparate individuals’ lives tragically intersect in an effort to navigate the formerly war torn streets of Sierra Leone’s capital city: Freetown. Vincho Nchogu produced a series of documentaries in Kenya, Tanzania and Zambia titled, Future Express. Nikyatu Jusu is a graduate of the New York University, Tisch School of the Arts with an MFA in Film Production.

DurbanFilmMart

Life More or Less

The Bill

Producer: Kingsley Madueke Director: Julius Morno Country: Nigeria

Producer: Travis Taute Director: Nosipho Dumisa Country: South Africa

Nine characters, whose lives are inextricably linked, make up Life More or Less. It’s Lagos life as seen through the eyes of teenager Sani and the people who cross his path. Julius Morno graduated from the National Film Institute in Jos, Nigeria.

He was trained as a writer/director under the tutelage of prominent African filmmaker, Gastone Kabore. Kingsley Madueke together with Morno founded Gray Revsolution and was the executive producer of the short film, Sun Dancers directed by Morno.

Set in Gauteng in 2004, The Bill spans nine years, unravelling a plan set in motion by Lucy, a blind girl. The cover up by high ranking political officials of the murder of two powerful mining businessmen triggers the saga. Lucy, has been kidnapped and has information that brings the story full circle – she is the daughter of one of the murdered men and is determined to exact revenge. In the four years since Dumisa’s entry into the film industry she has produced high-end television productions such as, All Access Mzanzi on DSTV. Taute has produced over 20 short films and holds a degree in Motion Picture Medium.

Njangi – Fifty Fifty Solidarity

Producer: Victor Viyuoh Director: Victor Viyuoh Country: Cameroon Njangi Fifty-Fifty takes the audience on women’s defiance campaign that culminates with them refusing to have sex with their husbands. Ignited by Kinu who returns to her African village to find that her family’s land has been seized because women don’t inherit property, the film sees the village women rise up in a story that director and producer Victor Viyuoh described as, “close to his heart.” Viyuoh, named one of Filmmaker Magazine’s 25 New Independent Filmmakers to watch, seeks to produce African-themed movies for the world market. His debut feature, Ninah’s Dowry, was the recipient of the Global Film Initiative’s Spring 2010 production grant.

Sea Monster Producer: Mike Buckland Co-producer: Stuart Forrest Director: Anthony Silverston Country: South Africa

Producer: Juliette Grandmont Director: Rungano Nyoni Country: Zambia A fire breaks out in a large compound in the centre of Lusaka. Despite the fire sadly claiming two lives and almost threatening to wipe out the entire compound, its residents continue their lives as if nothing happened. However a series of unfortunate events continue to conspire against the community, culminating in an unimaginable tragedy. Jolted out of the passiveness of their everyday existence, the community is forced to finally take action in Solidarity. Rungano Nyoni was a British Academy of Film and Television Award nominee 2012. Juliette Grandmont heads Clandestine Films, which produces and co-produces 1st and 2nd feature films directed by European filmmakers.

Whiplash

This animated feature is set in a Paternoster-inspired town, against the backdrop of a typical West Coast landscape and centres around an aspiring biologist (KETO, 16 years old) and his discovery of an ancient Sea Monster. This escalates as Keto meets Riley who, unbeknown to the obsessivecompulsive teen, has also seen the monster that lives at the bottom of the ocean. Keto will have to face his deepest fears to free the Sea Monster before the fate of the planet is changed forever. Anthony Silverston is a member of the Triggerfish founding team and one of the co-founders of Animation SA, the representative animation body of South Africa. Triggerfish is South Africa’s leading animation studio, responsible for the runaway success Adventures in Zambezia.

Tel: +27 31 311 4243

Producer: Jacky Lourens Director: Meg Rickards Country: South Africa Adapted from Tracey Farren’s novel, Whiplash tells the story of wry, sassy Cape Town prostitute, Tess, who falls pregnant. When she abandons her daily ritual of popping pills, awful pictures from her past ambush her mind. But Tess does not allow herself to collapse. Instead, she learns – perhaps because of the baby in her belly – to connect with the people around her. The Congolese refugee next door treats her like a daughter. An impotent client shows her his heart. Tess finds sanctuary among strong women in a belly dance studio and discovers she can dance up a storm. With new courage she tracks down her childhood friend, Dumi, who helps her to face the truth of her past. Jacky Lourens has 22 years production experience and was series producer for the SABC documentary, Unauthorised. Meg Rickards has written and directed short films and for television, and her miniseries and tele-feature Land of Thirst received international distribution. Singer Angelique Kidjo is attached to the project.

For more information on DFM 2013 contact: Mona Pilane – DFM Project Manager Direct: +27 31 311 4248 Fax: +27 31 311 4092 email: mona@durbanfilmmart.com Alt: info@durbanfilmmart.com

www.durbanfilmmart.com

www.cca.ukzn.ac.za

Photo courtesy Digital Bolex Project 2013

| Film

Lensing the Bolex The Digital Bolex Project, previously featured in Screen Africa, is a genuinely different and original idea, resulting in the digital re-incarnation of the legendary Bolex film camera of yore.

News about the project just keeps coming in and it’s getting weirder and weirder, but oh so plausible. In fact, there are such dramatic ideas coming from the little Kickstarter company behind the project, that you begin to wonder just how much it’s going to change the world of video.

W

ithout a quality lens a camera is rendered useless, especially those cameras designed specifically to take advantage of a particular format. A while back Digital Bolex settled on the final design for the body of their D16 camera, which has a Kodak Super 16mm-sized sensor, but they have been in development on some low-cost, but extremely sharp, lenses to go along with the sleek body.

Designed by Kish Optics, these lenses are probably unlike anything you have ever seen or used before, as they are fixed focal length and fixed aperture lenses. Prime lenses with one aperture setting?

Absolutely! They’ve also got a pretty ingenious way of focusing these lenses that will have every ardent cinematographer eager to get their hands on this nifty little camera, just for the experience of having shot something on it.

Last month Joe Rubenstein, co-inventor of the camera, announced the launch of the first set of Super 16mm Digital Bolex lenses and explained what is so special about these lenses.

“Normally, a lens focuses by moving some of its interior optical elements independently, and sometimes the front element too. In the case of the Kish lenses designed for the D16, all of the optical elements will move in unison when focusing,” said Rubenstein.

This means that Bolex can build the focusing mechanism into the lens mount, instead of into the lens itself, and the

Photo courtesy Digital Bolex Project 2013

By Ian Dormer

focusing mechanism can be controlled by the crank electronically, making it a built-in follow focus. This requires the purchase of an electronic lens mount, but it means you only have to purchase a focusing mechanism once, thus greatly reducing the price of each lens and the overall lens package.

Rubenstein added: “You can even use the electronic lens mount with some vintage C-mount lenses, turning vintage glass that would be very hard to connect to a conventional follow focus into useable glass for cinema.”

The exact price of each lens has not been set yet, but it looks as if they will be much more cost-effective than conventional lenses on the market.

How sharp?

The Kodak-designed CCD in the D16 has the capability of resolving roughly 45 lines per millimetre resolution. As a reference, the resolution of most DSLR lenses is around 30 lines per millimetre, which is plenty for the way they capture video and for still images in relation to print resolutions. The Bolex challenge to Kish was to design lenses with higher resolution, lower distortion, more colour clarity, for one quarter the cost and that is exactly what they came up with. The lenses are rated to 45 lines per millimetre resolution, have extremely low distortion, with very high colour clarity.

Some field of view equivalents and more specifications for the new lenses: 10mm: S35mm = 21mm, FF = 30mm 18mm: 35mm = 36mm, FF = 50mm 38mm: 35mm = 80mm, FF = 100mm 10mm: focus range: 3.3 (1m) to infinity 18mm: focus range: 3.7 (1.12m) to 6.5 (1.98m) 38mm: 5.6 (1.7 m) to 6.5 (1.98 m)

Considerations There are some things that are left out to keep the cost down, for now you are stuck with an f/4 aperture, and the camera cannot be pushed nearly as much as a DSLR in lower light situations. There are also considerations about the maximum and minimum focus distances for each lens, as they all won’t be able to focus completely to infinity.

But there is some good news: they are working on creating a set of f/2 lenses which would give you an extra two stops over the f/4 lenses. Making them faster will make them more expensive, though, so that’s why we are seeing the f/4 lenses first. Also of interest will be a set of f/8 lenses that are currently in development, which will probably be cheaper than the f/4 set.

Because the lenses are so small, and because they share a lens mount, it’s possible to fix several of them at once on a rotating turret, just like the original Bolex, which means you’ll be able to change lenses in seconds, without exposing the sensor to dust… pure genius!

The above developments have certainly made this camera even more appealing. It’s clear that the team at Digital Bolex have certainly thought of almost everything, and they are trying to make realistic decisions that will allow for an overall better (and still pretty inexpensive) camera.

Their announcement about the lenses will certainly generate even more interest in the Digital Bolex Project.

June 2013 | SCREENAFRICA | 29

film festival and conference

| Documentary

Unwrapping the Mandela effect

By Joanna Sterkowicz

Nelson Mandela is associated with many things – the fight for freedom; the end of South Africa’s apartheid era; the beginning of democracy; and peace and reconciliation. A new feature-length documentary delves into what Mandela means to people around the world and the impact his philosophies of freedom and forgiveness have had globally.

T

he idea for A Letter to Nelson Mandela came to South African writer / director Khalo Matabane (State of Violence; When We Were Black; Conversations on a Sunday Afternoon) when he was having dinner with people in the Basque region of Spain in 2011.

“At that time the Basque inhabitants wanted more autonomy and independence from Spain, so our dinner discussion revolved around reconciling Spain. One person at the table said that Spain needed a Nelson Mandela.

“I thought it interesting that there was this human being – Mandela – who was perceived as having the power to bridge gaps between people and reconcile them.

So I began to think about the impact that Mandela has made in the 21st century.

“At the moment everyone in the world is making films about Mandela’s life, so my film has to different. I decided to explore his ideas and what they mean to people and set out to get voices from all around the world,” explains Matabane.

To date he has conducted interviews in India, South Africa, South Sudan, Nigeria, France, Spain and Germany, with more interviews to follow in the US, the UK and Mexico.

“My original intention was to interview really high profile people who had been through similar experiences as Mandela – who’d been imprisoned, tortured and who’d suffered like him. But when you make a documentary things evolve as you go along and there is always an element of

surprise,” notes Matabane.

Interviewees so far include American rapper Talib Kweli, whose lyrics have socio-political content; Wole Soyinka, the Nigerian playwright, poet, political activist and first African winner of the Nobel Prize in Literature; John Carlin, author of Playing the Enemy: Nelson Mandela and the Game that Made a Nation about the 1995 Rugby World Cup and the basis for the 2009 film Invictus; American poet, writer and actor Saul Williams; Rokhaya Diallo, founder of Les Indivisibles, a French organisation that uses humour and irony to fight racism and stereotypes; Palestine-born filmmaker Elia Sulieman (Divine Intervention, The Time That Remains); former constitutional court of South Africa judge Albie Sachs; South African writer Rian Malan (My Traitor’s Heart); and Binyavanga Wainaina, the founding editor of the literary magazine Kwani and winner of the Caine Prize for African Writing in 2002.

Rashomon In the film Matabane subscribes to the Rashomon theory – that a single truth is not real, due to the effect of the subjectivity of perception on recollection.

“There are multiple realities about Mandela and this is the truth,” he explained. “But how do you capture a political icon of the 20th century who is so huge? Obviously there are many people who love him, especially in the western world. Others see his necessity and respect

PERSONAL MEMOIR: Khalo Matabane

his role. There are others who are critical and believe Mandela should have done more. It’s not for me to judge what they’re saying, it’s for me to create a space for dialogue,” comments Matabane.

He points out that so much has already been said about Mandela that it’s difficult to find people who say new things about him.

“You feel like you know about Mandela when in reality you don’t. I wanted to explore what is the real truth about Mandela. Everyone has a point of view about him. I’m trying to get away from all the clichés about Mandela,” says Matabane.

Memoir Once he began filming Matabane’s own thoughts about Mandela emerged.

“There were no images of him available when I was growing up in a village in Limpopo. I heard stories about him from my late grandmother so I imagined him like a character in a folk tale – as half man half animal and with a single eye. In my imagination Mandela was a giant – able to destroy his enemies and save weaker people. To my grandparents’ generation Mandela was a huge figure. There was a perception that he was a military man and that one day he would march through the streets with guns,” he comments.

Matabane was in high school when Mandela was released in 1990. “We huddled round the monitor to see images of Mandela and he was this old, frail man

who didn’t look like anything like I’d imagined.

“When I started making this film all my childhood memories of Mandela came flooding back and I started to question whether they were real. I wondered if maybe I had made these memories up.”

Thus the film is part memoir. To this end Matabane will narrate his letter to Mandela in the completed film and his memories will appear as animated sketches.

He stresses that the film is of an epic nature, a global project that speaks from a South African perspective.

Funding difficulties Surprisingly, securing finance for the film proved extremely challenging.

“You’d think it would be easy to get money for a film about Mandela but it was just the opposite,” stated Matabane. “We did manage to get funding from the National Film and Video Foundation (NFVF) for development and production.

Additionally, we have funding from ARTE and are in negotiations with the BBC.” The South African co-producer on A Letter to Mandela is Carolyn Carew of Born Free Media, who is working with German co-producer Christian Beetz of Gebrüder Beetz Filmproduktion Berlin GmbH & Co. KG. Delivery of the film is scheduled for this September.

June 2013 | SCREENAFRICA | 31

Media through space and time Experimental television broadcasts were started in 1932 using an electromechanical system.

1934 An R. W. Paul camera and film program was used to present the first film in SA.

1896

First television transmission in SA. SABC becomes the hub of production.

M-Net, South Africa’s first pay-TV service takes to the air

1986

Larry Page and Sergey Brin create a search engine called Google and begin operations out of a garage in California.

1996

e.tv, The first free-to-air commercial television service is born.

Mark Zuckerberg starts Facebook as a sophomore at Harvard University.

2004

1998

1976

1922

The privately owned BBC was the world’s first national broadcasting organisation.

2001

1950

Government provides a subsidy for the making of local films.

1994 In 1994, ABC’s World News Now was the first television program to be broadcast over the Internet.

1995

1981

Industry is revolutionised by the invention of video cassette recorders.

MediaTech Africa, industry hub for: Film, Production, Live Events, Media and Entertainment professionals, is launched.

2005 M-Net brings the first digital satellite pay-TV service to Africa: DStv. This service is second in the world by only six weeks.

Three former PayPal employees activate the Internet domain name “YouTube.com” and start to create a video-sharing website.

Twitter rapidly gains worldwide popularity, with over 500 million registered users in 2012

Mediatech attendance grows to an astounding 6 935 visitors SA’s migration to DTT begins Worldwide, the 3D revolution is rapidly gains momentum.

2013

2011

In May 2010, On Digital Media launched the TopTV sattelite service.

2010 2006

2009

YouTube announces it now has 1 billion views per day with 20 hours of video being uploaded per minute.

2006 Apple TV was unveiled as a work in progress called “iTV” at a press conference in San Francisco.

2012

Facebook prices its IPO at $38 per share, raising $16 billion.

Now in its 7th edition Mediatech earns its place as Africa’s largest and most successful advanced technology trade show and serves as a pivotal meeting place for industry professionals and forward thinking content creators.

Products and Services in: Broadcast, Film and Video Production, Post Production, Animation and New Media, Live Event and Studio Technology, AV System Integration and Pro Music Equipment.

www.mediatech.co.za

| PREVIEW

By Ian Dormer

Image courtesy RED

Techno-talk

As Mediatech Africa 2013* fast approaches, it is hard to believe that in the two years since the last edition of this advanced technology trade show, so much could have changed.

THE WAY OF THE RED DRAGON: The relative size of a 1080p high definition frame (the area in the dotted line) compared with the full 6K frame

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he 2011 edition of Mediatech Africa was all about asset management, cloud computing and digital terrestrial television. Since then there has been an amazing shift in technology and new developments in electronic component design have provided the industry with more punch, using less power. The much hyped stereoscopic 3D ‘craze’ is all but dead while the battle for big, bigger, biggest has just begun with the 4K revolution.

In the television environment, we live in a world where progress is defined by ever-rising numbers, from the few dozen lines of early mechanical TV, through 405, 625 and 1080 line formats. The number of the day now appears to be 4000. In television terms the ‘4K’ resolution of 3840 pixels x 2160 pixels is not far off the DCI (Digital Cinema Initiatives) consortium’s established standard resolution of 4096 x 2160 and never before has television and cinema been drawn so close together – as

we will no doubt see evident at Mediatech Africa.

Broadcasting in Ultra-HD 4K may not happen for a while yet as TV sets are prohibitively expensive at US$15k for an 84-inch model (a screen of that magnitude is advised to fully appreciate the 4K resolution) so for the foreseeable future at least HD is here to stay. To me the full advantage of the upscaling in pixels, from a production aspect, is that originating at a resolution higher than we distribute, will

Connecting the industry with three decades of experience in the radio and television broadcasting industry.

PREVIEW

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TECHNOLOGY BUZZ: Mediatech Africa 2011 certainly make our own lives easier by providing a lot of ‘wiggle’ room for focus, framing, stabilisation and visual effects.

Camcorders Since 2011, developments in camera technology like Sony’s F5 and F55 CineAlta 4K HD camcorders have upped the game in both television and cinema production.

Cleverly designed to be upgradeable via firmware updates, Sony has opened the doors to unprecedented versatility.

RED cameras are now capable of creating frames significantly exceeding Ultra HD resolution that aren’t too noisy.

RED was among the first to propose, and certainly the first to popularise, the idea of debayering images and doing critical basic corrections outside the camera. While this was of course sold to us as a workflow innovation, what it actually meant was that there was an enormous amount of electronics that they didn’t have to design, manufacture and power. I certainly see RED dominating the market in the years to come, especially with the development of their much talked about Dragon, a 6K sensor with over 10x the number of pixels compared to 1080p HD.

Chasing the ‘unseen’ Over the past few years we have seen enormous investment into technology to

appease our (almost) insatiable need to ‘see’ what we can’t actually see with the naked eye, like animal behaviour at night for example. There are a few newly developed ‘near’ IR (infra-red) camera options other than industrial type SD IR cameras becoming available that allow the user to film in extremely low light conditions. Good examples can be seen in the BBC’s Africa series. Sometimes things are a little too quick for our brains to process so we need to slow them down using high-speed cameras.

Redefining what’s possible when it comes to high-speed imaging, the recently launched Phantom Flex4K now offers amazing acquisition of up to 1 000 fps at a very big 4096 x 2160 resolution.

But it’s often the little things that often create more impact. When Videomaker announced that the award winner for Best of Show of NAB 2013 was Blackmagic Design for the Blackmagic Pocket Cinema Camera, the impact of the possibility of producing low cost, cinema style HD imagery rippled through the industry.

The Blackmagic Pocket Cinema Camera is truly a game-changer. Cameras that fit in your pocket have changed a lot in recent years – for example the option to change out lenses, shoot 3D, access Wi-Fi or operate Android apps – all with quality HD video. The Blackmagic Pocket Cinema Camera has a Super 16 sensor and captures 13 stops of dynamic range for a completely

different story. For some, the Micro Four Thirds mount will make adjustments difficult, but the open file format for recording in CinemaDNG won’t, and at its low price this tiny pocket camera is set open the doors for many an up-and-coming cinematographer and is bound to create a storm at Mediatech Africa.

Up in the ‘cloud’ Some technology simply goes unnoticed yet impacts the industry more than we realise. At Mediatech Africa 2011 ‘the cloud’ was only a buzz phrase and South Africa was just entering the frame.

Something to definitely look out for this year is cloud-based software solutions like Adobe Creative Cloud. This type of innovation has made software more affordable, upgradeable and useable. Add to that Adobe Anywhere and you have a modern, collaborative workflow platform that empowers users of Adobe professional video solutions to work together, using centralised media across virtually any network. It’s definitely the way to go, upgrades are easy and it’s light on the pocket.

Illuminating products Light has always an issue when filming. We have seen transformation in this sector with LED (Light Emitting Diode) technology

changing the way we work with it over the past two years. Drawing less power and cooler operating temperatures have made it possible to light even the smallest nook without burning the place down. Little LED lights are always nice to have on set and LED panels have a handful of configurations including spot and flood versions. As far as handy goes, LED lights are cool enough to handle, simple to operate and can provide the ability to change colour temperature and be dimmed. And then someone comes in and throws a curve ball and introduces plasma lighting.

This technology has been in development for some time and the quality of light seems to be excellent. A strong characteristic of plasma light is that it is extremely diffused, and that means it’s easy to look at, something that your talent might appreciate. Another key characteristic is the flatness of the panels, enabling more freedom in placement.

The tiny pockets of plasma that provide the lighting element have a strong colour rendering index at 90 and are very bright at 2 000 lumens, and won’t get hot to the touch. Pricing is very similar to LED lights. It is an interesting new development especially since the recent news that researchers, led by Dr Celia Sanchez Ramos at Madrid’s Complutense University, reports recently that LED lights produce high levels of radiation in the blue band of light. This type of radiation can damage parts of the retina which cannot repair itself.

Researchers are predicting an epidemic soon because of the large amounts of people watching LED TVs, and using computers and handheld devices with LED technology.

What can you do about it? The researchers suggest closing your eyes often to soften the effects of the blue light radiation. They also suggest by wearing eye protection and eating foods rich in vitamin A such as spinach and peppers. So take a deep breath and close your eyes right now…

See you at Mediatech Africa 2013! *Mediatech Africa runs from 17 to 19 July at Johannesburg’s Coca-Cola Dome (www.mediatech.co.za).

Equipping Africa… and beyond See us at Mediatech Africa at Stand: D38 & D40 RADIO AND TELEVISION BROADCASTING SOLUTIONS PO Box 1853, Rivonia, 2128, South Africa Tel: +27 (0)11 803-3353/4 Fax: +27 (0)11 803-2534 E-mail: sales@telemedia.co.za www.telemedia.co.za

Telemedia (Pty) Ltd

Telemedia, a specialist provider of a range dynamic media broadcasting services and tailor-made solutions, will highlight a number of state-of-the-art technologies at Mediatech Africa.

“We are planning to display all the SNG (satellite news gathering) FlyAway equipment from Vislink, a world leader in microwave, satellite and wireless communications systems. In addition we will showcase the latest encoders and receivers from Ericsson,” explains Quentin Barkhuizen, Telemedia’s national sales manager.

He notes that Michael Hall, an expert from Crystal Vision – a designer and manufacturer of distinctive modular products for the professional broadcast industry – will be a guest on the Telemedia stand at Mediatech Africa.

Other experts available to talk to Telemedia customers will be Stefano Finessi and Spencer Newbury of the Vitec Group.

Barkhuizen continues: “Telemedia is an official distributor for the Vitec Group, creen Africa ad 05-13* 5/24/13 10:57 AM Page 1

| PREVIEW Panasonic

which incorporates a number of top brands such as Sachtler camera support systems, Anton/Bauer batteries and chargers, Petrol Bags camera protection equipment, Litepanels LED lighting products, and Camera Corps remote camera systems.

“On our stand we will also display Reflecmedia green screen technology, which is used in TV production, film and digital content creation around the world.”

Visitors to the Telemedia stand will be exposed to two new Hitachi cameras – the Hitachi SK-HD1000, a high-performance, multi-standard, multi-format studio and field HDTV production camera, and the SK-HD5000, Hitachi’s top-of-the-line HDTV studio and EFP camera.

Also to be highlighted on Telemedia’s stand are Nevion optical fibre distribution and signal processing solutions; Wohler in-rack audio and video monitors; Kroma video monitors and Comrex IP audio transmission technology.

Barkhuizen reports that Telemedia has just completed a digital telephone hybrid

The Timbre Broadcast stand will exhibit several new products from Panasonic at Mediatech Africa, including the recently launched microP2 card solid-state recording media for broadcast use.

While dramatically reducing the size and cost of the current P2 card (which is PC card size), the new microP2 card offers the same level of data capacity (32 GB/64 GB) as well as high transfer speed, superb reliability and excellent security. A Memory Card Adapter for use in devices equipped with the current P2 card slot, and a Memory Card Drive are also available to provide a smooth transition to a microP2 card-based workflow with superior operability.

Compatibility applicable models currently include AJ-HPX3100G, AGHPX600, AG-HPX255, AG-HPX250, AG-HPD24, AJ-PCD35, AJ-PCD30, AJ-PCD20, AJ-PCD2G, AG-HPX370 series, and AG-HPG20. Scheduled for August 2013 are AJ-HPX2000/HPX2100, AJ-HPD2500, and AJ-HPM200.

The cards read up to 2.0 Gbps due to compliance with the UHS-II and a SD memory card comes standard for highspeed data transfer. The design of the microP2 cards is inherited from the P2 card includes features like RAID technology and an error correction function.

A new concept P2 cam, the AG-HPX600E P2HD camcorder includes WiFi and proxy streaming options. The camcorder

system for three studios at Botswana Radio, using the Comrex STAC 6.

“We’ve also installed an OB (outside broadcast) contribution link for LTV (Lesotho TV), utilising Vislink Gigawave

equipment. This project involved equipping a repeater station at Berea Plateau,” he concludes.

Telemedia (Pty) Ltd – Stand Numbers D38 + D40

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36 | SCREENAFRICA | June 2013

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combines high cost-performance, easy operation, expandable functions, and a future proof design to meet needs in a wide range of uses, from image production to broadcasting.

This 2/3-type shoulder-type model accommodates a variety of interchangeable lenses. Its compact body provides superb mobility with the industry’s lowest weight of approximately 2.8kg (6.2lb) for the main unit. Its newly developed MOS sensor attains high F12 sensitivity (at 59.94 Hz) and low noise with an S/N of 59 dB (standard).

Multi HD/SD codecs, including AVCIntra100/50, are equipped.

A wide range of functions are available as options, such as networking functions and a Variable Frame Rate (VFR). AG-HPX600 also supports new P2HD technologies such as the AVC-ULTRA family of codecs and microP2 cards.

The AW-RP120G Remote Camera Controller supports a variety of Panasonic remote camera systems. IP connection allows a large-scale, flexible, and simple system configuration for controlling up to 100 remote cameras and the simultaneous use of multiple controllers. A new joystick enables high-response pan and tilt operation, and a newly designed control panel adds color adjustment dials.

Single-person operation is enabled by a preset memory with a new batch recall function and tracing memory. Equipped with Paint and other camera adjustment functions, the AW-RP120G meets a wide range of high-end needs. It is the ideal all-in-one controller for broadcasting use.

Timbre Broadcast Systems / Panasonic – Stand Number B35

PREVIEW

Concilium Technologies Among the Harris Broadcast products to be exhibited by the company’s South African dealer, Concilium Technologies, at Mediatech Africa is the Platinum router, the IP3 version of which was recently installed at satellite pay-TV broadcaster SuperSport’s new HD playout centre in Johannesburg.

Says Concilium Technologies’ Steve Alves: “This was the first global installation of the Platinum IP3 router and was supplied as part of a complete package of Harris Broadcast infrastructure equipment. The Platinum IP3 router is responsible for the management and monitoring of all the signals in the new SuperSport facility.”

Jochen Kuhnen, product manager for Harris routers, who will be on the Concilium Technologies stand at Mediatech Africa, notes that apart from true dual path routing, the Platinum IP3 incorporates data and offers triple-path routing, making it the ideal router for facilities moving toward a hybrid or IP-based infrastructure, and as a means of routing data separately from video and audio.

Concilium Technologies will have Prodys products on display at Mediatech Africa for the first time.

“Nomada IP XL is a full-duplex, dual (programme and talkback) portable audio codec with all Prodys’ Prontonet functionalities. Its four audio mic/line inputs

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with an inbuilt channel mixer, as well as a robust design and wide variety of communication interfaces (IP, 3G, 4G, ISDN) make it a perfect device for a commentator position.

“Ikusnet is Prodys’ newest portable SD/ HD video codec. It supports bidirectional live video and audio streams through any standard IP network, including 3G, 4G, Wifi, Ethernet or BGAN, supporting up to 10 data link bandwidth aggregation. Ikusnet provides the best quality/compression ratio in the market, making the best video codec solution for both narrow and wide bandwidth data links,” explains Rafael Perez, Prodys sales manager for Africa and Middle East, who will a guest on Concilium Technologies’ stand at Mediatech Africa.

In what is believed to be a first at a South African broadcast event, Concilium Technologies will display the Miranda Telecast CopperHead 3200 system.

Says Nicholas Ashley, strategic alliance director EMEA: Miranda Technologies Ltd: “The CopperHead 3200 system is a robust fiber optic link between your camcorder

and your truck, control room or ‘video village’ position. The system will simultaneously transport both digital (SDI or HD-SDI) and analogue (NTSC or PAL) programme video, as well as all two-way camera control, audio, video, data, tally / call and intercom signals between the camera and the base station.”

Ashley will be at Mediatech Africa to demonstrate the system.

Concilium Technologies will showcase JVC Professional’s newest line-up of acquisition and monitoring solutions, including a number of new advances in the camcorder range.

JVC’s GY-HM790 flexible studio solution is suitable for a wide range of studio and live event applications. With a choice of multicore and fibre connectivity, the GY-HM790 studio solution offers complete studio camera functionality, while also being capable of use as an ENG camcorder.

Concilium Technologies – Stand Number D27

June 2013 | SCREENAFRICA | 37

Movievision New products and services to be launched or promoted at Mediatech Africa by Movievision include Spotlight’s ‘Green Line’; LCA’s TruColour HS; Kupo KCP-101 Max arm; C-40M Master C-stand; and the KCP- 614 Adjustable Poly Holder.

Spotlight’s ‘Green Line’ is a special family comprising of all the LED fixtures: FresneLED 250TW, FresneLED 200, FresneLED 250 RGBW, FresneLED 100, ProfileLED 200 and FollowLED 250 RGBW. These are characterised by both high optical performances and a real contribution in terms of energy saving.

The ‘Green Line’ has a greater lighting efficiency with a lower heat emission and the LED life source is longer as well as being dimmable, using the right amount of light needed. The ‘Green Line’ embodies what every lighting professional requires in a lighting fixture.

TruColour HS utilises Remote Phosphor Technology (RPT), in which the light actually emits from the RPT panels onto the front of the fixture, providing a lighting characteristic that radiates equally in a 160˚ radius. The TruColour HS significantly exceeds the output of the traditional incandescent light which is perfect for use in any film or television production, in a studio or on location.

The KCP-101 Max arm has been specially designed for lighting, video, film or for stills

| PREVIEW Sony South Africa

photography use. The adjustable metal handle lever allows slight adjustments to be made more easily; it is ideal for clamping in a confined space or in a specific desired position.

C-40M Master C-stand is easy to set up, durable and a solid stand designed for professional photographers, filmmakers and videographers. The unique leg locking system ensures that deploying and collapsing the legs is done with ease and within seconds.

KCP- 614 Adjustable Poly Holders are made of lightweight aluminium with a central tube that has two durable extendable steel holders with an antirefection black powder coating. It is designed for any kind of thickness of polyboard or foamcore sheets.

Mediatech Africa visitors to the Movievision stand will be able to have a hands-on personalised experience with D.T.S or Spotlight’s latest lighting fixtures.

There will also be a ChamSys console controlling the show so clients can experience the ease of use of the Chamsys console first hand.

Overseas principals that will be on the Movievision stand include Spotlight general manager Nicolo Fabio Oliva; LCA CEO Nick Shapley, and Kupo sales manager Eric Lai. Daily prizes can be won on the Movievision stand and any orders placed will receive a discount.

Movievision – Stand Number A23

To be exhibited at the Sony South Africa stand at Mediatech Africa is the recently launched Sony PMW-F55 camera, simply known as the F55.

Says Sony South Africa’s Jess Goedhals: “This camera has taken the local industry by storm. Sony designed a new type of 4K Super 35mm sensor with a 4096 x 2160 resolution (11.6M total pixels), which gives the camera an incredibly wide (14 stops) exposure latitude, high sensitivity and low noise.

“The F55 uses the same colour filters developed in the F65 with its ultra wide colour gamut, creating pictures with true colour reproduction, while the inclusion of the new global shutter also eliminates

4 Camera SD OB Van (Triax)

shutter skew and flash band.”

Goedhals notes that the camera has been designed as modular system so that the camera body, the dockable AXS-R5 RAW recorder and the new BP-FL75 batteries create an elegant solution that eliminates cabling. The 4K RAW recoding system can then be used for master recoding while the on board SxS recorder can simultaneously create dailies in HD. In addition 4K recording can be made without the R5 by using the newly developed XAVC codec recording onto SxS Pro+ cards.

For high frame rate the F55 and AXS-R5 can record 4K up to 60P with 2K up to 240 fps.

According to Goedhals, Sony has re-defined professional monitor technology with the update of the new 25” PVM-2541A and 17” PVM-1741A OLED monitors designed for professional video production.

Each model in the PVM series offers full 1920x1080 HD resolution with 10-bit signal processing. Both models support multiple colour standards, and include an easy set up procedure, assuring stability and colour and tone matching.

They also feature a new control system similar to Sony’s PVM-741 OLED field monitor, with seven “F” key operations and a new menu navigation system.

Both monitors have also achieved notable local success as picture reference monitors when shooting on location for commercials and feature films.

8 Camera HD OB Van (Triax)

HD DSNG Vehicle

Various Multi Cam Mix Kits

4 Camera SD Flyaway Kit

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PREVIEW Additional key features of the PVM series include: simple panel illumination control; built in 3G HD-SDI inputs; serial and parallel remote control; timecode display; embedded audio display; internal waveform monitor; and auto white balance and DC operation (on the PVM-1741A).

Also to be highlighted at Mediatech Africa is the PMW-150, a new camera using three 1/3-inch-type full-HD Exmor CMOS sensors to achieve unrivalled broadcast quality in a compact, handheld form factor.

This camcorder achieves sensitivity of F10 and an S/N ratio of 54 dB and includes a powerful fixed lens with 20x zoom, independent focus and iris rings, which enable precise shooting in many circumstances.

It boasts a high-quality MPEG HD422 (50 Mbps) recording capability using SxS cards, which are widely accepted in broadcast stations and production houses.

The PMW-150 uses the same body configuration found on the very successful PMW-200 and this includes the HD/SD-SDI, HDMI, and i.LINK connectivity. An SDI connector allows the camcorder to interface with other professional products, and supports down-conversion from HD to SD signals. The PMW-150 can also be connected via HDMI to residential HD displays to perform monitoring. The i.LINK connector can be used for HDV when SP 1440 (FAT) mode is selected, and for DV when DVCAM (FAT) mode is selected.

Sony South Africa – Stand Number E23

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AJA Video Systems

The latest products from AJA Video Systems will be exhibited on the AJA Video Systems / Touchvision stand. These include AJAs ROI (Region of Interest), which merges computer DVI and HDMI signals into the video world with high quality conversion and scaling to SDI output.

Key is the ROI scaling technology, which allows any portion of the computer screen to be selected and scaled, using AJA’s high quality algorithms, to fit within the output frame. This allows for isolation of individual windows or elimination of taskbars and other unnecessary interface elements,

making ROI the ideal choice for AV, broadcast and post-production needs.

DVI pass through allows ROI to be inserted inline, while ROI scales any portion of the computer screen to fit the SDI output. Interactive region selection with free MiniConfig software is possible.

Analogue computer audio can be embedded into the SDI output. REF IN locks the SDI output for clean integration.

AJA’s Ki Pro Quad is the 4K recording solution that makes working with 4K material practical. Work with either Canon RAW data or any 4K baseband video signal

and record ready-to-edit 4K Apple ProRes files in real time directly to removable Pak SSD modules. ProRes files use a fraction of the storage space compared to uncompressed or RAW 4K material while still maintaining pristine image quality.

RAW data is passed unmodified via Thunderbolt for recording while simultaneously being debayered in real time and output at 4K resolution as well as down converted to HD-SDI and HDMI for all monitoring and playback needs. For HD users, the Ki Pro Quad is the first in the family to support ProRes 4444 for HD workflows as well as 4K. AJA’s Hi5-4K makes 4K monitoring made easy. Convert professional 4K or QuadHD signals, using 4 x 3G-SDI inputs, to the single HDMI 1.4a connection used on newer, more affordable 4K HDMI monitors.

Hi5-4K also supports your current HD-SDI to HDMI needs for use now and into the future.

AJA product marketing manager Bryce Button will be on the Touchvision stand at Mediatech Africa.

AJA Video Systems / Touchvision – Stand Number B23

www.aja.com

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

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

Futureproof

Quality and Flexibility

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

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

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

Find out more at www.aja.com Touchvision

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

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June 2013 | SCREENAFRICA | 39

| PREVIEW Timbre Broadcast Systems

Inala Broadcast

Inala Broadcast will be participating at Mediatech Africa 2013 in conjunction and with the support of many of its principals, such as Harmonic, Miranda, Tektronix, Dolby, Pebble Beach, MOG, TSL, Riedel, ENPS, TVLogic, Aviwest and Broadpeak.

“The theme of our stand is to exhibit the products that are prevalent in the South African broadcast market, which include products that were recently launched at the NAB Show in Las Vegas,” explains Inala Broadcast’s Colin Wainer.

Harmonic – ChannelPort and MediaGrid playout system.

Miranda – iTX playout system incorporating a multiviewer system.

Tektronix – HD waveform monitors, handheld waveform monitors and Test Signal Generators (TSG).

Dolby – Dolby personnel will be in

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attendance to talk about 5.1 audio, DD+ and audio metadata.

Pebble Beach – Marina, an advanced playout and distribution automation system.

MOG – Products for broadcasters to achieve the highest performance in the most diverse file-based workflows.

TSL – Professional Audio Monitoring Units and SoundField, surround microphones and processing products for live broadcasting and location recording.

Riedel – Artist intercom system and MedioNet integrated signal processing and conversion system.

ENPS – Newsroom computer system (NRCS).

TVLogic – Broadcast monitors together with the recently launched 18” and 23” low cost monitors.

Aviwest – PRO 180 and DMNG advanced pocket size cellular video uplinks designed for the broadcast industry and the security organisations Broadpeak – Variety of solutions to

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Timbre Broadcast Systems is the sole supplier for TriCaster. The TriCaster 8000 is a complete live production and media publishing solution with everything that happens on-screen, under the user’s control.

With both a keyboard-mouse combo to manage every system function, and the definitive hardware console at your fingertips, you now have two choices for fully managing your sessions, plus the flexibility to add independent operators to

handle various tasks.

The total TriCaster 8000 solution is built to keep pace with the rapidly changing landscape of video production, so you can unleash the potential of your media strategy with unprecedented versatility.

The TriCaster 8000 is also available from Pro-Sales.

Timbre Broadcast Systems – Stand Numbers B31, B32, B35, B37, B44

address video content delivery on all screens and networks.

“The Inala Broadcast team will be ably assisted on the stand with the attendance

of our principals to provide technology and demonstration requirements,” concludes Wainer.

Inala Broadcast – Stand Number C23

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Jasco Broadcast Solutions

FC HAMMAN FILMS

INTERNATIONAL

What ever you can visualize, we can deliver!

Part of The Jasco Group, Jasco Broadcast Solutions delivers cutting edge, integrated solutions across the entire broadcasting value chain, from design and building to installation, integration and maintenance.

The company offers technology and services to take customers from image capture through to transmission and beyond. As representatives of 23 international broadcasting solutions brands, from production and postproduction to digital archiving and storage, broadcasting support systems, 3D effects, compliance recording, sound systems and more, Jasco Broadcast Solutions has everything covered. Not only do they offer flagship broadcast offerings from around the world, they are also experts in systems integration and implementation, taking broadcasting solutions from planning to reality and providing support every step of the way.

Their impressive client list and operations

cover sub-Saharan Africa, Mauritius and the Seychelles, with more than 400 editing suites in operation across the region as well as numerous integrated multi-user broadcast production systems. These solutions are supported by a highly qualified technical team.

At Mediatech Africa Jasco Broadcast Solutions will showcase a selection of offerings from some of its premier partners, including Avid, Front Porch Digital, ClearCom, Vizrt, Axon and Egripment. Brand representatives and subject matter experts from these international organisations will be on hand to demonstrate the power of their product offerings and, with the Jasco Broadcast Solutions sales team, will be able to show visitors hands-on what the solutions can do, and answer any questions.

Jasco Broadcast Solutions – Stand Number G21

47 De Villiers Street, Zonnebloem, Cape Town 8001 Contact: 021 462 6933 • info@cinephototools.com

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Award winning DOP and well know director FC Hamman with Timothy Hamman four times radio controlled South African Aerobatics Champion.

With the latest cutting edge technology plus our own unique developments enables us to deliver footage on 5K or full HD at a frame rate of up to 200fps

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We will deliver a showreel to your door June 2013 | SCREENAFRICA | 41

| PREVIEW

Cine Photo Tools

Electrosonic On display at the Electrosonic stand will be the SierraView SVG Modular HDMI/HD-SDI Multi-Viewer with CV/SD, HD-SDI, and HDMI inputs and HDMI/HD-SDI or HDMI/ VGA outputs This Multi-Viewer uses a modular architecture, allowing customising of inputs in groups of four up to 20 inputs with the additional HDMI input on each output module. The three input modules consist of the CV/SD module (auto-sensing CVBS nad SD/SDI), the 3G HD-SDI module (autosensing SD-HD/SDI) and an HDCP supporting HDMI module (with EDID).

There are two output modules available: VGA output with a cloned HDMI output or HD-SDI output with a cloned HDMI output

(to 1920x1080p). Dual output systems require identical output modules.

The SierraView SVG Modular Multiviewer can handle up to 20 high-quality, auto-sensing inputs (Composite, SD-SDI, HDMI and HD-SDI up to 3G) plus an HDMI input located on each output module for a total of 21 inputs displayed on a single HDMI, VGA or HD-SDI monitor (or up to 18 inputs on a dual output system).

The SVG Multi-viewer supports customisable layouts, real time audio and video monitoring with alarms, waveform displays, and UMD and tally from switchers and routers. It fits into studios, broadcast facilities, command / control centres, and in production and post-production editing suites.

Electrosonic – Stand Number E11 + F11

Cine Photo Tools, a new company embracing the revolution in videography and film, is the sister company of Photo Hire.

Among the products that Cine Photo Tools will exhibit at Mediatech Africa are Samyang’s Cine Style lenses. The VDSLR (Video DSLR) version has been developed primarily for professional cine / movie making purposes and features follow focus gearing and decoupled aperture, which allows the user to smoothly and quietly change focus and aperture / depth of field while filming.

The Samyang is rated in T-Stops which expresses the actual light transmission and is more accurate than F-Stops.

Another product to be exhibited by Cine Photo Tools is the Redrock Micro One Man Crew, a motorised parabolic slider. The

parabolic motion allows focus to remain much more accurate and is coupled with a smooth customisable movement.

Lightweight and easy to pack away for travel, the One Man Crew requires only a standard tripod for set up as it comes with a ¼-inch 20 and 3/8-inch 16 cheeseplate and has a camera capacity of 20lb.

Edelkrone’s SliderPlus+ allows the user to achieve a 2ft slide on a 1ft slider. It can be used on a single tripod (or stand) if the user provides a wide enough stance to maintain support as the slider travels towards the end.

Chimera lighting products consistently deliver award-winning imagery and cater for all light brands, from Arri to Profoto to broncolor to Zylight to Flolight, etc.

Innovative Chimera solutions include the famed Illuminata, the Speed Rings and Pancake Lanterns, and the F2X for large area lighting.

Cine Photo Tools / Photo Hire – Stand Number F32

47 De Villiers Street, Zonnebloem, Cape Town 8001 Contact: 021 462 6933 • info@cinephototools.com

www.cinephototools.com

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42 | SCREENAFRICA | June 2013

8

Digital Media Supply Chain Lasernet in partnership with Prime Focus Technologies brings you CLEARTM. The award-winning platform that offers unified multi-platform content operations through a suite of technology and services and has been adopted by many prestigious clients globally across categories.

Cape Town- and Johannesburgbased company LaserNet will exhibit several of its cloud, storage, asset management and delivery solutions at Mediatech Africa.

LaserNet founder Ivan Bridgens notes that the company has negotiated selective partnerships with industry leading vendors to develop flexible solutions underpinned by a service orientated architecture approach (SOA) and a world class video network that transforms the digital production environment.

Says Bridgens: “Our customers can reduce manual processes and redundant data entry, as well as improve organisational productivity by connecting key production systems with operational applications. This includes resource management and planning or scheduling systems. In addition, our solutions can help shorten production timelines by enabling dynamic workflows that support nonlinear creative and production processes.”

LaserNet supplies connectivity directly to the client at uncontended speeds from 10mbps to 10Gbps. This enables clients to receive services across the link to other users, companies, broadcasters and facilities in the LaserNet cloud, as well as to the Internet.

Services available from LaserNet’s Data Cloud include: internet; digital delivery; FTP aervers; signiant delivery management; archiving; streaming; content management; live broadcast distribution; managed video conferencing services; content hosting; and dissemination and billing.

At Mediatech Africa LaserNet will showcase the following technologies: LaserNet Distributed Cloud and Network Solutions and VOIP Solutions; CLEAR Hybrid Cloud Media Management Solutions; CLEAR Archive Media Asset Management and Archive Solutions; CLEARvault Business Data Backup and Archive Solutions; CLEARlive Cloud Based Live Broadcast Production Solution using VidyoCast and LaserNet Media Network; LaserStream Content Distribution Network using Digital Rapids Streaming and Encoders; Signiant Media Management and Workflow Tools; Aspera Point to Point media transfer tools; LaserNet FileLocker Media Collaboration and Sharing Tools; and DDN (Data Direct Networks) Storage and Cloud Solutions.

The LaserNet stand will host a number of overseas guests, including three executives from Prime Focus Technologies – Ramki Sankaranarayanan (founder, president and CEO); Ganesh Sankaran (co-founder and COO – Prime Focus Technologies); and T Shobhana (head of Marketing & Communications).

DDN executives include EMEA sales manager Ryan Taylor and product specialist Sherrine Green-Thompson.

Also on the LaserNet stand will be Tal Shalom, one of the first team members at Vidyo Inc. Shalom was responsible for leading the product strategy, design and execution of the Cloud TV production, VidyoCast.

LaserNet – Stand Number G29

This platform offers: •

DIGITAL ARCHIVING

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DISTRIBUTION & PACKAGING

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METADATA SERVICES

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Broadcast

|

Global Video Network from Neotel connects to all media hotspots around the world

Video Connect Global Network

A network designed from start to finish

N

eotel Video Connect is a Global Video Network that is dedicated to broadcast distribution and connects to all key media hotspots around the globe. The Global Video Network enables broadcast content owners and sports event owners to cost effectively broadcast feeds from source location to a single or multiple broadcasters simultaneously. Screen Africa spoke to Neotel about Video Connect, its infrastructure and what it means for South Africa.

Video Connect is delivered locally over Neotel’s trusted fibre infrastructure and internationally across the Tata-owned infrastructure. Through its equity partner Tata Communications, Neotel has leveraged a global submarine network that circles the globe and is now the largest sub-sea fibre network in the world with 210 000kms of undersea fibre. Video Connect connects all the main media hubs and teleports of the world, including DIRECTV, DISH Network, RRsat and GlobeCast.

44 | SCREENAFRICA | June 2013

HOW ARE COMPANIES USING THIS NETWORK?

Video Connect is being used by stadiums, broadcasters, for live events, as a Downlink Teleport or as a switching centre. Sporting events such as London 2012, the UK Premier League, Pepsi IPL Cricket, WTA Women’s tennis and many others are distributed to the world through this Global Video Network. Tata Communications is also the official telecommunications partner for Formula 1 with its trusted infrastructure powering the broadcast of all races to the world.

This is very exciting for South Africa where the infrastructure is already in place as it means local broadcast, content and event providers can transmit their content reliably and cost effectively to anywhere in the world and vice versa. Customers of

Neotel benefit from lowered costs when compared against satellite delivery and multiple redundant paths owned and managed by them, to ensure constant delivery of their broadcast streams.

Tata Communications is also investing in other African countries – it is already connected to Nigeria and plans to add Nairobi and Dubai soon.

WHAT MAKES THIS GLOBAL NETWORK SO EFFECTIVE?

Simply put when the Proteas are playing Sri Lanka, Neotel can transmit live feeds from the cricket stadium to the broadcaster (eg.

SABC) and all other broadcasters that have bought the broadcasting rights (eg.

SuperSport, ESPN and others). Through Neotel Video Connect, the various broadcasters don’t need to be directly connected to the content provider to get

the broadcast content; they only need to be connected to Neotel or the Tata Communications network.

No other data is transmitted across the same network and no capacity is shared or contended with other protocols or customers. Signals received from a playout room, studio or other facilities are transmitted over fibre to Neotel/Tata Communications Video Connect Points-ofPresence (PoPs) for delivery to the desired location.

Video Connect provides transmission in ASI, SDI (SD/HD), AES and JPEG2000 formats and the network also caters for large file delivery (to supported locations) via built in UDP file transmission across its Ethernet ports. This means that large files can be moved to anywhere on the planet.

The communications company has a focus on reliability with Service level SLAs of 99.995%. The company reports that it has had less than 2 minutes lost in two years and has four redundant fiber paths in place.

Video Connect uses a DTM Protocol over SDH as opposed to traditional MPLS platforms, which guarantees constant, low jitter and 0% packet loss. This means a consistent user experience with no pixelisation and freeze frames normally produced by irregular jitter, sobroadcasters are assured of the best picture quality at all times.

Full time monitoring and troubleshooting from a state of the art Video NOC (Network Operating Centre) through a 24/7/365 dedicated broadcast engineering team focused specifically on the management and monitoring of the global Video Connect network. This facility provides round the clock monitoring of link, equipment and circuit performance and can include Video Analytics as well as transcoding services if required.

In conclusion, broadcasters, content and events providers in South Africa now have a dedicated Global Video Network using Neotel and Tata Communications’ impressive fibre network, with instant access to contribution feeds from across the globe and the ability to provide feeds and content to international counterparts on an ad-hoc basis, as and when they need it.

DISCOP AFRICA FPO

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FILM AND TV CONTENT MARKET CO-PRODUCTION FORUM SCREENINGS FORMAT PITCHING COMPETITION CONFERENCE PROGRAM

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Africa

|

Half of a Yellow Sun set for screen

By Chinaka Iwunze

MADE IN NIGERIA: Thandie Newton and Chiwetel Ejiofor in a scene from Half of a Yellow Sun

I

ncreasing hype surrounding the release of the film adaptation of Chimamanda Ngozi Adichie’s best seller Half of a Yellow Sun has put the spotlight onto the beloved Biafran War-based story. Adichie recently featured on Britain’s Channel 4 News, where a short clip from the film was shown.

Winner of the Orange Prize for Fiction, a British literary award, Half of a Yellow Sun takes place in Nigeria during the NigeriaBiafran civil war which lasted from 1967 to 1970. It follows twin sisters Olanna and

New board for ZIFFT

Kainene as it looks at the dynamic relationships between them, a professor, a British citizen, and a houseboy. The story takes us on a journey as we witness how their lives drastically change due to the ensuing civil war and the decisions they all make in their personal lives.

In a recent interview on the South to North show with Redi Thlabi on Al Jazeera English, director Biyi Bandele shared what inspired him to make this movie. “The moment I read the book about six years

Stephen Chigorimbo

ago, I just fell in love with it. And I became paranoid that if it was done by anyone from outside, they would make a movie that I have seen so often before.”

He added: “I wanted a movie that depicted Africans as human beings and not just statistics for NGOs”.

Bandele is a UK-based Nigerian novelist and playwright whose portfolio includes works with the Royal Shakespeare Company. He studied and lived in Nigeria before leaving for the UK in 1990.

Some notable works are his stage adaptation of Chinua Achebe’s Things Fall Apart (1999) and Burma Boy (2007), a play which he wrote and directed. Half of a Yellow Sun is Bandele’s directorial debut.

According to producer Yewande Sadiku – also on South to North with Redi Thlabi – the bulk of the funding for Half of a Yellow Sun came from Nigerian investors who demanded a detailed memorandum of understanding focusing

Simbirirai Solomon Maramba

Daves Guzha

By Martin Chemhere

A

new board of the ZIFFT (Zimbabwe International Film Festival Trust) has taken office after the old board was disbanded in the fourth quarter of last year amid media speculation that it was experiencing financial and management weaknesses that led to a narrowed execution of its duties. The fact that there was no 2012 edition of the festival was attributed to this situation.

New members of the board are filmmaker and ZIFTESSA lecturer, Nocks Chatiza; actor, filmmaker and distributor Stephen Chigorimbo; archivist, researcher, author, producer and lecturer Joyce Jenje-Makwenda; actor, director, producer, administrator and social justice activist Daves Guzha; digital production and animation specialist Simbirirai Solomon Maramba; journalist, writer, and 46 | SCREENAFRICA | June 2013

Dan Jawitz development agency executive Isabella Matambanadzo; artist and arts administrator Joanna Powell; and actor and development agency executive, John Stewart.

Founding trustees Rachel Kupara, Dan Jawitz, Nigel Munyati and Joel Phiri remain in office.

“The appointment of the new board has already injected new energy and a fresh, dynamic impetus into ZIFFT. This will pull it out of its three year-long quagmire and restore it to its previous position as the key driver of Zimbabwe’s film industry,” says Munyati.

At the new board’s first meeting held recently, they resolved that priority should

Isabella Matambanadzo be given to restoring confidence with donors and sponsors, reviewing the Trust’s strategic direction, and recruiting an appropriately qualified executive with demonstrable administrative and creative capacity.

Until an executive team is in place, the trustees will manage affairs through four committees with the following mandates: Administration and Human Resources (charged with structure, job descriptions, recruitment, compensation, and performance measurement); Programmes (responsible for programme formulation, partnerships, research and archiving, publishing, training, and intellectual property management); Finance and Audit

on their distribution plans and how investors would recoup their money.

Says Sadiku: “Half of a Yellow Sun demonstrates what is possible with a made-in-Nigeria produced film, with the right level of financing and with the right quality of technical skills and equipment.”

Another aspect to the film that has led to excitement is its cast members. The film has pulled in a collection of impressive Hollywood and Nollywood actors namely Chiwetel Ejiofor (Inside Man, American Gangster, 2012), Thandie Newton (Crash, Mission Impossible 2, The Pursuit of Happiness), Anika Noni Rose (The Frog and the Princess, Dream Girls, No.1 Lady Detective Agency), Joseph Mawle (Abraham Lincoln: The Vamipre Hunter, The Cold Light of Day), Hakeem Kae Kae-Kazim (Hotel Rwanda, Pirates of the Caribbean, Man on Ground), John Boyega (Attack the Block, Law and Order), Genevieve Nnaji (Doctor Bello, Ije: The Journey), Babou Ceesay, Rob David, O.C Ukeje, Paul Hampshire, Zack Orji, Susan Wokoma and Onyeka Onwenu.

On the South to North show with Redi Tlhabi, when Sadiku was asked if she would place Half of a Yellow Sun in the same category as a typical Nollywood story, she responded: “Half of a Yellow Sun is not a typical film.”

(for fundraising, financial management, and audit).

Duties such as Trust deed revision, institution of policies and procedures, legal, and Trust communications have been put under the jurisdiction of the Governance and Communications committee.

Trustees resolved that 2013 activities will focus on hosting an abridged film festival in October that will take the form of a ZIFFT Retrospective, profiling the festival’s sterling work over the past 16 years.

ZIFFT runs several projects such as the annual festival that brings international films and local short films to cinemas and other venues in Harare, Mutare, Norton and Bulawayo.

A visual literacy development thrust project of ZIFFT is the Outreach To Educate (o2e) that includes children’s awareness programmes such as Kidz With Cameras (KWC), Kids In Front Of the Camera (KIFOC), Postcards from Zimbabwe (Pfz).

Film Forum (FF) was created as a platform for the filmmakers to meet, network, and exchange ideas with other filmmakers, through workshops and master classes.

Short Film Project (SFP) is the production arm of the Trust and focuses on short film development for the Trust as well as externally commissioned productions. To date the SFP has produced about 20 short films which have been distributed locally and abroad.

ZIFFT also operates a commercial section through which it packages its products, and hires out equipment.

| AFrica

Nigeria’s changing broadcast landscape

By Craig Ogusanyo Ornico Nigeria operations manager

Nigeria’s National Broadcasting Commission recently shared its desire to license more network stations, bringing the country one step closer to quenching its thirst for a diverse media.

A NEW HORIZON: Criag Ogusanyo define standards in the Nigerian broadcasting industry.

NBC was also tasked with licensing, monitoring and regulating that industry’s environment, with the aim to encourage investment and develop quality programming and technology that is globally competitive.

Deregulation

N

igeria is a country rich in natural resources, with mammoth purchasing power, exciting business opportunities and a diverse population that is hungry for media content.

From 1932, when the Radio Diffusion Service started in Nigeria, basically serving as an extension of the Foreign Service of the BBC (British Broadcasting Corporation) until 1992, when broadcasting in Nigeria was de-regulated, its broadcast media were owned either by the national, regional or state governments.

Government continued to monopolise broadcasting in Nigeria despite the 1979 constitutional provision – ‘that every person shall be entitled to own, establish and operate any medium for the dissemination of information, ideas and opinion’ – which included broadcast media.

It was not until the announcement of Decree 38 of 1992, under the leadership of General Babangida that government really took a decisive step to part with its long-held monopoly of the broadcast sector. The decree (now an Act of the National Assembly) established the NBC (National Broadcasting Commission) and charged it with the regulation and deregulation of broadcasting in the country.

This law empowered the Commission to

After 1992 the NBS was flooded with a wave of requests from Nigerian entrepreneurs for broadcast licences that would enable them to set up private broadcasting stations in the country. This changed the broadcast landscape tremendously, as it allowed the ownership of radio and television by private companies and organisations in the country.

The deregulation of the broadcast industry afforded not only the emergence of private channels but also created opportunities for innovation. Private radio stations integrated digital content, such as webcasts. Cool FM and Brilla FM, both privately owned outfits, set the pace with Radio Nigeria, Ibadan and Radio Lagos/Eko FM as the first public radio stations to embrace online broadcasting on www.radionigeria.org and www.radiolagosekofm.com.

Many other broadcasters, including Voice of Nigeria (www.voiceofnigeria.org), Channels Television (www.channelstv.com) and Nigerian Television Authority (www.nta. org) embraced webcasting, therefore expanding their reach and visibility.

Within a period of 20 years, 155 private radio stations and 153 TV stations have opened up in Nigeria. These have thrived despite interrupted power supply, government interference, market

uncertainties, technology and the need for a professional community.

Migration to digital Digitisation is perhaps the most intimidating and yet necessary challenge for broadcasting in Nigeria. Following the global declaration by the ITU (International Telecommunication Union), the late President Umaru Musa Yar-Adua in 2007 approved the NBC to pilot the country’s migration from analogue to digital television.

The initial switchover date of 17 June 2012 passed without the goal being reached. A new date has been set and is yet to be announced to the public. The hope is that the migration will happen before the ITU’s deadline for Africa on 17 June 2015.

Benefits of analogue-to-digital migration include improved coverage of digital TV transmission; bandwidth available for wireless broadband services; enhanced sound and picture quality, in particular HDTV; more channels (additional content); and access to radio.

Digitisation will also mean an enhanced viewer experience through EPG (Electronic Programme Guide), sub-titling, additional language options and interactive services such as weather and news reports.

Confusion There has been some confusion in Nigeria as to what digitisation could mean for the industry, as there has been no open discourse either in the media or the public sphere. Digitisation will affect content production, transmission and reception – and ultimately media monitoring in Nigeria.

It will also contribute positively to media

research with regards to ascertaining accurate subscription figures.

Countries such as Kenya, South Africa, Ghana and Morocco are already on track with the migration process. Although it seems slow in Nigeria, there are lessons to be learnt from these African countries. The transition requires not only technological perspective but also legal direction.

Government must provide policy direction and possibly put in place a subsidy that will enable lower market segments to acquire the digital receivers to enable them to acquire digital television.

Digitisation will bridge the road between broadcast in African and Western countries.

Broadcasters face many hurdles towards a successful transition. There will be challenges in terms of equipment, human resource skill sets, new coverage planning, content curation and general public awareness.

As the chairperson of radio station, Ray Power on 100.5FM & AIT Raymond Dokpesi, said: “You cannot transmit on analogue platform to digitised nations. If you must remain competitive you must acquire the latest technology to be relevant.”

So players in the broadcasting industry in Nigeria and other African countries, and their respective viewers, must brace themselves for the effort that will be required to see digitisation through.

Moreover, all parties must indeed look forward to an enhanced broadcasting experience. *Media information provider Ornico has the largest and most comprehensive library of TV, radio, outdoor, print and internet reference material, and offers a tracking service for emerging advertisements or Newcomers™.

June 2013 | SCREENAFRICA | 47

P R O D U C T I O N U P D A T E S Small ads 05-13* 5/27/13 10:24 AM Page 1 C

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FOR FURTHER DETAILS VISIT www.screenafrica.com

Those productions in red are newly listed this month Production Updates Order of Information

FOR THE NEW CITY – DANCE ON FILM

1. Title 2. Production Company 3. Director 4. Genre

FORSAKEN

IN DEVELOPMENT 80 MINUTES

Periphery Films Dirs: Simon Taylor / Julia Taal Feature Drama AFRICAN NIGHTS

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker A LION IN THE BEDROOM

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature AMABHUBESI

Inkwasi Television Prod: Bell Curle TV Magazine

Composite

At The Creek Without A Paddle

Zen Crew Exec Prod: Laura Tarling Documentary BAD MEDICINE

Tin Rage TV Production Dir: Enver Samuel Documentary Bagged

E

Izithulu Productions Exec Prods: Donovan Mulligan / Mike Westcott Short Film

F F IC IE N

BLAST FROM THE PAST

T

Sirius Films Prod: Ian Manly Documentary

BODA BODA THIEVES

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

Yes That’s Us Prod: James Tayler Feature

BREAD AND WATER

Periphery Films Dirs: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN

Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CAPE OF GOOD HOPE JHB Tel: +27 (0)11 7709800 KZN Tel: +27 (0)31 5330900 Web: www.electrosonic.co.za E-mail: sales@electrosonic.co.za 24 Hour Support Lines: AV: 0861 AVHELP (28 4357)

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature CHILDREN OF FAMOUS ACTIVISTS

Current Affairs Films Prod: Jane Thandi Lipman Feature Film CHILLI CHICKS

International Radio Pictures, Inc Kit Reynolds TV series COILED

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND

SuitePeople TVP Prod: Bell Curle Documentary

GOUE STERRE

RAF INDUCTION VIDEO

GRIZMEK

ROAD ACCIDENT FUND INDUCTION

Suite People TVP Prod: Bell Curle TV Series Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

HOTEL SONGOLOLO

MPA (Motswako) Dirs: Charls Khuele / Zuko Nodada Feature

Spike Productions Prod: Steve Mueller Bsc. Documentary The Media Workshop Dir: Benito Carelsen Comedy Series IIQ

Sukuma Media Dir: Bonginhlanhla Ncube Feature IK1 – TOURISTS IN DANGER

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Indla lifa

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series Insila yenkosi

P.I.M.P Dir / Prod: Daniel P Nxumalo Feature (Zulu) Inventing Africa

Imageworks Prod: Anthony Irving Documentary

IYEZA THEATRE & TV LIGHTING (PTY) LTD

Iyeza Theatre & TV Lighting (Pty) Ltd Prod / Dir: Cal Morris Corporate JAM SANDWICH

Meerkat Media Prod / Dir: Pauli van Dyk / “MQ”, Alvine Darboux Music reality show JAN SMUTS: AN INTERNATIONAL ICON AHEAD OF HIS TIME

Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series

SEBOKENG

SHORT BUSINESS FEATURE WITH BBC / ABC

Current Affairs Films Prod: Jane Thandi Lipman Short Business Features Sirens

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series SUPERMAMA

GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK!

International Radio Pictures Prod: D Gillard Musical The 7P’s to propel change

Panache video productions Prod / Dir: Liesel Eiselen Script: Dr Caren scheepers The Black Blonde

Steve Radebe Post Productions Prod: Steve Radebe Feature Film tHE blood kIng and the red dragon

Current Affairs Prods: Jane Thandi Lipman / Mtutuzeli Matshoba Feature the book shop

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series

Tekweni TV production Prod / Dir: Sandra Herrington / Neville Herrington Documentary

THE CONSEQUENCE

KADU’S JOURNEY

The Dreaded Evil Eye from Past to Present and Across Cultures

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature DYINGCRACY

Sabstance Productions Prod: Edmund Mhlongo Documentary LEADERS of AFRICA

The expeditionary force Dirs: nicholas schofield / alexis schofield Documentary LION GIRL

DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature Lonely Planet

MHLONGO

Ex Pats

Panache Video Productions Prod: Liesel Eiselen Corporate

HISTORICAL KIMBERLEY

ECONOMIC TRANSFORMATION

Espafrika Prods / Dirs: Rashid Lombard / Yana Lombard / John Bright Documentary

Pieter Cilliers Productions Prod / Dir: Pieter Cilliers TV Magazine

Panache Video Productions Dir: Liesel Eiselen Corporate

MANCHE, THE AFRICAN SAINT

espAFRIKA presents the Cape Town International Jazz Festival 2013

48 | SCREENAFRICA | June 2013

PIETER CILLIERS PRODUCTIONS

Inhlakanipo Films Dir: Dumisani Vusi Nhlapo Short Film

do good design south africa

Current Affairs Films Prods: Jane Thandi Lipman / Beata Lipman Feature Film

PASSARES (BIRDISH)

Genius

Bamboo Media (PTY) LTD Dir: Marguelette Louw

ESCAPE

White Heron Pictures Dir: Themba Sibeko Feature

White Heron Pictures / Casa De Criacao Cinema Prod: Themba Sibeko Feature

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary

Palace of the Faithless

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature

DAISY

Concept Interaction Prod: Karl Fedderke Educational

Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709

SWiTCH / Resonance Bazar Prods: James Tayler / Julia Raynham Film

Get the Picture Prod / Dir: Jacky Lourens / Karin Slater Documentary Inhlakanipho Films Dir / Writer: Dumisani Vusi Nnhlapo Feature Money in the bag

P.I.M.P Dir / Prod: Daniel P Nxumalo Reality TV show MUTI DOT MOBI

Vuleka Productions.

Prod / Dir: Julie Frederikse / Madoda Ncayiyana Feature Film NEW BEGINNINGZ

Sukuma Media Dir: Bonginhanhla Ncube Documentary Nongoloza

Current Affairs Prod: Jane Thandi Lipman Feature

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature

It’s a Wrap Productions Dir: Eugene Botha Documentary THE EDGE

International Radio Pictures Kit Reynolds TV Series THE FILM MAKER

Elle Bolt Productions Prod: Elle Bolt Reality Series The Flawed Genius of Jan Smuts

Tekweni TV Productions Prod / Dir: Sandra Herrington / Neville Herrington Documentary The Scores Are In

Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS

SuitePeople TVP Bell Curle Documentary

WAY TO ROLL

Blue Ice Productions Dir: Freddie Strauss Feature WARD 22 AKA SPECIAL OPS

DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary Welcome To The Club

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature WHIPLASH

Get the Picture Prod / Dir: Jacky Lourens / Meg Rickards Other Crew: Tracey Farren, Jenny Hicks Feature Film

P R O D U C T I O N U P D A T E S ZERO DIET

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

THE MESSENGER

ZEBRAS

Spirit Word Ministries/Footprint Media Academy Exec Prod: Annalise Van Rensburg Series

ZEN FILM CREW MANAGEMENT

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video

DO Productions Dir: Bruce Beresford Feature ZEN Film Crew Management Prod / Dir: Laura Tarling Commercial

PRE-PRODUCTION Chabela Day Spa

Grey Cloud Production Dir: Jacques Brand Information Video Die Verhaal van Racheltjie de Beer

Brett Michael Innes Films Prod: Brett Michael Innes Historical feature film

Elegy: forsaken in South Africa

Market Street Productions Prod: Paul Van Zyl Short film

Hermanus Social Upliftment Video

Fc Hamman Films Dir: FC Hamman Marketing Video

Holidays for Madmen

Imageworks Prod: Anthony Irving TV Series

IPCC CHURCH CHOIR

FC Hamman Films Dir: Pierre Smith Music Video

JUB JUB DOCUMENTARY (working title)

Baxopath Media Dir: Nolitha Tshinavha Documentary

LET HEAVEN WAIT

Revolution real entertainment Prod / Dir: Deon Potgieter Sitcom Mandela

Synergy Films Drama / Documentary MISTIFY

Gleam studios / Wilddogs productions Prod / Dir: Sonja Ter Horst / Johnny Swanepoel Short film NATIONAL LIBRARY OF SOUTH AFRICA

Panache Video Productions Prod / Dir: Liesel Eiselen Corporate video NUPRO VOERE

FC Hamman Films Dir: FC Hamman Marketing Video PSALTED

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety RATE MY PLATE

International Radio Pictures Exec Prod: Kit Reynolds Community Project

UASA GOLF DAY

VROU SOEK BOER

West Five Films Dir/ Prods: Maynard Kraak / Johan Kruger Feature Film

SHAKESPEARE IN MZANSI: A MIDSUMMER NIGHT’S DREAM

Fireworx Media Prod: Bridget Pickering Mini Series

SLENDER WONDER INFORMATION VIDEO

Grey Cloud Productions Dir: Jacques Brand Information Video TALK OF THE TOWN

SuitePeople TV Productions Bell Curle TV Series

Child Geniuses

Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series

Cool Cats

FC Hamman Films Dir: FC Hamman Marketing Video

SWITCH Dir: James Tayler Commercial

Red Pepper Exec Prod: Cecil Berry Children’s Show CORTEX MINING

IN PRODUCTION 3 Talk

Urban Brew Talk Show 3RD DEGREE

e.tv Investigative TV series 50/50

Clive Morris Productions Current Affairs A 400 year old bestseller – The King James Version of the Bible

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary AFROX LPG RESTAURANT TRAINING

FC Hamman Films Dir: FC Hamman Training Video

ALL YOU NEED IS LOVE 5

Endemol South Africa Reality

ANGLO GOLD ASHANTI SAFETY SERIES

SummerTime Productions Prod / Dir: Sean Gardiner Corporate Video

ABC AMERICA NEWS SPECIAL ON MANDELA

Current Affairs Films Prod: Jane Thandi Lipman Feature News Special

AFRICA FACTS SEASON 3

Lebapi Productions Dir: Daniel Moleabatsi TV Magazine AFRICA 360

eNews News Head: Patrick Conroy Current affairs AFRO CAFÉ SEASON 7

Bonngoe Productions Exec Prod: Pepsi Pokane Music Show

AFRO SHOWBIZ NEWS

SABC News International Exec Prod: Jody-Layne Surtie TVMagazine Agape

Alex: A history from below

International Radio Pictures Exec Prod: Kit Reynolds Community Project

Modern Times Prods: Sofia Phirippides / Jon Pienaar Documentary

WORKERSLIFE FUNERAL PLAN

SAINT & FREEDOM FIGHTER

Si-solutions

Carte Blanche (inserts)

Codesign – commercial spot for furniture designers

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Film

Imani Media.

Comedy

It’s a Wrap Productions Dir: Eugene Botha Documentary

NHU Africa Exec Prods: Vyv Simson / Donfrey Meyer Wildlife Documentary

WAY TO FREEDOM

Gabaza Productions Prod: Sarah Ngubeni Magazine

SAFE IN THE CITY

BORDER MARAUDERS

Uhuru Productions Dir: Rehad Desai Documentary ALL ACCESS

Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show Awesome Africa

Steplite Films Dir: Jacqui Logie TV Series

barbour and thorne: 60 years strong

Our Time Productions Dir: Juan de Meilon Corporate Video

BBC PLANET EARTH LIVE

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Come Dine with Me South Africa

Rapid Blue Prod: Kee-Leen Irvine Reality Cutting Edge

SABC News Current Affairs

DADDY’S MESS

Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DIE VIERDE KABINET

Jan Scholtz Productions Prod: Jan Scholtz Series DINNER DIVAS

2 Blonds and a Redhead Filming Exec Prod: Anne Myers Cookery Series DIY Met Riaan

Prod: Riaan Venter-Garforth Magazine EM PETROCHEMICALS TOP END

Betta Beta Communications Prod / Dir:Tommy Doig Training Program Cordover Trading Prod: Paul van Deventer Lifestyle EASTERN MOSAIC

Red Carpet Productions Magazine Programme FORMIDABELE VROUE: ANNEKIE THERON

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: CISSY GOOL

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: INA DE VILLIERS

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: UNA VAN DER SPUY

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FOX NEWS CHANNEL

Betta Beta Communications Prod / Dir: Tommy Doig News Current Affairs Freeway Frog

Firefly Animation Prod: Ant Steel Animation Short FRENZY

Red Pepper Pictures Prod: Palesa Mopeli Variety GENERATIONS

Morula Pictures Exec Prod: Mfundi Vundla Soapie GNLD

Dithakeng Projects and Flms Exec Prod: Thabang Nkunyane Short Film

BIG BROTHER THE CHASE

GOOD MORNING AFRICA

THE LOST ANGEL

Binneland

Inhlakanipho Films Dir: Vusi Dumisani Nhlapo Feature Film TO CARE FOR YOU ALWAYS

Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM

South African Great Movies Production Dir: John Wani Feature

Endemol South Africa Reality TV

Stark Films Prod / Dir: Friedrich / Elsje Stark Daily Soap / Tv Series Bonisanani

Kagiso TV Talk Show

BOPSY BUNNY

Firefly Animation Studio Exec Prod: Antony Steel Short Films

t +27 [11] 482 7111

www.atlasstudios.co.za

EXPRESSO 2

Wild Images Dirs: James Smith / Tim Scoones / Roger Webb Documentary

The Black Out

Cnr. Frost avenue & owl street | Milpark | Jo’burg

FC Hamman Films Dir: FC Hamman Opening Video Planet Image Productions SA Prod / Dir: Wale Akinlabi TV Magazine Gospel GOLD

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show GROEN

Homebrew Films Prod: Jaco Loubser Wildlife HEADLINE 5

Bitch Films TV Magazine

HEAVEN – Africa

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Hectic 99

Okuhle Media Prod: Wilna van Schalkwyk Magazine Show HITACHI POWER AFRICA MEDUPI & KUSILE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary HOUSE CALL

Izwe Multimedia / Urban Brew Series Prod: Annalie Potgieter Live Medical Talk Show Imizwilili

Ukhamba Communications Music Inkaba

Urban Brew Studios Prod: John Kani Telenovela INSIDE STORY

Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature ISEDALE

Golden Effects Pictures Dir: Kunle Afolayan Documentary Series ISIDINGO

Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama IT’S MY BIZ

Urban Brew Studios Reality business makeover series JAM SANDWICH

Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas Key Crew: Cam / Sound: Jaques Marais / Mzukisi Mtishiselo TV Series / Reality Music show JAM SANDWICH IV

Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas TV series Jim Iyke: Unscripted!

Ifactory Live, Greyology Inc. & Oh Africa Exec Prod: Michael Djaba Reality TV series (AfricaMagic) JOU SHOW MET EMO en Wickus

Laugh out Loud

Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya

Urban Brew Prod: Enel Viljoen Reality KONA

The Directors Team (Pty) Ltd Prod / Dir: Laurence Lurie / Cathy Sykes TV Series – M-Net East Africa KWELA

Pieter Cilliers Productions Prod / Dir: Pieter Cilliers TV Magazine LATE NITE NEWS ON E.TV

Diprente Productions Prod: Tamsin Andersson Satire Live

Urban Brew Music Show Live Lotto Show

Urban Brew Game Show

Maggs on Media

eNews Prod: Jeremy Maggs Current Affairs

MASSMART CSI REPORT

SummerTime Productions Prod / Dir: Roxanne Rolando / Sean Gardiner Corporate Video MATRICS UPLOADED

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational MGONGO BY SONY

Sony Prod / Dir: James Lennox Lifestyle & Entertainment Million Dollar Race

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MK Campus

Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show MOFEREFERE LENYALONG

Moja Movie Factory Sitcom

Homebrew Films Prod: Jaco Loubser Variety Show

Montana 2

Judge For You Self

MOTSWAKO

eNews Current Affairs

Penguin Films Exec Prod: Roberta Durrant Drama Series Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show

June 2013 | SCREENAFRICA | 49

P R O D U C T I O N U P D A T E S MUVHANGO

Word of Mouth Prod: Pieter Grobbelaar Feature

Phoenix Rising...The Business of Style

MZANSI INSIDER

Phoenix Entertainment and Production Prod / Dir: Koketso Sefanyetso Reality Docutainment

Music Moves Me

Mixed Motion Entertainment Dir: Dieter Gottert Sport Programme

Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show News Night

eNews Prod: Nikiwe Bikitsha Current Affairs

Ukhamba Communications Music Show

Zen Crew Prod: Laura Tarling Music Video

SAKEGESPREK MET THEO VORSTER SEASON 4

Religion and the ANC

Nomzamo

Tunnelvizion Productions Prod / Dir: Ruan Lotter/Hein Ungerer Short Film

ONS MENSE

Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS

Plexus Films Prod: Miki Redelinghuys Corporate Video PASELLA

Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme PGC

FC Hamman Films Director: FC Hamman Marketing Video

ROER

Roots

Project MV

NIGCOMSAT – TELEVISION COMMERCIAL SERIES

Tom Pictures / Authentic Images Comedy

Summertime Productions Prods: Sean Gardiner / Tanya Vandenberg Educational Video Homebrew Films Prod: Jaco Loubser Cooking Show

POWER COMBAT ZONE

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary

SWiTCH Prod: Sarah Wanjiku Muhoho Commercial

ROCKING FUTURE

RETROBOUCHON

RISKCON SECURITY

FC Hamman Films Prod: Neels Smit Corporate Video Red Pepper Prod: Cecil Barry Reality Series

RHYTHM CITY

RHYTHM CITY INTERACTIVE

The Lighthouse Run – 42 Marathons, 42 Days

Rapid Blue Prod / Dir: Kee-Leen Irvine Reality

THE RUDIMENTALS

SHIZ NIZ

Red Pepper Pictures Prod: Allen Makhubele Variety Shift

Urban Brew Talk show SHORELINE 2

Homebrew films Documentary series S.I.E.S (SOCIAL IMPACT AND EMPOWERMENT STRATEGY)

Penguin Films Dirs: Roberta Durrant / James Ngcobo Sitcom SKWIZAS 2

Lillian Dube Productions Prod: Lillian Dube Sitcom SISTERHOOD

Red Pepper Pictures Prod: Vuyo Sokupa Variety Siyakholwa – We Believe

X CON Films Dir: Munier Parker Edutainment

SKETCH U LATER

Chris Morris Productions Dir: Genna Lewis Comedy series Soccer 411

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine M

Y

CM

MY

CY CMY

K

Urban Brew Entertainment

Periphery Films Prod: Simon Taylor Feature Documentary

THE STORY OF LITTLE FOOT

Paul Myburgh Film Prod: Paul Myburgh Documentary

The Tech Report

Greenwall Productions Exec Prod: Nicky Greenwall Magazine THE WILD

Magic Factory Exec Prod: Bobby Heaney Daily TV Soap

M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme STUDY MATE

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational

Prod: Nndanganeni Mudau Current Affairs Zone 14

The Bomb Shelter Prod: Angus Gibson Drama

POST-PRODUCTION 4LIFE NETWORK

Bragge Film& TV Dir: Guy Bragge

Infomercials A BUSHMAN ODYSSEY

Onetime Films Prod: Richard Wicksteed Documentary AFRICA CALLING

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature AFROX CO2 PLANT

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX FINANCIAL RESULTS

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video

AMBASSADOR II

Top 10 at 10

Animal Doctor (Working Title)

Tswelopele Productions Prod: Patience Stevens TV Magazine Don’t Look Down Radio / TV Simulcast TRAPPER IN AFRICA

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary TSHIPE BORWA MANGANESE MINE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary Turn It Out 2

Fuel Media Productions Dir: Marvin Raftopoulos Dance Reality show TWK AGRI

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video UASA CONGRESS

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Anton Dekker Corporate Video VILLA ROSA

Spectro Productions Dirs: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama WEEKEND LIVE

SABC News Current Affairs

When The World Was Here

The B-Ball Show

The Chat Room

STEPS International Exec Prod: Don Edkins Documentary Series

THE CHEETAH DIARIES SERIES 4

SABC3 Lefa Afrika Magazine

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary

Yilengelo Lakho

TOP BILLING

Fuel Media Productions Dirs: Scott Smith / Shaft Moropane Documentary Series

Eclipse Prod: Thokozani Nkosi Talk Show

Grace Bible Church Religion

ALL’S FAIR

AFDA Cape Town Dir: Kyle Stevenson Science Fiction

TASOL “Old Geezer”

SABC Commissioning Ed: Dinah Mahlabegoane Variety

Xihlovo

THERE ARE NO HEROES

Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series

Bragge Film & TV Dir: Guy Bragge Commercial

Leago Afrikan Arts Foundation Dir: Sakhile Gumbi Documentary

AFROX SHEQ INDUCTION

Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary

VKB LANDBOU BEPERK

STUDIO 53

WORLDSOUTH

THE TRANSPORTERS

Sony Presents Mgongo

New Wave Productions Prod: Mishkah Roman-Cassiem Spiritual

Cape Town Television Prod: Sharon McKinnon TV Series

AFROX RAU INSIGHT

Media Village Productions Dir: Diane Vermooten Documentary

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video

Spirit Sundae

Workers World Series

TRANSFORMATION STORIES

SABCSports Head: Sizwe Nzimande Magazine

Soccer zone

Sony Variety

50 | SCREENAFRICA | June 2013 Composite

SummerTime Productions Dir: Tanya Vandenberg Documentary

SCHOEMAN BOERDERY – MOOSRIVIER

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary

C

eNews Exec Prod: Debbie Meyer Current Affairs

THE REAL GOBOZA 7

SHARK STORIES

Small ads 05-13* 5/27/13 10:24 AM Page 2

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary

Ochre Moving Pictures Series Prod: Romano Gorlei Soapie

Tswelopele Productions Prod: Phuthi Ngwenya Magazine

Unit 3, Harbour Place, 1061 Schooner Road, Laser Park, Honeydew

Prod: Michael Mol Magazine

SA’S GOT TALENT

Francois Odendaal Productions Prod / Dir: Francois Odendaal Natural History TV Series

Ses’khona

Asi-B Films Exec Prod: Asivhanzi ‘Asi’ Mathaba Kids

THE DR MOL SHOW

The Justice Factor

Sikhoyana Productions Prod: Baby Joe Correira Variety Series

Rivoningo

Spoon Fed Generation Lerato Letebele Talk show

SANPARKS YOUTH & PARKS

SELIMATUNZI

Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media

The Cypher

THE GREAT PENGUIN RESCUE

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary

Curious Pictures Prod: Yula Quinn Soapie

Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary

Dirk Mostert Camera Production Prod / Dir / Ed: Dirk Mostert / Rudi Ahlstrom TV Magazine

SCANDAL

ROLLING WITH KELLY KHUMALO

The Communist Republic of South Africa

Why are We so Angry?

Why Poverty?

Wicket to Wicket

WORKERSLIFE INSURANCE

FC Hamman Films Prod: Odette van Jaarsveld Marketing Video

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video FC Hamman Films Prod Man: Odette van Jaarsveld Commercial PianoJ Productions Prod: Pia van Rensburg Short Film Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Animal Doctor cc.

Prods: Greg Simpson / Jonty Acton TV Series AURECON STAFF INSERTS

Panache Video Productions Dir: Liesel Eiselen Marketing BABALAS

FC Hamman Films Exec Prod: Peter Scott Feature Film Bally Cullen Guesthouse Ad

Panache Video Productions Prod: Liesel Eiselen Corporate Bitter Root

Imageworks Dir: Kerry Negara Documentary BLITZ PATROLLIE

Diprente Films Prod: Kagiso Lediga Feature BUA NNETE

Owami Entertainment Dir: Charles Khuele Short Film Calafornia: Valley Christian School Transformation

Media Village Prod: Diane Vermooten Documentary DEAR SISTER

Media Village Prod: Debbie Matthee Short Film DRAGON’S FEAST 3D

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary ERFSONDES

Imani Media Dir: Peter Heaney TV Drama Freedom Park Installations

Kevin Harris productions / Fix Post production Prod / Dir: Nadiva Schraibman Documentary FROM GUN TO TAPE

Content House/Shadow Films Prod / Dir: Jackie Lebo / David Forbes Documentary GETROUD MET RUGBY SEASON 4

Bottom Line Productions Dir: Jozua Malherbe Series

P R O D U C T I O N U P D A T E S HALF OF A YELLOW SUN

Shark Stories

Cooking With Siba

HOME OF THE LEGENDS

SLENDER WONDER

DINEO’S DIARY: A MOGUL IN THE MAKING

SLENDER WONDER MJ LABS

DRAGON’S FEAST 3D

British Film Institute Dir: Biyi Bandele Feature Film

L. Dukashe Productions Prod / Dir: Lumko Dukashe / Lulu Dukashe Documentary Hong Kong

Media Village Prod: Diane Vermooten Documentary INTEL HISTORY

Bragge Film & TV Dir: Guy Bragge Corporate IQILI

Impucuzeko Prod: Sharon Kakora Feature Israel Inside (Working Title)

Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary JACK UP YOUR SHACK

Let It Rain Films Prod / Dir: Lee Doig TV Series JAM SANDWICH

Meerkat Media Dir: MQ Ngubane Music Reality TV series JULIUS HAS A DREAM

Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary Kemang?

lmol Production Dir: Lizzy Moloto Feature Film

Talking Pictures Prod / Dir: Garth Lucas/ Ann Strimling Documentary FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video

South african Field Band Foundation Championships

Panache Video Productions Prod: Liesel Eiselen Documentary STETSON HATS

Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Video Stolen Time

Prod: Eric Myeni Feature Tanzanian Investment Opportunities

Benchmark Productions Dir: Dermod Judge Corporate Video

Technology Innovation Agency CEO Address

Panache Video Productions Prod: Liesel Eiselen Corporate Video Technorati

Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show THE AFRIKANER BROEDERBOND

Launch of the Academy of Young SA Scientists

It’s a Wrap Productions Dir: Eugene Botha Documentary

LIFE UNDER THE FLAG

NHU Africa Exec Prods: Vyv Simson/ Sophie Vartan Wildlife Documentary Series

Panache Video Productions Prod: Liesel Eiselen Documentary

THE CHEETAH DIARIES SERIES 3

Lifeundertheflag.Com Prod: Prince Angelo Doyle Documentary

THOSE WHO CAN’T

LION’S TRACK

TO THE POWER OF ANNE

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature LOVE ABOVE ALL

Firstfruits media Dir: Nthabiseng Gamede Feature Film MARRY – ANN

Shadow Films Dir: David Forbes Documentary Melodi Jazz Festival 2011

L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD MICROSOFT 365

Bragge film & TV Dir: Guy Bragge Corporate Video

National Heritage Council Educational Outreach Programme

Panache Video Productions Dir: Liesel Eiselen Corporate Video

Quizzical Pictures SABC Comedy Series

FX Productions Prod / Dir: Robert Haynes TV Series

TOUCHING LIVES SEASON 3 GHANA

Launch Factory Dir: Spero Patricios TV Series

TREASURE GUARDS

Tandem Communications Exec Prods: Jonas Bauer / Rola Bauer Feature Triple O

Monarchy Prod: Mosibudi Pheeha Feature TRUE DREAM ( Revised Version)

South African Great Movies Production Dir: John Wani Feature Vallejo Transformation

Media Village Prod: Diane Vermooten Corporate Vehicle 19

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series

Forefront Media Group / Picture Tree / The Safran Company Exec Prod: Paul Walker Feature

PERFECT SHISHEBO

VERITAS

PLAY MORE GOLF

VKB LANDBOU BEPERK

PEACE PARKS

Curious Pictures Prod: Nthabiseng Mokoena Cooking Show FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercials PREDATORS’ PLAYGROUND

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series

Media Village Prod: Debbie Matthee Documentary FC Hamman Films Prod Man: Odette van Jaarsveld Script: Anton Dekker Camera: Dirk Steyn/ Simeon Hamman Corporate Video WALKING IN VICTOR’S SHOES

PURPLE TOWN

Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary

RESTYLE MY STYLE

Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary

River of Stones

Letcosmart Prod: Zibusiso Nkomo Feature

Sukuma Media Dir: Bonginhlanhla Ncube Documentary Curious Pictures Prod: Anita van Hemert Children’s Programming

WELLBODI BIZNES

ZION

Prod: Wiseman Mabusela Documentary SA JUNIOR MASTERS

Our Time Productions Dir: Jaun de Meillon Sport Programme SCAREDYKAT

Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL E-WASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION

Philip Schedler Productions Prod: Philip Schedler Corporate

COMPLETE AFROX AFRICA INSIGHT EPS 4

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX YEAREND RESULT

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Club Culture

Bonngoe Productions Prod: Tumi Rabanye Variety

Prod: Siba Mtongana Variety

New Vision Pictures and S2 Multimedia Exec prod: Dineo Ranaka Reality NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series DURBAN/REEF FUEL PIPELINE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary FORMIDABELE VROUE: PETRONELLA

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: LEONORA VD HEEVER

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET

JUNE 6 – 16

ENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL

13 – 23

LOS ANGELES FILM FESTIVAL

7 – 8

SHOWBIZ ENTERTAINMENT ARTS EXPO

16 – 22

CANNES LIONS INTERNATIONAL FESTIVAL OF CREATIVITY

26 – 27

BROADCAST FILM & MUSIC AFRICA

Cape Town & Johannesburg www.encounters.co.za Los Angeles, USA www.lafilmfest.com

Gallagher Convention Centre, Johannesburg www.seaexpo.co.za Cannes, France www.canneslions.com

Nairobi, Kenya http://aitecafrica.com/event/view/93

27 – 7 Jul GRAHAMSTOWN NATIONAL ARTS FESTIVAL

Grahamstown www.nationalartsfestival.co.za

JULY 11 – 15

UGANDA FILM FESTIVAL INTERNATIONAL (UFFI)

17 – 19

MEDIATECH AFRICA

17 – 19

SABA DIGITAL BROADCAST INFRASTRUCTURE & PLATFORMS FOR AFRICA WORKSHOPS

17 – 19

THE AFRICA LOUDNESS SUMMIT

18 – 28

DURBAN INTERNATIONAL FILM FESTIVAL

Impact Christian Media Prod / Dir: Carl Schultz TV Series

19 – 23

TALENT CAMPUS DURBAN

JAM ALLEY CREW VS CREW SEASON 2

20 – 22

THE DURBAN FILMMART (DFM)

23 – 26

DURBAN WILD TALK AFRICA 2013

GNLD AFRICA CONVENTION

FC Hamman Films Prod: FC Hamman Corporate Video HARTLAND

Bottomline Entertainment / Fix Post Production Michael Modena TV Drama IMATU UNION VIDEO

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Bob Brown Camera: Dirk Steyn Editor: Neels Smit Corporate Video IMPACT CHRISTIAN MEDIA

Red Pepper Pictures Prod: Melody Xaba Music Reality Competition

JERUSALEM, JERUSALEM

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET MASTERS OF DREAMS

Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman TV Series MENTALIST MARTIAL ARTS

Panache Video Productions Dir: Ryan Blumenthal Training MZANSI LOVE

Fireworx Media Dirs: Myrto Makrides / Mmabatho Montsho / Neo Ntlantleng / Zamo Mkhwanazi Anthology series OSCAR PISTORIUS

ABC America Documentary

POPCRU 7TH CONGRESS

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Event

Kampala, Uganda www.ugandafilmfestivalinternational.org Coca-Cola Dome Northgate, Johannesburg www.mediatech.co.za

The Coca-Cola Dome, Johannesburg tina@sun-circle.co.za The Coca-Cola Dome, Johannesburg www.asikhule.com/loudness Durban www.cca.ukzn.ac.za Durban www.cca.ukzn.ac.za Durban www.cca.ukzn.ac.za

Durban, SA http://wildtalkafrica.com

AUGUST 27 – 29

SA INNOVATION SUMMIT

17 – 19

FILMAID FILM FESTIVAL 2013

IDC, Johannesburg http://innovationsummit.co.za/2013 Kakuma and Dadaab Refugee Camps and Nairobi www.filmaid.org

SEPTEMBER 21 – 24

HOGSBACK ARTS FESTIVAL

5 – 15

TORONTO INTERNATIONAL FILM FESTIVAL

12 – 17

IBC (INTERNATIONAL BROADCASTING CONVENTION)

18 – 28

NOLLYWOOD & AFRICAN FILM CRITICS’ AWARDS

Hogsback http://www.sa-venues.com/events Toronto http://tiff.net

Amsterdam www.ibc.org

Warner Theatre, Washington DC www.nollywoodcritics.com

SHORELINE REVISITED

Homebrew films Documentary series

SING YOUR SONG

Dir: Susanne Rostock Documentary SLENDER WONDER GLAM GURU

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercial

Advertisers List

|

AJA Video Systems.......................39

Mediatech Africa.................32 – 33

Atlas Studios..................................49

Mediatech Africa.......... IBC

Black Ginger.....................................3

MICT SETA.................. FDPS

Blackmagic Design..........................9

Movievision.....................................38

Cam-A-Lot.....................................12

Neotel...............................FC

Canon..............................................13

Obeco..............................................38

On Air Media Dir / Story Ed: Mike Bardsley / Lex Dominguez Documentary

Case Connection, The ................50

Panasonic..........................................7

Cine Photo Tools................... 41, 42

Pro-Sales.........................................40

THE 7 P’S OF LEADERSHIP COACHING

DISCOP AFRICA..........................45

Puma Video........................36, 48, 50

SPACE, ALIENS, UFO’S AND RELIGIOUS TRADITIONS

Eugene Botha Productions / It’s Wrap Productions Exec prods: Eugene Botha / Anna Teichert Documentary STAND UP AFRICA

Panache Video Productions Prod / Dir: Liesel Eiselen Educational (MBA students)

Durban FilmMart................25 – 28

Questek Advanced

Electrosonic ..................................48

Technologies...................................52

THE BLACK JEWS AND THE LOST ARK OF THE COVENANT

FC Hamman

Rocket Science..............................37

International Films........................41

Sony..................................IFC

Industrial Development

SOS..................................................19

Corporation (IDC).......................23

Telemedia................................. 34, 35

Inala............................... OBC

Vertical Limit Productions..........11

Jaycor...............................................42

Vision Cases...................................48

LaserNet.........................................43

Durban Wild Talk Africa..............30

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary VIENNA BOYS’ CHOIR MUSIC STUDY TOUR

SummerTime Productions Prod / Dir: Tanya Vandenberg Corporate

Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur.

E-mail production updates to: online@screenafrica.com

June 2013 | SCREENAFRICA | 51

Social

|

Sony Event Photos by Simba Nyamukachi

NFVF Economic Baseline Study Launch

Akin Omotoso, Siyabonga Mngoma (GFC), Jane Lipman and Desmond Mthembu (GFC)

The dti’s Nelly Mokoane (right) and colleague

Jef Jacobs and Judy Prins (Deloitte)

Host Peter Ndoro and Trish Downing

Jan Vermeulen, Benni Tubbs and Ebrahim Moolla

David Greenway, Bradley Shaw and Joel Kopping

Chantelle le Roux, Timmothy Barnard and Andrew Joubert

Nafisa Akabor and Ben Kelly

Craig Tyson

Dawid Venter and Nicholas Boerma

Gospel Cooking Show Launch

Dylan Oleary and Rob Wrensch Arthur Nieman, Rey-Lu and Phil Mphela (presenter)

Dambisa Maqoga, Mokgadi Monde Twala and Agata

Whitehead,

Zandile Nhlapo

Gospel star Brenda Mtambo

Ian Mclaren and Laura Cooke

Richard Rachidi and Paul Jackson

Cannes Film Festival

David Kau

AV / BROADCAST TECHNICIANS & ENGINEERS REQUIRED AT QUESTEK

Steven Markovitz at the Co-Production Forum

Sara Blecher

Naomi Mokhele (NFVF) with deaf Chinese entertainers

Co-Production Forum

Kagiso Lediga

Due to our rapid expansion we require AV/Broadcast engineers for pre and after sales. This will entail detailed design of systems and implementation thereof.

We require qualified Technicians/Engineers with at least a National Diploma in Electronics and not less than three years experience.

Questek offers an attractive financial package coupled with exciting career opportunities at one of South Africa’s leading technology companies.

If interested submit your CV to George@questek.co.za or contact George van Gils at Questek Advanced Technologies +27 11 706 0405.

52 | SCREENAFRICA | June 2013

Zama Mkosi (NFVF) and Peter Muthie (Kenyan Film Commission)

Mr B

New Appointments Corthouts on the move After joining Spescom Broadcast Sales in 1999 and with 14 years of experience supplying the video industry in the southern Africa region with professional video and broadcast equipment, Collette Corthouts has moved on and is now representing a number of established and recognised distributors locally.

“Being independent

Terrence Khumalo (NFVF)

| allows me to offer my customers their choice of product. At the same time I am fortunate to partner with existing suppliers and service providers such as SBSS (Specialised Broadcast Sales & Services), Macro Video and Broadcast Lines. Leveraging on these relationships I can offer customers best of breed products within their field and any production environment with competitive pricing,” says Corthouts.

17 - 19 July 2013, Coca-Cola Dome, Johannesburg, South Africa www.mediatech.co.za

Free Registration at www.mediatech.co.za before 7 July 2013 and avoid paying R50 at the door

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Broadcast & Film Industry Networking Hub Production & Post Production Lighting, Staging & Rigging Animation & New Media AV System Integration 130 Exhibitors International Manufacturers Satellite & Signal Pro Audio & Video Outdoor Sound Demo’s Technology Workshops & Conferences International Speakers 800 Brands

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