SAFTAs Management et ss A ia ed M Archiving &
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Ki
So Long, Farewell, Good Buddies…
Back in 1989, our first hire was a Beta Deck to ABC news in Milpark…it was the only piece of equipment we had…From there, Bill Faure and the team at CAP. We rushed to find premises, and so Magus was born in Houghton, in January 1990. Digitalfilm was born in a garage in 2001……
So, (deep breath)
So ny Pa M C Se an ov , rv na FN ice ie s o B, on m , M a ic, n , S r ac t t an , Ev ro KP da er M V id la G, r e d di eo sti a B ng ,P Ta an ro lo Fil k, C om as Sa m N es l e a e , Jo (W s, Ti dba nk Livi m nk ng hy er br , sto eA , Ba St En ne gs ud gin udi ) C io , o ric ee L i h Lin gh , rin t Sc on t e g re , B way en , La , C , am PA nd G, Fil Afri y aEl ca m lo ise , C Onl Fr t , i ei Ce gh as C ne, nt t, am C a ra Ka m er l m er a, er Fe a Cr az lix Te ea ... k, Sn tiv r, e An Le Co ni ns rn e, , el R ia ich Lis , a, ar F Na d, M elix ta th Jn ag sh e r, s a, , Ca R ni in J th e u gr a ce l i a an an erin s, n dc d e, an th M hi d e ld ic re ne Sam hae n. l, .. ph a ew nth a… s … an d th e
….and Thank You ALL
Most of all, without these unsung heroes, nothing would have been possible… Isaac Mashishi, Devin Zivkovic, Duncan Dube, Believe-it Moyo, Cynthia Nyathikazi, Dan Ngkapele, Johanna Dhlandhla, Allen Moyo, Paris Ndlovu, Maggie Mashishi, Jerry Matlala, Nthuli Ndweni, Kiki and Sir William….. We; Frank and Sue would like to convey our sincerest and deepest thanks to you all for being a part of the Magus and Digitalfilm journey. Without you all, none of what we have achieved would have been possible. Please forgive us if we have left anyone out – be assured you are included! All spelling mistakes are a design fault in PowerPoint
With our deepest and heartfelt thanks to you all, Frank and Suzannah Meyburgh
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New SA co-prod market The inaugural Cape Town International Film Market will take place as part of the Cape Town & Winelands International Film Festival (CTWIFF) in November and is open to film projects from countries with which South Africa has co-production treaties and memoranda of understanding (MoUs). Projects from Africa also qualify for submission. Formerly known as the Cape Winelands Film Festival, CTWIFF has rebranded and moved from its regular slot in March to 1 to 10 November, at the particular request of sponsors Wesgro and the City of Cape Town. The rationale behind the move is to fill the large gap left by the long defunct Sithengi Film & TV Market. According to festival director Leon van der Merwe, the idea of a co-production market was raised by the festival sponsors in 2012.
He continues: “At last year’s Cannes Film Festival we met with Tiina Lokk, the director of the Black Nights Film Festival in Estonia. Tiina has a big interest in South Africa and has organised a successful co-production market at Black Nights for the past 12 years. “We are planning to launch the Cape Town International Film Market at this year’s Cannes Film Festival as we believe it’s the perfect place to launch an event such as this. The focus of the market is South Africa’s treaty co-production countries – Canada, Germany, Italy, France, UK, Australia, New Zealand and Ireland. In addition, we will include MoU countries such as the Netherlands and Brazil.” Organisers are looking at a three-day market with several panels of local and overseas experts, between three and four
MFS buys Digitalfilm Two top South African equipment rentals companies have joined forces as a result of Media Film Service’s purchase of Digitalfilm, following the decision of Digitalfilm owner Frank Meyburgh to sell the company and re-locate to the UK. The deal was finalised within three weeks for an undisclosed sum. Says Neill Horsfall, GM of Media Film Service (MFS): “Although the ownership has changed, Digitalfilm will continue to run as an independent division within the MFS structure, offering its high levels of service to its
existing client base. Therefore it will be business as usual.” Samantha Guillaume of Digitalfilm comments: “Now more than ever Digitalfilm’s focus is to continue to give our client base and suppliers absolute commitment, taking the legacy that Frank Meyburgh and his wife Sue created to new levels, with the strength of MFS behind it. It’s a very exciting time for Digitalfilm, MFS and the industry in general.” Digitalfilm will operate independently out of premises located within the current MFS Johannesburg property at Tripark, 17 Eastern Service Road, Eastgate
networking events, and two official receptions hosted by embassies. The call for project submissions will go out in June. Van der Merwe notes that part of the market will be devoted to Afrikaans language scripts, in conjunction with market partner, the Afrikaanse Taal en Kultuur Vereniging (ATKV). This focus is due to the fact that South Africa is currently experiencing a boom in Afrikaans films. A Talent Campus, which is still in the planning stages, will also form part of CTWIFF. With the help of FIPRESCI (International Federation of Film Critics) and the Abu Dhabi Film Festival, Van der Merwe is organising a special focus on films from the Arab world. Titled Arabian Nights, the programme will include several films that screened at the Abu Dhabi – continued on page 5
Extension 8, Sandton (telephone 011 258 5050). “Having MFS and Digitalfilm in the same building puts us in a unique position to offer the widest variety of equipment to the industry, whether it is the individual or largest production house – putting a smile on all clients’ faces,” states Horsfall. He notes that a task team comprising some key MFS Johannebsurg staff has been put together to give Digitalfilm all the support it needs to ensure continued service delivery and individual solutions to its clients. Gideon Furst, Geoffrey Collins and Sue-Rina Haupt are the core individuals of this task team. – continued on page 5
UNUSUAL FRIENDS: A tender moment in the documentary All the President’s Elephants. See page 22
SA film nominated for Student Oscar Kanye Kanye*, which takes a refreshingly different stance on a South African story, has been nominated for an Oscar for Best Student Film. The film was written and directed by 23-year-old filmmaker Miklas Manneke. He and his crew are still overwhelmed with the Student Oscar nomination and proud to be able to represent South Africa on an international platform. The winners of the awards will be announced in June 2013. Manneke wants the world to see Kanye Kanye, a movie that tells a South African story in a context that is just as relevant locally as internationally. Building on the premise of Manneke’s previous film, E-electricity, which was shot in a
township in Walkerville just outside Johannesburg, Kanye Kanye came to vibrant life in shades of green and red, also in a Walkerville township. “The crew and I looked at how the world sees township in films,” says Manneke. “The world associates townships with poverty, crime and violence, all these bad things. We looked at showing that people are born there, they learn to live there, they learn to love there, that is their lives. That is the story we wanted to tell,” Manneke continues. “We started filming Kanye Kanye in November 2011 and finished the movie in November 2012. It was a crazy journey to find the perfect township that we could split in half.” – continued on page 5
From the editor
C on t e n t s
Co-production market bonus Our lead story reveals the very exciting news that South Africa is to have another international co-production market, which means more opportunities for our local filmmakers. The Cape Town International Film Market, part of the Cape Town & Winelands International Film Festival (CTWIFF) in November, will differ from the highly successful Durban FilmMart in July in that the former has a special focus on countries with which South Africa has coproduction treaties namely Canada, Germany, Italy, France, UK, Ireland, Australia and New Zealand. Countries with which South Africa has MoUs (Memoranda of Understanding), such as Netherlands and Brazil, are also included at CTWIFF, as is Africa. CTWIFF was formerly known as the Cape Winelands Film Festival. In our story, festival director Leon van der Merwe explains why the name change was necessary and why the festival, which always took place in March, is now scheduled for November, to fill the void left by the long defunct Sithengi Film & TV Market. Many readers will recall Sithengi, and how it was a much anticipated event on the industry calendar every year. In this day and age when digital technology has invaded every facet of our businesses, the concept of archiving digital data and managing it has become ever more vital. Broadcast specialist Ian Dormer gives readers the lowdown of every facet of MAM (Media Asset Management), a broad term that encompasses ingest, annotation, cataloguing, short-term storage, archiving retrieval and delivery. A captivating read is Martie Bester’s A film called Orania, which reveals how German filmmaker Tobias Lindner infiltrated the heart of the segregated Afrikaner town of Orania, situated in the barren Karoo to make an award-winning documentary about a community set on marginalising itself from the rest of South Africa. Chinaka Iwunze provides readers with some fascinating insight into 52 years of filmmaking in independent Africa, and what the world can expect next from African cinema. The article shows that while global and African interest in the industry and its products have never been greater, the continent still suffers from the lack of a proper distribution structure. The South African equipment rentals market provides an essential service to the film and television industry, offering the latest equipment, despite the high capital and insurance costs. Andy Stead’s overview of the vital sector of the industry shows how it is managing to withstand the challenges of the global recession. This issue of Screen Africa will be distributed at the South African Film and Television Awards (SAFTAs), which takes place over two nights on 15 and 16 March in Midrand, Johannesburg. We look forward to reporting on the worthy winners of these highly prestigious and glitzy awards ceremonies. 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, Chinaka Iwunze, Martin Chemhere, Carley Barnes
Impressive innovations at Mediatech Africa
Made from Canada
16 Live theatre on the big screen
21
18 Kunle Afolayan
A film called Orania
24
30
Managing your digital assets
Rentals feels the pinch
SPECIAL FEATURES ARCHIVING & MEDIA ASSET MANAGEMENT
ADCETERA
PIRACY
Made from Canada;
Battling the scourge .................. 23
Managing your
AR takes hold;
digital assets ...................... 24 / 25
Content through the
Case study: Italian football
‘Groundglass’ ................................. 1
gets mobile; Making ingest and archiving easy .............................. 26
New creative collective ............ 10
Managing EP’s media archive ... 28
FILM
Advertisement Sales: Marianne Schafer: marianne@screenafrica.com
EQUIPMENT RENTALS
Accounts: Natasha Glavovic: accounts@sun-circle.co.za
Sun Circle Publishers (Pty) Ltd Tel: 011 025-3180
Design: Trevor Ou Tim: design@sun-circle.co.za
Physical address: First Floor, Process House Epsom Downs Office Park 13 Sloane Street Bryanston, Johannesburg South Africa
Website & Production Updates: Chinaka Iwunze: online@sun-circle.co.za
Postal address: PO Box 559, Fourways North, 2086
Rentals feels the pinch ............. 30 Satisfying customers’ needs; Upturn in business .................... 32
AFRICA 52 Years of filmmaking in
Director Speak –
independent Africa –
Kunle Afolayan ............................ 18
what’s next? ................................. 41
Honouring SA’s film
Yes we ‘cam!’ ............................... 35
and TV talent .............................. 19
NEWS
TELEVISION
New SA co-prod market ............. ?
For the love of the land ........... 20
network; Local movie dazzles audiences; Impressive innovations Studio complex in Mauritus; International release for SA film ...................................... 8
Tripod for high payloads .......... 39
the big screen ............................. 17
Collaboration paves the way .. 34
SA feature premières on social
Test and measurement tools;
Live theatre on
AWARDS
at Mediatech Africa ...................... 6
www.screenafrica.com
Sing, dance, run like a lion ........ 15
Going the extra mile ................ 33
MFS buys Digitalfilm ............. 3 / 4
‘Thunderous’ device; New CEO for Avid ................... 38
Robotic library; Case study:
archive .......................................... 29
Versatile camera ......................... 37 Conversion processing;
Subscriptions: Tina Tserere: data@sun-circle.co.za Delight Ngwenya: admin@sun-circle.co.za
A CLEAR way to backup and
TRACKING TECHNOLOGY HD live production products . 36
COMMERCIALS Interrogating the brief .............. 12
Sub-Editor: Tina Heron Ratings: Enid Venter enid@ihjohannesburg.co.za
10
6
DOCUMENTARY
Imagine turns 10 ........................ 42 How to work in Africa; New film champions respect for woman .................... 43
REGULARS Audience Ratings ....................... 40 Production
A film called Orania .................. 21
Updates ........ 44 / 45 / 46 / 47
WILDLIFE
Social ............................................. 48
All the President’s elephants ... 22
Events ........................................... 47
| Continued from page 1 New SA co-prod market
Festival last year and Arabic films which won FIPRESCI awards in 2012. Van der Merwe points out that Arabian Nights will open up a new market for CTWIFF – that of the Muslim community in Cape Town, which has been neglected in terms of film screenings to date. “We will once again have a focus on Brazil, a country that has been with us since the Cape Winelands Film Festival first started six years ago,” comments Van der Merwe. “The Brazilian ambassador is keen to bring people out for the festival and is organising with the CTWIFF a focus on South Africa in Sao Paolo. The concept behind this exchange is similar to the France / South Africa Season.” In terms of screenings CTFF will have seven venues in total at its disposal – three in Stellenbosch and four in Cape Town. American director Peter Werner
SA film nominated for Student Oscar
(Justified, Medium, Army Wives, Unforgettable) will present a master class on directing during CTWFF. The festival will also host the nine-day Film in Your Pocket workshop for aspirant filmmakers who will be tasked to shoot films on their cellphones. The top three films will be screened on awards night on 10 November. The International Jury includes Ali Al Jabri (festival director: Abu Dhabi Film Festival), Ally Derks (IDFA), and Chineseborn Los Angeles-based actress Bai Ling (The Crow, Touched by an Angel and Dim Sum Funeral). Van der Merwe notes that CTWFF has already received a record number of international entries but is still looking for South African films for the competition section and possibly an opening night film.
MFS buys Digitalfilm Horsfall continues: “MFS has managed to secure contracts with all the key Digitalfilm staff – the familiar faces of Isaac Mashishi, Devin Zivkovic, Paris Ndlovu, Duncan Dube and Believe-it Moyo will still be seen on the operational side, with Maggie Mashishi and Nthuli Ndweni giving support from administration. Samantha Guillaume’s plans are to join her family abroad.” Frank Meyburgh will be on hand during the month of March to ‘hand over the torch’. As to the differences and synergies between the two companies Horsfall points out that Digitalfilm deals primarily with the individuals such as stills photographers and videographers, as well as corporate clientele, churches and schools. He adds: “Digitalfilm offers a quick and easily accessible solution to this sector of the market whereas MFS’ business model is geared more towards the medium and large commercial and long-form customers. We’ve been investigating entering Digitalfilm’s market for some time and this purchase opportunity provides a great entry, which we hope will add significant value to all parties. “Digitalfilm has always been a company that trades in technology, and it is our intention to continue this model. As new
technologies come in to play, Digitalfilm will be at the forefront supplementing the existing offering with new and exciting equipment across a broad range related to its market.” As to how this new development will impact on the industry Guillaume comments: “Frank Meyburgh has been an integral part of the industry for many years, his contribution unparalleled. The
As was the case with E-lectricity, Kanye Kanye also resulted in community involvement as about 30 houses were painted in different shades of green and red and two new shacks were built for the main characters. “It was a lot of work but we had so many people helping, we had assistance from first year and second year students from AFDA,” says Manneke. The team spent two months painting houses on location and building 11 interiors in studio. They started shooting for 11 days in June 2012. Kanye Kanye is about two best friends, Mpho and Mpho. Together in the 60s, the friends run one of the most well-known apple shops in South Africa until they have a bitter disagreement about which apple is better: the green or the red one. Their argument escalates to such an extent that the whole town is divided and split in half, symbolically depicted by a white line. The townfolk adopt the notions of green and red completely, which is displayed in the colour of their houses and the clothes they wear. “The most important thing, however, is that the reds and greens would never mix,” emphasises Manneke. “I chose apples because the greatest divides are caused by something as small as an apple. Conflict can be avoided by someone simply saying, ‘enjoy your apple’,” he continues. Now, in Kanye Kanye, many years later in 2012, a ‘green boy’ called Thomas and a ‘red girl’ called Thandi fall in love. Forbidden to see each other, they use tins connected via wires to connect as people would do on Twitter, Facebook or Instagram. “The second you take away any preconceived ideas about someone, anyone can connect or just start talking,” says Manneke. That is what happens in Kanye Kanye. But when communication comes to an abrupt end, a new hatred develops between the reds and greens, which causes more animosity than ever. Only when Thomas discovers that the wire has been cut and that this is the reason for
comments we have had from our industry colleagues have all been very supportive, laced slightly, with a touch of surprise. “Our incredible staff has been with us
HONOURED: Miklas Manneke the breakdown in communication, can he and the town – and Thandi – reconnect. As he proclaims his love to Thandi, he dares her to meet him at the division line with the entire town joining in. In Kanye Kanye the dispute between the reds and greens is solved within 27 minutes, in reality similar divisions still exists after decades. And that is one of the main reasons Manneke wants a worldwide audience for Kanye Kanye. To perhaps cause a shift in consciousness, the movie is an example of how division can be overcome peacefully. Another reason Kanye Kanye is of such importance to Manneke, hits close to home for the filmmaker. Both his parents are German and although his mother lives in South Africa, his father is a pastor in Germany at a Lutheran church. In recent years, a massive neo-Nazi movement has surfaced in Germany, against which Manneke’s father has launched a nationwide protest. This has resulted in his life being threatened, even leading to a petrol bomb being thrown at his house. However, the support his father has received has been overwhelming – from all over Germany people have called Manneke’s father to offer him their support and protection. *On its own the word ‘kanye’ does not have a meaning, but used in duplicate, ‘kanye kanye’ means ‘together’ in Zulu. –Martie Bester
through this journey this past month, and their support and commitment has been unwavering. We are truly humbled. It’s been an inordinately difficult decision for both Frank and Sue to sell Digitalfilm, but for various reasons, they have decided it is time to leave. “It’s not just our equipment and staff that have made Digitafilm what it is today. The continued loyalty and support of our friends, clients and suppliers have made our legacy possible. Without them and Frank’s generous spirit (and Sue’s for sharing him 24/7) this would have been a rather sad and numbing end to an amazing journey. “We are thrilled, beyond description, that MFS is taking Digitalfilm forward into the ‘new age’ so to speak – and have every confidence that the next chapter will be just as fascinating.”
NEW CHAPTER: The Digitalfilm team March 2013 | SCREENAFRICA | 5
News
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SA feature premières on social network
Local movie dazzles audiences Much anticipated South African contemporary romantic comedy Fanie Fourie’s Lobola had rave reviews during the movie’s opening weekend of 1 March 2013. Portraying a budding relationship between Fanie (Eduan van Jaarsveldt) from a strict Afrikaans family and Dinky (Zethu Dlomo), a Zulu girl whose father demands a higher lobola for her than Nelson Mandela paid for Graça Machel (according to the movie). The film recently won Best Audience Award at the second annual Jozi Film Festival. “Initially, the edgy theme attracted me to the movie and then the desire to transform it into a movie to which South Africans audiences could relate.
6 | SCREENAFRICA | March 2013
Impressive innovations at Mediatech Africa
episode that was uploaded every weekday. Solomon wanted to give people in the community in the poverty-stricken Cape Flats in the Western Cape the opportunity
Fanie Fourie’s Lobola is also an opportunity to laugh at oneself,” says Henk Pretorius, director of the film. The movie was inspired by a book by Nape à Motana which Pretorius wrote with Janine Eser as an initiative by production company Once Upon a Story. Pretorius and Eser worked on the movie with Lance Samuels and Kweku Mandela from Out of Africa Entertainment. South African casting director Moonyeenn Lee and her assistant Belinda Kruger helped Pretorius with the casting of the film. “Eduan van Jaarsveldt, who plays the role of Fanie Fourie, was initially the assistant who fed actors their lines during the auditions. His understanding of the character was so strong that we decided to put him in front of the camera. He exceeded all our expectations and we offered him the title role,” adds Pretorius. “The theme of the film examines the right to existence of everyone who lives in South Africa. This right to existence is questioned in the movie and hopefully audiences leave the cinema with the knowledge that they are all an important part of a successful South Africa,” Pretorius elaborates. Audiences worldwide are in awe of the movie, which has already been included in four film festivals across the globe. Pretorius is currently working on his first international feature film called Lady and the Boer which will be produced by his production company Dark Matters Studios this year. Fanie Fourie’s Lobola is screening nationwide in South Africa and is distributed by Indigenous Films. – Martie Bester
inhabited environment and encountered a significant degree of noise and activity on the street by mid-morning due to high unemployment in the area. This meant they had to shoot extremely early, an arrangement that worked well. A Lucky Man will resonate with local and international audiences says Fyfe. “It provides some facet of revelation about the South African landscape and it is a universal story about identity and coming of age,” he mentions. “The whole shoot felt like a highlight. Every day was one single on-going journey of understanding, growth and collaboration for all concerned,” concludes Fyfe. The movie, directed and written by Gordon Clarke, releases nationwide in South Africa on 29 March and is distributed by Indigenous Films. – Martie Bester
Photo by Kobus Loubser
New South African film, A Lucky Man, tells the true story of legendary ex-gang boss, Ernie ‘Lastig’ Solomon. Mark Fyfe, producer of the movie, says the film concept emerged from discussions with Solomon. “The story of his obsession with finding his own identity gripped us and begged to be captured on film,” says Fyfe. He mentions that Solomon is now a man of substantial stature within his community, so following the twists and turns of the decisions Solomon made that brought him to this point is a fascinating journey. However, what makes A Lucky Man even more extraordinary is that it is believed to be the first feature film to première exclusively on a social network. Mxit users were able to download the movie using the newly launched Cinemo app from 18 February 2013. A Lucky Man showed on Mxit in 18 four-minute episodes with a new
to work on the movie – as opposed to outsiders who would not have the same appreciation for the complexity, the nuances and dynamics that play out in these communities. “It is a story of intrigue and complicated cultural ethos, laced with simple human emotions from our backyard of which we know so little. Very few people understand what happens in the Cape Flats on a daily basis,” comments Fyfe. The film was shot on location in the actual neighbourhoods where Solomon grew up, namely Elsies River and Hawston. As it was difficult to film the prison scenes, the team found an old reform school in Tokai which they transformed to create a prison environment. As the crew wanted to keep the movie as authentic as possible, they shot in an actual
With over 70% of exhibition stands already sold, anticipation for the 2013 edition of the biennial Mediatech Africa advanced technology trade show is building among media and entertainment professionals. Mediatech Africa takes place from 17 to 19 July at the Coca-Cola Dome in Johannesburg. Among the list of confirmed exhibitors representing a large variety of brands in the film, broadcast, production and AV sectors are Inala Broadcast, Concilium Technologies, Jaycor International, Touchvision, Telemedia, Learn 3D, Media Cloud, Movievision, Questek Advanced Technologies, Macro Video, Viva Africa Sound and Lighting, Extron, Technology Innovated Distribution, DWR Distribution, AV Systems, Audiosure, Sound Harmonics and Matrix Sound. 2013 has brought about a growing international interest in Mediatech Africa and the attendance of a number of international manufacturers is expected. Steve Alves from Concilium Technologies has announced an international presence from Harris Broadcast and Ross Video and is excited to be an exhibitor at the interactive hub again this year. Says Alves: “We found the Mediatech 2011 show to be one of the best yet, and
were able to engage productively with all of the broadcasters and production facilities during the three days of the show, while cementing new relationships as well.” Visitors to Mediatech Africa can look forward to an engaging experience with even more product and brand specific demo rooms to explore, and an outdoor demo area that now accommodates a common stage where more brands will showcase their systems. There are also some familiar highlights to look forward to in the form of workshops and international speakers taking to the stage to deliver the latest in technological trends and cutting edge industry developments. The long-running Screen Africa Technology and Production Conference, which takes place on 18 July, will be presented by top industry professionals, teaching delegates how to get optimal use of technology and allowing them to inject even more creative content into their productions. Mediatech Africa 2013 opens its doors every morning from 10h00 to 18h00 and will transform The Coca-Cola Dome into a technological playground for creative minds and forward thinkers in the industry. – Carly Barnes
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News
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Studio complex in Mauritius Plans are in place to develop a 10 500 square metre studio complex with three sound stages and approximately 40 acres of back-lot in Mauritus. The complex will include full post-production facilities, a preview theatre, an exterior tank and the use of a lagoon for marine shooting. Developers hope to lay the foundation stone within six months. The studio complex is planned as part of an events park near Cascavelle, just outside Flic-enFlac on the west coast of Mauritius. Tim Purcell, director of Mauritian company Tropikana Studios Ltd has made several documentaries in Mauritius. In the course of these he befriended Marcel Noe, who in the late 1990s headed up the Mauritius Film Development Corporation (FDC), which then fell under the Arts and Culture Minister Joseph Tsang Mang Kin. This is when discussions commenced on ways to develop a professional Mauritian film industry. Collaboration has continued ever since.
ISLAND STYLE: Tim Purcell In 2009, when South African equipment rental company Media Film Service set up a division in Mauritius managed by Richard Sysum, he and Purcell began lobbying the government to introduce a film rebate scheme that was considered essential if a film complex was to attract overseas productions of any stature. “At that time I began talking to Nick Smith, commercial director of the Pinewood
Group, who had plans to open eight foreign studios,” says Purcell. “Mauritius seemed to fit within their remit if we had a marine division, which we will have. Our plans are to bring in period sailing ships as well as other vessels.” Last year the Mauritian government finally took Purcell’s lobbying seriously and engaged British expert Jonathan Olsberg to advise on the establishment of film
rebate schemes. The Audio Visual Incentive Scheme (AIS) falls under the auspices of the Mauritius Board of Investment, which attended the Berlin Film Festival to introduce the scheme to international producers. “Now that the rebate scheme is in force we are moving ahead with our plans to develop the studios,” explains Purcell. “Even as the studios are being developed we will be moving into production with a UK / French / Mauritian co-production, a Chinese / Mauritian co-production and a South African film scheduled for the second half of this year.” Sysum adds: “Having been based in Mauritius for nearly five years my company is well placed in the local film industry. We feel that the proposed studio project will be hugely beneficial to the local industry. “There have been challenges getting the emerging market here to really take off, but with the introduction of the new AIS film scheme and the new studios, we are optimistic about the future in this small part of paradise. Mauritius has so much to offer in terms of being a preferred destination with its accessibility and facilities, locations and fresh emerging talent.” Purcell will be relocating to Mauritius within the next couple of months, to produce a Mauritian film, Anjalay. – Andy Stead
International release for SA film
LOVEABLE RASCALS: Given Khumalo and Khaya Mthembu – the stars of uSkroef no Sexy The South African filmmaker known as Uzanenkosi has struck a deal with a Hollywood distributor that will see his debut feature film, uSkroef no Sexy, released internationally on DVD, VOD and repurposed into a 21-part iFlick web series. Producer Alan von Kalckreuth of Los Angeles-based Argonaut Films will oversee 8 | SCREENAFRICA | March 2013
the international cut, packaging and marketing. He describes uSkroef no Sexy, a story about two best friends who dream of moving up in life, ‘as a story the world can relate to’. Shot in English, Zulu, Tsotsitaal and Sotho, the title of the film refers to the two main characters of the film, Skroef and Sexy.
Uzanenkosi of Ants Multimedia wrote, directed and produced the film, which he made with a two-man production team. He came into contact with Von Kalckreuth in 2008, when he created PITCHIT.CO.ZA to afford African filmmakers the opportunity to pitch to producers without leaving their rooms. “One of my email requests to advance PITCHIT.CO.ZA landed before Nigel Lythgoe, the creator of So You Think You Can Dance, and he forwarded my request to Alan. At the time he was a member of the BAFTA-LA committee, which could assist me with my request. We met for the first time last year and have been in contact ever since.” Uzanenkosi believes Von Kalckreuth was attracted to the film because it was shot specifically for a South African audience, without thinking about film festivals. “I also didn’t have the burden of trying to please an international audience that I had no way of knowing how to please. Perhaps because of this the film ended up being a unique glimpse of a world that everyone anywhere in the world can relate to,” he explains. However, changing the title for international release is proving to be a challenge. Uzanenkosi continues: “I am scratching my head. Silent film comedy stars Laurel and Hardy are international enough, but Skroef and Sexy are as international as my name, which is not at all. So far, the only title I’ve been able to come up with is One Flew Over A Cuckoo’s Nest
& Two Remained? Obviously, I can’t use that.” He cites the inspiration for his script as Jesse B Semple. “Jesse was a character created by Langston Hughes in 1940 to represent the black man of his America. When you fast-forward to today, in South Africa, you find Skroef and Sexy. Alan is convinced they exist everywhere.” The web deal is ironic for Uzanenkosi because early last year he launched FlipAfrica.tv and generated similar content. “Now there’s this opportunity to do the same at a much bigger scale of course. I guess I was in training for iFlick, without knowing it,” he comments. Because the film was shot as a feature there is not enough existing footage for the web series. “Alan believes any additional shoots will be to a minimum. I hope his idea of minimum and mine are the same,” comments Uzanenkosi. Currently in post-production, the film was shot in October last year in and around Soweto and Johannesburg, with a budget of just over R800 000. The Gauteng Film Commission (GFC) funded Uzanenkosi to the tune of R100 000 and the National Film and Video Foundation (NFVF) came in at R412 000. The rest of the budget came out of his own pocket. Uzanenkosi is looking at a June / July 2013 release. uSkroef noSexy stars Khaya Mthembu, Given Khumalo and Kelly Khumalo.
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ADCETERA
| Report on the South African commercials industry
Made from Canada As most beer commercials are usually shot in one location, in a bar or at someone’s house, with characters typically licking foam off their upper lips, Kim Geldenhuys of Egg Films’ take on Molson Canadian beer presents viewers with quite a different approach to their favourite beverage. Taking audiences on a worldwide journey where people talk about their fun experiences with Canadians, the commercial travels to Berlin, Dublin, Cape Town, Tokyo and Australia. However, all of these locations were cleverly filmed in Cape Town, for example Rondebosch near the station was used as Dublin while ‘shooting in Japan’ took place under the highway on Table Boulevard at the Foreshore. The ad, which was filmed over three days in early December 2012, features a convincing cast. “We had great casting directors and had very specific references and briefs for the people we were looking for. As much as possible we cast people of the right nationality for each role, to achieve the look and accents,” says Geldenhuys. The creative team from Rethink in Toronto, Canada executed the commercial’s elegant script; and the inspiration for this ad came from blog sites that captured the energy and relevance of the youth today with the concept that no one can ‘outfun’
Molson Canadian Beer the Canadians. In Berlin, a pretty, edgy blonde implies sexual innuendo after her encounter with a Canadian; in Dublin a friend tells of crowds cheering on a Canadian; super human strength is displayed by a Canadian in Cape Town; Canadian superpowers baffle two mates in the Outback while in Tokyo, the conversation focuses on a highly entertaining Canadian. So, what happens when Canadians get together? Extreme fun apparently.
“The time frame in which we had to produce the commercial was very tight as the casting was a massive task and the need to shoot more than we could to ensure enough ‘found’ magic in the edit made the project challenging,” elaborates Geldenhuys. “The entire commercial was shot on Canon 5D MKIIIs using our own Zeiss lenses. For the underwater scene we used the 5D MKII with an underwater housing. The camera gear mostly came from
Photohire, the grips belonged to the key grip and Panalux supplied the lighting,” says Geldenhuys. Although a couple of stock shots were used to locate the scenes no postproduction visual effects or CGI were used. Post-production was done in Canada. “I enjoyed the performances and getting the energy right in each scene. Keeping it real was a particular challenge of creating a commercial that has a ‘fun’ reaction,” concludes Geldenhuys. –Martie Bester
New creative collective
Andrew Kyriako (AK)
Director Andrew Kyriako (AK) of commercial production company Spitfire Films and producer Liesl Karpinski of Aces Up Post Production have set up a creative collective situated at Albury Park Office Park in Dunkeld, Johannesburg. Soon to be added to the collective is a multi-purpose recording studio, with final mix services and a music offering. The office space offers freelancers a free desk to work at and an edit suite which can be rented out. A mini art gallery can also be found within the space and is used as a 10 | SCREENAFRICA | March 2013
Liesl Karpinski
platform for artists to display their craft. Says Karpinski: “The idea was to create a one-stop-shop environment for all creative needs. For instance, Anita Schonauer’s casting agency, The Star Factory, makes use of the creative office environment regularly and says the concept of a creative collective is just what the industry needs. “It’s wonderful to have the opportunity to just share space with like-minded individuals and makes coming to work a pleasure. We will be having a launch party before winter.”
Nicolas Hester
Karpinski and AK chose the Dunkeld location because it is central but also because it has a ‘creative vibe’. “Being just across the road from Hyde Park Corner it’s close to good restaurants and the studio space just spoke to us. We feel like we are part of a bigger picture here,” comments Karpinski. There are already media hubs in Milpark, Highlands North, Randburg and Bryanston. As to whether there is any danger of having too many hubs in Johannesburg, Karpinski responds: “There can ever be enough
creativity and entrepreneurship in South Africa – at least that is our experience.” She notes that while there is no formal link between Spitfire Films and Aces Up, there is symbiosis. “This means if a piece of animation or a reference has to be done quickly, we can do it because Aces Up is an animation and digital boutique. However, each job is treated individually and we ensure that we retain professional integrity with our clients. We do whatever is right for the job.”
| ADCETERA
AR takes hold
Telkom Convergence augmented reality stand In this day and age when plain old reality is no longer enough for consumers, South African advertisers are beginning to venture into the realm of augmented reality (AR) campaigns. “AR has not been seen much in South Africa to date as the challenge is the number of devices that are capable of viewing the content,” says Brett Levy, MD of Rapid Blue Digital. “We have, however, done the most activations of anyone playing in this space, not only here but in Africa too.” According to Levy, the premise behind AR is to help appease the continual appetite for content without having to do more. He continues: “All consumers have to do is hold up a smart device and an entire world opens up to them. We have also used
AR for training, verification and are even looking at banking applications too. So AR is definitely not only a marketing tool.” Rapid Blue Digital was recently asked by Mediacom, Telkom’s media agency to come up with a concept that would allow customers to learn about Convergence, known as FMC (Fixed Mobile Convergence). This is when you get your voice, data and mobile connectivity from one supplier. The Rapid Blue Digital AR campaign picks up where the Telkom television commercial (TVC) ends. In the commercial the actor talks about Convergence and floating around him or her are spheres, each one representing an element of convergence namely Voice, Data, Mobile, Fixed Line and Cloud. The commercial ends with the spheres all coming together to
show the Telkom Convergence logo. “This campaign was a perfect opportunity for AR as the amount of information that can be added in virtual layers is endless. So, it was with this in mind that we conceptualised the experience. Another important aspect was that Telkom would be offering a first for South Africa with the introduction of Convergence, so we thought it would only be fitting to do a first too,” explains Levy. He describes the AR campaign as a continuation of the TVC that helps continue the journey from television to virtual reality. The TVC plays in a loop on a large screen supplied by Pixel Displays. When a customer stands in front of the white wall – he or she covers the convergence logo that is printed on the wall. The camera is trained on this logo. Once it can’t see the logo
anymore the experience starts. The TVC stops and the customer now sees him or herself in the screen with the convergence logo floating in front of him or her. He or she raises his or her arms (prompted by the arrows on the screen) and the logo splits up into the spheres again floating around him or her. He or she then touches them and they open a text bubble explaining what that specific element is, for example, Voice. At the end of the touching, the screen clears and from all sides the elements or spheres start floating towards the customer in the form of a game and he or she needs to bump them away. They get faster and faster until eventually the customer loses and the logo regroups in front of him or her. The message is that you can’t escape convergence. “AR is best experienced in full high definition (HD) so we used a 1080 HD web interface camera. Because you want to merge real objects or people into an experience they need to appear as if part of the experience, so it has to be true-to-life and this is only achieved through full HD,” comments Levy. Technology used by Rapid Blue Digital in the Telkom Convergence AR campaign was a combination of three different software programmes and ‘some secret magic sauce’. The first activation of the AR campaign took place at Tygervalley Mall in the Western Cape, followed by Durban’s Gateway Shopping Mall, moving to Johannesburg’s Sandton City in midFebruary.
Content through the ‘Groundglass’ On 1 March boutique production and service company Groundglass opened a Johannesburg office to complement its Cape Town headquarters. The Johannesburg branch is located at Blade in Bryanston’s Stonewedge Office Park and operates as a satellite office. Groundglass executive producer Janette de Villiers, who started her career in Johannesburg, felt it was a necessary move to make the company’s directors more accessible to Johannesburg agencies and clients. “In today’s climate we are looking to cut overheads, and therefore feel it unnecessary to permanently staff the office,” explains De Villiers. “Groundglass is currently putting a lot of focus and emphasis on local content production, while diversifying the business so as to be able to accommodate long form jobs and advertiser funded content. “Our directors are not scared to tackle smaller budgets and we already have an extensive reel showcasing short films, documentaries and music videos and, with a TV series in the pipeline, it’s going to be an exciting year.” Groundglass has the advantage of having worked with international directors on service work, which has allowed it to significantly grow its director roster. “This means we now represent numerous
Carlsberg directed by Peter Lydon
Robert Nicholls local and international award-winning directors, specialising in all genres of advertising and filmmaking, from performance to tabletop, beauty to comedy and everything in between,” notes De Villiers. Natasja Fourie is a highly accomplished stills photographer with an international reputation for creating work with a high level of artistry. Fourie has a unique, multi-layered perspective to her work that is honest, provocative and original. Her photography has been featured in international publications as diverse as VICE, GUP, ART das kunstmagazin,
Eyemazing, Dazed Digital and PONCZ. Fourie has successfully transferred her strong visual sensibility into music videos and is fast becoming one of the most talked about young creatives in South Africa. Director Melissa Silverman, who hails from New York City, will be based in South Africa for a few months this year. A visual thinker whose work shows a very unique perspective, Silverman perfectly blends real life and comedy into a personally stylised quirkiness, for which she has become renowned. “Melissa has worked with various
celebrities and her reel boasts many award-winning promos and commercial campaigns. We are extremely excited to introduce her to the local market,” comments De Villiers. London-based Peter Lydon is a hugely talented comedy performance director who has managed to dovetail a successful career as a leading TV drama director, with an increasing presence in the world of commercials. With numerous nominations and awards to his name, Lydon’s experience with actors has helped him build up a reputation for great comedy performance and a unique visual and performance storytelling technique. “We are also pleased to announce that we are once again representing Robert Nicholls for commercial and content work. Being equally brilliant in both arenas, we look forward to working with this unique storytelling director once again,” concludes De Villiers. March 2013 | SCREENAFRICA | 11
Commercials
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Compiled by Joanna Sterkowic z
Interrogating the brief All ad agency creatives have the same starting point – the brief. How they evolve the brief will generate trust and that’s in your own specific voice. You have to approach the people you’re talking to with love, so lose any pre-conceived ideas or bigotry. “Reflect the product – don’t use a piece of classical music to advertise a sink cleaner because it will make the product look ridiculous. Think and speak in the tone and environment of the product.” She describes market research as the ‘necessary thorn’ under the creative’s saddle. Ideally creatives should get in on the research process early so that they can suggest questions and hopefully generate more qualitative rather than quantitative research.
determine its outcome.
W
hen you come out of a briefing session there are several questions you need to ask yourself, according to Australian creative director and copywriter Roseanna Donovan of Red Words Pty Ltd. “Firstly, do you understand the brief? Does the person who wrote the brief understand it? For instance, I’ve seen the phrase: ‘this brand has to be the now, always,’ in many a briefing session and I’ve still not managed to figure out what it means. “By definition a brief should be brief, one page maximum. A brief that states the obvious is not much use and, if you make a broad generalisation about your audience, then you’ve lost the thread,” says Donovan, who presented at last year’s PromaxBDA Africa. The first thing you have to know about the brief is what the client is selling – this is the nucleus of any brief, the benefit or proposition. Donovan continues: “What you’re really selling is an emotion and the proposition is underneath that – are you selling fear, joy, reassurance, love of home, power, status or family? “Interrogate the brief to figure out who are you really talking to. What psychographics do they have in common? Does this audience remind you of anyone? Talk to ‘that person’ not ‘those people’. “Good writing is like conversation. When you’ve figured out who you’re talking to then it will be a meaningful conversation. For example, if your client is an airline wanting to promote loyalty then you immediately think of rewards points. If the airline wants to promote the love of the airline then you promote the country,” she states. 12 | SCREENAFRICA | March 2013
The truth about ideas
KEEPING IT BRIEF – Roseanna Dawson
The ‘why’
The ‘how’
The next thing the creative needs to do is interrogate why consumers should believe in (or buy) the product. “People buy primarily because of their emotions,” comments Donovan. “You need to talk to people as consumers and give them reasons to believe in the product. Tell the consumer what he or she doesn’t know. But do it differently; when everyone else is shouting, whisper. “Be polite and civil to ‘the audience of one’ because you’re an uninvited guest in that person’s mind. Always assume the person at the other end doesn’t know anything. Keep the concept and message simple, clear and different. No matter how small the budget or how tight the deadline, the one thing you need is the idea.”
Donovan notes that advertising that works has common factors: it gets noticed; positions the product clearly and competitively; breaks the pattern (cuts through); generates trust; reflects the character of the product; is relevant to the consumer; appeals to both heart and head; and speaks with one voice. “The idea and the execution of the idea are not the same thing,” she explains. “Execution transports the idea and adds depth to it. This can include flashy visuals, catchy music and sound effects. In some cases execution can become the idea but only if it’s done really well. “Try not to let the current fad take over your execution. When you see the latest Cannes Lions winners, appreciate them but don’t reproduce them. Your message has to
“The idea is not in your head – you have to go out and find it,” says Donovan. “Finding the big idea is an arduous and strangely uncreative process. You have to learn how to sell your idea as well as find it. To do this comb other people for ideas and have your antenna out all the time. Keep a notebook by your bed and all over the house for whenever you have the glimmer of an idea.” She believes that re-writing the brief can be a great gate-opener in your mind. One place to look for ideas is the product name or logo in order to avoid the risk of generic advertising. “Make sure the product is on your desk or go on a factory tour because knowledge spawns ideas. Find out how the product is made, get to know its history and go through its old advertising. Try and make friends with the client as there is great information in old filing cabinets – like old photos for instance. In tough times nostalgia sells. “Look at social issues as what is happening now is what is really important. Good luck stories sell so try and find them, but be aware that news can change overnight.” In conclusion Donovan stresses that interrogating a brief is a team sport. “Involve everyone in the agency who was present at the briefing session,” she advises.
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| Film
Sing, dance and run like a lion By Martie Bester
Robbie Wessels, popular South African singer and actor, stars in the movie 100 Meter Leeuloop, a comedy in which spandex-clad contestants compete for a Datsun bakkie that comes with a pig.
IT’S A ROAR: Emo Adams in the role of Harrigat Harrighol
T
o qualify for the 100 Meter Leeuloop (loosely translated as 100 Metre Lion Walk), the participants have to fulfil the following criteria: they must be able to sing, dance and run – simultaneously. Therefore, it comes as no surprise that only five entrants qualify to compete in the race. Robbie Wessels had the idea for the movie while filming ‘n Saak van Geloof (A Matter of Faith) in Prince Albert in the Great Karoo in 2010. “A few of us went jogging one morning and I tripped. I had the idea for the movie after someone mentioned something about the leeuloop. My brother Hamilton and I started writing the script as soon as I got back to Pretoria,” says Wessels.
Laughter all the way Wessels aims for all out laughs with the 100 Meter Leeuloop. The movie’s story centres around Manie Mol (Wessels), a fleamarket singer who has an obsession with Ronnie
Wentzel (also played by Wessels), a pop star who disappeared without a trace after the pressures of success became too much to handle. In order to raise public awareness about her brother despite his absence from the entertainment industry, Fiefie Wentzel advertises the 100 Meter Leeuloop competition in the Punk Mail. Mol enters the race with the help of his mother, who doubles as his personal trainer and nutritionist. “We follow Manie very closely as he is the main character,” says Wessels, who plays three roles in the film. “But the four other contestants, one of which is disqualified because of banned substances, are also explored.” A university friend of Wessels’, Zeth Zimu, plays the role of Petros Petros Mali, a champion peashooter from Petrusburg (named after Boutros Boutros-Ghali, former secretary-general of the United Nations). After a run-in with a lion in Botswana, Mali realises pea shooting is perhaps not the ideal way to attempt hunting and enters the
100 Meter Leeuloop with his sights set on victory. Fanie Venter, a rehabilitated trailer thief from Ventersburg, is portrayed by Justin Smit who played bass in Wessels’ band. Venter sees the competition as a second chance in life and is supported by the receptionist at the trailer rental shop he has just opened. Another contender for the title is Pieter Platina, a platanna (type of frog) farmer from Potchefstroom. The role is played by Prop, one of Wessels’ band members. Also competing is Ray Mac, a street performer from Randfontein, who is portrayed by Wessels’ brother Hamilton. However, despite the obvious hiccups the competition presents, there are people behind the scenes who could jeopardise the whole event, for example Harrigat Harrighol (Emo Adams), a professional bookie who is trying to make a fortune out of the race. The two long-haired sports commentators Gazi (Robbie Wessels) and Dopi (Hamilton Wessels) deliver hilarious coverage of the build-up to the race and about the actual event.
Fun and games “We decided early on that the only way the movie was going to work was if we enjoyed making it. We shot in Potchefstroom in the North West and in Groblersdal in Mpumalanga and it was great fun from beginning to end,” says Wessels. “We are very excited about it. It really isn’t something ordinary, it is a mockumentary in the format of a reality show,” adds Wessels who has always been successful in attracting audience support in South Africa, as he did with the lucrative crowd pleaser, Poena is Koning, in which he starred in 2007. Although the 100 Meter Leeuloop’s primary goal is to elicit laughs, the movie touches on issues of self-worth and finding one’s own place in the world. “Manie Mol admires celebrities and in the beginning he wants to be exactly like Ronnie Wentzel. But as the movie progresses, Mol discovers his own identity
and at the end of the movie, he is his own person,” says Wessels. “Our message with the film is just to be yourself at all times.” Wessels works closely with his family, as his brother is also a member of Robbie’s band and Annarie, his sister, runs the mammoth task of expertly handling his PR and business matters. The singer is confident about working with people he knows closely when making the movie. “We used band members as actors because I felt that they all had a funny side. I feel better about the movie than I could ever have imagined,” Wessels says. Wessels and his brother Hamilton co-directed the movie with Diony Kempen. The Coleske brothers, successful South African singers, and Annarie Wessels produced the movie which was made possible by Welela Studios. The soundtrack of the movie largely consists of songs from Wessels’ latest album, Kaalvoet.
Acting in his blood Although Wessels plans to tour with his band later this year, he starts rehearsing in April for the role of John the Baptist in Deon Opperman’s musical, Die Jesus Blyspel (The Jesus Musical), which runs during May at the State Theatre in Pretoria. Wessels loves acting. “I studied drama. I fully enjoy each moment of playing a character, it is so much fun. At the end of a day of acting I have joy in my heart,” he enthuses. “Die 100 Meter Leeuloop is a movie that is suitable for the whole family. We promoted the film at schools and the kids really enjoyed it,” Wessels says, expanding his target market with this comedy that all ages can enjoy. The movie also stars Corli Eloff, Annette Engelbrecht, Hanna Grobler, Johnny Klein, Thean Kotzé, Kevin Leo, Welile Nzunza, Reynhard Slabbert, Lourens Smuts, Seipati Tenyane, Jan-Adriaan van Rooyen and Sophia Wessels. The 100 Meter Leeuloop releases nationwide in South Africa on 15 March 2013 and is distributed by Nu Metro.
March 2013 | SCREENAFRICA | 15
FILM
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Live theatre on the big screen By Joanna Sterkowicz
In February South African audiences at select Ster-Kinekor cinemas had the chance to see top class British theatre, in the form of the Victorian farce The Magistrate, on the big screen as part of London’s National Theatre Live (NTL) series, which is broadcast to hundreds of cinemas around the world.
SOMETHING TO SCREEN ABOUT: John Lithgow in The Magistrate
R
ecording and broadcasting a theatre production live requires the same process as for a concert or sports event, according to David Sabel, NLT head of Digital Media and executive producer. “NLT productions are not inexpensive because they require lots of equipment and technicians. Typically on a production we have between five to eight cameramen equipped with Sony high definition (HD) cameras fitted with the latest lenses. We tend to use tracks to add movement and fluidity to the recording and sometimes we also have cranes and remote cameras. “In addition we need an outside broadcast (OB) van, an audio truck and a satellite vehicle. Crew-wise we require a
DYNAMIC RECORDINGS: David Sabel camera director, a broadcast lighting supervisor, a broadcast sound engineer, a script supervisor and a vision mixer. There is also the cost of uplinking the live feed to the satellite for broadcast,” explains Sabel. This year NTL is broadcasting its productions to over 500 venues across the world. The broadcasts go out live to venues in the UK and Europe, while the US and Canada carry the broadcast several hours later to accommodate the time zone delay. 16 | SCREENAFRICA | March 2013
Countries such as South Africa, New Zealand and Australia screen the production two weeks after the live broadcast. Cinemas do not pay broadcasting rights to NTL as the deal is negotiated on a profit share basis. NLT handles distribution in the UK while New York-based BY Experience, a company that specialises in alternative content, handles the global distribution.
In production Sabel stresses that NLT does not make films. “We make dynamic recordings of live events where the camera takes the audience deeper into the play.” The National Theatre (NT) does between 22 and 25 stage productions annually. Sabel explains that once a production is selected for the NTL series, the first step is to choose a multicam director who is well-versed in live television. “Live multi-cam directing is a very different skill to film directing,” continues Sabel. “The multicam director is referred to as the camera director to differentiate him from the stage director, who creates the show for the stage. We let the play open and run for a few weeks before the NTL production so that the cast can settle into a rhythm. “We don’t change the show much for the broadcast because we want to honour the integrity of the stage production. It’s more a case of small technical tweaks, like adjusting the stage lighting and make-up to
accommodate the HD cameras.” Every NTL show is different and each requires a bespoke set-up. The camera director decides whether cranes and tracks are needed for a particular production. In the case of The Magistrate, which had an ingenious set design resembling a children’s pop-up book, they used a Power Cam for vertical camera movement to capture the up/down nature of the set changes. Generally the cameras don’t go on stage and film-style close-ups are avoided to retain the feeling that the audience is watching theatre. Says Sabel: “Once the camera director has decided on the number of cameras and the camera support equipment, he meets with the stage director and myself to discuss the live production. The two directors then create a camera script to define the framing and duration of each shot and assign that to a speech, line, word or facial reaction. This ensures that the recording runs like a symphony. “Audio presents quite a challenge as all the actors wear radio mics and it can be tricky concealing the mics and cables in the actors’ costumes or wigs. The broadcast sound supervisor mixes the dialogue live to 5.1 surround sound in the audio truck.” A broadcast lighting supervisor is brought on for each NLT production. This is a television lighting specialist who spends half a day with the stage lighting technician to strategise the lighting for the broadcast.
Rehearsals Sabel explains that the first rehearsal is done the week before the live broadcast without an audience and is recorded to tape. “We watch the recording the following day in a cinema to see what the picture and sound are like. The second rehearsal is
done on the day before the broadcast. We also do a satellite test on that day, another test on the morning of the broadcast and a final test two hours before. NTL runs a technical helpline to assist the projectionists in the cinemas receiving the live broadcast.” There is also the issue of how to record the play so that it still looks like a play and not a film. The audience is prioritised in that they are informed it is a NTL performance and given reduced price tickets. According to Sabel, it is the cameras which are given the best seats in the house.
Beginnings Sabel came to the NT four and a half years ago to do a feasibility study on recording and broadcasting productions live, after NT director Nicholas Hytner had seen New York’s Metropolitan Opera Live in HD series. “At first we were very sceptical about trying to broadcast our productions because of the stigma attached to filming live theatre productions. Before NTL no-one had taken the care to do it properly as everyone was so worried about disturbing the audience that they stuck the cameras right at the back of the theatre, making the footage static. “What excites us about NTL is the live aspect and even when the production is shown as a delayed broadcast, it still retains some of the live residue. Because we’re going into cinemas we can get away with wide shots and can preserve the theatricality of the piece on the big screen,” he comments. NLT is screened in South Africa exclusively at Ster-Kinekor Cinema Nouvea theatres. Upcoming productions include Alan Bennet’s People, James Graham’s This House and The Audience with Helen Mirren as Queen Elizabeth II.
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FILM
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Compiled by Chinaka Iwunze
Director Speak Kunle Afolayan Director, producer and actor KUNLE AFOLAYAN has made three feature films to date – Phone Swap (2012), The Figurine (2009) and Redemption (2006). His work has been recognised at the Afro Hollywood Awards, the Nollywood Awards, the Nigerian Entertainment Awards and the African Movie Academy Awards, among others. Kunle is a second generation Nigerian filmmaker, the son of the highly respected Adeyemi Afolayan (AdeLove) and grew up on a steady diet of the performing arts and audio-visual creativity.
ON SET: Kunle Afolayan
filmmaker in Nigeria owns a camera and a few bits of other equipment. We shoot mostly on location and not in studios. There are no film funds or grants of any sort in Nigeria, which makes its very difficult for local filmmakers to realise their dream of shooting big budget films. We make do with the few available resources we have. HOW DO YOU RAISE FINANCE FOR YOUR FILMS? I raise money mostly from loans, support from family and friends and a bit of sponsorship via product placement and brand support. WHERE DO YOU GET YOUR INSPIRATION FROM? Inspiration comes from above and through things I see and find around me. Nature plays a key role as I am hardly able to do any scene plotting until I see my location. I learnt a lot from my environment while growing up. YOUR FILMS PORTRAY A LOT OF THE YORUBA CULTURE AND SPIRITUAL ELEMENTS. WHY DO YOU VALUE THIS PERSPECTIVE? I am of the Yoruba tribe, born and raised the Yoruba way in the Yoruba environment. Yoruba culture is deep and rooted in so many beliefs, traditions and folk tales. Like I said earlier, I am just making use of what is available to me.
HOW DID YOU BECOME A FILMMAKER? I actually studied digital filmmaking at New York Film Academy (London campus) in 2005, after which I returned to Nigeria to set up a small production company. Golden Effects Pictures now has three feature films and a few television productions to its credit.
WHAT HAS BEEN YOUR BIGGEST FESTIVAL / AWARD TRIUMPH? I’m not really sure what my biggest festival triumph has been as I’m still looking forward to having my film open in an A-list festival and possibly getting nominations or a mention on a high profile award platform. Hopefully that will happen when I conclude a co-production deal with a big fish in the industry.
DESCRIBE THE FILMMAKING ENVIRONMENT IN NIGERIA. WHAT ARE THE BIGGEST CHALLENGES? Filmmaking in Nigeria is totally different to how it happens in other developed countries. An average
WHAT IS YOUR TAKE ON NIGERIA’S CINEMA CULTURE? IS IT STRONG ENOUGH OR IS THERE MORE WORK TO BE DONE? Nigeria cinema culture is back and at least it’s better than
18 | SCREENAFRICA | March 2013
most African countries where they won’t even watch their own locally made films. Our local films now compete side by side with Hollywood films and more cinemas are springing up in Nigeria. WHAT ARE YOUR TOP THREE FAVOURITE MOVIES AND WHY? Forest Gump, Apocalypto and Inglourious Basterds. They got me hooked and I use them as case studies in the areas of film dialogue, language and duration. IN THE FIGURINE THE PROTAGONISTS PICK UP A MYSTICAL WOODEN FIGURINE WHICH GIVES THEM GOOD LUCK FOR SEVEN YEARS, BUT BAD LUCK AFTER THAT. WOULD YOU HAVE PICKED UP THE FIGURINE IF YOU’D FOUND IT? Why not? It’s good to be adventurous sometimes. IF YOUR LIFE HAD A SOUNDTRACK, WHAT SONG/S WOULD BE ON IT? Don’t Worry, Be Happy by Bobby McFerrin. WHAT ADVICE WOULD YOU GIVE TO ASPIRING FILMMAKERS? They should learn the hard way and remain focused and persistent. WHAT ARE YOU WORKING ON NOW? I’m working on a new feature film which is set in Nigeria in 1960. The working title is October 1. The story revolves around Nigerian police detective, Dan Waziri, who is sent to the trading town of Akote by the British, to solve a series of female murders. He must solve the mystery of these deadly attacks before the British flag is lowered and the Nigerian flag is raised on Independence Day... October 1.
| AWARDS
The 7th annual South African Film and Television Awards (SAFTAs) takes place over two nights on 15 and 16 March in Midrand, Johannesburg. Regarded as the supreme accolade for the local industry, this high profile event will be televised across three channels.
Photo by Kobus Loubser
Honouring SA’s film and TV talent
ON THE UP: SAFTAs 2012 Golden Horn Trophy. “Free-to-air channel e.tv, which sits on the SAFTAs committee, has indicated that it may be interested in becoming involved in the broadcast next year. So, following this year’s awards ceremonies the committee will go back to the drawing board with e.tv and start planning for 2014. Ideally it would be wonderful to see a multi-channel live broadcast of the SAFTAs but it would be an extremely complex exercise to pull off.” Mkosi points out this year’s broadcast on multiple platforms shows that the public profile of the SAFTAs is on the up. “It’s steadily increasing but I think it has far greater potential. Together with our broadcast partners we’re pushing the public vote for the Best Soapie category. Thus far the public’s response to this category indicates that they are very aware of the SAFTAs,” she says.
Commitment HIGH HOPES: NFVF CEO Zama Mkosi
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ot only will the SAFTAs awards ceremony on 16 March be televised live on public service channel SABC3, the event will, for the first time in its seven-year history, be repeated on pay-TV channels M-Net Mzansi Magic and TopTV’s Top One. Zama Mkosi, CEO of SAFTAs custodian, the National Film and Video Foundation (NFVF), is delighted with the wide broadcast coverage. “The fact that three channels have committed to broadcasting the event is very exciting and goes to show the respect that the industry has for the SAFTAs. It will also give many more South Africans the chance to see the glitzy and glamorous SAFTAs as they unfold on stage, as worthy winners are presented with the
According to Mkosi e.tv has been extremely committed to the 2013 SAFTAs, following its surprise last-minute withdrawal from the competition last year. She continues: “e.tv has been actively participating in the 2013 committee since day one and has, like the other broadcasters, been actively encouraging the independent production sector to enter the competition. I think the success of the broadcasters in this regard is reflected in the number of entries we received, which has nearly doubled since the inaugural SAFTAs. “This year we have entries from across the board so I believe that the SAFTAs has become truly representative. In a greater sense the SAFTAs is a mirror of the industry. The high quality of this year’s entries show that the industry is growing. Also gratifying is the fact that there is a greater language
spread in the productions, with more vernacular language entries coming through.”
United industry When asked what her hopes are for the 2013 SAFTAs Mkosi responds: “I hope to experience a united industry over the two evenings of the SAFTAs ceremonies; that all the different players unite in celebrating what the industry has achieved. “A lot of the time we focus too much on what we haven’t achieved and therefore don’t give enough credit to people who are doing a good job. There is so much excellent work out there and amazing talent.” Mkosi hopes that the entire industry really rallies around the awards. She stresses that the SAFTAs committee and the NFVF, as the current custodian of the SAFTAs, are very open to feedback regarding what the industry feels is or isn’t working about the awards. The current SAFTAs committee is made up of representatives from all the local broadcasters (SABC, e.tv, M-Net and TopTV) and industry organisations such as the South African Screen Federation (SASFED). It is hoped that in future the committee will also comprise representatives from the distribution and cinema exhibition sectors so as to include the entire film and television value chain. For this year’s competition the SAFTAs committee decided to introduce judging sessions in Cape Town, whereas previously all Cape Town judges had to congregate in Johannesburg. “We had to accommodate the Cape Town sessions as well as an increased number of judges with the same budget as the 2012 SAFTAs so that put a bit of pressure on the process in terms of
logistics. However, the inclusion of the Cape Town sessions worked very well and is in line with our desire to be much more representative. “It’s possible that KwaZulu-Natal will be involved in 2014, with other provinces to follow after that. The SAFTAs are for everyone, wherever in South Africa they are,” explains Mkosi.
SAFTA Academy Ever since the SAFTAs was first initiated, the long term goal has been to create an independent SAFTA Academy to administer the awards. Mkosi reports that a special subcommittee of the SAFTAs committee has drawn up a draft constitution for the Academy. Once the SAFTAs committee and the NFVF have completed reviewing the document it will be put out to the industry for feedback. “Setting up the Academy is a long road but I hope we may achieve it within the next two to three years. The Academy subcommittee has done research and international benchmarking with other overseas academies and the draft constitution is based on that. “However, it’s important for us to come up with a model for the Academy that makes sense in terms of the realities of our own industry, therefore we won’t just copy an international model. “The Academy also has to make financial sense. We as the NFVF, which is a government agency, feel that the Academy is important for the industry and therefore we are willing to contribute to its funding but we won’t be able to fully fund it. However, we will walk alongside the industry in the long journey to establish the Academy,” concludes Mkosi. – Joanna Sterkowicz
March 2013 | SCREENAFRICA | 19
Television
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For the love of the land
By Martie Bester
production, the style of shooting, the performances and the editing.” It should not be forgotten that time and money are always challenging issues in the South African broadcast industry. However, Malherbe says, as independent filmmakers, innovation in spite of a limited budget is a characteristic of a generation of filmmakers who are coming into their own. “We succeed to make wonderful productions such as Verraaiers and Semi-Soet within strict time and budget constraints. We adapt to these challenges. I have taken on a group of young and passionate VFX artists and assembly editors. A VFX artist will create an army of soldiers during the Boer War, we are building prop guns and have to add muzzle flashes, and we have to do wide shots of the concentration camps, etc. We work with very little all the time and we extract each and every thing we are able to from what we have,” Malherbe says.
Renowned South African writer, director and producer Deon Opperman wrote Donkerland (Dark Country) in 1996, named after the farm in KwaZulu-Natal close to where he spent his childhood years. Preceded by the kykNET series Kruispad (Crossroads) in 2008 and Hartland (Heartland) in 2011, Donkerland, the first instalment of the trilogy, is being filmed for television by director Jozua Malherbe.
A
fter reading about the farm Donkerland in the book My Traitor’s Heart by Rian Malan, Deon Opperman connected the dots to his Afrikaner origins and discovered a multitude of untold stories about the people who had lived on Donkerland throughout many centuries. Spanning a period of 150 years, Opperman detailed the story of a specific family who lived on the farm, how the country changed around them and how the family members were forced to adapt to these conditions. Realising the magnitude of such a project, Opperman needed an experienced and passionate helmsman and tasked director Jozua Malherbe (Wolwedans in die Skemer, Getroud met Rugby) with filming this period piece that commences in 1838 and ends in 1996. Written at a time when Opperman was living overseas, uncertain about whether or not to return to South Africa (he has since decided not to leave), Malherbe remarks that the series is not about staying or going, it’s about being here now and about what it means to be an Afrikaner. However, Malherbe says it cannot be limited to an Afrikaans context strictly. “The series deals with several contextual 20 | SCREENAFRICA | March 2013
Epic
PASSIONATE HELMSMAN: Director Jozua Malherbe issues which can be interpreted as a specific story to illustrate a general feeling. Therefore, it is not the story of ‘the Afrikaner’, as there is not only one type of Afrikaner, we don’t want to convey a stereotypical message. Rather, Donkerland is about a group of Afrikaners on a specific farm,” Malherbe emphasises. “The family centres around a tough patriarchal figure and spanning a century and a half we travel through the years, depicting the time right after the Great Trek, the Boer War, the years following the Boer War and then specifically 1929, 1948, 1976 and 1996, which represent important milestones in South African history,” he says. With an initial viewing on Afrikaans pay-TV channel kykNET, Malherbe hopes the series will get a wider audience. “We don’t think it is a series that is only meant for Afrikaans people. Instead, it is a comprehensive history of the country which presents various concepts and ideologies from a universal perspective.”
Passionate crew With a strong team behind him, including experienced line producer Lucia Meyer, Getroud met Rugby DoP Adam Bentel, Flo Ballack as art director (Hartland) and Quentin Krog as AD, Malherbe says he is more than excited about his involvement with Donkerland. “I have to cast 156 actors for the series so most of the industry is in the show,” Malherbe notes. Although young actors will be given the opportunity to be part of the series, Malherbe wants to concentrate on casting experienced actors to provide the necessary gravitas to Donkerland. “We are producing such a massive world realistically that we need actors who really understand and embody the characters. To ensure amazing human performances, our cast has to be credible. We are in South Africa in, for example, 1838 and that is what we try to achieve through the design of the
As Donkerland can be interpreted as an epic genre, Malherbe and his team used references such as Legends of the Fall, Braveheart, The Assassination of Jesse James by the Coward Robert Ford, True Grit, Once Upon a Time in America and Once Upon a Time in the West. “We aren’t working in a classical TV drama format. Instead there’s action, drama, war, love, forbidden love, fight scenes, brothers fighting each other, villains, good guys, bad guys and damsels in distress,” says Malherbe. “One of the challenges is to keep this world ‘alive’, to give people something that will indicate in which time period the series is based and how they lead their lives, to keep it as close to reality as possible,” he enthuses. Musically, Malherbe wants to incorporate choirs as the soundtrack to Donkerland as well as the use of local musical instruments. Janine Neethling, one of South Africa’s most well- known pianists and music directors will be in charge of this feat. As Malherbe mentions, Donkerland’s success depends on a rigourous, tireless, ambitious and talented team to achieve the show’s objectives. And with passion oozing from everyone involved, Donkerland’s success is destined to equal the magnificence of the magnitude of the production itself. “Ultimately, Donkerland is about the love of the land. If there is one essential aspect of this series, this love is the overarching and fundamental theme. After all, the land is why people are here, why they make decisions, why they fight with each other, why they take blood, why they love one another and why they don’t desert South Africa. It is the love of the land that unifies us – it is what binds us,” concludes Malherbe. Donkerland will screen on national pay-channel kykNET in August 2013.
| Documentary
A film called Orania By Martie Bester
A new feature-length documentary examines the soul of the isolated, segregated Afrikaner town of Orania, situated in one of the most barren parts of the Karoo in South Africa.
A
fter initially causing a huge public outcry locally because of its Afrikaneronly policy, the town of Orania faded back into obscurity until Afrikaans singer Bok van Blerk’s controversial song about General de La Rey put the sleepy town back on the map after Van Blerk performed in the town in 2007. It seemed that Orania attracted attention for all the wrong reasons until the dust settled over this isolated community in the Northern Cape once more. German writer and director Tobias Lindner happened upon the town on his quest to tell stories about ‘micronations’. The young filmmaker is interested in ‘human cohabitation groups that try to do something different’. Lindner was captivated by Orania and its inhabitants’ claims of a ‘volkstaat’ (volk state), a place that was primarily ‘created’ for the preservation of the Afrikaans language by the late cultural activist Professor Carel Boshoff who passed away in 2011 – disillusioned that Orania did not become the Afrikaner nation’s nirvana he had envisaged. In the film the subjects are portrayed tenderly, almost cautiously, until they trust Lindner enough to converse boldly and confidently. It is as if the camera searches for the town’s very soul and finds it, and reveals it, but never overexposes it. Lindner studied cinematography and started making documentaries about five years ago, Orania being his first feature documentary. “Most people have an opinion about Orania, but not many people have actually gone there. I was curious about the town and was trying to find out if it would be a good story to tell in documentary film,”
SOUL SEARCHING: Filmmaker Tobias Lindner at the Jozi Film Festival 2013 says Lindner. “I found really intriguing characters there.”
Recognition Apart from Orania ermerging as the winner of Best Documentary Feature at 2013’s Jozi Film Festival, despite tough competition, Lindner’s movie also won Best Feature Documentary at the Dreamland International Film Festival in New Haven in the US. Lindner presents an accurate portrayal of Orania, delving under the skin of a people dislodged, yet strangely anchored by their beliefs, traditions, faith and determination,
a sense of community binding them. “It is a reality that these people and this place exist, however impossible that sounds. I wanted to view them as humans who have certain views, even if I didn’t necessarily agree with them,” remarks Lindner. “It is easy to go there and find arguments that make the people look ridiculous, but I think that’s boring. I wanted to see what’s really ‘behind’ the town.” The movie took approximately three months to film. Lindner stayed with a family in Orania for the duration of filming. “It is an interesting town, the people were very hospitable and at times it felt very homely, disturbingly homely, but there were also times that I had had enough of it all.” According to Lindner the fluctuation of people in Orania is very high. “People come in expecting this ‘Afrikaner Disneyland’ in the middle of the Karoo and when they find out it is not all rosy, they
leave.” Lindner is fluent in Afrikaans, after having spent some time in South Africa, which is fortunate, as all the narrators of Orania speak Afrikaans, apart from Hennie who oversees the immaculate upkeep of the town’s pool – an oasis in the middle of nowhere where children swim over weekends and buy cold drinks and crisps delivered from nearby Hopetown, a place which does not live up to its name.
Apolitical With no outside influences or opinions to
SAD FAREWELL: Baksteen and Christo
distract viewers from Orania and its daily life, Lindner set out to – and has succeeded – in creating a movie that does not carry a political message at all. “I think it is important that I went there with an open mind and didn’t judge them. Perhaps being a German who didn’t grow up in the South African environment helped me to take a step back.” Early on in the movie, audiences are introduced to Baksteen (Brick), who also speaks English. “Baksteen is one of the most important characters because he is the town’s antagonist. Because I don’t show an outside perspective of the rest of South Africa he is the movie’s anti-hero and gives the film more balance.” As the film’s most amusing character, Baksteen is also its most tragic. Living in Orania because of his past that includes car hijackings and other crimes, Baksteen struggles to come to terms with the rules and regulations of this small town and longs to return to Johannesburg. He mentions the possibility of jail should he return to the city, from which he’s been ejected, and tries to fit into the close-knit, religious community. Nonetheless, Baksteen rebels. His room is covered with pin-up girls and the tedious nature and boredom of his existence is heightened as he starts to unravel. It is as if the stifling heat and sense of desolation, which Lindner portrays through careful camerawork, become a metaphor for his desperation. Towards the end of the movie, Baksteen, is asked to leave the town and his departure is bittersweet, his future uncertain. The dusty corridors of Orania prove too narrow for him. But for more than 1 000 people living in this community, refuge is a town called Orania. March 2013 | SCREENAFRICA | 21
Wildlife
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All the President’s Elephants T
The Natural History Unity (NHU) Africa documentary, All the President’s Elephants, is a touching and profound portrayal of Sharon Pincott and her 12-year struggle for the reaffirmation of a decree that would protect ‘The Presidential Elephants’ in Hwange National Park in Zimbabwe.
By Martie Bester
he documentary, produced by Oloff Bergh, co-directed by Kira Ivanoff (both from Triosphere) and codirected by Richard Slater-Jones has been nominated for four SAFTAs including best wildlife TV programme. Twenty-one years ago President Robert Mugabe announced a decree that would protect a herd of 400 elephants in Hwange National Park. They became known as ‘The Presidential Elephants’ and were protected from poachers and snaring by the powerful words of a passionate leader. However, as Zimbabwe sunk further into political turmoil and Mugabe’s focus shifted to maintaining power at all costs, the elephants lives increasingly deteriorated, until they were vulnerable to slaughter and entrapment by the suffering masses of an African freedom story gone wrong. And then Sharon Pincott arrived in Zimbabwe and a movie called All the President’s Elephants was made, bringing the plight of these magnificent giants of the wild to the attention of the Zimbabwean government and the world – prompting Mugabe to reaffirm the decree he had written decades ago.
Mesmerised As a powerful business woman in Australia, Pincott had it all, but in 1993, on a visit to the Kruger National Park in South Africa, she was mesmerised by the first wild elephant she’d ever seen. “I was never quite the same again. I returned to wild Africa often over the years, but it wasn’t until the year 2000 when a friend of mine, a warden at Hwange, was killed in a helicopter accident while tracking rhino that I decided life was too short, and you need to take more risks in life and do what you really want to do,” says Pincott. After 12 years living in the wild, Pincott
22 | SCREENAFRICA | March 2013
says going back to city life in Australia is not an option. People frequently make comparisons between her and Dian Fossey whose life was depicted in Gorillas in the Mist. Fossey lived alone in the Virunga Mountains in Rwanda for 13 years staunchly protecting the mountain gorillas, INTIMATE RELATIONSHIP: Sharon Pincott kisses Willa in the documentary before she was All the President’s Elephants murdered. “I can certainly see parallels between myself and her, but there mouth, seeing what’s going on, and so the are two big differences. I don’t have the battles are constant and often lonely. controversial relationship with the local “As in any line of work, there are (perhaps population that she had. And I haven’t surprisingly), a lot of egos and competitive ended up dead,” says Pincott. jealousies within the wildlife world as well, and so I choose to remain relatively solitary Amazing Grace in order to be able to cope better with it all,” Pincott continues. Whenever the elephants seem restless, Pincott sings Amazing Grace to the herd to Threats calm them down. “I do think that song in particular has a soothing effect on the Despite several threats on her life, she says elephants. Many of their own rumbles are she doesn’t live in fear. “I certainly know so gentle and calming, it follows that they there are those who would prefer that I would respond well to a melody such as this wasn’t here at all. I would never have one. I do think though that it’s probably a survived if it wasn’t for some very high-level similar scenario as with the names I’ve given government support. That support has to each of them for identification been reinforced to some extent in the past purposes.” few months, but that doesn’t mean there Of her life among the elephants, Pincott aren’t any on-going battles of course,” she has strong views. “Certainly living in the adds. wild in Zimbabwe as a white, foreign female Now that the decree has been can be trying. You don’t really want to be reaffirmed, are the elephants out of any of these three things when speaking danger? “Unfortunately the presidential out in Zimbabwe, and I happen to be all decree alone can’t protect the elephants three. There are always people who don’t from poachers and snaring. However, the want eyes and ears, not to mention a big decree brings awareness and this certainly
helps to keep these elephants in the spotlight, and therefore safer than they would otherwise be,” Pincott says.
Deep relationship The movie beautifully emphasises the deep relationship between Pincott and the elephants. “My very close relationship with them is a by-product of simply spending so much time with them each day, for more than a decade now, monitoring their lives. I talk to them, I sing to them, I celebrate with them when they produce new offspring, I try to keep them out of harm’s way. They trust me and they know that I am their friend,” enthuses Pincott. “They’ve been through so much during the past decade though, and it required a lot of time and effort to have this trust restored. Elephants are not aggressive by nature, the presidential elephants are living proof of this. If elephants are aggressive, then you can be sure mankind has made them that way.” Pincott is working more closely with government now. “But really only in terms of enjoying strengthened and renewed liaisons and verbal support within the President’s Office and the Environment Ministry.”
Reaffirmation The making of All the President’s Elephants definitely contributed to Mugabe’s reaffirmation of the decree. “In my experience, nothing happens in a hurry in Zimbabwe. I think the Decree Reaffirmation would probably have taken much longer to come through had there not been a film crew waiting in the wings. That’s not to say that it was done for the cameras though. I do think the film contributed to a sense of urgency however,” comments Pincott. “The incredible intimate relationship Sharon has with some of the families of presidential elephants was amazing to film. Those intimate moments between Sharon and the various key elephant characters she knows particularly well were spellbinding,” says Slater-Jones. Part two of this article follows in our April edition with more from Pincott as well as input from the filmmakers.
Compiled by Joanna Sterkowicz
| Piracy
Battling the scourge
ANTI-PIRACY – Patty Geneste (FRAPA), Jannie Delport (NAB) and Corne Guldenpfennig (SAFACT)
Globally piracy remains rife on all fronts – through the sale of illegal DVDs, the illegal downloading of content on the internet and the pirating of broadcast signals. Each year billions of dollars in revenue is lost worldwide as a result.
decrypts. Pirates use signal blockers and can re-engineer smart cards and clone them – the ‘yellow dragon’ card is the latest pirate technology. Card-sharing uses the internet to relay the signal around.” Delport stressed that piracy affects everyone. “Companies like MultiChoice and TopTV build their decoders and offer their subscribers content. If this content is sold on the street corner it degrades the value of the content. Pirates stream sports broadcasts and they sell advertising around them. “Legislation is not strong enough to combat the problem as there is organised crime behind piracy. People don’t understand how the signal is pirated and legitimate consumers end up carrying the cost. Piracy discourages investment in local content and results in the loss of jobs. “The internet is the preferred medium for piracy so the problem will get worse as broadband increases in South Africa,” he said.
SAFACT
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t a session at the recent DISCOP AFRICA content market in Johannesburg Jannie Delport of South Africa’s National Association of Broadcasters (NAB) described piracy as the unauthorised reception or distribution of broadcast content. Said Delport: “Piracy is a hugely complex issue because it exists in different forms. There is conditional access piracy which makes use of pirated smart cards; cardsharing for cross-border piracy; and commercial piracy. The latter refers to content theft and sales. “The point at which a pay-TV broadcaster’s signal becomes vulnerable to piracy is when it reaches the decoder and
Corne Guldenpfennig of SAFACT (South African Federation of Copyright Theft) explained that this non-profit organisation comprises an anti-piracy internet team as well as a physical take-down team to confiscate illegal DVDs. “We work together with law enforcement agencies and the FPB (Film and Publication Board) in fighting piracy. Internet crime constitutes cyber crime whereas physical piracy is categorised as commercial crime. “On average our efforts result in about 400 arrests a year which lead to about 300 new criminal cases. In 2012 we had nine direct prison sentences. We seize over one million discs annually,” explained Guldenpfennig.
SAFACT has seen an increase in physical piracy and illegal internet sites, most of the latter are local Torrent sites. According to Guldenpfennig, the overall cost to South Africa of piracy is R606bn a year, of this R250m is entertainment piracy. “To fight piracy effectively you need law enforcement, training and anti-piracy ad campaigns, all of which we do. The government also needs to respect the concept of intellectual property,” she stated. SAFACT is fully funded by its membership which consists of producers, distributors, exhibitors, post-production facilities and international rights holders.
FRAPA Twenty years ago when television production companies such as Endemol asked people to pay for formats, people thought they were mad. “FRAPA (Format Recognition & Protection Association) was formed because the law leaves format owners out in the cold. Currently we have 140 members worldwide and we are growing steadily,” said Patty Geneste of FRAPA. Members of FRAPA have access to special services via the internet, as well as networking opportunities. “As one of our services we offer a format fee price calculator for start-up companies that want to pitch formats. We also have a contract generator and a production bible generator. “FRAPA issues reports every two years, which is a very valuable service as we’re all curious about infringement cases. Another service that we offer is dispute resolution in that we analyse the situation and help our members out,” explained Genste. The FRAPA format registry exists to offer
members digital registry for low fees. There are several ways to register a format. FRAPA can do it on paper but, as Geneste pointed out, this is not a guarantee because there is a lack of a worldwide registry for ideas. “It’s possible that people from all over the world might come up with the same idea at the same time. For example, when US President Barack Obama mentioned the problem of school bullies, there was a sudden flurry of formats about bullying. Getting your format on air is still the best way to ensure your idea is recorded. “We have a deal with WIPO (World Intellectual Property Organisation), which specialises in mediation. However, professional respect for each other is the best protection we can think of,” noted Geneste.
FRAPA tips to help protect formats: • • • • • • • • •
Describe your concept in as much detail as possible and register it. Make sure there is a unique twist to your concept. Put the different elements of the format in a unique order. For a game format, describe the rules and create the final game. Register the entire format development process. Create a strong logo and strong title. Work with established companies in the market. Save all communication relating to the format. Become a member of FRAPA.
March 2013 | SCREENAFRICA | 23
ARCHIVING & MEDIA ASSET MANAGEMENT
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Managing your digital assets By Ian Dormer
Media Asset Management (MAM) is a very broad term. It means different things to different people as to what functions it encompasses, or more importantly, what it doesn’t. Despite this confusion MAM has become just as important to a small production company as it is to the biggest of broadcasters.
T
he terminology Media Asset Management or its abbreviated form, MAM, encompasses several functional areas, including ingest, annotation, cataloguing, short term storage, archiving, retrieval and delivery and / or variations of the above. The bottom line is that the overall function of a MAM system is to keep track of where content is located and help users find it. As the adage goes – if you know you have it but you don’t know exactly where it is... then it doesn’t exist. In the early days, the forerunner to MAM consisted of pieces of paper and filing cards. As libraries grew and technology improved, the filed paper sheets and cards were replaced by computer spreadsheets 24 | SCREENAFRICA | March 2013
to track which shots were on which film reels or tapes, and on what shelf in the archive library. Several years ago, production workflows were much more linear than they are today. For example, in a broadcast environment, a tape would come into newsroom after the shoot, someone would mark and label the tape and fill out a basic log sheet, an editor would pick up the tape, edit and deliver the finished story to the control room for inclusion in the next news bulletin. If the story was particularly important, the tape would put it on a shelf in the library and its location catalogued for later retrieval. New technology and process workflows have enabled major changes to the old way of working. Today, the archive serves as a
central repository for content, and the MAM system allows users to locate the material they need at a fast rate. Several editors can simultaneously work on the same source material to create different products. For example, a producer may send a particularly important news story directly to air as it arrives from the field. At the same time, the MAM system transcodes and sends the source material to the archive. Editors begin creating rough-cut stories from the source almost immediately, simultaneously versioning the content for later news bulletins, mobile content and internet feeds. In the post environment, many people may want access to the same content at the same time. This was near impossible when
editing systems were primarily tape-based. But as we move to networked and fibre-linked editing environments, it becomes possible for the user to change from a linear workflow to a collective, shared environment. That is the function of a MAM system – to help multiple users find, share and keep track of where content is located.
Approach to development Most companies looking at adopting a MAM system face a number of issues from the outset. The first one is the inevitable transition from film and tape to file. The second (not often considered) is the increasing number of platforms and content
| ARCHIVING & MEDIA ASSET MANAGEMENT New technology and process workflows have enabled major changes to the old way of working. Today, the archive serves as a central repository for content, and the MAM system allows users to locate the material they need at a fast rate.
demands of each of these platforms. Both of these issues require a substantial investment in new technologies which are costly, but choosing the correct technological solution will ultimately add new revenue streams. Another issue that project planners need to take into account is the time it takes to implement a MAM system into their environment. It would probably take up to a year to specify, design and build the project and then another year odd to refine the system to optimal performance. A common error often made is not allocating enough time up front to define the requirements, if the initial specifications are not right, the project is doomed for failure from the outset.
There are some prime examples of companies that spent a lot of time and money on research for the ideal MAM system suited for their business needs. Take Associated Press (AP) for example. This 160-year-old company is home to one of the most extensive collections of news, film and video footage in the world. AP decided to look into conversion from film and video to digital file formats which would open their unique archive to a new audience across a new set of platforms, and enable delivery of new high resolution content through their distribution networks. After months of discussion and consultation Prime Focus Technologies (PFT) was selected to deliver AP’s vision. Driven by CLEAR(TM), PFT’s content operations platform, a total of 900 000 film asset files were created and 2 900 000 video assets were created, totalling over 3 800 000 new assets, digitised, catalogued and archived in just 18 months. The MAM system has changed the way AP operates. Through working with PFT to digitise its archive, AP has made its valuable content available online 24 hours a day, seven days a week, accessible by anyone, anywhere in the world. On the local front in South Africa and on a smaller scale but with equal success, Aquavision TV Productions adopted Squarebox Systems CatDV media asset management software 18 months ago. Housing the largest high definition (HD) wildlife library in Africa and representing contributors from around the world, Aquavision has digitised its entire library creating reference proxy files for the HD tape content, which remain as their archive masters, and uses the MAM system to archive all file-based material to LTO tape as well as create reference proxies which are stored on a 32TB NAS array for offline editing purposes. A team of loggers have catalogued the entire library to their own specifications and Aquavision is planning on publishing the data base in XML format to make them accessible on the web within a browser so that outside clients can view, select and purchase stock footage for their productions.
How is SA doing? Is the local market ‘catching on’ to the concept of MAM or are we lagging behind because of a lack of understanding? Says Ivan Bridgens, CEO, LaserNet: “The local market is getting its feet wet in a small way but growth in this section of the market will escalate at a rapid rate once understanding takes hold and reliable ways of storing and presenting content emerge.
I think South Africa is starting to understand the digital media world now and is beginning to realise that storing content in a digital form is affordable and secure. Storing content on a hard drive on the shelf has burnt a lot of companies – they now realise they can’t retrieve their old content. As a result these companies are thinking differently about how to store content. Jaques Welthagen from Zimele Broadcast Services comments: “I don’t think it’s a case of not ‘catching on’ but rather stretching the rand to see how far they can push it and get away without MAM, thus broadening the divide. One-inch tape (Umatic), even Betacam, is going to be nearly impossible to retrieve in the future and where are those assets now? MAM is a tool, just like a router in a facility and must be approached in that fashion and not like a necessary evil. It is the core of the digital asset driver.”
Most NB functions So, what functions do South Africans in general deem most important in a MAM system? Concilium Technologies Andrew Cole comments: “Within the large broadcasters, the ability to improve workflows across multiple channels is the big driver. Of course this encompasses ingest, archiving and integration with scheduling and automation systems. One of the key advantages is the ability to move material off legacy tape and into the MAM environment for repurposing.” Bridgens adds: “We have found that managing the movement of digital media, tracking the content and presenting the content has increased rapidly in South Africa.” Zimele’s Weldhagen adds: “Every facility or owner has unique requirements but I would certainly think that media integrity (QC) must be one of the top requirements. That coupled with a strong and mature workflow must be identified right from the outset.”
Cloud impact Has the advent of the cloud made any difference to companies approaching MAM solutions or is local storage still key to decision makers? Welthagen responds: “In this case I suppose the ‘owner’ of the content will have to make a decision on a couple of things like security, retrieval costs and data speed and service costs but I think for smaller enterprises the cloud has huge advantages. The term ‘content everywhere’ is used quite often lately. With fibre rolling out and the
last mile being made more affordable we can certainly expect growth here as this market is still in its infancy. Positives are scalable, affordable hardware while on the downside software should be able to run in a virtual hosted environment, so safety still remains an issue.” Bridgens notes: “The cloud companies are being increasingly utilised and the understanding of what is possible is becoming more evident. A lot of agencies and broadcasters are using LaserNet cloud service to manage their content easily and effectively. Currently LaserNet stores between 30 to 40TB a month of data in our CLEARvault.” Cole adds: “Local storage is still key to MAM solutions in the African context. The lack of cost-effective high speed data connections will continue to hamper efforts to move content into the cloud.” On the international scene Treb Ryan, CEO of OpSource based in the USA, comments: “The toughest part of cloud computing (in asset management) is that getting large amounts of data in and out of the cloud is almost impossible no matter how fat your network connection is. The fastest way to transfer 3TB to 5TB of data is still FedEx. It really is hard to get your data – large amounts of data – in and out.” OpSource, a Dimension Data company, is a multi national cloud and managed hosting solutions company which provides scaled management services to a growing number of companies.
Return on investment? The biggest challenge in implementing a system is figuring out how to pay for it. MAM systems typically generate costs in one area, but deliver high value not only in that area and other areas as well. It may cost a significant amount of money to purchase, install and train personnel to operate the systems and the archive group may incur additional costs in time and personnel during logging and cataloging. But the true benefits of MAM systems typically provide the advantage to other users of the system – researchers, scriptwriters and postproduction departments, for example. This usually means that the archive department incurs all the costs, while other departments receive the benefits. It is often said that nobody with a sane mind can run a modern digital based business without a MAM – it would be like having the internet without search engines. Too true, it’s time for all of us to manage our assets... now where did I save this document? March 2013 | SCREENAFRICA | 25
ARCHIVING & MEDIA ASSET MANAGEMENT
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Case study: Italian football gets mobile Infront Italy – part of Swiss-based international sports marketing group Infront Sports & Media – is contracted by the Italian football leagues (Lega Nazionale Professionisti Serie A and Lega Nazionale Professionisti Serie B) to provide domestic media outlets with highlights for news purposes in compliance with the Italian law. Broadcasters can select interesting action during a live match stream, and will receive that content rapidly from Infront’s central production and archiving workflow system for their personalised editing. Thanks to Harris Broadcast technology, Infront provides Italian mobile phone network operators with live football video content for distribution to their subscribers. Through a media gateway connected to the system, the Infront editors can create goal clips directly on the timeline of the NLE (non-linear editor) during the live event. The clips are sent to the mobile telecom operators for immediate distribution to end users. Finally, to exploit archive rights both inside and outside of Italy, Infront has created and manages an indexed HD digital archive of Italian league football, which is remotely accessible by broadcasters, production companies, football club TV channels and event sponsors.
Making ingest and archiving easy Panasonic’s AJ-SF100 LTO (Linear Tape Open) archive software was specifically developed for its P2 production workflow. Complementing this technology is Panasonic’s AJ-SF110 ingest software, which archives video tapes in a data format. “LTO (Linear Tape Open) is a technology that was developed jointly by HP, IBM and Certance (Seagate),” explains Panasonic Broadcast System’s Sean Loeve. “In fact, LTO 5 data tape is the cheapest way of archiving per gigabyte and takes up the least space. It also has high data speeds, which saves lots of time. “A major benefit of Panasonic software is that it allows direct video playback from a data tape. It allows you to play and retrieve selected segments without having to replicate the LTO media to a hard disk drive (HDD). Our software supports the ingestion of all P2 files, AVCHD files*1 and VTR footage. *2 Plus, in addition to LTO, users can opt for Blu-ray Disk (BD)*1 and HDD as storage media.” 26 | SCREENAFRICA | March 2013
Quick workflow Infront Italy’s business requirement was to have soccer action available for viewing on a mobile device three minutes after it took place, allowing the mobile platform to charge for this service. The Harris workflow, based on intelligent media asset management (MAM) systems and super-fast video servers, enables this to take place. The solution deployed by system integrator Prevideo at Infront Italy is built around Harris Broadcast’s Invenio digital asset management core. The system integrates a number of Harris technologies such as NEXIO AMP video server and storage units, a large Platinum router with a 512 x 1024 video matrix and 6800+ fibre technology; as well as third-party IPV Curator low bit-rate video technology and EMC Isilon storage. The tight integration of the Invenio digital asset management with the NEXIO AMP video servers not only allows Infront to record content into a central storage facility,
but also allows the live logging and editing of content in high or low resolution as the game is being recorded. The system includes 14 record ports, all offering scheduled live ingest through Invenio Capture as well as live proxy logging. Invenio Insight allows users to view the live content being recorded and to add metadata to clips. Simultaneously, low-resolution files are created by the third-party IPV Curator system, which is integrated into NEXIO. Curator streams files
out of the NEXIO SAN and makes them accessible for annotation to low-res clients or transcodes them for mobile phone distribution. Thirty Final Cut Pro editors are connected to NEXIO and provide direct access to content on the NEXIO SAN as it is being recorded. At the end of each day, games, clips and edits recorded on the NEXIO AMP servers are stored and archived on an Isilon near-line disc storage system.
AJ-SF100 archive software is installed onto a PC connected to an LTO drive, BD*1 drive and removable HDD. It lets the user archive, search, retrieve and play all P2 files and AVCHD files. Proxy data can be generated and metadata can be edited while archiving. Content can be searched easily by using metadata and proxy video. Video clips archived on LTO media can be directly played back and any desired video segment can be selected and copied to another file. The video segment can be specified with IN/OUT marks added during playback. AJ-SF110 video ingest software converts VTR footage (HD/SD) to MXF files via an IEEE 1394*3 interface for AJ-SF100 archiving. VTR materials recorded with DVCPRO, DVCPRO 50 or DVCPRO HD systems can be converted to files, without encoding, via the IEEE 1394 interface. Video input via SDI terminal can be converted to a P2 file. SD video is converted to DVCPRO or DVCPRO 50, and HD video can be converted to DVCPRO HD or AVC-Intra (50 or 100 can be selected). Metadata can be added. VTR conversion footage can also be input with new metadata. By linking with the AJ-SF100 LTO/BD1 archiving software, the video ingest software ensures smooth previewing, metadata editing and archiving. *1: Future compatibility planned. *2: Requires ingesting by AJ-SF110. *3: Supports only HD: DVCPRO HD, SD: DVCPRO 50/DVCPRO/DV. HDV input and MPEG-TS input are not supported.
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ARCHIVING & MEDIA ASSET MANAGEMENT
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Robotic library Sony has developed a new robotic library, the ODS-L10, which can contain up to two drives and a maximum of 10 media cartridges. The ODS-L10 forms part of a full line-up of solutions that include an even larger and expandable robotic library, currently in development. In addition, Sony has unveiled a new logo mark for the Optical Disc Archive system. Any compatible hardware product as well as storage media which meet the specification will now carry the new Optical Disc Archive logo. In order to help develop and promote the optical disc format, Sony is working with 10 leading manufacturers, including Adobe and AVID, who have all expressed their support for the archiving system. “After years in development with our alliance partners, we are excited to now bring our Optical Disc Archive system to the market,” said Chris Grey, general manager of Broadcast & Content Creation Solutions, Professional Solutions Company (PSAP), Sony Corporation of Hong Kong Limited. “At the cutting edge of storage innovation, the ODS-D55U is the ideal library archive for small files. Its ability to store data without power means the system has significant advantages over traditional
disaster recovery and permanent archive systems.” “At Sony we have a strong roadmap in place that will see our Optical Disc Archive technology being used in an increasing number of applications, from small-scale file back-up storage, through to large scale network solutions. “The result of over 10 years of innovation in file-based technology, we have created a powerful and efficient storage solution that allows high quality content to be archived, regardless of the original media format,” he added. A variety of high capacity media cartridges are available for the Optical Disc
Archive system, from 300GB to 1.5TB. Each cartridge allows random file access using the Universal Disc Format (UDF) system. Optimised for ultra-long term media archiving, the cartridges have an estimated 50 year lifespan and are built to withstand changes in temperature and humidity, and resist dust and water droplets. Each cartridge has a built-in RFID to check the contents of the media with mobile devices for efficient asset management, such as cartridge loaning, stocktaking and shelf archiving. The ODS-D55U drive unit is flexible, reliable and easy to set up. To help users organise their media assets, the ODS-D55U
is equipped with Sony’s simple management software solution, Content Manager. By automatically extracting metadata and storing it in a database, Content Manager allows users to quickly search, browse and retrieve files. Since its launch in 2010, XDCAM Archive has been widely adopted across the world as a powerful file-based content and archive management system that is ideal for small to medium sized A/V businesses. The newly released version 1.6 will enable users to connect XDCAM Archive to Sony’s Optical Disc Archive system, creating a versatile solution for businesses that operate a shelf-based archive system.
Case study: Managing EP’s media archive The European Parliament’s (EP’s) audiovisual unit oversees its EP’s media archive, which is maintained for the legal and historical record as well as for the use of members of Parliament, journalists and scholars. Today, the EP’s centralised digital archive is believed to be both the first in Europe to include an integrated end-to-end system for migrating analogue content into the fully managed digital realm, and the first of its kind implemented with the express purpose of ensuring governmental transparency. Archivists at the European Parliament had for a long time been aware that the lack of consistency in storage formats created headaches whenever they sought to find, identify, or retrieve specific content. The audiovisual unit therefore undertook to migrate some 12 000 hours of the EP’s legacy media content from storage on videotape into the managed digital environment. To accomplish this, the unit and Broadcasting Centre Europe (BCE) deployed six Front Porch Digital SAMMA solo systems arrayed in a set-up with legacy VTRs and interfaced to an existing Sony Flexicart system. The SAMMAsolos’ flexibility enabled them to work in tandem with the legacy FlexiCart systems, reducing overall project costs. The SAMMAsolo is a semi automated system that performs real-time, simultaneous encoding of content from
28 | SCREENAFRICA | March 2013
videotape into multiple digital files, and then manages their ingest into the digital workflow. An essential aspect of the project’s cost-effectiveness and its ultimate success was the SAMMAsolo’s flexible capability of interfacing with the audiovisual unit’s existing system. Likewise, the SAMMAsolo device has the unique capability of real-time migration of content into multiple digital file formats, enabling the project to meet. As a whole the system is unified through the use of a much-expanded and upgraded
Front Porch Digital DIVArchive content storage management system. To overcome the challenges specifically related to access, the EP audiovisual unit also implemented Front Porch Digital’s DIVAdirector application as an integral part of the centralised archive. Running in combination with DIVArchive and a Harris T-Rex media asset management system, DIVAdirector is enabling the cataloging and tracking of archived media assets, allowing 16 EP editorial staff archivists to browse content in the form of automatically
generated low-bit-rate proxies, to create frameaccurate shot lists, and to use customisable metadata to find and identify specific media using query tools. In contrast to a videotape archive, the centralised digital system supports the archivists’ efficiency by enabling them to enjoy simultaneous, high-speed access to content. An integrated hardware and software solution, DIVAdirector features mirrored system disks and RAID 5 storage for Windows Media 9 proxies. Because DIVAdirector can import legacy databases of virtual assets, such as those still stored on videotape, along with their associated metadata field mapping, this made it possible for the EP to track even content that was not yet digitised. Once file-based content and proxies have been ingested, DIVAdirector automatically links them to their appropriate virtual assets. Therefore, the system enables consolidation of comprehensive data on all EP’s media collection via a single interface. Other companies using Front Porch Digital’s DIVAdirector asset management system include FATS Digital in Australia, the Danish Film Institute in Denmark and TSmedia (the media arm of Telekom Slovenia Group).
| ARCHIVING & MEDIA ASSET MANAGEMENT
A CLEAR way to backup and archive The total backup industry is worth over R100bn per year. A survey conducted by the Industrial Development Corporation (IDC) shows that 16% of small to medium size businesses had already adopted online backup and that 69% were investigating it and intended to implement it.
Business – instances of data loss
M
assive movement to online backup storage as a service is underway fueled by the cloud computing megatrend, according to Ivan Bridgens of South African company LaserNet, solutions providers for the CLEARvault media management platform. “It’s important to note what businesses are trying to accomplish by instituting online backup,” continues Bridgens. “Firstly, losing access to critical business data would be disastrous or deeply impact their productivity temporarily, and can be fatal if lost completely “Another reason that businesses are considering online backup is because they distrust their current backup system. Tape fails, external and thumb drives can be unreliable, making it hard to know exactly what is backed up, and/or whether it has been corrupted. “Companies are looking for a fail-safe tape and disk system for disaster recovery that will stand up to natural disasters, fire and theft.” He notes that shrinking IT budgets can often curtail the staff required to proactively manage data backups and that it takes a long time to do traditional backups. There is also the issue of remembering to do the backups and uncertainty as to when the backups are happening. Bridgens continues: “CLEARvault is the only provider of online backup as a platform. Currently powering LaserNet’s business cloud storage solutions, CLEARvault was designed from the groundup as a platform. It includes the capability to control, deploy, and manage server backup and file and folder backup from one centralised management portal. “In terms of global presence, CLEARvault has five strategic locations worldwide – in South Africa, Europe, USA, Australasia and India. These enjoy the backup support of one of the world’s largest online backup technology firms in the archive industry.”
client where the software is installed. Unlimited versions for the same price are available. CLEARvault is key for archiving and compliance and files are available beyond the typical 7-30-90 day windows. A ‘time machine’ feature lets you search for a file from a specific historical date. The CLEARvault system is characterised by ease of use with easy installation; point-and-click file and folder selection for backup; automated email reports; flexible scheduling; and file sharing. It is a one-click, easy and secure system.
Advantages
Multiple data centres
CLEARvault online backup provides clients with 24 x 7 availability access to any file via mobile device, or any internet connection to the CLEARvault website, or from the
CLEARvault has two local data centres in South Africa and operates out of 11 data centres globally with LaserNet’s partners, all SAS 70 certified for the highest level in
40% Hardware Failure
29% Human Error
13% Software Error
9% Theft
6% Viruses
3% Hardware Destruction
disaster recovery and redundancy, ensuring the best practice of redundant backup. Furthermore, bit-level delta backups save on network resources and it takes minutes to perform subsequent backups. In terms of security, all backups are performed using three layers of encryption at DOD levels, and saved to multiple data centres. A Live Protect feature ensures continual backup available at one click, with the unique ability to watch and detect changes in individual files. Unlimited versioning keeps all versions of the client’s files, regardless of file type or creation date. This applies to all files, even bare metal images. CLEARvault Timeline Recovery gives you the freedom to go back to any point in time and find a file on any date that a backup was performed. CLEARvault does not limit this to 30 or 45 days. This feature applies to
bare metal images and files and folders. The ForeverSave feature infinitely and automatically saves your files, protecting them from human error at any level, including the desktop. This applies to bare metal images as well as standard files and folders. Media rich mobile applications are available for iPhone, Android and Blackberry. Intelligent file filters have the ability to include / exclude certain types of files, for example, music and video. Says Bridgens: “24 x 7 support is available from your dedicated named technical representative who can design the disaster recovery plan, do schedule reporting and provide custom reporting. “The UltraSafe feature is optional for users who require extra password security to comply with certain security.”
March 2013 | SCREENAFRICA | 29
Equipment Rentals
The South African rentals market has long been a stalwart of the film and television industry, providing an essential service and offering the latest equipment, despite the high capital and insurance costs in a market where technology is constantly changing.
S
tockholdings of South African equipment rental companies often run into millions of rands and financing and insurance costs erode profit margins. New technology has also become a factor. The latest camera designs, for example, have in some instances reduced capital outlay, thereby enabling individual production companies and cinematographers to purchase equipment that was previously the exclusive domain of rental houses. How then will this seemingly over traded market survive, and what are the equipment rental houses doing to survive the pinch? A survey of the top 10 equipment rental houses in South Africa reveals that there are two categories of business. First are the larger multi-national companies such as Panavision, Media Film Service and Panalux (a South African company with overseas back-up) which, while maintaining significant local stockholding, are able to source equipment from their overseas principals as required. Then there are the purely local companies that rely on their own stockholding to service the market. This is the segment which is most affected by the global recession.
Tough times All the companies surveyed agreed that times are tough. Feedback indicates the following: budgets are shrinking; uptake this year has been slower than previous 30 | SCREENAFRICA | March 2013
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Report by Andy Stead
Rentals feels the pinch
years; a need for greater discounts is paramount; there is a drop in turnover; production companies are experiencing inconsistency in getting projects green-lit; and the lack of commissioning by public service broadcaster SABC has severely affected the industry. While 2013 may be a year of consolidation for some companies, others are purchasing top of the range equipment. In this era of digital revolution, Panavision for instance, is investing in cameras such as the new Arri Alexa 4 x 3 and the recently launched Sony F55. Puma Video and Nates have acquired the new Sony NEX-F700 with adapters to take PL, Nikon, Canon and B4 lenses, while Cam-A-Lot rentals is stocking up with Panasonic HD cameras. Panalux has a new array of high technology lighting on offer. The Cameraman is in the planning stages of a partnership which will enable it to offer the RED Scarlet and RED Epic as well as the new Blackmagic Design Cinema Camera. Several other rental houses are acquiring Canon 5D Mk3 cameras.
Entire spectrum All companies surveyed indicated that they service most sectors of the market. Commercials provide 80% of Panavision’s business and the remainder is feature and drama work. Cape Town-based Camera Station mainly services production companies working on documentary and magazine inserts.
Media Film Service’s make-up is 60% commercials with long form at approximately 30%; the balance is music videos, events, corporate and stills. Low budget features, documentaries, music videos and events comprise the workload for Nates, while Digitalfilm’s business is level pegging between music videos, commercials, corporate and features. It is clear from the above that there is little specialisation, and that most companies deal across the entire market spectrum. The big question remains – is there sufficient work to go around? Is the market in fact growing, or declining? General consensus from those surveyed indicates a growing market. Nates feels that the diverse landscapes and the high standard of product produced at relatively low costs in South Africa attracts international customers. Puma Video also feels there has been growth, particularly in respect of camera rentals but they face the very real challenge of cinematographers purchasing their own cameras. Cam-A-Lot feels that the market has remained static over the past few years.
Resilience factor While the above may give a general indication of trends, there has never been an independent authority able to consolidate and quantify information of this nature, and thus the question remains essentially unanswered. However, the rental companies are
extremely resilient and during slow-downs tend to look further afield for business, with countries north of South Africa’s borders being prime targets. Efforts to determine turnover, value of stock holdings, cost of insurance and financing, etc. remain elusive. For obvious reasons the companies surveyed are reluctant to divulge information of this nature, however it is clear that the cost of purchase of rental equipment is extremely high as is the financing of same. Most companies seem to purchase outright to avoid costly finance charges. Insurance, while an absolute necessity due to the high risk nature of equipment rentals, is a major cost factor for all the companies. So what conclusions can be drawn? Firstly, it’s a difficult business. Secondly, digital technology – being more cost effective – means production companies are able to purchase their own equipment. Smaller rental companies are able to purchase low cost equipment and, by offering large discounts, attract business. This may however backfire, due to the need to constantly re-invest in new equipment and to offer back-up and repair services, which is a fundamental essential. The upside could well be that the clients will benefit. A challenging environment indeed.
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Satisfying customers’ needs On 14 February 2013 Puma Video’s Henk Germishuysen’s phone started ringing off the hook. News had just surfaced that South Africa’s Paralympic hero, Oscar Pistorius, allegedly shot and killed his girlfriend in the early hours of the morning. International film crews were on their way to cover one of the biggest news stories in recent years – and they were in dire need of equipment. “We’ve been inundated with requests from British and Japanese crews who are covering the story, including a team who is doing a 10-day documentary about Pistorius,” says Germishuysen. These crews primarily need Electronic News Gathering (ENG) equipment in high definition (HD). This includes cameras with a basic sound kit as well as some lighting equipment. Film teams also request speciality lenses. However, for ‘normal’ industry shoots, Puma Video is currently supplying equipment to popular TV show Jam Sandwich, a docu-reality series on SABC2, as well as to High Rollers, a drama series being filmed for SABC3. In terms of equipment Germishuysen notes that the company has acquired two Sony FS 700 cameras of which one is currently being used to film a five-week documentary. “We also bought a new lens for the Sony FS 700 and several adaptors to enable the crew to use a variety of lenses suited to this camera,” adds Germishuysen. As competition in the industry is tough, staying relevant and satisfying customers’ needs are keys to success.
LOOKING BRIGHT – Sony F3 camera on location “It’s not always about the latest equipment, the kind of service you provide is essential,” continues Germishuysen. “We are committed to providing our clients with added value. As the production process is such a stressful situation, we try to alleviate clients’ stress by guiding them with adequate knowledge that we have attained through the years. We try to determine exactly what our clients are doing in terms of filming so we can advise them on, for example, the types of lenses that would be suitable for their requirements. Supporting
clients throughout the production process is cardinal.” Germishuysen adds that Puma Video provides the filmmaking industry with a variety of accessories. A lot of role players have their own cameras, but don’t necessarily own all the trimmings. “Therefore we provide a lot of accessories in terms of lighting and sound as well as specific packages to enhance filmmakers’ cameras.” Germishuysen mentions that service provision is also vitally important.
Equipment has to be in excellent condition and packed correctly to ensure client satisfaction. When new equipment is launched, Puma Video wants to buy the best. “I am very excited about the new Sony F55 that will be launched soon and we hope to purchase one of them,” states Germishuysen. With such a large target market as its customer base, Puma Video experiences diverse enquiries from the film and television industry and is able to provide filmmakers with varied equipment and expert knowledge.
Upturn in business Cape Town-based rentals house Camera Station reports ‘some good news and bad news’ – the bad news being the departure of Hylton Smith to new pastures. “The great news, however, is that Ryan Cyster has joined us,” says Camera Station’s Neil White. “Ryan has many years of television production experience and this will ensure complete rentals and customer satisfaction.” White notes that 2012 was one of the most challenging years that the company has ever experienced. “However, somebody turned the light switch back on this year because January and February have been two of the best months we ever had,” he comments. The Camera Station team is also very excited to have purchased the new OLED VERY EXPERIENCED – Ryan Cyster
32 | SCREENAFRICA | March 2013
PVM-1741 monitors from Sony which they believe will give clients a better visual experience in all aspects as ‘the picture quality is amazing’. “Our equipment has been used on many productions with various clients,” continues White. “For instance, Collective Dream Studios used our Panasonic P2 cameras and our Black Magic vision mixer to shoot the production Liefste Kayla for Afrikaanslanguage pay-TV channel kykNET. “Homebrew Films is currently shooting a new series for kykNET, Kokkedoor, using our Sony PMW-EX3 cameras. The series will be broadcast on 11 April. “Gearhouse SA uses our cameras on a regular basis for their concerts, conferences and live shows. Let’s all hope that the upturn in the rental business continues.”
| Equipment Rentals SERVICE PRIDE: Dan Mobani, Jason Knight, Craig Brown and Martin Smookler
Going the extra mile
Managing director of Nates Audio Visual, Martin Smookler, says the company is currently involved with a variety of small projects of which the lion’s share is music videos. “We have just completed a small shoot with the band Zebra & Giraffe and worked on the AFCON Cup. We are also involved with a documentary by Red Eye to
raise awareness for the plight of the rhino,” says Smookler. “The company has extended its units of Canon 5D mark III digital cameras to cater for the demand of the industry and has just acquired the Sony FS700,” he continues. Nates is also assessing the Sony F55, scheduled to arrive in South Africa shortly,
with the view to purchase. Smookler comments that the company has invested in a wider variety of LED panels to complement its standard offering of Cinepar and Fresnal lights and has replaced some older stock with newer ARRI lights. In order to stay relevant, Nates prides itself on its service and technical experience. “Our motto is to bend over backwards for our clients and to always go beyond the call of duty, which I think certainly differentiates us,” says Smookler. “To further assist our clients and make productions less stressful, we operate as a one-stop shop, offering a full-gear complement such as cameras, lighting, grips, dollies and consumables. With the mantra ‘if we don’t own it, we can source it’, we remove all the logistical nightmares of having to plan and arrange gear,” he adds. Realising the importance of their customers’ peace of mind, the team at Nates helps clients to relax and lower their stress levels by knowing that they have capable, willing and competent people who readily support them during the production process. Nates is committed to delivering first class service and customer satisfaction, putting the company firmly on the road to success in the industry.
March 2013 | SCREENAFRICA | 33
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Collaboration paves the way Michael Yelseth and wife Vanessa are in charge of Time Frame, a company that has been going from strength to strength since its establishment in 2000. “We have just completed shooting a SA Tourism campaign with our client Rapid Blue. Currently, we are facilitating and providing crew and gear for a NBC Universal documentary,” say the husband and wife team. This month they commence shooting a film with Back Yard Productions in London. “Later this year we go into production of another season of the Centrum Guardian Project 2013 and will be kicking off season 2 of Jack up Your Shack with Let It Rain Films,” they continue. Time Frame has just acquired an Aquatica underwater housing for its Canon 5D MK 111, as well as GoPro Hero3 POV cams, additional 1x1 Litepanels and audio
equipment. The company is testing the new Panasonic HPX 600 P2 with the intention of expanding its HD ENG camera range. In terms of staying relevant in the business, Time Frame differs from more traditional rental facilities in that the company is usually involved in productions from a facilitation and crewing aspect, as well as equipment rental. Realising the importance of providing added value, the Yelseths say: “We have a wealth of knowledge and experience to offer our clients in the reality television, documentary and current affairs genres and we like nothing more than sharing and collaborating to make their products a success.” Time Frame serves a large local and international client base and focuses on ongoing support to the industry and absolute professionalism.
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Equipment Rentals
| Equipment Rentals
Yes we ‘cam!’ Johannesburg and Pretoria based CAM-A-LOT Rentals recently provided nine high definition (HD) cameras and equipment for two productions for Afrikaans pay-TV channel kykNET, namely Proesstraat 3 and My Man Kan, working through Richter Medien Production Company. CAM-A-LOT’s Glen Theron reports that the company has begun to stock a range of Panasonic high definition (HD) cameras. “Our clients love the Panasonic workflow as well as the quality produced by these cameras. That said, our Canon 5D Mk3 cameras, which are a few months old, are still very busy,” says Theron.
He reports that while the past year has been slow, clients’ loyalty has been a strong factor in the company’s business. “In turn we have helped to accommodate their budgets,” comments Theron. He notes that the company’s client base has not changed much over the past seven years; it still caters mainly for TV productions, corporates, AV, music videos and church productions. “I personally feel the market has stayed much the same over the past few years, as new guys have entered the arena while many established companies and individuals have moved out of the industry. Production quality and budgets are
definitely on the decline though. Because the market is already taking strain and with gear getting cheaper and more accessible, it would not be easy to start up a new rental facility now,” he states. As an added service, if CAM-A-LOT doesn’t have a specific piece of gear a client may require in stock, it will rent it out from another local rental facility that can help. “The price to our clients will be the same, whether they go directly to another rental facility or whether we get the gear for them. As our motto goes – we strive to provide a great value for money service,” concludes Theron.
VALUE FOR MONEY SERVICE: Glen Theron
Tracking Technology
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Investing in production MVS-6530/6520 multi-format switchers
HDCU-1700 camera control unit
Sony’s recently released HD live production products include dual-format cameras and CCUs (Camera Control Units), with features and performance that fully satisfy the demanding requirements of HD video production. The new offerings make up a powerful live production system that is ideal for broadcasters, cable TV networks, production houses or outside broadcast (OB) service providers that are looking for a small-to-mid-sized system which incorporates future-proof, state-of-the-art technology. This new system expands Sony’s line up of live production systems, which are
8 Camera HD OB Van (Triax)
already in use by broadcast stations all over the world. New live production products include the HDC-1700 dual-format HD camera series, HDCU-1700 camera control unit and the MVS-6530/6520 multi-format switchers. These solutions feature compact form factors and deliver high productivity in supporting live high definition (HD) or standard definition (SD) signals. It is the perfect system for live events, multi-camera production and green screen compositing. “Live production has never been more fast-paced and dynamic than in recent times. Broadcast studios, newsrooms and OB platforms are demanding live
4 Camera SD OB Van (Triax)
4 Camera SD Flyaway Kit
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production solutions that work reliably and efficiently while supporting a variety of production and format requirements,” said Claus Pfeifer, strategic marketing manager, Sony Europe. “We have designed our new live production system to be a worthwhile investment for our customers – one that they can trust and will address issues of operational ease, space and cost.” The HDC-1700 dual-format HD camera series offers a broader choice of interlaces and progressive formats, much greater picture quality and enhanced operational flexibility. These cameras are equipped with sophisticated three-chip 2/3-inch CCDs and the latest DSP with 16-bit A/D converters to provide superior picture quality required by broadcast stations. They are also incredibly sensitive and enable operators to produce high picture quality and details unlike any other system cameras in the market. The CCD used can accommodate the popular interlace and progressive scan formats for mainstream broadcast productions including 1080/50i/59.94i as well as
720/50P/59.94P images. Numerous accessories available to the HDC-2000/1000 series can also be utilised such as HD viewfinders and large lens adaptors. HDC-1700 cameras provide digital transmission using SMPTE standard fibre optic cable to transmit high-quality digital data over long distances. The cameras also provide HD SDI outputs and digitally down-converted SDI or analogue composite output. In addition, viewfinder signals with characters can be sent from the SDI output connector, granting camera operators additional convenience. The HDCU-1700 (CCU) is a compact 3U half-rack control unit designed for use with the HDC-1700 camera series. The HDCU1700 is equipped with a range of built-in interfaces such as HD-SDI/SD-SDI outputs, HD/SD return inputs, and a down-converted analogue composite monitor output. The digital optical fibre transmission system used in the unit maintains the high picture quality of the camera across single cable runs of up to 2 000 metres.
| Tracking Technology
Versatile camera Panasonic’s AG-HPX600EJ camera 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. A 2/3-type shoulder-type model, it accommodates a variety of interchangeable lenses. Its compact body provides superb mobility with the industry’s lowest weight of approximately 2.8 kg (6.2 lb) for the main unit. The newly developed MOS sensor attains high F12 sensitivity at 59.94Hz or F13 at 50Hz, and low noise with an S/N of 59 dB (standard). Multi HD/SD codecs, AVCIntra100/50, DVCPRO HD, DVCPRO50, DVCPRO and DV, are included. In addition to these basic specifications, a wide range of functions are available as options, such as networking functions and a Variable Frame Rate (VFR). This enables low-cost system support for numerous and diverse applications. It also supports new P2HD technologies such as the AVC-ULTRA codec and microP2 card. The compact body of the AG-HPX600EJ provides superb mobility. It is also designed
with excellent forward visibility. The 2/3-type bayonet mount interchangeable lens system lets a camera crew choose from a variety of 2/3-type lenses for broadcasting and other professional uses form third-party manufactures. High-speed scanning minimises skewing distortion. With high-quality image processor, the AG-HPX600EJ features the following versatile image settings: • CAC (Chromatic Aberration Compensation): When using a CAC compatible lens, the small amount of circumjacent chromatic aberration (circumjacent blur) that is not corrected by the lens is compensated by this process. • DRS (Dynamic Range Stretch): suppresses blocked shadows and blown highlights to achieve a visually wide dynamic range. • Advanced Flash Band Compensation (FBC): high-precision flash band detection and
•
•
compensation. Gamma: select from 7-mode (HD NORM / LOW / SD NORM / HIGH / B. PRESS / CONE-LIKE D / CINE-LIKE V) gamma curves. Digital image settings: H Detail, V Detail, Detail Coring, Skin Tone Detail, Chroma Level, Chroma Phase, Color Temperature, Master Pedestal, Knee (LOW / MID / HIGH),
Matrix (NORM1 / NORM2 / FLOU / CONE-LIKE). The AG-HPX600EJ supports multi HD / SD codec including 1920x1080 10-bit 4:2:2 AVC-Intra100 and 60Hz/50Hz switchable for worldwide use. When installing an optional HD / SD SDI input board (AG-YA600G), it also can be used as a portable recorder.
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March 2013 | SCREENAFRICA | 37
Tracking Technology
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Processing to the converted
‘Thunderous’ device Available from Touchvision, AJA Video Systems’ T-TAP is a 10-bit HD/SD simultaneous SDI and HDMI output with embedded audio (Thunderbolt cables are not included). T-TAP, AJA’s compact, lightweight HD-SDI and HDMI Thunderboltpowered video device, allows video professionals to leverage the power of Thunderbolt to deliver high-quality video and embedded audio output from any compatible Mac system. This simple, single Thunderbolt cable connectivity for both power and data enables easy set up for video professionals. Highly-portable, the device supports everything from SD to HD to 2K and muxed 3D with pristine 10-bit quality, even over HDMI, and all with 8-channel embedded audio. It also includes AJA’s renowned Mac drivers and software for integrated compatibility with major software packages from Apple, Adobe, Avid and many more. Key T-TAP features include high-speed Thunderbolt connectivity; 10-bit uncompressed 4:2:2 video and embedded audio output; HD/SD-SDI and HDMI connectivity supports simultaneous output at 10-bit quality; 3D support on HDMI and SDI for real-time mixed stereoscopic review without requiring additional hardware; full 8-channel embedded audio allows for multi-channel playback; powered via Thunderbolt connector so no additional power supply required; and AJA Mac driver and proven software compatibility. The product is backed by AJA’s quality, reliability and three-year international warranty.
The Finnish Broadcasting Company (YLE) is using Blackmagic Design’s Teranex 2D Processor for up conversion of its CG playout on TV2’s hit game show, Tartu Mikkiin, which is recorded in front of a live studio audience. Tartu Mikkiin is a production that is rich in motion graphics complete with score boards, lyrics and title sequences. At YLE, the Teranex 2D Processor sits between a CG playout server and production switcher up converting the HDMI graphics to HD-SDI for the switcher’s inputs. In addition, YLE is also using the Teranex 2D Processor to handle up and down conversion of SD signals from remote live video feeds that have not yet been upgraded to HD SDI. YLE has also installed a Blackmagic Design Universal Videohub router and several Blackmagic Design Studio Videohub routers. These are responsible for routing HD SDI signals from two cameras in the station’s drama studio to video servers used for capturing and distributing playback video to the audience monitors. Another Blackmagic Design router is used to route signals from a series of VTRs found in the broadcaster’s machine room to Avid Media Composer, as well as being used to distribute signals to wall monitors in their archiving ingest suites. In addition, a Blackmagic Design Micro Videohub is used for connecting Avid editing suites into voiceover booths.
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Avid has announced that its board of directors has appointed Louis Hernandez as president and chief executive officer, effective immediately. Hernandez succeeds former president and chief executive officer Gary Greenfield, who will remain on Avid’s board of directors. Hernandez has been a member of the Avid Board since 2008. Most recently, Hernandez was also chairman of the Board and CEO of Open Solutions, Inc., a technology provider to financial institutions worldwide, which was acquired in January 2013 by Fiserv, Inc. “Louis Hernandez is a visionary, inspirational leader with a stellar track record of driving the operations and growth of technology companies in a variety of industries,” said George Billings, speaking on behalf of Avid’s Board. “As lead director, he spent years developing a deep familiarity with Avid’s customers markets and products that will allow him to quickly make a positive impact as chief executive.” “It is an exciting opportunity to lead Avid at this very important juncture in the company’s history,” added Hernandez. “As the industry leader for more than 25 years, Avid continues to set the standard for non-linear-editing, media management, and collaboration in the audio, video and broadcast markets. The company is well positioned for growth and global expansion
Louis Hernandez
in this fast-moving marketplace. It is exciting to be working with the Avid team, as we drive results and value for our customers, employees and shareholders. “On behalf of the Avid community, I want to thank Gary Greenfield for his outstanding leadership and lasting contributions to Avid and our industry.”
| Tracking Technology
Tripod for high payloads
Test and measurement tools Harris Broadcast is about to launch several new Videotek test and measurement products and enhancements. Notably, the company will inject loudness monitoring and enhanced multi-image display capabilities into its MSA series of multisource analysis software products, enabling more test and measurement functionality in the compressed domain. Harris Broadcast offers its MSA Series for full testing of compressed video conformance, audio levels and data services of over-the-air broadcast, cable, satellite and IPTV signals. Its multi-source capability means that engineers can analyse many transport streams at once, including IP, RF and ASI encoded video signals. For example, users can monitor the four
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Sachtler’s recently launched 75mm ENG 75/2 D HD aluminum tripod is made for high payloads, being very solid and stable. The ENG 75/2 D HD is also available as a system with the FSB 6 and FSB 8 fluid heads. With the ENG 75/2 D HD, Sachtler has incorporated the tried-and-tested fast-action clamping system that is already successfully used on the 100mm range. This feature guarantees easy handling and quick locking of the ENG 75/2 D HD tripod legs. The lightweight aluminum tripod weighs only 2.9kg (6.39lbs) and is suitable for a payload of up to 35kg (77lbs). The double extension tripod is available with a mid-level or ground spreader. The mid-level spreader version offers a height range of 44 to 155cm (17 to 61in), while the ENG 75/2 D HD with the ground spreader enables filming in a height range from 59 to 156cm (23 to 61in). In addition, the new tripod offers maximum ease of use and speed thanks to the popular Sachtler fast-action clamping. Furthermore, the mid-level spreader can be easily and completely removed without tools. With a transport length of
most critical signals in quad-split configurations while ‘shadow testing’ other signals in the background – with the ability to quickly bring different signals to the forefront. ATSC broadcasters and cable / satellite operators further benefit from the ability to measure, monitor and log audio levels for multiple programme streams – a timely enhancement with the FCC passage of the CALM Act to reduce loudness in TV advertising. Internationally, new MSA Series capabilities allow DVB-T2 broadcasters to demodulate programme-related descriptors and metadata in transmission headends, giving users a more complete picture of content going to air.
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70cm (28in), the aluminum tripod can be easily and securely transported. A padded transport bag is included with all systems. Thanks to Dural aluminum, the tripod is also extremely durable and made to last. Intuitive operation and ergonomic design round out the features of this professional tool that is suitable for every camera operator and the perfect tripod for the Sachtler FSB fluid heads.
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March 2013 | SCREENAFRICA | 39
Audience Ratings
|
January 2013
Audience Ratings
This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison. ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.
The top five programmes
The cream of the local productions Jan 2013 AR
Dec 2012 AR
Spor
14.9
3 Talk
Talk
16:30 M-F S5
3
2.5
2.4
Soccer build-up
Spor
14.7
3rd Degree
Actu
21:30 Tue
W
e
4.3
5.9
7de Laan
Soap 18:30 M-F S5
2
6.8
5.9
Binnelanders
Dram 18:30 M-F S5 K 0.7 0.7
Carte Blanche
Maga 19:00 Sun
W M
0.7
0.7
Fokus
Actu
W
3.5
3.7
Generations
Soap 20:00 M-F S5 1 18.8 18.8
Gospel Gold
Musi Vari
W
2
3.5
Hectic Nine 9
Y-Ent 16:00 M-F S5
2
3.2
Inkaba
Dram 20:30 M-T S4 MM 0.3 0.2
Isidingo: The Need
Soap 19:30 M-F S5
3
4.6
4.1
2
Zone 14
14/01/2013
3 4
5 Montana
15/01/2013 Dram 13.7
SABC2 Rank Programme
Date
1 Generations
31/01/2013 Soap 21.4
2
28/01/2013
Zone 14
Genre AR Dram
15.9
3 Muvhango
29/01/2013 Dram 15.6
4
31/01/2013
Speak Out – R
5 Mponeng
Actu
22/01/2013 Sitc
14.3 13.7
SABC3
Genre
02/01/2013 Soap 22.6
Name
1 Generations
08/01/2013
Genre AR
18:30 Sun
Sun
Frequency
AFCON 2013: South Africa vs Cape Verde 19/01/2013
Date
Day/s
17.3
Rank Programme
Start Time
Dram
Channel
SABC1
2
4.0
Rank Programme
Date
Genre AR
1
Isidingo: The Need
11/01/2013
Soap
7.5
Live Lotto Draw
Quiz
21.30 W/S S2
2
5.9
6.8
2
Isidingo – R
04/01/2013
Soap
6.0
Morning Live
Maga 06:00 M-F S5
2
1.8
1.7
3
Days of Our Lives
16/01/2013
Soap
5.9
Muvhango
Dram 21:00 M-T S4 2 10.8 9.6
News at Seven
News 19:00 Daily D
e
6.5
6.3
News at Seven on 3
News 19:00 Daily D
3
2.7
2.6
Pasella
Maga Vari
Rhythm City
Soap 18:30 M-F S5
Scandal
Dram 19:30 M-T S4 e 8.9 8.2
Selimathunzi
Vari 18:30 Wed W 1 3.3 3.9
4 Heartlines
05/01/2013 Dram 5.5
5
04/01/2013
Generations – R
Soap
5.5
M-Net
W
W 2
4.1 4.1
Rank Programme
Date
Genre AR
1
Tower Heist
13/01/2013
Movi
1.0
2
We Bought a Zoo
06/01/2013
Movi
1.0
3
Carte Blanche
20/01/2013
Actuality 0.9
4
The Avengers (Movie)
20/01/2013
Movi
0.7
Special Assignment
Actu
3
1.6
1.6
5
Mission Impossible: Ghost Protocol
27/01/2013
Movi
0.7
The Wild
Dram 19:00 M-T S4 M
0.2
0.2
Top Billing
Maga 20:00 Tue
W
3
2.5
2.3
K
0.8
0.7
e.tv
21:00 Thu
W
e
7.5
7.7
Rank Programme
Date
Genre AR
Villa Rosa
Dram 18:00 M-T S4
1
Lotto Draw Live
19/01/2013
Comp
12.1
Yo-TV
Y-Ent Vari Vari D 1 1.5 1.9
2
Little Man
19/01/2013
Movi
11.4
3
Ekasi Our Stories: Enough is Enough!
07/01/2013
Dram
11.1
4 Scandal
10/01/2013 Dram 10.9
5
28/01/2013
Ekasi Our Stories: Sangoma!
Dram
We feature the top five shows viewed for each of the channels.
10.6
Top foreign shows Days of Our Lives
Soap 17:30 M-F S5
1
4.7
4.7
WWE Wrestling Smackdown
Spor 20:30 W
W
e
4.8
4.2
The Bold and the Beautiful
Soap 18:00 M-F S5
1
4.2
5.0
Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes.
The above represents a selection of programmes only and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular
Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment.
programme included please contact Enid Venter on +27 (0)11 339-1051 or email enid@ihjoburg.co.za. The purpose of the
• Television Universe estimated at 5.232 million households • One ratings point of all viewers represents about 145 590 viewers
40 | SCREENAFRICA | March 2013
schedule is to show the types of programmes South African audiences view, and to what extent.
52 Years of filmmaking in independent Africa – what’s next? Ever since 1961, Africa has been privileged to witness the rise of several talented filmmakers from Youssef Chahine from Egypt and Senegal’s first lady of cinema Safi Faye, to contemporary filmmakers like Kenya’s Wanuri Kahiu and South Africa’s Oscar winner Gavin Hood, among many others. Suffice to say, Africa is becoming a ferocious player in the global film arena. But like all journeys, there is a beginning and there will be an end – good or bad.
The beginning – the outsider’s perspective Fade in from black to the familiar scratchy black and white scenery with all sorts of exotic animals walking around against the backdrop of an untouched land – Africa. From the king of the jungle – the lion splayed under a tree – to three giraffes playfully fighting and then finally in the distance, a silhouette of a monkey transforms into a man with long bushy hair. This is the opening scene of the 1918 jungle epic, Tarzan of the Apes, one of the many films where western filmmakers portrayed Africa as a virgin territory without culture or history. In the book by Roy Armes, African Filmmaking: North and South of the Sahara, Keyan Tomaseli, co-editor of The Journal of African Cinemas and professor at the University of KwaZulu-Natal stated: “For
AFRICA FOR REEL: Semebene’s 1966 film La Noire de (Black Girl) Africa as a whole, cinema has always been a powerful weapon deployed by colonial nations to maintain their respective spheres of political and economic influence.” African people were prevented from expressing themselves through cinema. In France, Africans were banned from making films. The ban was known as the ‘Laval Decree’. However in 1955, Beninese filmmaker Paulin Soumanou Vieyra shot a short film in Paris, Afrique Sur Seine (1955). His film explores the struggles of being an African in France and is believed to be the first film directed by a black African. Years later, though still under colonial rule, Africa saw more anti-colonial films emerging – Les Statues Meurent Aussi (1953) by Chris Marker and Alain Resnais. French Ethnographic filmmaker Jean Rouch collaborated with African filmmakers like Safi Faye.
Sixties and seventies – filmmakers, politics and reimaging Africa After independence was gained, filmmakers like Ousmane Sembene (Senegal), Ola Bolagun (Nigeria) and Med Hondo (Mauritius) used cinema as a tool to redefine Africa’s identity to the world and tackle social and political issues within their individual societies. Semebene, a writer turned filmmaker, became one of the most influential African filmmakers during this era. His film, La Noire de… meaning Black Girl (1966) was the first African film to win international recognition – the Prix Jean Vigo award. The film, La Noire de… about a young Senegalese woman who leaves home for France to work as a maid for a French family deals with the effect of colonialism, racism and post-colonialism.
| AFrica By Chinaka Iwunze
Tarzan of the Apes (1918)
Like Sembene, Hondo was also very political with his films. Soleil O (1967) was his first film as a director and it attracted a lot of global attention. The film is about a black immigrant who goes to Paris searching for ‘his Gaul ancestors’. In the spirit of pursuing politico-economic and cultural development of Africa, organisations like Fédération Panafricaine des Cinéastes (FEPACI) were created. Another organisation is the Pan-African Film and Television Festival of Ouagadougou (FESPACO) which was founded in 1969 in Burkina Faso. It is currently one of Africa’s largest film festivals and is held biennially, alternating with the Carthage Film Festival in Tunisia created by Tahar Cheriaa.
Eighties to nineties – unearthing new grounds According to Roy Armes, author of African Filmmaking in North and South of the Sahara, while “filmmakers of the 1960s and 1970s were largely concerned – after the long period of colonisation – to show Africa through the African perspective”. Filmmakers of the 1980s and 1990s seemed more focused on the individual character by delving deeper into the basic realities of their society. Filmmakers in the 1980s seemed to also desire an international audience. And while films like Yeelen (1987) and Guimba (1995) by Malian filmmakers Souleymane Cisssé and Cheick Oumar Sissoko succeeded in gripping the West’s attention, they were criticised for implementing exotic elements to indulge western audience’s taste. Meanwhile in Nigeria, the film industry was
gaining momentum after the release of the first Nollywood blockbuster, Living in Bondage (1992), a drama thriller about a man who joins a secret cult in hopes of becoming rich and ends up killing his wife in a ritual sacrifice. He is haunted by her ghost. Further down the map, apartheid ended in South Africa in 1994 and in 2006, South Africa hosted the first African Film Summit.
Today – what’s next for African film industries? Fifty-two years later and the African film industry can truly boast of many successes, but suffice to say, Africa has not yet reached its full potential. Which begs the question, what’s next for Africa? In a recent CNN interview, Nigerian filmmaker Kunle Afolayan (Phone Swap and The Figurine) talks about the positive changes in the industry since the boom of Nollywood in the 1990s. However he highlights that the lack of a proper distribution structure in Nigeria is holding back the industry and its professionals. Many other countries in the continent appear to suffer a similar problem. Tomaseli goes on to shed light on the educational side of the industry: “I would say that the main impact will occur through a growing number of good film schools that are producing well trained technicians. “It is clear that the global and African interest in the industry and its products have never been greater… Nollywood has offered new, low cost, high impact production, distribution and exhibition models. At the other end are the sophisticated art movies that continue to find exposure at film festivals and then in between are DSTV Africa-wide channels that reach larger TV audiences.”
March 2013 | SCREENAFRICA | 41
Africa
|
Reports by Martin Chemhere
The 10th anniversary of the Burkina Faso-based film and television school, Imagine Institute, took place from 22 February to 9 March 2013.
EXPOSING NEW PROFESSIONALS: A workshop covering HD cameras
G
uests at Imagine Institute’s 10th anniversary celebrations discussed topics such as how African film schools will meet the challenge of new technologies; how film can enhance human rights awareness; and how the medium can be a vehicle to influence social change. Attending the celebrations were leading international filmmakers including Jean-Marie Teno (Cameroon); Mette Hjort (Hong Kong); Nick Danziger (UK); and Rod Stoneman (Ireland), director of the Huston School of Film and Digital Media. A newsreel project produced courtesy of 70 professionals from Burkina Faso, Benin, Nigeria, France, Ireland, England, Hong Kong and Rwanda, convened to cover the 23rd Pan African Film Festival of Ouagadougou (FESPACO), which ran in Burkina Faso concurrent to Imagine’s anniversary celebrations, includes a 15-minute episode about the school. The newsreel was broadcast throughout FESPACO simultaneously in the festival’s partner movie theaters, as well as on the Burkina National Television Channel (RTB), on the Cinema Numerique Ambulant (Mobile Digital Cinema) screens and via internet platforms such as YouTube, Dailymotion and Burkina 24 WebTV. 42 | SCREENAFRICA | March 2013
Courses Learners at Imagine come from all over Africa to learn all aspects of filmmaking (in either English or French) from scriptwriting, documentary, fiction to animation. Technical fields are also covered like camera, lights, sounds, editing and sound mixing. There is also production,
distribution, exhibition and web training on offer. A three-tiered eligibility standard is employed to include aspiring filmmakers mid-career and professionals who wish to become mentors in the industry. South African filmmaker Esley Philander, a participant in 2009 and 2010, comments: “We pay our respects and gratitude once again for the opportunity to learn at Imagine. The legacy of your work, generosity and faith in emerging African filmmakers is more than evident.” The school’s founder and acclaimed Burkinabe filmmaker, Gaston Kaboré, says: “Teaching is done by selected professionals who are chosen for the diversity and quality of their personal work and according to their particular aptitude to communicate and pass on their technical, human and creative capital of experiences. “Mentors at this level must have, beyond their technical competency and undisputed professionalism, personal views and knowledge about their field of work in addition to their artistic and creative approach in general.” Kaboré, an acclaimed filmmaker and audio-visual academic, stresses that one of his school’s highlights is the master class, conducted by internationally recognised filmmakers. They use their own work to explain their approach and creative and artistic choices, their technical bias and the constraints they often have to overcome in order to express what they had in their mind, heart and soul.
‘Scorsese of African film’
Gaston Kaboré
Sometimes referred to as ‘the Martin Scorsese of African cinema’, Kaboré elucidates that Imagine workshops expose professionals to the pedagogical tools that
help further develop their aptitude to become ‘transmitters of knowledge and know-how’, to prepare them for highly professional quality training sessions in different countries. Housed in a 2 900m complex, Imagine was founded in 2003 by Kaboré to offer training and mentorship opportunities in cinema, television and multimedia. The school’s philosophy is that film is a tool for those who depend on the audiovisual sector as the driving force behind the imaginative capacity of a majority of Africans and that the continent is increasingly affected by foreign opinions. Therefore, Imagine has undertaken to offset that trend, by promoting a new approach and adequate training for those who rely on the audiovisual sector to determine a brighter future for African storytelling and being.
Structural milestones Further to producing well trained graduates, the school has achieved major structural milestones like their Audiovisual Archives Centre, completed in 2008 and inspired by Cambodian filmmaker Rithy Panh’s Bophana Centre. It is an audiovisual memory of the history and culture of Burkina Faso. Another achievement is the juvenile focused project (120H Chrono) initiated and completed in 2012 to develop the short digital filmmaking techniques of the members of cinema clubs from local high schools and tertiary institutions. 120H Chrono is used to define a workshop process that involves writing, shooting, editing and screening a short movie in 120 hours (five days).
| AFrica
How to work in Africa For foreign companies working in Africa there are many challenges, which is why Brazilian company Cinevideo Producoes decided to get first-hand experience of the market by opening a branch in Mozambique. “The African market is still treated with some mistrust so if you are going to form good partnerships, you need to show your face, get to know the people and understand trends. To produce relevant content in Mozambique it’s necessary to understand the local culture,” says Leandro Estrela, executive director of Brazil-based Cinevideo Producoes. Cinevideo International Maputo was launched in 2007 following Cinevideo Producoes’ trip to the MIPCOM content market in Cannes, where they met with Mozambican TV network STV (Soico Television). “We weren’t very hopeful at first so were greatly surprised when STV contacted us the following year to take part in a large-scale project,” notes Estrela. “This was to train a team in preparation for the shoot of N’Txuva, Mozambique’s first miniseries.” This unexpected breakthrough marked the beginning of a path that has transformed Cinevideo Producoes into an international television and film business. It is now arguably the largest Brazilian producer of audiovisual content in Africa. Drawing from a production foundation steeped in the Brazilian telenova tradition, the Maputo operation specialises in capacity building, video training, documentaries, short films, feature films and corporate video productions. N’Txuva (Lives in Danger) was shot in high definition (HD) and featured 25 Brazilians
and over 100 Mozambicans, a combination that contributed to its instant success in the southern African country. Each of the 15 episodes are 15 minutes in duration and present stories that reference public utilities and highlight malaria, cholera, Aids and other illnesses. The project was funded by the American Embassy in Maputo, with extra support from the local government, which included a technical analysis of the script by a public health adviser. Estrela explains that the commitment and
GOOD PARTNERSHIP: Leandro Estrela
LARGE SCALE PROJECT: Shooting Mozambique’s first miniseries N’Txuva
professional approach during the entire project by Mozambicans was so impressive that his team decided to stay on in the country and edit the show. “We realised the need to invest in a local audiovisual infrastructure to better understand the demands of the African market. That’s why we opened an office in Maputo. Since we opened the operation has grown from one person to more than 15 professionals.” The company’s crew works with the latest range of cameras such as the Panasonic HVX-200 and the Cannon 5D, with a full set of lenses. Complementing this range are three editing stations with MAC platforms, running Final Cut Studio, interconnected by a media server to enable a fast production flow. For finishing Cinevideo International has three workstations – a Macintosh Intel Xeon 12 core, two IMAC Workstations and two PC INTEL Octacore. All machines run software such as After Effects, Nuke, Maya, 3D Studio Max, Cinema 4D, Apple Colour and DaVinci. Cinevideo International has also
produced landmark productions such as Treasures of Mozambique, a 10-part TV series portraying the beauty of the country and produced by Miramar (Record TV). Other completed work includes an institutional spot (Que Moça é essa? / Who’s That Lady?) for STV’s social responsibility programme that raises and enhances the self-esteem of Mozambicans. For the same television network the company produced a series titled Kitchen Mozambique, about nutrition and health, especially foods that enhance the quality of life for people living with HIV/Aids. More notable work has been completed for countless local, continental and international organisations including USAID, PEPFAR, European Union, UNAIDS, Doleurs sans Frontiers, Cultural Centre of FranceMozambique, Ministry of Health, Petromoc, Vale, Fiocruz, Diagonal and APEX Brazil. Estrela believes that to produce good training materials and productions, you need to develop appropriate messages that speak to local culture, people, places, situations, verbal expressions, symbols and icons.
New film champions respect for women African filmmakers continue to exploit the movie narrative to drive a safer society for women. I Will Marry When I Want, a ZimbabweanSouth African collaboration, is the latest romantic feature comedy from emerging Zimbabwean filmmaker, Melgin Tafirenyika. In the film African men’s unashamed treatment of women takes centre stage, as the piece urges men to respect women. Made in 2012, the film is an artistic attempt to highlight a patriarchal society’s inherent and sometimes deep rooted intolerance of the female gender. I Will Marry When I Want had its debut
festival screening at the International Images Film Festival 2012 in Zimbabwe and plans are underway to take it around the festival circuit this year. South Africa-based Tafirenyika, who wrote and stars in the film, says: “The message is to tell men that they should treat women with respect and that women also have feelings. We shouldn’t treat them like they have hearts of stone and as if they don’t feel anything.” He says inspiration for the script derived from a deeper passion to help society. “Or maybe it was the desire to liberate women from unfaithful men and the need to tell women to be cautious in their relationships with men.” Tafirenyika worked on the development of the script together with Ayanda Sithole, Mandla Maseko, Memory Savanhu and Stephen Visser who directed the film. According to Tafirenyika, marriage is an important issue in African society and his
movie enlightens society on the consequences women face at the hands of men. The story follows the writer’s observations, over many years, of his friends; male and female. Produced by Darlington Manhiva, the film was shot in June 2012 over a period of three weeks in locations such as the Maracafco and Europa night clubs in Pretoria. The filmmakers encountered several
RIGHT OF CHOICE: Meligin Tafirenyika, Katlego and Stephen Visser
challenges during production, mainly stemming from the lack of a proper budget to hire adequate equipment such as the dolly and crane for some shots. I Will Mary When I Want was produced with funding from the director and his family and friends. The film’s lead cast comprises Tafirenyika and a host of rising talents such as Lillian Shabalala, George Modupe and Yolanda Matabane, all with varied experience. Shabalala has two years acting experience while Modupe has worked with Sunrise Productions on the short movie Harvest of Shame and backs this up with stage plays at the South African State Theatre in Pretoria. Tafirenyika, a former model, studied drama and performing arts theatre and participated in a number of commercials in Zimbabwe and South Africa. He also featured in a short film called Twist by Pretoria-based Reason Art Productions. March 2013 | SCREENAFRICA | 43
P R O D U C T I O N U P D A T E S FOR FURTHER DETAILS VISIT www.screenafrica.com
Those productions in red are newly listed this month E
Production Updates Order of Information
F F IC IE N T
1. Title 2. Production Company 3. Director 4. Genre
Aspen 16x16, 32x32, 72x72 3G HD−SDI
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44 | SCREENAFRICA | March 2013
1
9/13/11
11:18 AM
80 MINUTES Periphery Films Dir: Simon Taylor / Julia Taal Feature Drama AFRICAN NIGHTS Two Oceans Production Prod: Giselher Venzke / Bertha Spieker A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine At The Creek Without A Paddle Zen Crew Exec prod: Laura Tarling Documentary BAD MEDICINE Tin Rage TV Production Dir: Enver Samuel Documentary Bagged Izithulu Productions Exec Prod: Donovan Mulligan / Mike Westcott Short Film BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary BODA BODA THIEVES Yes That’s Us Prod: James Tayler Feature BREAD AND WATER Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CAPE OF GOOD HOPE 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 Prod: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary DAISY Bamboo Media (PTY) LTD Dir: Marguelette Louw Feature Film do good design south africa Concept Interaction Producer: Karl Fedderke Educational ECONOMIC TRANSFORMATION Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary ESCAPE Current Affairs Films Prod: Jane Thandi Lipman / Beata Lipman Feature Film Ex Pats Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series FOR THE NEW CITY – DANCE ON FILM SWiTCH / Resonance Bazar Prods: James Tayler / Julia Raynham Film
FORSAKEN DO Productions Prod: Marlow de Mardt / Brigid Olën Feature Genius Inhlakanipo Films Dir: Dumisani Vusi Nhlapo Short Film GOUE STERRE Suite People TVP Prod: Bell Curle TV Series GRIZMEK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature HISTORICAL KIMBERLEY Spike Productions Prod: Steve Mueller Bsc. Documentary HOTEL SONGOLOLO The Media Workshop Dir: Benito Carelsen Comedy Series IIQ 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 Tekweni TV production Prod / Dir: Sandra Herrington / Neville Herrington Documentary KADU’S JOURNEY DO Productions Prods: Marlow de Mardt / Brigid Olën Feature DYINGCRACY Sabstance Productions Prod: Edmund Mhlongo Documentary LION GIRL DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature Lonely Planet Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature MANCHE, THE AFRICAN SAINT Get the Picture Prod / Dir: Jacky Lourens / Karin Slater Documentary MHLONGO Inhlakanipho Films Dir / Writer: Dumisani Vusi Nnhlapo Feature Money in the bag P.I.M.P Dir / Prod: Daniel P Nxumalo Reality TV show MUTI DOT MOBI Vuleka Productions. Prod / Dir: Julie Frederikse / Madoda Ncayiyana . Feature Film NEW BEGINNINGZ Sukuma Media Dir: Bonginhanhla Ncube Documentary Nongoloza Current Affairs Prod: Jane Thandi Lipman Feature Palace of the Faithless White Heron Pictures Dir: Themba Sibeko Feature
PASSARES (BIRDISH) White Heron Pictures / Casa De Criacao Cinema Prod: Themba Sibeko Feature RAF INDUCTION VIDEO Panache Video Productions Prod: Liesel Eiselen Corporate ROAD ACCIDENT FUND INDUCTION Panache Video Productions Dir: Liesel Eiselen Corporate SEBOKENG MPA (Motswako) Dir: Charls Khuele / Zuko Nodada Feature SHORT BUSINESS FEATURE WITH BBC / ABC Current Affairs Films Prod: Jane Thandi Lipman Short Business Features Sirens P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK! International Radio Pictures Prod: D Gillard Musical The Black Blonde Steve Radebe Post Productions Prod: Steve Radebe Feature Film tHE blood kIng and the red dragon Current Affairs Prod: Jane Thandi Lipman / Mtutuzeli Matshoba Feature the book shop P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series THE CONSEQUENCE DO Productions Prod: Marlow de Mardt / Brigid Olën Feature The Dreaded Evil Eye from Past to Present and Across Cultures It’s a Wrap Productions Dir: Eugene Botha Documentary THE EDGE International Radio Pictures Kit Reynolds TV Series THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series The Scores Are In Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary WAY TO ROLL Blue Ice Productions Dir: Freddie Strauss Feature WARD 22 AKA SPECIAL OPS DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary Welcome To The Club Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature WHIPLASH Get the Picture Prod / Dir: Jacky Lourens / Meg Rickards Other Crew: Tracey Farren, Jenny Hicks Feature Film ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS DO Productions Dir: Bruce Beresford Feature ZEN FILM CREW MANAGEMENT ZEN Film Crew Management Prod / Dir: Laura Tarling Commercial
P R O D U C T I O N U P D A T E S PRE-PRODUCTION AFROX LPG RESTAURANT TRAINING FC Hamman Films Director: FC Hamman Training Video BABALAS FC Hamman Films Exec Producer: Peter Scott Feature Film 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 GNLD FC Hamman Films Director: FC Hamman Opening Video Holidays for Madmen Imageworks Prod: Anthony Irving TV Series JUB JUB DOCUMENTARY (working title) Baxopath Media 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 PSALTED Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety RATE MY PLATE International Radio Pictures Exec Prod: Kit Reynolds Community Project RISKCON SECURITY FC Hamman Films Producer: Neels Smit Corporate Video SAFE IN THE CITY Imani Media. Comedy SAINT & FREEDOM FIGHTER It’s a Wrap Productions Dir: Eugene Botha Documentary Si-solutions International Radio Pictures Exec Prod: Kit Reynolds Community Project SHAKESPEARE IN MZANSI: A MIDSUMMER NIGHT’S DREAM Fireworx Media Prod: Bridget Pickering Mini Series SLENDER WONDER INFORMATION VIDEO Grey Cloud Productions Dir: Jacques Brand Information Video PGC FC Hamman Films Director: FC Hamman Marketing Video TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series The Black Out Dithakeng Projects and Flms Exec Prods: Thabang Nkunyane Short Film THE LOST ANGEL Inhlakanipho Films Dir: Vusi Dumisani Nhlapo Feature Film TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM South African Great Movies Production Dir: John Wani Feature THE MESSENGER Spirit Word Ministries/Footprint Media Academy Exec Prod: Annalise Van Rensburg Series
THICK SKIN Media Navigation Prod / Dir: Dan Akinlolu Feature Film TWK AGRI FC Hamman Films Prod: Odette van Jaarsveld Corporate Video UASA CONGRESS FC Hamman Films Prod: Odette van Jaarsveld Corporate Video VROU SOEK BOER West Five Films Prod / Dir: Maynard Kraak Feature Film WAY TO FREEDOM Two Oceans Production Prods: Giselher Venzke & Bertha Spieker Feature Film WORKERSLIFE INSURANCE FC Hamman Films Prod: Odette van Jaarsveld Marketing Video
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 FINANCIAL RESULTS FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video AFROX RAU INSIGHT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video 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 Gabaza Productions Prod: Sarah Ngubeni Magazine Alex: A history from below 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 Wild Images Dir: James Smith, Tim Scoones, Roger Webb Documentary BINNELAND Stark Films Dir: Danie Joubert TV Drama Bonisanani Kagiso TV Talk Show
BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films BORDER MARAUDERS NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary Carte Blanche (inserts) Modern Times Prods: Sofia Phirippides / Jon Pienaar Documentary Child Geniuses Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series Codesign – commercial spot for furniture designers SWITCH Dir: James Tayler Commercial Cool Cats Red Pepper Exec Prod: Cecil Berry Children’s Show CORTEX MINING FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Come Dine with Me South Africa Rapid Blue Prod: Kee-Leen Irvine Reality Cutting Edge SABC News Current Affairs DADDY’S MESS Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DIE VIERDE KABINET Jan Scholtz Productions Prod: Jan Scholtz Series DINNER DIVAS 2 Blonds and a Redhead Filming Exec Prod: Anne Myers Cookery Series DIY Met Riaan Prod: Riaan Venter-Garforth Magazine EM PETROCHEMICALS TOP END Betta Beta Communications Prod / Dir:Tommy Doig Training Program EXPRESSO 2 Cordover Trading Prod: Paul van Deventer Lifestyle EASTERN MOSAIC Red Carpet Productions Magazine Programme FORMIDABELE VROUE: ANNEKIE THERON Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: CISSY GOOL Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: INA DE VILLIERS 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 GOOD MORNING AFRICA Planet Image Productions SA Prod / Dir: Wale Akinlabi TV Magazine Gospel GOLD Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show GROEN Homebrew Films Prod: Jaco Loubser Wildlife
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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 IV Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas TV series JOU SHOW MET EMO en Wickus Homebrew Films Prod: Jaco Loubser Variety Show Judge For You Self eNews Current Affairs Laugh out Loud Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya Urban Brew Prod: Enel Viljoen Reality
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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 Montana 2 Penguin Films Exec Prods: Roberta Durrant Drama Series MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MUVHANGO Word of Mouth Prod: Pieter Grobbelaar Feature MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine Music Moves Me Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show
March 2013 | SCREENAFRICA | 45
P R O D U C T I O N U P D A T E S News Night eNews Prods: Nikiwe Bikitsha Current Affairs NIGCOMSAT – TELEVISION COMMERCIAL SERIES SWiTCH Prod: Sarah Wanjiku Muhoho Commercial Nomzamo Tom Pictures / Authentic Images Comedy ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS Plexus Films Prod: Miki Redelinghuys Corporate Video PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme Phoenix Rising...The Business of Style Phoenix Entertainment and Production Prod / Dir: Koketso Sefanyetso Reality Docutainment PLAY MORE GOLF FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercials POWER COMBAT ZONE Mixed Motion Entertainment Dir: Dieter Gottert Sport Programme Project MV Zen Crew Prod: Laura Tarling Music Video
Religion and the ANC Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary RETROBOUCHON Tunnelvizion Productions Prod / Dir: Ruan Lotter/Hein Ungerer Short Film ROLLING WITH KELLY KHUMALO Red Pepper Prod: Cecil Barry Reality Series RHYTHM CITY Curious Pictures Prod: Yula Quinn Soapie RHYTHM CITY INTERACTIVE Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media Rivoningo Asi-B Films Exec Prod: Asivhanzi ‘Asi’ Mathaba Kids ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video ROER Homebrew Films Prod: Jaco Loubser Cooking Show Roots Ukhamba Communications Music Show SAKEGESPREK MET THEO VORSTER Dirk Mostert Camera Production Dir: Dirk Mostert Talk Show
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SANPARKS YOUTH & PARKS Francois Odendaal Productions Prod / Dir: Francois Odendaal Natural History TV Series SA’S GOT TALENT Rapid Blue Prod / Dir: Kee-Leen Irvine Reality SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Soapie SCHOEMAN BOERDERY – MOOSRIVIER Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary SELIMATUNZI Sikhoyana Productions Prod: Baby Joe Correira Variety Series Ses’khona Tswelopele Productions Prod: Phuthi Ngwenya Magazine SHARK STORIES NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary 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 SLENDER WONDER MJ LABS FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video Soccer 411 Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine Soccer zone SABCSports Head: Sizwe Nzimande Magazine Sony Presents Mgongo Sony Variety Spirit Sundae New Wave Productions Prod: Mishkah Roman-Cassiem Spiritual STUDIO 53 M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme STUDY MATE Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational TASOL “Old Geezer” Bragge Film & TV Dir: Guy Bragge Commercial The B-Ball Show SABC Commissioning Ed: Dinah Mahlabegoane Variety The Chat Room Eclipse Prod: Thokozani Nkosi Talk Show THE CHEETAH DIARIES SERIES 4 NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary The Communist Republic of South Africa Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary The Cypher Spoon Fed Generation Lerato Letebele Talk show THE DR MOL SHOW Prod: Michael Mol Magazine THE GREAT PENGUIN RESCUE NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary
The Justice Factor eNews Exec Prod: Debbie Meyer Current Affairs THE REAL GOBOZA 7 Urban Brew Entertainment THE RUDIMENTALS 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 TRANSFORMATION STORIES Media Village Productions Dir: Diane Vermooten Documentary THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary THERE ARE NO HEROES AFDA Cape Town Dir: Kyle Stevenson Science Fiction TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine Top 10 at 10 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 VKB LANDBOU BEPERK 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 Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series Why are We so Angry? Fuel Media Productions Dir: Scott Smith, Shaft Moropane Documentary Series Why Poverty? STEPS International Exec Prod: Don Edkins Documentary Series Wicket to Wicket SABC3 Lefa Afrika Magazine Workers World Series Cape Town Television Prod: Sharon McKinnon TV Series WORLDSOUTH Leago Afrikan Arts Foundation Dir: Sakhile Gumbi Documentary Xihlovo Grace Bible Church Religion Yilengelo Lakho 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 SHEQ INDUCTION FC Hamman Films Prod Man: Odette van Jaarsveld Commercial ALL’S FAIR PianoJ Productions Prod: Pia van Rensburg Short Film AMBASSADOR II Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Animal Doctor (Working Title) Animal Doctor cc. Prods: Greg Simpson, Jonty Acton TV Series AURECON STAFF INSERTS Panache Video Productions Dir: Liesel Eiselen Marketing 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 Dir: Nadiva Schraibman Documentary FROM GUN TO TAPE Content House/Shadow Films Prod / Dir: Jackie Lebo / David Forbes Documentary GETROUD MET RUGBY SEASON 4 Bottom Line Productions Dir: Jozua Malherbe Series HALF OF A YELLOW SUN British Film Institute Dir: Biyi Bandele Feature Film HOME OF THE LEGENDS L. Dukashe Productions Prod / Dir: Lumko Dukashe / Lulu Dukashe Documentary Hong Kong Media Village Prod: Diane Vermooten Documentary IMATU UNION VIDEO FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video 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
P R O D U C T I O N U P D A T E S Launch of the Academy of Young SA Scientists Panache Video Productions Prod: Liesel Eiselen Documentary LIFE UNDER THE FLAG Lifeundertheflag.Com Prod: Prince Angelo Doyle Documentary LION’S TRACK Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature LOVE ABOVE ALL Firstfruits media Dir: Nthabiseng Gamede Feature Film MARRY – ANN Shadow Films Dir: David Forbes Documentary MASTERS OF DREAMS Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman Series Melodi Jazz Festival 2011 L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD MICROSOFT 365 Bragge film & TV Dir: Guy Bragge Corporate Video National Heritage Council Educational Outreach Programme Panache Video Productions Dir: Liesel Eiselen Corporate Video PEACE PARKS NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PERFECT SHISHEBO Curious Pictures Prod: Nthabiseng Mokoena Cooking Show PREDATORS’ PLAYGROUND NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary RESTYLE MY STYLE Curious Pictures Prod: Anita van Hemert Children’s Programming River of Stones Prod: Wiseman Mabusela Documentary SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Sport Programme SCAREDYKAT Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL E-WASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate SLENDER WONDER FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video SLENDER WONDER GLAM GURU Production House: FC Hamman Films Prod Manager: Odette van Jaarsveld Script: Hulette Pretorius Commercial 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 It’s a Wrap Productions Dir: Eugene Botha Documentary
THE CHEETAH DIARIES SERIES 3 NHU Africa Exec Prods: Vyv Simson/ Sophie Vartan Wildlife Documentary Series THOSE WHO CAN’T Quizzical Pictures SABC Comedy Series TO THE POWER OF ANNE FX Productions Prod / Dir: Robert Haynes TV Series TOUCHING LIVES SEASON 3 GHANA Launch Factory Dir: Spero Patricios TV Series TREASURE GUARDS Tandem Communications Exec Prod: 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 Forefront Media Group / Picture Tree / The Safran Company Exec Prod: Paul Walker Feature VERITAS Media Village Prod: Debbie Matthee Documentary VIENNA BOYS’ CHOIR MUSIC STUDY TOUR SummerTime Productions Prod / Dir: Tanya Vandenberg Corporate WALKING IN VICTOR’S SHOES Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary WELLBODI BIZNES Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary ZION Letcosmart Prod: Zibusiso Nkomo Feature
COMPLETE 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 AMKA Panache Video Productions Dir: Liesel Eiselen Corporate Angels Of The Sky CDS-Films Exec Prods: Chris Dos Santos, Andrew MacDonald Feature Film CHINESE SCHOOL, PRETORIA Video clip productions/Panache video productions. Prod/ dir Rudi Kruger/Liesel Eiselen. Corporate. Club Culture Bonngoe Productions Prod: Tumi Rabanye Variety Cooking With Siba Prod: Siba Mtongana Variety DINEO’S DIARY: A MOGUL IN THE MAKING New Vision Pictures and S2 Multimedia Exec prod: Dineo Ranaka Reality DRAGON’S FEAST 3D NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series DURBAN/REEF FUEL PIPELINE Betta Beta Communications Prod / Dir: Tommy Doig Documentary Fanie Fourie’s Lobola Spier Films Dir: Henk Pretorius Feature Film FIRESTONE Street Smart Creative DOP: Peter Palmer Commercial 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 GNLD AFRICA CONVENTION FC Hamman Films Prod: FC Hamman Corporate Video HARTLAND Bottomline Entertainment / Fix Post Production Michael Modena TV Drama JAM ALLEY CREW VS CREW SEASON 2 Red Pepper Pictures Prod: Melody Xaba Music Reality Competition JERUSALEM, JERUSALEM Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET KLEIN KAROO Kaapland Films Dir: Regard van den Berg Feature Film I Am Woman – Leap of Faith Plexus Films and Lisa Chait Prod: L Groenewald, M Redelinghuys, L Chait Television Series Lepelle Northern Water SummerTime Productions Prod: Sean Gardiner Corporate Lepelle Water Safety Induction SummerTime Productions Exec prod: Elaine Tribe Corporate MASTERS OF DREAMS Current Affairs Hambrook 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 ONE LAST LOOK Fireworx Media Prod: Dan Jawitz / Philip Roberts Feature POPCRU 7TH CONGRESS FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Event SHAKESPEARE IN MZANSI: FORCED LOVE Dirs: Itumeleng Wa Lehulera and Annalet Steenkamp. Penguin Films Drama mini-series Shoprite Showcase SummerTime Productions Exec Prod: Janine Truter Corporate SHORELINE REVISITED Homebrew films Documentary series SING YOUR SONG Dir: Susanne Rostock Documentary SPACE, ALIENS, UFO’S AND RELIGIOUS TRADITIONS Eugene Botha Productions / It’s Wrap Productions Exec prods: Eugene Botha; Anna Teichert Documentary SUZUKI Braveheart Bragge film & tv Dir: Guy Bragge Commercial The Animal Communicator NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary THE BLACK JEWS AND THE LOST ARK OF THE COVENANT Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary TOUCHING THE DRAGON NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Verraaiers (Traitors) White Heron Pictures/Film Factory / Bos Bok Ses Films / Spier Films Dir: Paul Eihlers Drama VKB BRANDING LAUNCH FC Hamman Films Prod: FC Hamman Corporate Video YOU LAUGH BUT IT’S TRUE Day 1 Films Dir: David Paul Meyer Documentary
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
MARCH 8–9
AFRICAMAGIC VIEWERS’ CHOICE AWARDS
Lagos, Nigeria www.africamagic.tv
15 – 16
SOUTH AFRICAN FILM & TV AWARDS (SAFTAs)
Gallagher Estate, Midrand South Africa http://nfvf.co.za/saftas
21 – 29
INDEPENDENT FILMMAKERS SHOWCASE (IFS)
Hollywood, CA, USA www.ifsfilm.com
20 – 31
MOMA NEW DIRECTORS/NEW FILMS
New York, USA www.moma.org/
15 – 24
ATLANTA FILM FESTIVAL
Atlanta, USA www.atlantafilmfestival.com
APRIL 6 – 11
NAB SHOW
Las Vegas, USA www.nabshow.com
6–7
MIPDOC
Cannes, France www.mipdoc.com
8 – 11
MIPTV
Cannes, France www.miptv.com
8 – 11
AFRICA MOVIE ACADEMY AWARDS
Nigeria www.ama-awards.com
14 April
HOT DOCS CANADIAN INTERNATIONAL DOC FESTIVAL
Toronto, USA www.hotdocs.ca
18 April
SCREEN AFRICA GOLF DAY 2013
Johannesburg, SA ellen@screenafrica.com
4 – 11
PALM BEACH INTERNATIONAL FILM FESTIVAL (PBIFF)
Palm Beach, USA www.pbifilmfest.org
5 – 12 THE AFRICAN FILM FESTIVAL AUSTRALIA
Sydney www.afroklectic.com
MAY 27 – 30
SATCOM AFRICA, BROADCAST SHOW AFRICA & SUBMARINE NETWORKS WORLD
Sandton Convention centre, Johannesburg www.terrapinn.com
JUNE 1 4 – 17 SHOWBIZ ENTERTAINMENT ARTS EXPO
Gallagher Convention Centre, Johannesburg www.seaexpo.co.za
6–7
LOS ANGELES FILM FESTIVAL
Los Angeles, USA www.lafilmfest.com
8 – 11
CANNES LIONS INTERNATIONAL FESTIVAL OF CREATIVITY
Cannes, France www.screenafrica.com
Advertisers List
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AJA Video Systems.......................37
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Atlas Studios..................................45
Nates Audio Visual Solutions.....31
Blackmagic Design........................13
Obeco..............................................36
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Panasonic..........................................9
Camera Station.............................34
Pro-Sales.........................................39
Case Connection, The ................46
Puma Video......................FC
Digitalfilm.................... FDPS
SAFTAS............................IFC
Electrosonic............................. 38, 44
Satcom.............................................17
Gallo Music Publishing.................36
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General Post .................................46
Screen Africa Golf Day..IBC
Global Access ...............................44
Sony...................................................7
Howard Music...............................44
Time Frame....................................35
Inala Broadcast............ OBC LaserNet.........................................27
March 2013 | SCREENAFRICA | 47
Social
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SAFTAs nominees announcement
Naomi Mokhele
Charmaine Mtinta
NEW Appointment
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New booking coordinator at Puma
Rosie Motene, Jane Lipman and Tselane Tambo
Office MOVE
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Connie Ferguson
Xoli Zondi
Papa Mbongo
Katleho Ramapakela and Nolwazi Shange
Jozi Film Festival 2013
Jonah Hull (The Last Rhino) with Lisa Henry (founder of JFF) Puma Video welcomes Leora Haynes as its new booking coordinator. “Leora is standing by and is ready to take your bookings for all your equipment requirements. We wish Leora well at Puma Video and hope she settles in quickly as part of the family,” says Puma Video’s Henk Germishuysen.
Nyagunda Ngwenya, Winnie Ntshaba and Zwelakhe Ngcobo
Jacqueline and Rohin Gosling (Jozi Dreams) with Tobias Lindner (Orania)
The inspiring Eat My Dust crew at JFF 2013 awards
Director Akin Omotoso
Upstairs Post Production Valentine’s Day party
Ashleigh Lambson, Greg Shaw and Emily Bussac (Upstairs Post Production)
Kirsten Clarence (Egg Films), Ashleigh Lambson (Upstairs), Phillipa Bresler (freelance producer) and Laura Sampson (Giant Films)
Katherine Tripp (FoxP2) and Lauren Scholtz (Saachi and Saachi CT)
Liz Dahl (Frieze Films) and Melina McDonald (Bouffant)
Lorraine Smit (Bouffant) and Kerry Hosford (Egg Films)
South Africa Miracle Rising première Guillotine moves to new premises Guillotine Post Production is excited to announce that it has completed the move to its new offices in the Stonewedge Office Park, Bryanston, Johannesburg. The company is located in Block C. It’s business is as usual and contact details have not changed. Contact Karen on 011 361 3045 / 082 450 0013 or Sumi on 011 361 3045 / 084 362 1376.
CORRECTION
HISTORY Channel’s Christina Foley with Roelf Meyer
Journalists Mandy Weiner and Toby Shapshak
Mama Joyce Seroke, Sibusiso Buthelezi and Dr Brigalia Bam
MultiChoice’s Aletta Alberts, Adam MacDonald (A+E Networks UK) and Imtiaz Patel (MultiChoice SA)
Reza’s African Kitchen launch
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The article headlined Back to the mainstream, which appeared in the February 2013 issue of Screen Africa, stated that the music for the South African feature film, Klein Karoo, was composed by Chris Chameleon. Screen Africa was misinformed – the music was composed by Helmut Meijer. 48 | SCREENAFRICA | March 2013
Hilary Biller (food editor of the Sunday Times), Reza and Sue Walton (head of content at Food Network)
Reza at the media launch of his new series on Food Network DStv Channel 175
Jeremy Bouwer (chief strategist at Mortimer Harvey) with Mokgadi Itsweng (food editor of True Love magazine)
G O L F
D A Y
2 0 1 3
One of the most popular events on the South African film and television industry calendar, the Annual Screen Africa Golf Day, will take place on Thursday, 18 April 2013 at CMR Golf Club in Maraisburg, Roodepoort. As per tradition, the golfing competition will be followed by a networking cocktail at the CMR Clubhouse. This is a great networking opportunity as non-players, spouses and industry friends are all welcome. We will also sell Mulligan tickets at R100 per ticket, with the proceeds going to a charity organisation. Hole sponsorship costs for 2013 stay the same as 2012. Screen Africa invites its previous sponsors and any new sponsors to participate in this year’s Golf Day.
In order to secure your hole sponsorship, please confirm your sponsorship by 1 March 2013 with Ellen Oosthuizen.
The competition will be a shotgun start. Please confirm how many 4-balls we must provisionally book for you. Last year we filled up very quickly.
Information on the golf day: Date:
Thursday 18 April 2013
Venue:
CMR Golf Course
Sponsorship:
R6500.00 (Hole 1)
Halfway House:
R5000.00 (all other holes) (Sponsorship is excluding VAT) For your own account
Green Fees:
R250 per player - includes VAT, cocktail snacks and prize giving
Competition:
Shotgun Start @ 12h00
Please confirm your participation via e-mail for this year’s Screen Africa Golf Day.
Event Organiser: Ellen Oosthuizen Cell: +27 (0)83 268 6868 Fax: +86 (0)86 670 6809 e-mail: ellen@screenafrica.com or ellen.oosthuizen@pixie.co.za