Screen Africa March 2017

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

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VOL 30 – March 2017 R38.00

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| IN THIS ISSUE

8 NAB 2017 product preview

16

20

Branded music videos come of age at The Grammys and Metro FM Awards

28

25 A great idea is nothing without a well-crafted pitch

SPECIAL FEATUREs NAB PREVIEW Facilis TerraBlock Hub Server..................8 NAB 2017 product preview.....................8 TSL’s MPA Monitor Range........................8 Pebble Beach Systems’ Orca: Virtualised channel in a box for public and private clouds................ 10 SGL FlashNet content management system (latest version)............................ 10 Pixel Power StreamMaster Media Processing...................................... 10 Globecast Optim’Net – CDN cost optimisation technology......................... 12 Actus Digital’s Actus5............................. 12 Bluebell Opticom Edgeware.................. 12 Ross Video Lightning

The importance of classification: Protecting and respecting children

Spotlight on equipment rentals

Spotlight on equipment rentals

TRAINING

FILM

Fort fuses storytellers for Africa.............6

Whimsically influencing

hiring out film equipment...................... 30

ADCETERA

Popular rental cameras on the rise..... 32

Beautiful, wonderful,

Director Speak: Zwelethu Radebe....... 24

Securing the precarious trade of

What’s hot in the rental industry........ 33 Staying ahead with tech savvy............... 36

News Sabido eAcademy closes down...............3 Ugandan filmmakers meet, mingle and make a movie..........................3 SA’s first 360 degree concurrent narrative short film.....................................4 In memory of Erik de Jager......................4 Semicentennial celebration of a medical milestone...............................5

delightful, remarkable News.................. 14 GIANT Films’ Karien Cherry

without a well-crafted pitch.................. 25

and Metro FM Awards............................ 16 Getting down to win

Inside a soap opera production............ 26

the music video grant............................. 17

Film grab opportunities in 2017.................... 19

Protecting and respecting children...... 20

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Television Embracing scripted adaptations............ 27

REGULARS Marketplace............................................... 39

Female filmmakers must

The importance of classification:

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ANIMATION A great idea is nothing

directs NBC Universal campaign......... 15 Branded music videos come of age at The Grammys

BUSINESS, POLICY & LEGISLATION

Control System version 5...................... 13

the world in Woodwind........................... 22

Upcoming Events..................................... 39

Social Fort goes global........................................ 38 Standing ovation at preview of local flick............................... 40

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From the editor It’s that time of year again, NAB Show 2017 is almost upon us, and the industry will soon know what is set to dominate the ever evolving broadcast technology market. Taking into account that product information available preceding the show is not always vast, we put together a limited product preview including those brands that were willing to give us a peek into what this year’s show will have to offer (page 8 – 13). Judging by the conversation dominating the road to NAB Show 2017, trends that governed last year’s show are still prevalent and visitors can expect to see a continuation of these, including over-the-top (OTT) applications, Ultra HD and High Dynamic Range (HDR), as well as Virtual Reality (VR), Augmented Reality (AR) and Immersive Content implementations.

Branded content makes up a large part of this month’s Adcetra section, where Screen Africa journalist Cera-Jane Catton covers Media24’s moving Beautiful News campaign (page 14) and the Jameson INDIE Channel’s Music Video Grant (page 17). Arcade Content and Egg Films’ marketing manager Kevin Kriedemann gives us his expert opinion on the rise of branded content, particularly the move toward branded music videos and what that means for the advertising industry as a whole – a must read (page 16).

Soap operas and telenovelas make up a large part of the South African production landscape, with these operations running steadily on a daily basis and scooping up numerous accolades yearly. In our Television section, e.tv’s head of local production’s Ziyanda Mngomezulu gives us the inside scoop on soap opera production using the channel’s long running soapies Scandal! and Rhythm City as case studies (page 25). Another interesting contribution to the section comes from Keshet International’s Paula Cohen McHarg, who shares her insights on scripted adaptations and the move towards localised content that speaks to particular audiences. McHarg attended DISCOP last year and based on that experience strongly believes that Africa has huge potential and opportunities to offer in this space, not exclusive to pan-African format adaptations (page 26).

That brings us to our annual equipment rentals feature.

Spread across ten pages, the section carries what we believe to be invaluable information for both the rental industry and its customers. Off the back of last year’s occurrences of theft at three major rental companies, our journalist Cera-Jane Catton discusses the risk involved when renting out equipment, and the surety and security measures that these companies have put in place in an attempt to combat that risk (page 30 – 31).

Another noteworthy contribution to this section, Screen Africa conducted a small scale survey to find out which products are most frequently rented, find these results on pages 33 to 35.

Until next month!

– Chanelle Ellaya Acting editor

SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com ACTING Editor: Chanelle Ellaya: editor@screenafrica.com Journalists: Chanelle Ellaya: news@screenafrica.com Cera-Jane Catton: cera@screenafrica.com Greg Bester: greg@suncirclegroup.co.za James Sey: editor@pro-systems.co.za

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

The Team ACTING Editor Chanelle Ellaya is a writer and a journalist. She completed her BA Journalism degree at the University of Johannesburg in 2011. While writing is her passion, she has a keen interest in the media in various capacities: In 2012 she co-presented the entertainment and lifestyle show Top Entertainment on TopTV and later that year she was handpicked as part of a panel of five dynamic young Africans to interview Winnie Madikizela-Mandela on a youth focused television show called MTV Meets. Chanelle is an avid social networker and a firm believer in the power of social and online networking.

Between writing and tweeting, she finds time to feed her love for live music.

JOURNALISTS Cera-Jane Catton is a writer and journalist with years of experience in community newspapers, blogging and freelance journalism. She has migrated to Jozi from Durban to join the team at Screen Africa in the hope of sampling lots of free popcorn.

Cera has worked in a cache of capacities, often finding herself behind or in front of the cameras, intentionally and less so. She has been a stunt double in two Bollywood movies, has worked in various capacities on a number of natural history documentaries, and other international productions shot in South Africa.

She studied journalism and photography and is always eager to learn something new. She speaks up for the voiceless, is a dedicated movie lover and a wannabe doccie maker.

James Sey is a writer, academic and journalist with many years’ experience in business to business journalism. He is the current editor of Screen Africa’s sister publication, Pro-Systems Africa News.

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

All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher.

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Sabido eAcademy closes down The Sabido eAcademy is closing its doors after three years in business, as parent company eMedia Investments refocuses broadcast training on its internal operations rather than for external clients.

The eAcademy officially opened its doors in August 2014, although it had already been running learnerships and other training programmes from the middle of 2013. It was conceptualised as a training centre for the television and broadcast sector, to empower the unemployed and to upskill working professionals through a variety of formal short and long-term training programmes.

Through its MICT Seta accreditation, the eAcademy ran multiple funded learnerships at NQF4 and NQF5 level in Film and Television Operations, as well as internship programmes and skills development programmes. Due to its close working relationship with host employers the retention rate of unemployed learners in the workplace ranged from 60 to 80 per cent depending on the programme. Learners were offered a careful balance of theory and practical, as well as a specific focus on workplace etiquette, communication skills, time management and other key

SHIFTING FOCUS: On set (Image credit: Sabido eAcademy Facebook page) skills necessary for a robust workplace.

The various learnerships for employed staff were widely praised by those learners who have been in the broadcast industry for many years but had no

formal qualification. Through these programmes they were able to consolidate their working experience and have a qualification to reflect their standing within the industry.

By its very nature broadcasting is an expensive operation and to maintain, service and staff a fullyfunctioning television environment was not sustainable. eMedia Investments will instead continue the working relationships with the many excellent facilitators and subject matter experts who were working with the eAcademy, and utilise that expertise to upskill its own staff across the range of companies.

“We would like to thank all the dedicated staff, enthusiastic learners, generous suppliers and committed clients who passed through the eAcademy doors,” comments Sabido eAcademy acting managing director, Seamus Reynolds.

“Training is a very difficult environment, and eMedia Group has decided to focus on the internal rather than external training. It is a sad day but it’s more a refocus of the business, we’re just shifting our focus rather than ceasing to train. There are some incredible broadcast trainers out there and it has been a pleasure working with them. I have no doubt that our paths will cross again in the future.”

Ugandan filmmakers meet, mingle and make a movie The inaugural Uganda Filmmakers Networking Day was launched in December 2016. Born to boost the market, it will continue to be an annual event that brings the Ugandan film fraternity together. The first event was dubbed The Filmmakers Day of Fun in the Jungle where a short was shot and a means to empower an industry was formed.

Screen Africa spoke to organiser, actor, writer, director and producer Mutebi Andrew Elvis. This versatile filmmaker is putting the Ugandan Film industry into the spotlight. In 2014, Elvis founded Kiss Films Africa with the aim of supplying local Ugandan film content. In 2016 he was selected to attend the Maisha Doen Stichting screenwriter’s lab in Uganda. The lab is run by Mira Nair, the internationally acclaimed Indian director, screenwriter and producer who has put Uganda on the filmmakers map.

Elvis explains that filmmakers met at the Uganda National Theatre, from there they went to Roots Resort where they were afforded a day of film screenings, adventure activities and a competition where someone won three editions of the Harry Potter Collection. Filmmakers then spent the night in tents and cottages. “All departments of film

including actors, directors, scriptwriters, editors, production managers, make-up artists, DOPs, distributors, and sound recordists were present,” says Elvis.

Late in the night, two screenwriters Mugabirwe Rogers Matelja and Lydia Nanyanzi came up with the idea for a short experimental film which they had to shoot before they headed to the capital Kampala on the morning of 18 December. “The experimental short Footpath was filmed using an iPhone 6S and nothing else and is credited to around 12 filmmakers who gave in kind

craftsmanship,” explains Elvis.

He says the event is for filmmakers to come up with ways of working together and increase the number of film projects. “The idea is to bring various stakeholders in the Ugandan Film industry under one roof in a conducive relaxed atmosphere and map out a plan to increase on productivity as well as learn from each other,” says Elvis.

“Ugandan filmmakers lacked an event on the social calendar that brings them together to discuss the key

factors affecting the industry, as well as energise and discuss possible solutions in order to overcome them in the new year,” he explains. Claiming that the issues they face are “Issues of distribution, co-productions, and low levels of local film content on local televisions, and mapping out plans to access government funds and logistical facilitation to filmmakers.”

In 2017 the networking event will be held in the last week of November. It is a nonprofit event that Elvis believes will have a significant boost for the local film industry but says sponsorship is hard to come by and there is need to raise funds to facilitate it.

“The fruits of the event where the shooting of a short film, which is to be turned into a low budget feature film,” says Elvis. They already have a follow up plan to see that the feature is produced before the year ends and there will be a new film project at the next event.

They are currently developing a website and approaching sponsors for it. The 2017 event will include an extra day for screening of local film content to the general public. – Cera-Jane Catton

UNITING UGANDAN FILMMAKERS: Mutebi Andrew Elvis

March 2017 | SCREENAFRICA | 3

News

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SA’s first 360 degree concurrent narrative short film Global Access creative agency has launched the first of its kind in South Africa, Double Cross, a 360 degree short film. Using a concurrent narrative approach, the story explores a fictitious moment during World War II, the viewer is placed in a situation where they can see and engage with two storylines at the same time.

The innovative film was directed and written by Guy Sclanders, creative director at Global Access. He says, “360 technology is exploding forward at an incredible rate.” Sclanders says that the team utilised the Samsung Gear 360.

“We used this camera because it is an amazing piece of tech, fit within our budget, and as a tool for testing the concurrent narrative style, it was ideal.”

Sclanders describes what the viewer will experience, “Think of a traditional split-screen in a movie – you can see two different places and actions taking place,

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TWO SIDE TO THE STORY: SA 360: Samsung Gear 360

they coexist.” He explains that when mixed into a 360 VR environment that you are then able to watch two different stories happening simultaneously. “They both culminate at the same time, and affect one another at the same time. You as the viewer get to decide which one to watch or to look between both.”

He goes on to explain that the 360 screen is so vast there is not the means to see it all at once. “We physically cannot look everywhere in 360. And yet, to not utilise it all, or to leave areas of interest to chance glances from the viewer, seems a waste of space and effort. Without a reason to look in different directions the power of 360 is missed as it’s not being looked at by the viewer,” says Sclanders.

Sclanders has explored various techniques and applications of 360 and VR. He says the concurrent narrative

overcomes this waste of space by presenting the viewer with multiple perspectives within a single 360 environment. 360 VR is the right platform for this parallel perspective storytelling as it has the capacity to hold multiple storylines without infringing on each other but rather the whole becomes greater than the sum of its parts. The world is split into two zones of 180 degrees. Each zone presents a unique perspective of the same real-time event.

This puts the viewer in control of their experience of the 360 film and the story told within. This film offers the audience choice. It is this choice and control which makes 360 degree video and concurrent narrative such a powerful tool for evocative and affecting storytelling.

Sclanders started this project with the vision to explore the technology of 360

VR and give the viewer a chance to see all sides of a story and realise there is more to life than just one perspective.

“When we are presented with new technology it is our duty to explore it as a means of telling better stories. If it doesn’t do that, if it hinders, or changes, or reduces our story then it has no place in our creative world. 360 is an awesome ‘new’ technology that presents us as storytellers with a canvas that literally encompasses us. For the first time we can be IN the picture, not just looking at it with distractions around us.”

MD at Global Access, Brad Wilson, was the executive producer of the project, and he says, “I believe it is our responsibility as a company to do everything in our power to explore this space and task it to do everything that we cannot do both in reality and in traditional media – to take us into a new space far away from home.”

Wilson says they made a World War II film because it really demonstrates the power of the technology. Wilson adds, “We’ve already discovered applications in the corporate space from what we learnt through making the film.”

Double Cross is currently available on YouTube, and will be submitted to various festivals for consideration.

In memory of Erik de Jager

GONE BUT NEVER FORGOTTEN: Erik de Jager 4 | SCREENAFRICA | March 2017

If you’d like a bullet point list of Erik de Jager’s achievements, the biography on his LinkedIn profile will give you all the information you need, but this is not the place to quantify the value of a person’s life by statistics. Sure, we can mention that he undercut the entire music video industry straight out of film school and ended up creating approximately 400 music videos in five years, produced over 150 commercials for blue-chip brands and has 20 awards and nominations to his name, but this is not how Erik defined himself, nor other people.

As a young boy, Erik realised that he wanted to be a visual storyteller when he saw Christopher Reeves soar through the sky as Superman. In film he found a platform to express his incessant search for the truths that made life and human nature beautiful and exciting. This unbridled tenacity meant that Erik never worked for anyone aside from himself, running three companies throughout his life, Fingerprint Filmmakers, Threshold Collective and whatwewant Branded Entertainment respectively. He also founded the Tsunami Disaster Fund SA,

and raised over R11 million to aid those affected by the 2004 tsunami disaster.

Erik enjoyed experiencing his passion rivalled in his employees. He didn’t look for people with the longest track record or the most achievements, but the youths of a passionate, new and challenging generation. Many industry stalwarts (directors, producers, animators, composers and the like) will tell you that Erik was the person that gave them a job when no-one else would. He was interested in seeing how far passion could carry someone, exposing them to industry-level work with a university level skillset, as this was how he first came to success.

He was a dreamer, quick to romanticise the power of storytelling and the uncertain future of exponential technologies (which was a very certain future to Erik). Where other people saw automation as a scourge upon employment and economies, Erik saw the human race liberated from the shackles of unnecessary labour, free to be creative, think and empower one another. Where others saw A.I. as the

downfall of the human race, Erik saw its evolution. He frequently mentioned that should he die, he would like to be brought back to life like the Philip K. Dick android, or have his accumulated social media presence collated, uploaded into the cloud, transferred through space and 3D-printed on a distant planet. He was truly a thought leader that always ignored the impulses of fear and always imagined excuses for us to hope.

And of course, there was virtual reality, a medium that reinvigorated his passions for visual storytelling and lifelong learning. To Erik, VR meant infinite possibilities, education could finally be for every kind of child, and a return to learning by playing. This journey culminated in his final work, ‘The Vodacom Virtual Reality Experience’.

Above all else, Erik’s biggest inspiration was his two children, Sacha and Tayla, who both reflect his fearless, passionate and unforgettably rambunctious nature. – Cole Matthews

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Semicentennial celebration of a medical milestone

HISTORY IN THE MAKING: Chris Barnard made headlines around the world.

It was 50 years ago that South Africa was put on the map by a medical achievement the world had never seen before. On 3 December 1967, South African doctor, Professor Christiaan Barnard, performed the world’s first heart transplant at Groote Schuur Hospital in Cape Town.

T

he history of this epic operation is being brought to life by DS Films Entertainment and Karoo Films. It will be released on 3 December 2017 to mark the semicentennial day. It will be filmed where history was made at the Groote Schuur Hospital. The nine hour long operation took place inside the Charles Saint Theatre, and the surgery has become known as the breakthrough that pushed the boundaries of medical science into a new era.

Inside this very theatre re-enactments will be carried out for the documentary, and these scenes will be used alongside archive material and modern day footage of the landmarks of Barnard’s life. The filmmakers will also be filming in Barnard’s home town of Beaufort

West, and at the Christiaan Barnard Museum. Furthermore at the University of Minnesota in the US and in Rome, Italy.

Filming began on 1 February 2017 and will continue until 30 April 2017.

The documentary will be released in 4K digital. The documentary is directed by Byron Davies, with cinematographer William Collinson and produced by Robert dos Santos and Bonita Koff.

“The documentary is a celebration of the 50th anniversary of the world’s first human to human transplant performed right here in South Africa,” says co-producer Robert dos Santos.

“The concept of the documentary is to highlight the long journey to the first heart transplant and pay homage to the persons who made it a reality.

This comprises of the extraordinary Professor Christiaan Barnard, his incredible support team of various races and religions, including the famed Hamilton Naki, and the institutions which enabled him to achieve these feats.”

He further explains that the focus and narrative will be carried forward through the use of interviews of those who knew him before, during and after the operation. It will feature those who worked alongside him, friends and family, members of Groote Schuur and UCT where he applied his trade, and include historians, and leading experts in the fields of cardiology and cardiothoracic surgery from around the world.

Driven by a group of people who are passionate about Barnard, dos Santos says they would like to do justice to his legacy while paying homage to his multi-racial staff, the initial heart donor Denise Darvall, and the initial heart recipient Louis Washkansky.

Washkansky was a fifty-three year old grocer with a debilitating heart condition. He received the heart of Darvall, a young woman who was run over by a car on 2 December and had been declared brain dead.

This momentous achievement introduced to the world another

significant way to prolong life. Barnard is similarly credited with developing a new design for artificial heart valves, doing heart transplants on animals, and correcting a problem of the blood supply to the foetus during pregnancy. Barnard passed away at 78 in Cyprus on 2 September 2001.

The Heart of Cape Town Museum, set up by the Groote Schuur Hospital honours those who played a leading role in the surgical feat. Theatres A and B are the original theatres and have been recreated to display an authentic representation of the ground breaking operation.

“We are all incredibly proud to be a part of this production and hope to be able to celebrate a world first which was made possible not only through the tenacity of Professor Barnard but also through the assistance of his incredible staff of various ethnicities at a time in which the South African government attempted to keep people of various races apart,” says dos Santos. Adding that “We are all well aware of the importance of this documentary in both a South African and international perspective. We feel a great sense of pride and duty to do justice to a man and story which set the eyes of the world upon South Africa.”

That one operation 50 years ago is now performed worldwide more than 5 000 times a year. At any given time, there are more than 3 000 people waiting for a heart transplant and it is estimated that up to 50 000 people are candidates for transplantation.

Therefore the filmmakers would like to change the perceptions of organ donation and bring to light the importance of it, as without an organ donor it would not be possible to have achieved the first heart transplant. “The idea of organ donation is seen by many as a taboo subject, and we hope our documentary will do much to educate people on the significance of signing up as an organ donor,” says dos Santos.

He concludes that “We are highly supportive of organ donation and aim to inspire more people to sign up as organ donors. Becoming a donor is easy, all you need to do is to register on the Organ Donor Foundation’s website: www.odf.org.za or to phone them at 0800 22 66 11.”

As much as one surgery can hold considerable significance, one organ donor can shape many lives. – Cera-Jane Catton

March 2017 | SCREENAFRICA | 5

TRAINING

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Fort fuses storytellers for Africa Fort is rebranding, expanding, and connecting the raconteurs of Africa.

After a decade establishing themselves as a creative, content and production network, The Fort – officially rebranded as Fort – claim they have finally done what Facebook did in ‘05, dropped the the from their name. While removing this definite article simplifies their image, their creative expression is expanding across the continent.

MC for the night, Nomzamo Mbatha

SIMPLIFYING IMAGE, EXPANDING EXPRESSION: #createmovement boldly sets the stage for the night

F

ort recently launched a new office in Nairobi and has plans for one in Lagos later this year. Combining business with creativity and empowerment, Fort has Africa as their focus. “Africa is the now and the future,” was the message on the eve where #CreateMovement was unveiled. #CreateMovement is a campaign urging businesses to think differently about how and where they make investments. #CreateMovement asks how much of the profits generated by Africa’s creative economy stay on the continent and how much leave for the first world in the form of repatriated profits.

Testimony to their trendy brand, they celebrated with SA’s hottest celebs and talent with a black carpet reveal at The Venue in Melrose Arch in

6 | SCREENAFRICA | March 2017

February. Nomzamo Mbatha, the stylish master of ceremonies, introduced the glam crowd to co-founder and CEO, Shukri Toefy, who took to the stage.

“Firstly we’re celebrating that we’ve been around for ten years,” says Toefy.

He continues to share the details of the brand and explains their global network. “We’re very proud to stand here tonight and introduce you to the CEO of Fort East Africa, based out of Kenya. She is Alison Ngibuni.”

Fort was founded in 2006 by Toefy and Amr Singh, at the time they were two penniless university students with mounting student loans. Today the agency employs 50 people and has worked in 17 African and Middle Eastern markets. When these entrepreneurial activists witnessed the countries cries

of #FeesMustFall, Toefy says the idea of decolonising education resonated with them. “Then we realised there could be some decolonising within our creative economy as well,” says Toefy. “We tend to overvalue global,” he continues. “As storytellers we have such an important role to play in driving our own narrative.”

Along with an invitation to Fort’s celebration, all guests were given an empty workbook and instructed to leave a message in the front of it. This book is to be used in their sustainability training and skills development programme, Hold The Fort.

Together with Fort chief creative officer Amr Singh and general manager Craig February, Toefy announced the launch of Fort’s shared prosperity model. The model will see them donating ten per

cent of the business to their employee share fund. Keen applause paused his speech as Toefy explains, “Within a shared prosperity model, we have to think about the community and society in which we operate. We are a part of that and tonight we are donating one per cent of our business to our Hold The Fort sustainability fund.”

As part of its shared prosperity model, one per cent of the agency has been gifted to its sustainability fund to invest into the community, with a heavy focus on skills development through its African talent lab. Toefy and Singh believe employees and communities need to benefit directly from creative businesses and this is how the agency is paying it forward.

Ngibuni took the mic to explain how

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Shukri Toefy and Amr Singh on one of the Fort campaign video sets

Fort approaches storytelling. “Fort is about sharing experiences. Fort is about engaging and as Fort South Africa expands and goes into East and West Africa, we feel it’s a great opportunity for us Africans to connect,” says Ngibuni. “If America can say America first, we must say Africa first.”

Singh then points out the cameras around the room and in celebrating #CreateMovement, under the banner of being storytellers for a connected world, he announces that guests are standing on a film set. “Everyone has the tools to make a film and everyone is invited to create a campaign video.”

Not only did guests create the campaign video, they left a personal message of inspiration, wisdom, advice, or a life lesson in a workbook that created

Craig February, Anelisa Mangcu and Shukri Toefy

much conversation on the night and inspired those writing the messages.

Toefy explains this incentive: “We need to inspire our young storytellers across the continent. We need to inspire them in West Africa. We need to inspire them in East Africa. We need to inspire them in South Africa and what we would like to do is bring you to those workshops and allow you to leave your knowledge, not only in writing but through interaction, because we have to pay it forward,” says Toefy. “We have to change the narrative around where we are going.”

The workbooks will be used by a young storyteller in Fort talent lab workshops, training sessions, and leadership programmes across Africa and globally. Those who contributed in leaving their personal messages will

be given the opportunity to participate in and lead workshops based on their expertise and industry experience.

Hold the Fort plays an economic role in communities, and positively contributes to social and environmental upliftment.

The workbooks will be used mainly with students, but not just limited to students, in Africa. The author of each message will be given the chance to attend the training or to be filmed for the training.

Hosted by Fort and inspired by the messages of hundreds of industry players who likewise wish to pay it forward.

The workshops will be focused on the creative industry; Fort has previously hosted several schools for a directing workshop, a copywriting workshop, and an editing workshop. With #CreateMovement Fort is partnering

with industry influencers to inspire the youth around the continent and to reach and gain as much traction as possible.

After workshops attendees are given the possibility of further training opportunities through internship programmes that Fort offers.

This is a chance for everybody, as Ngibuni says, “Join the movement, the creative movement, and let us together share in telling beautiful stories about ourselves and our brands.” – Cera-Jane Catton

March 2017 | SCREENAFRICA | 7

NAB | PREVIEW

NAB 2017

product preview It’s that time of year again, when tech enthusiasts and the likes gear up to attend the NAB Show, and keep up with the smartest solutions and new technologies on the market. NAB Show 2017 will take place over six days from 22 to 27 April at the Las Vegas Convention Centre, Las Vegas, USA. Visitors to the show can expect new technologies and products across various fields including broadcasting, satellite, cable, telecommunications, corporate, motion picture, internet/ streaming, wireless and more… Here are a few products that NAB 2017 attendees can expect to see in action…

Facilis TerraBlock Hub Server The all new Facilis Hub Server is a performance aggregator that can be added to new and existing TerraBlock systems.

With ever increasing media file sizes, and 4K, HDR and VR workflows continually putting pressure on facility infrastructure, the Facilis Hub Server is aimed at future-proofing customers’ current storage. The Facilis Hub Server uses a new architecture to optimise drive sets and increase the bandwidth available from standard TerraBlock storage systems. New customers will benefit from customised Hub Server Stacks with enhanced system redundancy and data resiliency; all while delivering nearlinear scalability of bandwidth when expanding the network.

“We’re introducing exciting new architectural changes that will deliver even greater performance for TerraBlock facilities,” said James McKenna, VP of Marketing and Pre-Sales at Facilis Technology. “The Facilis Hub Server gives current and new customers a way to take advantage of advanced bandwidth aggregation capabilities, without rendering existing hardware obsolete.”

8 | SCREENAFRICA | March 2017

TSL’s MPA Monitor Range TSL’s new MPA (Monitor Plus Audio) range provides users with an intuitive yet flexible audio monitoring tool that allows facilities to future proof their workflows. Whether checking incoming feeds on an Outside Broadcast (OB), or creating a custom monitoring mix for production staff, the MPA family is ideal for hybrid workflows with established I/O – such as MADI, SDI, AES-3 and analogue – while also embracing the industry’s rapid move to Audio over IP workflows with support for Dante and Ravenna.

The new products are available in two models: Solo offers the ability to listen to any channel, while Mix enables the user to create a simple monitoring mix.

The shallow unit depth of 100mm makes them both ideal for the broadcast OB environment. The built-in web server enables all units to be configured, monitored and controlled remotely via an intuitive web interface.

Blackmagic Video Assist 4K adds professional monitoring with HD and Ultra HD recording to any camera!

Now it’s easy to add professional monitoring along with HD and Ultra HD recording to any SDI or HDMI camera! Blackmagic Video Assist 4K has a large super bright 7 inch monitor so you can see your shot clearly, making it easier to frame and get perfect focus! Featuring two high speed SD card recorders that save HD and Ultra HD video as 10-bit 4:2:2 ProRes or DNxHD files, you get much better quality than what most cameras can record. The files are open standard which makes them compatible with all leading video software so you can start editing immediately!

Blackmagic Video Assist US$495* Blackmagic Video Assist 4K US$895*

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NAB | PREVIEW SGL FlashNet content management system (latest version) The latest version of SGL’s flagship FlashNet content management system, includes the following key features: • Enhanced disaster recovery: SGL is introducing new tools to enable multiple sites to stay in sync with each other, even when every site is running its own production processes.

• Integrated amazon cloud archiving: Amazon’s S3 and Glacier platforms can now be used seamlessly as archiving destinations. FlashNet’s life-cycle rules engine easily moves assets between each platform.

Pebble Beach Systems’ Orca: Virtualised channel in a box for public and private clouds

Support for Sony Ci: SGL supports Ci, Sony’s cloud-based service that allows media professionals to collaborate on the creation and sharing of high quality, high resolution content.

Both workspaces and archive destinations are supported.

FlashNet Infinity User Interface: Latest developments to FlashNet Infinity User Interface provides media companies with an elegant dashboard that simplifies the management of media archives, Infinity delivers a sophisticated toolset for archive and restore functionality, system health, monitoring, analysis and more. New features include: A navigator tool to explore the entire set of archived assets in their original folder format; support for watch folder projects; advanced metadata support; and capacity analysis.

• A major revision to the FlashNet Watch Folder Service: The Watch Folder Service now manages projects, offers efficient Incremental Archiving, monitors vast numbers of watch folder files and supports Mac and camera storage workflows.

• Full support for Sony’s latest Optical Disk System – ODS 2: FlashNet’s ODS 2 support provides speeds that approach 2Gb/sec writing and 1Gb/sec reading.

• Support for AXF: FlashNet can read and process AXF objects providing greater flexibility for customers, ensuring long term availability of content in the future regardless of technology evolution.

NAB attendees will be able to see a live deployment and hosting of multiple channels either in a private cloud or with Amazon Web Services (AWS), using Orca, Pebble’s virtualised playout solution running under the Marina automation control system.

The ability to deploy new channels in a matter of minutes at low cost makes Pebble’s public cloud solution particularly suited to pop-up, event-based channels, and to Disaster Recovery applications.

With Orca, centralcast hubs, service providers, MCOs (Multiple Channel Operators), sports broadcasters, and corporates have the ability to create new IP channels SGL FlashNet Lite: The new entry-level archive FlashNet Lite comes in four from a series of templates at the touch of a button, and configurations: FL Disk, FL Tape, FL Hybrid and FL Optical Disk, providing options to deploy them quickly into a running system without for content storage that is disk only, tape only, optical disk or a combination of disk having to restart or make configuration changes. and tape. FL Hybrid is upgradeable to 50TB of disk support, two tape drives and 100 Fully automated channels, using the same Marina slots with one server. This provides nearly 600TB capacity with LTO7 tapes. Running infrastructure as on-premises systems, can be on a single server node, FlashNet Lite can grow as the customer’s archive expands. launched and running at the click of a button, with little additional training of staff required.

For Disaster Recovery applications, Orca offers a cost effective and efficient solution that can be dynamically deployed only when needed. This saves considerable costs since cloud services are typically only charged when operational. Orca’s new metering tools show an hour by hour utilisation of channel resources, and storage can contain backup material to be run during an emergency, while mirrored show content for the day can be quickly uploaded in minutes.

With content uploaded, the DR feed is a perfect mirror of the original broadcast.

Pixel Power StreamMaster Media Processing StreamMaster takes the remarkable functionality, graphics capability and image quality of the existing Pixel Power master control and integrated playout systems, and implements them in software to run on commodity hardware.

StreamMaster is designed to support virtualisation– a channel without a box – but can also be supplied with SDI I/O to support hybrid and transitional environments.

This revolutionary approach allows broadcasters and media companies to get professional playout on air – and particularly online – quickly and at manageable cost, delivering maximum benefits from the transition to IP.

StreamMaster: • Reduces costs through use of IP infrastructure • Supports virtualisation • Rapid deployment • Bridges transition to IP • Range of pricing models covering pay-as-you-go and Capex • Includes Pixel Power best of breed core graphics engine (Clarity) • Open API for Automation control 10 | SCREENAFRICA | March 2017

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NAB | PREVIEW

Actus Digital’s Actus5 Actus Digital will present the latest broadcast recording, monitoring and clips for OTT, based on HTML5 (Actus5).

HTML5 main advantages: 1. No client installation is needed, accessible also through the Cloud 2. Compatibility with different browsers 3. Works from PC, MAC, smartphones and iPads 4. Innovative User Interface and improved workflow 5. Much faster Actus will present the clip generation workflow, clips for OTT and social. The new User Interface enhances the clips creation and export workflow and includes more automation options. The clips can contain one or multiple video segments, with the ability to include or exclude segments with frame accurate cuts, remove ads and a new Zoom function. The clips can include any metadata, overlays, special effects, profiles, and can be exported in any format.

Globecast Optim’Net – CDN cost optimisation technology Even though the CDN price-per-GB is regularly decreasing, CDN costs for media delivery are growing every year as audiences, and therefore demand for content, expand. A second factor is that viewers are watching online content for longer periods of time than ever before. We are also seeing the demand for media quality shifting from very compressed video to SD and to HD, which of course increases CDN traffic. In order to optimise costs related to content delivery, Globecast is launching its Optim’Net solution, proving that peer-assisted media delivery is ready for prime time. This CDN off-loading service – which integrates seamlessly with any CDN vendor – relies on the audience watching the content to participate in the delivery to other viewers. Extra benefits include improved network performance and better user experience, especially a reduced start time for media playback.

Bluebell Opticom Edgeware Edgware is Bluebell Opticom’s new range of IP- gateway products that serve as a bridge between current 3G-SDI-based broadcast infrastructures and those built on IP technology. Edgware products make it possible to use BNC and XLR technology to transport broadcast signals over IP networks. The user interface remains the same, but the transport technology is new.

The result is that broadcast facilities can save money by repurposing existing equipment for IP delivery.

12 | SCREENAFRICA | March 2017

PREVIEW

| NAB

Ross Video Lightning Control System version 5 The Ross Video Lightning Control System is custom designed to meet the needs of these various applications. Control of meetings is automated to the point that a single operator can manage and broadcast the assembly without having to be an expert in the underlying technology. The Ross solution uses an intuitive touch screen graphic user interface (GUI) that makes running a meeting as simple as pressing a button to automate operation of all the components in a production.

The Ross Lightning Solution modernises the video production process by reducing technical complexity, so that users can focus on the production instead of the technology. After only 30 minutes of training, anyone can manage a meeting without needing to understand how to use a production switcher or character generator. The interface leverages an intuitive touch screen GUI designed to automate the operation seamlessly.

Lightning continues to add more new features with v5 launching at NAB. One new feature makes it easier to use picture-in-picture functionality that makes it possible to have a presenter’s slides and face on screen at the same time, or to broadcast a discussion between representatives in the room instead of constantly switching sources. Version 5 offers support for the new PIVOTCam pan-tilt-zoom (PTZ) cameras from Ross, as well as cost effective USB joystick control of cameras.

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March 2017 | SCREENAFRICA | 13

ADCETERA

|

In November 2016 South Africa was graced with Beautiful News and every day since, and every day for the next three years at 16h14 a Beautiful News story is published online. The two-minute videos poignantly share stories from across the country that unlike primetime news, are truly inspiring, motivating, and genuinely delightful.

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he concept came from the creators of 21 Icons, a collective of likeminded people whose passion and interest in South Africa’s potential brought them together. 21 Icons celebrated South Africa’s most remarkable men and women over three seasons. “The experience of creating that project made it clear that South Africa is full of people whose stories are worthy of celebration. Beautiful News was born out of a desire to share them,” explains Anthony Hinrichsen, commissioning editor of Beautiful News and Ginkgo Agency.

Beautiful News aims to be the reminder of hope, “To remind South Africa’s people why we live here, and show the world why this country will fulfil the promise of the

Mandela era,” he says. “We will show the selflessness, the entrepreneurial spirit, and the human kindness that binds South Africans together. This country 14 | SCREENAFRICA | March 2017

Images taken from Beautiful News Instgram account

Beautiful, wonderful, delightful, remarkable News

Stills of Beautiful News clips created with the logo

and its people have so much to give and so much to live for; now we will tell their story, our story, together.”

Nelson Mandela was released from prison at 16h14 on 11 February 1990.

Beautiful News stories are released at this time as a symbolic reference to the power and impact of the moment when it became clear that democracy was coming to South Africa.

“We find story subjects from numerous

sources including community contacts, submissions from the existing audience, as well as online and offline research from our editorial team. It is the intention for Beautiful News to represent every kind of South African, from every province in the country,” explains Hinrichsen.

Beautiful News is too produced by Ginkgo Agency and is made possible with the support of their partner MercedesBenz South Africa.

The films are all shot at locations that relate to the subject featured in the film in order to tell an authentic and engaging story. The crew predominantly used DSLR and mirrorless cameras with prime lenses.

“These setups are best suited for Beautiful News as they are light,

inconspicuous and can switch between video and stills,” says Hinrichsen. He explains that the crew on set make use of available light when shooting the stories, therefor dictated by location of the subject.

For recording sound they use pro directional mics, Hinrichsen says they give exceptionally good quality recording in the field.

They also use lapels for on-screen interviews. They have a licensing agreement with Capasso where they source their music from.

The poetic news clips are edited using Adobe Creative Cloud: Premiere Pro for editing; Lightroom for photo editing; Photoshop for photo editing and logo design and corporate identity; Illustrator for logo design and corporate identity; and After Effects for video and photo effects. “Adobe Creative Cloud is efficient for shorter films and projects,” explains Hinrichsen. “The different programmes are interlinked, thus making the post-production process smoother.”

There is a full in-house crew that includes an editorial team, production team, shooting crew, media managers and editors that source and create Beautiful News daily. Every day they

are in production with the duration of filming dependent on the story, subject and location of the shoot. “Shooting in the field brings with it its fair share of challenges,” says Hinrichsen. Including weather, lighting and location changing daily and all offering a different dynamic. “Scheduling at times can be challenging as we are dealing with individuals who lead full lives and are not always available to shoot,” he adds.

Despite this, every day at 16h14 on the Beautiful News platform and distributed across News24 and 24.com, a beautiful video is uploaded giving viewers a reason to be proudly South African.

“The response has been remarkable.

People are looking for positive stories that remind them that South Africa is a country we can be proud to call home,” says Hinrichsen. “Having only launched in November 2016 the uptake has been faster than expected, and it is continuing to grow.”

The hope is that Beautiful News creates positive conversations that bring people together. “It strives to remind everyone on a daily basis that South Africa is full of remarkable stories and incredible potential,” says Hinrichsen. “The world often feels chaotic and out of control; the aim of Beautiful News is not to ignore or disregard this, but to remind us all that, as bad as things get, we are surrounded by good people doing extraordinary things.”

Anyone can contribute by submitting a story idea to the Beautiful News editorial team. “The public can get involved by sharing stories or contributing their own,” explains Hinrichsen.

“Furthermore by supporting the people featured in Beautiful News.”

You can help them to continue doing the work that made their story special in the first place. – Cera-Jane Catton

| ADCETERA

GIANT Films’ Karien Cherry directs NBC Universal campaign Photo By: Sven Kristian

A STORYTELLER: Karien Cherry

Still from one of the NBC Universal 100% Character Uncovered spots

GIANT Films’ Karien Cherry recently directed NBC Universal’s new campaign for the South African market. Made up of four standalone 60 second spots, each featuring an ordinary South African’s extraordinary story, the campaign is held together by the tagline ‘100% Character Uncovered.’

“I

come from a performance and theatre background so when I read a film script or a commercial brief I’m looking at opportunities for storytelling and performance, and trying to understand which truths we’re exploring. The visual expression of the piece then flows from what I want the audience to feel,” says Cherry when I ask her to tell me about herself as a director. It’s no surprise then that NBC Universal came knocking on her (metaphorical) door to ask her to direct this campaign which focuses entirely on telling great stories. “It was a novel experience to be approached to direct this campaign! Over and above

visualising the creative direction for a brief, pitching is an incredibly intense combination of strategy, problem solving and sleepless nights. So it was great not to have to elbow my way towards winning this job,” she quips.

The campaign offers an authentic glimpse into characters that have managed to (re)write their own stories, hence the tagline which precedes every spot/story in bold lettering: 100% Character Uncovered. With NBC Universal utilising their in-house advertising agency, and this particular brief originating from their London headquarters, this meant that the majority of the job had to be facilitated remotely

between South Africa and the UK. The brief from the agency was to portray the unique character of four diverse subjects, each within their own 60 second spot.

Cherry says that the agency allowed her the creative freedom to offer up ways in which she thought the team could best achieve that. “Refreshingly, they didn’t approach the job with preconceived ideas about what would work for a South African audience and instead sought out my input as a local director every step of the way,” she says. Despite an extensive research phase on NBC’s part to select the four final candidates, Cherry’s first responsibility on the project was to offer her invaluable opinion on their shortlist.

“And they followed that up with actually replacing one of the four characters on my recommendation. It’s rare to work within such a trusting, collaborative environment and it laid the foundation for us to push the boundaries of the project.”

While the concept itself originated within the agency, the execution was a hugely collaborative process.

Cherry spent time with each character, alongside them in their daily lives where she interviewed them and thereafter transcribed the interviews, editing together the voiceover scripts using their own words. “I then presented the scripts with accompanying visual scenes and mood boards to the agency, and went from there,” she expands.

With each spot realised through a documentary approach, the campaign exhibits an honest feel throughout, “balancing spontaneous, real-life sensibility with beautifully composed, cinematic visuals,” explains Cherry. “It was clear that a documentary approach would allow our characters the space and time to reveal themselves to us. We worked around our characters’ schedules and the dramas of their real lives, and accessed spaces they were familiar with,” comments Cherry. In order to enhance the desired realistic and spontaneous feel, the campaign was shot handheld and relied on mostly natural lighting,

“which allowed us to move quickly and have a less intrusive presence,” Cherry explains. “I go into a shoot of this nature knowing that, if I’m lucky, a part of our day will turn out completely differently to what I had planned. Being willing and able to embrace a spontaneous moment on set could offer up the truth of that moment in a way that could never have been scripted – and that’s the magic of cinema. Both you and your gear need to be flexible enough to change course at the drop of a hat.”

Apart from the underwater footage featured in one of the spots, which was shot on the Red Dragon, DOP Pierre De Villiers shot the campaign on the Sony FS7 using a set of Zeiss Super Speed primes that enabled shooting in low light conditions. “The FS7 offers great ergonomics, allowing long hours of handheld work, and is a good size for documentary shooting where you often need to access small spaces. Combined with its image quality and low light capabilities, it offers a huge amount of value in this budget range,” says Cherry.

When asked why she thinks this campaign will resonate with audiences, Cherry explains that resonance was always a driving force in the execution of these ads, saying: “They absolutely had to be powerful enough to evoke an emotional response from our audience.

I knew that we had to allow each spot to be authentic to that character, and the final elements of the campaign do reflect each character in a unique way.”

The spots are being screened on DSTV as well as on the Universal Movie channel.

The entire campaign is also available online along with cut downs and other social media content. – Chanelle Ellaya

Production: Director: Karien Cherry Producers: Laura Sampson and Leanne Sanders – GIANT Films DOP: Pierre De Villiers Water support: FroqSquad (Brendan Bennett, underwater camera operater)

Post-production: Offline editors: Xander Vander, Willie Saayman and Emily Bussac – Upstairs Ludus Colourist: Terry Simpson – Black Ginger Composer: Clare Vanderleur Sound Design: Stephen Webster – The Workroom

March 2017 | SCREENAFRICA | 15

ADCETERA

|

Branded music videos come of age at The Grammys and Metro FM Awards Written by Kevin Kriedemann,

Arcade Content and Egg Films’ marketing manager

Still from OK Go’s Upside Down and Inside Out music video

At the recent Grammy Awards, OKGo was nominated for Best Music Video for Upside Down and Inside Out, mindbogglingly shot in zero gravity by bandmember Damian Kulash and his co-director sister Trish Sie.

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he music video also took home branded content awards from the London International Awards, Ciclope Festival and The Shots Awards, among others, who recognised it as the three-minute advertisement for S7 Airlines it was simultaneously.

The Russian airline provided both the setting and the budget for the music video, which was conceptualised by the band with Russian agency TutkovBudkov.

“Agencies have to provide a return on the money brands are investing but also the time consumers are spending with the work,” said brand film pioneer

16 | SCREENAFRICA | March 2017

PJ Pereira from Pereira & O’Dell, who is leading this year’s Entertainment Jury at Cannes Lions International Festival of Creativity. “That balance is the ultimate challenge the industry faces today.”

This is what branded music videos are able to achieve, when the right brand is paired with the right artist and the right director. Upside Down and Inside Out was a hit for the band, the brand and their fans, with more than 50 million views on Facebook alone.

The potential audience for music videos is actually larger than that.

YouTube’s most popular video of 2016 was Fifth Harmony’s Work From Home, which had 1.2 billion views last year, even before you count TV and Facebook views, let alone the spinoff value from PR and live gigs. As I write this, the highestgrossing feature film in the world, for the second week in a row, is a branded film: The Lego Batman Movie. There’s no reason why the most popular music video of 2017 can’t be the same.

In South Africa, brands are also moving into music videos, upping the game by bringing budgets to a sector driven by love for too long. The results speak for themselves.

Kyle Lewis’s Mr Madumane music video for Cassper Nyovest – and King James and Sanlam – was nominated for Best Music Video at December’s SA Hip Hop Awards. Let’s take a minute here to spell that out – a financial services group sponsored a hip hop music video for National Savings

Month, that turned into one of the most popular music videos of the year.

Similarly, at this year’s Metro FM Awards, Sunu’s One Source music video for Khuli Chana – and Native VML and Absolut was nominated for Best Music Video which it took home the award for, having already featured on multiple Best Music Videos of 2016 lists.

Absolut didn’t just sponsor the music video, but backed the album as a whole, which went on to top the iTunes charts. Khuli also performed One Source at Cassper Nyovest’s historic, sold-out Orlando stadium concert, so it’s no surprise that Yomzansi – winner of Best Entertainment Blog at the African Blogger Awards – included Absolut’s partnership with Khuli Chana in their article on the Top 15 Most Important Moments in the SA Music Industry last year.

Both music videos placed at the Creative Circle Ad of the Month awards, as recognition by the ad industry for the way they thrilled audiences while delivering brand objectives. One Source is also up for a whopping 14 Bookmarks nominations, while Mr Madumane is up for a further two, including Branded Content and Online Video Production – Craft.

It’s worth noting that these videos weren’t only popular in South Africa, but reached audiences across the continent.

Without pretending Africa is a country or underplaying its diversity, this speaks to the way music videos are a driving force

behind “the new African swag – a pan-African lingua franca that’s understood on the streets of Johannesburg, Kinshasa, Lagos and Dakar” – according to a Variety article with Viacom’s Monde Twala last year.

At YouTube’s inaugural Creator Awards for Sub-Saharan Africa, the overall winner with the most channel subscribers was YellowBrickCinema, a South African channel specialising in relaxing music, with more than one million subscribers.

Similarly, musicians Sarkodie and Diamond Platnumz received the awards for the most channel subscribers in Ghana and Tanzania respectively.

Adonai, Sarkodie’s most watched music video, has 39 million views; Nana by Diamond Platnumz has more than 22 million views – substantial potential audiences even before you factor in pan-African channels like MTVBase.

The move towards branded music videos is part of a larger shift in the advertising industry, signalled by Cannes Lions’ decision last year to drop the ‘Branded Content’ from their ‘Branded Content and Entertainment’ category.

Adam & Eve DDB co-founder David Golding recently wrote in Campaign Magazine about the way adland is being split in into “two types of company, which will set out to create two very different things. The first will work to create culture through campaigns that generate fame, talk-ability and memetic power. The second will create collateral driven by data and the ongoing ability to precisely target and reach audiences in new ways. So, culture versus collateral. That’s the big divide.”

While Golding notes the risks involved in trying to create culture, he points to an IPA study that found that creativelyawarded campaigns drive six-times more market share growth per annum than non-awarded work, adding that creating culture is “the only way to create stellar returns, transforming businesses and brands.”

According to Golding, creating collateral is like investing in a pension fund – “steady and safe” – while creating culture is like investing in a hedge fund – “high on risk but with the possibility of market-beating returns.”

And as he says, “the best investors have a balance portfolio of hedge and pension funds working on their behalf.”

We know which side of the collateral versus culture divide we want Egg and Arcade to be on. Like Golding, we want to “put songs in the charts, inspire hundreds of online spoofs, collaborate with world-class creative minds and create work everyone has an opinion on.”

Branded music videos are one powerful platform to do this but are still being under-utilised in the South African marketing mix at present.

– Kevin Kriedemann

| ADCETERA

Getting down to win the music video grant In 2016 the Jameson INDIE Channel invited directors, videographers, and musicians to submit their ideas for a chance to win R100 000 in funding to make it happen. The winner of this inaugural Music Video Grant was Boogieman, the song by Desmond and the Tutus.

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utus lead singer Shane Durrant and his co-director Greg Rom from Gentlemen Films created what has been called one of the best South African music videos of 2016. The video is of the band being kidnapped and forced to perform for the underground ‘boogie monsters’ of the city. “Through the passage, down the creaking stairs and through the mysterious door in the back, you find disco de spooky.

It’s demented and depraved but even the underworld’s vilest, most nefarious creatures need a place to get down and dirty, to flex their filthy moves till the morning light,” describes Durrant.

Durrant discovered the grant while browsing the Jameson INDIE Channel blog, “and I immediately decided to enter – I mean what have I got to lose?” he says. Explaining that it was a straight forward process where they sent through a one page pitch. They were then put on the shortlist where they gave a presentation and a couple of weeks later heard they had booked it. “Over the moon, but with very little actual directing experience,” says Durrant.

“I decided to rope in my buddy (and favourite local director) Greg Rom, he actually directed our first music video back in 2008, his company Gentlemen

Behind the scenes on the music video Boogieman by Desmond and the Tutus

Films took over production duties and Greg and I went nuts on making the craziest video we could come up with.”

Rom says, “Shane approached me to help him with the pitch and treatment because he felt like he wasn’t experienced enough to direct a music video. He was wrong, he’s a natural.”

Rom says together they decided on an idea that they could comfortably shoot in a day. “What we were going for was the idea that under Johannesburg there are a bunch of boogie men who just want to party. In order to do this, they kidnap Desmond and the Tutus and make them play for them. I felt that ‘ghouls just wanna have fun,’ sums it up quite nicely,” explains Rom. The music video was shot in 16 hours straight.

While Gentlemen Films was the production company they collaborated with Left Post Production, Ludus Post Production, Comfort & Fame, Panavision, Panalux and Shakers and Movers dance crew from Soweto. The video was shot inside and around a building on Fox Street in Johannesburg CBD. It was filmed using an Arri Alexa to give the piece a cinematic feel.

“Since we were shooting in low light conditions, we needed the latitude to be able to get details in the more crushed parts of the picture,” describes cinematographer Devin Toselli.

The video was then edited in Adobe Premiere by Evy Katz at Left. It was graded in DaVinci Resolve by Nic Apostoli at Comfort. Online was done using Autodesk Smoke by Nic Young at Ludus.

Rom says the biggest challenge they face are music video budgets. “Besides for that we had an overly optimistic schedule with tons of set ups and only one day to shoot it. So there was a lot of running and very few takes.”

The Jameson INDIE Channel states that they are passionate about the creative culture in South Africa.

From film to music and beyond, they are constantly in awe of the creative capabilities of young makers. So much so that when it came down to picking one winner for their grant, they couldn’t and they decided to award two entries with R100 000 each. The second grant winner was BETR Gang’s The Heist, which was directed by Paul Yates.

Applications are now open for the 2017 Jameson Music Video Grant: In 2017, continuing with their awe and passion for SA creatives, they are offering double last year’s grant. The grant is now for R200 000 for that winning pitch. All you need is an idea for a music video and if you are not one yourself then a filmmaker or producer to team up with.

If you are not a musician then a track by a local musician or band that was recorded in the last six months with no existing music video. If you have that, then head to the website for the T&Cs and to apply with a three page written proposal, and visual mood boards. They are accepting proposals from South Africans over the age of 18 from until 31 March 2017. – Cera-Jane Catton

March 2017 | SCREENAFRICA | 17

GOLF

DAY

2017

The Annual Screen Africa Golf Day will take place on Thursday 11 May 2017 at CMR Golf Club in Maraisburg, Roodepoort.

A cocktail party and prize-giving is held at the CMR Clubhouse following the competition, which provides great networking opportunities.

Secure your sponsorship and 4-ball by 11 April 2017.

Date:

Thursday 11 May 2017

Venue:

CMR Golf Course

Sponsorship:

Hole 1 & Hole 10 – R7 500.00 (ex vat)

Halfway House:

All other holes – R5 750.00 (ex vat) For your own account

Green Fees:

R300.00 per player (inc vat), cocktail snacks and prize giving

Start:

Shotgun Start @ 11:45am

Contact: Ellen Oosthuizen Cell: +27 (0)83 268 6868 Fax: +27 (0)86 670 6809 e-mail: ellen.oosthuizen@pixie.co.za

Female filmmakers

OPINION

| Film

must grab opportunities in 2017 As we rush headlong into 2017, it is amazing that the obvious inequalities within the film industry in terms of the lack of representation of women in the behind-the-camera areas of the industry are still to be addressed.

Most of the discussions around this imbalance have been anecdotal, but just in the last few weeks two studies of the film industry in the US prove that without a doubt the inequality is real and significant.

While the same kind of research has not been done in Africa, just a cursory look at the state of the African film industry indicates that the situation is no better.

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he good news is that already in 2017 there are a number of opportunities open specifically to African women filmmakers and it is imperative that women filmmakers from across the continent exploit as many of these opportunities as possible.

Hopefully these and other similar initiatives will support in the creation of the kinds of networks required to support the career growth of women in the industry.

The state of inequality in the international film industry has been made abundantly clear in two reports issued within the last few weeks that break down the vast discrepancies between men and women in technical roles within Hollywood.

The Executive Director at the Centre for the Study of Women in Television and Film, Dr. Martha Lauzen, recently released her 19th annual Celluloid Ceiling report, looking at the behind the scenes employment of women on the top 250 grossing films of 2016. She found that women comprised only 17

per cent of all directors, editors, producers, writers, executive producers and cinematographers working on these top films. In 2016 only seven per cent of films produced in Hollywood had female directors.

Additionally, the recent report from the University of Southern California Annenberg School of Communication and Journalism that looks at 1 000 films from the past 10 years finds that male directors outnumbered females by 24 to one.

Out of the 3 212 people working on these movies, women did best as producers (24%). This was followed by executive producers (17%), editors (17%), writers (13%), directors (7%) and cinematographers (5%).

Whilst similar statistics for Africa are harder to find, one just has to look at the major festivals and awards ceremonies across the continent to see the lack of female representation.

At last year’s African Movie Academy Awards, director Amadou Aicha Elhadji Maki from Niger was awarded for Best Documentary Film, but was the only female director awarded that year. At the Zanzibar International Film Festival 2016 the news wasn’t better, with only one African female director, Clementine Dusabejambo from Rwanda was awarded. Fortunately, ZIFF 2015 saw a much better showing for African women, with Ekwa Msangi (Tanzania), Lara Lee (South Africa), Sarah Mikayil (Morocco), Tulanana Bohela (Tanzania), and Honeymoon Mohamed (Tanzania) all winning major awards.

The Durban International Film Festival 2016 also only featured a handful of women winners amongst the many men, including The Best South African Feature Film that went to Tess, directed by Meg Rickards as well as South Africa’s Nadine Cloete and and Ethiopia’s Hiwot Admasu who were also acknowledged. A rare awarding of a technical category to a woman saw Linda Man win for the editing of Tess.

The South African Film and Television Award nominations that were also announced just recently reflect the reality of the inequality. Within the film nominations where individuals were personally acknowledged for their production roles, only 23 per cent are women.

It is clear then that women filmmakers need to leverage any and all potential opportunities to secure exposure and recognition and to build contacts.

Female Filmmaker’s Project – National Film and Video Foundation

Written by Lara Preston,

owner Red Flag Content Relations

OPPORTUNITIES OPENING UP: Lara Preston to develop, write, direct and produce 10 short films each over a period of three years. Majority female owned production companies can apply to head up the project that will then work with female filmmakers to produce the 10 films over the three-year period.

ZIFF Adiaha Award 2017 The Zanzibar International Film Festival 2017 will be presenting ‘The Adiaha Award’ for Best African Female Documentary Filmmaker will be offered for the first time at the 20th edition. The Prize comes with a $2 000 cash award, an Adiaha Statue and a certificate.

The award aims to raise the profile on documentary filmmaking on the continent, and more specifically to ensure that more female filmmakers all over Africa get involved in the development of documentaries.

Black Star International Film Festival: Women in Film Category This film festival takes place from 18 to 21 August in Ghana and aims to serve as a bridge between African Cinema and the world. The Women In Film Category is only open to films that have a predominant female crew and either the Producer, Director and DOP must also be a woman. Applications for this festival are open until 15 April 2017. – Lara Preston

In South Africa, The NFVF is introducing a programme to provide opportunities to enable female filmmakers

March 2017 | SCREENAFRICA | 19

BUSINESS, POLICY & LEGISLATION

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The importance of classification: and

Protecting respecting children

Our previous article highlighted the Film and Publication Board’s (FPB) journey from censorship to content regulation and why it was formed to classify content with the aim of protecting children and adults against exposure to inappropriate content. The broader mission of the FPB is to help promote and respect South African diversity by applying a classification system reflective of these views and standards and which is echoed in the make-up of the classification committees assigned to classify content.

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| BUSINESS, POLICY & LEGISLATION

influences on the development of personality through social learning.

Psychoanalysis theory of personality development shows how children are impacted or influenced in the psychosocial stages of socialisation and ego identification in their moral development. In addition to the social environment, outside influences impact on how children resolve identity crises and form acceptable self-identity congruent with their value system and world view.

Introducing children prematurely to age-inappropriate content during the different cognitive and moral development stages can cause intellectual, emotional, social, moral or psychological harm that may negatively influence and impact behavioural and attitudinal patterns of some children.

Understanding how children develop and function cognitively, emotionally, psychologically and morally in the different development stages is the most crucial factor considered in the development of the classification guidelines. The potential of content that negatively influences a child’s self-regulation, executive functioning, social understanding and social interaction therefore has to be foremost during the classification process.

Classification of content by the FPB

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he classification process is not aimed at stifling creativity, but rather to be used by content creators as a guide. There is no doubt that media content has a positive influence on children and adults, and has been used for the entertainment, education and empowerment of them through the convergence of technology. It is therefore the purpose of the classification guidelines to ensure that adults are able to make informed viewing, reading, and gaming choices for themselves and

children in their care while protecting them from over exposure to disturbing and harmful content, and from premature exposure to adult experiences.

The social environment of children plays a pivotal role in the development of the child because children are highly impressionable and learn from observation – behaviour which they imitate and develop, and encode to memory learnt social prescripts.

Children are therefore socialised behaviourally, which has powerful

Material that does not contain content that could cause moral or psychological harm to children and present no or a low sense of threat or menace still has to be classified, and is assigned an unrestricted distribution category indicated by an “A” as suitable for all ages or a parental guidance (PG) rating.

The age-restrictive distribution categories in the classification guidelines are used to protect children in the defined age groups of 7-9, 10, 10-12, 13, 16 and 18. Whilst parental guidance accompanies the 7-9 and 10-12 agerestrictive distribution categories it means a parent or adult need be present to explain the more complex and mature content or classifiable elements that may be present in the material, or to provide comfort where content could be confusing or distressing to more sensitive child viewers.

Children under the age of 18 are protected by the X18 and XX agerestrictive distribution categories.

Material classified as X18 contains content of an adult nature that may only be exhibited in or sold by adult stores. Such stores have to hold a valid licence to conduct business as an adult

premises and X18 materials may only be exhibited or sold from within a building.

Material that contains explicit sexual conduct that violates or shows disrespect for the right to human dignity and degrades any person are assigned an XX rating. The XX rating extends to material that advocates propaganda for war or violence and hatred based on any identifiable group characteristic that incites to cause harm to such groups.

A film, game or publication that is classified as a “refused classification” does not mean that it is “banned,” it simply means that material contains child pornography, propaganda for war, incitement of imminent violence or the advocacy of hatred.

In addition to the above age-restrictive categories, the FPB also provides consumer advice on what is included in the content, these include the following:

• S:

Indicates scenes involving sexual conduct or sexually related activities

• SV: Indicates scenes involving sexual violence, these are scenes relating to rape, sexual harassment, compelled and attempted rape • N:

Warns that there are scenes of nudity whether in a sexual or non-sexual context

• L:

Alerts that there is bad use of language

• V:

Warns of violent scenes

• H:

Warns there is horror

• D:

Warns there is a use of drugs

• P:

Prejudice

The classification process does not only have to ascribe to legal and regulatory prescripts in the Act. The classification process also has to take into account the broader convergence to societal norms and values, but, first and foremost, the cognitive development of children in the various age categories.

As the only content regulator in South Africa outside of broadcasting, the Board is under constant pressure to assess future trends in the development of content and investigate new and future advances in technology for the distribution of content to provide solutions to implement the mandate of the FPB.

March 2017 | SCREENAFRICA | 21

FILM

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Whimsically influencing the world in Woodwind

TRUTH BEHIND THE MYSTERY: Woodwind on location in India

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| Film

Woodwind on location in South Africa

Musician Stefan Fraunberger on location in India

Upcoming South African film, Woodwind, portrays a South American composer who travels to India, his journey from the holy city of Varanasi to the peaks of the Himalayas is inspired by three women. Written and directed by Fin Manjoo, a Durban born South African filmmaker who is currently based in Cape Town, where the film was partially shot.

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he international cast and crew are from South Africa, the United States, Germany, Austria, Serbia, Switzerland, Argentina and India.

Fin Pictures have completed principal photography of the feature and the film is currently in post-production with the aim of worldwide release in September 2017.

“Woodwind is a contemporary mythological portrait of a young western composer, who travels to India to meet a female painter who envisions his feelings and movements from across the world, searching for the truth behind the mystery and the source of his music inspiration,” explains Manjoo. The film is in English and Spanish with a little German.

It was filmed by Swiss cinematographer Nicolas Joray (The Yellow Star, Bye Bye Berlusconi and Baltic Storm), who’s three decades of experience was invaluable during the most challenging conditions in India.

Joray shot primarily using the Arri Alexa. “We wanted the best cinematic look possible for us, and I loved the quality of this camera in other films such as Birdman,” he says.

Explaining that for trick shots and for movement on a tuktuk and tiny boats on the Ganges in India, they had two B Cam’s: the Sony A7 and the Panasonic GH4 which were completely rigged with cinematic accessories.

The picture was lit using the IANEBEAM QuartzColor: 4 x 2KW (Blondes) and 4 x 800 (Reds). “Those were useful for memories, dreams or

surrealistic scenes, but for everything else we used natural light and a whole range of creativity to make that function,” he describes.

Woodwind was filmed in India and South Africa. In India in Shimla, Manali, Varanasi and several small villages in Himachal Pradesh all the way up to the top of the Himalayas.

In South Africa in Cape Town.

The film explores Varanasi, one of the oldest living cities in the world, with a beautiful, slow paced lifestyle on the river Ganges. It meanders to cover a very European approach to fit into the strong classical music tradition

of the west, which is in contrast to Indian Classical Music. “You may use the words mystical, psychedelic and poetic to describe the final act,” says Manjoo. A major theme in Woodwind is the impact of Indian classical music on artists in the west. This is a subject which Manjoo developed while living closely with musicians in Vienna, Austria.

Pre-production of the film took approximately two years but Manjoo says research began 11 years ago. The film was shot nonstop in August and September 2016. It is being edited using a fully equipped Da Vinci Resolve system and studio in Munich for the grading and final creation. For the premix and early cut of the film they used Adobe Audition and Adobe Premiere Pro CC. Manjoo says he was sold on this software after researching the new version and saw how it handled Hollywood films such as Deadpool.

The film will be released on Blu-ray and DVD and possibly 4K later on.

Post-production, grading and packaging creation of DCP and Blu-ray is being done by Besserdrei Studios in Germany.

For surround sound mixing they used Nuendo and Dolby Surround Sound.

During filming they used the Sound Device 552 recorder, plus a range of Sennheiser boom, rifle, cordless, radio kit, and all weather protection and hardline lapels. “We had four sound recordists and they also brought along their own recording equipment such as Tascams to record from additional angles, which was important when you consider that this is a film about sound,” says Manjoo.

“We immerse ourselves in forests and jungles deep in India, the winds high up on the Himalayas, the noise of Indian streets which is unlike any other, and then the classical music from west to east.”

The music was composed by Stefan Fraunberger from Vienna, Austria. Sound mixing was done by Marcel Duvenage and Alec Mackay from South Africa.

On the very first day of shooting, their crew bus hung on the edge of a cliff with two wheels in the air. A challenge quite unusual to film sets but one that did not set them back.

“Looking back at what we achieved in India, it’s unbelievable how we completed the principal photography under such extreme challenges from the narrow oldest streets of Varanasi where no cars were allowed to the dangerous Himalayan mountains and the war in Kashmir” describes Manjoo. “Above all, even now we miss India and the film, Woodwind will be testament to that,” he adds. “Exotic India is one of the stars of the film. The film is about the power and the role of music to transform our lives, and in keeping a balance with the mystical connections between art and our relationships.” – Cera-Jane Catton

Key crew: Producer, Director, Writer: Fin Manjoo Cinematography: Nicolas Joray Music and Sound: Stefan Fraunberger Line Producer: Ivana Neskovic Sound Recordist: Marcel Duvenage Assistant Camera: Rebecca Furlong Third sound recordist: Joshua Rodrigues Fourth sound recordist: Adriaan Hellenberg Second assistant camera: Bryan Tinashe Ndikudze Sitar, Tabla and Surbahar Music: Naresh Chauhan Editor: Josef Kahn Sound editing, mixing and design: Marcel Duvenage Grading: Patrick Plischke Surround Sound Supervisor: Alec Mackay Studio music recordist: Neil Leachman Sound radio and German recording: Igor Yermilov Production manager: Fazila Manjoo Painter: Maja Neskovic

March 2017 | SCREENAFRICA | 23

FILM | Director Speak Zwelethu Radebe

Filmmaker and commercials director Zwelethu Radebe has joined award-winning production house Egg Films.

A born filmmaker Radebe spent much of his youth behind the lens recreating his favourite film scenes.

After graduating from film school he won a Loerie for the first commercial he directed. At just 27, Radebe has spent the last three years directing commercials full-time for both local and international clients, shooting in nine countries across Africa and Europe.

His award-winning short film The Hajji screened at numerous film festivals at home and abroad, and his latest short, The Hangman – which he also wrote and directed – recently had its world premiere at Atlas Studios in Johannesburg.

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LOVE FOR FILM HATCHED FROM CHILDHOOD: Zwelethu Radebe What is your background and how has this shaped you as a director?

My love affair with film started in my childhood, stealing my father’s 8mm camcorder and filming my brother, re-enacting scenes from my favourite films.

Later I was cast from school to play a caricature of South African cricket legend Lance Klusener in a washing powder commercial. The bug hit around then.

I enrolled into film school where I finished top of my class, winning numerous awards and an opportunity to work for a renowned South African production company, where I started directing TV commercials.

WHAT KIND OF CONTENT DO YOU ENJOY CREATING? I really enjoy moving audiences emotively through narratives that have honest performances and a striking visual style.

Where do you find inspiration?

I find a lot of my inspiration through vintage and contemporary photography. I sometimes see a photograph that makes me feel a specific way, which inspires me to write an idea that I would use later in a spot or music video. I also observe people a lot; I learn a lot from watching and get inspired by ordinary people’s lives.

Do you have any mentors?

I look at everyone who surrounds me as a collaborator, especially those who I work with at Egg Films.

That’s what attracted me to the company.

What are your personal career milestones?

Winning my first Loerie Award for the first commercial I ever directed, as well as finishing second in the MOFILM Cannes Lions competition in 2015.

Which projects are you currently involved in?

I’m currently finishing a South African Tourism job with FCB Johannesburg, which had me travel to four different cities in South Africa.

What has been your FUNNIEST moment on set?

A cast member falling into a fridge, completely disappearing out of frame during a take. Hahahaha!

What is your favourite oneliner from a MOVIE? Denzel Washington in Training Day: “King Kong ain’t got shit on me!” LOL. What songs make up your most recent music playlist?

Black Motion – Ya Badimo Branko – Atlas Expanded Ed Sheeran – Divide If you could produce an African version of a Hollywood classic, what would it be?

The Godfather.

WHAT IS YOUR DREAM SHOOT LOCATION? AND WHY? I would love to shoot in the favelas in Rio. I think there are a lot of untold stories outside the gangsterism and drugs, which I would love to explore in a foreign country.

IF YOU COULD HAVE ANY FILMMAKER SUPERPOWER, WHAT WOULD IT BE? To stop time. There’s never enough time on a commercials set, so I’d love to control time.

What are your three favourite FILMS and why?

The Silence of the Lambs

by Jonathan Demme. The performances. Anthony Hopkins; need I say more?

Amores Perros by Alejandro Gonzalez Inarritu.

A multiple character narrative that explores how we’re all interconnected as people.

Clockers by Spike Lee. The visual style that Spike puts in all his films is very provocative; I like his boldness.

IF YOU WEREN’T A FILMMAKER, YOU WOULD BE…?

An explorer.

– Compiled by Cera-Jane Catton

THOUGHT LEADERSHIP

A great idea is nothing without a well-crafted pitch

| ANIMATION

By Vanessa Sinden, Triggerfish Animation Studios As co-producer of Adventures in Zambezia, Khumba, and most recently the Triggerfish Story Lab, I have had the privilege of being front and centre as I have watched the South African animation industry grow.

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ased on what I have seen abroad, there is a genuine increase in demand for fresh and diverse content at international TV and film markets. As Africans, this is our competitive advantage, which will differentiate us from the rest of the world and breathe fresh life into our animation industry.

Since launching the Story Lab, I have seen more than 1 500 unique project pitches, projects that African creators believe would be great animated feature films or TV series. This experience has taught me that while our creators have some very unique stories to share, there are still some things we could learn about presenting our projects (and ourselves) in a more succinct but impactful manner to the international buying audience. Here are some things I have learnt along the way.

You have a great idea?

Well, that’s the easy part. Everybody has an idea. The tough part is following through on that idea and creating a concept that stands out in a crowd.

So, before you put in months and even years of work, test the idea. You will be too close to your material to make any kind of objective analysis of its potential. It’s not whether you think your script is great, but whether other people do. Especially people who are in a position to offer you a deal.

Before sending off or pitching your concept or script: Have your concept or script read by

ANIMATED ABOUT THE INDUSTRY: Vanessa Sinden on set people whose opinions you respect. Do they genuinely respond to the concept and do they want to know more? If you have a script, offer it to a mix of acquaintances – young, old, male and female. Other writers are a great place to start.

Weigh all feedback before making changes. Keep in mind everyone will have an opinion about your concept or script. But if 80 per cent of your readers think a certain character is flat and lifeless, chances are that character is flat and lifeless.

Hold nothing sacred. The issue isn’t whether or not you like what you’ve written, but if other people see the potential of investing in the project.

Know who the project is for and what the ideal platform is. Understanding your core audience and the platform for your project is very much a part of development of the show. Don’t develop the project in a vacuum. Know the best home for your project and what the potential development consumer strategy may be.

Pitch perfect You have spent a lot of time on your concept or script, so don’t blow it by being unprepared or winging it when it comes time to pitch your unique idea.

Development executives hear hundreds of ideas a day, often preceded by “I have a good idea, and the world needs to see it.” While this may be true, you are not defending your art, you are selling it. Be clear on why you created these characters and this world. What makes them interesting? Why would an audience want to watch them? These are questions you should already know the answers to well before going in.

Who do you want to pitch to?

Knowing this upfront will help you more clearly craft a pitch to suit this audience, possibly even saving you a lot of disappointment and hard-earned cash.

Typically potential partners include executives from broadcasters (e.g. Disney Channel), distributors and licensors (e.g.

Freemantle Media) or producing partners (e.g. Magic Light Pictures). Be sure to do your homework. Don’t expect a response from someone if their vision is different to yours; find the right potential partners.

To best capture their attention, you need to know what kind of movies/TV

series this partner produces/distributes/ broadcasts and who their audience is.

Some partners want to see the merchandising and licensing potential of a project from development, while others are looking for an artist to get behind on a unique comedy series.

Pitching opportunities There are more than 250 international animation festivals and markets each year, with opportunities to pitch projects and enter competitions.

Apply online. Get nominated as a finalist to pitch. Get on a jet plane and go to the festival. Expect to pitch your project to a panel of experienced judges, made up of producers, distributors and financers, who take part in these pitching sessions to spot innovative and interesting projects.

There are other pitching opportunities at festivals. Once you have booked your ticket, start doing some research and find out which executives will be attending, then start reaching out to them via email.

• Pre-arranged meetings are essential. You can’t simply arrive at their booth and request a meeting.

Most executive’s schedules are full before they even arrive at the festival.

• Speed pitching sessions. You need to sign up for these. You will be notified when and where.

Typically you will be given a fiveminute slot to pitch. Do these as many times as you can!

• Informal events and networking opportunities. These have been created to bring people together with the potential of talking projects, industry and more. Smile, relax and enjoy these events. Don’t see this as an opportunity to pitch to complete strangers without some informal conversations. Don’t be desperate!

Know your projects audience. Your pitch needs to clearly show that you know who your audience is and how this project is a perfect fit.

Pitch your key points: concept, story and characters. That’s it. Anything more than that you are probably overselling your idea and possibly losing your audience. For TV series, pitch the project title and logline with the series synopsis and some episode ideas. If you have time and/or budget to explore the visual

style for your concept, include one or two really great images in your pitch.

For a feature film, pitch the project title, the logline and the synopsis. A film poster or cover image would help your pitch, but this is not essential. Your pitch should be under five minutes. You want to make sure you capture their attention immediately and get to the point shortly after.

Do I need pitch materials?

Depending on the nature of the pitch, have something to share, whether a leave behind or at least get a business card so you can follow up afterwards.

• A digital presentation. In a formal pitching session, you will be required to create a digital presentation to share with the judges and audience. This could be as simple as a PowerPoint or you could show videos, audio clips or other materials to maximise your pitch.

• A one-pager. Successful informal and formal meetings would be enhanced with a leave-behind. Executives don’t want to carry massive pitch bibles around but if they really like your project, they will want a reminder.

A double-sided A5 leave-behind is ideal. Make sure the copy, visuals and design is succinct and clear.

Get a copy editor to help you ensure the words capture the tone and that the idea leaps off the page.

• A pitch bible. This is typically only created if you have budget and time for visual and script development, as this process could take more than six months. The bible is made up of the synopsis, characters, friends and foes. The world will also be explored visually to a degree. You will need to also include at least six springboard ideas for potential episodes so that potential partners can get a sense of what a first season could look like.

Getting a potential partner interested is just the beginning. Expect months of negotiations, more development, and a lot of soul-searching to make sure your goals are aligned with potential partners. – Vanessa Sinden

March 2017 | SCREENAFRICA | 25

Television

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Inside a soap opera production Written by Ziyanda Mngomezulu, head of Local Productions, e.tv

Soap opera – or soapie – production is a process that’s not for the faint of heart. Being an on-going production without an end, many gruelling hours and sleepless nights are put in to ensure a final product that viewers can engage and become involved with.

THE A, B AND C OF SOAPS: Ziyanda Mngomezulu

e

.tv’s long running soapies, Scandal! and Rhythm City, have both been on air for over a decade now. The success lies in the crews behind the cameras, the on-screen talent and the writers who can continuously provide a riveting and dramatic storyline that viewers can relate to. Every single topic ranging from polygamy to drug addiction to murder is covered in the storylines over time on both shows. The two shows are broadcast in prime time slots, with Rhythm City airing at 19h00 and Scandal! at 19h30 every weekday, with both soapies rank as the most watched shows on e.tv.

Scripts The pressure is always on, with the writers having to always be up to date with local trends and incorporate this within storylines for relevance. The writing teams brainstorm every week to come up with storylines and characters that can deliver interesting and thoughtprovoking stories that address social issues. Storylines are normally divided into A, B and C storylines. The A 26 | SCREENAFRICA | March 2017

storyline is the one that gets the most on-screen focus for a period and is the main story for a period of time. The B and C storylines are ones that are still important to the story and can be the starting point for an A storyline in the future. A storyline’s span can range from four to eight weeks on screen, but the prep and thought that goes into it behind the scenes can take months to prepare.

Script writers work around the clock to develop scripts that make sense and are engaging with the characters. Each character has a certain way of portraying themselves on screen and script writers need to be the first to understand the character and personality traits to write convincing lines for the character.

Production To make the show look as authentic as possible, sets are constructed from scratch with direction from the shows respective art director. Worlds are created to represent the universe within which the story is set. Each and every set, from townships to upscale hotels are all created on site. If certain scenes cannot

be filmed on set, locations are sought out to facilitate the look and feel that production is going for. If a wedding or a heist, for example, needs to be shot, it is cheaper and more effective to hire a venue and shoot on location than build a set from scratch. This is a huge task undertaken by art directors to create sets within an allocated budget. Wardrobe directors have a similar role to fill by dressing cast members in relation to their character. This is done by conducting extensive research on the look of the character and their persona, and finding a wardrobe that will represent them best. Sponsorships with retailers or clothing brands are sometimes obtained to facilitate this. Another gruelling aspect of production is the amount of time and effort that goes into hair and make-up. Teams are employed to stay on set and constantly do touch ups on set when filming to ensure the talent look their best at all times on screen.

On-screen talent The on-screen talent, who represent a diverse range of characters, are cast with the aim to represent our local heritage and diversity. There are your villains, which the viewers love to hate, that are normally the heart of a storyline. These characters are the ones that entice the drama and are the catalysts for the big event television that keeps viewers glued to the screen. Both Scandal! and Rhythm City have featured some of the biggest local talent playing the villain over the years. Since the inception of both shows, talent such as the SAFTA award winning Masasa Mbangeni, Jamie Bartlett, Sello

Maake Ka Ncube and Mduduzi Mabaso have been cast as the villains that viewers just can’t seem to get enough of. The coordination of talent is a massive task that the production coordinator on set takes upon themselves. Scenes need to be constructed and these then need to be scheduled with talent to film. Not all talent is exclusive to the production and can sometimes be working on several other productions at once. Facilitating the scheduling of cast to shoot scenes is no easy task and needs to be treated with care and extreme attention to detail.

The final step What the viewer sees on screen is normally shot two to three months prior to the broadcast date. This is to ensure that production has enough time to edit and reshoot scenes if necessary. Once an episode is shot, this is presented to the executive producer of the channel to approve or make changes to that episode. Thereafter, the episode is delivered to the channel for broadcast.

All in all, production of a soap opera in South Africa is a massive undertaking, but with the amount of awards that Rhythm City and Scandal! have received over the years, plus the great ratings the shows enjoy on a daily basis, it makes the process well worth it. – Ziyanda Mngomezulu

scripted adaptations

OPINION

| Television

Embracing

Written Paula Cohen McHarg, senior sales manager CEE & CIS, Africa, Middle East, Greece and Turkey, Keshet International

Sometimes it can be difficult to understand exactly how a scripted adaptation comes to be; from dissecting a script to production. I’ve been asked several times about how closely a scripted adaptation needs to stay to the original and in Africa this is a particularly salient question. Audiences are eager to see their own lifestyle and worldview reflected back at them from the content they consume and producers may be afraid that international formats won’t be able to achieve this. This is simply not the case.

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y recent trip to DISCOP really elucidated the opportunities and potential Africa has to offer in this space. When attending any major market there are always observations to be made about the territory and any differences or similarities that exist, but there is a notable absence of scripted adaptations within the region. I am excited to see that this is starting to change.

First and foremost, Africa is not a homogenous region. It comprises more than 50 countries and several different regions all with their own unique sensibilities. Overall, format adaptations are not as prevalent in Africa as they are in the rest of the world. While there are panAfrican format adaptations, we’re seeing a shift towards more localised content that speaks to particular audiences. During my last trip to the region I ran a workshop on scripted adaptations, using Prisoners Of War/Homeland as a case study. I was pleasantly surprised by the interest we received. This is a positive signal that the appetite for scripted adaptations is growing quickly in the region. This change in attitude will inevitably offer ample opportunities for production companies and local broadcasters.

Prisoners of War acting as the basis for Homeland is perhaps one of the most notable examples of a Keshet International (KI) scripted format being adapted for resounding success. That is not to say that some adaptations’ success in other markets cannot outweigh their US counterparts. An example of this is the US adaptation of our buddy comedy Traffic Light, which despite only having one season in the US, has been commissioned for ten seasons in Russia, totalling 200 episodes to date!

Other international versions are in the pipeline for China and Lithuania, which serves to highlight the adaptability and flexibility of the format, which still remains cohesive in all of its iterations.

The Greek version of Your Family or Mine has also surpassed its Israeli counterpart in number of episodes

and continues to be a smash hit in the region. In the series, a married couple from two very different backgrounds take turns visiting each other’s weekly family gatherings. Part of what works so well and what resonates with such diverse audiences is the universality of the concept of family togetherness in spite of individual differences. The comedic element of the culture clash is balanced with the poignancy of diverse groups of people making an earnest attempt to get along. I think that this is a theme that would work especially well for African audiences. Africa is a region that values family togetherness and wholesome gatherings, where people come together, laugh and have a great time.

This is such an exciting time for us as we look to nurture more partnerships within the region. Africa has so much to offer and we pride ourselves on discovering new stories and collaborating with fresh talent. We are well-versed in working with local producers and broadcasters from all over the world, to localise stories.

A key part of our success in distributing scripted formats is the universality of the stories told on Israeli screens and our inherently keen eye for quality content globally. The narratives transcend cultural and geographical boundaries, enabling local producers to add their own aesthetics and details, which resonate with their audiences.

As scripted adaptation becomes employed more often throughout the region, there will be a greater flexibility and openness to the types of adaptations. This does not mean that a knowledge and understanding of the diversity of the region should ever be overlooked.

– Paula Cohen McHarg LOCALISED CONTENT SHIFT: Keshet International’s Paula Cohen McHarg March 2017 | SCREENAFRICA | 27

EQUIPMENT RENTAL

28 | SCREENAFRICA | March 2017

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| EQUIPMENT RENTAL

Spotlight on

equipment rentals

March 2017 | SCREENAFRICA | 29

EQUIPMENT RENTAL

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Securing the

precarious trade of hiring out film

equipment

The film industry nets billions for the local economy, last year the famed filming location of Cape Town had contributed more than R5 billion

by May. Despite these lucrative figures local filmmakers are fraught with budget constraints and the profession of leasing film kit worth hundreds of thousands to the public is not quite as profitable. In an economically tight industry the rental equipment market is vital, yet the security of these companies is quite insecure.

30 | SCREENAFRICA | March 2017

L

ast year Screen Africa reported on separate incidents of theft at three major gear rental facilities. At the time they had thousands of rands’ worth of equipment stolen by clients who presented fraudulent credentials and then absconded with the gear.

In one incident a man picked up a large consignment of gear under false pretences from the Cape Town facility, Cine Photo Tools. In the second, a similar incident took place in Johannesburg at Puma Video. What was taken from Cine Photo Tools included a Canon 5D Mark 3; four Canon lenses; a Sachtler video tripod; two 1tb WD hard drives; a 32gb CF card and two Canon batteries.

Taken from Puma Video included a Sony NEX FS-700; six Canon lenses; two Metabones E-mounts; a Swit charger; camera batteries; UV Filters; Chrosziel trays, Tiffen polariser; a Bon 7” HD Monitor; a Vocas Follow Focus and O’Connor 2060 head and legs.

Screen Africa assisted in creating awareness and alerting equipment rental companies in general to be extra vigilant and tighten security measures when renting out gear to unfamiliar clients. Outside of these incidents how often does this occur and how do these companies thwart the enormous risk of renting out expensive gear?

Screen Africa spoke to a couple of industry heavyweights who were both

directly impacted in last year’s pilfering.

Henk Germishuysen, MD of Puma Video says his biggest security concern is staff safety. “There are a few, but staff safety is paramount. We try to ID everyone that comes through the gate but it’s not always possible.”

Marius Van Straaten, director of Visual Impact SA says his greatest security concern is, “First a full armed robbery where a team of criminals clean us out with a truck and a well organised approach. Secondly, absconsion. In this case the ‘client’ will open an account with all the right credentials and book high value kit​, never to return it.”

Prior to the 2016 theft, Germishuysen says they were hit in July 2015, almost exactly one year earlier. “The first time ever that we had actually handed

| EQUIPMENT RENTAL

equipment to a ‘client’ who then absconded, to use the insurance term, with the kit. But it was massive fraud and identity theft because all the paperwork checked out,” explains Germishuysen.

“Only after putting a private investigator on the case did we discover the extent.”

He says they have also had incidents where they have rented kit to clients whereby the equipment was then stolen from them while in their possession.

“The June 2016 incident is a case in point, in that we had no control,” says Germishuysen. “The equipment was with the client, on set of an SABC comedy-series when it was stolen. So there was nothing we could do really.”

Van Straaten says they were targeted once, at the same time as Photo Hire in Cape Town. “We fortunately got the

kit back using CCTV images and social media to create awareness,” he adds.

Now Van Straaten says that with new clients they no longer allow the first couple of rentals to be of high value. “We have increased and improved our CCTV cameras and lighting. So the footage is admissible in court​,” he explains.

Germishuysen says that they had already beefed up security after their 2015 incident. “It became a necessity to request current certified ID’s from all new clients as well as requiring a refundable deposit for the first rental.

In addition to all the other measures we had in place,” says Germishuysen.

“This is now an insurance prerequisite as well, if the person collecting is not the applicant or an employee of the applicant, we receive confirmation from the client who the person will be that is collecting and make a copy of their ID too,” Germishuysen says.

Systems that Puma Video have in place to ensure the safe return of their equipment include thorough kit checks. “Kit is always checked by us prior to collection by the client. It is the client’s responsibility to check, and the opportunity is there for them to check that it is indeed working before taking it onto set,” says Germishuysen. “Just in the past month we had two instances where, one client checked and another shipped kit straight to set without checking.

The client who checked brought back broken kit. The other client said their piece of kit did not work. But because we do our checks, no issues arose.”

Visual Impact ensure the safe return of their equipment with a 24/7 check in, an excellent HD CCTV system that is remotely accessible via IP. Van Straaten says “We have armed response, a number plate recognition system and a couple of other secret measures that should not be published.”

When renting out expensive and sometimes fragile equipment, damage is an equal risk factor for those incurring the major costs. When claiming from insurance are these companies at greater risk of theft or damage? Screen Africa asked which they claim more from. Van Straaten says they claim more from damages, adding that “Unfortunately damage is often negligence.”

Germishuysen says that damage is a huge problem. “Lucky for us, it has mostly been contained below the excess threshold, so we get the client to pay for these kinds of damages. One has to pass some responsibility to the client. It makes them look after the equipment as well, he adds. However in the last two years he has claimed more for theft.

“The onus rests with us to minimise risk as much as possible by the procedures we put in place,” says Germishuysen.

“The difficult part these days are that

because of all the processes, once you have explained to clients what it is we require from them, they want to run for the hills. But we do explain that while it is a huge amount of red tape, it is a onceoff exercise. Usually the ones who comply with the least amount of resistance are the clients who are serious. So in a way it is a type of elimination of the chancers,” explains Germishuysen. He says “Another tough one is that our insurance is the biggest salary earner in the business but we can’t afford not to have it. At the same time it feels as though it is becoming more difficult for us to do business.” ​Van Straaten says, “One faces risk with criminals and at times with clients. I​t is a high value game with increasing risks, but with thorough new client vetting and checks, risk is largely reduced.”

He explains that their infrastructural security reduces risk. “Evaluating the crew’s competency to avoid damage is essential and sending out competent rental technicians reduces risk.”

These companies put a lot on the line to afford filmmakers the opportunity to create their projects without committing to the high cost of gear. – Cera-Jane Catton

March 2017 | SCREENAFRICA | 31

EQUIPMENT RENTAL | OPINION

Popular rental cameras on the rise

We have seen a massive growth in the rental business at Cam-A-Lot Rentals where DSLR cameras are being used to film productions. Filmmakers have been doing it for a couple years now, but it is still surprising to see just how popular this way of shooting has become, and how it is still growing.

There are a couple of reasons DSLR for video is such a wide spread phenomenon, and will continue to be, going forward. The main reason is price. To hire a DSLR body costs less than almost every other camcorder

Written by John Onderstall, Cam- A- Lot

which rental houses have on offer. The second reason it is so popular is the quality of the footage you can achieve.

Generally, the images produced have a rich colour and contrast which makes the footage look graded before you even put it on a timeline. The sensor on a full frame DSLR like the Canon 5D Mark III is also larger than all the middle of the market rental cameras.

The large sensor in conjunction with the ability to change lenses to primes, offers the much-sought after ability to achieve shallower depths of field.

It is worth noting that there are also considerable compromises when using a DSLR for filming video. Recording the sound becomes a little more intricate as inputs and their controls are limited with DSLR bodies. For most productions, you will need accessories to ensure professional audio quality is maintained during recording. Zoom recorders such as the H6n have become a very popular accessory, you will however need to synchronise the audio in post. Another limitation to consider is the inability to use the zoom while recording. With a photographic lens it is very hard to achieve a usable zoom in camera. This is fine for any narrative work where you

almost never use it. If you have any unpredictability, or journalistic or ‘reality’ type shoot this setup is not well suited.

Stability comes from weight, so while a DSLR camera body is kind to your back, it is inherently unsteady. Their light weight and ergonomics make steady handheld shooting hard without additional support rigs. There are several options such as shoulder rigs or cages available to stabilise the camera. Once fitted to such a rig, you can add follow focus controls, matte boxes and monitors if it makes getting the shot easier. One of the best solutions is the Ronin which has a motorised gimbal, a far cry from the steadicam rigs of yesteryear.

We are seeing another popular trend on the rise now at Cam-A-Lot Rentals, and that is for productions to be shot at 4k resolutions. Cameras capable of shooting 4k are also becoming increasingly common, with few new models not having the capability. They can be divided into two resolutions where 4 096 x 2 160 pixels is referred to as DCI 4k, and 3 840 x 2 160 pixels is referred to as UHD. It is currently still rare to deliver the final version of a production in either of these resolutions.

The main reason for the popularity of

the format is due to the flexibility it allows during the editing process.

If you shoot with all those pixels and your final delivery product is HD, you have the ability to ‘punch in’ and re-compose a shot without a loss of detail. The professional cameras capable of shooting 4k have generally got some impressive sensors with ever-increasing exposure latitude. Having a camera which can handle wider exposure contrast allows for more creative possibilities within the edit suite. The combination of footage with a wide latitude, high meg rates and raw file formats allow for far superior grading possibilities within the edit suit.

My personal favourite currently is the Sony PXW-FS5. The FS7 is also a great camera producing superb images in DCI 4k, but it is far bigger and bulkier than the FS5 which offers a lot of bang for the buck. I really enjoy the ergonomics and ease of use the FS5 offers. You get a super 35 sensor with 14 stops of latitude.

If you’re willing to drop the resolution, you can crank the frame rate up to 800 frames per second. The best part is that this camera uses the cheap and easily available SD cards. It creates footage with all the advantages DSLR’s offer, with none of the disadvantages. – John Onderstall

available at

Cape Town +21 511 3300, Johannesburg +27 11 258 5000, www.mediafilmservice.com

32 | SCREENAFRICA | March 2017

| EQUIPMENT RENTAL

What’s hot in the Screen Africa caught up with South Africa’s leading equipment rental companies to take a look at the current trends. We asked the industry experts to tell us what their top ten rental products are. Here is the outcome of these insights…

rental industry

Sony A7S MK II The A7S II is the best video shooting stills camera available at the moment. The resolution is kept to 12 million pixels to allow better light gathering power and improve video quality. It produces video close to that of the professional-level, but is much smaller and lighter and can record 4K footage internally. – www.techradar.com Available for rental from: • Puma Video • Cam-A-Lot Rentals • Digitalfilm Service • Magic Lightbox Company

Top two cameras Canon 5D Mk IV The 5D Mark IV is Canon’s first full-framer that can continuously focus in Live View during stills capture, and because of the way Dual Pixel AF works, focus is generally very accurate, even with fast lenses. It’s surprisingly good at sticking to the original subject (or face) you initiated focus on, and it’s easy to specify your subject by tappping on it on the touchscreen in ‘Face Detect+Tracking’ mode. – www.dpreview.com Available for rental from: • Puma Video • Cam-A-Lot Rentals • Digitalfilm Service

March 2017 | SCREENAFRICA | 33

EQUIPMENT RENTAL

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Most popular products Arri Sky Panel The ARRI SkyPanel S120-C is twice as long as the S60, but weighs nearly the same. Its larger light aperture makes a great soft light even better. Retaining the same features and colour tuneability as its smaller counterparts, the S120 consumes less than 400 watts, yet it is slightly brighter than the S60-C and has an outstanding efficacy of 90 lumens per watt.

Available for rental from: • Southern Lighting Solutions • Magic Lightbox Company

LED Wall Washers The LED Wall Washer is an energy saving, RGB LED based, wash fixture. Incorporating 36 RGB Power LEDs, the LED Wall Washer produces full colour 16.7M true 24 Bit colour changing effects for architectural and decorative illumination.

Available for rental from: • Southern Lighting Solutions • Puma Video • Cam-A-Lot Rentals

Litepanel Astra The Astra Soft Bi-Color’s impressive output rates the highest among most soft LED panels, illuminating a wider area effectively with just a single fixture and competing with strong exterior light sources.

Sony PXW-X160 The Sony PXW-X180 is a superior professional camcorder for runand-gun shooters. Its versatile allin-one package provides beautiful images and a multitude of recording options to fit your workflow.

Available for rental from: • Southern Lighting Solutions • Magic Lightbox Company

Available for rental from: • Puma Video • Cam-A-Lot Rentals

ARRI 1.2kW Compact Where a lightweight Fresnel spotlight using daylight characteristics with compact size and high efficiency are needed, ARRI Daylight Fresnels are the preferred choice. ARRI’s elegant modular construction, using corrosion-resistant aluminium extrusions and lightweight die castings, offers great structural strength and weather resistance. Together with ARRI flicker-free electronic ballasts, the rugged compact range is ideal for all types of location lighting.

Available for rental from: • Southern Lighting Solutions • Magic Lightbox Company

Rentals Done Right! www.magiclightbox.co 34 | SCREENAFRICA | March 2017

011 463 7584

info@magiclightbox.co

| EQUIPMENT RENTAL Kino flo Diva-Lite LED

Sony FS5 If you are an event videographer, news gatherer, documentarian, marketing agency or studio, then this camera is for you.

The expanded flexibility of having onboard XLR inputs, a grip that makes handheld shooting easier and a linearly adjustable ND will make catching the right moment easier, allowing for better results. – www.videomaker.com Available for rental from: • Puma Video • Cam-A-Lot Rentals

Is the Kino Flo Diva-Lite LED the most affordable light in the market? No, but it does offer a good value. Out of the three lights in the marketplace we looked at, it offered the most for your money. The stand-out part of the Diva-Lite LED is how easy it is to control and the quality of their light. All in all, we were very happy with the quality and intensity of the light produced.

Available for rental from: • Puma Video • Southern Lighting Solutions

RED Raven Camera Kit The latitude you have with R3D combined with the increased dynamic range that HDRX offers make it hard not to love this camera and the RED codec. With 16.5 stops of dynamic range, it’s hard not to love this camera. – www.videomaker.com Available for rental from: • Digitalfilm Service

DJI Mavic Pro The DJI Mavic Pro is a small yet powerful drone that turns the sky into your creative canvas easily and without worry, helping you make every moment an aerial moment. Its compact size hides a high degree of complexity that makes it one of DJI’s most sophisticated flying cameras ever.

Sony UWP-D11 Radio Mics The UWP-D11 belt-pack wireless microphone package offers the sound quality of digital audio processing combined with the reliability of analogue FM modulation. The UWP-D11 package offers wide frequency coverage with up to 72 MHz bandwidth (depending on region) across a wide range of channels, with a choice of models to choose from.

Available for rental from: • Digitalfilm Service

Available for rental from: • Cam-A-Lot Rentals • Magic Lightbox Company

Cost-effective packages to suit your budget

• • • • •

Sony FS-7 with standard lens e O’Connor 1030 Tripod Packag Chrozsiel mattebox Shogun HDR monitor Handheld rig

For more options contact ...

Camera & Production Equipment Rental Contact: Tel: 27 (0) 11 886 1122/3/4 Fax: 27 (0) 86 681 8623 Email: bookings@pumavideo.co.za info@pumavideo.co.za Web: www.pumavideo.co.za

March 2017 | SCREENAFRICA | 35

EQUIPMENT RENTALS

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Image credit: Media Film Service

Staying ahead with

“The market is seeing a marked increase in long-form and studio work. Based on international trends and political and economic pressures, we see this trend projecting through the coming year and beyond.”

Trending in 2017 You have to be an optimist to be a filmmaker, so it’s perhaps not surprising that the mood in the industry is positive as we come through the 2016/17 season.

“We live in such a competitive landscape, both internationally and within South Africa,” says Media 36 | SCREENAFRICA | March 2017

Film Service’s CEO, Neil du Toit, “we need to keep raising the bar in terms of service levels, understanding our clients’ needs, attention to detail and delivering world class gear. Our history goes back to the inception of the film industry in South Africa. Our experience has proved that staying abreast of world trends and innovation

and providing best in service and professionalism, is key to our success.”

The market is seeing a marked increase in long-form and studio work. Based on international trends and political and economic pressures, we see this trend projecting through the coming year and beyond.

Trends in the equipment rental

business, have come mostly in camera and lighting innovations. The ARRI SkyPanel has revolutionised the face of lighting rentals of which Media Film Service has now made a substantial investment in. The company recently invested in a large stock of ARRI’s SkyPanel lights. These innovative and flexible lights are outshining their competitors and this worldwide phenomenon has put ARRI under pressure to keep up with demand.

“They’ve been an incredible addition to our lighting gear. It’s completely ‘DMX-able’ and is simply updated by means of a download thereby enhancing its functionality. There are various modes for Colour Correction, Hue and Saturation as well as a full range of Gels.

It’s a versatile piece of equipment and is definitely a forerunner in its field,” says Shiraz Jaffer, Media Film Service lighting floor manager (Cape Town).

| EQUIPMENT RENTALS

Technically ahead The first SkyPanels were launched in 2015 at NAB in Las Vegas. In order to produce this new age lighting, the design process took a lengthy ten years. Ever since, ARRI has continued to broaden their LED line and reaffirmed their commitment to accurate colour rendering with the introduction of the SkyPanel range. Using technology originally designed for the L7-C Fresnel, the SkyPanel is fully colour ‘tuneable’ allowing output of a warm 2 800K to icy blue 10 000K light, and also uses the full RGB+W colour gamut with hue and saturation control for fine adjustments. Full Minusgreen to Full Plusgreen is also possible, so if you’re lighting for blue or greenscreen, you can

simply dial your chosen colour in. This wide degree of control is responsible for a very high CRI of 95 and a rating of 90 with the newer TLCI standard. All of these functions as well as 0-100 per cent dimming can be adjusted locally with the SkyPanel’s onboard controller or remotely via DMX or a LAN. Besides inputs and outputs appropriate to these functions, the light also has a USB-A port for downloading firmware upgrades from a thumb drive, PC or Mac. “It’s amazing, soft and incredibly diverse. All the different colours and gels included in the light make it easier and faster to work with as compared to any other LED lamp on the market,” comments gaffer, Gilles Bosaiq.

“I like the SkyPanel as it doesn’t pull that much, it’s got poke and it gives

you the options to decide on tones to the eye rather than think out colour beforehand,” says Vicci Turpin, SASC. Leroux Swanepoel, gaffer, adds: “The most amazing light I’ve ever used. It’s so extremely versatile and also gives you great punch when needed. I’ve recently worked with one DOP who is on the board of judging new LED lights and he reckons that it will have the longest lifespan, at least for the next ten years.”

Staying ahead of the game globally While the fluctuating exchange rate makes attracting international work to South Africa tricky and unpredictable, Media Film Service’s approach is that if you have the right equipment, the work

will follow. While it makes investment returns that much more challenging within a market of diminishing budgets and tighter margins, it certainly is the way of the future globally.

“I feel that these challenges offer a great opportunity for the rental business to offer top quality and cost effective equipment solutions. Being affiliated to the best brands internationally, positions us to offer our clients what they require for their best production outcome. We understand that right sizing is a key focus for productions,” comments Neill Horsfall, MD of Media Film Service (Johannesburg).

March 2017 | SCREENAFRICA | 37

Social

|

Standing ovation at preview of local flick

PHOTOS BY CERA-JANE CATTON

At an exclusive preview of Beyond The River, a film inspired by the true story of the duo who won gold in the 2014 Dusi. The film will hit the big screen on 28 April 2017. The film stars Grant Swanby and Lemogang Tsipa. Seen at the event were‌

Andile Maposa and Debbie Wright (Heartlines)

Arnold Malotana and Joana Malotana

Blessing Ngamlana and Margate Ngamalana

David Zidel and Michael Zidel

Martin Sweet and Nkosi Moshoana (Primestars)

Sarah Waterfield and Beverley Houston

Thulani Ngamlana and Ncomeka Mpofu

Tshego Moagi (Power FM) and Denise Rapitsi (Jacaranda FM)

Wayne Katz and Lara Katz

38 | SCREENAFRICA | March 2017

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| Fort goes global

Social

Photo credit: Rich Photography and Fort

The launch of Fort’s global network and #CreateMovement campaign in February was brought to life by the delightful industry makers who celebrated the event, seen there were…

Alison Ngibuni, Nomzamo Mbatha, Shukri Toefy

Aisha Baker

Chris Dinwiddy, Nkateko ‘Takkies’ Maswanganye

Anelisa Mangcu

Kajal Bagwandeen

Amr Singh, Masego Maponyane, Shukri Toefy

DJ Doowap

Amr Singh, Nomuzi ‘Moozlie’ Mabena, Shukri Toefy

Anthony Bila, Keneilwe Jules Morifi-Winslow

Simphiwe Ngema

Kefilwe Mabote

Khaya Dlanga

Sarah Langa Mackay

40 | SCREENAFRICA | March 2017

media & entertainment technology trade show

www.mediatech.co.za

SUN CIRCLE e x h i b i t i o n s