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BROADCAST, FILM, COMMERCIAL, NEW MEDIA & TECHNOLOGY NEWS
www.screenafrica.com
VOL 23 – May 2011 R35.00
CWUSA vs M-Net The standoff between the Creative Workers Union of South Africa (CWUSA) and pay-TV channel M-Net continues. CWUSA has used public protests to pile pressure on M-Net to review actor’s contracts and labour practices after what they term the ‘unfair
Big Mediatech growth At the time of going to press exhibition space at Mediatech Africa, the biennial advanced technology trade fair that takes place at the Coca-Cola Dome in Northgate, Johannesburg from 20 to 22 July, was 85% sold out. Approximately 20% of this figure is new business stretching across the broadcast and pro audio sectors. “For the first time ever Microsoft will be exhibiting at the show – this is a real coup,” says Mediatech Africa event manager Claire Badenhorst. “They are excited about the use of the Microsoft platform in broadcasting and postproduction applications. “We are delighted with the way exhibition stands are selling, a clear sign that South Africa’s economy is on the way to recovery. – to page 44
dismissal’ of actor Tony Kgoroge from M-Net’s new soap The Wild. According to the president of CWUSA, Mabutho ‘Kid’ Sithole, they started their public protest by picketing the launch of The Wild at Montecasino in Johannesburg on 3 April, and followed up with a march to M-Net’s offices in Randburg on 20 April. Kgoroge refused to sign a contract with M-Net that would have seen him lose all commercial exploitation rights and the right to residuals. M-Net states that Kgoroge was re-cast, but Sithole says ‘re-cast’ is a ‘beautiful sugar-coated’ word to disguise the way the broadcaster treated the actor. In a roundtable discussion on Talk Radio 702 on 13 April M-Net’s head of Regulatory and
Legal Affairs, Karen Willenberg, disputed CWUSA’s claims by saying: “It’s been repeatedly said that M-Net doesn’t pay repeat fees or residuals. This is not a fair statement. M-Net’s contracts are a buy-out, so we pay for repeat fees and residuals upfront. The structure of our contracts is different to other broadcasters.” M-Net communications manager Lani Lombard has explained to Screen Africa that, although repeats of local programming and programme sales are not known factors beforehand, each contract is negotiated separately and the content of individual contracts are confidential. On 702 Willenberg added that it was also incorrect to say that Kgoroge was unfairly – to page 44
SA 3D rig sells overseas A stereoscopic 3D camera rig, the Pro Ultra Rig designed by South African Russell Bowden, has broken into the international market with sales to UK company Pro 3D, a rentals house in Portugal, a company in Singapore, and a joint venture between a Belgian company and a British company that has set up a film training centre in China. Bowden has also sold the rig to two UK independent filmmakers. To the best of Bowden’s knowledge, the Pro Ultra is the only computerised 3D rig currently available on the
international market. The rig’s onboard computer allows the cameraman to input the 3D parameters for each shot. On other rigs this process has to be done manually. “With my system the metadata of every shot is captured on the computer. This is very useful in post-production and also really handy if you need to re-shoot something,” notes Bowden. The first two sales for the Pro Ultra were via the Internet. Bowden then successfully ventured into the UK market by – to page 44
COMING OF AGE: A scene from the new Afrikaans period drama feature Roepman. See page 8
SA film selected for Cannes South African director Oliver Hermanus says that having his Afrikaans language film Skoonheid invited to compete at the 64th Cannes Film Festival in France (11 to 22 May) is a dream come true. “I hope the inclusion of Skoonheid in Cannes will help other directors like me, who are interested in character studies, to get their projects financed and produced,” says 27-year- old Hermanus. Skoonheid (Beauty) is his second feature film and the fifth South African film ever to be invited to the official selection in the Un Certain Regard category of the Cannes Film Festival. The film is the first official
co-production between South Africa and France following their treaty which was signed at Cannes in 2010. While Skoonheid is also the first film in the Afrikaans language to be selected, Hermanus doesn’t seem to think it will specifically impact the Afrikaans film industry. “I don’t think that the film will be identified as such (Afrikaans) once it has been seen,” he explains. He adds that the film was French before it was South African. After his first feature film, Shirley Adams, premiered in competition at the Locarno International Film Festival in Switzerland in 2009, Hermanus was selected to participate in a residence programme at the 19th session of the Cannes Film Festival’s Cinefondation in Paris. French producer Didier Costet of Swift Productions crossed his path while he was writing Skoonheid in Paris and – to page 44
From the editor
It’s all in the contract When South African pay-TV channel M-Net planned its lavish new soap, The Wild, which is filmed entirely on location, little did it know that the production would spark controversy and protest marches. As our front page story reveals, the Creative Workers Union of South Africa (CWUSA) has no intention of letting up in its escalating campaign to vindicate actor Tony Kgoroge, who they say was ‘unfairly dismissed’ by M-Net from a lead role in The Wild. Kgoroge refused to sign the M-Net contract which CWUSA says would have required him to sign away his exclusive rights (ie. his right to repeat fees and residuals from any sales of the series). M-Net says that because Kgoroge didn’t sign the contract, he was never employed and was thus never dismissed, merely ‘replaced’. The channel further insists that the M-Net contract is ‘a buy-out’ and that repeat fees and residuals are paid for upfront. Which begs the question – how does M-Net know upfront how many times the show will be repeated or how many sales of the series it will make? The South African Guild of Actors (SAGA) has also had concerns for some time about the terms of the M-Net contract relating to repeat fees and residuals. But it is taking a different approach to CWUSA and is meeting with the broadcaster to try and negotiate new terms. We will have to see how this issue pans out and whether M-Net will make changes to its contract in the future. The other two local broadcasters, e.tv and SABC, both include repeat fees and residuals in their contracts, which seems only fair. If a show is broadcast more than once or sold, the actors in the show should be compensated.
Contents
Indigenous language films on the rise Reflecting the recent surge in popularity for Afrikaans language films fueled by the box office hits Liefling and Bakgat! 2, this month we run news of no less than three new Afrikaans films. And as our cover story reveals, one of these, Skoonheid, enjoyed the prestige of being selected for the Cannes Film Festival’s Un Certain Regard competition. The other two Afrikaans films that we report on are the period piece Roepman and the comedy Semi-Soet. It’s clear from reading the articles that the producers of both these films did a careful study upfront of the commercial viability of their projects.
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20
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The post factor Andy Stead’s special report on the South African post-production arena reveals a competitive, vibrant sector with facilities proactively working their way through the recession and finding creative ways of dealing with shrinking budgets. Enjoy the read! Joanna Sterkowicz
SCREENAFRICA
36
SPECIAL FEATURE POST-PRODUCTION FACILITIES
FILM
WILDLIFE
Afrikaans drama brings
An incredible creature................36
1960s to life.................................... 8
What they want...........................38
Putting the post in
New Afrikaans film has light
All or nothing...............................39
production.........................20 – 26
touch...............................................28
NEWS
TRACKING TECHNOLOGY
Co-producing with Spain; Driving
AFRICA
Editor: Joanna Sterkowicz: editor@screenafrica.com
Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com
CWUSA vs M-Net; SA film
NAB report back.........................16
3D animation in Africa................40
selected for Cannes; SA 3D rig
Waves of destruction hit the
Ghanaian film set for festive
In-house Journalist: Linda Krige: news@screenafrica.com
Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Hermione Ballinger: hermi@screenafrica.com
sells overseas; Big Mediatech
broadcast industry; New camera
release; Ghana-US co-prod
growth.............................................. 1
stabiliser in SA..............................18
premieres at DIFF........................41
SA content sells at MIPTV; Great
SABC M1 studio revamp; Going
New Zimbabwean feature funded
Material makes you laugh out
wireless...........................................32
by cast and crew; SA producer
Contributors: Andy Stead, Karen van Schalkwyk, Martin Chemhere, Ian Dormer Sub-Editor: Tina Heron
Accounts: Marietjie Esterhuizen: accounts@screenafrica.com Front Office: Delight Ngwenya: adminsa@screenafrica.com
Website & Production Updates: Anusha Dayal: info@screenafrica.com Subscriptions: Anusha Dayal: info@screenafrica.com
New Angus Buchan film to touch lives; Taking a look at the
Ratings: Enid Venter enid@ihjohannesburg.co.za Head of Design: Trevor Ou Tim: design@screenafrica.com
loud................................................... 3
Sun Circle Publishers (Pty) Ltd Tel: 011 025-3180 Physical address: Block A, Process House Epsom Downs Office Park 13 Sloane Street, Bryanston, Johannesburg PO Box 559 Fourways North 2086
number............................................. 4
PRODUCTION Going green...................................27
DOCUMENTARY
Dragonflies and Astronauts
Not quite motherly love............29
live in 3D; The year of the mobile
Shooting Africa.............................30
phone..............................................10
MARKETING
Eastern Cape promoted as film destination; Anything you want.31
TELEVISION Move over The Hills, here comes Clifton Shores, doll........................... 6 Brand power.................................14
Jock merchandising at a store near you.........................................33
MUSIC VIDEO Down the rabbit hole.................34
assists Zimbabwean industry....42 Filmmakers in unity; Growing the Ethiopian industry........................42
REGULARS Adcetera............................. 12 / 13 Audience Ratings..........................45 Vital Sta’tis’tiks / Production Updates......... 46 / 47 Close up.........................................48
| NEWS
SA content sells at MIPTV South African distributor Clickboogie secured network deals for several locally produced shows at the recent MIPTV content market in Cannes, including sales to Discovery and Fox. “Discovery Asia bought Shoreline and A Country Imagined, while Discovery World HD Canada bought Shoreline and Cooked in Africa Season 5,” says Clickboogie’s Grigor Stewart. “Cooked in Africa proved very popular at MIPTV, with sales to Fox International Asia (Seasons 1, 2 and 3), LITV Lifestyle Malaysia (Seasons 1 and 2) and Food Network Korea (Seasons 4
and 5). “Shailja Vohra from Fox India, who used to be a senior executive at Discovery
Asia, told me that my South African content was the freshest she’d seen at markets for a long time.” Clickboogie received over 20 requests from major broadcasters to screen the new South African series, Astral Studios’ Do Me A Flava, which takes the mickey out of various cultures. “We’ve never seen so many buyers laugh at a show ever,” comments Stewart. Sharp Shooters, the reality photo competition series that was broadcast in prime time on M-Net and which is a first in this type of genre made a big impact at MIPTV. “It’s a perfect format first for South Africa but National Geographic International, Discovery Asia and Turner Broadcasting will consider the
local English version for broadcast on their networks. The potential for this as a format is huge and we are already in discussions with NT7 Malaysia,” says Stewart. Channel O’s football reality lifestyle series Goal Diggerz, featuring the best of Africa’s soccer player exports, had huge response from as far apart as Brazil, Australia, Poland, Israel and Turkey. Stewart continues: “A number of major networks are waiting for the completion of Natural History Unit (NHU) Africa’s second season catalogue. Sophie Vartan’s team is creating content as good as anywhere you’ll find in the world. “Cickboogie is finally seeing the fruits of 10 years of labour building the South African television brand overseas. South Africa can now compete on the world stage when it comes to producing television series for the international market place. I think the local production community can give itself a wee pat on the back.”
Great Material makes you laugh out loud
EXECUTIVE PRODUCER – Ronnie Apteker
TEXTURED COMEDY – Riaad Moosa and Vincent Ebrahim
A new South African film, Material, is currently in post-production. The film has the backing of executive producer Ronnie Apteker (Purpose, Out On A Limb, Crazy Monkey Presents Straight Outta Benoni) and is produced by T.O.M Pictures. Written by Craig Freimond (Jozi, Gums & Noses) and comedian Riaad Moosa, Material follows the life of a young Muslim man, Cassim Kaif, who works in his father’s fabric shop in Fordsburg. Cassim discovers his passion for comedy only to find that this brings him into conflict with his family and some elements of his community. Apteker explains that the film is a contemporary Indian story along the lines of Bend it Like Beckham. “It is a heartwarming story that ultimately emphasises the importance of family. Material will be
a movie for the whole family and it should find an audience across all age groups in South Africa. “The cast features South Africa’s top talent including Riaad Moosa, Denise Newman, Joey Rasdien, Krijay Govender, Royston Stoffels, Nic Rabinowitz, Afzal Khan, Rabin Harduth and Quanita Adams. We are also thrilled that South African born Vincent Ebrahim, who plays Sanjeev’s father from the BBC series The Kumars at No 42, came on board to play Cassim’s father.” Apteker says that the script took seven years to complete. “This, I believe, will be evident in the film. I am highly confident about the script. It is a world-class piece of authentic and inspired writing – a serious labour of love.” The seeds for Material were sown when Apteker met Riaad Moosa in early 2001
when Moosa was doing a stand up routine at Cool Runnings. Says Apteker: “I met Craig Freimond in 2004 and the three of us got together and worked on honing the script ever since.” Apteker notes that the biggest challenge has been to keep the story simple. “This is also why it took so many years. Craig, who also directs the film, is brilliant at keeping things simple. Material is a great father and son story.”
Tricky genre Accordind to Freimond writing comedy is exceptionally difficult. “Basically comedy is a proposal that can be made or broken on the day. Working with Riaad has been great because, like him, I have also worked with a lot of improvisation. I like to keep my scripts loose and let the actors
add their own input on the day. The biggest challenge was finding a believable dramatic story in which Riaad could do what he does best — as he plays the lead. Making the Muslim world accurate and textured was key for the film to work.” He believes the film, which is being shot on a high definition (HD) Arri camera, will be very funny. “It has such a wide range of comedy in it – from stand up to character based and physical comedy. We also have some of South Africa’s best comedic talent that is sure to pull in the crowds. Material celebrates the goodness of South Africa’s spirit and the legacy of a unique and historical part of this land, Fordsburg.” Working with Apteker and Vincent Ebrahim was one of Freimond’s career highlights. “Ronnie is great and Vincent is a wonderful man and what an actor! We also have an amazing crew, including DOP Trevor Calverly and producer Robbie Thorpe is, as always, my partner and creative ally.” Material has a budget of $1m and will be released by UIP later this year. – Karen van Schalkwyk May 2011 | SCREENAFRICA | 3
NEWS |
New Angus Buchan film to touch lives
CHOSEN BY THE PROJECT – FC Hamman
EXTRA ORDINARY – Angus Buchan
Filmmakers involved in producing a new movie about the life of renowned evangelist Angus Buchan, strongly believe that the film will touch the lives of its audience. Angus Buchan’s Ordinary People is a biopic about the life of Buchan from his humble beginnings as a farmer to his present day work as an evangelist who attracts crowds of more than 300 000 to his Mighty Men conferences. The film also tells three true stories of people directly affected by his ministry. Buchan’s life was first depicted on the big screen in Regardt van den Bergh's award winning 2006 film Faith Like Potatoes. However writer and director FC Hamman emphasises that Angus Buchan’s
Ordinary People is not a follow up to Faith Like Potatoes, although a sequel is also in the pipeline. The film is produced by FC Hamman Films International and Spotlight Entertainment. Andre Scholtz will produce and Jarrod de Jong is the film’s line producer.
Inspirational project De Jong introduced the film at a recent media conference in Johannesburg and said that Ordinary People has the potential to change lives. Hamman agreed and said that instead of choosing the project, the project chose him. “This project is different, it’s inspirational,” he explained. His last feature film was Sing vir die Harlekyn in 1979, the last Afrikaans musical before the 2010 hit Liefling. Since
then Hamman has been making wildlife features, documentaries and corporate videos and has worked with the likes of Bryan Adams and Michael Jackson. “We got our ducks in a row so quickly for this movie, it’s amazing,” said Hamman. While Buchan didn’t appear in Faith Like Potatoes, in Ordinary People he will play himself in the present, and Anrich Herbst depicts him earlier in his life. Herbst is known for the role of Wimpie van Tonder in Orkney Snork Nie. The cast also includes Anton Dekker (Suburban Bliss, Egoli) Norman Antsey (District 9 and Goodbye Bafana), Lucky Koza (Isidingo) and Jaco Muller (Erfsondes 3).
True story Buchan said at the media conference that he was humbled to have another movie made about his life. “I wake up in the
morning sometimes and I pinch myself,” he added. He believes that the film can change the world because it is based on real events. According to Buchan people are tired of theology and want truth instead. “When I read the screenplay I cried, because it is real,” said Buchan. “The story needs to be told because it is true.” Despite the Christian theme and message, Buchan insists that the movie was not only for the church or the Christian community. “The film must touch the nation, not a selected group, but the whole nation,” said Buchan. “The gist of the whole thing is that God has no favourites.” Hamman believes that people outside the Christian community will see the movie because they are interested in the 63-year-old evangelist who attracts bigger crowds than international superstars like U2. “He intrigues people, he is a phenomenon that doesn’t make sense and can’t be explained,” said Hamman. Principal photography on Angus Buchan’s Ordinary People commenced on 12 April in Greytown, KwaZulu-Natal. The film, with a budget of R6 to R8m, will be shot on RED One on location over eight weeks in Greytown, Cape Town, the Garden Route, Bethlehem and Johannesburg. Hamman says they have enough time to make a really good movie. The film will be distributed in South Africa by Indigenous Film Distribution and is scheduled for a big countrywide release in more than 100 theatres in April 2012. – Linda Krige
Taking a look at the number A new South African documentary focuses on an ex-member of the Numbers prison gangs in the Cape who managed to transform his life. Odd Number, by Marius van Straaten of HD Hub, is the story of Rashaad Adendorf, who lives in Elsies River on the Cape Flats, close to an area known by the locals as Chicago due to gang violence that took place there in the 1980s and 1990s. The documentary, which forms part of Van Straaten’s Masters degree at the University of Cape Town (through the Humanties Department and the Centre for Film and Media Studies), came about when Adendorf did some plumbing jobs for Van Straaten and the two became friends. Says Van Straaten: “Rashaad’s story is inspirational but it was only after a long time that he agreed to let me make a documentary about his life. I think our relationship was instrumental in his decision. “This kind of documentary has to be 4 | SCREENAFRICA | May 2011
made with great sensitivity. It is vital not to divulge too much about the Numbers gangs as there is a code of silence and whoever breaks it risks death. There have been instances where ex-gangsters were killed for revealing the Numbers’ secrets. Essentially there are three Numbers prison gangs consisting of the 26s, the 27s and the 28s. I realised that Rashaad’s story is a tale of redemption and change so I did not have to make the documentary about the Numbers gangs.” It has been said that poverty creates crime and Van Straaten agrees: “The gangs of the Cape Flats are a result of the system’s failure to create work and economic opportunities for the people. As one coloured gang leader in Bellville South put it to me last year: ‘The government is not interested in looking after us. Before the 1994 elections we were not white enough, now we are not black enough. So we take care of ourselves.’” The documentary crew consisted of
GANGLAND – A scene from Odd Number
two South Africans, a Cuban, a German and DOP Laura Merilainen from Finland. “Most of the filming took place 28km outside Cape Town on the Cape Flats. Working in the ganglands was an interesting experience, especially for the non-South Africans who had mostly spent time in Cape Town,” explains Van Straaten. He notes that the documentary was shot on a minimal budget. “The Masters’ course contributes R5 000 for
each student group but we depleted that and I had to dig into my own pocket. Odd Number was recently screened at the Cape Winelands Film Festival. It was really well received by audiences.” Van Straaten would recommend the Masters course to emerging and experienced documentary filmmakers alike. “It is a two year course and I hope to finish by the end of 2011. Shooting the documentary was a great experience.” – Karen van Schalkwyk
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TELEVISION |
Move over The Hills here comes Clifton Shores, doll… By Karen van Schalkwyk
Clifton Shores is a glitzy, glamorous and high-end show – South Africa’s answer to The Hills and Laguna Beach – and is currently filming in Cape Town.
T
he series, produced by Clive Morris Productions, is the first of this kind of reality series to be produced locally. It is the brainchild of creative director Quinton van der Burgh, CEO of Burgh Holdings, an executive producer on M-Net’s Sharp Shooter series. Clifton Shores follows the lives of four American women who navigate new lives in a foreign city. Clive Morris, producer on the show, explains: “The women were cast in the US and brought out here to work for Quintessential, Van der Burgh’s events and marketing company. They work with three South African women. The show tracks their lives in the exquisite setting of Cape Town and showcases the high life of the city’s rich and famous as the show’s stars mingle with Cape Town’s elite and become accustomed to life in one of Clifton’s famed cliff-side mansions. This is just the perfect location as it is exotic and will appeal to American and European audiences.” Morris says a huge scoop for the show is having Hisham Abed direct the first few episodes. “Hisham was at the helm of The Hills and really wanted to work on this show when we pitched it to him. Chris Roland (Darfur; Stander; Charlie Jade) is also producing and directing the show, which is great. “Ideally we want to sell the show to American and European broadcasters and promote Cape Town on a world stage. In future we would like to extend the show’s reach and brand globally.”
6 | SCREENAFRICA | May 2011
Engaging concept Genna Lewis, creative director at Clive Morris Productions, explains: “When Quinton Van der Burgh first pitched the show to us we were immediately engaged. Firstly the genre of an unscripted drama has not been greatly explored in South Africa. Secondly the opportunity to showcase Cape Town and the country as experienced at a real level by these young American women was fascinating and unique.” Lewis says that the creative approach is a fine line between balancing the unscripted reality aspect while keeping it dramatic and engaging. “We wanted to create a three-act structure and this can be a daunting task, but it forces the team into a highly creative space that requires a lot of in-the-moment thinking. The bottom line is that we aim for the highest standard visually and in terms of content. “With the content we want to ensure the show is fun and entertaining to the youth and young adult market, while at the same time balancing the frivolity with a true look into the hearts and minds of our cast and what they are going through.” The main challenge of the project, according to Lewis, is shooting 13 episodes in three months. “This is pretty tight and we have to keep up with the story elements as they develop for the girls in real time. Unlike a conventional drama
series or film, where you are afforded the opportunity to plan in advance, we follow the girls’ collective and individual lives as and when they develop.”
Cinematic look Chris Roland, who directs some of the episodes, decided to go with a cinematic look. “Clifton Shores is a drama, albeit soft scripted, so we wanted to create a series that had the same look and feel that audiences are accustomed to with prime time dramas. Clive Morris and Quinton van der Burgh were very flexible when it came to setting style and tone and they have been extremely supportive. I am confident the show will attract an international audience. “We have achieved some great shots in a very short shooting period. There are only four days to shoot an entire episode, and this includes one to three unit moves a day to various locations. This is the most challenging show I have ever been involved in. We literally craft stories on set within minutes of shooting them, then our DOP, Sven Vosloo, and I look for the best locations and camera positions within the parameters of what is available. “Another challenge is crowded noisy situations like clubs and events. We can’t shoot with music playing in the background due to music rights and sound issues and crowds are hard to manage, but we want to capture
these locations live and within our cinematic style. To achieve this we shoot dialogue scenes before or after the noise starts and crowds arrive, carefully constructing camera angles, cut the two together and add music and ambient sound afterwards.”
New camera The show is shot on three Panasonic AF100s. “This is a new camera and we chose it because it gives us the film look we are after. I did not want to shoot on HD cameras where everything is sharp and clear and in focus. The AF100 provides really good defocused depth of field,” says Roland. Daniel Black, technical director, says that there were a number of reasons why they went this route. “Yes the AF100 has a great cinematic look and feel, however we also have budget constraints. Another strong factor is the ability to shoot with a narrow depth of field, offering the look the show needed.” He adds that having three cameras on set allows for a faster turnaround of scenes that have a traditional wide shot and two cameras following the action. “The cameras have been fantastic and have really advanced the great production value of the show.”
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FILM |
Afrikaans drama brings 1960s to life By Linda Krige
C
oming of age and loss of innocence in a 1960s Durban railway community has been brought to the big screen in a new Afrikaans period film that will be released nationwide in May. Roepman (Call Man), based on a Jan van Tonder novel of the same title, is described as an epic dramatic tale told from the perspective of an 11-year-old boy called Timus (Paul Loots) and is set in the weeks leading up to a defining moment in South African history. Executive producer Piet de Jager knew the author and read the book when it was first published. He recommended it to his family of film lovers who became interested in turning the book into a film. According to his son, Salmon de Jager, they thought it was ‘by far the best story available’. The film became very much a family project, with the De Jagers producing the film as Bosbok Ses Films in collaboration with Film Factory. Salmon produced the film (with Danie Bester from Film Factory) and his brother Dawie de Jager wrote the original score.
Adaptation The adaptation process was started in 2008 by Piet and Salmon de Jager in cooperation with Roepman author Jan van Tonder and with help from Dutch filmmaker Walter Stokman. “All films that really tell a story well can be traced back to a scriptwriter who respects literature,” says Piet about their approach. Their job was made easier by
8 | SCREENAFRICA | May 2011
the book which has been described as ‘the most filmic Afrikaans novel’. It took two years of workshopping and restructuring the script before the team were happy with the result in January 2010. The film stars Afrikaans talent including John-Henry Opperman as Joon (the roepman), Deon Lotz, Rika Sennett, Andrew Thompson, Lida Botha, Altus Theart and Ivan Botha. Actor Paul Eilers came on board as a first-time director. According to Piet there was already a lot of technical know-how among the crew including director of photography Tom Marais, so they decided to use a director, who as an actor, would know how to tell a story through the actors. The film was shot in August 2010 on location in Linden, Springs, Pretoria and Durban on a Canon 5D Mark II.
Capturing the 1960s Piet says that it was absolutely critical for them to stay true to the period of the story they were telling. They found a row of typical red brick railway houses in Blom Street in Springs, east of Johannesburg, but the houses were dilapidated, had unpainted roofs and decaying fences. In the three weeks leading up to production six houses on each side of the road were given a face-lift to fit the look of a Durban railway community in the mid-1960s. The filmmakers went to great lengths to stay true to the period – in every detail from the music playing in the background to the refrigerators in the interior scenes. According to Eilers planning was everything. “Accolades must go to production designer Waldemar Coetzee and his team. They did their research extensively and nothing was left to
chance. Francois Coetzee (props master) and Marle Drotsky (costume design) did a fantastic job in bringing the 1960s to the screen in a very believable way.” The story also called for a train from the era as an important part of the film. Although Durban Harbour was recently modernised, they were lucky to find the exact train they needed in the harbour. Within the definitive clothing style of the period they also use different colours to depict certain themes important to the story. Light blue, for example, depicts a state of innocence and the ability to dream, while red symbolises danger. According to Salmon the colour references are: “in your face and consistent” in Roepman, “otherwise the audience won’t respond”. While the film features a few subtle special effect shots, the last shot of the film is almost entirely a special effect. The special effects were done by Quin Lubbe and Vincent Grobler. The film was financed through the Department of Trade and Industry (DTI) rebate and three private investors with a budget of between R4 and R5m.
‘Big’ marketing A part of the budget that the producers take very seriously is money spent on marketing. “When targeting an educated audience, big and effective marketing is absolutely essential to make a film stand out among the clutter,” explains Salmon. Therefore the filmmakers approached Roepman marketing in a mathematical way. According to their research 4 to 5% of people exposed to repetitive advertising will go and see a film. This means that approximately five million people have to see their marketing to attract an audience of 100 000 to 300 000. Since the target audience for the film is Afrikaans speakers between the ages of 25 and 55, they approached the
FILMIC NOVEL – On the set of Roepman
newspaper and magazine that reach the largest number of readers in their target market. They managed to get Rapport and Rooi Rose on board as media partners. An ad campaign on Jacaranda 94.2 (the largest radio station for their target audience) is also planned plus four billboards – three in Gauteng and one in Cape Town.
Universal appeal While the team target a specific audience they hope to attract viewers from a much wider age and cultural spectrum. The film is sub-titled to make it accessible to other language groups and they believe the themes such as ‘innocence’ and ‘believing in something’ are universal. The importance of the period of South African history may also attract interest. According to Eilers the story takes places in the weeks leading up to the assassination of former South African Prime Minister Hendrik Verwoerd. “It was the beginning of change and the kids of that era are the very same people who voted yes for transformation in the 1992 referendum. The film gives a window into where that generation came from and why they were ready for change,” he explains. “While it is not a blatant anti-apartheid film, it does tell about the life of the Afrikaner in a way that is unknown to youth today and also to most of the black community,” says Piet. He explains that the film tells the story of Afrikaner women and children subjected to the structural violence of the time by the state and the church. “It shows what you do to children when you subject them to dogma.” Roepman is distributed by Ster-Kinekor and will be released across South Africa on 20 May 2011 on 36 digital prints.
NEWS |
In what is believed to be a world first, Dragonflies and Astronauts featuring South African rock group The Parlotones – driven by Volkswagen – will be broadcast live in 3D from the Teatro at Montecasino, Johannesburg on 16 July and beamed via satellite to 3D outlets around the world. ANDY STEAD reports
D
ragonflies and Astronauts is a rock theatre production featuring a storyline, characters and sets that are developed around The Parlotones’ greatest hits. The show’s director is local 3D guru Eban Olivier who has been working with The Parlotones for eight years on their music videos and electronic press kit (EPK) material, which includes live shows and 3D initiatives worldwide. Volkswagen (VW) is the title sponsor for this project as it falls under the brand’s ethos of innovation and technology. Says Olivier: “We had to get promo material out for the world press release on 1 March, but to do it in 2D for a 3D show would have been weird. Consequently we decided to test a rig from Russell Bowden of 3D-Rigs.com with gear from Panavision SA to see if it would match the international standard for 3D feature films. It did and the RED One camera provided the best quality picture for the studio shoot. “We did as much as possible in pre-production so that there would be no
TESTING TESTING 1, 2, 3D – Lead singer Kahn
Extra dimension
FINDING THE RIGHT TONE – Eban Olivier
surprises in the execution of the shoot. The promo was shot on 25 February at Gold Island Studios in Midrand and was ready two days later for the first 3D cinema viewing with the client. As the promo was a teaser to introduce elements of the live show, some of the show’s characters were included as well as an energetic performance from The Parlotones.”
Olivier points out that a live rock concert in 3D can get boring after 40 minutes. “As we had already done a live 3D Parlotones concert at the Sony 3D Experience, we decided to go all out and do a theatre production. The elements that we can bring to a theatre show are so much more diverse than a concert and they are 3D friendly. It will be more like you are a part of the action on the stage then sitting in the audience. “However, we are also acutely aware of the fact that we have two different audiences: people in the actual venue having a theatrical experience and those who are sitting in 3D cinemas or at home with 3D capable TVs. These two experiences are essentially different but have to be treated with equal respect. On Dragonflies and Astronauts Olivier is working with “the best producer / partner in the business,” Danie Van Der Heever from Catalyst Entertainment. “Having a
producer who micromanages every inch of the production is a starting block for success on a project of this scale,” comments Olivier. Mushroom Productions is handling the logistics and stage management of the live show. All Olivier’s pre-visualisations are being executed by ArtSquad and their creative illustrators. The executive producers for Dragonflies and Astronauts are six-time Primetime Emmy Award nominee Doug Stanley (The Deadliest Catch) and Raphael Domalik from Sovereign Entertainment (The Parlotones’ Independent management company and record label). Dragonflies and Astronauts will run in the Teatro at Montecasino for five days leading up to the worldwide live 3D shoot on 16 July. “Ridgeline Entertainment is representing the signal worldwide. Currently there is an international buy in from every continent. The deals are being signed in Los Angeles as we speak,” concludes Olivier.
The year of the mobile phone
T
ZOOPED UP MOBILE – Jason Elk 10 | SCREENAFRICA | May 2011
he growth of mobile phones and the ever increasing utilisation of this technology must rank as one of the most explosive developments of the past century. In 1956 the first fully automatic mobile phone system was developed by Ericsson and 1960 saw the first partially automatic car phone. Four years later Motorola launched the first real mobile car phone and in 1973 the first handheld phone was introduced by Motorola (weighing almost a kilogram). The first smart phone was launched in 1992 and smart phone growth is increasing all the time. In 2007 Apple launched the iPhone and a year later Google launched the Android. In 2010 mobile subscribers worldwide exceeded 5 billion. More than 70% of the world’s population have mobile phones and 85% of children have a phone. Over 60 million phones have been sold
worldwide and the most popular driver of mobile phone use is to SMS. About 6.5 trillion SMSs were sent worldwide in 2010 alone. South African company Zoopy claims that 2011 will be ‘The year of the mobile phone’. Co-founders of the company are Jason Elk (CEO) and Garry da Silva (sales director). Zoopy is described as a mobile video infotainment platform that brings the mobile user bite-sized videos of the latest news, sports and entertainment. The content is all produced in-house. “We launched Zoopy on 5 March 2007 before we were selected by Nokia as its regional imaging partner for South Africa in December 2007,” says Elk. “In June 2008 Zoopy received investment from leading South African cellular network Vodacom. Our focus on mobile is backed by enormous mobile growth across the
globe and especially in developing countries like South Africa. Ninety-eight percent of South Africans have mobile phones and somewhere between 6 million and 20 million of these handsets are web-enabled.” Consumption of video over mobile grew by 60% last year and is still on the up. Zoopy users can browse and view interesting local and international mobile video clips – or ‘infotainment’. There is no subscription fee for Zoopy and users can view as many mobile videos as they like but they have to pay for the data needed to download and view videos, which are 2MB to 3MB in size. Zoopy aims to have its videos consumed by at least 700 000 unique users per month. Some of the above statistics were sourced from www.Mocom2020.com
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AD cetera
Report on the South African commercials industry by Anton Crone
The sitcom approach to advertising TV ads are under attack from social media pundits. But in a country relying heavily on TV for the mass market, they should be celebrated. In fact, the format even makes for a good sitcom series. This was the inspiration behind Bioscope Film’s treatment for their latest series of 10 ads. Says director Hylton Tannenbaum: “With the popularity of series such as Seinfeld and Californication, we wanted to take a similar approach – a string of mini episodes with a central character. We shot on a set of similar scale to Seinfeld and used three Canon 5D cameras to enhance the multi camera sitcom feel.”
Created by new Cape Town agency, The Greenhouse, the ads promote the online shopping application, MMAD, for mobile phones. The core concept is Be Selfish! The mini episodes follow the antics of a guru dispensing spiritual advice to the full spectrum of South African stereotypes. With the likes of Brad Lowenstein, Nadya Padyachee and Paris Sithole, their names alone tell a story. The guru’s advice is to forget their hang-ups and get MMAD so all their worries can disappear in a cloud of shopping therapy. “We cast a really talented oriental guy as the guru because it gave us liberty to poke fun at South African stereotypes,” says
Darren McKay, creative director and owner of The Greenhouse. “There’s a great dynamic between him and the South Africans as he coaxes them into being more selfish. We had loads of fun creating threads throughout the episodes, such as the guru’s incessant eating highlighting his experience in the art of indulgence.” The 10 episodes will be staggered like a series. The momentum of the campaign carries through to social media. “Each character has a Facebook page and the ads are also being
Hylton Tannenbaum shares a laugh with the guru on set
‘Robot’ artists Humanised
Into the Wild Recreating the rest of Africa down here at the southern tip is common practice, but can cost quite a bit of dosh. There is also a growing awareness among the African markets that many ads are shot in South Africa to look like their home, not good where people are extremely proud of their identity. So why not venture out there more? Africa is an enormous market. It’s growing to such an extent that it’s considered the next biggest marketing opportunity after China and India. Speaking to Brett Wild of Hammersmith and Elephant productions, he is confident that shooting in West Africa is vital to capturing the reality and enhancing that element of African pride. These days there is a far greater appeal in the African market for quality productions, but this doesn’t mean a small crew can’t achieve this. As any DOP will tell you, there is magic wherever you point the lens in the Africa beyond. Horror stories about shooting in Lagos and Accra abound, but the truth is it can be a magical experience that lends itself to the film and leaves one with a far greater understanding of that part of the world, something South African marketers and creatives are lacking. Wild has a deep passion for Africa fuelled in part by motorcycle adventures through some of its darker recesses and shoots in the wild places of West Africa. “Balancing an Arri on a dhow isn’t easy, and capturing the crew pumping the oars as they row out to sea bellowing a hypnotic chant is hard to recreate on Clifton – doubly hard if you want to shoot a dusty sunset over the city of Accra.”
Still from Brett Wild’s MTN shoot in Ghana
12 | SCREENAFRICA | May 2011
Xenia and the artists during the making of the documentary
Xenia and Mark Forrester used to hang out at the robots, like most of us do, in our airconditioned cocoons. Then they started observing the trials street sellers went through as they filtered between cars, pedalling their hand-crafted art. Chatting with the artists led to a short documentary about their art and lives. “Working on the doccie meant getting closer to the
artists to understand their lives,” says Xenia. “This experience and the great response we had from the film was the catalyst for starting a company.” That company is African Cartel, an online platform that promotes and sells the artists’ work as well as providing an insight into their lives. Managed by Xenia and Hugh Byrne, the website offers the oppertunity to donate art material and even recommend an artist. Another of their aims is to set up a workshop which provides a creative haven for keen artists to work from there or to use to learn new skills. The documentary Robot Artists was filmed and edited by New Creation Collective. It
featured at The Really Short Film Festival in Cape Town where it was incredibly well received and is also streamed on African Cartel’s website. One of the keys to the impact of the film is the music composed by Andy Schar, who created a series of guitar driven tunes for the documentary. Talking music with the filmmaker, Xenia reveals a bit about the character of Lawson, a Zimbabwean artist featured in the documentary. “He pumps the music loud when he’s painting. Lawson loves the classics,” she says, and when asked if it was Chopin or Motzart, she replies, “No, Bryan Adams.” Classic indeed.
Shooting in these parts takes negotiation skills, something Wild’s travels have prepared him for. It also takes a scout with clout and the name Ian Davison of Scoutenge comes up. Most of all it takes confidence, understanding and respect for the people. Wild has this in bucket loads. Few venture there, demanding the comfort and certainty of the south, but here is someone who’s done more than taste it, and he wants to devour it whole. For the real Africa on film – there’s no better place to shoot. Go West, young man. Or should we say, go Wild.
AD cetera Accolade for Saatchi & Saatchi
released virally,” explains Tannenbaum. But the core is TV and in a world of retail ads that often have people leaping for their remotes, here’s an entertaining change – an ad break that has a sitcom feel all of its own.
Agency Saatchi & Saatchi was named global Best “Bought” Media Campaign winner at Diageo’s Marketing Brilliance Awards for its TV Commercial Scout for Guinness Africa. The awards recognised agencies in all of the regions where Diageo operates. Global winners were selected after reviewing all of the winners by each region at a recent Global Marketing Leadership meeting. John Pallant, Saatchi & Saatchi regional creative director, EMEA says: “It’s always great to be recognised for what we do. But when it is the
Saatchi & Saatchi’s award winning Scout ad for Guinness
recognition of one of our key clients for producing the best piece of work in this category for the entire year – it is pretty special.” Scout was directed by Gregg Gray of Velocity Africa and
created by Saatchi & Saatchi Cape Town. Creative director Gavin Whitfield says: “We wanted this advert to be an inspirational, uplifting story of passion and self belief from the world of African football. Our
Xploring in Africa uncovered real insights from the real people we wanted to connect with. The fascinating, authentic stories they came back with are alive with optimism and are the inspiration for our work.”
Understanding the student market By Linda Krige With just under one million students in South Africa this group has been identified as the power consumers of the future. Freshly Ground Insights (FGI) and Campus Media recently presented research that they hope will give marketers better insight into South Africa’s student population. According to Brad Aigner, managing director of FGI, the study aimed to understand what brands students are consuming and connecting with at the moment, what brands they want to consume in the future and what the best methods are to reach them with marketing messages. In October 2010 the researchers interviewed a sample of 444 students on different campuses across the country, including Wits University, the University
Campus Media’s Adrian Goosen and FGI’s Fiona Chalmers
of the Free State, the Tshwane University of Technology, the University of Cape Town and Stellenbosch University.
Discerning market Aigner said some of the interesting facts revealed included the fact that students are quite sophisticated in terms of social networking and social interaction, and that they were very good at taking in multiple sources of information at once. The study also found that students are big consumers of advertising on all types of formats, including promotions, posters and pamphlets. However, they are a very discerning and astute market, expecting products or brands to deliver on marketed promises. They are also more aware of brands
Brad Aigner presenting research to the media and students
than they used to be. “As a brand, if you don’t get in there early you’re missing out. Perceptions of brands are formed quite early,” said Aigner.
Three segments He explained that the research did not look at the student market holistically, but revealed three very clear segments based on student lifestyles, with the key differentiator being the balance students find between studying and socialising. The results looked at student consumption in different areas, including what fast food chains students in the different segments frequent, where they bank, which cell phones they prefer and what alcoholic beverages they enjoy, and looking at drivers like quality,
affordability, convenience and status. The three segments were named Bookworms (28% of the population), Weekend Players (28%) and Studious Socialites (44%). While students in the Bookworm segment aspire to quality brands, well-advertised brands fared well among the biggest group, the Studious Socialites. Of the Weekend Players Aigner said they knew their brands well and were more loyal than they were expected to be. Some of the favourite brands among students include Facebook, KFC, Edgars, MTN, Savannah, Guess, BMW and BlackBerry. It was found that in general students notice advertising of products and services that they find relevant, affordable and / or aspirational. May 2011 | SCREENAFRICA | 13
TELEVISION |
Brand power
By Karen van Schalkwyk These days one of the big words on producers’ lips is sponsorship. For budget-challenged TV shows this is a viable way of finding additional sources of finance or even funding the entire production.
C
lass Act is an example of a locally produced sponsored series aired on South African public broadcaster SABC. This reality programme aims to find the country’s top acting talent and has proved to be one of the most successful series on SABC1. It is in its second season. Produced by Curious Pictures, Class Act is sponsored and bought to the small screen by Amstel Lager. This season not only seeks out the best male acting talent but female as well. Curious Pictures’ Donovan Marsh states that the great thing about the show is that it allows Curious Pictures and Amstel to retain the intellectual property (IP). “I pitched the show to Amstel’s advertising agency which was looking for a suitable television show for its client. I had pitched the show for nearly five years to various channels without success.” Marsh believes the Amstel brand has an excellent strategy when it comes to the series. “That strategy ensures that Amstel’s message comes through in subtle and indirect ways. Amstel understands the nature, tone and feel of the show. “Sponsorship is a very effective way for a brand to get its message across. Class Act has performed incredibly well for the brand and is even more effective than traditional advertising.” Felix Kessel of OwenKessel agency was instrumental in making the series viable by bringing Amstel to the party via Brandhouse Beverages (Pty) Ltd. Brandhouse is a joint venture between Diageo, Heineken International and Namibia Breweries Ltd. It is one of South Africa’s leading premium drinks companies with a portfolio of brands across the spirits, beer and cider categories. Kessel explains how it all came about. “Amstel Lager was looking for a way to connect more deeply with its market and to find a way to bring its values and beliefs to life. Our search uncovered Class Act and immediately we knew we had a match. Amstel is far more than a simple sponsor – they are the initiators of the project and take an active role in every facet of the production, ensuring that the content is world class and delivers entertainment and a clear message from the brand. This is a platform that allows the brand to make a real difference in the lives of their consumers – a real chance of success and a chance to share in the journeys of the extraordinary few who make it.”
14 | SCREENAFRICA | May 2011
BRANDING A REALITY – Enthusistic hopefuls in the queue for the Jozi auditions of Class Act
THE JUDGES – Moonyeen Lee, Rapulana Seiphemo, Kenneth Nkosi and programme creator Donovan Marsh
Brand connection Kessel says that Class Act has over 95% brand connection with the people who watch it. “The premium nature of the content, the real opportunity that we create and the chance to let real quality shine out into the world resonates with the Amstel brand. Affinity for the brand soars with anyone who watches the show.” One of the challenges according to Kessell is maintaining great content, especially in the reality genre. “It requires more effort over a longer time than traditional TV content and is hands on all the way. You’re in a constant state of crisis management. But that is the reality gig for you.” From Amstel’s perspective the brand needs to be carried across other platforms. Kessel continues: “There is a world of interaction, online, real world and promotional activity that surrounds the
show and that’s what takes up most of the agency’s time. Leaving the TV show itself to the professionals like Curious Pictures, is a blessing. We know the result is pure quality. They always keep our brand at the heart of the production.” If brands do not start to seek new ways of connecting with their customers they will simply not survive. “It is simple – if they do not look at alternative forms of reaching the market they will die. Brands need to be far more than the simple products and services they used to be, and that means they need to stop preaching. The 30-second and 60-second spot ad will always have a place on screen but their role is changing from grand motivator to something simpler – traditional ads are becoming a push mechanism for directing people to other more engaging and meaningful content. This is what Class Act does so well,” notes Kessel.
All media The new digital age means that brands need to be proactive about utilising all forms of media. “The change has come and it is like a tsunami; it will keep coming until it forces everyone to react, rethink and redefine their communication. In South Africa we’re a little behind the curve but already mobile platforms like Mxit and Facebook mobile, Twitter and others allow people to communicate more freely and broaden their horizons exponentially through the crazy growth of social sets. With the power of these wider networks they will challenge brands unequivocally. “Brands have to prove themselves worthy of attention and respect. Digital is the great reckoning. People will judge brands and those found lacking will be rejected,” comments Kessel.
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TRACKINGTECHNOLOGY |
Although IBC in Amsterdam is the technology trade show favoured by most South African broadcast engineers, some did attend the recent NAB Show in Las Vegas, dubbed the world’s largest electronic media show.
Richard Waghorn
Chief technology officer of the South African Broadcasting Corporation (SABC) Richard Waghorn went to NAB for the first time this year. “I have to say that I prefer IBC because it has a more global feel. NAB came across as more US focused, and certainly some of the suppliers there did not have their Africa and Middle East representatives on hand. “At the show I learnt a lot about the intricacies of delivering players to multiple platforms. It was a good opportunity to discuss architectures with a number of vendors, particularly about transcoding content in multiple formats, the integration with and enhancement of existing systems, and of formatting players for multiple platforms.” One product that stood out for Waghorn was the synchronised companion application from never.no,
Kim Smith
which enables users to interact with broadcasters through social media and email and to use that content to contribute to live broadcasts. “I was also impressed with the really compact, lightweight clip-on HD cameras designed for the extreme sports market that produce amazing picture quality, but that can be deployed for other types of programming,” comments Waghorn. He notes that 3D no longer appears to be all the rage at NAB. “Many of the 3D demos were not always front of stand – sometimes they were ‘hidden’ towards the back. A number of comments were made that 3D is currently much more relevant for the movie and gaming markets than for the broadcast market.” Kim Smith of Johannesburg-based production and post-production facility
Jess Goedhals
Sasani Studios agrees that 3D seemed to have cooled off at NAB. “There didn’t seem to be as much hype around 3D as last year although there were still lots of 3D technologies on show.” Smith attended NAB specifically to look for products pertinent to his studio set up. “Because my days were spent networking with suppliers and meeting with their designers, I didn’t’ have that much time to take in the whole show. But I did notice a definite focus on the collaboration of art and technology as per the NAB 2011 theme, which was integration.” According to Smith NAB2011 was much busier than previous years. “One exhibitor launched around a hundred new products at the show. It’s great to see some of the innovations at NAB a little ahead of release.”
Panasonic’s NAB splash At NAB Panasonic Solutions Company (PSC) introduced the 3D twin-lens P2 HD shoulder-mount camera recorder with 10-bit, 4:2:2 independent-frame, full 1920 x 1080 resolution AVC-Intra recording. “Less than a year ago, Panasonic simplified and lowered the cost-of-entry to high-quality 3D production with the AG-3DA1, the industry’s first fullyintegrated, 3D camera recorder,” said Joe Facchini, vice president of Sales and Product Marketing, PSC. “Now, the shoulder-mount AG-3DP1 offers a larger imager, 10 bit color depth, AVC-Intra recording to P2 media, and EFP-style shooting, to expand the universe of affordable 3D production for live events, sports, documentaries and independent films.” 16 | SCREENAFRICA | May 2011
Panasonic AG-3DP1
The 3DP1 incorporates two pairs of 1/3 type, full-HD 2.2 megapixel 3MOS imagers with enhanced sensitivity and a 20 bit Digital Signal Processor to acquire full production quality, native 1920 x 1080 resolution images. Another new release at NAB was Panasonic’s AG-HPX250 which sets a new standard for video quality in mobile HD acquisition. This P2 HD handheld camera recorder boasts 10 bit, 4:2:2 independent frame full 1920 x 1080 resolution AVC-Intra recording.
Weighing 2.5 kg (5.5 pounds), the HPX250 incorporates high-sensitivity 1/3 type, full-HD 2.2 megapixel 3MOS imagers and a 20 bit Digital Signal Processor. Two new professional AVCCAM HD handheld camera recorders, the AGAC160 and AG-AC130, which incorporate high-sensitivity 1/3 type, full-HD 2.2 megapixel 3MOS imagers to capture native 1920 x 1080 resolution images, with a new, wider 21X HD zoom lens, were also introduced at NAB.
Jess Goedhals of Sony SA found the show fairly busy but not as hectic as some years ago. “I didn’t have a chance to walk around as I was tied to the Sony stand. But looking around at adjacent stands it seemed that 3D is still definitely making a big impact. Sony launched two 3D cameras at NAB. One is a professional 3D palmcorder and the other is an XDCAM-based shoulder mount 3D camera with half inch sensors – the biggest in the market.” Sony also demonstrated the prototype of its new 4K camera, the F65. “They showed a movie shot on this prototype and the images were stunning,” says Goedhals. “I think we’re definitely at the stage now where we can produce a true film look on a video camera. The F65 has a 20 megapixel 8k sensor to capture 4K images.”
Hi Tech awarded at NAB
AVITA, the new production control system from Hi Tech Systems, won a TV Technology STAR Award at NAB. This award recognises products that demonstrate their ability to help advance the acquisition and distribution of entertainment and information across the media spectrum. Comprising a collection of software and hardware tools and components for recording, searching and playing media, AVITA integrates into the production chain with the use of metadata. AVITA exchanges data with MAM and NRC systems. In addition, for wireless remote, AVITA provides the ability to deploy applications (apps) on the latest handheld tablet devices. The AVITA hardware control system features a choice of three different configurable control consoles including a small footprint desk console to save desk space. The desk consoles feature a high resolution 10.4 inch touch screen as a user interface – no keyboard or mouse is required (but could be used optionally). Control consoles are built using different front panel modules, and programmed from within AVITA adapted to the user’s needs, and to suit the workflow requirements. Hi Tech Systems is represented in South Africa by Concilium Technologies.
Tel: (011) 452-4962 Fax: (011) 452-4964 E-mail: sales@broadcast.za.net www.broadcast.za.net 84 Voortrekker Avenue, Edenvale
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TRACKINGTECHNOLOGY |
Waves of destruction hit the broadcast industry The devastating earthquake and subsequent tsunamis which hit north eastern Japan mid-March have had a huge effect on Japanese society, its infrastructure and domestic economy. Not to mention the shockwaves it has sent throughout the broadcasting industry worldwide, writes Ian Dormer.
E
ach year natural disasters exert a heavy toll on human life and property. The United Nations estimates that in the past 20 years almost three million lives have been lost to natural disasters, and 800 million people have been affected. As Japan grapples with its triple disasters of quake, tsunami and nuclear fallout, alarm bells are sent out by electronic suppliers, broadcasters and economists alike. Just weeks after the disaster US based broadcaster Discovery Channel International sent out a communiqué that
highlighted a global shortage of HDCAM SR tape stock, made exclusively by Sony and widely used in feature and episodic television production for varying use in final deliverables, camera masters and tapes for dailies. In addition Discovery indicated that it was accelerating plans for intra-region file based delivery of programmes, especially in London and Miami, and were developing a ‘Discovery Spec’ for file based delivery from producers due to the shortage of tape. A headline in The Hollywood Reporter states that the National Basketball
“HEAVY TOLL” – Ian Dormer
Association (NBA) for example, is looking to secure enough tape for the NBA finals in June and it has planned 3D broadcasts that will dry up all the available stock of SR tape in the US alone. User group forums on the Internet report a dramatic increase in media costs across the board and up to 70% increase on HDCAM SR stock. The manufacturing of HDCAM, DVCAM, Betacam SP, Digital Betacam, Betacam IMX, Betacam SX, XDCAM, SxS, Blu-ray, DV and HDV tape stock also has been affected. With 15 of Sony’s 25 Japanese plants affected by the natural disaster, those that are not affected are hit by shortages of spare parts used in the manufacture of cameras, microphones and television sets. But Sony are by no means on their own;
many of their compatriots in the electronics industry are suffering from interruptions in their production chain by rolling blackouts from necessary load shedding by Tokyo Electric Power. Japan provides 57% of the world’s wafers that are used to make the chips that go into mobile phones, cameras and other electronic devices. It is estimated that if this crisis continues there will be a worldwide shortage of electronic parts by mid 2011. Japan’s grip on the global electronics supply chain is a cause for concern. Even under normal conditions after a disruption putting suppliers back online can be a time consuming process that requires careful calibration and extensive testing. Therefore the industry’s road to recovery may be a long one…
New camera stabiliser in SA T
HOLDING ALEXA – The Perfect Horizon stabiliser with the Arri Alexa
18 | SCREENAFRICA | May 2011
he Perfect Horizon (PH) camera stabiliser first kicked off in South Africa with a recent lake shoot in the Cape. It was matched with the Arri Alexa and film company Lobster Tree was the first to use it to shoot a French commercial. They were ‘thrilled’ with the results, says producer Juli Lotter. There are only seven PH stabilisers in the world, one of which is now in South Africa. BAFTA nominated cameraman Brian Uranovsky brought it into the country and it is already proving its mettle. Designed to mount on boats, camera cars, dollies or helicopters, the PH’s great strength is on sea, lake or river shoots as it keeps the pitch and roll motion from reaching the fluid head and camera.
Well tested on James Bond, Harry Potter, CSI, Fear Factor, surf films and commercials for Toyota, Reebok and Red Bull, the PH won an Academy Award and an Emmy for Technical Achievement. The PH is smaller and more compact than most other stabilisers and fits into a single pelican case. Weighing in at just 13.6kg, the unit can carry loads of up to 68kg and takes 10 to 15 seconds to spin up. It has two 24v batteries in pelican cases that last up to six hours each. All seals are waterproof so waves can easily crash over the units without causing any damage. With a Mitchell plate on top and on the bottom it mounts directly on the camera tripod or low-boy; it also has adaptors for video including HD and new 3D rigs. Lenses of up to 500mm can be used on it.
POST-PRODUCTION |
Typically the post-production phase of creating a film lasts longer than the actual shoot and can take several months to complete. It may also be the most budget conscious phase as there are many options open to producers, who often shop around for the best price, writes Andy Stead.
W
e all know what the term post-production means – or do we? In its simplest form postproduction is many different processes grouped under one name. These include editing the picture as well as the soundtrack; the transfer of film to video or data with a telecine and colour grading process; recording the soundtrack and music; and adding digital visual special effects which normally consist of computer-generated imagery (CGI). The final process is the digital copy from which release prints will be made. South Africa offers a broad selection of post-production entities, from the larger fully equipped one-stop shop facilities
that offer high end equipment for the entire process, through to the more boutique style editing facilities, to an editor with a laptop location service. It’s a tough and demanding business where excellence in quality and service are paramount. It is also an extremely expensive exercise to set up and run a postproduction facility as the technology requirements are by nature sophisticated and unique, and for those facilities competing on an international level, must be comparable to anywhere else in the world. In spite of this, confidence in the local industry remains high with the recent launch of a new top end post-production house in Cape Town. Searle Street
Post-Production offers a Scanity Scanner together with a Baselight HD with Kompressor – the latest film scanner and grading system on the market. The question on our lips is whether large sums of capital investment are able to provide a reasonable pay back rate to the investor. Post-production rates have levelled if not actually dropped over the years. High end facility The Blade Works reports that their rates are lower than they were a decade ago, indicating that demand has reduced and repayment on investment will take longer. Levels of entry are made easier due to the emergence of a tapeless postproduction environment. However, this is not seen as a major threat to the more
In the Glasshouse G
lasshouse Post Production recently invested in the latest top of the range MAC PRO 12 core system, the latest FCP and Avid 5 Media Composer software, capable of 4:4:4 HD video and 3D. They are able to work with any HD format out of their three travelling laptops and one main frame base located at Bladeworks. “It’s important to upgrade one’s equipment constantly,” says Glasshouse’s Cheryl Lessing, “but it’s even more 20 | SCREENAFRICA | May 2011
important to invest in your talent. Glasshouse has just appointed two new editors to our team. Dale Venediger and Dawn Pike both bring a new visual effects and online edge within the world of off-line.” Glasshouse recently worked on the Jheesa – Brothers for Life campaign with CAB Films and Joe Public. “It’s not often that you get to combine beautiful pictures with a worthy cause,” comments Lessing. She is enthusiastic about Glasshouse’s
mobile service. “All our editors go on set (most of our clients demand this now as a matter of course) as it allows for so much more freedom when shooting. The director can see in an instant if his shots and cuts are working and if it’s ‘in the bag’ or not. If the schedule is tight, the editor can get a jump start on the cut, if not pretty much have it finished by the end of the shoot.” Although things were slow last year during the 2010 FIFA World Cup,
established post-production houses. The general feeling is that clients are more comfortable in a facility that offers equipment back up, engineering support and a wide range of facilities. Sasani Studios (previously ZSE TV) invested in tapeless technology three years ago and claim to be leaders in this field, with experience gained on the Big Brother Africa series, which requires live 24 / 7 production. They also report a considerable increase in studio based productions as well as an increase in HD post-production in 2011. There is little doubt that South Africa has the right stuff. The question remains as to whether sufficient work on local and international levels will keep the wheels turning. Only time will tell.
business has still been good for Glasshouse. “We had a good flow of direct agency work to supplement the embargo on shooting for production companies,” explains Lessing. “Interestingly the ratio of film work to HD work has changed. In the past it was about 70 / 30 but it’s now almost 50 / 50. “On the whole all of our work is interesting – making budgets work; solving the many technical HD questions that pop up with each new job; and meeting impossible deadlines while creating beautiful edits. The whole ‘dang’ thing is challenging but fun.”
| POST-PRODUCTION
Guillotine cuts it right
THE CREW – Paul Hanrahan, Jo Gibbon, Karen MacDonald, Ian Wolvaardt and Martin Mosala
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ryanston-based Guillotine Post Production runs two Avid Media composers and two Final Cut Pro (FCP) suites for editing as well as grading. They are primarily an off-line post house specialising in commercials, but also grade a number of television series and feature films. “Business has been a bit of a roller coaster ride,” says Guillotine’s Karen MacDonald. “We’ve been crazy busy and also bizarrely quiet. Being situated in the Blade building helps us to keep perspective as often everyone is quiet or busy at the same time. We pride ourselves on remaining flexible and excited about change but it’s challenging too. “Guillotine has managed to secure new clients as well as service those clients that have worked with us in the past. Some of the highlights from the past year have been working on the Consol television commercial together with Velocity Films and the MTN ad with Star Productions.” MacDonald stresses that budgets are tiny. “We have to get very creative. Luckily the budget problem is across the board so everyone pitches in, from animation companies to finishing houses. It’s tough though as the work isn’t getting any easier and it’s not like we were charging anything above the cost of the job initially. The post business has become about quantity as there aren’t many big jobs around.”
Innovative editing
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ichmond-based Edit Innovations Post Production has a 16-year history as a full spectrum television production company and handles post-production for current affairs, documentaries, dramas, commercials and educational programmes. Edit Innovations’ Lisa Bingham is optimistic about the future. “Clients appeared to have spent most of their budgets by OPTIMISTIC – Christine Bingham (bookings and office manager), Tarryn the end of the 2010 FIFA Shackleton (off-line editor) and Lisa Bingham World Cup, with work tapering off for the latter half of the year. There has, however, been a positive increase since the beginning of 2011. “We have a good equipment spread and now offer two FCP 7 HD suites as well as mobile edit suites, which we make available to our clients in the Johannesburg and Pretoria areas. Edit Innovations also has an audio studio that includes sound design, mixing and a voiceover booth.” Bingham notes that a lot of her work is international. “So far we are doing a significant amount of business from Los Angeles. However, budgets have shrunk and we have also noticed that there is a reluctance to pay timeously. “In spite of fierce competition I believe that clients are still looking for the best quality at the lowest rates,” she concludes.
POST-PRODUCTION |
REFINED TOUCH – Baselight – Truelight accredited grading suite with 3D stereo BARCO projector
Refinery rings in the changes
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ajor changes at Refinery for 2011 include a trade-in of its Lustre colour grading system for a Baselight grading suite. While always being in favour of Lustre’s creative tools, Refinery has found that the ability of Baselight’s Kompressor works with a variety of digital camera formats and has really improved workflows. “It was important for the Baselight to
work within in a cinema environment,” comments Refinery’s Tracey Williams. “Our 2K Barco projector allows us to get to a grade much faster as we work off a large projected image. The Baselight is a Truelight accredited grading suite and is set up to handle 3D stereo grading through the projector with active glasses. “Since Avatar everyone has been talking about stereoscopic 3D. There has
been a lot of hype but not a whole lot happening — until this past month. We have completed a 3D commercial, adapted an international 3D ad and graded a 3D stereo feature, Lion of Judah. It has been really exciting getting to grips with the technology and the creative challenges that a new discipline brings.” Last year was an improvement on 2009 for Refinery with a marginal increase in commercial work. However, although there has been a growth in volume, Refinery experienced a reduction in high end commercial budgets. 2010 was a successful year for the company in terms of feature film work. Says Williams: “There were some healthy budgets around last year but the facility portion of post-production is reduced. It feels like everything has become a negotiation with bargaining involved. “In Johannesburg we tend to work more with the local market as opposed to Cape Town, which sees regular international commercial service work. The international commercial work that does come our way tends to come from Asia and Africa, which is fast becoming a growth area. Johannesburg is well positioned to handle this work.”
| POST-PRODUCTION
It’s all happening at Searle Street
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ecently opened Cape Town facility Searle Street Post Production (SSPP) is bursting at the seams with new and ultra sophisticated post-production equipment, accompanied by the talent to drive it and the business. MD and colourist David Grant elaborates: “We chose to install a Baselight HD with Kompressor as this is the best file based colour grading system with a great reputation in the market. The Kompressor is an interface that allows the Baselight to work with all the different codecs. “Searle Street also has a Scanity scanner made by DFT. This is the latest and best film scanner on the market. We are able to scan 2k at 15fps, and do SD rushes at a rate faster than real time.” A Flame with the latest software as well as Quantel IQ offers an all in one online and grading system. Bones Dailies Solution, also by DFT, integrates seamlessly with the TECHNOLOGY READY – Heino Henning and David Grant Scanity for film based projects and handles all the digital file based formats. Bones manages the entire dailies process, from ingest, syncing and logging to the creation of a colour-graded Searle Street’s creative director is Heino Henning and Jo van Zyl the producer. Van dailies master. Zyl has immense experience starting at Sixth Street and has recently returned to Cape “We are designed from the ground up as a fully digital and HD environment,” says Town from Johannesburg, where she worked as the head of production at Bladeworks. Grant, “and while having a scanner is not new to the market, the Scanity is unique not “I think we are unique in that we are young, small and sleek and can adjust to a only in its speed and gentle handling of the negative, but in its superb scan quality changing marketplace,” concludes Grant. which is the latest on the market.”
www.generalpost.co.za
general post editors researchers animators visual effects artists post-producers post-supervisors storyboard artists sound engineers writers directors
bookings@generalpost.co.za
supplying the finest freelance post-production & creative crew to the film and television industry Now offering editing facilities, available to dry-hire or as part of a full service package. Conveniently situated in the Blade building with access to high-end finishing and other facilities contact Chantal on 0860 111 553 / 082 301 9341 or chantal@generalpost.co.za for information on our full service and facilitation services
tel: 0860 111 553
fax: 011 706 7949
after hrs: 076 225 9173 May 2011 | SCREENAFRICA | 23
POST-PRODUCTION |
Tessa Ford at the post T
essa Ford Post is a state of the art post-production house offering off-line editing on Lightworks, Alacrity and Final Cut Pro, as well as compositing with Adobe After Effects and full post supervision. Having only been in operation just under a year Tessa Ford is bullish: “Business has been consistently good since we opened in August 2010 with very busy spurts. However, there is definitely a need to think of different ways to handle the budgets at hand. “Although we are coming out of the recession there is still pressure on agencies and production houses to keep costs down, and this filters down through to us in post.” While most of the work undertaken by Tessa Ford Post is local there is also an international element: “We are often asked to take edits up to the level of a director’s cut,” notes Ford, “but find that although the international market likes to shoot in South Africa, they prefer to do their post back home.” Ford is not fazed by the emergence of the one-man edit facility, however she does acknowledge that pricing is an issue. “We are forced to compete in terms of rates with our existing market. In order to stay in business, particularly in post-production, we need to negotiate all the time. “We also need to be thinking ‘out of the box ‘ in terms of alternative workflows that are cost effective. With technology constantly evolving, this is becoming more possible.”
24 | SCREENAFRICA | May 2011
In at the Deepend A
partnership between Paulene Abrey and Luaan Hong, Deepend Post Production commenced business in 2007 in Bryanston. The company now consists of two producers, three editors and an audio engineer. They recently became the newly appointed producer representatives for Tessa Ford Post Production. “Our core business includes commercials, television series, dramas and feature films,” says Abrey, “and business has been good with a definite pick up since 2009. While most of our
work is local we have worked a lot with the rest of Africa, the UK and Europe, especially with global brands. “Budgets are tight and have shrunk but there are creative ways of making them work. It just takes a little more team effort between the production company and post house.” Despite that Abrey acknowledges there has been a reduction in the number of top end facilities houses, she does not believe this has had any effect on Deepend Post. “The primary facilities are still charging what they used to,” she says.
| POST-PRODUCTION
Blade sharp
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ogether with its associate companies The Blade Works Postproduction Facilities in Johannesburg’s Stonewedge Office Park offers a broad spectrum of facilities and mainly services the commercials market. In spite of recent recessionary times Blade’s Steve Harris is optimistic. “In the bigger scheme of things business is pretty good. The 2010 FIFA World Cup period was not as disastrous as we expected. Two things helped us during 2010 – BFX (our animation team) developed nicely and undertook bigger and better challenges with pleasing results. Secondly, digital grading is definitely more established.” Blade is very focused on the local market although the volume of international work is increasing. “We BROAD SPECTRUM – have started a couple of huge projects for European Steve Harris of Blade companies and we hope this trend will grow,” notes Harris. The emergence of one-man edit facilities has not really affected business according to Harris. “Our market tends to be the high end commercials. It is more likely that production companies and edit companies will impact on the traditional facilities business – some have already installed online tools and others are talking about it. If this gains momentum, facilities will suffer. “We are cognisant of the fact that producers are much more aware of financial constraints and that they consistently seek the best value. The one thing I do know is that the competitor situation is very strong. It is true to say that our rates are less than a decade ago. For example, Flame is charged at R3 000 per hour today and it was R3 900 per hour in 2001.” While rates do not vary significantly between the facilities, discounting is a key pricing tool in the facilities game according to Harris.
post production
mobile edit suite
Edit Innovations contact
Lisa Bingham
telephone
+27 11 726 1682 +27 83 262 2478 Two fully mobile edit suites servicing Johannesburg and Pretoria. For your convenience we can set up our edit suites at your premises or venue, saving you time and money.
fax
+27 86 694 5751
That is why we are Innovators in editing! contact
contact email Christine Bingham (bookings)
Lisa Bingham (mobile Editor)
lisa@editinnovations.co.za 073 302 5181 editinnovations@yahoo.com Cell: email
083 262 2478
editinnovations@yahoo.com (Blackberry email)
POST PRODUCTION COMPANY
POST-PRODUCTION |
It’s a Riot R
iot Post Production, a commercial editing company based in Bryanston and operating since 2004, offers two off-line edit suites with Mac computers running Avid and Final Cut Pro. Their core business is commercials and at the end of last year they worked on the Trevor Noah Cell C campaign. Says editor Kate Gross: “That campaign kept us busy but we also loved working on the Tracker Memories TV commercial, which has received a lot of attention. But most importantly, we have worked with super talented editors and directors.” According to Gross business has been slow over the past year, which has meant the traditional role of the off-line post house has become more focused on the creativity and skill of the off-line editor. “We have not done as much international work as we usually do,” continues Gross, “but we did do off-line edits for Pepsi with Filmworks Dubai and Samsung with Kojak Films. It has always been difficult to keep the video finish of international commercials in South Africa, as overseas directors and agencies are usually eager to get back home. “Budgets for post have certainly shrunk. We often quote for off-line edit and online supervision only, instead of the traditional quote which includes facility costs. I also think there’s even more competition than usual as rates are cut even further. We’re all trying to get a piece of the same small pie.”
Are you SA’s Next Top Filmmaker 2011?
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Tel +27 11 463 5066 | www.tessafordpost.co.za
26 | SCREENAFRICA | May 2011
n 2010 General Post, a post-production staffing solutions company based in Stonewedge Office Park in Bryanston, came up with the idea for a competition designed to find South Africa’s next top editor. This competition offered young editors the opportunity to learn more about the world of commercials editing. A surprising number of entries were received with five finalists chosen. Lucian Barnard emerged as the overall winner and was given the opportunity to complete an internship at Aces Up, under the watchful eye of Liesl Lategaan and Shaun Broude. Following the success of TALENT SCOUT – Kirsty Galliard South Africa’s Next Top Editor 2010, General Post in partnership with Curious Pictures has announced that entries are now open for South Africa’s Next Top Filmmaker 2011. The competition appeals to anyone interested in broadcast television and who would like the opportunity to work shoulder to shoulder with the best in the industry for a one-year period. Says General Post’s Kirsty Galliard: “The winners will receive a one year internship at Curious Pictures in Auckland Park as well as exposure to the industry at large. Participants will be required to enter in teams of two and will receive a script for a three-minute film. They will be required to submit a treatment, storyboard and / or a shot list.” The top five entries will be given the opportunity to produce their film under the mentorship of the Curious Pictures team. Camera, lighting and sound equipment will be sponsored by Digitalfilm. “Offline edits will be done at General Post in Bryanston and the online will take place at The Bladeworks, with the final mix sponsored by Warren Birley of Fine Tune Audio in Bryanston,” adds Galliard. For more information visit www.generalpost.co.za or www.curious.co.za or www.facebook.com/generalpost.
| PRODUCTION
A new way of shooting films is to be the norm in an increasingly fragile environment – ‘green filmmaking’. Not only is going green environmentally friendly it is thought to save filmmakers’ production budgets, such as running vehicles on bio fuel, using energy saving lights and organic catering, plus promoting a basic appreciation for the natural environment. Karen van Schalkwyk spoke to some local companies about their green approach to filmmaking.
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ith the ever increasing demand on energy and natural resources, filmmakers will need to play their part in adopting green practices to ensure they protect and safeguard the environment. Elle Matthews of Green Shoot Films maintains that the film industry is unsustainable. “It is an enormously wasteful industry, characterised by on set waste, construction waste, food waste and a large carbon footprint. Production companies can do a lot more to minimise their impact on the environment by following green filming best practice, including conserving fuel and energy, avoiding toxins and pollution, saving water and preventing landfill waste, to name a few.” Greg Bold of catering company Spotted Zebra says that everyone’s main objective should be to save the planet. “This is no easy task. As a catering company we need electricity but we plan to cut down our consumption by 35% and use gas instead. Water is also a commodity that we can’t do without but it is necessary for us to save on this precious natural resource.” According to CEO Terry Tselane the Gauteng Film Commission (GFC) promotes green filmmaking. “We encourage filmmakers to be aware of green issues and to use environmentally sensitive production materials and techniques. For example: purchase recyclable products; avoid using Styrofoam and other non-biodegradable products; select caterers that do the same; purchase locally produced products and provide recycling bins on set and in the office as well as practice eco-conscious habits such as turning off equipment and vehicles when they are not in use. All this not only contributes to the economy but reduces wasteful energy consumption.” Maja Heynecke of Permitz SA comments: “The regulating act for environmental issues on film sets — the
National Environmental Management Act (MEMA) — is imminent through Permitz SA’s office. In 2009 the CFC launched its Green Awareness Campaign and, along with the industry, pledged to sustain the environment particularly in terms of filmmaking practices.” Heynecke adds that together with the Cape Film Commission (CFC) they also launched a Green Awareness Campaign on their website. “This offers filmmakers advice and tips on low impact practices and production particularly in the art department, catering and craft services.”
Changing mindsets The industry is generally unaware of green filmmaking practices. Matthews says that they only work with suppliers that are green vendors. “They must buy locally, recycle and take measures to conserve energy and water. We also offer heads of departments (HOD) guidelines on ‘greening’ their department. Some basic regulations or guidelines include: conserving energy in the production office, reducing fuel consumption, saving on paper and ink, reducing waste, conserving locations, donating wardrobe and props and using sustainable material. If companies follow some of these basic principles there would be quite a change.” The challenge, Matthews maintains, is that South Africa does not have the infrastructure and support that overseas productions enjoy. “One of the most challenging aspects as a producer is to re-educate crew and suppliers to encourage them to think ‘green’. Changing mindsets is difficult and at the moment it is still expensive to save the environment on productions, such as paying a recycling company to collect waste material.” Our main responsibility is to ensure people protect the natural world. “We aim to be as environmentally friendly as
possible and make a contribution. To teach and educate people is critical to ensure that everyone knows the consequences of not doing their bit. For example, we use fresh produce in cardboard or wooden boxes and try our best to avoid plastic packaging. The challenge is that many products that are available to the rest of the world are too costly in our country, such as modified starch cutlery and containers. These are so good for you that you could actually eat them. The availability of organic food is still an issue,” says Bold. Heynecke explains that big challenges include litter, fire and open flames during summer. “Alien plants and animals brought onto set and the chance of cross-pollination or contamination are also issues. Chemicals and oil from generators is also a challenge.”
Elle Matthews
International standards But is South Africa on a par with international standards in conserving the environment? Matthews is adamant that we are not. “I don’t think the local industry has really begun to implement environmentally friendly film policies properly yet. A few production companies have incorporated green practices into their philosophy but we need to create a green best practice for our film industry.” Bold says that some South African companies parented by overseas conglomerates are forcing their suppliers to go green. “I think this will benefit everyone in the long run. Green is definitely more of a trend then a fad and people need to take it seriously.” Heynecke maintains that we are on a par with the global community. “There has even been a case where a client has complained that our green regulations are too strict. I think we are heading in the right direction and I encourage all filmmakers to go green,” adds Heynecke.
Terry Tselane
Greg Bold
May 2011 | SCREENAFRICA | 27
FILM |
New Afrikaans film has touch By Karen van Schalkwyk
Shot on Site. Apart from South Point’s involvement in massive inner city development and upliftment, they share our desire to showcase Johannesburg as a world-class city which can look as good on the big screen as New York, London or Paris.”
Money
‘SWEET’ GATHERING – The Semi-Soet team
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rincipal photography recently commenced on a new Afrikaans feature film, Semi-Soet (SemiSweet), which will be released by Indigenous Film Distribution in 2012. The film was shot in the Cape Winelands and Johannesburg and was produced by James and Anel Alexander’s Scramble Productions. Semi-Soet was written by Sandra Vaughn and was directed by Joshua Rous. It stars Anel Alexander (Discreet, 7de Laan, Stander), Paul du Toit (Liefling, Binnderlanders), Louw Venter (The Most Amazing Show) and Sandra Vaughn (Getroud Met Rugby). Semi-Soet came about when the Alexanders and Rous decided that they wanted to do a film that was fun and entertaining. James Alexander explains that after their previous film, Discreet, they really wanted to do something lighter. “We had spent a long time researching which films do best in South Africa and the numbers clearly showed that Afrikaans movies perform well and romantic comedies in particular. The recent good box office figures for Afrikaans films also helped us secure funding more easily. “Semi-Soet is loosely based on a concept by one of Anel’s university friends. After 18 months of writing and re-writes we 28 | SCREENAFRICA | May 2011
finally produced what we think is a high quality commercial script.” The story revolves around workaholic Jaci van Jaarsveld, who will go to any lengths to protect the boutique advertising agency for which she works from being bought and dismantled by a ruthless businessman known as ‘The Jackal’. She convinces a drop-dead gorgeous man to pose as her fiancé for a weekend on a wine estate with hilarious consequences.
Asked how they raised the finance, Alexander responds: “Things are really tight in the local industry and while you have a runaway success like Liefling, you also need to consider that it is the exception to the rule. Based on an average of what local Afrikaans films have achieved to date we finally decided we would spend just enough to access the Department of Trade and Industry (DTI) rebate and put together a budget of between R3m and R4m. “We also enlisted the help of Deloitte’s
Wine estate Part of the story is set on a wine estate and the producers secured Vrede and Lust Wine Estate as a location for no fee. Alexander comments: “We were very lucky but it took months of talking to various wine estates. The deal was pretty complex and we worked at coming up with an agreement PERFECT SHOT – Shooting a scene using the RED One that was beneficial to both the estate and ourselves. They were media division with Judy Prins and fantastically accommodating.” Newton Cockroft. After working on the Some scenes are shot in Johannesburg. script for about six months and sending “Josef Talotta from South Point helped us them information, they compiled an to secure some great locations,” notes investor pack and it took only four weeks Alexander. “Semi-Soet is a test production to secure the funding between private for Josef’s new business which is called
equity, a trust and the IDC.” The film is shot on a RED One, a decision influenced by DOP Nick Costaras. He has created a look that lies somewhere between The Ugly Truth and How to Lose a Guy in 10 Days.
Tough business Alexander says that the challenges of making a film in South Africa are immense. “Every single person on this film could not afford to work solely on it for their income. Everyone in some way supplemented their income in preparation for the film, or made some kind of sacrifice to be part of this project. While we are doing out best to pay everyone a salary they can live on, many of the fees were deferred and this financial pressure made it a challenge for everyone involved. “Another challenge is the legalities and red tape in getting funding released. The money has been available for months but appeasing all the parties that are contractually involved has taken a lot of time and effort. Fortunately, Judy Prins and Paul Raleigh from Film Finances SA and Guy Mcleod, our lawyer from Irish Inc Attorneys, were prepared to burn the midnight oil to make the road as smooth as possible.” The film is aimed at an Afrikaans audience but Alexander hopes there will be crossover appeal. “The glossy look and feel of the film will hopefully pull in an English speaking audience as well. We also believe that it will appeal to the more diverse 7de Laan audience due the familiar faces in the cast of Diaan Lawrenson, Nico Panagio and Anel Alexander. Semi-Soet also stars other exciting talents like Louw Venter, Jody Abrahams and Corine du Toit. This mix helps us to appeal to an audience beyond the Afrikaans market.”
| DOCUMENTARY
Not quite motherly love… A 33-minute documentary (Cape Town – Mother City?) about homeless and street children, partly-based on the personal experiences of young filmmaker Tresor Ilunga Makuna, a refugee from the Democratic Republic of the Congo (DRC), recently premiered at the Idasa Democracy Centre in Cape Town.
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hen Tresor Ilunga Makuna arrived in South Africa as a refugee he was unable to speak English and all he had to sustain himself during the difficult days and months that followed was a belief in his talent to tell a story. He was one of seven children born in Lubumbashi, DRC, and his storytelling ability was revealed at school when he was nine years old. As he grew up Makuna discovered that storytelling was not a panacea for the brutal situation he continually confronted in the DRC. “I am also a defender of justice so I left my country for one main reason – to escape and document the injustice I witnessed there,” explains Makuna. He worked hard to save money to make the journey from Kinshasa to South Africa where he settled in Durban with his two sisters. His first objective was to learn English which he did by reading newspapers and spending long hours in the library. Financially he relied on work as a security guard. However, he never abandoned his dream of becoming a filmmaker and decided to try his luck in Cape Town. It was there that he experienced firsthand the situation of the homeless.
DOCUMENTING INJUSTICE – Clifford Bestall, Tresor Makuna and Visual Impact’s Marius van Straaten
“I had to sleep outside on the streets of Cape Town, sometimes in the car of a Congolese pastor. Other times after reading books in the library, I would check the closing time and 15 minutes before the library closed I went to the toilet where I would spend the night. So I experienced the pain of being homeless.”
Support base He was fortunate to meet Elizabeth Robertson Campbell and James Campbell through a Christian group. “They have accepted me into their family like their own son and supported me a lot,” says Makuna. In spite of all the hardships he had to endure Makuna continued to pursue his dream of storytelling through film. He applied for film scholarships (unsuccessfully) and his break came when Visual Impact offered him an internship. “I worked very hard at Visual Impact for the whole of 2010. During July I heard about a short film competition on the topic ‘My Town’ and I decided to make a
short documentary about the homeless in Cape Town. “The concept of my 33-minute documentary Cape Town – Mother City? was inspired by my girlfriend Dayana Dreke who works in the field of community development and knows street children organisations. She befriended a young American social worker, Ryan Brown Dalton, who spent 16 nights with the homeless in Cape Town. I met him and we shared our experiences and recognised that Cape Town is not a mother city for people living on the streets.”
Research A month before shooting the documentary Makuna spoke to the homeless and street children about their experiences and they all agreed that the concept of the ‘Mother City’ was a misnomer. Based on his research he presented the documentary concept to Visual Impact’s director Marius van Straaten who decided
to sponsor the film with the loan of professional equipment and postproduction facilities. Makuna directed and worked as one of the cameramen on the documentary and the team was backed by two other Visual Impact interns, South African Meijer Janse van Rensburg (editor) and Nelson Ikeh, originally from Nigeria, as first cameraman. The project took six months to shoot and was followed by editing and more pick-up shots. “It was really hectic and stressful for the crew and for me as director as I had never been to film school. All I had was my passion for filmmaking. It was also very hard working in a team as we all came from different backgrounds and had different ideas — but we learnt a lot from each other. This project was not just a documentary about the homeless, it was also a ‘school of filmmaking’ for the crew,” comments Makuna. He has launched a website (www. tresorilunga.com) to promote the documentary.
May 2011 | SCREENAFRICA | 29
DOCUMENTARY | South African director of photography (DOP) Marius van Graan (Ouma se Slim Kind) followed his fate to Kenya over a year ago to shoot a documentary and hasn’t stopped working there since.
Photo by MARIUS van Graan
Shooting Africa
A
fter the documentary more work in various genres flooded in and Van Graan has not regretted his decision to remain in Kenya. “I worked on the documentary with one of my favorite directors, Judy Kibinge, and she suggested that I stay and work in Kenya for a while. After Judy’s documentary I got booked on another shoot and have not stopped working since.” Van Graan is currently shooting a documentary, Ger, about a child soldier from Sudan who was able to escape the destruction of his home country and now works as an international model. “Ger Duany was a child soldier and his story is amazing. He was forced to fight when he was 10 years old and then escaped the war by stealing a donkey. Ger loaded the donkey with AK-47 bullets and used them as currency to trade his way out of Sudan. He walked for months across the treacherous Ethiopian highlands and eventually landed up in Kenya,” says Van Graan. Duany was then taken to live with his aunt and uncle in New York where he models for the Sean John P-Diddy label. He has also starred alongside Mark Wahlberg and Dustin Hoffmann in I Heart Huckabees and has a role in Andy Dosunmu’s new film, Restless City. When a referendum was held in Sudan this year, Duany went back to vote. “He wanted to vote for the right he had fought for and his friends and family had died for. Ger had also not seen his mom and dad for 18 years. This was an extremely emotional trip for him as well us for us 30 | SCREENAFRICA | May 2011
Photo by Kim Ludbrook
On the set of Changes – Season 2, a drama for M-Net shot in Nairobi, Kenya
ON THE RUN – Fleeing from police as they open
fire on protestors with rubber bullets
Key aspect
PhotobybyWanuri WanuriKahiu Kahiu Photo
Photo by Mungai Kiroga
A soldier keeps watch over protestors in Sudan
CHILD SOLDIER – Filming Ger Duany for a documentary in Malakal, Sudan
filmmakers. It really was a contrast to our western lives and the lives of the people of Sudan and how much we take for granted,” explains Van Graan. Interstingly, the name Ger in Nu’er means ‘separate or to be separated’ which, as Van Graan points out, is the story of Duany’s life.
Filming The documentary was shot on a Canon EOS 5D MarkII with 7D Nikon Primes. “The Primes enabled me to shoot in very low light,” notes Van Graan. “It was a challenge to shoot with Primes but I wanted the film to be quite intimate and really put the audience into the chaos that
is Sudan. I shot with a 20mm on the main camera (5D), forcing me to be closer to my subjects and also on a 85mm on the 7D for the really intimate moments. My good friend and long time collaborator, Wanuri Kahiu (From a Whisper, Pumzi), directed the film.” Van Graan says that there were other challenges on the shoot. “Our total crew comprised the director and myself – it had to be that way – so I also recorded sound. The thing about shooting in Sudan is that it is impossible to pre-plan anything. In one place there was only a single flight in and out per week and the plane had six seats, so it was impossible to have a bigger crew. It is also extremely expensive in Sudan.”
The perspective of the human condition is the gospel according to which Van Graan shoots. “I’m often approached by young DOPs and assistants asking me about a particular shot, how I got it to work in a particular way and which camera I used. My answer is always the same – the camera, lighting all those technical things are just the tools. How a scene or situation moves someone is the key. Emotion and integrity of the idea and the moment is what draws people to images and films.” Van Graan loves working in Africa. “There are many challenges but the adventure and people are fantastic. I have worked with a lot of very promising African directors and DOPs who will certainly make their mark. Having shot all over this continent and experienced all the challenges I see a difference in the youth now compared to when I started travelling in Africa about 10 years ago. The youth grew up in independent Africa and are now beginning to come of age. This is the Internet, tech-savvy, social networking generation who are tired of dealing with the same old issues of the past. These are the people with a real vision for Africa.” – Karen van Schalkwyk
Eastern Cape promoted as film destination T films,” says Molebatsi. He travelled to France in March to promote the development of the film and to find a market for locally produced Eastern Cape films. The East London-based filmmaker says the Eastern Cape with its diverse locations, culture and history, offers an untapped opportunity for the film industry. “Johannesburg is saturated and in Cape Town established companies put up barriers which make it difficult for budding filmmakers,” maintains Molebatsi. “In contrast, the Eastern Cape has a rich history and a lot of untold stories. If you look at the landscape and its cultural heritage, you realise there is still a lot of scope for growth. With support from
Anything you want
government and the private sector the film industry here can blossom,” says Molebatsi. He has travelled as far as the United Stated, Europe, Asia and South America perfecting his art through studies as well as photography, film production and television. “I started out as a dancer in the 1980s. Then I heard that the International School of Performing Arts was looking for students from Africa to undertake a dancing and choreography course. I was presented with an opportunity to study performing arts in Brussels as well as film and television for a further three years through the Leeds College of Technologies Host Media Institute. “My interest in film and telling stories
through moving images developed. My dance background also influenced that,” says Molebatsi. Ocean Media’s areas of focus include producing audiovisuals, graphics, performing and visual arts, television broadcast, film production and entertainment. Molebatsi says the ECITI Small Medium and Micro Enterprises (SMME) mentorship programme assists Ocean Media members to develop business skills such as management and finance. ECITI is a subsidiary of Eastern Cape Development Corporation (ECDC). Its role is to help small ICT businesses to properly manage their businesses. They are put through an 18 to 24 month development programme. The length of time spent in the programme depends on the needs of the business. It supports 11 small ICT businesses, nine of which operate at the ECITI hub. The SMMEs that attended the ECITI incubator programme have so far created employment for 25 people.
Photo by Johan Persson
he Eastern Cape Information Technology Initiative (ECITI) incubator programme encompasses Ocean Media, a co-operative entity which is currently involved in a co-production initiative in Bamako, Mali, with a Haitian filmmaker based in Senegal. “We received significant assistance from ECITI which provided filmmaking equipment for the Bamako project,” says Pule Molebatsi, co-founder of Ocean Media. “We intend to take the film to film festivals around the world. When I was in Bamako I was invited to France to meet with commissioning editors. It’s an opportunity to find a market for the film as well as locally produced Eastern Cape
| NEWS
By Karen van Schalkwyk
D
iversity of digital content on cinema screens will be more predominant in the future as sports, live events and music shows are increasingly exhibited by South African cinemas. Recently Nu Metro Films forged a deal with EFC Africa (the continent’s biggest martial arts championship) to bring EFC Africa fights exclusively to Nu Metro cinemas nationwide throughout the year. Mark Harris, content executive at Nu Metro, says that this is a great opportunity. “We can now provide our customers with an entertaining way of experiencing EFC Africa programming live on the big screen. “Digital cinema allows exhibitors to show alternative content like special events, sports events and other digital content that may never have been released theatrically because of the high cost of distribution.” Cinema Nouveau, the art house division of South Africa’s other main cinema exhibitor, Ster-Kinekor, has screened productions from New York’s Metropolitan Opera Live in HD series and the UK’s National Theatre Live
series, as well as Russian ballet productions, for some time. Helen Kuun, CEO of Indigenous Film Distribution, says that the most important changes in cinema exhibition in recent years have been digital technology and 3D. “Even if you do not consider the options for diversity of content that digital cinema affords, you can look at how local films increase their volumes because of digital projection. Last year there were 23 local films released on screens and only a handful on 35mm. Digital delivery is one of the factors that boost the volume and variety of content. The landscape will be completely different in about five to 10 years from now. “Because of the multitude of platforms for screening content that have evolved in the past decade, diversity and variety abound and will be the order of the day as audiences may choose from a variety of content, not just films. Increasingly there will be more niche content on offer.” Harris says that more digital content from Nu Metro is lined up. “From a live perspective we are the exclusive South African cinema partner for Dragonflies and Astronauts that features the Parlotones
DIGITAL VARIETY – A scene from the theatre production King Lear which was filmed live on HD as part of the UK’s National Theatre Live series.
and Driven by Volkswagen, which will be broadcast live from The Teatro at Montecasino in 3D to Nu Metro 3D cinemas around the country and other 3D outlets around the globe. From a pre-recorded perspective we have Lord of the Dance and Carmen 3D also in the line-up.” He points out that it is important to keep ticket prices for alternative content reasonable. “Tickets are slightly higher than normal movie prices for two reasons – the running time of the show is often longer than films and the infrastructure and satellite costs involved for live feeds are different to just screening a normal movie off digital or 35mm projection systems.” Kuun says that the increase in digital
content will provide a wider variety for audiences and make the environment far more competitive. “This will result in the strongest content with a defining market that has the ability to hold screens. Popular sports events, for instance, will take up screens that might traditionally have been held by average feature film content (ie. titles that do not secure high numbers of attendance, not average in reference to the quality of the project.)” But, as Harris stresses, content is always king. “Great content will remain at the centre of what drives the cinema business. We will continue to investigate all types of different content to enhance the customer experience at our cinemas.” May 2011 | SCREENAFRICA | 31
TECKNOLOGYNEWS |
SABC M1 studio revamp The SABC’s M1 music recording studio in Auckland Park, Johannesburg has become the first in Southern Africa to embrace new digital technology used by international recording artists like Lady Gaga, Katy Perry and Mariah Carey. Part of the studio’s two-year revamp as undertaken by Radio Broadcast Facilities (RBF) includes the installation of a C200 Solid State Logic Audio Production Console. The studio was built 38 years ago and previously used for symphonic music concerts and live CD recordings, counting Miriam Makeba, Johnny Clegg and Ray Phiri among its former clients. Digital radio specialist and project leader Junior Qwabe says the console makes the transition from analogue to digital technology smooth and easy. “The controls and engine of the console are digital, but the surface is analogue, so you still feel like you’re working on analogue, but the process is digital,” explains Qwabe. He says the digital upgrade has several
important benefits. Among them is the fact that support and monitoring is much easier because it can be done remotely and only two fibre optic cables are now connected to the stage box instead of over 50 cables, simplifying the logistics around recording. The new SSL console also offers seamless integration with Pro Tools and records in 5.1 surround sound for high definition (HD) television, as used by Fox and CBS in the US.
Live radio feed In addition, the studio can feed directly to the SABC’s radio main control, which allows anything recorded there to be broadcast live on all 18 SABC radio stations. The launch event in March was distributed live to Metro FM, Lesedi FM and Radio 2000. Qwabe says there is not a lot of manpower involved, since stations get the feed directly from radio main control. This also gives recording artists the
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32 | SCREENAFRICA | May 2011
A SOUND FUTURE – Launch of the newly revamped M1 studio
flexibility to record and send the music directly to the SABC in-house radio stations, without the necessity of CDs being cut and delivered. “It was quite a challenging project, but South African musicians appreciate the space and want to use it. For me, seeing the demand means we’ve done a very good job,” says Qwabe. According to SABC spokesperson Kaizer Kganyago the technology symbolises a new bond between the SABC and the music and performing arts industries, and presents a new era of digital technology. The venue is now registered with Computicket and will be hired out to host
music productions, DVD recordings and SABC corporate promotions. The stage has been made wider with a 12.5metre motorised track curtain. Seating capacity was increased from 160 to 300 and a fully motorised lighting rig was added to allow for TV and video productions. The revamped studio also features a Business Zone, meant to provide an area where artists, sound engineers, music producers and recording company owners can network. According to RBF general manager Gelfand Kausiyo staff worked night and day shifts to finish the studio before the end of the fiscal year deadline. – Linda Krige
Going wireless
S
outh African outside broadcast (OB) company Dimension Television Facilities recently purchased the new generation RF Vislink wireless cameras and used them very successfully for the Sunshine Golf Tour and other productions. Says Dimension’s marketing manager Harry Nieuwoudt: “The unique manner in which the Vislink (HD, SDI and analogue) controls camera data is exceptional. For the vision operator there is no difference between the cable camera and the wireless Vislink RF camera. Colour matching for these cameras is simple because the vision mixer uses the normal remote control panels in the OB. “The reception of video information is enhanced via broadband down converters, which enables us to use various antenna configurations at several high sites and transfer the information back to the decoders at much lower frequencies through normal 75ohm cables or by using fibre camera cables. In addition to video, the Vislink system also allows up to four audio channels (microphone or line level)
and a choice of phantom power. It is a very versatile system.” Dimension recently covered the Cycling Tour of SA using Vislink RF cameras and the company’s own microwave links. “We also did the Cape Argus Cycle Tour using three OB vans and RF cameras, which allowed us to do tracking shots from two motocycles,” notes Nieuwoudt. “For the past eight years we covered the Sunshine Golf Tour and have also done numerous shows such as the You Spectacular, Woman of the Year Awards, Skouspel Plus and Huisgenoot Skouspel.” Other big events include the 2011 UCI Mountain Bike World Cup Championships in Pietermaritzburg and the Survival Final at Rand Airport. Another highlight was covering the V8 Super Cars motor racing at Kayalami, which was done with six on board cameras as well as a helicopter link to the OB van. Dimension Television Facilities also supplies OB fly away units throughout Africa. – Karen van Schalkwyk
| MARKETING
Jock merchandising at a store near you…
The much anticipated animated South African film, Jock of the Bushveld 3D, will be released on 29 July. One of the unique aspects of the film is its merchandising, which is a first for South African animation, writes Karen van Schalkwyk.
C
himera Communications’ Cheryl Hunter, the ‘PR engine’ for Jock of the Bushveld 3D, explains that the film has numerous character licence and merchandising partners. “Among many other partners Jock apparel will be sold in Woolworths and there will be a Nestlé Smarties competition run together with the 40g box.” Jock partners that will run promotions and merchandising from May onwards (some from July) for two or three months after the movie’s launch include Bobtail, Beeno Biscuits, BP, Edgars, Mr Price, KFC, Penguin Books and FNB. Most retailers will sell Jock-themed Lacey’s Lucky Packets and bubbles in their stores. One of the first merchandising partners to come on board was Edgars. Says Hunter: “Edgars specialist buyer, Alcora du Plessis, made it very clear from the start that they were proud to be aligned with the movie as it forms part of South Africa’s heritage that almost everyone can relate to (the film is based on Sir Percy Fitzpatrick’s classic novel of the same name). Jock T-shirts will be available at selected Edgars stores.” Animation is one of the biggest genres to make use of character licensing and merchandising. “Historically most of the animated films with licensing potential that have been shown in South Africa have come from the US or Europe,” continues Hunter. “As Jock is one of the first full length animated movies to be made in South Africa, there has not been much opportunity for local merchandising until now. “Getting buy-in from companies was relatively straightforward. Most of the companies we approached already had some experience in character licensing and when presented with an opportunity to get involved with Jock, they jumped at the chance. We set up a small 3D viewing facility at our production studio, put together a comprehensive marketing presentation and invested in a top class style guide at the outset so that marketers could see we were really serious about the project.”
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Privately financed The film was entirely financed by private equity which means that no licensees have invested directly in the film. “Licensing deals were designed to suit the particular needs of each licensee,” notes Hunter. “Some were straight royalty fees on sales and some were a one-off fee. The challenge was convincing marketers that we have the capability in this country of making a world class animated film. Once they saw some of the footage they were convinced.” One aspect that the Jock merchandising team underestimated was the keen market interest in the film. “Our initial hope was to secure brands in four of five main categories – clothing, toys, dog food and books but we have ended up with about 15 licensees. When we started out we did not have any particular brands in mind – we simply wanted to ensure that those we signed up share some of the values and spirit of the Jock brand,” comments Hunter.
Matte boxes
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Positive response Although the movie is still in final stages of post-production some excerpts have already been screened locally and internationally. According to Hunter the response has been phenomenal. “This is true even of overseas festivals such as Annecy in France, where the audience had no existing awareness of the book and so no cultural affinity for the story. We believe that kids everywhere will love the film. This will obviously impact on merchandising sales as kids like to associate their favorite movies beyond the cinema environment and nag their parents to buy character-themed products.” Hunter believes that more local films will go the merchandising route. “The local appetite for character licensing is substantial and the additional revenue stream that is created enables film producers to spread the financial risk beyond the total reliance on box office returns.” Andy Rice, marketing director for Jock, states: “We have had fantastic support from South African marketers. Without exception they have welcomed the brand that we are sure will reach a global audience.”
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May 2011 | SCREENAFRICA | 33
MUSICVIDEO |
Down the rabbit hole Music videos, like commercials and films, work best if there is a strong concept behind them. The idea for the new Jesse Clegg music video was to create a magic, gothic feel reminiscent of Alice in Wonderland.
J
esse Clegg’s latest music video was shot at A Studio Called Wonder in Johannesburg and the whole set was built in miniature. No mean feat. Anna Walton of Terraplane, who produced and facilitated the shoot, explains that when director Dan Roberts and Jesse Clegg chatted about his new album they discussed the possibility of a music video for the track called Clarity. “Dan then mentioned to Jesse that he was keen on doing the music video and came up with a treatment. This started the process and once Dan had formally pitched Terraplane, he pitched to produce the video,” says Walton. Clegg was involved right from the start. “He and Roddy Quinn (his manager) CREATIVE FREEDOM – Jesse Clegg in the music video for his hit song Clarity
This allowed us to create fresh new locations that no-one has ever seen. I am sure everyone is going to wonder where we shot the video.”
Lyrics and theme
were present at all our meetings. Jesse popped in when they were building the miniature sets and then later when we filmed the models of the sets. He was very interested throughout the process which was great. “I think Dan was the best person to direct as he is versatile and passionate. The other crucial person was Garreth Fradgely, who is also a filmmaker and came on board as the set and model builder, cameraman and animator.” The biggest challenge was building the sets. Says Walton: “Model makers charge a high end rate. We were looking for people who were clever with their hands but who weren’t going to charge the 34 | SCREENAFRICA | May 2011
earth. The model building took place over a three-week period. “Another challenge was finding the right equipment for rear projection. This was crucial as we needed the right screen and projector for the job. The projector was used to project the model onto a large scale background. AV Systems helped us with this. “Garreth was the other key person who helped Dan with the project. We also got a great rate from A Studio Called Wonder which helped with our budget.” Walton explains that budgets are often an issue with music videos. “However Dan came up with the genius idea of building the entire world in miniature.
Roberts explains the concept behind the video: “I normally look at the lyrics and theme of a song. The key phrase of ‘Let’s go down the rabbit hole’ kind of leapt out at me. The central theme of the song tells of an unrequited search. It’s an unusually strong song lyrically so that helped get the creative juices flowing. “Alice in Wonderland was an obvious place to start and gave it a magic / gothic quality. However the Australian short film The Mysterious Geographic Exploration of Jasper Morello was probably more influential in the end. The sense of searching needed to be the thread of the video and we embodied it by creating an animated ‘doppleganger’ character.” Roberts elaborates on how he shot the video. “I have wanted to work with Garreth Fradgely on a project for a while. He’s an unusually talented filmmaker and likes to dabble in all different aspects of filmmaking. We liked the Steampunk of
Jasper Morello and we knew we’d never find the locations we imagined so we decided to build our own. I think that the best creativity comes from constraints you impose on yourself. “We decided on the following rules: we would use no green screen, no 3D and no locations. Our plan was to build an entire world in which the story takes place in miniature and compose the images through the camera using a rear end projector and animate them with stop frame. These techniques are as old as film itself, it just takes more time to do. But this hands-on approach felt right with the grittier, darker tone of Jesse’s new work.” The video was shot on a Canon 5D and 7D. Roberts and his team went this route as these cameras suit stop frame and have, according to Roberts, the best quality to budget ratio of any camera currently available.
Creative format One of the great aspects of music videos is that they allow for creative freedom. “The notion of freedom is so often misconstrued in film,” notes Roberts. “I’ve seen some terrible work done with too much freedom and I’ve seen some great work done under mind numbing restrictions. This is a great medium for me because I love music and am a musician myself. I did Johnny Clegg’s first music video in 1983, Scatterlings of Africa and now in 2011, his son Jesse’s video. Who would have thought? I am honored to have had those opportunities in my career.” He adds that music videos are a challenge but also great because the bar has been set so high with all the classy work produced in the genre. “This genre often boxes above its weight. Jesse’s album was also produced in Canada and it really shows so we didn’t want to let the side down with the video. Jesse and Roddy Quinn really came to the party helping us to achieve the vision,” says Roberts.– Karen van Schalkwyk
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WILDLIFE | Great white sharks have a bad reputation and many people fear this powerful predator of the sea. However, Chris and Monique Fallows of Apex Shark Expeditions hold these unique creatures dear to their hearts and have studied them for many years. Karen van Schalkwyk reports.
F
or the past 15 years Apex Shark Expeditions has worked with broadcasters such as National Geographic, Discovery Channel and the BBC to showcase the great white shark to a global audience. Chris Fallows’ fascination with great whites started when he was working on a tag-and-release programme with local fisherman. “One day we caught a small great white and this sparked my fascination. I was offered a volunteer research position working with great whites and then in 1996 I started my own company with a colleague and later formed Apex Shark Expeditions. However, my fascination and passion is with all wildlife as I grew up visiting nature reserves in Africa.” Fallows is well known for his wildlife photography work. One of his most recognised photos is that of the great white breeching off False Bay. “This image has been on over 300 magazine, newspaper and print images globally.” Although Apex does not film
documentaries it facilitates international crews and Fallows is often the presenter on these programmes due to his extensive great white knowledge. “We have worked with all the major broadcasters on a number of documentaries but the most successful has been the Air Jaws series for Discovery. This all came about in 2001 when documentary filmmaker Jeff Kurr came out to do the first programme in the series. “In 2002 we filmed Air Jaws 2 and in 2010 Ultimate Air Jaws. These shows were aired on Shark Week and Ultimate Air Jaws became one of the most successful shows ever, watched by 3.5 million viewers. “The Air Jaws series captures great whites around Seal Island (off False Bay) and it is incredible to watch these animals due to their power, agility and strength. We get up close to the sharks and they are filmed from kayaks. Sometimes the camera is used as a decoy and we film from the boat and use small GoPro video cameras that capture the diver’s point of view. With the Ultimate Air Jaws
“We do not have any more right to the environment than other creatures. The amazing thing about predators like the great white is that they are just going about their daily lives.” – Chris Fallows
Photo copyright: Chris Fallows/apexpredators.com 36 | SCREENAFRICA | May 2011
programme some fantastic footage was shot on the Phantom camera at high speed up to 2 000 frames per second. We also use high definition (HD) underwater cameras which are attached to big rigs.” Generally crews are from five to 10 people but Fallows maintains that it is better to work with smaller crews on these documentaries. “It is extremely tiring as the shoots normally take up to three weeks to get all the footage and sometimes we are out there for 10 hours, seven days a week. Safety is critical so weather conditions form an important aspect of when we can go out and film.”
Understanding wildlife The other challenge is having crews on board who do not understand wildlife. “Some crew members just do not understand the conditions and want the animal to behave immediately. We always place the animal first and never push an outcome,” explains Fallows. He believes it is their flexible approach that has made the Air Jaws documentaries so successful. The crew does not have any pre-determined ideas before going out to film and works with what happens on the day. Fallows’ and wife Monique’s passion is tangible. Monique comments: “We just love being out with the animals. Chris’s enthusiasm rubbed off on me when we
met. We are naturalists and it is great to do what we love. The animals allow us into their space and we respect them immensely. When you are out there you can easily pick up levels of distress or discomfort with the animal and we always respect their space.” Fallows feels privileged to work with great whites. “I love seeing these magnificent animals of the sea. The most important aspect for us is to share the planet with nature. We do not have any more right to the environment than other creatures. “The amazing thing about predators like the great white is that they are just going about their daily lives. People do not have enough respect for their natural world. More than 100 million sharks are killed each year by humans, compared to three or four fatal shark attacks on humans a year. Human beings are wasteful, sharks are not. The great white is an incredible creature. There are possibly less than 2 000 great whites left in the water today.” It is hoped that the documentaries can inform people about these animals so that they change their perspective. “These documentaries give less privileged people a wonderful opportunity to experience and learn about the natural world. The great white is not a human killing machine but a wonderful creature of the sea,” concludes Fallows.
SCREENAFRICA technology + production
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WILDLIFE |
Reports by Joanna Sterkowicz
You’re suddenly struck with a great idea for a wildlife / natural history programme. Fantastic! But what happens next? Who do you pitch this marvelous concept to and why? A panel of international commissioning editors and producers answered these vital questions at the recent Wild Talk Africa Wildlife Filmmaking Conference in Stellenbosch.
What they want A
channel that may be unfamiliar to some Screen Africa readers is Smithsonian Channel, a partnership between the US’ Smithsonian Institute, CBS and Showtime. While the channel is only four years old, the Smithsonian Institute has a long track record with natural history. All programming produced for the channel goes through the Smithsonian Institute for facts to be checked. “We differ from other channels in that animals in our programmes do not necessarily have to be seen eating other animals or humans,” noted David Royle of Smithsonian Networks. The channel looks for programmes about daring pursuits, rare adventures, ‘stories from the vault’, science and technology topics, re-inventions, the unexpected and the life changing. Examples are Running with Wolves, Street Monkeys (filmed in South Africa), Diving with Crocodiles and Mission Critical: Amphibian Rescue. Royle stressed that because Smithsonian Channel is small it likes to co-produce with partners that bring finance to the table. The higher the budget, the more difficult it is for the channel to commission. “All our programming has to be HD as we put big emphasis on visual imagery. In terms of audio programmes must be delivered with 5.1 sound,” continued Royle. “Smithsonian Channel produces 100 hours of programming a year but it’s not all in the natural history genre. However we expect the natural history slots to grow in the future.”
BBC NHU In 2010 BBC Natural History Unit (NHU) put out 55 hours of natural history programming; 36 hours were produced in-house and 19 were outsourced. “Our logline is: ‘Wherever nature leads, we will follow’,” said BBC NHU head Andrew Jackson. “I always advise producers not to think about budgets upfront because the stronger your idea the bigger the budget we will give. If you look at the mega series Planet Earth – the kernel of that idea is very simple – let’s find some great wildlife and film it.” Jackson revealed that the slot between 8pm and 9pm on BBC1 (the BBC’s primary entertainment channel) is available for wildlife / natural history. However this slot is up against very big 38 | SCREENAFRICA | May 2011
strict requirements – Back row: Andrew Jackson (BBC NHU), Michael Mavretic (National Geographic). Front row: Andile Genge (SABC), David Royle (Smithsonian Networks), Vyv Simson (NHU Africa), Oloff Bergh (Triosphere). shows on other channels. BBC1’s Sunday teatime slot is specifically for natural history but it is very competitive. New NHU shows are tested in this slot. “BBC2 is the home of the Natural World strand,” continued Jackson. “Twelve hours are produced annually for this strand, with six to eight of these produced by independent companies. Last year we had a story about rejuvenated Iraqi marshes which had a great central character, an Iraqi man with a dream. “There is a bit of natural history on BBC3 but it’s a youth skewed channel with shows like Mad, Bad or Barking.”
National Geographic About 60% of the National Geographic Channel audience is male, aged between 24 and 50 and in the higher economic bracket, while Nat Geo Wild is aimed at a family audience. “In the past we’ve only done one-hour programmes but are now considering half-hour series,” said National Geographic’s Michael Mavretic. “We’re looking for big one-off specials or ideas that could become series. One-offs are difficult to do and to schedule so we don’t produce that many. “I would advise filmmakers to think big when conceiving their projects. National Geographic’s viewpoint is to focus on our viewers. They’re very intelligent and they’ve seen a lot before so the pressure is on us to show them something new. We’re looking for a one
of a kind – be it one of a kind animal behaviour, access to a topic, presenter, style or format.” Mavretic emphasised that National Geographic programming needs to convey to the viewer what the subject matter “feels like”. The experiential Nat Geo Wild is a year old and full of blue chip shows and reality formats, such as Expedition Wild with Casey Anderson, The Great Rift, Swamp Men and Big Cat Week.
NHU Africa Although Cape Town based NHU Africa is not a channel it commissions, coproduces and distributes natural history programming. Said NHU Africa’s Vyv Simson: “’When someone pitches a programme to me I have to consider very carefully who will buy it and who will watch it. I need to make sure every idea I receive is based on a well thought out idea and story. Quite often issues are pitched to me and, although they are important, there’s no thought of a show around them. “NHU Africa is looking for a good storyline; it can underline an issue but the issue can’t be the central driving force of the show. Before you come and see me with a pitch you need to answer the following questions: what is the story, what is it based on, who is it for and how will it look on TV? “I’m looking for a story that can’t be easily replicated. It’s easier for most natural history audiences to relate to
animal programming if there is a human-animal relationship in it. I commissioned the Foster Brothers’ Into the Dragon’s Lair as it’s a unique and intriguing film about diving with crocodiles and there is a big element of danger in it. This is an expensive, one-hour one-off show which means that it is very hard for broadcasters to schedule. I only commission a limited number of 60-minute films for this reason. “What I’m looking for are lower budget series of up to 10 episodes that are based in Africa. However I don’t want animal release or vet stories as they’ve been done to death. I advise producers to think about stories and events rather than issues and information.”
NHK Japanese national public broadcaster NHK has two natural history slots: a 30-minute documentary slot called Nature Wonderland and a one-hour slot for blue chip series. The target audience is family and the focus is on decisive moments in the wild.
Animal Planet US This channel targets 25- to 50-year-olds and is slightly female-skewed. Its logline is: ‘Surprisingly human’. Animal Planet US looks for emotional stories about humans in a natural world. Some of its most successful series are Pets and Dogs 101.
A blue chip BBC documentary Nature’s Great Events: The Great Tide was dependent on a single sequence – the annual sardine run off South Africa’s east coast. If the filmmakers didn’t manage to capture this event, there would have been no film…
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inter weather and ocean currents each year trigger the sardine run, which results in the largest gathering of predators on the planet – dolphins, sharks, seals, Cape Gannets and whales – each desparate to feast on the great tide of sardines. A truly momentous event with spectacular possibilities for film except for one thing – the sardine run doesn’t always happen. Such was the case in 2007 when BBC Natural History Unit (NHU) producer Hugh Pearson and his crew set out on the first of three shoots. “The run has become increasingly
photo by Rogeer Horrocks
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All or nothing WATERY WONDER – Justin Maguire filming gannets feasting on the sardine run unpredictable in recent years because of climate change. It was very frustrating for us to come back with nothing from our first shoot,” said Pearson in a session at the recent Wild Talk Africa Conference in Stellenbosch. When planning the documentary Pearson took a gamble by assigning many more camera crews than for an average wildlife documentary including an underwater crew, a crew on the boat and an aerial cameraman. “I made sure I had the very best people – Didier Noirot (the late Jacques
Cousteau’s cameraman) underwater with Roger Horrocks assisting, Justin Maguire topside and Simon Werry on aerial photography. Didier used a Sony 900HD as well as a Super 16mm camera that captured slow motion footage at 75 frames per second. Cameras used above the water included a Varicam and a Photron, which is capable of filming slow motion at 1 000 frames per second. “Topside we had a boat stabilised mount so that the camera could be put on a tripod. We also mounted cameras on each side of the boat for dynamic tracking
shots. A microlite plane directed us to where the action was,” explained Pearson. The crew comprised 18 people. Pearson scheduled three main shoots over a period of two years as no-one knew exactly when, or if, the action would happen. As it turned out the sardine run only took place in the last days of the third shoot in 2008. “We had to plan to film others things in addition to sardine bait balls as you can’t sustain a 50-minute film with them alone,” continued Pearson. “So we went to Bird Island and captured great images of the Cape gannets to build the background story of the film. “We took many risks to make this film and it was a rocky ride as we almost didn’t get the sardine run. Had that been the case then we would’ve delved into the BBC’s archive and compiled a film about the fact that the run did not happen.” For post-production Pearson used “the best editors in the UK” in a 10-week offline edit to hone the story. This was followed by 10 days of fine-tuning the script for narration. A vital component was the three-week sound overlay. Music was composed for the film by Barnaby Taylor and performed by the BBC Orchestra. In fact the score won Wild Talk Africa’s ROSCAR Music Award, which was presented in Stellenbosch on 30 March.
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AFRICA |
Reports By Martin Chemhere
Co-producing with Spain
African cinema projects to the Spanish co-production market. Dominguez believes that as Spain produces an average of 170 feature films a year and about 40 international coproductions, there has never been a better window of opportunity for African filmmakers. “It’s not the biggest market in the world, but the quality and quantity of its films makes Spain an interesting co-production partner. We cannot forget that Latin America is an important untapped market of 350 million people.
Not only do central and South Americans speak Spanish, it is also the second language in the US. There are more that 80 million Afro-descendants in Latin America alone. So the potential is huge,” says Dominguez. Despite the lack of film co-production or any signed co-production treaties between Spain and Africa, the main goal of Africa Produce is to introduce African cinema to Spanish film production companies. Dominguez is convinced that there are good opportunities and stories coming from the African continent. “We met 23 top Spanish producers in 2010 and about the same number in 2009. Our follow-ups have resulted in signed development agreements with Spanish companies.” He also reveals that through FCAT, the parent company for Africa Produce, they have created an African film festival network (including eight festivals in Africa, Europe and the US) to establish a circuit for African film projects so that they can be presented in diverse territories. “We have entered into an agreement with the Africa Press Organisation
are told from generation to generation by word of mouth. Animation is now allowing us to bring these stories to life in a colourful way.” Like every African story Mark of Uru has a lot of lessons embedded in it, like loyalty, bravery and female empowerment. The story is about Azuka – a girl born
with a birthmark identical to the tattoo of a sorceress Uru, who died long ago. Despite her mother’s effort to conceal the birthmark, it is eventually discovered and the killing of the child becomes imminent to protect her people from the curse of Uru. The intervention of the earthbound elemental spirit Isi-Agu and his protégé Etido forestalls Azuka’s execution. She is taken to a sacred mountain well beyond the reach of family, friends and foes. Azuka grows into a woman under the protection of Isi-Agu and Etido, and the news of her survival sparks a manhunt initiated by people bent on her death. The chaos is heightened by the emergence of malignant elements with the intent to capture her and utilise the powers she might posses. Caught in the midst of the chaos, her longing for answers grows. With the assistance of a band of outcasts, she
WINDOW TO SPAIN –
Carlos Dominguez
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he Spanish co-production market now offers more opportunities for African filmmakers than ever before, says Carlos Dominguez, coordinator of Spain’s Africa Produce film forum. This year the third annual Africa Produce will take place during the African Film Festival of Tarifa (FCAT) on Spain’s southern coastline. The forum brings together African filmmakers and Spanish producers, television commissioning editors and co-production managers, with the aim of introducing
Driving 3D animation in Africa A UK based company is hoping to transform the animation industry in Africa with its brand of 3D animation.
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ransTales Entertainment is currently developing the continuing story of the hit 3D animation series Mark of Uru into a 14-part television series. The earlier version of Mark of Uru completed in 2009, which consists of five episodes of 24 minutes each, is available on DVD and has become a success in Nigeria and with the US’s AfricanAmerican audience. It is an ongoing series with six episodes already made. TransTales CEO Segun Williams says the future of animation in Africa is very bright. “Africa is a land of stories filled with myths and legends; culturally stories
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(www.apo-opa.org) to get better media coverage in Africa. The National Film and Video Foundation in South Africa also helps us disseminate information, as do Spanish embassies and cultural centres on the continent.” In some instances Africa Produce offers financial assistance to African filmmakers. In 2009 and 2010 an incentive fund was introduced where Spanish producers that entered into co-productions received EU5 000 (R49 650) to develop a project. No funding has been secured this year as yet. The language barrier was overcome by script translations and the provision of immediate simultaneous translation at meetings and pitching sessions. One of Africa Produce’s major highlights is the development of two films from Senegal and Mali, by Spanish producers that were presented in previous editions. African countries that have supported Africa Produce include: in the feature films (fiction) category: Nigeria (four), Cameroon (four), Senegal (three), Namibia, Burkina Faso, South Africa-Uganda (one co-production between these two countries), Mali, Zimbabwe, Ivory Coast, RD Congo and Ghana. In the documentary category filmmakers came from Burkina Faso (three), Cameroon (two), RD Congo (two), Equatorial Guinea, Senegal, Mozambique, Kenya and Zimbabwe.
embarks on a grueling journey through the most treacherous terrains to unravel the mystery behind her bizarre birthmark.
Deep love So far TransTales has produced several 3D animation short films such as Anya and African Tales, as well as features Pride of Perdition and Enemy of the Rising Sun. The latter won the United Nations World Summit Award in 2009 for the best use of technology to promote African culture. It has also screened at festivals around the world such as the Pan African Film Festival and Black History Walks. Williams stresses that TransTales Entertainment is at this point not competing with western animation, as what it does is different. “We are telling our own stories as Africans in Africa and with that privileged perspective. Many of our fans are from the black diaspora community and generally people from places like India and Europe have been open and receptive of our type of animation. We make our films family friendly and accessible to children.” TransTales’ market is mostly online for now and its product is also funded through DVD sales, distribution and screenings. The near future will see the company launch animation merchandise. They hope to partner with some mainstream distributors soon.
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Ghanaian film set for festive release
Originally scheduled for a December 2010 theatrical release, the hilarious Ghanaian family comedy Masquerades will now hit the cinemas this festive season.
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roducers Zedec Entertainment say this ‘feel good’ film is specifically positioned as a Christmas movie. “For this reason we wanted to premiere it before Christmas 2010 as it made good marketing sense to do so. However, we were assigned a release date of 30 December, which created many limitations for us. Since the film is specific to the festive season our only option was to postpone it to Christmas 2011,” says Abiba Nelson of Zedec Entertainment. The 70-minute comedy is based on a story by Ghana’s leading duo of filmmakers – Lydia Forson and Habiba Nelson – with the screenplay by David Ammah (Razer). It was directed by Xavier Arijs from Belgium and shot in and around Accra, Ghana’s capital city. Masquerades explores contemporary family life and mirrors Ghanaian society. All the characters in the film undergo a journey to rediscover the true meaning of Christmas in an untraditional way. After several years apart, a family is drawn home by a tragedy – their uncle is recently deceased and they are charged with the responsibility of burying him. As funeral expenses pile up, each member of the family is determined to maintain a lifestyle that demonstrates how rich they claim to be. However, underneath the facade is a dysfunctional family that struggles to keep up appearances. As the
UNMASKED FOR CHRISTMAS – Director Xavier Arijs, Lydia Forson and Ebenezer ‘Katawere’ Donkor
story unfolds it is revealed that everyone has something to hide. A series of hilarious events leading up to the funeral and Christmas uncover all the family secrets. In the clash of egos, each family member is forced to confront their true identity. Masquerades demonstrates the value and importance of family. The underlying message of the film is to be true to oneself and to enjoy the simple things in life.
All star cast The cast comprises the crème de la crème of Ghana’s top actors including Desmond Elliot (Ghana Movie Awards (GMA) Nominee), Adjetey Anang (AMAA
Winner, GMA Nominee), Lydia Forson (AMAA Winner, GMA Nominee), Senanu Gbedawo (GMA Nominee), and Ebenezer ‘Katawere’ Donkor (GMA Nominee). The only non-Ghanaian is Nigerian Desmond Elliot. “I loved working with the cast and crew – they made the whole filmmaking experience wonderful,” says Nelson. “We are the first company to bring together in one movie the vernacular and English speaking film industries in Ghana. This has never been done before. Everything about this movie is original and I am very happy about that,” says Nelson. Masquerades was funded by Ghana’s rLG Communications, one of Africa’s leading mobile phone manufacturers.
Ebenezer ‘Katawere’ Donkor and Desmond Elliot
Ghana-US co-prod plans African première
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he Destiny of Lesser Animals, a new crime-themed feature film shot in Ghana and the US, hopes to have its African premiere at this year’s Durban International Film Festival (DIFF) which takes place in July. A theatrical release date is not yet set for the film, which premiered in the US in April during the Film Society of Lincoln Center’s (FSLC) New Directors / New Films programme in New York. “We hoped to screen at this year’s FESPACO in Burkina Faso but unfortunately the rules have changed and my status as a director of non-African origin disqualified the film from entry,” says director / producer Deron Albright. The film is written by Ghanaian Yao B Nunoo, directed by Albright and produced by Albright, Francis
Gbormittah, Dede Maitre and Nunoo. Loriann Schneider is co-producer. Shot in 24 days in Ghana and the US between 2009 and 2010, the film is 87 minutes long and is in English, Fante, Pidgin, Twi, Ga, (all languages indigenous to West Africa) with English subtitles. It is delivered in HDCAM format. Albright produced the film while he was on a Fulbright Senior Fellowship, teaching film directing at Ghana’s National Film & Television Institute (NAFTI). The Destiny of Lesser Animals follows Ghanaian police inspector Boniface Koomsin (Nunoo) as he embarks upon a dangerous and crime-laden journey to recover the one thing that can help him realise his ultimate dream— to escape the
ghosts of his past and return to the US. Nearly a decade after deportation from the US, the inspector makes the last payment on a ‘perfect’ counterfeit passport, only to have it immediately stolen. Desperate to recover it, Boniface enlists the resources of the police on the pretence of a stolen pistol, and follows a tip-off to the capital city of Accra and the counterfeiter who crafted the fake passport. The Destiny of Lesser Animals is about the very human (and often difficult) struggle to reconcile one’s dreams with the reality of the world into which we are born. It is also a film about journey and return, about understanding the value of culture and history, and about the difficulty of accepting a home that was once left behind.
The film breathes new life into the Ghanaian film tradition and forms an important part of the renaissance of West African film. As a Ghana / US collaboration it also aims to demonstrate the best of what cooperative transnational cinema can be, as well as how both stories and lives may be shaped by those who are willing to believe that the things that bring them together are far greater than that which tears them apart. Albright and Nunoo first met in late 2004 when Albright was casting his short, The Legend of Black Tom. Two years later Nunoo developed a police themed script set in Philadelphia. When Albright returned from screening The Legend of Black Tom at FESPACO he pitched the idea of shooting in West Africa to Nunoo – and The Destiny of Lesser Animals sprang to life. May 2011 | SCREENAFRICA | 41
AFRICA |
Reports by Martin Chemhere
It’s always good to hear positive stories coming out of countries racked by political and economic crises. Here is news of vibrant filmic activity in Zimbabwe.
New feature funded by cast and crew
UNIQUE FORMULA – A scene from Depraved
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imbabwean director / producer Stephen Chigorimbo recently completed shooting his new local thriller, Depraved. “This is a ground breaking movie in terms of technical quality. I believe it is a notch above the usual bland productions that come out of Africa,” says Chigorimbo. Depraved was recently previewed in Zimbabwe’s capital city Harare and has created a big buzz locally. It also sees
SA producer assists Zim industry
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y the end of May the initial selection of actors scouted in Zimbabwe for a training collaboration between South African company RAP Casting Agency and Zimbabwe’s Amakhosi Productions will be completed. The project involves training Zimbabwean film and television talent in South Africa before their subsequent return to their home country.
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Chigorimbo’s long awaited return to the big screen as an actor. Many local cinema goers will welcome seeing Chigorimbo, who rose to popularity from his performances in Zimbabwe’s longest running soap, Studio 263, where he starred as the original Mr Huni. Entirely funded by the cast and crew in what Chigorimbo describes as ‘a unique formula developed by the producers’, Depraved will certainly uplift the bleak mood prevalent in the local film industry.
Pretoria-based producer Stephen Visser, who wrote and directed the short film Evil Runs (starring Zimbabwean Melgin Tafirenyika) in 2010, held meetings in Zimbabwe with Amakhosi’s founder, the multi-awardwinning producer Conti Mhlanga. Visser’s RAP Casting Agency is described as “an art production company full of ‘vibey’ artists, with over 500 listed members”. It has supplied artists from extras to lead characters for film, television, print commercials and catalogues for models since 2004. “The idea is not to bring Zimbabwean actors to South Africa,” says Visser, “it is to train Zimbabwean actors and return them to their country so they can develop their own film and television industry. The local film
There has been a lack of private and public support for the industry, which has also been affected by the country’s economic melt-down. At 115 minutes long, Depraved stars emerging talents like Angeline Ngorima, (Millicent) alongside leading television and film actor Admire Maramba (Steven) and Chigorimbo as Mr Banda. This romantic thriller will keep film audiences glued to the screen with the message that people should not get
industry in Zimbabwe is dying and young people do not receive the professional backing they need to develop. This collaboration will contribute towards creating a vibrant film and television industry there.” RAP has worked with Zimbabwean actors for almost four years and Visser is impressed by the talent in the country. Tafirenyika, who is on RAP’s books, appeared in the short film Harvest of Time, the television series Isidingo, Strike Back and the short film Game Mates plus on billboards. The success of Zimbabwean film and television talent is well documented in South Africa, where Tongayi Chirisa starred in the all time box-office hit film Mr Bones 2: Back From The Past, a Videovision Entertainment production
carried away by their emotions. On the first day Millicent sets her eyes on Steven, she decides she wants him. The problem, however, is that Steven has paid lobola and plans to marry Natasha (Netsai Mavhunga). Shot entirely in Harare over four weeks for $100 000 (R672 000), the film was written by Admire Maramba, directed by Chigorimbo and produced by both of them in co-production with Mighty Movies. Chigorimbo’s Africa Sun Pictures is the production company. Launch dates have been slated for May / June this year in Harare with distribution plans under the auspices of Afriwood, a new distribution company that aims to promote African stories. The Zimbabwe-based Afriwood works closely with nine other countries that cover all regions in Africa – east, west, north and south. According to Chigorimbo the Afriwood brand is supported by the continental film body FEPACI. As head of FEPACI’s Southern Africa Region operation, Chigorimbo says that Afriwood intends to create new ways to distribute film. They will also lobby African broadcasters to favour the airing of African films, for example, by the continent’s major broadcasters like the SABC. Depraved also unites Chigorimbo and Maramba who worked together in the soap Estate Blues, produced by Maramba, as well as a television series that did well in the country a few years ago. It follows the release in Zimbabwe of two other local films, Lobola and Playing Warriors.
in association with the SABC, Distant Horizon and Mr Bones (Pty) Ltd. Leroy Gopal is another highly talented Zimbabwean actor currently doing big screen work in South Africa with the film Night Drive, produced by the Film Factory. Gopal broke into the limelight with the Zimbabwean soccer themed feature film Yellow Card and has appeared in numerous South African films and television productions like Backstage. Both Chirisa and Gopal continue to work outside Zimbabwe. Although the training collaboration was initiated as a private concept, Visser encourages the corporate world to support the project through sponsorship. Depending on the success of this pilot project, Visser is hoping to expand into Botswana and Lesotho.
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Filmmakers unified
Experience shows
IMPROVING STANDARDS – Henok Mebratu
Growing the Ethiopian industry
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he Ethiopian Film Inititiave (EFI) aims to open up film and television opportunities in the country as well as train emerging talent. Launched in 2008, the EFI was born out of a conference jointly organised by the Addis Ababa University and the Monaco based Global Film Expression (GFE) and its International Emerging Talent Film Festival (IETFF). The conference focused on establishing a vision for the future of the Ethiopian film industry and included participation from the government, private sector, and local and international filmmakers from South Africa, Rwanda, Burkina Faso, Ireland, France, the US and England. EFI coordinator, Swedish filmmaker Ragnhild Ek, notes that up until the late 2000s the Ethiopian film industry was driven by Ethiopian filmmakers who had studied elsewhere and only came home for a specific period for production purposes. Ek stresses that while film training is much in demand in Ethiopia the country lacks a film school, though Addis Ababa University has been working in this direction. Meanwhile, a couple of small institutes are slowly developing and short courses are run by different film festivals and organisations. In the past other training initiatives have included the November 2006 one-day symposium Cinema Now: Here and There, which stimulated discussion and explored possible support for the industry. Although ad-hoc training interventions seem to pay off, Ek points out that these have always involved Ethiopian filmmakers from the diaspora, such as the acclaimed Haile Gerima. Most of the country’s established filmmakers were trained abroad. Says Ek: “Ethiopia’s emerging talent includes young producers and directors who are creating some of the best productions in the country and whose feature films are currently showing at Addis Ababa cinemas. They have had no formal training other than online courses and trial-and-error in the field.” On the fast development track, the Ethiopian film sector is thankful to its masters such as Michel Papatakis (Gouma) – the founding father of Ethiopian cinema – and his equally famed contemporaries Solomon Bekele (Aster) and Haile Gerima (Harvest 3000, Teza). The first major international production to be shot in Ethiopia was MGM’s 1973 feature, Shaft in Africa. Ek comments: “Ethiopian filmmakers still face an uphill battle against budgetary constraints, lack of locally based training and screening opportunities, as well as an understanding of film production. These factors limit the number of films produced in the country. “However, the popularity of Ethiopian productions is growing as most cinemas are beginning to concentrate on domestic productions. Ethiopians love to see their own stories told by their people.”
mins) and Do You Believe in Magic (80 mins) in 2008. He produced the former, which profiles South Africa’s legendary music group Ladysmith Black Mambazo, and was nominated for an Academy Award and an Emmy Award in 2001. Demoz consulted on Do You Believe in Magic, a film about the Cape Town College of Magic. Owner of Luscious Mayhem Productions in the US, Demoz has done lots of work in his adopted country, including a set of public service announcements for the William Jefferson Clinton Foundation. His television productions include Jeremy Piven’s Journey of A Lifetime for Discovery Networks (2006) and 24 Before for MTV Networks (2008).
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thiopian filmmakers and those in the diaspora are uniting to improve film and television standards in one of the world’s most ancient civilizations. Two such filmmakers are Leelai Demoz and Henok Mebratu US-based Leelai Demoz regularly returns home to Ethiopia to share his experiences and knowledge with the local film industry. He participates in workshops on documentary making, best film practices and copyright issues. “I always encourage people in the local industry to take on interns to ensure skills transfer,” says Demoz. “For example, I advised an Ethiopian production (The Market Maker) made for PBS to hire a young assistant cameraman who turned out to be very good. He is now studying film in New York and will be a tremendous resource when he returns to Ethiopia.” Demoz is currently in pre-production on a feature film that will be shot in Ethiopia this year. He is very excited about this project as he spent several years searching for the right script. “I knew that the first project I would do in Ethiopia would have to be something really special.” Previously Demoz worked on two films shot in South Africa – On Tip Toe (56
Addis Ababa-based Henok Mebratu, 33, has just directed and edited his latest short environmental documentary, We All Count in Ethiopia. He has worked on several films including the editing and visual effects for the 2007 feature Zema Hiwot (Amharic for Musical Life); directing and editing the biography Kenny in the 251 (2009); and directing and animating Fahrenheit 212, an animation short that was a semi-finalist in the 2010 Democracy Challenge Competition. In the past 10 years Mebratu has been an instructor in film editing, 3D animation and computer graphics and created his own company, Ace Advertising, in 2007. Mebratu observes that the emerging Ethiopian film industry faces big challenges, such as a lack of knowledge and technological awareness. “Ethiopia doesn’t have schools that provide professional film training. About five schools provide short term training with very few professional instructors and outdated equipment.” Further challenges that inhibit Ethiopian filmmakers are the high taxation of film equipment, non-existent private television stations, lack of effective copyright law, very few cinemas and limited financing options.
Leelai Demoz (black shirt) with music video director Chris Robinson, surrounded by friends May 2011 | SCREENAFRICA | 43
Big Mediatech growth
Continued from page 1 | CWUSA vs M-Net dismissed. She said the first step in M-Net’s contract process is to issue a letter of intent saying they wish to cast an actor in a production, and the second stage is for the actor to sign a cast agreement. “Only when the actor signs the agreement is he considered by M-Net to be employed. Mr Kgoroge did not sign the cast agreement and therefore was not employed by M-Net.” Actors at the launch of The Wild, however, said that scenes with Kgoroge as Tiro Lebone had already been shot before he was replaced by Putla Sehlapelo, and had to be reshot in time for the launch. Sithole says actors deserve the right to be consulted on the terms of their employment and not simply have contracts imposed on them. The union also claims that Kgoroge was dismissed via SMS.
Public protest During the march to M-Net’s offices members of CWUSA sang struggle songs, including the controversial phrase ‘Dubula iM-Net’ (‘Kill M-Net’). Sithole says the singing of these songs have a very serious context as they inspired the struggle against apartheid and still inspire those struggling against injustice. CWUSA handed over a list of demands to M-Net, including the immediate re-instatement of Kgoroge; urgent amendment to individual contracts offered to the cast and crew members of The Wild; standardisation of contracts; a collective bargaining recognition agreement between CWUSA and M-Net in line with the Labour Relations Act; and a commitment to treat cast members with respect and dignity.
to a sensible resolution. “However, if M-Net is stubborn we will be equal to the task and will respond with a massive campaign,” says Sithole. He emphasises that CWUSA will use all its influence, including the affiliation with Cosatu (Congress of South African Trade Unions) and the ruling ANC (African National Congress) party, as well as their international labour union partners. Sithole says they will weigh their options, but mentioned that a boycotting campaign would be one of the options. The public protests are meant to show that the unfair treatment of actors in South Africa is widespread. “This is not a Tony Kgoroge issue; this is an entire industry issue. Members of CWUSA are getting a raw deal all the time,” says Sithole. CWUSA is also in the process of finalising a meeting with public service broadcaster SABC to discuss repeat fees, among other issues. Sithole is convinced that the amount of publicity the Tony Kgoroge issue has received has helped their cause, with ‘some very notable forces’ joining the fight, including comedian David Kau and acting stalwarts Fana Mokoena and Tobie Cronje. Lombard says they cannot say whether the publicity from the Tony Kgoroge issue has influenced viewer interest in The Wild. “The public’s reaction to this ground breaking show has been phenomenal and we trust that The Wild is fast building a loyal audience.”
SAGA negotiations
Sithole says the ball is now in M-Net’s court and they have given the broadcaster 10 days to respond to their demands. At time of going to print they were also set to appear before the Commission for Conciliation, Mediation and Arbitration (CCMA) with M-Net on 6 May to address the issue of fair employment. Lombard responded to the latest CWUSA action by saying: “M-Net respects Mr Kgoroge and his union’s decision to refer the matter to the CCMA and we want the process to follow its due course.” CWUSA will also use the CCMA meeting to show them how to proceed and Sithole emphasises that they are not closing their doors
Meanwhile the South African Guild of Actors (SAGA), which enjoys the support of many of the cast of The Wild, continues to follow the route of negotiation instead of demonstration. According to SAGA legal chair, Hans Strydom, the guild held a meeting with M-Net on 12 April to commence talks on a possible review of M-Net’s standard agreement for actors. “SAGA requested that M-Net consider setting up a standing contract committee with which SAGA could meet on a regular basis in order to work through the standard contract to see if there are ways to make it more user friendly to both parties. In the process SAGA hopes to also discuss the contentious issues of repeat and commercial exploitation fees,” says Strydom. Lombard comments that M-Net and SAGA decided to meet regularly to discuss relevant issues. “We believe that these talks will create a better understanding of the pay-television environment in which M-Net operates as well as the expectations of actors and their agents”. – Linda Krige
SA 3D rig sells overseas
SA film selected for Cannes
CCMA hearing
exhibiting at the BVE Show in London, where he shared a stand with Jigsaw Systems. All other sales have been word of mouth. “Locally, the 3D market is lagging far behind the UK and the US as South Africa has very limited 3D outlets, only cinemas at present,” says Bowden. “However, there is currently a lot of interest in 3D wildlife and I’ve sold the Pro Ultra to local wildlife filmmaker Peter Lamberti and a custom built rig to Graham Wallington.” Bowden developed the Pro Ultra over three years. “My interest in 3D was sparked when I purchased a 2K camera from Silicon Imaging – at the time they were developing a system to record 3D. My investigations found that there were no rigs on the market into which you could programme the interaxial calculation. The interaxial (distance between the centre of the two lenses) is critical to capture a good 3D image. “I decided to research the matter and found a set of 3D calculations for stills photography from the 1920s. The mathematical principals that underly all 3D calculations relate to the setting of the interaxial and the point at which both lenses converge on the subject matter. That convergence point is very important as it represents the plane of the screen onto which the footage will be projected. Anything behind the convergence point will appear behind the screen and anything in front of the point will appear to the front of the screen.” Bowden plotted the 3D stills calculations onto a spreadsheet and created his own parameters for motion picture applications. He then worked out the optimum size for a rig that could cover all types of cameras, from film cameras down to small digital cameras such as the Canon 5D. Says Bowden: “The Pro Ultra is quite a compact rig compared to what is available on the market. This was evident recently when I was invited by sports broadcaster ESPN to do 3D trials in Orlando, US 44 | SCREENAFRICA | May 2011
agreed to produce the film. Moonlighting Films was chosen as the South African production partner. “The reality is that this kind of film would not exist if I had to approach or rely on finance bodies in South Africa,” Hermanus says. According to Hermanus Skoonheid, like his first film, is a character portrait. Shirley Adams won the award for best South African film at the 2009 Durban International Film Festival and best feature film at the 2010 South African Film and Television Awards. Continuing in the same tradition Skoonheid is a character study of Francois van Heerden, a mid-forties, white, Afrikaans-speaking family man living in Bloemfontein who has become devoid of any concern for his own happiness. He is so convinced of his ill-fated existence that he is wholly unprepared for a chance encounter that unravels his clean, controlled life. A collection of young South African talent contributed to the success of the film, including 28-year-old director of photography Jamie Ramsey, who is the second local DOP to have his work showcased in the official selection in Cannes. Co-producer Dylan Voogt, composer Ben Ludik and actor Charlie Keegan will all make their debut on the Promenade de la Croisette at Cannes with Skoonheid. Other films competing in the Un Certain Regard section include new works by renowned filmmakers Gus Van Sant (Milk, Good Will Hunting and Elephant), Bruno Dumont (29 Palms, Humanite) and South Korean director Kim Ki–Duk (The Isle, 3-Iron). with other 3D companies including 3Ality and P&S Teknick and Element Tecknica,” explains Bowden. The Pro Ultra can be configured in either a ‘mirror mode’ or ‘side by side mode’ as required.
Another new exhibitor is Lasernet, while Protea Electronics makes a return to Mediatech after several years. Concilium Technologies has booked a massive stand, representing a number of brands including Harris Corporation. We are delighted to have them as a gold sponsor for the show and the South African Broadcasting Corporation (SABC) as a platinum sponsor. Gearhouse South Africa is once again a technical sponsor and will provide technical support and AV for the conference area and trussing and technology in the main exhibition area.” To date there are over 80 exhibitors booked for Mediatech, representing about 600 brands across broadcast, sound, lighting, animation, satellite and music production and recording technology. Among the confirmed exhibitors are Sony SA, Inala Technologies, Spescom, Questek, Visual Impact, Zimele, Harambe and Zimele. A new innovation at Mediatech is the Business Matchmaking Programme, which matches visitor and exhibitor profiles to facilitate the pre-booking of meetings at the show. Once visitors are registered on www.mediatech.co.za they are given an online diary with dedicated username and log in. Anyone who pre-registers online is entitled to free entry into the exhibition. Mediatech runs from 10am to 6pm from 20 to 22 July. Badenhorst notes that there was a 20% growth in visitor numbers when Mediatech moved from the Sandton Convention Centre to the Coca-Cola Dome in 2009. The Technical Production Services Association (TPSA) will hold its awards at Mediatech on 21 July and will, in conjunction with Mediatech, host workshops on lighting, audio, staging, rigging and audio-visual (AV). Another event to take place at Mediatech is the South African Communication Industries Association’s (SACIA) government AV forum.
Screen Africa Production + Technology Conference The biennial Screen Africa Production + Technology Conference runs alongside Mediatech on 20 an 21 July. This year’s event will highlight key issues such as the current hot topic in South Africa’s broadcast landscape – the country’s upcoming migration from analogue broadcasting to digital terrestrial television (DTT). In line with global trends there will be a big focus on 3D production workflow at the conference as well as on media asset management.
February 2011
This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison. ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.
The cream of the local productions Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes. Television Universe estimated at 5.232 million households. One ratings point of all viewers
Jan 2011 AR 2.2
W
e
6.2
6.4
7de Laan
Soap 18: 30 M-F S5
2
7.7
7.8
Binnelanders Sub Judice
Soap 18: 00 M-F S5 M
0.4
0.4
Carte Blanche
Maga 19: 00 Sun
W M
0.9
0.7
SABC3 Rank Programme 1 The A-Team 2 Head Over Heels 3 Isidingo – R 4 Filler: The Kids Are All Right 5 Isidingo: The Need M-Net Rank Programme 1 Avatar 2 All About Steve 3 Carte Blanche 4 Couples Retreat 5 CSI Las Vegas e.tv Rank Programme 1 Universal Soldier 2 Rhythm City 3 Drunken Master 4 Delta Force 2: The Colombian Connection 5 Ekasi: Our Stories Double-Cross
Date Genre AR 22/02/2011 Dram 13.6 01/02/2011 Vari 10.5 20/02/2011 Sitc 10.1 18/02/2011 Dram 9.5 24/02/2011 Soap 8.6
Fokus
Actu 18: 30 Sun
W
2
4.4
4.4
Generations
Soap 20: 00 M-F S5
1
21.2
21.1
Gospel Gold
Musi
W
2
5.7
4.7
Isidingo: The Need
Soap 18: 30 M-F S5
3
3.7
3.7
Jam Alley
Vari
W
1
4.2
4.3
Live Lotto Draw
Quiz 21.30 W/S S2
2
4.4
4.7
Date 15/02/2011 05/02/2011 11/02/2011 04/02/2011 09/02/2011
Genre AR Dram 4.9 Movi 4.8 Soap 4.5 Docu 4.3 Soap 4.2
Morning Live
Maga 06: 00 M-F S5
2
2.4
2.3
News at Seven
News 19: 00 Daily D
e
5.8
5.9
News at Seven on 3
News 19: 00 Daily D
3
2.9
3.0
Pasella
Maga 19: 30 W
W
2
4.7
5.1
Rhythm City
Soap 18: 30 M-F S5
e
7.5
7.3
Scandal
Dram 19: 30 M-T S4
e
7.9
7.6
Date Genre AR 27/02/2011 Y-Ent 1.2 13/02/2011 Movi 1.2 20/02/2011 Maga 1.1 20/02/2011 Movi 1.0 08/02/2011 Dram 1.0
Selimathunzi
Vari
18: 30 Wed W
1
4.2
4.4
Special Assignment
Actu
Vari
M/T S2
3
2.3
2.5
Top Billing
Maga 19: 30 Thu W
2
3.1
2.9
Yo-TV
Y-Ent Vari Vari D e 2.1 2.5
Name 3 Talk
Talk
3rd Degree
Actu 21: 30 Tue
Frequency
2.0
Day/s
3
Start Time
Feb 2011 AR
SABC2 Rank Programme 1 Muvhango 2 Powerball 3 Stokvel 4 Lesilo Rula 5 7de Laan
Date Genre AR 24/02/2011 Soap 23.3 28/02/2011 Dram 18.4 01/02/2011 Dram 17.9 24/02/2011 Dram 16.0 09/02/2011 Spor 16.0
Genre
Channel
represents about 145 590 viewers.Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment,
The top five programmes SABC1 Rank Programme 1 Generations 2 Zone 14 3 Intersexions 4 Montana 5 Soccer Build- Up
| Audience Ratings
18: 00 M-F S5
Vari
Sun
18: 30 Fri
Top foreign shows Date 20/02/2011 23/02/2011 25/02/2011 11/02/2011 21/02/2011
Genre AR Movi 10.1 Dram 9.8 Movi 9.8 Movi 9.4 Dram 9.2
Days of Our Lives
Soap 17: 10 M-F S5
1
3.7
4.1
WWE Wrestling Smackdown
Spor 20: 30 W
W
e
5.9
5.1
The Bold and the Beautiful
Soap 18: 00 M-F S5
1
7.0
7.5
We feature the top five shows viewed for each of the channels.
VitalSta’tis’tiks | The Cape Town Lab reports that they have two features and that they managed to double footage compared to a similar period last year, with both features shooting three-perf, with some B unit footage on four-perf. Only half the number of international commercials have been processed compared with last year, and the volume of local commercials is also slightly lower. The Johannesburg Lab remains without feature work. Commercials have reduced from last month and the volume of work remains low in general. The commercials submitted by Media Host show an increase from the previous month – a definite indication that more commercials are going digital. We would like to thank the laboratories and Media Host for the information they have supplied to us. Screen Africa makes no attempt to identify the title of the production, or the production house or any other information as this is often confidential information – we simply supply the numbers. We rely on the co-operation of broadcasters, suppliers of commercial material to broadcasters and local film laboratories for information, however
The above represents a selection of programmes only, and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included please contact Enid Venter on +27 (0)11 339-1051. The purpose of the schedule is to show the types of programmes South African audiences watch, and to what extent.
Statistics for March 2010 Through the labs: Johannesburg Features Shorts Commercials Doccies 16mm 35mm 0 0 9 3 3 9 Cape Town Features Shorts Commercials Doccies 16mm 35mm 2 0 36 0 2 35
Commercials submitted to broadcasters via media host March 2011:
1 667 compared with 1 115 last month
at the moment local broadcasters are not forthcoming in providing these vital statistics. Efforts will continue to be made to build on this statistical data base to improve the accuracy, and should readers have comments or other ideas in terms of statistic gathering, please send an email to andy@screenafrica.com. Your comments are appreciated. May 2011 | SCREENAFRICA | 45
P R O D U C T I O N U P D A T E S You could be here phone (011) 025-3180
FOR FURTHER DETAILS VISIT www.screenafrica.com
Those productions in red are newly listed this month Order of Information 1. Title 2. Production Company 3. Director 4. Genre
IN DEVELOPMENT AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine AS GOOD AS IT GETS DO Productions Prod: Marlow de Mardt / Brigid Olën Feature A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMBASSADOR 2 Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature BAD MEDICINE Tin Rage TV Production Dir: Enver Samuel Documentary BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary BLOKBOTSERS First Take Productions Exec Prod: Deon Potgieter / Izak Furstenberg / Anina Roux Game Show BREAKDOWN Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CHILLI CHICKS International Radio Pictures, Inc Kit Reynolds TV series CHILDREN OF FAMOUS PEOPLE Current Affairs Films/ French Connection Jane Lipman / Eric Ellena Doc/ Drama Series CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary 5 GOUE STERRE SuitePeople TVP Prod: Bell Curle TV Series GRIZMEK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
real IT
real HD
real flexibility
Official Worldwide Olympic Partner
IK1 – TOURISTS IN DANGER Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature IIQ Sukuma Media Dir: Bonginhlanhla Ncube Feature ON THE LION’S TRACK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
C A M E R A S • M O N I T O R S • P L A S M A D I G I TA L M I X E R S • 3 D • P R O J E C T O R S
THE BODA BODA THIEVES Deddac & Switch Prod: James Tayler / Donald Mugisha Feature
Avmark Systems cc Digital - Broadcast & AV Systems Unit 5 Bryanston Gate 170 Curzon Rd, Bryanston South Africa Tel: +27 (11) 463-3167/8 Fax: +27 (11) 463-2534 Email:avmark@icon.co.za
46 | SCREENAFRICA | May 2011
SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature
Authorised Distributor
www.avmarksystems.co.za
THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series
VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary
GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla SOAPIE
ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
GROEN Homebrew Films Prod: Jaco Loubser Wildlife
ZEBRAS DO Productions Dir: Bruce Beresford Feature PRE-PRODUCTION
HARTLAND Bottomline Entertainment Michael Modena TV Drama
COLOUR TV Bongoe, Jungle / Brand Bernie Productions Line Prod: Hulette Pretorius Variety MANDELA SPECIAL ABC Exec Prod: ABC America TV Magazine TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film
IN PRODUCTION
HOOFMEISIE The Film Fctory / Fix Post Production Morne Du Toit Family Comedy HOUSE CALL Izwe Multimedia / Urbanbrew Series Prod:Annalie Potgieter Live Medical Talk Show ISIDINGO Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama JOU SHOW MET EMO Homebrew Films Prod: Jaco Loubser Variety Show JOURNEY INTO THE INTERIOR Tekweni TV Productions Prod: Sandra Herrington Documentary
3RD DEGREE e.tv Investigative TV series
MARY ANNE Shadow Films Exec Prod: David Forbes Documentary
AFRO CAFÉ SEASON 7 Bonngoe Productions Exec Prod: Pepsi Pokane Adult Contemporary/ Music
MK CAMPUS Homebrew Films Prod: Jaco Loubser / Ben Heyns Student Show
AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TVMagazine
MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show
AFROX CO2 PLANT FC Hamman Films PM: Odette van Jaarsveld Corporate Video
MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine
AFROX – SHEQ INDUCTION FC Hamman Films Prod: FC Hamman Corporate
ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs
AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
OXFORD UNIVERSITY PRESS Plexus Films Prod: Miki Redelinghuys Corporate Film
ALL ACCESS Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show
PASEKA EASTER ELEPHANT NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary
ANIMAL COMMUNICATION NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary
PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme
ANGUS BUCHAN’S ORDINARY PEOPLE FC Hamman Films Dir: FC Hamman Feature Film
PEACE PARKS NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary Series
Binnelanders Sub Judice Stark Films Dir: Danie Joubert TV Drama BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films CHEETAH DIARIES 3 NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary EASTERN MOSAIC Red Carpet Productions Magazine Programme FIRESTONE Street Smart Creative DOP: Peter Palmer Commercial
REDI ON MZANSI Imani Media Prod: Bruce Townsend TV Series RHYTHM CITY Curious Pictures Series Prod: Anthony Shaw e..tv Soapie RHYTHM CITY INTERACTIVE Curious Pictures/ e.tv Prod: Devon Brough Interactive Platform Media ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video
P R O D U C T I O N U P D A T E S ROER Homebrew Films Prod: Jaco Loubser Cooking Show
MISSION CRANE Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
FORERUNNERS SaltPeter Productions Dir: Simon Wood Documentary
SAFE HOUSE Moonlighting Prod: Genevieve Hofmeyer Feature
OPERATION CRANE Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap
PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary
GNLD ALL AFRICA INTNL CONVENTION FC Hamman Films DOP/ Prod: FC Hamman Corporate Event
SHORE – THING Homebrew Films Prod: Jaco Loubser Reversioning
SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Series on Supersport
SLENDER WONDER FC Hamman Films DOP/ Dir: FC Hamman Commercial
SCHOOL EWASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate
STRANDED NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary STUDIO 53 M-Net Inhouse Productions Insert Dirs: Navan Chetty Mag Programme THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine TOUCHING THE DRAGON NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary TRUE DREAM 2 South African Great Moves Production Prod/ Dir: John Wani Feature VILLA ROSA Spectro Productions Dir/s: Luhann Jansen / Andries van der Merwe / Leroux Botha/ Isabel Smit TV Drama
POST-PRODUCTION 48 Sukuma Media Bonginhlanhla Ncube Short Film A MILLION COLOURS -eLollipop 2 Cloverleaf Films Exec Prod: Charles Fries Feature AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature DEAR SISTER Media Village Prod: Debbie Matthee Short Film DOOMSDAY Rogue Pictures Dir: Neil Marshall Feature EK JOKE NET The Film Factory / Fix Post Production Stefan Nieuwoudt Candid camera Iqili Impucuzeko Prod: Sharon Kakora Feature KING NAKI Plexus Films Prod: Miki Redelinghuys Documentary LACONIA Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature
SOKHULU AND PARTNERS 2 Paw Paw Films Prod: Roberta Durrant TV DRama TASTE OF RAIN Luna Films / On Land Productions Prod: Bridget Pickering / Richard Pakleppa Feature TREASURE GUARDS Tandem Communications Exec Prod: Jonas Bauer / Rola Bauer Feature WELLBODI BIZNES Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary WINNIE Ma Afrika Films/ Equinoxe Films Dir: Darrell James Roodt Feature ZAMA ZAMA Kokamoya Productions Prod: Bertus van der Walt Feature ZION Letcosmart Prod: Zibusiso Nkomo Feature
COMPLETE 2012 LONDON OLYMPIC GAMES FC Hamman Films Prod Man: Odette van Jaarsveld Flagship Video AFROX LINDE PRO FC Hamman Films DOP/ Dir: FC Hamman Corporate Video AFROX CUSTOMER FOCUS FC Hamman Films Dir/ DOP: Neels Smit Corporate Video AFROC GOC PLANT FC Hamman Films DOP/ Dir: FC Hamman Corporate Video AWOYE – RETRIBUTION SMS Multimedia Line Prod: Temitope Akanbi Feature BLACK BUTTERFLIES Comet Film GmbH & Spier Productions Pty Ltd Dir: Paula Van der Oest Drama CONGO Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature CROSSING THE LINE Imagination Productions Dir/ Editor: Wayne Kopping Documentary EGOLI (THE FEATURE) Brigadiers Franz Marx Films Exec Prod: Burgert Muller/ Pieter Venter Feature FIFA 2010 WORLD CUP FC Hamman Films DOP/ Prod: FC HAmman Flagship Video
INHLIZIYO YAMI Sukuma Media Bonginhlanhla Ncube Music Video KAN EK SO LEEF Liquid Gate Creative Studios Prod: Kobus Swart Music Video LIVIN’ IN LAGOS DBS Media Prod: L Cletus Chukwuma TV Sitcom OUTRAGEOUS Videovision Entertainment Dir: Bevan Cullinan Comedy Feature PARADISE STOP Stepping Stone Pictures Dir: Jann Turner Feature ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video ROEPMAN Combination Bosbok 6/ Film Factory Dir: Paul Eilers Feature
IOS STUD L ABLE AVAI
★ 2
460m
DRAMA/SITCOM STUDIO
TV ★ FILM ★ EVENTS ★ SOUND STAGES & SUPPORT FACILITIES
Cnr. Frost Ave & Owl St | Milpark | Joburg | +2711 482 7111
www.atlasstudios.co.za
STATE OF VIOLENCE Dv8 Films Prod: Jeremy Nathan/ Michelle Wheatley SUPERHELDE The Film Factory / Fix Post Production Stefan Nieuwoudt Action / Comedy THE BETRAYAL Shakarny Inovations Prod: James Kingston Feature THE SHOW MUST GO ON. INSHALLAH Journey, Home & Treasure Prod/Dir: Feizel Mamdoo Short documentary THE TEACHER BIP Films Dir: BI Phakathi Feature THE THIRD JIHAD Clarion Productions Dir/ Editor: Wayne Kopping Documentary TISO FOUNDATION FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video UK VISA APPLICATION FC Hamman Films DOP/ Dir: Dirk Steyn Visa App Video VISCOUNT DOWN Msasa Enterprises Dir: Harmon Cusack Feature WE DID OVERCOME Current Affairs Hambrook Comm (SA)/ CogentBenger Prod Inc (Canada)/ French Connection Films (France)/ Jane Thandi Lipman & Joseph Oesi (SA) Dir: Jane Thandi Lipman/ Robin Benger Documentary WORLD OF GOLF FC Hamman Films Prod: FC Hamman Marketing Video WRONG CALL Team GR 8 Dir: Bonginhlanhla Ncube Short Film
Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur. E-mail production updates to: info@screenafrica.com
May 2011 | SCREENAFRICA | 47
Close up |
Events |
Wild Talk Africa
MAY 11 – 22 Cannes International Film Festival
Simon Robinson (Screen Africa) and Sophie Vartan (Wild Talk Africa)
Cannes, France www.festival-cannes.com
26 – 31
18th New York African Film Festival
New York, US www.africanfilmny.org
Patrick Bonior, Jessica Babich (Wild Revolution) and Alison Bradburn (Parthenon Entertainment)
JUNE Milan Murray
The Wild Launch
2–5
Africa Festival Wurzburg, Germany
www.africafestival.org
Stefan Nell (3D expert and DIT) and Chris Scarffe (Moz Images)
6 – 11
Annecy International Animated Film Festival
Annecy, France www.annecy.org
9 – 26
13th Encounters South African International Film Festival
Johannesburg & Cape Town, South Africa www.encounters.co.za 11 – 19
8th African Film Festival of Tarifa, Spain Calle
Monte Carmelo, 5 bajo 41011 Sevilla España www.fcat.es
15 – 26 Edinburgh International Film Festival
Filmmaker and photographer Aaron Gekoski and Dave Charley (Sangue Bom)
Elana Afrika and Michelle Bradshaw
Sam Phillips and Shona Ferguson
New Appointment | Mitchell jumps into the Deepend
Photos by Zongezi leMgcina
SABC M1 Studio Launch
Up and coming editor Daniel Mitchell recently joined the Deepend Post Production team. Mitchell has had vast experience in the industry and some of his recent clients include MTN, Visa, Eskom and Kit Kat, as well as various international clients. “We are very excited to have Daniel on board and he is a great asset to the team,” comments Luaan Hong, producer at Deepend Post Production.
Performers on-stage launching the revamped studio
Edinburgh, Scotland, UK www.edfilmfest.org.uk 18 – 26
Zanzibar International Film Festival (ZIFF)
Stone Town, Zanzibar, Tanzania http://www.ziff.or.tz/
19 – 25 Cannes Lions International Festival of Creativity
Cannes, France www.canneslions.com
JULY 20 – 22 Mediatech Africa Advanced Technology Trade Fair
Coca-Cola Dome, Northgate Johannesburg www.mediatech.co.za 20 – 21 Screen Africa Production + Technology Conference
Coca-Cola Dome, Northgate Johannesburg www.screenafrica.com
21 – 31
32nd Durban International Film Festival
Durban, KwaZulu-Natal www.cca.ukzn.ac.za 22 – 26
2nd Durban FilmMart
Durban, KwaZulu-Natal www.cca.ukzn.ac.za / www.durbanfilmoffice.com
22 – 26
4th Talent Campus Durban
Durban, KwaZulu-Natal www.cca.ukzn.ac.za SABC staff, media and music industry representatives
LOG ON TO NEWS •
Producers want SABC local content commitment
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SA show selected for Input
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New NFVF council announced
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Positive Africa Image Campaign Over 100 3DTV channels expected by 2014 Hot Docs supports online crowd-funding
48 | SCREENAFRICA | May 2011
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www.screenafrica.com
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SA on NYF Executive Jury
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Using social media to feed kids
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Big growth in online movie market
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Whale Rider star in SA film
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Panasonic’s job cuts
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Ingrid Jonker biopic released
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Gauteng online permit application form
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ROSCAR winners
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Cope’s SABC complaint
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Radio Frequency spectrum regulations
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Viva Riva! triuimphs at AMAAs
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Active-shutter 3D glasses standard promoted
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SABC unveils line-up
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Importance of tablet in SME market
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