Screen Africa - May 2013

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Big SA presence at Cannes The South African film industry is set to make a big splash at the Cannes International Film Festival (15 to 26 May), with a large contingent of filmmakers based at the South African Stand, official screenings of new feature films Blitz Patrollie and Black SouthEaster, the signing of an MoU (memorandum of understanding) with Kenya, a co-production forum with treaty countries and networking functions.

South Africa’s participation at Cannes is coordinated and hosted by the National Film and Video Foundation (NFVF), which has scheduled a ‘South Africa Day’ for Saturday, 18 May. This includes a presentation of the local industry by the NFVF and the Department of Trade & Industry (which provides financial incentives for filming in South Africa), and a networking function at Rado Plage.

Says NFVF Communications & Public Affairs manager Naomi Mokhele: “Our tagline for Cannes 2013 is ‘New markets, new investments’. As part of ‘South Africa Day’ we will be signing the MoU with Kenya, a country that is really keen to work with South Africa. We are also holding a co-production forum with three of our treaty co-production countries – Australia, Ireland and New Zealand.

“On 19 May we will have the South African Focus, previously referred to as the South African Line-up, where we will showcase several films. These include Gog Helen, Klein Karoo, A Lucky Man, Jimmy in Pink, Pretville, Fanie Fourie’s Lobola, A Small Town Called Descent, Durban Poison, Hear Me Move, Angel of the Skies, and Khumba. We have invited sales agents, distributors and film festival directors to the

event.”

The South African Stand is located at stand number 120 at the Village International Pavilion.

Mokhele continues: “The look and feel of the stand is the same as last year. We offer boardroom space for South African filmmakers, as well as three meeting rooms, computers and internet facilities. Filmmakers wanting to screen their films can opt to do so in the screening area or in the boardroom.”

She notes that the NFVF is sponsoring 10 filmmakers to go to Cannes this year.

The Film and Publication Board (FPB) is partnering with the NFVF, which whom it has a MoU, to attend Cannes.

Says the FPB spokesman Prince Mlimandlela Ndamase: “We are not new to Cannes but have not attended for several years. As part – continued on page 5

Exciting titles for DIFF A number of exciting titles from around the world have been secured for the upcoming 34th edition of the Durban International Film Festival (DIFF), including Denis Côté ‘s Vic and Flo Saw a Bear, which won the Alfred Bauer Award at Berlinale 2013, Wong Kar Wai’s The Grandmaster, which opened the Berlinale, and The Forgotten Kingdom, the first film to come out of Lesotho.

Says newly appointed DIFF manager Peter Machen: “We have also secured Laurence Anyways from Canadian prodigy Xavier Dolan, as well the Italian film Il

Futuro which stars Rutger Hauer as a retired former action hero. In addition, we have secured the South African première of Evil Dead, the much anticipated remake of Sam Raimi’s 1981 cult horror film.”

Commenting on the special focuses planned for DIFF 2013, which runs from 18 to 28 July, Machen, a well known film critic and arts journalist who was previously a programme consultant to DIFF, continues: “Last year was the first time in many years that we didn’t have a gay-themed section at DIFF. The reason for this is simply that there

were virtually no gay-themed submissions in 2012 and in fact very few films made with gay content or subjects. This year things are very different and gay issues are extremely prevalent, both in cinema and in the world at large. As such, DIFF 2013 will feature a special focus on sexual diversity, with screenings of films from around the world which explore gay and lesbian themes themes.”

He notes that there will also be a focus on the current wave of Zombie cinema, which DIFF has entitled Zombie Fest!

– continued on page 5

NEW SOUTH AFRICAN FILM: Tony Kgoroge and Fana Mokoena in Black South-Easter, which screens at the Cannes Film Festival.

DFA’s Hot Docs adventure At the time of going to press 17 South African filmmakers – all members of the DFA (Documentary Filmmakers Association) and sponsored by the Department of Trade & Industry (the dti) – were attending the Hot Docs documentary film festival in Toronto, Canada, with additional support from the National Film and Video Foundation (NFVF).

Another South African filmmaker and DFA member, Mayenseka Baza, attended Hot Docs as the winner of its Blue Ice Programme. Baza’s attendance at the festival was fully sponsored by Hot Docs.

The DFA delegation was led by Teboho Pietersen (Pietersen

Productions CC) and Ryley Grunenwald (Marie-Verite Films).

Others in the delegation were Mlamleli Maki (Underdog Productions); Jean Meeran (Team Tar Baby cc); Tshegohatso Molete (Happy Brown Babies Productions); Nicole Schafer (Thinking Strings Media Production); Francois Verster (Undercurrent Film and Television); Patricia Van Heerden (Public Nature Media); Odette Geldenhuys (Frank Films); Michael Lee (Cultu Vista); Nicky Newman; Arya (Amber) Lalloo (Urucu Media); Johanna Mavhungu (MLB Media Solutions); Nadine Cloete (Ma’Engere Film Productions); Ncqaba Ngoyi (MsomiPuisano); Louise Van Hoff (Okuhle Media) and Joe Mogotsi (I and Eye Production).

Said Pietersen: “Attending Hot Docs is incredibly valuable for filmmakers as it provides a great perspective of the industry.

Documentary filmmakers operate on passion but sometimes that – continued on page 5

From the editor

Contents

Glitz, glamour… and films!

Cannes – the very name conjures up stars in the eyes – stars of the big screen, that is. Unquestionably the most hyped of all the international film festivals, each year Cannes attracts the biggest names in Hollywood and European cinema. Its Red Carpet is the most sought after in all of film festivaldom by glamourous screen goddesses and starlets, all vying to outdo each other in the latest designer gowns and bedazzling jewels.

The backdrop of a scenic harbour exclusively populated by millionaires’ yachts, as well as the famous beachfront promenade, La Croisette, with its long line of 5-star hotels, all adds to the exciting atmosphere.

There’s no doubt about it – Cannes as a film festival (and as a town on the French Riviera) – sparkles. And, in among all that sparkle, from 15 to 26 May, will be a large contingent of South African film industry go-getters, as the lead front page story reveals. The South African Stand, a home away from home, is hosted by the National Film and Video Foundation, which will also coordinate meetings for South Africans and present a line-up of local films. Also part of the South African presence will be classification body, the Film and Publication Board, as well as the Department of Trade & Industry, which offers attractive financial incentives for foreigners wanting to shoot in South Africa. This issue of Screen Africa will be distributed at Cannes.

For any readers wanting to be ‘spaced out’, read Ian Dormer’s fascinating article about Mars One, a reality show to end all others, taking place as it will, on Planet Mars! This multi-year television show, still in its planning stages, is the brainchild of Dutch engineer and entrepreneur, Bas Lansdorp.

In late May, the continent’s leading satellite and telco conference, SatCom Africa, will unfold at Johannesburg’s Sandton Convention Centre. In this issue you will find several interesting articles about the activities in Africa of leading global satellite operators, as well as two South African companies that provide satellite transmission services.

Another highly recommended read is Martie Bester’s article about The Devil’s Lair, the only South African film selected to screen at Hot Docs, North America’s leading documentary festival in Toronto. This chilling film takes the viewer into the criminal underbelly of the notorious Cape Flats.

The May issue of Screen Africa traditionally includes a special feature on South Africa’s thriving post-production sector. As part of this, Andy Stead takes a look at how the world of post-production has changed since the 1970s.

Joanna Sterkowicz

SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com Editor: Joanna Sterkowicz: editor@screenafrica.com Journalist: Martie Bester: news@screenafrica.com Contributors: Andy Stead, Ian Dormer, Chinaka Iwunze, Carley Barnes, Graham Smith, Luke Apteker, Addams Mututa Sub-Editor: Tina Heron Ratings: Enid Venter enid@ihjohannesburg.co.za Design: Trevor Ou Tim: design@sun-circle.co.za Website & Production Updates: Chinaka Iwunze: online@sun-circle.co.za

6 Mediatech Africa latest

Noble and streetwise film cuts to the bone

The space race

28

46 A Gothic Nollywood

SPECIAL FEATURES

NAB REPORT BACK

FILM

SATELLITE COMMUNICATIONS

A look at NAB; Cine camera

SA prosthetics on Kite............... 14

The space race; Delivering

in your pocket; AJA support

Heroes of the silver screen:

content to the world................. 20

for Pro Tools platforms.............. 41

Gerard Butler and

Satellite activities on a roll........ 21

Third-generation VariCam;

Aaron Eckhart.............................. 16

Crossing borders in the sky;

Router technology

Director Speak –

Investing in Africa........................ 22

goes ‘Platinum’............................. 42

Richard Arabome........................ 17

Satellite’s critical role in DTT

The future of portable live

growth........................................... 23

production; Switching up

Excellence in diversity................ 29

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The times they are a changin’..................... 28 / 29 The editor’s choice..................... 30 Top industry talent..................... 32 Spicy talent delivers the goods; Right up their street!................. 33 Client satisfaction from script to screen............................................ 34 Superior, commitment, innovation and growth............... 35 Creating beautiful pictures........ 36 Breathtaking editing, animation and visual effects at play............ 37 Twenty-four years and counting; The next chapter........................ 38 On the ‘Up’; The Specialists...... 39

performance................................. 43

Fighting for survival.................... 15

NEWS

TELEVISION

Big SA presence at Cannes; DFA’s Hot Docs adventure; Exciting titles for DIFF.......... 3 / 5 Big moves at Sasani; Mediatech Africa latest; Covering the BRICS Summit....... 6 A really ‘Wild’ pitch; Africa Loudness Summit

The greatest show NOT on Earth!.................. 18 / 19 The SABC needs its independence NOW!................ 19

11th SCREEN AFRICA GOLF DAY Social Pictures.................... 24 / 25

unpacks EBU R28;

AFRICA

Maximising workflows.................. 8

A Gothic Nollywood................. 46

ADCETERA TV hit by ‘Spitfire’; Branding on a budget....... 10 / 11

Riverwood – Kenya’s low-end multimillion dollar film industry..................... 47

TV commercials:

REGULARS

Brand versus Retail..................... 11

Audience Ratings......................... 44

Making plans come together;

DOCUMENTARY

It’s about the love for people... 40

Noble and streetwise film cuts to the bone........................................ 12

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WILDLIFE

Production Updates........48 – 51 Events............................................. 51 Social.............................................. 52

| Continued from page 3 Big SA presence at Cannes opportunities to profile Durban as a production destination and for opportunities for its local filmmakers to co-produce with treaty countries.

Official screenings For the first time the NFVF has organised official screenings for two South BELLY FULL OF LAUGHS: A scene from the new comedy Blitz Patrollie African films at Cannes, the noir thriller Black South-Easter and the comedy Blitz Patrollie. The latter of our partnership with the NFVF, we are will be screened on Friday 17 May at 16h00 sending a small delegation to Cannes this at the Arcades 2 screening venue, just year to engage with filmmakers and outside the Paleis des Festivals, while the distributors and explain to them how former screens on Monday 20 May at classification works in South Africa.

16h00, at the same venue.

“Normally FPB only engages with Black South-Easter, which is the feature filmmakers when they submit their final film debut of director Carey McKenzie, stars products to us for classification so this visit Tony Kgoroge, Fana Mokoena, Yu Nan, to Cannes is a way of trying to connect with Deon Lotz, Thomas Gumede and Zolani them before that stage. We want to get Mahola. across that classification is also an economic Says producer Tendeka Matatu of Ten10 issue – if your film receives a high rating Films: “This is an all important market then your audience will be more limited.” screening for us as this kind of support is DFO key to helping us in our international sales endeavour. We already have a sales agent The Durban Film Office (DFO) is attending attached to the film, Richard Guardian for Cannes for the first time, to market the Lightning Entertainment, who has put Durban FilmMart (DFM), a joint programme together a sales strategy and will be of the DFO and the Durban International promoting the film to distributors Film Festival (DIFF). throughout the market.”

Says the DFO’s Toni Monty: “Now in its Producer of Blitz Patrollie, Isaac 4th edition, DFM is well established as an Mogajane of Diprente Films, is excited to important South African market. By see how the world responds to this 100% attending Cannes we hope to promote South African action comedy film: “Having DFM and DIFF, concretise existing Blitz Patrollie screen at the Cannes Film relationships and identify new partners Festival represents a great opportunity for going forward. us as it will allow us to get sales agents and “We will host a DFM cocktail in hopefully a few buyers to view the film partnership with the KZN Film Commission during the festival which could result in and will meet with existing and potential some foreign sales.”

DFM partners, promoting DFM projects in At Cannes, Diprente Films will package development and those that have been two new projects with international completed and have had theatrical potential – Corpsemen (working title), a releases.” horror film, and Parts of a Whole, a dark The DFO will also be looking for new psychological thriller.

Photo by Teboho Pietersen

DFA’s Hot Docs adventure passion can be compromised when we don’t recognise the potential for our films to reach a wider audience. At international festivals like this we begin to learn how to merge our art with business so that we can be sustainable as filmmakers and continue making more films.”

DFA member and the driver behind the Hot Docs delegation, WHAT’S UP DOC!: The DFA delegation at Hot Docs Pascal Schmitz, noted that this is the second year that the dti supported the delegation selected for screening at Hot Docs, was a through its EMIA (Export Marketing & panelist on the ethics and co-production Investment Assistance) scheme. conference sessions.

Explained Schmitz: “Last year we were able to send 14 filmmakers to Hot Docs.

EMIA That mission proved so successful that this year we took it up a notch and added new In 2011 Schmitz came up with the idea of layers. The EMIA scheme is for overseas accessing the EMIA scheme for attending markets to try and promote exports from overseas film festivals and markets and South Africa so it has a decent budget. spent the year researching the scheme.

Consequently, the South African delegation “I put in the first applications on behalf of was able to make a real impact at Hot Docs. the DFA delegation in 2012. You have to be Last year our delegation was the biggest at a member of the DFA to qualify and you Hot Docs as it was this year.” need to get tax clearance from SARS (South Schmitz negotiated a 30-second spot on African Revenue Services). The dti funded the South African delegation to be shown the South African stand at Hot Docs, as well before each and every screening at Hot as travel and accommodation.

Docs.

“I must stress that the NFVF has been a “I also took ad space on www.africafilms. critical partner for us as they paid for visas tv, Enrico Chiesa’s distribution platform for and travel insurance, as well as the African content. There is now a special one-minute promotional video featuring space on the website for South African South African projects at Hot Docs. In documentaries. This website also features in addition they took out an ad in the special the 30-second Hot Docs spot. Production magazine catalogue that the dti paid for of the spot was sponsored by the NFVF,” which detailed the projects. This was commented Schmitz. distributed on the stand.”

A special South African cocktail party was To prepare the 2013 delegation for Hot convened by Hot Docs on Tuesday 30 April.

Docs, Schmitz compiled a detailed report Neil Brandt, whose film The Devil’s Lair back from the 2012 event and circulated it was the only project from South Africa among the DFA membership.

Photo by Val Adamson

Exciting titles for DIFF

TRUE CINEPHILE: Peter Machen

“For the first time there will also be a special repertory section at DIFF, which provides a focus on classic cinema, to be presented and curated by a leading internationally acclaimed filmmaker. Finally, in an unusual move for film festivals which tend to shy away from celebrating American films – for fairly obvious reasons – DIFF 2013 will present a focus on American Independents due to the strong showing of indie films from the US,” says Machen.

The DIFF team has received a large batch of South African screeners, with more expected. According to Machen, submissions from the rest of Africa remain relatively sparse, although the Nigerian Nollywood model is becoming increasingly popular in the African films submitted to the festival.

“Whether this is a good thing or not remains a difficult question to answer,” he continues. “It does mean, however, that there is a gradually expanding glut of middling films coming out of Africa, many of which are clearly built on the premises of television production rather than cinema.”

To source films for DIFF 2013, Machen has attended the Rotterdam and Berlinale festivals and will be attending this month’s Cannes Film Festival together with DIFF programmer Jack Chiang.

“DIFF is also one of the few large-scale international film festivals with an open submission process and we receive hundreds of films from around the world, all of which are watched by our team of reviewers,” explains Machen.

As to whether there will be any marked

changes to the 2013 edition of DIFF, Machen says: “Given the fact that there is a new team heading DIFF, and that the festival has been running incredibly successfully for the past decade, it would be foolish to make any major changes this year. So, festival guests and visitors can expect more of the same spread of quality films from South Africa and around the world.

“The only two new additions are the inclusion of a marquee for the public to relax in between films, and the openingup of DIFF’s closing party to the public, who will, for the first time, be able to purchase tickets to this high-profile event.”

The DIFF 2013 festival hub will be at the Blue Waters Hotel, which reportedly worked ‘wonderfully’ last year.

May 2013 | SCREENAFRICA | 5

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Big moves at Sasani

Mediatech Africa latest At the time of going to press 80% of the exhibition space had been sold for the 2013 edition of the biennial advanced technology trade fair, Mediatech Africa, which runs at Johannesburg’s Coca-Cola Dome from 17 and 19 July. Mediatech Africa showcases the latest innovations, technologies and products in the media and entertainment industry.

Confirmed exhibitors in the content creation and broadcast sectors include Touchvision, African Union Communications, Atos, Concilium Technologies, Gencom, Inala Technologies, Jaycor International, Mac Africa, Macro Video, Media Cloud, Movie Vision, Neotel, Penmac Audio Visual, Questek Advanced Technologies, Telemedia, Case Connection, Movie Mart / Media Film Service, Phoenix Fire and Etere.

“Mediatech Africa is the only real event of its kind that provides a good forum to network with virtually the whole broadcast industry. It’s an opportunity to build relationships and introduce customers to product specialists who can talk in detail about topical technologies and the solutions to address their current and future needs,” says Steve Alves, MD of Concilium Technologies, who is exhibiting again this year.

After the NAB Show in April in Las Vegas,

2013 has seen a flurry of activity at Johannesburg-based facilities company Sasani Studios, as SABC2 soapie Muvhango moved out of Studios 2 and 5 and back to the SABC, in order to make way for SABC3’s soapie Isidingo.

“This switchover of soapies required a lot of preparation to deal with the challenging logistics from a production and technical perspective. The production companies and our engineers did a truly remarkable job,” says Sasani CEO Eileen Sandrock. “In addition we have built extra storage areas outside both Studios 2 and 5.

“There have been several other changes at Sasani, including the upgrading of our control room to accommodate the new Grass Valley LDK8000 cameras. These cameras were purchased as part of our migration to HD (high definition) and are switchable between HD and SD (standard definition). This is necessary for our purposes so as to accommodate different client requirements. For instance, both Muvhango and Isidingo are SD productions.

“The upgraded control room now has multi viewer technology linking to our new

GVG router. New LED monitors were installed and the areas were split to allow for better functionality. We also improved the aesthetics of the rooms.”

Sandrock notes that on 1 April, Sasani completed the renovations and construction of the Big Brother Africa house, as required by client M-Net to prepare for the eighth season of this popular reality show. Sasani has hosted every season of Big Brother Africa barring the inaugural one.

“We have laid 326 linear metres of camera tracks in the Big Brother Africa house, to capture all the action 24/7. Sasani also handles post-production on the series via our shared storage system and tapeless workflow,” explains Sandrock.

Sasani provides services to e.tv’s long-running drama series, eKasi: Our Stories, in terms of equipment supply and managing the post-production.

“It’s been a wonderfully active and exciting time at Sasani. We saw the business run at capacity here and there throughout the year, and we look forward to a busy time ahead,” concludes Sandrock. – Joanna Sterkowicz

Covering the BRICS Summit

MAGIC IN A BOX: In the control room Broadcast Operations, a solutions-based provider of broadcast production facilities and engineering services based in Cape Town, purchased an AJA Video Systems 6 | SCREENAFRICA | May 2013

FS2 frame synchroniser and format converter for its coverage of the 2013 BRICS (Brazil Russia India China South Africa) Summit in Durban in March.

Photo by Kobus Loubser

SOAPIE SWITCHOVER: DOP Leon Kriel and Isidingo director Raymond Sargeant in Studio 2

Alves is excited about showcasing new products from Harris Broadcast, Ross Video, Telecast and Prodys, to name a few, along with some interesting additional products from other partners.

Inala Technologies has confirmed support from all of its international principles which include Harmonic, Miranda, Tektronix, Pebble Beach, TVLogic, Aviwest, Riedel, ENPS, TSL, MOG and Broadpeak, who are travelling from South Korea, Europe and the US. Says Inala’s Colin Wainer: “Inala Broadcast is putting together an exhibition of the latest products that broadcasters, producers, cinema owners and postproduction professionals can look forward to seeing. We invite the industry to take the opportunity of meeting with product expertise from our highly regarded guests at the Inala Technologies stand.”

Visitors to Mediatech Africa are likely to be captivated by live outdoor sound demos and will have ample opportunities to network and rub shoulders with key players in the industry. They are invited to join in on a spread of training presentations and technology workshops.

Visitors are invited to register free at www.mediatech.co.za before 7 July to avoid paying R50 at the door.

– Carly Barnes

TECHNOLOGY ON SHOW: Mediatech Africa 2011

Says Broadcast Operations’ James Middleton: “As we provide mobile uplink and broadcast facilities throughout Africa and around the world, the FS2 is used in a variety of roles – down conversion, aspect ratio conversion and audio track mapping.

“The FS2 was used extensively in our coverage and distribution of the BRICS Summit for the European Broadcasting Union (EBU). This involved providing pool coverage to world broadcasters and each broadcaster had different language and format preferences. The FS2 enabled us to change the audio channel allocation and output format to suit each broadcaster.”

According to Middleton, a key advantage of the FS2 is the front panel interface. “This allows us to control the setup of the unit directly without having to use a computer interface. In a live TV environment this direct control is a benefit.”

He believes that the biggest selling point

of the FS2 is its flexibility.

“One box does it all. Having two independent channels in a single unit is another benefit. We would have liked additional SDI video outputs on the unit, but that’s a minor point. It’s become a tool that I would not do without,” says Middleton.

The FS2 is capable of simultaneously working with two independent streams of 3G/HD/SD 10-bit broadcast quality video and two independent groups of 16-channel AES audio. Each FS2 video channel supports virtually any input or output – analogue component or composite, 3G/ HD/SD-SDI, Dual Link (1.485Gb), fibre and HDMI I/O. A fibre I/O option allows fibre cable runs of up to 10km to be connected directly to the FS2 without the need for separate fibre to SDI conversion.

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A really ‘Wild’ pitch Twelve South African wildlife and natural history filmmakers will have the chance to pitch their projects to a panel of international commissioning editors and funders at the 2013 Wild Talk Africa Wildlife Film Festival and Conference, which takes place in Durban from 23 to 26 July.

Says Wild Talk Africa’s Christopher Mason: “We are inviting all producers and filmmakers with good ideas to propose their pitches to us by 6 June, the submission deadline. The 12 strongest proposals will then get the chance to pitch to the international panel in our Open Pitching Sessions, where they stand the chance of furthering their projects. Commissioning editors will critique and comment on each pitch.

“For those that don’t make the final 12 selection, we are offering speed pitching sessions so that everyone should get the chance to pitch, subject to available time slots. In the past these speed sessions have been super popular.”

All documentary formats and all natural history subjects are eligible to submit.

At past Wild Talk Africa pitching sessions, panels have included commissioning editors from Animal Planet, NHK Japan

Broadcasting Corporation, BBC NHU, National Geographic, SABC, NFVF, Smithsonian Networks, NHU Africa and more.

One-on-one meetings with commissioners attending Wild Talk Africa can also be arranged.

All those interested in submitting proposals must send a one page project summary; a photograph from the production; a short bio on the filmmaker/ producer; and the name and contact details of person pitching.

“It is also advisable to submit a short sample reel, five minutes maximum, of the work-in-progress. This can be a promo, sizzle reel, or clips from your development and research,” explains Mason.

Proposals must be emailed to lailah@wildtalkafrica.com.

Mason notes that tips and information on how to pitch like a professional are available on www.wildtalkafrica.com on the FREE RESOURCES page.

Meanwhile, entries have been rolling in for Wild Talk Africa’s awards component, the ROSCARS, affectionately known as the ‘Rhino Oscars’.

Mason continues: “The ROSCARS are the

Africa Loudness Summit unpacks EBU R128

In August 2010, the EBU (European Broadcasting Union) published its Loudness Recommendation EBU R128, which tells how broadcasters can measure and normalise audio using Loudness meters instead of Peak Meters (PPMs) only, as has been common practice.

EBU R128 is the result of two years of intense work by the audio experts in the EBU PLOUD Group, led by Florian Camerer (ORF). The Recommendation was designed to solve the problem of fluctuating audio levels in radio and television. This relates not only to the sharp changes in levels when programmes go into commercial breaks and back again, but also the varying levels between programmes and channels.

Many big European broadcasters are adapting their workflow to R128 and now South Africans will be able to hear the EBU’s Camerer explain the Recommendation in

8 | SCREENAFRICA | May 2013

detail during the Africa Loudness Summit, which takes place at Mediatech Africa 2013 (17 – 19 July, Coca-Cola Dome, Johannesburg).

The Africa Loudness Summit is presented

by Asikhule.

Day 1: Loudness: war and peace is targeted at everyone involved in both the production and distribution businesses.

This session will cover the origin and development of ‘the loudness wars’; the current challenges in production and distribution; and the emergence of the ITU (International Telecommunications Union) Recommendation BS.1770 and R128.

Day 2: Loudness: a broadcaster perspective is aimed specifically at broadcasters and will cover R128 in an environment where analogue tape is not yet fully displaced by digital workflows.

Day 3: Loudness: a producer perspective

SPEED PITCHING: Filmmakers punting their projects at Wild Talk Africa 2011 ultimate recognition of wildlife and natural history filmmakers in Africa and recognise filmmakers for their outstanding contribution to the continued growth and advancement of this essential genre

of film.”

Winners will be announced at a high profile black-tie gala event to be held during Wild Talk Africa.

Maximising workflows Rocket Science, a Johannesburg-based solutions and consulting company, known for storage and workflow solutions for post-production and broadcast, recently added three new region partners to its solution offering, namely Bright Technologies, Rorke and Cantemo Portal.

Solution architect Nuno Martins says: “These new partnerships allow us to diversify our solution offering to the video world. Bright Technologies offer us a new way to manage large central storage volumes and with the BrightDrive technology, we are able to prolong and improve the performance of these environments.

“We see the need for technology such as Rorke in the high speed network storage category to cater for less complicated but throughput dependent workflows, such as the 4k video workflow. While we work extensively in storage workflows for post-production and broadcast, we are also trying to change the way people work in these fields.”

Martins notes that in many traditional post-production houses the typical way to work with assets and storage has always been to simply add more storage. This becomes costly and eventually customers

is targeted at audio mix engineers, as well as production and post-production teams involved in audio aspects of drama, documentaries, inserts, interstitials,

SOLUTION ARCHITECT: Nuno Martins have to decide between online storage or investing in backup storage.

“The partnership with Cantemo allows us to offer a true digital asset management system that integrates directly into most non-linear editing systems, as well as automates the moving of assets through the production workflow. This means we can advise our customers on how to recycle their assets through their storage platforms to deep archive.

“Rocket Science advocates a smarter way of working and is focused on workflows and solutions. We are not about box dropping or simply supplying equipment; we are about building seamless integrated solutions that deliver,” concludes Martins.

commercials and other audio content.

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ADCETERA

|

Report on the South African commercials industry

Investec

Toyota RAV4

TV hit by ‘Spitfire’ The new commercial for Toyota RAV4, which premiered on South African television in mid-April, was directed by AK of Johannesburg-based production house Spitfire Films.

In the spot, which was conceived by Draftfcb, two competitive friends try to outdo one another. When one friend tricks the other into not buying the car of his dreams, he is understandably annoyed at having been duped. And so the camaraderie and competitive friendship continues…

“The Toyota RAV4 TVC (television commercial) was incredibly challenging from a logistical point of view as it was mostly outdoors and dealing with nature, coupled with limited time and resources,” says producer Liesl Karpinski.

Tian van den Heever, creative director at Draftfcb describes AK as a skilled moviemaker and a great story teller. “AK doesn’t just get the job done – he adds an element of excitement and the unexpected.”

Another recent TVC produced by Spitfire Productions was Vodacom Errol, directed

by Nicholas Hester.

“In the ad a man is hen pecked by his wife. No matter how hard he tries to escape her, by driving further and further to get out of range, he just cannot manage because Vodacom’s cellular network coverage is so good. This commercial was extremely challenging as we had less than one week to produce it,” explains Karpinski.

Last year AK directed the spectacular Investec ad, which follows a man in search of the longest surf ride of his life. He finds it

in the most unlikely place, the Amazon Jungle.

“Produced by Rob Neuhold, the ad illustrates that opportunity is everywhere – it depends on our mind set and willingness to seek and look at things from a different angle,” comments Karpinski.

Vodacom Errol All the above commercials represented new clients for Spitfire.

Karpinski continues: “Our aim is to generate repeat business from new clients.

We focus on delivering high end TVCs with strong concepts. And we’re glad to say that as a new kid on the block we are holding our own in a highly volatile market.”

As such, a business is involved with its brand in all of its activities with the ultimate purpose of business being to deliver on a brand promise.

Brand experts should not constrain their strategies to traditional media channels and advertising, but rather consider using other channels available to reach target markets and deliver on brand objectives. When targeting audiences, brand experts need to look at how their identified consumers live life: what spaces and places do they move in? What interests and passions do they have?

If a brand planning team accurately identifies these factors and needs, they will be able to identify unconventional opportunities that are genuinely engaging, add value to people’s lives and are possibly lower cost contact vehicles.

Consider how OUTsurance conceived their traffic points-men strategy. Instead of buying a static billboard, they invested in a service which helps motorists while still getting their message across in a meaningful way.

Red Bull also pursues many alternative avenues to classical mass-market

sponsorship, such as the Redbull Flugtag, which challenges participants to create human-powered flying machines, which are launched from a 6m high ramp to plunge into water below. The brand purpose is brought to life with a ‘if you can build it, you can fly it’ challenge and the off – and online coverage generates high impact for the brand.

Kulula often employs unconventional contact ideas that succeed to build the brand and to stimulate word-of-mouth, like their ‘most South African flight’ initiative.

South Africans were required to motivate what makes them unique and why they should be one of the 189 South Africans to make it onto this one-hour flight. The unconventional strategy succeeds to break through the clutter of typical airline advertising to connect with South Africans in an original brand-relevant way.

By initiating a brand strategy that aligns with ideal state of mind and space or place where the brand wishes to connect with people, companies will fulfil its purpose, and in turn, create a meaningful and sustainable relationship with their target market.

Branding on a budget While most modern companies and organisations recognise the vital importance of implementing brand building strategies and initiatives in support of service and product success, many are still limited by budget constraints.

However, through implementing innovative strategies that are less costly, these companies can still enforce a major brand impact on the public imagination, argues Dr Carla Enslin, national academic navigator at Vega School of Brand Leadership, an educational brand of the Independent Institute of Education.

The competitive nature of contemporary business dictates that committing to brand building is not a financial decision, but a company imperative. A brand is built in all of a company’s activities, and at every point of contact with all stakeholder and target market groups across the value chain.

Companies today form part of a transparent social media system that is always ‘on’ and constantly evolving. Every contact experience matters in influencing what people think, feel and believe about a brand.

A good example is how Capitec Bank

10 | SCREENAFRICA | May 2013

Dr Carla Enslin promises that clients will always know what they get and know what they pay for. The implication is that every system and process in the business of Capitec is engineered to deliver on this promise.

| ADCETERA

TV commercials: brand versus retail

By Matthew Rowland

(executive creative director and managing partner, SWIPE, Draftfcb South Africa’s shopper marketing specialists)

Good retail TV needs to make you sit up and take notice. It should disrupt your viewing and seat some important information – what is being advertised, how much it costs, where you can get it, and for how long. The retail ad, first and foremost, has to sell.

But like a brand ad, it can create talkability and liking.

That said there are different retail TV strategies adopted by various brands.

These can be dependent on budgets, the complexities of business requirements, as well as simple issues such as what they are actually selling.

The role of retail TV in advertising depends very much on whether the brand solely uses retail advertising, or if there is brand and retail advertising simultaneously.

If it is to be an integrated campaign the brand communication announces, and the retail demonstrates and sells while playing a supporting role. The retail ad should have the same ‘triggers’ as the brand ad – be it the music, language or artwork and, due to higher frequency, offers greater exposure. It is essential that the tonality of the brand and retail ads are consistent so that there isn’t a disconnect as the brand could appear schizophrenic.

Then, there are brands that exclusively use a retail TV strategy. These are largely template based, without the high-end

trimmings. They very simply convey product and price, highlighting the destination, usually with limited availability, in order to create urgency to get shoppers into the store.

There are sometimes other reasons for shortened validity. The prices advertised can be ‘deep’ discounted, and the brand cannot afford to keep that price for a long period; or, for instance, to prevent competitors from commissioning ads to beat promotional pricing. Often frowned upon by marketing purists due to the lack of personality and production value, these ads are extremely hard working in their cost efficiency, lead times and notability and the fact that they move loads of product.

But there is also the hybrid or ‘bretail’ (as we call it) strategy. This ‘merges’ brand and retail TV. Here, brands create products that are their own intellectual property, and that cannot easily be challenged. They are high energy; good production; conceptual; and normally great entertainment with the pricing and, of course, destination built in.

The investment in the production of the ‘bretail’ ad is justified by the fact that it can be flighted over long periods of time even if the price point requires changing.

Retail TV advertising is certainly not easy to define. It can be complex, intricate, beautiful, hard, loud, subtle, funny, but one thing is for sure – it’s never, ever easy.

May 2013 | SCREENAFRICA | 11

Documentary

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Noble and streetwise film cuts to the bone

By Martie Bester The Devil’s Lair, a South African feature documentary set in the Cape Flats in Cape Town had its world premiere at the prestigious Hot Docs Documentary Film Festival in Canada, the only local movie that featured on this significant international stage.

R

iaan Hendricks, director of The Devil’s Lair, is closely connected to the world of the film as the characters and the community were his peers during his younger years.

Craig Martin, one of Hendricks friends, took the director to meet an offender who had been badly beaten by the community after being found with one Mandrax tablet.

After that, the man resolved that he would find a weapon to take revenge for the brutal illegal assault on him. And so Hendricks met Braaim again, the man who would became the main character in The Devil’s Lair.

Nice Time Kids “Braaim was my first childhood friend in Mitchell’s Plain. But life has since pushed us in different paths. I soon learnt that he is a drug dealer and the leader of the Nice Time Kids. From there, a natural progression of trust and storytelling ensued,” says Hendricks.

“It eventually resulted in a film that toys with society’s sense of morality – and more importantly, adds a new dimension to the discussion of where the real social problems can be found that results in the cycles of crime and violence that destroys family

12 | SCREENAFRICA | May 2013

UNOBTRUSIVE, UNPRETENTIOUS, UNREHEARSED: Braaim, the main character of The Devil’s Lair

“You would never have been allowed to film these things if we did not grow up together.” – Braaim, March 2013

structures, and ruins our communities.”

The film explores the fallen nature of man who, when given the opportunity to take another man’s life and get away with it, will do it. The tagline of the film, ‘Fastest lives the longest’, said by Braaim, captures best what the film is really about. At its heart the film articulates the heart of a killer at conflict for a failed plotted murder,” says Hendricks.

Filming in the Flats It is well known in South Africa that the Cape Flats is an economic wasteland.

“Unemployment is high and racism between nationalities is rife. Drug usage is highest there compared to the rest of South Africa. It’s also the place with the highest murder rate in the country,” mentions Hendricks.

“Many times in the past I’ve been asked by the community to make a film about life in the area. They know me as a filmmaker and are quite familiar with some of my work.”

Hendricks moved freely in and out of the drug dealer’s house due to his familiarity with the leader of the gang, but protocols

still had to be put in place to ensure Hendricks’ safety during the six months of filming.

Hendricks mentions that it is dangerous to move around without being known in the Cape Flats as every suspicious person could become a victim, which meant that he was solely responsible for the filming of the movie.

“Due to the risky nature of the film it was practically impossible to have crew members. Filming had to be intuitive. Space for physical movement was limited.

Lights had to be as practical as possible, and I used a lot of natural light.”

Shooting the movie took place during a time when two rival gangs wanted Hendricks’ main character dead. “This came with its own problems. And being observed by the rival gangs from hills on either side of the valley where the filming took place further added to the dramatic tension of getting the job done,” says Hendricks.

‘Safety’ behind the lens “The veil of the camera does offer protection. In a sense it communicates the distance of realities between the characters and the camera person. It was about the only form of physical protection there was during filming. Furthermore, we took the calculated risk of being visible and identifiable in public.”

After much research, Hendricks used a Panasonic AG-AF 101 camera. “It had the ideal weight and it functions perfectly in low light. The option for interchangeable lenses made it even more artistically appealing.”

Hendricks’ greatest moment of cinematic

pleasure was to arrive at the point where the characters understood that his entire purpose at this phase of their life depended on them ignoring him. “This resulted in unobtrusive, unpretentious, unrehearsed, raw documentary material that probably has never been filmed before.”

Producer Neil Brandt and director Riaan Hendricks hope the film kick starts a real discussion about the root causes of crime in South Africa, which are related to poverty, lack of opportunity and the resulting breakdown of family structures.

Funding and festivals “The screening of The Devil’s Lair at Hot Docs is important as the festival is one of the world’s A-list documentary festivals and programmers and broadcasters from around the world track films that screen there,” says Brandt. “It’s a great way to start the festival life of the film, and we hope that many more will follow.”

He continues: “Festivals are important because you get to interact directly with audiences and this is a valuable part of the filmmaking experience as you have to take responsibility for your ideas in the public domain.”

It took about 18 months to raise the finance for the film, which came in bits and pieces. The Durban FilmMart was an important piece of the puzzle of raising finance, together with friends at the IDFA (International Documentary Film Festival Amsterdam) Summer School and the IDFA Forum.

The Devil’s Lair is the opening night film at the Encounters Documentary Film Festival in South Africa in June this year and is also in competition at the Durban International Film Festival in July 2013.

SA prosthetics on Kite

FILM

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By Martie Bester

FACING A CHALLENGE: A life cast of Terence Bridgett made from Body Double

A

fter Jaco Snyman worked on the set of Mad Max: Fury Road in Namibia last year for six months assisting Odd Studio with the construction and application of the prosthetics for the rebooted sci-fi action adventure, Kite producer Greig Buckle phoned Snyman and asked for his help with the movie which commenced shooting in February this year.

After a meeting with Buckle and art director Willie Botha, Snyman started his preparation for creating the prosthetics the filmmakers had requested. Having worked on the Oscar-nominated film District 9 in 2009, primarily assisting Weta Workshop and applying special make-up effects for South African actor Sharlto Copley’s character Wikus van der Merwe, Snyman is not a newcomer to the extreme art of prosthetics and special make-up effects.

As one of only a handful of artists in this line of work in South Africa, Snyman has been in the business for over 15 years after completing his initial training at Pretoria Art School and then studying further in California at Elegance International School of Makeup.

Now, after working with Graham Press at The Creature Shop in Johannesburg, Snyman has started his own company called Dreamsmith.

The green light After initial production on Kite was halted when American director David R. Ellis passed away shortly after arriving in the country, South African-born, Los Angeles-

14 | SCREENAFRICA | May 2013

The live action adaptation of Yasuomi Umetsu’s hit Japanese anime movie Kite starring Samuel L. Jackson and India Eisley as the lead actors was filmed over five weeks in Johannesburg in South Africa recently. Local specialist make-up effects artist Jaco Snyman and his team were responsible for all the prosthetics in the movie, which add another dimension of wonder to this special project.

Skin tones are done using the flocking technique

based Ralph Ziman (Jerusalema) was appointed to take over the helm and Snyman could start work on this highly anticipated project on which an almost all-South African crew worked.

“I read the script and watched the anime that sparked the idea for the movie as reference for my work. However, the end product is not as violent as the original, but still exciting enough to require lots of fake blood and awesome prosthetics,” says Snyman.

As Kite is set in a post-apocalyptic world in which fight scenes occur between several characters, Snyman had to provide very intricate prosthetics for the characters portrayed by local actors Terence Bridgett, Jaco Muller and Lionel Newton.

Life cast “Terence Bridgett came in for a life cast which lasted for several hours. The life cast of his head and hands was made from Body Double, a type of silicon. After that I did a cast in M1, which is like plaster of Paris, and is a positive cast, a duplicate of the original mould,” says Snyman.

The texture of the skin is done in extreme detail, with pores and wrinkles visible to the naked eye, an exact replica of Bridgett’s face – almost more lifelike than the real person.

“Terence was great with the life cast.

Sometimes people become claustrophobic during the process because only the nose cavities are not covered in Body Double.

The entire process of making a person’s

Hair and make-up is added

head takes about half an hour to 40 minutes,” explains Snyman.

“When the silicon is set, plaster bandage is applied to maintain the shape of the head because the silicon is flexible. A silicon putty is applied around the edges to keep the mould in place.”

During the silicon cast, the trick is to prevent air bubbles from forming, a process which is extremely difficult to execute as one bubble could ruin the entire process.

“If air is trapped and a bubble forms all the detail of the person’s mould is destroyed,” mentions Snyman. And because of demanding time constraints and the expense of the material that is used, this mistake must be prevented at any cost.

Skin The silicon is semi-translucent to resemble skin and Snyman mixes tiny red fibres, called flocking, in it until it takes on a reddish tint. These fibres represent the subdermal layer of the skin.

“It is extremely difficult to achieve the right shade. Paint is then applied, but if the flocking is not done with great caution the colours become too solid and are no longer translucent, losing the appearance of the skin. So the base colour has to be perfected before tint is applied,” Snyman elaborates.

He then plans a colour system and mixes the silicon until he achieves the exact same skin colour and calculates the formulas to put into the moulds. He works from photos of the actors to embody them perfectly.

Snyman is an expert in the application of

make-up as the colour of someone’s skin comprises of various shades in places and has to be matched with exact precision.

The base colour can’t be lightened during the make-up process as it becomes more opaque instead of transparent, so it is better to start with a lighter shade.

Hair and make-up Snyman used real human hair for Bridgett’s thick mane, and he had to thread each strand individually with a felting needle. As Bridgett had a beard as well, Snyman had to work extra long hours threading thousands of pieces of hair into place.

During the make-up phase, Snyman used an airbrush technique to achieve the desired skin colour with its multiple layers.

League of his own “My experience on Kite was awesome. It was wonderful working with so many passionate people and to get the opportunity to build such amazing ‘actor duplicates’ or dummies and other prosthetic effects. I am happy that everything turned out so well.”

Snyman’s painstakingly produced lifelike replicas of Bridgett and Muller puts him in a league of his own and adds more local flavour to an international production which is sure to make headlines across the world.

Kite is currently in post-production and is due for release in 2014.

| WILDLIFE

Fighting for survival

By Martie Bester

In 2010, when rhino poaching was just beginning to make headlines in South Africa, hard news journalist Johan Hull of Al Jazeera English unearthed a tragic story about a mother rhino and her calf that would inspire the hard-hitting documentary The Last Rhino, which screened at the 2013 recent Jozi Film Festival in Johannesburg.

J

onah Hull was covering the 2010 FIFA World Cup when he heard about a rhino cow in the Tugela Valley in KwaZulu-Natal that had just survived an awful attack by rhino poachers.

“During a sort of a lull period in the World Cup we went and covered this shocking and moving story,” says Hull.

Two years later, in May 2012, Hull and filmmaker Clifford Bestall travelled through South Africa and Mozambique for 17 days, filming The Last Rhino, which exposes the poaching industry from Africa to Asia.

Solution

Fascinating “Making the movie was fascinating on many more levels than just conservation. It was fascinating in terms of the illegal trade of rhino horn in places such as Vietnam and in terms of the corruption and collusion within the conservation sector of South Africa, especially of vets.

“Trained to protect animals, these were the very people who were allowing for them to be killed,” comments Hull.

However, Hull is quick to emphasise the people who are doing everything in their power to save the rhino. “The documentary was fascinating too especially the incredible passion and compassion and intensity with which people breathe, conserve and

Fact Meanwhile, the slaughter of one of this continent’s most prized natural assets continues. On 14 March 2013, it was reported that a total of 158 rhino had been poached since the beginning of the year. Of those, 116 rhino had been killed in the Kruger National Park, which borders Mozambique.

R S A T IL E

There is obviously a very passionate debate around the issue of rhino poaching and what to do about it as Hull mentions. “And there are different sides which pretty violently disagree with one another.”

As to whether there is a solution to end this massacre, Hull responds, “Yes, there’s got to be an answer. And there is probably more than one answer. Arguably legalising the trade in rhino horn is one of those answers and if it were allowed to be tried it might well prove successful. But a lot of powerful forces are against it, not least governmental ones, not least the powerful elites in Vietnam and not least of course the Trade Records Analysis of Flora and Fauna in Commerce (Traffic).”

As the organisation that oversees the trade in endangered species, Traffic is not in favour of legalising the trade of rhino horn.

“Their point of view is that one should concentrate on creating public awareness campaigns around poaching in places such as Vietnam, actually showing people who use rhino horn for sometimes very trivial vanity-driven reasons that they are actually killing animals to do it. They believe that most people don’t realise that, which is probably true,” says Hull.

But while the so-called stakeholders struggle to come to an agreement, the rhino has a limited time to wait and a lot of time has been lost. At the moment, Hull emphasises, the rhino as species has a finite life span.

When the poaching scourge started relatively slowly in 2008, there has been a 20% year on year rise in the killing of rhinos.

Last year, double the number of rhino was killed than in 2011.

“During the 17 days of filming last year, it was very clear to me that this issue was going to be closely followed by a great

many people because the welfare of the rhino has become part of the zeitgeist of this country,” says Hull.

E

The name of the film could be prophetically chilling as 1 600 rhino have been lost since the slaughter began in 2008. If measures are not implemented soon, the demise of one of the greatest wonders in the animal world could be imminent.

Rhino horn, mostly used as a fad during drug – and alcohol-fuelled parties, especially in countries such as Vietnam, is falsely punted as a sex aid, a body rejuvenating substance and even a cure for cancer. However, the reality is that rhino horn has the same chemical composition as that of a human fingernail.

The Last Rhino uses the cow, since christened Thembi, as the springboard for exposing the underbelly of poaching. “The attack on Thembi was one of the first of the new wave of rhino poaching attacks by helicopter using a chainsaw and, fundamentally, very powerful tranquiliser drugs,” comments Hull.

He continues: “These were supplied; it then began to transpire, by corrupt vets who were the only people who had access to this kind of potent drug called M99, which is a thousand times more powerful than morphine.”

“Thembi had had her horn crudely butchered off her face, so she was hideously injured and disfigured.

“Her calf fled in terror during the attack and was discovered dead a week later having run in fear through the bush looking for Thembi. He followed and found his mother’s scent and died, as it happened, in the place where he had been born four weeks previously.”

V

Shocking

SURVIVOR: Thembi, the de-horned rhino cow in The Last Rhino

protect rhinos.”

Last year, Hull and Bestall went back to find Thembi. Her owners were excited to tell the filmmakers that Thembi was pregnant again against all odds, as rhino rely very much on their horns and sense of smell during mating rituals and for protection. “It was massively unlikely that she would ever find a mate, but she did,” mentions Hull.

They found her in good health. Sadly, a week later, her calf died of pneumonia.

However, Hull says there is still hope.

“Thembi is still a cow of birthing age and fertile and if she could do it once she will do it again.”

Although Hull is and will always remain a hard news journalist, he concludes: “It was an amazing experience to do something that matters to the people who worked day and night and cared so much about the fact that we bothered to come and tell their story.”

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May 2013 | SCREENAFRICA | 15

FILM

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Heroes of the silver screen: Gerard Butler and Aaron Eckhart

Hollywood heavyweights Gerard Butler and Aaron Eckhart visited South Africa recently to promote their new movie, the action thriller Olympus Has Fallen, which keeps audiences nailed to their seats. Martie Bester spoke to the stars about the movie, some of their thoughts on life and on portraying convincing silver screen characters with talent, focus and integrity.

WHO BLINKS FIRST? Rick Yune and Aaron Eckhart in a scene from Olympus Has Fallen

ACTING IN HIS SOUL: Screen Africa’s Martie Bester with Gerard Butler

Gerard Butler: Acting is in his blood “It’s interesting how the worst day in your life can actually become the most important day of your life when you look back.”

Gerard Butler, the star of hit movies such as 300, PS I Love You, RocknRolla, The Ugly Truth, Law Abiding Citizen and Machine Gun Preacher plays the role of Mike Banning in Olympus Has Fallen, a disgraced former bodyguard who has to save Benjamin Asher, the President of the United States (played by Aaron Eckhart) after Asher is taken hostage by a brutal group of North Korean terrorists.

Known for his diverse roles and relentless physical and mental preparation, Butler originally studied law and worked as an intern in a top law firm in his home country Scotland. But his dream had always been acting, a dream that he never tired of pursuing until he landed his first role at the age of 25 in London.

“Acting had always been in my soul,” said Butler, referring to his career in law which ended abruptly. “It’s interesting how the worst day in your life can actually become the most important day of your life when you look back.”

Talking about Olympus Has Fallen, the actor mentioned that: “The movie mixes up many different things besides acting, such as fight sequences and the action itself, and focusing on the training the role requires while explosions and gunfire happen around you.

16 | SCREENAFRICA | May 2013

“It is always a cool thing to pick up more skills in specialist training and to get to study a certain ‘culture’ like the Secret Service. You learn many things and then at the end of the day you are able to make a movie which is entertaining in so many ways.”

Butler tries to produce almost all the movies he works on now. “Olympus Has Fallen was very hands-on because we really thought we had a great idea with the original script. Between the director, Antione Furqua and myself we strived to make the movie as organic and real and terrifying to truly make the audience believe that what was happening on screen could really happen.

How to take a bullet for someone In preparation for his role, Butler watched a lot of documentaries about the the Secret Service, the Special Forces and what it takes to be a Secret Service agent. “I learnt about things that one does not necessarily take into account, such as their tactical training, their improvisational techniques, their initiative and the incredible endurance and preparation that it takes to be in that position in the first place. I learnt what it really means to take a bullet for someone.”

Butler mentioned that they were surrounded by Secret Service agents during filming so he could learn how they think and speak and what their attitudes about life are, their feelings about politics and about the people they represent. “Most importantly I realised what their attitude is in a war situation where they have to go in and move through a lot of exceptionally

Aaron Eckhart: A visionary actor Since gaining worldwide recognition in Steven Soderbergh’s critically acclaimed film Erin Brokovich in 2000, Aaron Eckhart’s career took off as he portrayed diverse characters in movies such as Thank You for Smoking (for which he received a Golden Globe nomination), district attorney Harvey Dent/Two Face in The Dark Night and The Pledge, The Core and Rabbit Hole.

“I mostly attribute the success of Olympus Has Fallen to director Antoine Fuqua who made Training Day; one of the best films I think has ever been produced. I have tremendous respect for him and his moviemaking ability, he can tell a story, he pushes his actors outside of themselves, he is demanding and has a great track record.

“Playing the president was fantastic because I have tremendous respect for the office of the presidency. I had to go into the mind space of the president, to make a decision quickly about hundreds of millions of people’s lives. In the role I was trying to exude a certain demeanour that portrayed integrity and honesty,” Eckhart continued.

trained and highly skilled ruthless terrorists.”

For the fight sequences Butler did a lot of training with the Navy Seals and martial art experts trying to bring a fresh blend of fighting to the screen which was brutal and effective but sometimes quite humorous too.

A sneak peak The final track of the movie Hannibal would be the soundtrack of Butler’s life. Revealing

Check mate “Of course the White House is the ultimate prize for a terrorist and once you get that prize the chess game is over. The challenge for me as an actor was to keep up the intensity in the scenes where I was sitting on my butt tied to a railing while everyone else was running around and having fun. I was losing the feeling in my arms and was getting hit in the face. I had to be convincing in my role as the leader of the United States.

“It was very difficult to keep up the intensity of the role to make it real for the audience. I had Melissa Leo next to me and I could look in her eyes and listen to her. I didn’t have to act with her; I think we played well off each other.”

Utilising all the senses Great visionaries, hardworking people who go beyond their natural talent and actors who are courageous, inspire Eckhart.

“Actors who have a no-holds barred ethic to their work are inspiring, who only care about their characters and are willing to go to any length to realise those characters.

When I act, I try to experience as fully with my five senses as is possible the reality of the situation,” he said.

a slice of his soul, he referred to the song Vide cor Meum by Irish composer Patrick Cassidy: “When I heard that music I thought that it came straight from God. Sometimes I feel that any luck that I’ve had in my career and the synchronicities in my life come from God. That music, with its sadness and joy, is a reflection of my life, which has been a life of sadness and joy, some failures and also some great victories.”

| Film

Director Speak

glaciers and walked behind the cascade of a waterfall; we mounted mini peninsulas; drove through a barren frozen tundra for hours on end; dipped in a mineral rich warm nature bath; witnessed a geyser erupt from the bosom of the earth; snacked on dried fish; rode and ate a meal made from the Icelandic horse. Most of all, we shot some truly breathtaking images at various frame rates on the RED Epic camera, which forms an integral part of the film, where we sought out the magical Northern Lights on a nightly basis. I can’t wait for the film’s global release!

Richard Arabome

Richard Arabome is the director of the feature documentary Out of Africa – Quest for the Northern Lights HOW HAS YOUR BACKGROUND SHAPED YOU FOR FILMMAKING? Having been raised around a lot of West African women, I was always surrounded by lots of drama. You can’t travel through any West African country and not be blessed with an abundance of experiences. The need for self-expression is an integral part of that.

YOU WERE BORN IN NIGERIA BUT HAVE WORKED IN LONDON AND MONTREAL – WHY DID YOU SETTLE IN SOUTH AFRICA? I attended film school in London and lived and worked in Canada for a couple of years but all along, felt a strong desire to return to South Africa, where I first started a family. It’s like my second home. The easy access to vital film industry skillsets means I can do a better job of telling the stories that abound around us.

HOW DO YOU SHOOT A FEATURE FILM WITH NO BUDGET? Guerrilla filmmaking entails a passionate filmmaker deciding to make a film without any visible budget.

Robert Rodriguez’ El Mariachi, which was made for under $10 000 and grossed over $2m globally, remains a big

inspiration for no-budget filmmakers. However, the chances of getting a low-to-no-budget film picked up for distribution are leaner today.

WHAT WAS IT LIKE SHOOTING IN ICELAND WHERE MUCH OF YOUR NEW FEATURE DOCUMENTARY, OUT OF AFRICA – QUEST FOR THE NORTHERN LIGHTS, WAS SHOT? Our decision to travel around Iceland in the thick of winter would have been considered suicidal a few years ago, considering the unpredictability of weather patterns. But modern technology means improved navigation and transport. I travelled with a crew of five Icelandic men in a modified truck, known locally as the ‘Super Jeep’. Its specially fitted wheels can mount glaciers and snowcapped mountains. We mounted

YOU’VE WORKED ON MUSIC VIDEOS, COMMERCIALS AND A FEATURE FILM. WHICH IS YOUR FAVOURITE? Music videos are always fun and lighthearted. Corporates and commercials are more regimented as often there is an agency and / or client ‘3rd eye’ around the corner, making sure they are getting their money’s worth. Long form is what I enjoy the most. If you are seeking creative fulfillment like me, then long form is the way to go, not forgetting you still have to earn a living.

I BELIEVE YOU ARE CURRENTLY IN ‘HOLLYWOOD DEVELOPMENT HELL’ WITH TWO OF YOUR SCREENPLAYS? Selling a screenplay to a major Hollywood studio means having that screenplay sit on a shelf collecting dust while rewrites, recasting and all sorts of re-works are ordered on the script. This can sometimes continue for years on end…

WHAT WILL YOU BE UP TO AT THE CANNES FILM FESTIVAL? Mostly networking and trying to find distribution for my film and co-production deals for other projects in development.

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May 2013 | SCREENAFRICA | 17

TELEVISION

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The greatest show NOT on Earth!

By Ian Dormer With the globe still battling the recession and financial recovery, space travel is not at the top of everybody’s mind… or budget. But the urge to explore is part of human nature – it’s in our blood, and no-one is pushing more than Dutch engineer and entrepreneur, Bas Lansdorp. Mars One is an ambitious global project whose mission objective is to establish a human settlement on Planet Mars, funded through a multi-year reality TV show.

18 | SCREENAFRICA | May 2013

M

ars One will chronicle Mars exploration from the suspense of selecting astronauts, to the drama of preparing them for space travel, to boarding the spaceship, taking off and establishing a permanent outpost on Mars.

The Mars One project is very real. With global partners like Paragon Space Development, MDA Corporation, Surrey Satellite Technology, Thales Alenia Space and Astrobotic Technology, the establishment of a human settlement on Planet Mars by 2023 is possible.

According to the proposed timeline, Mars One will send a lone cargo-filled Dragon capsule to Mars in 2016 to test its ability to land safely using rockets in its

sidewalls. Rovers launched in 2018 and 2021 will corral five more un-manned capsules, placing all six in a row that the first four astronauts can connect into a habitat when they arrive. All being well, four more crew members will join the colony in 2025.

In order to raise the estimated $6bn required to fund such an ambitious project, Bas Lansdorp says that it hopes to capitalise on vast public interest by selling global broadcasting rights to the mission.

“The revenue generated by the London Olympics was almost enough to finance a mission to Mars,” Lansdorp said. “We believe that if we can make this happen it will be much bigger than the Olympic Games.”

Massive TV show In effect the entire mission, from the early stages of planning, to the selection of the crew, to the landing and construction of the settlement, would be a massive reality TV show. The Mars One selection process for the astronauts who will participate in the mission has already begun.

“It is a worldwide search for the best candidates and about six groups of four people will be selected in 2015,” Lansdorp explained in an interview with ABC. “From that time on they will be full-time employees of Mars One and they will learn about the hardware, medical skills and how to construct and repair plus grow their own food.”

Lansdorp says he is expecting over a million applications from prospective Mars One astronauts from around the world.

After several application rounds designed to narrow the field and ensure that candidates are qualified, Mars One intends to broadcast the national selection process worldwide, with viewers picking the eventual winners.

“We feel the selection of the first people to go to Mars should be a democratic process; we want to ask the audience: ‘Who do you want as your ambassador to Mars and your envoy for mankind?’”

TV signals from outer space?

The orbits of Earth and Mars carry them to the same side of the Sun once every two years, at which point the distance between them totals roughly 55 million kilometres. At the opposite ends of their orbits – when Mars is one side of the Sun and Earth the other – this stretches to around 400 million kilometres.

As communication and digital TV signals travel at the speed of light, this means that it can take between three and 22 minutes for the information to reach the other end. A phone call would not be practical, but there would be no limitations to email, texting or ‘WhatsApping’ with the Mars residents.

It’ll just take at least six minutes for you to get your reply. Both voicemail and video messages are also easily workable options.

The astronauts will be able to use the internet, but can only surf ‘real time’ on a number of websites that are downloaded from Earth on the Mars habitat web server. Every astronaut will have access to his favourite websites that way. Other websites will be extremely impractical because of the delay.

The settlement will broadcast images of

daily life back to Earth 24/7 so that everyone can see what the astronauts are up to. Of course, they will be delayed by anything from three to 22 minutes so they will be as close to live as it will get!

This expanse means the Mars astronauts will have to be very self-sufficient. Should they send down a: ‘Houston, we have a problem!’ message, Houston might not even know about it until 22 minutes later. Even so, we would not be much help: currently their fastest rocket will be scheduled to arrive six months after the fact.

This trip is one-way, as getting back to Earth is too difficult.

“We want a team of people who have a fulfilling life on Earth but who want to explore a new planet,” says Lansdorp.

Just one person will get to make the first boot print on Mars – the TV audience will decide who.

“The people must decide, because in a thousand years people will still know who the Neil Armstrong of Mars was,” concludes Lansdorp.

Who says the television industry is dead? It’s alive and well and totally off this planet!

The SABC

By Carol Mohlala needs its independence NOW! The idea to turn the South African Broadcasting Corporation (SABC) from a state broadcaster into a public broadcaster was initially meant to guarantee the SABC’s independence. During the negotiations between the National Party (NP) and the African National Congress (ANC) in the apartheid era, the ANC campaigned for an independent SABC, arguing that it was essential for a democracy. Nineteen years down the line, in a democratic South Africa, we have an SABC that has lost its credibility and independence.

The SABC faces three major challenges: ministerial interference, lack of leadership and financial instability. These have resulted in cyclical problems.

Ministerial interference is due to the powers assigned to the Minister of Communications in the SABC’s Articles of Association. They give the minister the right to appoint the three top posts at the SABC (GCEO, COO and CFO).

This is a serious problem primarily because the GCEO is the editor-in-chief; this means that the minister has direct control of SABC editorial affairs. The independence of the SABC relies on this changing. It is the SABC board that should appoint the SABC executives.

Since 2007 the SABC has struggled to secure strong and independent leadership. As far back as 2007, the broadcaster has been without a permanent GCEO, CFO and COO. At present it only has a permanent GCEO. The recently resigned SABC board failed on numerous occasions to make informed decisions and was consistently rocked by allegations of corrupt practices and irregular, sometimes unlawful, decision making. Even though the board struggled at times to perform in a unified fashion, the possibility should be considered that the reason why the SABC has struggled for so long to permanently appoint the top executives is because of the powers given to the minister in the Articles of Association.

The instability of the SABC leadership has worsened its financial crisis. During the 2008/2009 financial year the SABC lost close to R1bn and was forced to seek government guarantees of R1.47bn. Among the government guarantee conditions, the SABC was expected to reduce headcount and increase the programming budget. However, the SABC has not met the the explicit government condition that the wage bill be shrunk through a reduction of the headcount by over 600. Instead the SABC has cut down on its core business: programming. This explains the repeats of The Cosby Show and MacGyver!

The solutions to the never ending SABC crisis are complex, but it’s evident that the SABC needs its independence now. Perhaps the starting point should be the review of broadcasting policy. With the ICT Policy Review in the pipeline, the following suggestions might be helpful in delivering SABC to its independence: • • •

•

An amendment to the Articles of Association; The development of SABC’s own Charter; Ensuring the appointment of leadership at both board and executive levels which is experienced, enthusiastic and committed to realising the public broadcasting values entailed in the SABC’s own Charter; and Reconstituting the SABC into a Chapter 9 institution that is accountable directly to South Africans through Parliament. This reconstitution would, at least at institutional level, wrest the SABC from undue political and commercial influence, enable the broadcaster to be held more directly accountable by the public it serves and, in so doing, prioritise the realisation of the SABC’s public mandate.

South Africa needs an SABC that works.

Carol Mohlala is the Coordinator of the SOS: Support Public Broadcasting Coalition. Follow them on Twitter @soscoaliton and on Facebook.

Visit: www.soscoalition.org.za.

May 2013 | SCREENAFRICA | 19

SATELLITE COMMUNICATIONS

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The space race

To coincide with SatCom Africa, the continent’s leading satellite and telco conference ( 27 to 30 May) and exhibition (28 to 29 May) scheduled to run at Johannesburg’s Sandton Convention Centre (SCC), this issue of Screen Africa features a special focus on satellite communications.

B EYE IN THE SKY: A Eutalsat satellite orbits Earth

ack in October 1957, when the Soviet Union launched the world’s first ever satellite – Sputnik 1 – as part of its space programme, it prompted a space race with the US. Now, over five decades on, satellite operators in the broadcast, communications and broadband spheres are involved in a different kind of space race – the race for television viewers, internet connectivity and telephone and data conversations.

Satellites, once the exclusive domain of military activities such as espionage and navigation, are now a mainstay of daily life providing television, telecommunications and weather reports and used for emergency services, vehicle tracking and GPS (global positioning system) navigation.

SatCom Africa is focused specifically on the needs of the African continent and aims to bring together end-users and suppliers of satellite technology to find cost effective and reliable solutions. It expects in the region of 2 000 delegates and visitors to the event.

Most of the leading satellite operators are already active in Africa and are constantly looking at ways of expanding their services in the region as they regard it as a growing and dynamic market. Hundreds of television channels are delivered to African homes via satellite, and increasingly satellite is being used as an efficient, alternative way of accessing the internet on the continent.

For more information about SatCom Africa visit:http://www.terrapinn.com/exhibition/satcom-africa/index.stm.

Delivering content to the world For the recent Africa Cup of Nations soccer tournament held in South Africa, GlobeCast was given the responsibility of sending the pictures of each match to every corner of the globe in high definition (HD) MPEG-4.

Says Asma Hassan, GlobeCast Africa booking and operations manager: “We provided a Ku band world and unilateral feed in HD MPEG-4 from each site, for use by rights-holding broadcasters covering the event.

“In total we had four uplink sites around the country, with Soccer City in Johannesburg hosting the opening and closing ceremonies of the tournament. This uplink moved to the Royal Bafokeng Stadium in Rustenburg in between the opening and closing ceremonies.

“Our other uplink sites were stationed at the Mbombela Stadium in Nelspruit, the Moses Mabhida Stadium in Durban and the

Nelson Mandela Bay Stadium in Port Elizabeth.”

GlobeCast used EUTELSAT 10A to send the world feed into Europe, from where worldwide distribution was done through the GlobeCast teleports in London and Paris.

“In addition, working with our colleagues in Europe, we distributed the world feed on AsiaSat 5 to Asia and on Intelsat 805 to the Americas, with a back-up world feed on EUTELSAT 7A to Europe,” explains Hassan.

GlobeCast provided a coordinator at each venue as well as two engineers on match days. Although the company has its own SNG (satellite news gathering) trucks, it brought in additional equipment from GlobeCast offices in Europe to complement local infrastructure.

ON TARGET: GlobeCast covering the Africa Cup of Nations

NEWS UPLINK: The TVC studio 20 | SCREENAFRICA | May 2013

Ongoing jobs for the Johannesburg GlobeCast team include the uplinking of 24-hour African channels onto BSkyB’s UK platform.

Says Martin Brasg, GlobeCast’s African business development director: “South African FTA (free-to-air) commercial broadcaster e.tv decided to broadcast its eNCA news channel to the UK. GlobeCast picks up the eNCA signal from the studio in Johannesburg and using our domestic and international fibre networks deliver it to our teleport in the UK. From there it is uplinked onto the BSkyB platform to enable European audiences to watch the channel.

“We are also uplinking TVC, the Nigerian 24-hour news channel, onto the same

BSkyB platform for the Nigerian diaspora market in Europe. GlobeCast supplied and installed an uplink at the TVC studios in Lagos and sends the signal to London for uplink onto the BSkyB platform.

Brasg notes that GlobeCast is also facilitating transmission for Blessing TV, a religious broadcaster in Botswana.

“Blessing TV went live with a 24-hour channel on 15 April. They send us their content, which is time-delayed, and we send it out from our play-out centre. The signal then goes onto Intelsat 28 for delivery onto a FTA DTH (direct to home) platform. This satellite covers sub-Saharan Africa,” comments Brasg.

– Joanna Sterkowicz

Satellite activities on a roll 2013 started with a big bang with South Africa hosting the Africa Cup of Nations in January. Telemedia provided unilateral facilities for pay-TV broadcaster SuperSport at all the main venues and services were also provided for Radio Connectivity for RNA (Angola’s national broadcaster), as well as a complete virtual studio and satellite uplink which was supplied at very short notice for RTI, the national broadcaster of Cote d’Ivoire.

February saw the start of the Super Rugby season and Telemedia is providing C-Band satellite services for SuperSport at the venues in Cape Town, Port Elizabeth, Durban, Bloemfontein and Pretoria.

Says Telemedia managing director Peter Bretherick: “This is the first time that all matches have been transmitted in high definition using C-Band. Some weekends the demand has been for three matches from three totally different venues and it becomes quite an undertaking to find sufficient satellite capacity. It should be understood that each high definition contribution channel running 8PSK DVB-S2 still requires a bandwidth of 18MHz. Three venues therefore means 54MHz, which in most cases exceeds the whole transponder and is often difficult to come by for occasional use on Saturdays.”

Bretherick notes that Telemedia purchased a new vehicle, which is stationed in Cape Town, to transport the C-Band uplink equipment. This vehicle will remain in Cape Town for the duration of the Super Rugby Season together with the Ku-Band

vehicle which is already there.

March saw the BRICS (Brazil Russia India China South Africa) Conference in Durban and Telemedia had to change its ‘sporting hat’ to provide services for the many international news agencies covering the events at the Durban ICC and Zimbali Resort, as well as covering the Presidential visits for Central Chinese Television in Pretoria and Durban.

“Central Chinese Television presented quite a challenge in that we had to return signals to Shanghai and this was achieved by two different routings. In Pretoria we went Ku-Band via the EBU (European Broadcasting Union) circuit and in Durban we went direct to Beijing via IS 20 C-Band,” explains Bretherick.

South Africa’s national soccer team played the Central Africa Republic in the 2014 World Cup Qualifier at Cape Town Stadium and Telemedia provided unilateral transmissions for Sport Five in France and for the world feed to AFNEX. This was returned by satellite from Paris on the C-Band distribution of AFNEX to many of the African Countries, including Central Africa Republic.

The CAF Champion’s League Game at Orlando Stadium and the CAF Confederation Cup at Atteridgeville Stadium were both handled by Telemedia and were uplinked using satellite capacity from SES WS. The signals were delivered to SuperSport in high definition for their HD Sports Channels on the DStv bouquet for live coverage.

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ON THE SCENE: Telemedia Hummer covering Nelson Mandela’s hospital stay

“Telemedia services are not only used in South Africa but our engineers regularly travel to Lesotho and Botswana, not only for SuperSport Africa soccer matches but also to provide coverage for cultural events or of Parliament and Legislature openings throughout the country,” comments Bretherick.

At present, Telemedia has a fully redundant Ku-Band flyaway kit in Zambia that was used every weekend in April for soccer in Ndola for feeding back to

SuperSport Africa for the Africa Channels of DStv. This kit is about to be transported to Zimbabwe for many of the sports events occurring this month.

“As the year continues, it looks like on many occasions Telemedia is working to capacity. Our engineers generally are putting in multiple shifts particularly over the weekends, which is why we are thankful for their hard work and dedication,” concludes Bretherick.

DISHED UP: Providing services for SuperSport May 2013 | SCREENAFRICA | 21

SATELLITE COMMUNICATIONS

Crossing borders in the sky Satellite should play a much bigger role in Africa in terms of delivering television and ICT services, according to Ibrahima Guimba-Saidou, head of the Africa division at global satellite operator SES. “Our goal is to remove the language barriers that exist in Africa through satellite so that local content production can increase and cross borders. Producers should create programmes in their own language and do an international version as well so that it can be broadcast in other parts of Africa.

“There is a definite need for more satellite television services in Africa because there are only three at the moment – MultiChoice, Canal and TopTV. Together with our local partner Telemedia, SES aims to bring more channels into Africa and to democratise access to satellite,” says Guimba-Saidou.

He notes that when people say they are ‘bridging the digital divide’ they are really only bringing pipelines into urban areas.

“This means they are not increasing the subscriber base across the rural areas – they’re only enhancing the service in urban areas. So it’s not really bridging the digital divide, especially considering that 60% of the population in many African countries is rural.

“There has been a 10 point gain in

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AFRICA TAKES OFF: SES-5 satellite on way to launch pad internet usage in Africa, resulting in an additional point in GDP (gross domestic product). I believe that most African countries could get to double digit growth in internet usage,” comments GuimbaSaidou.

He advocates the use of economies of scale in Africa, suggesting that there should be two types of STBs (set-top boxes) – one for DTT (digital terrestrial television) and one for internet usage.

Guimba-Saidou explains: “Africa is in the process of migrating to DTT so why not connect viewers to the internet at the same time with a separate STB and WiFi. There should be a minimum fee for the STBs because if you give people things for free then they tend not to look after them.

“SES has been in fruitful discussions with governments in Africa regarding the use of satellite to complement DTT in remote and

rural areas. I can report that several African countries are now considering a DTT / satellite hybrid. I think DTT should be done regionally to minimise migration costs as well as the costs of producing local content.”

A common perception that GuimbaSaidou frequently encounters is that satellite is more expensive than fibre. He responds: “People who say that are not comparing apples with apples. If you look at fibre in South Africa in terms of investment versus how many people will benefit, it’s only about 5% of the population. With satellite, the benefit is for the whole country and it’s instantaneous, from day one.

“With satellite the cost per user is much cheaper than with fibre. And, you don’t have to dig up roads or be subject to cable theft. When fibre is laid it’s close to other

pipes so the fibre network can be dug up by mistake and then it takes weeks to repair.”

There are currently 10 SES satellites covering Africa and delivering 525 channels into one million homes. According to Guimba-Saidou, SES-5 is the only satellite in Africa that has a unique characteristic in that it connects various linguistic groups in Africa. Not only can Lusophone audiences be reached on SES – 5 but it also provides access to Anglo, Franco and Arabic Africa.

Other SES satellites covering Africa include SES-4, which is primed for Francophone Africa and has French broadcaster Canal as its anchor client. Astra 2F and Astra 2G complement each other to cover West Africa, with coverage expanded all the way to Angola and including DRC (Democratic Republic of Congo).

– Joanna Sterkowicz

Copyright Thales Alenia Space

Expanding Africa’s broadcast footprint

AS GOOD AS GOLD: EUTELSAT 16A The world’s third largest satellite operator, Eutelsat Communications, will increase its resources over Africa and the Indian Ocean by 50% between mid-2012 and mid2015 through an extensive in-orbit investment programme.

“This includes the two satellites successfully launched at the end of 2012 and three under construction for launch before 22 | SCREENAFRICA | May 2013

mid-2015,” says Rodney Benn, Eutelsat’s regional vice president for Africa. “One of the satellites to be launched is EUTELSAT 3D, which will be positioned at 3° East with four footprints, including wide coverage in Ku-band across sub-Saharan Africa and resources in C-band and Ka-band. The scheduled launch is 14 May.” According to Benn, one third of the

Eutelsat fleet offers services over Africa and equates to 10 satellites which provide entire coverage of the continent.

He notes that 29 of Eutelsat’s 30 satellites are concentrated on a geostationary arc between positions 15° West and 70° East.

This enables Eutelsat to develop concerted major expansion programmes that optimise investment and synergies across Africa, as well as Europe, the Middle East and Central Asia.

“Broadcasting television is Eutelsat’s largest market in Africa and the Indian Ocean Islands. Last year, the number of television channels broadcast in Africa by our satellites rose by 18% to almost 700. Our fleet broadcasts more than 50% of the 1 300 satellite television channels over Africa.

“In fact, the range of channels broadcasting across sub-Saharan Africa via the EUTELSAT 16A satellite recently increased with the launch of Eurochannel, the international TV channel dedicated to European films and series. The channel has signed a new five-year contract for capacity and services with us,” he says.

Eurochannel has joined a digital platform uplinked by Eutelsat and comprises over 20 TV channels. It broadcasts programmes subtitled in English, French and Portuguese,

with terrestrial head ends its principal target.

Benn continues: “We also support our customers in the development of satellitebased triple-play services, which we believe can propel the penetration of digital services in Africa and the Indian Ocean.

“Last May we opened IP Easy, an internet services platform for the general public, on the African coverage of the EUTELSAT 16A satellite. IP Easy is a platform that operators can easily incorporate into the reception of television programmes broadcast from this orbital position to extend their offers.”

Eutelsat is also active in terms of Africa’s migration from analogue terrestrial broadcasting to DTT (digital terrestrial television). It supported the first DTT pay-TV initiatives in Africa with the StarTimes / NTA service launched in 2010 in Nigeria.

“South Africa, Kenya and Nigeria, amongst others, have announced their intention to move all their public television services to DTT by the end of 2015. Our aim is to offer our resources and experience to these schemes in order to ensure a seamless transition by feeding TNT transmitters and complement reception coverage in rural areas with direct-to-home services,” concludes Benn.

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Satellite’s critical role in DTT growth African nations are making good progress towards the implementation of the Digital Broadcasting switchover, which the International Telecommunication Union has set for 2015.

The switch to digital signals will provide improved reception quality and enable the delivery of larger channel line-ups and enhanced multimedia applications such as video-on-demand. Switching from analogue to DTT (digital terrestrial television) signals also allows for the more efficient use of spectrum, as frequencies formerly used by analogue broadcasts can be redeployed for wireless networks that are critical in supporting national economic growth.

Satellite serves a crucial role in the content delivery chain for analogue distribution and will play an equally critical role in DTT delivery throughout the continent, though the ways in which satellite links are utilised will vary from country to country.

“The transition to digital is a complex process, and we continuously engage with

4 Camera SD OB Van (Triax)

our customers to better understand their distribution strategies,” said Grant Marais, Intelsat’s regional vice president of Africa Sales. “Intelsat can offer African customers a number of different DIGITAL TRANSITION: Intelsat 20: the most recent launch for Africa technical approaches to broadcast distribution based on their individual needs and the digital transmission towers that deliver circumstances.” the signals into homes. For customers who Operators are increasingly looking for do not live near broadcast towers, the ways to assist broadcasters with alternative satellite signals can be beamed directly to options to avoid spending millions of dollars private residences, thereby ensuring a upfront on the roll-out of inadequate DTT 100% penetration without the need to solutions. While terrestrial distribution is deploy and power additional broadcast very expensive, satellite offers flexible towers. network architectures that support Through these solutions, countries and immediate requirements and provide the licence holders can create a more attractive platform to scale up infrastructure over channel line-up by creating a bouquet of time. state and non-state broadcast channels by Typically, satellites carry DTT signals from leveraging content already carried on multiplexing facilities, where packages of Intelsat satellites, including many of the television channels are bundled together, to most popular regional and global television

8 Camera HD OB Van (Triax)

HD DSNG Vehicle

Various Multi Cam Mix Kits

4 Camera SD Flyaway Kit

channels. Intelsat’s fleet of more than 50 satellites and expansive IntelsatOneSM fibre network also allow state broadcast channels to be exported around the world.

“With more than 20 satellites serving the continent, Intelsat’s commitment to African businesses, governments and consumer communities is unparalleled in terms of the coverage and depth of our services.

Satellite is a critical part of the content delivery chain for digital transmission, just as it is for analogue distribution historically, and Intelsat looks forward to continue supporting the digital television transition across Africa,” says Marais.

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May 2013 | SCREENAFRICA | 23

Golfers

11 thScreen Africa Golf Day

Warren Clarke, Sean Jefferis, Shaun Froneman and Ben Horter (Blade Works team)

Allan Mendes, Yousuf Mahomed, Andrew Cole, Oliver Abadeer and Andy Fairhall (Concilium Technologies team)

Allan Visser, Casper Klopper, Ken Herold and Brinley Pritchard (Zimele team)

Amar Singh, Craig February and Dylan Scuffard (The Fort)

Brad Knowles, Garth Cargin, Darren Hampton and David Butler (Ster-Kinekor)

Cheryl Delport, Sheryl Matthews, Pierre Simon and Lindi Grootboom (Feline Technologies)

Clive Hardwick, Stephen Ronald, Kenneth Maciver and Trevor Schuil

Freddie Bredenkamp, Robert Oostehuizen, Robert Deawon and Wessie van der Westhuizen (Prote Electronics team)

Gavin Joubert, Marc Harrison, Paul Thompson and Sean Ryan (Media Film Service)

Glen Eagle, Malcom Hendricks, Clayton Cooper and Ferdie Eckstein (Fatherhood Foundation Team)

Grant Randall, Steve Harris, Neil White and Allan Otto (Blade Works – LaserNet)

Janie van Reensburg, Shaun Kerr, Gary Johnston and Russell Jones (Protea team)

Joey Rasdien Robbie Thorpe, Eddie Mbalo and Jonathan Gimpel

Kyle Suttie, Eben Jansen and Brent Waller (GlobeCast Team)

Leroy Micheal, Mark Boyle, Lesh Kaminisky and Jacques Barnard (SuperSport)

Linton Allsopp, Billy Dickson, Glen Bosman and Matthew Neilon (Media Film Service)

Martin de Koker, Jaco Bester and Adriaan Smit (SuperSport)

Mecheal Henry, Fraser Rowe, Gavin Hong and Nick Apostoli (Blade Works team)

Monde Motha, DJ Milkshake, Sjula Dlamini and Brendan Buckley (Shake Down)

Neal Watson, Johan Prinsloo, Ronsley Kubie and Nkululeko Thobela (GlobeCast Team)

Nick Quintal, Mario Lucueva and Giancarlo Ballossino (SuperSport Team)

Pieter Fourie, Claude Stephan, Mirian da Silva, Fernando Frias (Concilium Technologies team)

Rod van de Werken, Brendon Hargroves, Dominic Mitchell and Rob Cowling (Sheer Sound team)

Simphiwe Zama, Zweli Nkosi, Sizwe Ncima and Marvin Cohen

Steve Bishop, Clive Humphries, Charl Jacobs and Chris Dobson (Crue Productions Team)

Steve Lauter, Rupert Dalton, Marius Janse van Rensburg and Thomas Nestmann (Jasco team)

Wikus Venter, Leon Labuschagne, Mike Haupt and Nick Lyons (Zimele team)

Warren Burley, Warrick Greyvenstein, Mlamli Booi, Jason Saekoe (Fine Tune Studios team)

Back: Stuart Phillips (BBC), Sentech’s Frederick Minne and Flenk Mnisi Front: Telemedia’s James Garden, JP Meeser and Divesh Maharaj

Hole Sponsors

A Shabodien, Mark Yaman, R Shabodien and Neil van Heerden (Sasani Studios team)

Local presence Global coverage

B ROA D C A S T SOLUTIONS Protea Electronics (Pty) Ltd

Prize Winners

18 April 2013 CMR Golf Club, Maraisburg

1st place team Prize: Rob van de Werken (Ericssen) and Brendon Hargroves (Coleske Artists)

Longest drive sponsored

by Mango (hole 16): Adriaan Smit

3rd place prize: Grant Randall (Lasernet) and Neil White (SBSS)

Longest drive sponsored

by Three Cities (Hole 7): Wesley Raleigh

The Telemedia crew

4th Place team prize: Eban Jansen (SABC) and Kyle Suttie (GlobeCast)

Lucky draw sponsored by Concilium Technologies: Alan Mendes (Concilium) presents award to Sean Jefferis (Blade) on behalf of Shaun Froneman

5th place team prize: Alistair Goble and Wesley Raleigh (Etana)

Two Lucky Draw prizes sponsored by Peermont Metcourt Hotel: James Garden (right) presents Kyle Suttie (GlobeCast Africa) prize to Brendon Hargroves

Telemedia’s James Garden setting up a shot on the 18th hole

Mark Boyle (SuperSport) drinking that shot

Telemedia’s JP Meeser and “Mr Divesh” with Screen Africa’s Chinaka Iwunze and Ayushie Rajkumar

ETANA Isuarance’s Wesley Raleigh, Neal Sundström, ????, Alistair Goble and Chris Ghelakis

Martin Smookler from Nates Audio Visual with Screen Africa’s Simba Nyamukachi

Joey Rasdien

Going... going...gone!

Off to the 19th hole

Doris Mthombeni and Jonathan Gimpel

Ellen Oosthuizen

Marianne Schaefer and Carly Barnes punking out

The Protea team catch up on some news at the Screen Africa hole

Fore!!!

Counting the scores

Gangnam style

A ‘Happy Gilmore’ attempt

Photos by Simba Nyamukachi

Golf Action

Longest drive sponsored by Atlas Studios (hole 5): Warren Clarke

2nd Place team prize: Steve Harris (Blade) and Allan Otto (LaserNet)

The 19th hole

Connecting the industry Radio and Television Broadcasting Solutions PO Box 1853, Rivonia, 2128, South Africa Tel: +27 (0)11 803-3353/4 Fax: +27 (0)11 803-2534 E-mail: sales@telemedia.co.za www.telemedia.co.za

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Means all ages category but cautious sensitive viewers and indicates that parents and caregivers are in the best position to decide whether or not a child in their care may view film or DVD for home entertainment purposes.

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XX Means the material may not be distributed or exhibited in public by anyone and also not in the adult premises set out in the section 24 of the act.

In the case of child pornography it may also not be possessed anywhere.

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16 Means that the material is not suitable for persons under the age of 16.

18 X18

16 SNVL

PG

10V

Means that the material is not suitable for person under 18 years.

Means only a holder of a licence to conduct the business of adult premises, set out in section 24 of the Act, may distribute the film to persons older than eighteen or exhibit such content to such person within such premises.

X18

SV The Film and Publication Board, helping you make informed choices on the films you watch, games you play and publications you read.

We inform you choose A 16 SN

L Language – material may contain instances of very strong language justified by the context.

16 H

H 18 V

Horror – any scenes of very strong horror must be justified by context.

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D Substance abuse – material may contain strong impact instances of substance abuse if justified by context.

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SV

16 SNVL

PG

10V

Sexual violence – material may contain occurrences of actual moderate to strong sexual violence, if justified by context.

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POST-PRODUCTION

|

The times they are a changin’

By Andy Stead

Bob Dylan’s prophetic lyrics could well apply to the film and television industry – the verse: ‘The line it is drawn, the curse it is cast, the slow one now will later be fast, as the present now will later be past, the order is rapidly fadin’ – is particularly apt. It applies not only to vast changes in acquisition formats, but also the role and function of post-production houses, particularly the full service facilities houses.

T

he film and television industry as we know it in South Africa blossomed in the late 1970s with the advent of television and the demand for commercials and programming. Prior to that cinema had been the only real outlet, but now new and unique services and skills are required.

As virtually all acquisition in the 1970s was on 16mm or 35mm film, the need to telecine, transfer and grade was essential.

The SABC (South African Broadcasting Corporation) in its wisdom installed chains of photo conductive devices.

While the SABC was reluctant to change, commercial producers were unhappy with the quality of transfers and began using a Rank Cintel device brought into South Africa by a local advertising agency. At this time a local facility, Video RSA, commenced business and offered services to the industry at large. This led the way to several post-production facilities – some affiliates of overseas facilities houses – setting up business in South Africa.

As the capital cost of equipment was exceptionally high and had a limited lifespan due to technology advances, only the large well-funded facilities could provide this service. Therefore their offering was of a high standard technology-wise and a full service covered telecine transfers; online editing on tape (remember the

28 | SCREENAFRICA | May 2013

CMX?); complete audio post-production; and delivery copies.

Often the film was edited by a specialised editing company and then transferred to tape if it was for television, but more and more the demand was for selected rushes to be transferred to tape and then edited.

Enter non-linear When non-linear editing was introduced some facilities acquired suites. I have scary recollections of editing a 22-part programme for an American network on newly released EMC2 edit suites during my stay at a major facilities house.

This was not to be the trend, however, and non-linear editing became the domain of specialised editors with their own systems, which included Avid, Lightworks and Final Cut Pro (EMC2 seemed to simply fade away). Footage was digitised, edited on the system of choice, and an EDL (edit decision list) then went to the facilities house for an online edit.

Together with the revolution in acquisition technology and the emergence of high quality digital cameras overtaking the traditional film route, so the non-linear editing systems began to provide increased quality and effects capabilities at a lower cost. This allowed editors to complete an

edit suitable for submission to broadcasters.

As cameras have developed over a short span of time from a three-tube, low resolution composite video camera to the likes of an ARRI Alexa 4K HD (high definition), so too has editing equipment evolved with most non-linear systems now able to provide final HD material.

Large facilities So what about the large post-production facilities? They are now deprived of film rushes to keep their expensive telecine units operating and are experiencing a decrease in the volume of online editing due to technology developments in offline editing equipment. All this coupled with a general reduction in workload and budgets due to lack of commissions from broadcasters and ad agency belt-tightening begs the question: is the large facilities house still a sustainable model with its hefty

rental and salary bills?

It’s a tricky one, and the questions currently being asked are those asked several years ago when I was in the facilities business. How to recapture market share, continue offering much needed services and make a profit for shareholders / investors?

Let’s consider the pure editing companies. There is a long list of both large and small boutique styled specialised companies (some with quite numerous staff numbers) and others with just an editor and assistant. These companies all have one thing in common – editors – who are known for their skills in a particular genre/s, be it commercials, longform, wildlife or documentary. These companies generate business from these skills and reputations, and clients will generally seek out the same editors time after time. The need to have a large infrastructure surrounding them (as in a facility) is virtually non-existent. It’s the skills factor that overrides everything.

| POST-PRODUCTION Changing domain With this in mind the larger facilities are unable to offer this specialised editing service as there seems little incentive for an editing company to join forces with them, although most editing companies do have recourse to a facility for various elements of their work. The problem for the facilities house comes in where the editing companies have, generally through reduced capital costs and developments in technology, acquired additional capabilities previously the exclusive domain of the facilities house.

It is not uncommon to see Flame, Smoke and other high end post-production technologies offered by editing companies.

And, it is also not uncommon for the editing company to finish a commercial right up to the final mix in its own suite, the only recourse to facilities services are perhaps a Baselight grade, some animation if required and audio requirements. Even delivery to broadcasters via one of the streaming companies can happen from the edit suite.

The larger Johannesburg facilities houses can essentially be split into two areas of specialty: commercial and longform. They offer services for both genres and the choice of facilities house is generally determined by its offering, price and skills level. For those offering longform services the market is pretty stagnant. While the rebates offered by the dti (Department of Trade & Industry) and IDC (Industrial Development Corporation) funding has made a difference, the lack of commissions by, in particular, the national broadcaster generates little business and the budgets for both commercials and longform are being continually reigned in.

When I was in the facilities business years ago the question asked over and over was: ‘Why not start a production company and generate our own business?’ This question is still being asked today, and indeed there is every chance that this may be a solution for some facilities, however for others the

risk of alienating their clients by encroaching on their area of business is a risk they are not prepared to take.

This route may, however, work and there may well come a time where the fine line between production and post-production merges and the offering becomes one.

Whatever happens it seems that there are tough times ahead for the major facilities. The almost complete demise of film-originated work; the lower entry level into editing equipment and some of the visual effects technologies; the decreasing budgets for commercials and longform; as well as a general decrease in workflow across the board, means that a lot of clever thinking will have to go into mapping the way forward, and into restructuring the large facilities model as we currently know it.

Will this change the landscape of post-production in the future?

Possibly but only time will tell.

“Non-linear editing became the domain of specialised editors with their own systems, which included Avid, Lightworks and Final Cut Pro (EMC2 seemed to simply fade away). Footage was digitised, edited on the system of choice, and an EDL (edit decision list) then went to the facilities house for an online edit.”

time it has been Aces Up’s main focus.

However, Aces Up still has a fully operational edit suite but doesn’t represent editors on a full-time basis anymore. “We have a base of freelance editors that we use when a job requires it. It is great to be able to offer an edit suite for hire,” says Karpinski.

The company is busy with a massive project for SADAG (South African Depression and Anxiety Group). “We are working on something that is really like a piece of art. It is a fully animated public service announcement that we are producing as a show reel piece and to enter into, for example, the Loerie Awards

and Cannes.

Last year Aces Up entered a music video called It’s Magic that was made for South African award-winning group The Parlotones into the Loerie Awards after which the company was ranked third in South Africa for animation. “Being in our first year in animation and to be ranked third by the Loeries was really amazing,” says Karpinski.

She comments that It’s Magic has been the biggest project Aces Up has worked on from a demands point of view in terms of the scale of job as well as the animation and the rendering that went into the project.

Aces Up uses After Effects, Maya, Flash,

Final Cut Pro, Avid and 3D Studio Max when creating magic and the specialist team consists of Theron (2D animation, design and illustration), Gigh Zack (3D animation) and Ed van Blerk (design and illustration).

“I love my job in its entirety,” says Karpinski. “My job is my life. I love the people who are here, the little family that we have and the freedom to our disposal within clients’ boundaries.”

Ever changing and evolving, Aces Up is building its street cred and with all the aces up its sleeve, much more magic will undeniably dazzle the industry, audiences and clients alike. – Martie Bester

Production option

Excellence in diversity With a work space that is as creative, elegant and cool as that of Aces Up, it is no wonder that the company’s brilliant team often gets to play the winning hand in terms of projects, which range from design, digital production and illustration to 2D and 3D animation.

“David Theron has done some amazing illustrations that have been accepted into Migrate magazine for the Loerie Awards,” says glamorous and inspirational Liesl Karpinski, producer and owner of Aces Up. Theron is Karpinski’s business partner and does all the illustrations for the company. He is drawing the cover for the May issue of Advantage magazine, which provides in-depth news about the media, marketing and advertising industries.

“Recently, we did a really nice piece for Continental with great 3D animation where we built the tyres completely in 3D and had them moving and everything. We’ve also been doing some work for Vodacom and Incredible Connection. Other work includes jobs in which we use everything from character animation to 3D modelling to design and illustration. And we also do a bit of live action only as part of animation projects,” comments Karpinski.

Aces Up was founded about five years ago with editing at its core, it has since moved away from editing as its core business and evolved to animation and digital to expand the business and transform it into a more prominent industry player. The animation division has been running for about 18 months and during this

May 2013 | SCREENAFRICA | 29

POST-PRODUCTION

|

The editor’s choice

By Andy Stead

There are three systems that come to the fore when choosing an editing suite to create the magic that is the film business. AVID, FCP (Final Cut Pro) and Lightworks are still plying their trade around the world, each offering its own creative uniqueness.

Indeed, each of these systems is in use in South Africa and form essential elements in the complex postproduction process.

A SUITE CHOICE: Eben Olivier

E

ban Olivier is somewhat of an editing systems expert, being familiar with AVID, FCP and Lightworks, and even offers certified courses on the subject.

Says Olivier: “I learned very early on that editing is perhaps the most powerful tool in the filmmaking process – after the freedom of imagination in the script process, the tyranny of budget and the fallibility of human beings in production.

“Back in the day I used to own a Steenbeck film editing machine and a picture-synchroniser, and cut features on film. Then I moved onto non-linear editing and AVID and found it a fantastic tool.”

When Apple’s FCP came onto the scene it dominated the post-production scene for a few years, before spectacularly selfdestructing earlier this year.

“I know Apple has promised all manner of fixes for FCP,” continues Olivier, “but they have proved beyond doubt that they cannot be trusted, by ditching the pro grading suite, Colour, for instance.

“Recently AVID has made a big comeback with Media Composer 6 running in a super fast 64bit environment with a ton of cool new stuff. However, if you are starting out, AVID is an expensive tool, but I

30 | SCREENAFRICA | May 2013

would not trust or invest in any Apple post-production tools right now.”

Travelling ‘Light’ Enter Lightworks! Why should you be interested? Well, Lightworks is free.

“What is Lightworks?” asks Olivier. “In the first edition of The Guerilla Film Makers Handbook back in 1994, I interviewed a Lightworks editor. Back then AVID and Lightworks were neck-and-neck in the non-linear market. Lightworks is a professional tool with an incredible pedigree and heritage. Not convinced?

Well The King’s Speech was cut on Lightworks, so if it’s good enough for a Best Film Oscar winner, I suggest it’s good enough for any of us.”

Using it feels very logical, like editing on film, according to Olivier. Plus it has all the bells and whistles of many new digital tools.

It is a professional tool, not a semiprofessional or domestic tool that has been dressed up. So expect to invest time in learning how to use it.

It seems that the guys who released Lightworks for free plan to make money selling plug-ins, which is a smart tactic in

today’s world. They have also committed to keeping Lightworks free. And, it’s Open Source, so it will be very interesting to see what evolves.

Revamp “Apple recently revamped its signature video editing software with Final Cut Pro X,” explains Olivier. “It is leaner and faster than previous iterations of the software. The new interface also makes the software more intuitive and accessible to new users.

Innovative new features such as background rendering and the magnetic timeline set the standard for future generations of video editing applications.

“But Apple is also losing its existing pro-market in the app-based prosumer market that they were the first to storm. Put yourself in the shoes of the Apple development team; you have in the region of 10 000 FCP Studio 3 packages sold over the past three years, while your app store sells 10 000 Editing Apps a day to aspiring, ‘wanna-be’ prosumer video editors.”

Olivier believes the release of FCP X was the end of FCP. “In its defence it’s a super cool little app to use when you are on a

16-hour flight to Los Angeles. But in a professional studio environment it falls down flat.

“I have always been a fan of AVID (not the price point though), but it is a sure-fire product – you always see the improvement in the architecture and design year in and year out. I believe that its Audio Systems (Pro Tools) is one of the strongest tools they have in the current market. I swear by AVID when it comes to live broadcast mixing and multi-track recording.”

Open Source Olivier admits that he ‘played a bit’ with an Open Source version of Lightworks recently. “I have to say well done! Open Source platforms always end up with a ‘community’ and community members seem to be loyal on any given day. The software interaction lived up to the reviews I read and I found it easy and self-explanatory to navigate through the offering. I believe with a bit more cleaning up that this could possibly be the FCP of seven years ago!”

POST-PRODUCTION

|

Top industry talent General Post in Johannesburg is an agency that supplies freelance digital media and post-production personnel and creative crew to the film and television industry.

Kirsty Galliard, managing director of General Post, is enthusiastic about the talent she has on her books and is proud of the many milestones that have been achieved by editors, researchers, illustrators and storyboard artists, 3D animators, compositors, post supervisors and workflow experts, directors, writers and sound engineers – all consummate professionals who are at the very top of their game.

Galliard is especially proud of Masibongi Mtshali who is working as an assistant editor on the reality TV show MasterChef South Africa. “Masibonge started as an intern here in 2011 and I am so chuffed that he is working on MasterChef now,” she says.

“Apparently he is doing really well there.”

General Post runs the annual South Africa’s Next Top Filmmaker competition that offers young filmmakers the opportunity to break into the world of television broadcast production. “It looks like we might get a much bigger

sponsorship, which will allow us to run the competition on a larger scale than in previous years. Usually entries open in May but we are pushing it out for a couple of months in terms of waiting to see whether the sponsorship will materialise.

Galliard continues: “If we get the sponsorship, it will mean that there will be a lot more opportunities for youngsters to be mentored.”

Expanding on the success of 2011’s winners of the competition, Sbu Zuma and Sihle Ngcamu, Galliard mentions that they are both working in the industry. “Sbu is a junior director and DOP at Quizzical Pictures while Sihle is also working there and doing very well.”

2012 finalists Mondli Magenuka and Nompumelelo Tshabalala are working in the industry too.

Galliard, who is just as much the professional as the superb talent she has on her books, is justifiably delighted with her team of industry professionals who deliver some of the best work in the South African filmmaking industry. – Martie Bester

Kirsty Galliard

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 32 | SCREENAFRICA | May 2013

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 Griffith on 0860 111 553 / 076 225 9173 or griffith@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

| POST-PRODUCTION

Spicy talent delivers the goods Award-winning animation and visual effects post-production studio BlackGinger recently finished work on a number of local and international commercials as well as working on an animated episodic web series for the Halo 4 game.

“The new local Johnnie Walker commercial features some very organic photographic imagery which relied heavily on post-production to create a natural organic feel,” says Marc Bloch, owner of BlackGinger.

The company has also completed a series of fully animated spots for Clover and has just finished work for clients such as Windhoek, VW, Standard Bank, Nedbank, Mercedes, Engen, Wimpy, Toyota and many more.

Currently, BlackGinger is working on an international series of almost fully animated commercials for Cif cleaning products after having completed a number of them last year.

According to Bloch, 90% of BlackGinger’s work comes from local and international commercials and the rest being series, film, print or live events.

In terms of feature work, the company

plus a large animation team using Softimage XSI, Houdini, ZBrush and proprietary tools. Our compositing, clean-up and roto department uses Nuke, Hiero and After Effects. We also have edit facilities for which we freelance from a pool of editors or dry hire the suite,” adds Bloch.

BlackGinger offers everything related to post-production plus on-set supervision, conceptual art, previs and creative and

technical problem-solving. “We specialise in visual effect and animation and jobs that are more technically and creatively challenging.”

According to Bloch BlackGinger is constantly upgrading existing equipment.

“We have invested heavily in our infrastructure so we are quite committed to the gear that we have in place, but we are constantly evaluating new technology.”

He continues: “A great challenge when doing bigger VFX and animation projects is taking a process that is inherently very technical, involving many people and creating something that is visually natural and organic.”

Bloch mentions that at the moment the biggest challenge is budgets, which is felt industry wide. “Post-production is very heavy on capital expenditure so creating high-level work for small budgets is becoming harder and harder.”

BlackGinger employs almost only specialist staff so that the company has teams that consist of individuals who are excellent in the areas in which they specialise. “This means that there is a general high level of skill across all the teams, which allows for more effective mentoring and growth.”

The best part of working at BlackGinger is “definitely doing good work, whether it is good conceptually or technically. Doing technically challenging work is always rewarding as it often takes you out of your comfort zone and teaches you a lot,” concludes Bloch.

to that of the traditional 2D workflow.

“Stereoscopic films rely on two films being shown at the same time. The 3D glasses one wears isolate these two streams of footage for the left eye and the right eye.

During the initial phase of the DI, we focused on the footage for the left eye and completed the colour grading and titles.

This effectively is the 2D master used in traditional cinemas. We then combined the right eye’s footage, put the glasses on and re-graded the colours to ensure that the 3D film looks the same as the 2D version.”

Adventures in Zambezia and Khumba are just two of a very impressive list of projects handled by Searle Street Post, which

includes Long Walk to Freedom, Zulu, Strike Back 3, Mary and Martha, Die Wonderwerker and De Heineken Ontvoering.

“In the very short space of two years Searle Street Post has managed to penetrate the South African market in a serious way. We have serviced all the big international feature and TV productions.

In addition we’ve worked with the top commercial directors in the country. The craft award that we won for Keith Rose’s Allan Gray spot Time Flies speaks volumes of our passion and creativity in the commercials sector,” concludes Henning.

Grab shots from Allan Gray Legend (top) and Stimorol Mega Mystery has received international recognition. In 2011 BlackGinger won a Best Visual Effects award at the 2011 Asian Film Awards in conjunction with Technicolor Beijing, MPC London and Loki Effects in Canada.

And for the reboot of the television series Knight Rider, the company produced more than 100 composite shots.

“We have a full finishing and grading environment with Flame, Flint and Baselight

Right up their street!

Cape Town-based Searle Street Post subtitled, top and tailed and oversaw all broadcast and online deliverables on the eight feature length documentaries documentaries and the 37 shorts which form part of the land-mark Why Poverty? series, produced by Steps International in Cape Town.

Says Searle Street’s Heino Henning: “Three of the Why Poverty? films – Solar Mamas, Land Rush and Poor Us – have been shortlisted for the One World Media Awards. It was a wonderful opportunity to be part of this award-winning series of films, which was recently recognised by the Peabody Awards. Why Poverty? not only entertains, but also educates and aims to change the world into a better place. We are immensely proud to have been part of a project of this magnitude and worldwide reach.”

Searle Street received the whole Why Poverty? series in various stages of completion and handled the colour grading and editing on some of them. All the films had to be branded with the Why Poverty? logos and other title elements. Every film was broadcast by a total of 69 international broadcasters, resulting in Searle Street Post doing the various language subtitles. They also supplied the final broadcast material for all the films.

The Baselight suite at Searle Street Post Searle Street has done DI (digital intermediate) on Triggerfish Animation’s stereoscopic 3D animated feature films, Adventures in Zambezia and Khumba.

Henning explains: “Firoza Rahim, the post producer on these projects, and colourist David Grant have had a long and fruitful working relationship with the team at Triggerfish Animation. We believe that the combination of the quality of our work, our talented and experienced team of artists and producers and the treasured client relationships attract these and other high profile projects.”

He notes that the DI process for a stereoscopic project is not vastly different

May 2013 | SCREENAFRICA | 33

POST-PRODUCTION

|

Client satisfaction from script to screen

A scene from the movie Fanie Fourie’s Lobola The Refinery in Johannesburg is a strikingly beautiful post-production company in which larger-than-life projects regularly come to fruition. Housed in an über modern space it has a cool industrial feel with lots of natural light streaming in.

Consummate professional Tracey Williams, director of The Refinery, is excited that the rebate by the DTI (Department of

Trade and Industry) in terms of film incentive is finally starting to pay off for the post-production industry in South Africa.

“The DTI is trying to incentivise more post-production work in South Africa. While we’ve had many foreign productions coming to the country, very little of those affect the post-production industry as there has been very little growth in that area in

the past,” says Williams.

“The incentive is based on requesting foreign companies to spend more on post-production as an added benefit to the whole production. It has been a very nice incentive and with it there is a lot of interest with regards to work coming to South Africa,” adds Williams.

“In terms of the rebate, we are quoting a lot of visual effects work. So I think we are only at the beginning of its potential. We are seeing a lot of interest in what kind of post-production we can offer.”

The Refinery has had a great start to the year as it handled all the dailies and the editorial side of BBC and HBO coproduction television series Strike Back Season 4. The company also did the dailies on the American co-produced futuristic feature film Kite, starring Samuel L. Jackson, and is doing some editing on the completed version of the movie.

Another foreign production for which The Refinery is processing and handling dailies is Young Ones, which was shot in Springbok in the Northern Cape and which stars Nicholas Hoult from The Hunger Games and actress Elle Fanning. “Those were all exciting and diverse projects,” comments Williams.

On the local front The Refinery is handling the post of Afrikaans feature film Musiek vir die Agtergrond (Music for the Background) produced by Sallas de Jager.

The movie is due for release nationwide later this year.

The Refinery is also De Jager’s choice for

upcoming Afrikaans movie Stuur Groete vir Mannetjies Roux (Send Greetings to Mannetjies Roux), which is currently being shot.

Williams mentions that The Refinery is also working on local movie Felix, directed

by SAFTA Lifetime Achievement winner Roberta Durant with an all-women writing, directing, line-producing and DoP team.

The Refinery places great emphasis on taking projects from script to screen. “On the film side we very much understand how to handle everything from acquisition to editorial to final post,” says Williams.

“We have always concentrated on that and we have always understood that the client is making a product and that we’ve got to put the right things in place in order for them to sell their product. We combine the creative with an understanding of delivery.”

Williams says these days the postproduction process is less driven by tools as opposed to understanding how the process works. “It is essential to know what the client needs in contrast to necessarily acquiring new gear. The process has undergone a change in that we offer solutions relevant to the situation.

“I love the stories that people are trying to do and the process involved in making that a reality. That’s our jigsaw puzzle. It’s never the same job twice and we keep on reassessing the best way to do the best job for our clients,” concludes Williams. – Martie Bester

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34 | SCREENAFRICA | May 2013

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2013/04/19 10:26 AM

| POST-PRODUCTION

Superior commitment, innovation and growth This year, the talented team at FiX Post Production was nominated for a SAFTA (South African Film and Television Award) for the fifth year in a row for their editing on television drama series, Hartland.

C.A. van Aswegen, managing director, senior editor and colourist and Quinn Lubbe, senior editor, VFX artist and composer say that FiX has certain core values in place, such as never compromising on quality work. “Nothing goes out of these doors that we are not absolutely happy with,” says Van Aswegen.

Lubbe adds: “It is important that everything that goes out is as good as we can possible get it. We want to be known as the facility that goes the extra mile and we pride ourselves on a personalised service.”

In recent years, FiX’s main focus has

shifted to feature films as its core business.

Currently, FiX’s most recent project, new Afrikaans movie Lien se Lankstaanskoene is showing in cinemas to rave reviews, while the romantic comedy Klein Karoo, which soared at the local box office, was also in post-production at FiX. “It is important that we mention how well the films we have been involved in do at the box office. We are proud of the fact that the films on which we work are so popular – so we must be doing something right!” says Lubbe.

For both movies, Van Aswegen and Lubbe did various visual effects shots, an area of expertise that they are also pursuing. The filmmakers say that all the films in which they are involved contain an element of visual effects.

“Because the South African film industry is developing in leaps and bounds, people are starting to realise that visual effects are an option. Just like everything else in the industry we have to get creative because we don’t have unlimited resources. So we get clever about how we do it and we choose our shots very strategically,” mentions Van Aswegen.

Although the focus is very much on film, FiX has just completed an 18-month mammoth project which consists of six intricate installations called the Interpretive Films for the museum at Freedom Park in Pretoria, which is a memorial dedicated to the story of the African continent’s untold history and heritage.

FiX is also doing post on Bakgat 3!, the third intallment in the series of highly popular comedies which also raked in big box office earnings.

Van Aswegen is working on André Odendaal’s new film, As Jy Sing, which releases in November.

Also in the pipeline this year is Hear Me Move an English / Zulu dance film, a first for South African audiences.

FiX has been commissioned to do post on the Afrikaans feature film Die Storie van Racheltjie de Beer (The Story of Racheltjie de Beer) which is still in its development stages. “It’s going to be a big film for us and there will be many visual effects shots in the film and they will have to be absolutely photo realistic. It terms of visual effects, it will be a first for us and will help elevate the landscape of what is possible in

the local film industry,” says Van Aswegen.

Apart from feature work, the company also does post on TV dramas, sitcoms, commercials and corporates.

The team uses Final Cut Pro and has just switched to Da Vinci Resolve for grading and uses Nuendo 5.5 and Pro Tools for their sound design and final mix work. FiX Post Production houses a plush full HD 25-seater cinema room in which the final edits and audience test screenings take place.

In terms of visual effects, Cinema 4D and After Effects are the main tools used as there is good interaction between them.

Personal relationships are important to FiX. “Most of our clients are repeat clients, whom we have built a relationship with and they know we will go the extra mile for them. Their projects are important to us,” says Lubbe.

Emphasising that the success of film lies in collaboration, Lubbe and Van Aswegen strive to pass their knowledge on to their junior staff members.

“We have an open-door policy at FiX and we truly believe that sharing knowledge is the best way to grow our industry. We will always try and assist filmmakers with advice on how to best execute their vision,” says Van Aswegen.

As filmmakers with a lot of experience, passion and drive, and absolute commitment to perfection, FiX Post Production is especially proud to be part of a rapidly developing industry. “We have to continue the momentum that has begun. It is our responsibility.” – Martie Bester

May 2013 | SCREENAFRICA | 35

POST-PRODUCTION

|

Creating beautiful pictures Warwick Allan, director of Mushroom Media, says: “All the suites at the company can do a range from offline to online, but we’re focusing more on finishing and grading specifically.”

He continues: “We’ve been working on a few commercials lately, we’ve just finished Baby Soft for Ogilvy, which was a fun project involving a lot of virals. A lot of campaigns have viral ads, which are shot at the same time as the TVCs, the virals are almost being finished like commercials so we did seven virals and two TVCs for the ad.”

About Baby Soft and other projects he says, “I’m working with Team Best boutique creative agency and production house, a young new production company with two cool directors, Bryan van Niekerk and Asher Stoltz.”

Adds Allan: “We’re about to start a big job for Namibian Tourism and our client is New Mission Films based in Windhoek. It is going to be quite exciting so I am sending Miriam Arndt, our junior editor to Namibia to data wrangle and pre-edit on set. And then we will do the rest of the finishing and the editing here. That’s going to be probably for the rest of the year, which is a long-term job which is fantastic.”

Allan says, “Hopefully we will do a lot of commercials and we’re hoping to work with a lot of new young directors and other established directors who want to try something new”.

He mentions: “We still do a lot of local music videos and have been busy with the record label Just Music.

They have quite a lot of top local artists that they have signed recently and they are doing Just Music Sessions once a month which promos their new artists. We did Zebra and Giraffe and a new band The Anti Retro Vinyls, and in March we did a club session with Pascal and Pearce, Locknville and GoodLuck.”

36 | SCREENAFRICA | May 2013

The bulk of the work is quite a mix at the moment because the company is in a transition phase but “this year we are focusing very much on post, I think our knowledge of production helps us in the post world.

“We are trying to grow a new client base of commercials and directors that we do post for. I like the mixture, it keeps me on my toes and historically I’ve done a lot of stuff myself. And now I have Michelle Wilson who is freelancing so she is grading out of the grading room which is great as she has 15 years of grading experience and is considered to be one of the best in the country.”

Allan doesn’t necessarily want to get too big. “I want a tight, robust facility that can do good work.”

He mentions: “We bought a Centralised Storage System so that all four machines connect on the same storage pool and what is nice about that is we can edit here and save and close down and open it up immediately in another suite to tackle a different aspect of the job such as grade. So there is no duplication or moving of media which is quite nice because it allows us to be very quick and get the job done.

“Obviously the Da Vinci Machine was the biggest upgrade in terms of what we can actually offer with realtime RED RAW in 4K as well as other RAW formats available (ARRI and SONY F55). And we’ve just upgraded to Resolve 9. It is quite exciting times!

“In terms of digital transcoding of RED footage we’ve obviously got a RED ROCKET™, so we can do that real time, which is really nice for offline transcodes to ProRes or DNX HD for offline at another facility if the client wants.

“Creating beautiful pictures is the most rewarding thing and just trying to make people happy. That is one of Mushroom Media’s priorities, if people are loving what they are seeing it energises me to do what I am doing. I think that is important, and just the enjoyment of being around people who are creative and giving each other ideas and creating images that are powerful and beautiful… that energy of collaboration is very important and we are looking forward to collaborating with many more dynamic and creative people in the future.”

| POST-PRODUCTION

Breathtaking editing, animation and visual effects at play Ever positive and enthusiastic, Riaan Stoman of Pepperoni Pictures has just moved offices to Bryanston and is working on several projects for local and international companies, editing and creating extraordinary visual effects for various commercials, music videos, documentaries and television shows.

The company’s most recent work includes an animated commercial for Waridtel and commercials for Hima and Bamburi cement. Along with music videos for Mastercraft, Flavour and Wizzkid.

Pepperoni Pictures specialises in editing, animation, visual effects and design.

Although the bulk of the company’s work comes from agencies in Africa, Stoman also has local agencies on his books, doing commercials such as Daihatsu, Mitsubishi,

1Life Direct, Foton and Dstv.

Pepperoni Pictures has done music videos for various local and international artists, such as Lira, HHP, MiCasa, Cosmic Gate, Flavour, Dbanj, 2Face, Davido, Wizzkid and many more.

André van Rensburg recently joined Pepperoni as off-line editor. Van Rensburg has had a decade of international post-production experience in Asia and New York.

The company is currently in post with a commercial for Tigo, a Ugandan telecommunications company as well as creating title sequences for various local upcoming television shows.

“There are always budget and time restraints, but in terms of applying your imagination, the creative opportunities are endless,” comments Stoman.

He places great emphasis on client relationships, and he aims to maintain a level of friendliness and professionalism.

“Most of my clients are repeat clients and I nourish the important relationships that we build with them.”

Commenting on working in the industry, Pepperoni Pictures focuses on its strengths and expertise to get the best job done.

According to Stoman, telling great stories and delivering high-quality results have never been more fun, and judging by the imaginative interior of Pepperoni Pictures, this is where work and play merge for perfect creative and professional synergy.

– Martie Bester

Creativity rules!

May 2013 | SCREENAFRICA | 37

POST-PRODUCTION

|

Twenty-four years and counting

By Graham Smith, Orchestra Blue founder

“Give more than was expected, have fun doing it, but above all be utterly professional.”

This was the philosophy way back when we started Orchestra Blue and with our 24th birthday just around the corner. We are proud that this mindset has helped us become the oldest and (I think) longest lasting commercial post-production house in South Africa.

It has been an incredibly exciting journey. I remember the early days so clearly. With every cent I had managed to borrow from the bank going towards a 35mm Steenbeck, there was nothing left to buy the important stuff, like a fridge. When we bought milk or tinned cold drinks we would have to place them on top of the aircon in

another room to keep them cold. Luckily electricity was included in the rent. The Steenbeck worked beautifully and within six months was ...No! not paid off ...made obsolete by a horrible, horrible pair of twins called ‘The U-Matics’ or as some liked to call them, ‘Pnumatics’.

Rather than wasting money on a ‘Pnumatic’ suite, we rented one and paid twice what we would have paid by purchasing it outright. What can I say? We are editors not business people. But we did learn a very important lesson that would help us grow to become one of the leading post houses in Africa: Embrace ‘change’.

Over the years the industry become smaller and smaller with budgets matching this trend but technology has gone the other way. There is now much more choice for a lot less cost.

Having embraced these new technological options we are able to deal with these budget restraints without compromising the end product – an expectation from our clients that (quite rightly) has not changed over the last quarter century.

And talking about clients, we really have been spoilt over the years. We have worked with some of the best the industry has to offer (some of whom started with us on Day 1 and are still editing with us) and it is their loyalty, support and trust that has catapulted us to where we are today.

I know it’s a bit corny but isn’t it good to know that ‘the more things change, the more things stay the same’ ...except we now have a fridge.

The next chapter Glasshouse Post Production, now 11 years old, reports a busy start to 2013.

Editor Angela Whitehouse has worked on top brands like Cell C, Simba Chips, Nando’s and Ace. Whitehouse describes the Cell C Hands commercial, which was shot by Bruce Paynter of CAB Films for ad agency Ogilvy, as ‘an incredibly interesting process’ that involved the special effects team from BlackGinger.

“This was the first time I ever started editing before the shoot,” says Whitehouse.

“First up, I put together a basic edit from the director’s storyboards, from which a pre-viz was created by BlackGinger.

Background plates were then shot and edited together. The hands and live action

were the final elements to be shot and then composited into approved backgrounds.

“The ad was in production for over two months, but sometimes I only had a day in between each process to edit. It qualifies as one of Glasshouse’s more challenging jobs but one that we’re very proud of.”

Editor Neil Gow has just completed his third Edgars job for the year. Edgars Beauty Extravaganza, shot by international award-winning stills photographer Justin Polkey of Film Machine, boasts a compilation of beautiful, sexy Moulin Rouge type sequences. Gow also worked on an international job for Star Beer for Nigeria shot by Bruce Paynter, as well as Nedbank Corporate, NUM and some beautiful pieces for Anglo American.

In his second year at Glasshouse, art director turned editor James O’ Sullivan, has worked on campaigns for Debonairs Pizza, Milky Lane, Fishaways, Mugg & Bean and Old Mutual.

www.ghpp.com Tel: 011 454 4849 Email: cheryl@ghpp.com / natasha@ghpp.com Block B, Stonewedge Office Park, No.1 Wedgelink Road Bryanston, 2021

38 | SCREENAFRICA | May 2013

GLASSHOUSE SCREEN AFRICA.indd 1

2013/04/19 12:39 PM

On the ‘Up’

2013 has taken off at a manic pace for Upstairs Post Production with editor Kobus Loots featured in Shots Magazine and a selection of last year’s work celebrated by Creative Circle’s Ad of the Year Awards.

Says executive producer Ashleigh Lambson: “Our edits claimed two of the top three honours in the television category for Standard Bank Moving Forward and Ster-Kinekor Intersection.”

In February Lambson hosted a Valentine’s Day high tea event at the Cape Grace Hotel for female producers from around the country.

“We wanted to thank all the agency and production company producers who have been loyal to Upstairs in the past and to encourage further successful working relationships in the future,” explains Lambson.

Joe Erasmus and Ashleigh Lambson

Editor Emily Bussac is on maternity leave to look after baby Annabelle, while putting the final touches on Ian Gabriel’s feature film, Four Corners.

Upstairs has taken on second assistant Joe Erasmus, a cum laude film and media graduate.

“Joe joined the facility in February and has since made everyone’s lives a whole lot easier. Internships are so crucial in an industry where good editors are a highly sought after commodity. Upstairs is only too glad to equip young talent with the relevant skills,” comments Lambson.

Junior editor Mark Ash recently cut a PSA (public service announcement) for the Kidney Foundation of South Africa, directed

by Norman Maake of Plank Films for agency NetworkBBDO. Editor Greg Shaw recently cut Tiffany Break for director Peter Pohorsky and a Johnson and Johnson spot for Ola! Films’ Amy Allais. Loots has worked on the new Johnnie Walker TVC (television commercial) for Egg Films’ Kim Geldenhuys, produced

by Rozanne Rocha-Gray.

Lambson notes that the Misty Cliffs studio has proved to be a huge success with directors thoroughly enjoying the change of scenery and creative atmosphere.

“Most recently Australian director Bryan Cawood visited the Misty Mountains to work on a new Outsurance campaign produced by Alison Ellard of Wink Films,” she says.

Several Upstairs projects eligible for the Loerie Awards include Pohorsky’s Chicken Licken spot (NetworkBBDO), Gabriel’s Sissy

| POST-PRODUCTION

The Specialists

By Luke Apteker of Priest

Everything that flies out of our doors on wings of majesty dons our stamp of quality and affection, but if we had to pull a few recent jobs out of the exciting hat, I would like to comment that Matt has laid his grubby hands on the likes of Woolworths Winter 2013 and RE brand, Edgars, Mercedes, a project with Harvey J Brown, DStv and a prodigious short film by Daniel Levi.

Luke smashed out service commercials for Coke, Sprite, Jardiland, Vicks and Hoover. Making more use of his musical expertise Luke cut, spliced and diced Freshly Ground, Phphat, Diplo and a video for Haezer. He also just finished cutting a feature documentary that is being shown at Palm Springs Film Festival.

Being the only girl in the editing run doesn’t put our dear Carol at any less of an advantage for knocking out some whimsical work. She cut a heart-touching video for the Jakkals, graded the s**t out of a video for Jack Parow and went so far as to produce her very own piece for a global feminist empowerment firm titled ‘1 billion woman rising’ that gave Gangnam Style a run for its hits on the almighty interwebs.

Plain and simple, our passion is film. We see moving pictures and even the local geese grow envious to the bumps on our skin. From corporate AVs to features to viral stings, we do it all. But commercials tend to be the dough that fuels our baking of post-production to bring the bread home.

To our producers’ dismay, we are tech junkies. Love it. Crave it. Need it. I don’t want to bore you with the specifics of what drives our well-oiled engine but it’s all so shiny that Swarovski pokes their heads through our doors from time to time.

PS: “If you find yourselves lost in the woods, f**k it, build a house.”

Boy spot (M&C Saatchi Abel), Geldenhuys’ Nedbank spot (M&C Saatchi Abel) and Bouffant’s Ster-Kinekor spot by Dean Blumberg (FoxP2).

Upstairs recently purchased three new Mac Book Pro computers, each kitted out with the latest Avid Media Composer 6.5 editing software.

The art of editing.

We edit the sh** out of your film and advertising work. (and even the Vatican is willing to try someone new)

www.priest.co.za I facebook.com/priestpostproduction I vimeo.com/priestpostproduction

May 2013 | SCREENAFRICA | 39

POST-PRODUCTION

|

Making plans come together

A welcoming environment awaits clients as they walk into the offices of Guillotine Post. It’s peaceful. Somewhere the soothing sound of water can be heard and the smell of incense pervades the atmosphere.

Owner Karen Macdonald is energetic and excited as she talks about Guillotine’s recent work on commercials, such as Edgars, Vodacom, Tshwane Open, KFC/ YUM Restaurants,, Cricket SA, SAB, MTN

40 | SCREENAFRICA | May 2013

and SA Tourism.

Apart from the company’s extensive work in the field of commercials, the facility also does AVs and animatics. “We run Avid and Final Cut Pro (FCP) and have a full-time colourist who works on FCP and colour,” says Macdonald. “At the moment he is busy grading a new series on M-Net called IsiBaya as well as Tempy Pushas, a South African television drama series on SABC1.”

In terms of other personnel, Guillotine

It’s about the love for people At the moment a ‘quirky’, ‘highly original’ and ‘fun’ ad for Engen Wimpy is screening on South African television screens. The words in quotation marks above could easily apply to Kate Grossso, owner of and producer at Riot Post Production.

A gregarious lady with an infectious laugh, Grosso is grateful to have her editor and former business partner Gordon Midgley back.

“Now that he has returned, I’m seeing projects again, which is a blessing,” says Grosso. “At the moment we are busy with some Telkom commercials and have just finished a brand commercial for All Gold.

We started the year with quite a lot of work

with Egg Films, such as a Toyota RAV4 ad in collaboration with Australia and an Engen Wimpy ad.

A local director shot the RAV4 ad and Grosso says it was great that the offline was also done in South Africa.

The bulk of Riot’s work originates from commercials. Grosso comments: “There’s an interesting mix of agency stuff happening.” Riot works on offline edit and uses Avid and Final Cut Pro. “Once we’ve done offline we try and stay involved for the online as well,” adds Grosso.

“The best part of my job is the people.

Whether it’s the editor I’m working with, the production house’s producer or director or whether it is the facilities people, I love it.”

And after 25 years in the industry, still going strong, Grosso is inspired daily to make content of extraordinary value, adding her magical touch of professionalism and exuberance.

– Martie Bester

employs Ian Wolvaardt, a full-time editor who is very well known to many of you.

“I have a good choice of freelance editors available. They cover the spectrum from senior to junior so we are always able to meet our clients’ budgets.”

With trademark positivity, Macdonald says she loves it when a plan comes together (just like John ‘Hannibal’ Smith used to love saying on the 1980s television show, The A Team).

“There’s always a rush, there’s always a

deadline, but somehow you always make it work,” Macdonald concludes.

At the time of the interview, Guillotine was conducting interviews for another permanent editor.

IsiBaya is set against the backdrop of the taxi industry with two young lovers torn apart by a century-old feud between two powerful families and airs on Mzansi Magic on DStv Channel 107.

A look at NAB Over 90 000 media and entertainment professionals from over 150 countries descended on Las Vegas in mid-April for the 2013 NAB Show.

Here are some of the new technologies that were launched at the event.

NAB REPORT BACK

| Tracking Technology

Cine camera in your pocket At NAB Blackmagic Design announced the Blackmagic Pocket Cinema Camera, a pocket-sized digital cinema camera that includes a Super 16mm sized 1080HD sensor, 13 stops of dynamic range, a built in SD card recorder for Apple ProRes, lossless compressed CinemaDNG RAW capture, and an active Micro Four Thirds lens mount.

Since the original Blackmagic Cinema Camera was launched at NAB 2012, it has been celebrated by industry professionals for its amazing film look and accurate and cinematic color. The new Blackmagic Pocket Cinema Camera has most of the features of its bigger brother, including its feature film look, but has been redesigned with a dramatically smaller size that is less than an inch thick and can be held easily in your hand.

This compact design allows the Blackmagic Pocket Cinema Camera to be used in more situations where a larger camera would not be practical. The camera can accommodate Super 16 cine lenses via MFT adapters, as the shooting experience is the same as using the same lens on a Super 16 film camera. Its super wide

dynamic range of 13 stops allows for feature film quality images with dramatically more detail retained in black and whites in the image. Once the shoot is complete, DaVinci Resolve Lite colour correction software can be used to adjust images and take advantage of this extra range in the images.

To eliminate the damage that low bit depth and high compression video storage creates, the Blackmagic Pocket Cinema Camera includes an easy to use SD card recorder that allows the full sensor dynamic range to be recorded in professional ProRes 422 (HQ) format, as well as 12 bit Log RAW lossless compressed CinemaDNG format.

In addition to the regular CinemaDNG RAW format, Blackmagic Design will also be implementing a QuickTime wrapper for the open standard CinemaDNG and companion codec.

AJA support for Pro Tools platforms

AJA Video Systems has announced support for Avid Pro Tools HDX and Pro Tools Native platforms with the entire AJA line of KONA and Io products.

AJA supports all of the SD and HD frame rates and resolutions that ProTools currently utilises through the Avid Video Engine.

Professional video products from AJA that support ProTools include KONA LHe+, KONA LHi, KONA 3 and KONA 3G, Io Express and Thunderbolt-based Io XT and T-TAP. “Avid has been tremendously successful with its Open IO initiative, and AJA was one of the first supporters on board,” said Nick Rashby, president, AJA Video Systems.

“We’re pleased that our customers can now utilise the same range of popular video I/O options from AJA supported by Media Composer, via the new Avid Video Engine in Pro Tools 11,” said Dana Ruzicka, VP of Segment and Product Marketing Avid.

May 2013 | SCREENAFRICA | 41

Tracking Technology

|

NAB REPORT BACK

Third-generation VariCam At NAB Panasonic advanced its VariCam brand with the announcement of a thirdgeneration model that improves upon the camera’s signature features.

Off-speed shooting and film-like image production – while incorporating the company’s new AVC-ULTRA family of video codecs.

This third-generation VariCam utilises three advanced, full 1920 x 1080p wide dynamic range MOS imagers for native 1080/60p recording/operation. The camcorder boasts a true RGB imager/prism system that provides full resolution colour. With an EFP-style body, the VariCam’s 2/3” B4 lens mount enables use of native format prime lenses and servo zooms, eliminating the expensive and cumbersome workarounds required when using such optics on larger formats.

Among the camcorder’s top-level production features are real-time high frame rate, off-speed recording to 120fps in full 1080p (in AVC-Intra Class100), a wide dynamic range and 24-bit LPCM audio. A powerful colour management system provides an exceptional colour gamut, and the new log functionality provides powerful creative control over image contrast. The third-generation VariCam will have both standard P2 and Panasonic’s new microP2 slots.

Says Steve Cooperman, product manager, Panasonic System Communications Company of North America: “Our third-generation VariCam with AVC-ULTRA recording will become equally at home on the sidelines, in the jungle, or in the studio. The new VariCam will allow video professionals and rental managers to utilise all their 2/3” optics and accessories while providing new formats and higher frame rates.”

P

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Router technology goes ‘Platinum’ Platinum IP3 is the latest evolution in Harris Broadcast’s innovative Platinum router technology – bringing the industry-leading capabilities of the proven routing line to customers with even the largest system requirements.

Like the rest of the acclaimed Platinum line, the new large router integrates mixed-format video and audio routing, multiviewer functionality, mux/demux, frame sync and advanced I/O options such as MADI and fibre — all within a single, space-saving frame.

But Platinum IP3 also takes Harris Broadcast routing innovation a step further, adding new capabilities that deliver real-world benefits.

These include: seamless on-air expansion to matrices beyond 2Kx2K; triple-path architecture supports integrated data for future-proof operation; redundant crosspoints that protect audio, video and multiviewer signals; clean and quiet switching capability in all matrix sizes; and highly intuitive controller for effortless setup and communications management.

Offering limitless expansion options, exceptional on-air protection and a true path to a data routing future, Platinum IP3 is ideal for operations of any size — from outside broadcast trucks that require large-scale routing, to cable headends, large national broadcasters or network hubs that require thousands of I/O.

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www.pro-sales.co.za

OFFICE. (0027) 11 462 0000 FACSIMILE (0027) 11 706 7140 EMAIL. INFO@PRO-SALES.CO.ZA ADDRESS. 1 ORMONDE STREET, BRYANSTON, SOUTH AFRICA, 2023 42 | SCREENAFRICA | May 2013

The future of portable live production

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CLEARvault is a secure encrypted web based storage system for all your valuable documents and data, available to you anywhere in the world 24/7.

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Highly powerful and efficiently designed, Ross Video’s Carbonite series of production switchers deliver unprecedented performance in a remarkably cost-effective package.

The budget priced Compact Carbonite 10 control panel has 10 source buttons and a 2-Axis joystick positioner as well as direct access buttons in the transition area for advanced media wipes and DVE transitions. Uniquely, the Carbonite 10 panel can control two MLEs via user configurable keys The Carbonite C2 2 MLE production switcher boasts all the power and features of its bigger brothers, the C2M and C2X, yet with a more compact 16 button control panel. It is perfect for space restricted production environments.

The new Carbonite+ 2 RU processing engine includes frame synchronisation and format conversion for every input as well as increasing the number of available DVEs from four to eight. Just like Carbonite, the + frame is available with 16 or 24 active inputs, with all inputs now simultaneously capable of accepting unreferenced signals and converting SD (625 or 525) to HD 1080i format with aspect ratio choices.

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At NAB Sony announced Anycast Touch, an ultraportable and easy to use all-in-one live production solution.

With no previous live production experience required, Anycast Touch is an affordable broadcasting / webcasting solution suitable for a wide range of applications.

The AWS-750 Anycast Touch is an evolution of Sony’s popular Anycast AWS-G500, launched back in 2005.

Enhancing the core values of portability, flexibility and scalability, Anycast Touch offers incredible picture quality for live production. Its innovative design uses sliding double touch screen to create an intuitive interface similar to that of a tablet. Developed as an all-in-one solution, Anycast Touch eliminates the need for any of the hardware typically required for professional live streaming such as video switchers, streaming encoders, recorders, audio mixers, titlers and remote camera controllers.

Capable of 10 bit processing with an output of Full-HD (1920x1080), Anycast Touch offers clearer, more detailed pictures than similar products on the market, either in SD, HD or a mix of both. Its tilt screen function enables users to use two dual screens whereby video and audio controls are split. Anycast Touch also allows video sources to be conveniently stored in scene folders with settings including titles, logos and effects. Operators can recall the next video source just by touching its thumbnail picture. Content can be easily streamed live over the internet, LAN or other dedicated lines.

“Anycast Touch draws from the best of Sony’s innovation and heritage in live production and switcher technology,” said Chris Grey, GM, Broadcast & Content Creation Solutions, Professional Solutions Company (PSAP), Sony Corporation of Hong Kong Limited. “Its compact and easy-to-use design means it is ideal for organisations that have considered broadcasting or webcasting their events, but lack the technical expertise to do so. Available at a compelling price point, Anycast Touch also delivers cost savings for companies that currently hire rental companies for live streaming, as only one non-technical in-house person is required.”

March 2013

Audience Ratings

This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison.

ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.

2 Montana

13/03/2012 Dram 17.8

3

Zone 14

05/03/2012

4

5

Dram

16.5

ABSA Premiership: Mamelodi Sundowns vs Orlando Pirates 20/03/2012

Spor

15.1

Zulu News

News

14.4

28/03/2012

SABC2

Feb 2013 AR

27/03/2012 Soap 24.5

Mar 2013 AR

1 Generations

3 Talk

Talk

16:30 M-F S5

3

2.2

2.6

3rd Degree

Actu

21:30 Tue

W

e

4.4

4.6

7de Laan

Soap 18:30 M-F S5

2

6.1

6.3

Binnelanders

Dram 18:30 M-F S5 K 0.7 0.7

Carte Blanche

Maga 19:00 Sun

W M

0.6

Fokus

Actu

W

4.4

Frequency

Date Genre AR

Day/s

Rank Programme

Channel

The cream of the local productions Start Time

The top five programmes

SABC1

Genre

|

Name

Audience Ratings

0.6

Rank Programme

Date Genre AR

1 Muvhango

06/03/2012 Dram 14.0

2 Stokvel

25/03/2012 Sitc

9.2

Generations

Soap 20:00 M-F S5 1 23.6 21.1

3 Powerball

06/03/2012 Vari

8.8

Gospel Gold

Musi Vari

4

7de Laan

12/03/2012

Soap

8.4

Hectic Nine 9

Y-Ent 16:00 M-F S5

5

Muvhango – R

29/03/2012

Dram

7.5

Inkaba

Dram 20:30 M-T S4 MM 0.4 0.3

Isidingo: The Need

Soap 19:30 M-F S5

3

4.1

5.1

Live Lotto Draw

Quiz

21.30 W/S S2

2

6.8

6.0

Morning Live

Maga 06:00 M-F S5

2

1.5

2.0

Muvhango

Dram 21:00 M-T S4 2 10.4 11.3

SABC3 Rank Programme

Date Genre AR

1

Days of Our Lives

29/03/2012

Soap

6.5

2

Isidingo: The Need

30/03/2012

Soap

5.9

3

Isidingo – R

29/03/2012

Soap

5.6

18:30 Sun

2

Sun W2 3.6 2

2.8 2.5

3.2

4 MacGyver

26/03/2012 Dram 5.0

News at Seven

News 19:00 Daily D

e

7.2

6.7

5

29/03/2012

News at Seven on 3

News 19:00 Daily D

3

2.8

3.0

Pasella

Maga 19:30 W

Rhythm City

Soap 18:30 M-F S5

7de Laan – R

Soap

5.0

M-Net

W 2 e

3.4 3.8 9.7

8.0

Rank Programme

Date Genre AR

1

Just Go With It

25/03/2012

Movi

1.3

Scandal

Dram 19:30 M-T S4 e 10.0 8.6

2

Due Date

18/03/2012

Movi

1.2

Selimathunzi

Vari 18:30 Wed W 1 8.0 6.3

3

Carte Blanche

25/03/2012

Actu

1.2

Special Assignment

Actu

3

1.2

1.8

The Wild

Dram 19:00 M-T S4 M

0.3

0.2

Top Billing

Maga 20:00 Tue

W

3

2.1

2.1

Villa Rosa

Dram 18:00 M-T S4

K

0.8

0.9

Yo-TV

Y-Ent Vari Vari D 1 1.2 1.3

4 Red

04/03/2012 Movi 1.1

5

11/03/2012

Big Mommas: Like Father Like Son

Movi

1.1

e.tv Rank Programme

Date Genre AR

1

Lotto Draw Live

24/03/2012

Comp

13.5

2

Little Man

24/03/2012

Movi

12.9

3

White Chicks

17/03/2012

Movi

12.2

4

Rhythm City

29/03/2012

Dram

11.7

5

Spiderman III

18/03/2012

Movi

11.7

We feature the top five shows viewed for each of the channels.

21:00 Thu

W

Top foreign shows Days of Our Lives

Soap 17:30 M-F S5

1

4.5

4.5

WWE Wrestling Smackdown

Spor 20:30 W

W

e

5.2

5.8

The Bold and the Beautiful

Soap 18:00 M-F S5

1

5.4

4.5

Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes.

The above represents a selection of programmes only and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular

Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment.

programme included please contact Enid Venter on +27 (0)11 339-1051 or email enid@ihjoburg.co.za. The purpose of the

• Television Universe estimated at 5.232 million households • One ratings point of all viewers represents about 145 590 viewers

44 | SCREENAFRICA | May 2013

schedule is to show the types of programmes South African audiences view, and to what extent.

DISCOP AFRICA FPO

6-8 NOVEMBER 2013

SANDTON CONVENTION CENTER • JOHANNESBURG, SOUTH AFRICA

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

discop.com facebook.com/discopafrica discop@basiclead.com

Africa

|

A Gothic Nollywood

By Chinaka Iwunze

Ever since the beginning of Nollywood, thriller has been a very popular genre – from the vengeful spirit of an occultist’s wife to a blood-thirsty river princess, not forgetting the very popular Nneka, The Pretty Serpent. It seemed Nollywood’s winning trait was to have characters that looked, dressed and acted like its average audience but engaged with and most times, defeated demons and curses. Today, the selffunding industry has grown in size, pumping out projects in different genres: sci-fi, animation, biographic and recently ‘altNollywood’ or ‘alternative Nollywood’.

A HAIR-RAISING TALE: A scene from Phyllis

I

remember sitting and staring as the credits for Bram Stoker’s Dracula – with Gary Oldman – crawled up the screen and I recall feeling a strange chill as I reflected on the film’s subtle ‘psychooccultic’ aesthetics. It had strange and disturbing visuals of shadows taking on a life of their own and showed beautiful women having all the blood sucked from their bodies, while a monotonous soundtrack played in the background. I recently experienced a similar chill and from a most unexpected narrative – Nollywood… a twisted Nollywood.

The film is called Phyllis, an experimental short thriller about a wig-obsessed psychic vampire, written and directed by Nigerian British-born artist and filmmaker – Zina Saro-Wiwa. In short, a similarly styled Nollywood thriller, but instead of blatantly scary elements, it plays with the inner psyche using the ‘not so obvious’ elements.

Says Saro-Wiwa: “My four-year-old self inspires me the most and my video art is really about going back to the sorts of questions I asked myself and the world when I was a child”.

In this instance, Saro-Wiwa shares that it was the excessive use of wigs and weaves in the Nollywood drama, Beyoncé and Rihanna starring Omotola Jalade Ekeinde and Nadia Buari that was the catalyst for her film.

“The wigs and weaves in that film were egregious and ridiculous. Wigs are everywhere in Nollywood (and in real life in Nigeria) but for some reason the wig-wearing in this film wiggled its way into my psyche and rested there. Other than

46 | SCREENAFRICA | May 2013

that, it was simply being in Lagos that made Phyllis happen.”

According to Saro-Wiwa, the film is also about loneliness, maybe mental illness too; a sympathetic take on the single woman even though Phyllis is a predator herself.

Saro-Wiwa goes on to talk about her ‘helpless fascination with things that are gaudy, ugly and cheap’ and how the film looks at how foreign objects and the attachments people have to them reverberate in the individuals surrounding those objects.

The genre and the audience The 15-minute thriller is an experimental genre that uses Nollywood tropes to subvert and criticise the genre while simultaneously celebrating it. The films are low-budget, shot quickly in real homes and locations.

“Narrative is key with alt-Nollywood but the scripts are a springboard, just like in

Nollywood. But alt-Nollywood films have to complicate simplistic moral and sociopolitical assertions,” says Saro-Wiwa.

Phyllis was exhibited as part of her contemporary Nollywood art exhibition at Location One Gallery in Soho, New York called Sharon Stone in Abuja and generated a lot of positive reactions. The Art in America magazine picked up on the film and did an article on it. Following that, Saro-Wiwa was invited to screen Phyllis at various film festivals such as New York African Film Festival 2011 and Film Africa in London 2011.

It was also at Slink: Uganda which is a project that shows video art in traditional Ugandan video halls found in Kampala slums and recently in Johannesburg in February 2013.

The film has further generated interests on the online platform – Vimeo and Saro-Wiwa’s official website: www. zinasarowiwa.com. Even Phyllis’ stills attracted curiosity.

“I see alt-Nollywood as a universally

enjoyable genre that anyone from anywhere in the world can watch and get something from. You don’t have to have watched a Nollywood film to ‘get’ it.”

So as popular as alt-Nollywood is, outside of Nigeria, could such a genre become popular with the Nigerian / Nollywood audience?

The future of alt-Nollywood Says Saro-Wiwa: “Nigeria invented Nollywood and invented me, so yes the Nigerian people are ready. Alt-Nollywood is just a left-field take on familiar Nollywood populist tropes.”

Another alt-Nollywood film by Saro-Wiwa is The Deliverance of Comfort, which deals with the idea of the ‘child witch’ and riffs on Nollywood’s low fi special effects.

Saro-Wiwa describes this as her ‘absolute favourite thing about Nollywood’.

“I think Nollywood aesthetics are improving but it doesn’t make the films any better. To me Nollywood does not need that much more money thrown at it, it just needs to ask deeper and more challenging questions,” adds Saro-Wiwa.

She is currently gearing up to begin work on a new alt-Nollywood project and is planning to revisit Phyllis’ place of residence for this purpose.

“I feel like the day someone dresses up as Phyllis for Halloween – in a blue outfit, wearing a wig and balancing a tray on her head with three mannequins’ heads on it, I will be quietly delighted,” concludes Saro-Wiwa.

By Addams Mututa This article was first published in Film Biz Africa Magazine.

The fan hooked on the wall whines irritably as it struggles to counter the raging heat waves. Dusty and dirty, the CRT monitor leans precariously on the improvised table.

Scaling three walls of the room are stacks of mini DVs. Minutes before noon, the food vendor – a humble lady with a keen, sympathetic face – peeps in past the wooden door.

“What would like for lunch today?” she asks.

The menu is generous and very convenient; for only 50 Kenyan shillings (approximately US59 cents) you can have lunch.

On the fourth wall of the room video CDs are craftily displayed and a tiny television is playing the popular film of the day. Half a metre away a line of similar businesses are lined up, as if in a sweaty queue.

| AFrica

Photo courtersy of Historia Films

Riverwood – Kenya’s low-end multimillion dollar film industry

FLOWING PRODUCTION: Shooting a Riverwood production Welcome to Kenya’s Riverwood film industry.

Several producers are using this small space, which measures just four square metres, to realise the unthinkable. Every week numerous films are released directly to the ever increasing consumer market.

With its low budget approach, Riverwood has grown tremendously and to date has over a hundred independent producers churn out thousands of productions a year.

This industry is estimated to be worth more than one billion shillings (approximately US$11.91-million).

Riverwood employs thousands of people, either directly or indirectly. The entire industry, confined to the length of River Road in Nairobi city, consists of musicians, comedians, filmmakers, actors, video editors, camera operators and distribution merchants. Though many members double up on their roles, the industry has gained momentum and its productions are now popular across the entire country.

Says filmmaker Charles Omondi:

“Riverwood is mostly self-sustaining; one picks up a camera and shoots a story for one’s audience. Most Riverwood productions don’t target the entire nation but a section of tribes. In Riverwood it is not a matter of quality but of putting a story together with pictures.”

Omondi notes that most Riverwood productions don’t use lights, boom-mics, make-up or continuity. “It’s a case of calling up friends and making them act in scenes just to make a movie. Problems encountered are locations and transportation of crews. Consequently, Riverwood productions are generally done in one location.”

He notes that most Riverwood producers don’t know how to use the latest cameras so they stick to cameras they know. Also the cost of buying a good camera is as high as renting one.

“Riverwood films don’t go to theatres because of their quality; neither do the producers who make these movies have the time to go that route. Our filmmakers have passion but they lack a lot compared to

other African countries like Nigeria, South Africa, Tanzania and Congo, to mention a few.”

Predictably, with a sustained growth rate, this industry is gearing up to be a key player in the national economy, a matter which is on the development agenda. However, many challenges still hinder this possibility, for instance piracy and lack of technical and financial support.

It is very hard to get funding from the lending institutions to finance a film in Kenya. Banks shy away from film merchants and this has a negative impact considering that there are not many established funding organisations specifically focused on this sector.

Piracy too has dissuaded artists and producers from ambitiously engaging in film activities. With the sad trend of key film players pirating each other’s work, morale to re-invest in film has dwindled. This may be the beginning of a very unfortunate decline.

But, for those who watched all the participants who turned up for the Tusker Project Fame 3 audition, you would know, like I do, that Kenya is seething with creative talent.

With a naturally beautiful landscape and the establishment of Kenya Film Commission as a film governing, regulating and supporting body, I am still optimistic.

Kenya’s film industry is headed the right way, and in the near future, we believe it will match Nollywood, Bollywood and maybe even Hollywood.

Screen AFrica half page horizontal:Layout 1 26/04/2013 16:12 Page 1

PLATINUM SPONSORS

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May 2013 | SCREENAFRICA | 47

P R O D U C T I O N U P D A T E S FOR FURTHER DETAILS VISIT www.screenafrica.com

Those productions in red are newly listed this month R E L

FOR THE NEW CITY – DANCE ON FILM

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

FORSAKEN

IA

Production Updates Order of Information B L E

Ponderosa™ Up to 128x128 3G HD-SDI Matrix Switcher

IN DEVELOPMENT

Operates reliably for twenty-four hours a day

80 MINUTES

Periphery Films Dir: Simon Taylor / Julia Taal Feature Drama AFRICAN NIGHTS Two Oceans Production

JHB Tel: +27 (0)11 7709800 KZN Tel: +27 (0)31 5330900 Web: www.electrosonic.co.za E-mail: sales@electrosonic.co.za 24 Hour Support Lines: AV: 0861 AVHELP (28 4357)

Prod: Giselher Venzke / Bertha Spieker A LION IN THE BEDROOM

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

howard music SACA ADVERT_bold.pdf

1

9/13/11

11:18 AM

Inkwasi Television Prod: Bell Curle TV Magazine At The Creek Without A Paddle

Zen Crew Exec Prod: Laura Tarling Documentary BAD MEDICINE

Tin Rage TV Production Dir: Enver Samuel Documentary Bagged C

M

Y

CM

MY

CY

CMY

K

SERVICES INCLUDE FINAL MIX SOUND DESIGN COMPOSING & ARRANGING M U S I CA L D I R E CT I O N FO R C O R P O R AT E E V E N T S ADDRESS M i n i st r y O f I l l u s i o n B lo c k D S to n ewe d g e O f f i ce Pa r k N o 1 We d g ewo o d L i n k R d B r ya n sto n , J h b , 2 0 2 1

C O N TACT w w w. h ow a rd m u s i c . co . z a +27 (0)72 994 9695 +27 (0)11 463 8538 a d a m @ h ow a rd m u s i c . co . z a

Izithulu Productions Exec Prod: Donovan Mulligan / Mike Westcott Short Film BLAST FROM THE PAST

Sirius Films Prod: Ian Manly Documentary

Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CAPE OF GOOD HOPE

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature CHILDREN OF FAMOUS ACTIVISTS

Current Affairs Films Prod: Jane Thandi Lipman Feature Film

International Radio Pictures, Inc Kit Reynolds TV series COILED

DO Productions Prod: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND

SuitePeople TVP Prod: Bell Curle Documentary DAISY

Bamboo Media (PTY) LTD Dir: Marguelette Louw Feature Film do good design south africa

Concept Interaction Prod: Karl Fedderke Educational

ECONOMIC TRANSFORMATION

Gaonakgang Film Productions and Publications Script: George Phuthiyagae Documentary ESCAPE

Current Affairs Films Prod: Jane Thandi Lipman / Beata Lipman Feature Film espAFRIKA presents the Cape Town International Jazz Festival 2013

Espafrika Prods / Dirs: Rashid Lombard / Yana Lombard / John Bright Documentary Ex Pats

48 | SCREENAFRICA | May 2013

RAF INDUCTION VIDEO

GOUE STERRE

ROAD ACCIDENT FUND INDUCTION

Inhlakanipo Films Dir: Dumisani Vusi Nhlapo Short Film Suite People TVP Prod: Bell Curle TV Series

Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series

Panache Video Productions Prod: Liesel Eiselen Corporate

GRIZMEK

Panache Video Productions Dir: Liesel Eiselen Corporate

HISTORICAL KIMBERLEY

MPA (Motswako) Dir: Charls Khuele / Zuko Nodada Feature

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Spike Productions Prod: Steve Mueller Bsc. Documentary HOTEL SONGOLOLO

The Media Workshop Dir: Benito Carelsen Comedy Series IIQ

Sukuma Media Dir: Bonginhlanhla Ncube Feature IK1 – TOURISTS IN DANGER

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Indla lifa

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series Insila yenkosi

P.I.M.P Dir / Prod: Daniel P Nxumalo Feature (Zulu) Inventing Africa

Imageworks Prod: Anthony Irving Documentary

JAM SANDWICH

BREAKDOWN

PASSARES (BIRDISH)

Genius

BREAD AND WATER

Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary

White Heron Pictures Dir: Themba Sibeko Feature

White Heron Pictures / Casa De Criacao Cinema Prod: Themba Sibeko Feature

IYEZA THEATRE & TV LIGHTING (PTY) LTD

Yes That’s Us Prod: James Tayler Feature

Palace of the Faithless

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature

BODA BODA THIEVES

CHILLI CHICKS

Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709

SWiTCH / Resonance Bazar Prods: James Tayler / Julia Raynham Film

Iyeza Theatre & TV Lighting (Pty) Ltd Prod / Dir: Cal Morris Corporate

Meerkat Media Prod / Dir: Pauli van Dyk / “MQ”, Alvine Darboux Music reality show JAN SMUTS: AN INTERNATIONAL ICON AHEAD OF HIS TIME

Tekweni TV production Prod / Dir: Sandra Herrington / Neville Herrington Documentary KADU’S JOURNEY

DO Productions Prods: Marlow de Mardt / Brigid Olën Feature DYINGCRACY

Sabstance Productions Prod: Edmund Mhlongo Documentary LEADERS of AFRICA

The expeditionary force Dirs: nicholas schofield / alexis schofield Documentary LION GIRL

DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature Lonely Planet

Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature MANCHE, THE AFRICAN SAINT

Get the Picture Prod / Dir: Jacky Lourens / Karin Slater Documentary MHLONGO Inhlakanipho Films

Dir / Writer: Dumisani Vusi Nnhlapo Feature Money in the bag

P.I.M.P Dir / Prod: Daniel P Nxumalo Reality TV show MUTI DOT MOBI

Vuleka Productions.

Prod / Dir: Julie Frederikse / Madoda Ncayiyana .

Feature Film NEW BEGINNINGZ

Sukuma Media Dir: Bonginhanhla Ncube Documentary Nongoloza

Current Affairs Prod: Jane Thandi Lipman Feature

SEBOKENG

SHORT BUSINESS FEATURE WITH BBC / ABC

Current Affairs Films Prod: Jane Thandi Lipman Short Business Features Sirens

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series SUPERMAMA

GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK!

International Radio Pictures Prod: D Gillard Musical The 7P’s to propel change

Panache video productions Prod / Dir: Liesel Eiselen Script: Dr Caren scheepers The Black Blonde

Steve Radebe Post Productions Prod: Steve Radebe Feature Film tHE blood kIng and the red dragon

Current Affairs Prod: Jane Thandi Lipman / Mtutuzeli Matshoba Feature the book shop

P.I.M.P Dir / Prod: Daniel P Nxumalo Drama series THE CONSEQUENCE

DO Productions Prod: Marlow de Mardt / Brigid Olën Feature The Dreaded Evil Eye from Past to Present and Across Cultures

It’s a Wrap Productions Dir: Eugene Botha Documentary THE EDGE

International Radio Pictures Kit Reynolds TV Series THE FILM MAKER

Elle Bolt Productions Prod: Elle Bolt Reality Series The Scores Are In

Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS

SuitePeople TVP Bell Curle Documentary

WAY TO ROLL

Blue Ice Productions Dir: Freddie Strauss Feature WARD 22 AKA SPECIAL OPS

DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary Welcome To The Club

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

Get the Picture Prod / Dir: Jacky Lourens / Meg Rickards Other Crew: Tracey Farren, Jenny Hicks Feature Film ZERO DIET

Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS

DO Productions Dir: Bruce Beresford Feature

P R O D U C T I O N U P D A T E S ZEN FILM CREW MANAGEMENT

ZEN Film Crew Management Prod / Dir: Laura Tarling Commercial

THE MESSENGER

Spirit Word Ministries/Footprint Media Academy Exec Prod: Annalise Van Rensburg Series TWK AGRI

PRE-PRODUCTION AFROX LPG RESTAURANT TRAINING

FC Hamman Films Dir: FC Hamman Training Video

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video UASA CONGRESS

FC Hamman Films Prod: Odette van Jaarsveld Corporate Video VROU SOEK BOER

BOPSY BUNNY

Firefly Animation Studio Exec Prod: Antony Steel Short Films BORDER MARAUDERS

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary Carte Blanche (inserts)

Modern Times Prods: Sofia Phirippides / Jon Pienaar Documentary Child Geniuses

Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series

FC Hamman Films Exec Producer: Peter Scott Feature Film

West Five Films Dir/ Prods: Maynard Kraak / Johan Kruger Feature Film

Chabela Day Spa

WAY TO FREEDOM

Codesign – commercial spot for furniture designers

Die Verhaal van Racheltjie de Beer

WORKERSLIFE INSURANCE

Cool Cats

BABALAS

Grey Cloud Production Dir: Jacques Brand Information Video Brett Michael Innes Films Prod: Brett Michael Innes Historical feature film

Elegy: forsaken in South Africa

Market Street Productions Prod: Paul Van Zyl Short film GNLD

FC Hamman Films Dir: FC Hamman Opening Video Holidays for Madmen

Imageworks Prod: Anthony Irving TV Series

JUB JUB DOCUMENTARY (working title)

Baxopath Media Dir: Nolitha Tshinavha Documentary

LET HEAVEN WAIT

Revolution real entertainment Prod / Dir: Deon Potgieter Sitcom Mandela

Synergy Films Drama / Documentary MISTIFY

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Film FC Hamman Films Prod: Odette van Jaarsveld Marketing Video

IN PRODUCTION 3 Talk

Urban Brew Talk Show 3RD DEGREE

e.tv Investigative TV series 50/50

Clive Morris Productions Current Affairs A 400 year old bestseller – The King James Version of the Bible

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary AFROX FINANCIAL RESULTS FC Hamman Films

Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video AFROX RAU INSIGHT

NATIONAL LIBRARY OF SOUTH AFRICA

Endemol South Africa Reality

PSALTED

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety RATE MY PLATE

International Radio Pictures Exec Prod: Kit Reynolds Community Project RISKCON SECURITY

FC Hamman Films Producer: Neels Smit Corporate Video

SAFE IN THE CITY

Imani Media.

Comedy

SAINT & FREEDOM FIGHTER

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video ALL YOU NEED IS LOVE 5 ANGLO GOLD ASHANTI SAFETY SERIES

Current Affairs Films Prod: Jane Thandi Lipman Feature News Special

AFRICA FACTS SEASON 3

Lebapi Productions Dir: Daniel Moleabatsi TV Magazine AFRICA 360

eNews News Head: Patrick Conroy Current affairs

AFRO SHOWBIZ NEWS

SHAKESPEARE IN MZANSI: A MIDSUMMER NIGHT’S DREAM

Agape

FC Hamman Films Dir: FC Hamman Marketing Video TALK OF THE TOWN

SuitePeople TV Productions Bell Curle TV Series The Black Out

Dithakeng Projects and Films Exec Prod: Thabang Nkunyane Short Film THE LOST ANGEL

Inhlakanipho Films Dir: Vusi Dumisani Nhlapo Feature Film TO CARE FOR YOU ALWAYS

Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM

South African Great Movies Production Dir: John Wani Feature

Cutting Edge

SABC News Current Affairs

DADDY’S MESS

Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DIE VIERDE KABINET

Jan Scholtz Productions Prod: Jan Scholtz Series DINNER DIVAS

2 Blonds and a Redhead Filming Exec Prod: Anne Myers Cookery Series DIY Met Riaan

Bonngoe Productions Exec Prod: Pepsi Pokane Music Show

SABC News International Exec Prod: Jody-Layne Surtie TVMagazine Gabaza Productions Prod: Sarah Ngubeni Magazine Alex: A history from below

Uhuru Productions Dir: Rehad Desai Documentary ALL ACCESS

Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show Awesome Africa

Steplite Films Dir: Jacqui Logie TV Series

barbour and thorne: 60 years strong

EXPRESSO 2

Cordover Trading Prod: Paul van Deventer Lifestyle Red Carpet Productions Magazine Programme Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: CISSY GOOL

Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: INA DE VILLIERS

Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: UNA VAN DER SPUY

Khaki Productions Prod / Dir: Christelle Parrott, Wynand Dreyer Documentary – kykNET

Unit 3, Harbour Place, 1061 Schooner Road, Laser Park, Honeydew

FOX NEWS CHANNEL

Betta Beta Communications Prod / Dir: Tommy Doig News Current Affairs Freeway Frog

Firefly Animation Prod: Ant Steel Animation Short FRENZY

Red Pepper Pictures Prod: Palesa Mopeli Variety GENERATIONS

Morula Pictures Exec Prod: Mfundi Vundla Soapie

BBC PLANET EARTH LIVE

Wild Images Dir: James Smith, Tim Scoones, Roger Webb Documentary

Gospel GOLD

BINNELAND

Homebrew Films Prod: Jaco Loubser Wildlife

Kagiso TV Talk Show

www.atlasstudios.co.za

Betta Beta Communications Prod / Dir:Tommy Doig Training Program

GOOD MORNING AFRICA

Bonisanani

t +27 [11] 482 7111

EM PETROCHEMICALS TOP END

Our Time Productions Dir: Juan de Meilon Corporate Video

Stark Films Dir: Danie Joubert TV Drama

Cnr. Frost avenue & owl street | Milpark | Jo’burg

Prod: Riaan Venter-Garforth Magazine

FORMIDABELE VROUE: ANNEKIE THERON

International Radio Pictures Exec Prod: Kit Reynolds Community Project

PGC

Rapid Blue Prod: Kee-Leen Irvine Reality

ABC AMERICA NEWS SPECIAL ON MANDELA

Si-solutions

Grey Cloud Productions Dir: Jacques Brand Information Video

Come Dine with Me South Africa

EASTERN MOSAIC

AFRO CAFÉ SEASON 7

SLENDER WONDER INFORMATION VIDEO

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

SummerTime Productions Prod / Dir: Sean Gardiner Corporate Video

It’s a Wrap Productions Dir: Eugene Botha Documentary

Fireworx Media Prod: Bridget Pickering Mini Series

Red Pepper Exec Prod: Cecil Berry Children’s Show CORTEX MINING

Gleam studios / Wilddogs productions Prod / Dir: Sonja Ter Horst / Johnny Swanepoel Short film Panache Video Productions Prod / Dir: Liesel Eiselen Corporate video

SWITCH Dir: James Tayler Commercial

Planet Image Productions SA Prod / Dir: Wale Akinlabi TV Magazine

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show

us on

SCREENAFRICA

GROEN

HEADLINE 5

Bitch Films TV Magazine

May 2013 | SCREENAFRICA | 49

P R O D U C T I O N U P D A T E S HEAVEN – Africa

Montana 2

SCANDAL

The Justice Factor

Hectic 99

MOTSWAKO

SCHOEMAN BOERDERY – MOOSRIVIER

The Lighthouse Run – 42 Marathons, 42 Days

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Okuhle Media Prod: Wilna van Schalkwyk Magazine Show HITACHI POWER AFRICA MEDUPI & KUSILE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary HOUSE CALL

Izwe Multimedia / Urban Brew Prod: Annalie Potgieter Live Medical Talk Show

Penguin Films Exec Prod: Roberta Durrant Drama Series Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MUVHANGO

Word of Mouth Prod: Pieter Grobbelaar Feature MZANSI INSIDER

Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine Music Moves Me

Ukhamba Communications Music

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show

Inkaba

News Night

Imizwilili

Urban Brew Studios Prod: John Kani Telenovela INSIDE STORY

Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature

eNews Prod: Nikiwe Bikitsha Current Affairs NIGCOMSAT – TELEVISION COMMERCIAL SERIES

Ochre Moving Pictures Prod: Romano Gorlei Soapie Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary SELIMATUNZI

Sikhoyana Productions Prod: Baby Joe Correira Variety Series Ses’khona

Tswelopele Productions Prod: Phuthi Ngwenya Magazine SHARK STORIES

NHU Africa Exec Prods: Vyv Simson / Donfrey Meyer Wildlife Documentary SHIZ NIZ

Red Pepper Pictures Prod: Allen Makhubele Variety

SWiTCH Prod: Sarah Wanjiku Muhoho Commercial

Shift

Golden Effects Pictures Dir: Kunle Afolayan Documentary Series

Nomzamo

SHORELINE 2

ISIDINGO

ONS MENSE

S.I.E.S (SOCIAL IMPACT AND EMPOWERMENT STRATEGY)

ISEDALE

Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama

Tom Pictures / Authentic Images Comedy Homebrew Films Prod: Jaco Loubser Current Affairs

Urban Brew Talk show Homebrew films Documentary series

OXFORD UNIVERSITY PRESS

Penguin Films Dirs: Roberta Durrant / James Ngcobo Sitcom

Urban Brew Studios Reality business makeover series

Plexus Films Prod: Miki Redelinghuys Corporate Video

JAM SANDWICH

PASELLA

Lillian Dube Productions Prod: Lillian Dube Sitcom

IT’S MY BIZ

Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas Key Crew: Cam / Sound: Jaques Marais / Mzukisi Mtishiselo TV Series / Reality Music show JAM SANDWICH IV

Meerkat Media Prod / Dir: Pauli van Dyk / Deon Maas TV series

Tswelopele Productions Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme Phoenix Rising...The Business of Style

Phoenix Entertainment and Production Prod / Dir: Koketso Sefanyetso Reality Docutainment PLAY MORE GOLF

Ifactory Live, Greyology Inc. & Oh Africa Exec prod: michael djaba Reality tv series (AfricaMagic)

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Commercials

JOU SHOW MET EMO en Wickus

POWER COMBAT ZONE

Jim Iyke: Unscripted!

Homebrew Films Prod: Jaco Loubser Variety Show

Judge For You Self

eNews Current Affairs

Laugh out Loud

Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya

Urban Brew Prod: Enel Viljoen Reality KONA

The Directors Team (Pty) Ltd Prod / Dir: Laurence Lurie / Cathy Sykes TV Series – M-Net East Africa KWELA

Pieter Cilliers Productions Prod / Dir: Pieter Cilliers TV Magazine LATE NITE NEWS ON E.TV

Diprente Productions Prod: Tamsin Andersson Satire Live

Urban Brew Music Show Live Lotto Show

Urban Brew Game Show

Maggs on Media

eNews Prod: Jeremy Maggs Current Affairs

MASSMART CSI REPORT

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MK Campus

Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show MOFEREFERE LENYALONG

Moja Movie Factory Sitcom

50 | SCREENAFRICA | May 2013

X CON Films Dir: Munier Parker Edutainment

SKETCH U LATER

Chris Morris Productions Dir: Genna Lewis Comedy series SLENDER WONDER MJ LABS

Soccer 411

Zen Crew Prod: Laura Tarling Music Video Religion and the ANC

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary RETROBOUCHON

Tunnelvizion Productions Prod / Dir: Ruan Lotter/Hein Ungerer Short Film ROLLING WITH KELLY KHUMALO

Red Pepper Prod: Cecil Barry Reality Series

RHYTHM CITY

Curious Pictures Prod: Yula Quinn Soapie

RHYTHM CITY INTERACTIVE

Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media Rivoningo

Asi-B Films Exec Prod: Asivhanzi ‘Asi’ Mathaba Kids ROCKING FUTURE

Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video

Ukhamba Communications Music Show

Million Dollar Race

Siyakholwa – We Believe

Project MV

MATRICS UPLOADED

Sony Prod / Dir: James Lennox Lifestyle & Entertainment

Red Pepper Pictures Prod: Vuyo Sokupa Variety

Mixed Motion Entertainment Dir: Dieter Gottert Sport Programme

ROER

MGONGO BY SONY

SISTERHOOD

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Hulette Pretorius Corporate Video

SummerTime Productions Prod / Dir: Roxanne Rolando / Sean Gardiner Corporate Video Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational

SKWIZAS 2

Homebrew Films Prod: Jaco Loubser Cooking Show Roots

SAKEGESPREK MET THEO VORSTER SEASON 4

Dirk Mostert Camera Production Prod / Dir / Ed: Dirk Mostert / Rudi Ahlstrom TV Magazine SANPARKS YOUTH & PARKS

Francois Odendaal Productions Prod / Dir: Francois Odendaal Natural History TV Series SA’S GOT TALENT

Rapid Blue Prod / Dir: Kee-Leen Irvine Reality

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine

eNews Exec Prod: Debbie Meyer Current Affairs

SummerTime Productions Dir: Tanya Vandenberg Documentary THE REAL GOBOZA 7

Urban Brew Entertainment

THE RUDIMENTALS

Periphery Films Prod: Simon Taylor Feature Documentary

THE STORY OF LITTLE FOOT

Paul Myburgh Film Prod: Paul Myburgh Documentary

The Tech Report

Greenwall Productions Exec Prod: Nicky Greenwall Magazine THE WILD

Magic Factory Exec Prod: Bobby Heaney Daily TV Soap TRANSFORMATION STORIES

Media Village Productions Dir: Diane Vermooten Documentary THE TRANSPORTERS

Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary THERE ARE NO HEROES

AFDA Cape Town Dir: Kyle Stevenson Science Fiction TOP BILLING

Tswelopele Productions Prod: Patience Stevens TV Magazine Top 10 at 10

Don’t Look Down Radio / TV Simulcast TRAPPER IN AFRICA

NHU Africa Exec Prods: Vyv Simson / Donfrey Meyer Wildlife Documentary TSHIPE BORWA MANGANESE MINE

VKB LANDBOU BEPERK

VILLA ROSA

Spectro Productions Dirs: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama WEEKEND LIVE

STUDIO 53

SABC News Current Affairs

STUDY MATE

Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series

When The World Was Here

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational

Why are We so Angry?

TASOL “Old Geezer” Bragge Film & TV

Why Poverty?

The B-Ball Show

Wicket to Wicket

The Chat Room

Workers World Series

THE CHEETAH DIARIES SERIES 4

WORLDSOUTH Leago Afrikan Arts Foundation

Dir: Guy Bragge Commercial

SABC Commissioning Ed: Dinah Mahlabegoane Variety Eclipse Prod: Thokozani Nkosi Talk Show NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary The Communist Republic of South Africa

Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary The Cypher

Spoon Fed Generation Lerato Letebele Talk show THE DR MOL SHOW

Prod: Michael Mol Magazine

THE GREAT PENGUIN RESCUE

NHU Africa Exec Prod: Vyv Simson / Donfrey Meyer Wildlife Documentary

Onetime Films Prod: Richard Wicksteed Documentary AFRICA CALLING

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature AFROX CO2 PLANT

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX SHEQ INDUCTION

FC Hamman Films Prod Man: Odette van Jaarsveld Commercial ALL’S FAIR

PianoJ Productions Prod: Pia van Rensburg Short Film AMBASSADOR II

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Animal Doctor (Working Title)

Animal Doctor cc.

Prods: Greg Simpson / Jonty Acton TV Series AURECON STAFF INSERTS

Panache Video Productions Dir: Liesel Eiselen Marketing

Bally Cullen Guesthouse Ad

Panache Video Productions Prod: Liesel Eiselen Corporate Bitter Root

Imageworks Dir: Kerry Negara Documentary BLITZ PATROLLIE

Diprente Films Prod: Kagiso Lediga Feature

Calafornia: Valley Christian School Transformation

Fuel Media Productions Dir: Marvin Raftopoulos Dance Reality show

Sony Presents Mgongo

M-Net Inhouse Productions Dir: Navan Chetty Mag Programme

A BUSHMAN ODYSSEY

Turn It Out 2

FC Hamman Films Prod Man: Odette van Jaarsveld Script: Anton Dekker Corporate Video

New Wave Productions Prod: Mishkah Roman-Cassiem Spiritual

Bragge Film& TV Dir: Guy Bragge Infomercials

BUA NNETE

SABCSports Head: Sizwe Nzimande Magazine

Spirit Sundae

4LIFE NETWORK

Betta Beta Communications Prod / Dir: Tommy Doig Documentary

Soccer zone

Sony Variety

POST-PRODUCTION

Fuel Media Productions Dirs: Scott Smith / Shaft Moropane Documentary Series STEPS International Exec Prod: Don Edkins Documentary Series SABC3 Lefa Afrika Magazine

Cape Town Television Prod: Sharon McKinnon TV Series Dir: Sakhile Gumbi Documentary Xihlovo

Grace Bible Church Religion Yilengelo Lakho

Prod: Nndanganeni Mudau Current Affairs Zone 14

The Bomb Shelter Prod: Angus Gibson Drama

Owami Entertainment Dir: Charles Khuele Short Film Media Village Prod: Diane Vermooten Documentary DEAR SISTER

Media Village Prod: Debbie Matthee Short Film DRAGON’S FEAST 3D

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary ERFSONDES

Imani Media Dir: Peter Heaney TV Drama Freedom Park Installations

Kevin Harris productions / Fix Post production Prod / Dir: Nadiva Schraibman Documentary FROM GUN TO TAPE

Content House/Shadow Films Prod / Dir: Jackie Lebo / David Forbes Documentary GETROUD MET RUGBY SEASON 4

Bottom Line Productions Dir: Jozua Malherbe Series

HALF OF A YELLOW SUN

British Film Institute Dir: Biyi Bandele Feature Film

HOME OF THE LEGENDS L. Dukashe Productions

Prod / Dir: Lumko Dukashe / Lulu Dukashe Documentary Hong Kong

Media Village Prod: Diane Vermooten Documentary IMATU UNION VIDEO

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video INTEL HISTORY

Bragge Film & TV Dir: Guy Bragge Corporate IQILI

Impucuzeko Prod: Sharon Kakora Feature

P R O D U C T I O N U P D A T E S Israel Inside (Working Title)

Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary

STETSON HATS

Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Video

JACK UP YOUR SHACK

Stolen Time

JAM SANDWICH

Tanzanian Investment Opportunities

Let It Rain Films Prod / Dir: Lee Doig TV Series

Meerkat Media Dir: MQ Ngubane Music Reality TV series JULIUS HAS A DREAM

Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary Kemang?

lmol Production Dir: Lizzy Moloto Feature Film Launch of the Academy of Young SA Scientists

Panache Video Productions Prod: Liesel Eiselen Documentary LIFE UNDER THE FLAG

Lifeundertheflag.Com Prod: Prince Angelo Doyle Documentary LION’S TRACK

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature LOVE ABOVE ALL

Firstfruits media Dir: Nthabiseng Gamede Feature Film MARRY – ANN

Shadow Films Dir: David Forbes Documentary MASTERS OF DREAMS

Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman Series Melodi Jazz Festival 2011

L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD MICROSOFT 365

Bragge film & TV Dir: Guy Bragge Corporate Video

National Heritage Council Educational Outreach Programme

Panache Video Productions Dir: Liesel Eiselen Corporate Video PEACE PARKS

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PERFECT SHISHEBO

Curious Pictures Prod: Nthabiseng Mokoena Cooking Show PREDATORS’ PLAYGROUND

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series PURPLE TOWN

Sukuma Media Dir: Bonginhlanhla Ncube Documentary RESTYLE MY STYLE

Curious Pictures Prod: Anita van Hemert Children’s Programming River of Stones

Prod: Wiseman Mabusela Documentary SA JUNIOR MASTERS

Our Time Productions Dir: Jaun de Meillon Sport Programme SCAREDYKAT

Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL E-WASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION

Philip Schedler Productions Prod: Philip Schedler Corporate SLENDER WONDER

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video SLENDER WONDER GLAM GURU

FC Hamman Films Prod Manager: Odette van Jaarsveld Script: Hulette Pretorius Commercial

South african Field Band Foundation Championships

Panache Video Productions Prod: Liesel Eiselen Documentary

Prod: Eric Myeni Feature Benchmark Productions Dir: Dermod Judge Corporate Video

Technology Innovation Agency CEO Address

Panache Video Productions Prod: Liesel Eiselen Corporate Video Technorati

Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show THE AFRIKANER BROEDERBOND

It’s a Wrap Productions Dir: Eugene Botha Documentary

THE CHEETAH DIARIES SERIES 3

NHU Africa Exec Prods: Vyv Simson/ Sophie Vartan Wildlife Documentary Series THOSE WHO CAN’T

Quizzical Pictures SABC Comedy Series

TO THE POWER OF ANNE

FX Productions Prod / Dir: Robert Haynes TV Series

TOUCHING LIVES SEASON 3 GHANA

Launch Factory Dir: Spero Patricios TV Series

TREASURE GUARDS

Tandem Communications Exec Prods: Jonas Bauer / Rola Bauer Feature Triple O

Monarchy Prod: Mosibudi Pheeha Feature TRUE DREAM (Revised Version)

South African Great Movies Production Dir: John Wani Feature Vallejo Transformation

Media Village Prod: Diane Vermooten Corporate Vehicle 19

Forefront Media Group / Picture Tree / The Safran Company Exec Prod: Paul Walker Feature VERITAS

Media Village Prod: Debbie Matthee Documentary WALKING IN VICTOR’S SHOES

Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary WELLBODI BIZNES

Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary ZION

Letcosmart Prod: Zibusiso Nkomo Feature

COMPLETE

FORMIDABELE VROUE: PETRONELLA

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET FORMIDABELE VROUE: LEONORA VD HEEVER

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET GNLD AFRICA CONVENTION

FC Hamman Films Prod: FC Hamman Corporate Video HARTLAND

Bottomline Entertainment / Fix Post Production Michael Modena TV Drama IMPACT CHRISTIAN MEDIA

Impact Christian Media Prod / Dir: Carl Schultz TV Series

JAM ALLEY CREW VS CREW SEASON 2

Red Pepper Pictures Prod: Melody Xaba Music Reality Competition

Current Affairs Hambrook Prod / Dir: Jane Thandi Lipman /Eric Ellena Documentary

DURBAN/REEF FUEL PIPELINE

Betta Beta Communications Prod / Dir: Tommy Doig Documentary

09 May NEOTEL BROADCAST TRANSMISSION

LIVE DEMO

SABC M1 Studio, Johannesburg Melvin.Chauke@neotel.co.za

15 – 26

CANNES INTERNATIONAL FILM FESTIVAL

Cannes, France www.festival-cannes.fr

27 – 30

SATCOM AFRICA, BROADCAST SHOW AFRICA & SUBMARINE NETWORKS WORLD

Sandton Convention centre, Johannesburg www.terrapinn.com

13 – 23

LOS ANGELES FILM FESTIVAL

Los Angeles, USA www.lafilmfest.com

7 – 8

SHOWBIZ ENTERTAINMENT ARTS EXPO

Gallagher Convention Centre, Johannesburg www.seaexpo.co.za

Fireworx Media Dirs: Myrto Makrides, Mmabatho Montsho, Neo Ntlantleng, Zamo Mkhwanazi Anthology series

16 – 22

CANNES LIONS INTERNATIONAL FESTIVAL OF CREATIVITY

Cannes, France www.canneslions.com

OSCAR PISTORIUS

27 – 7 Jul GRAHAMSTOWN NATIONAL ARTS FESTIVAL

MENTALIST MARTIAL ARTS

Panache Video Productions Dir: Ryan Blumenthal Training MZANSI LOVE

ABC America Documentary

Grahamstown www.nationalartsfestival.co.za

POPCRU 7TH CONGRESS

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Event SHORELINE REVISITED

Homebrew films Documentary series

SING YOUR SONG

Dir: Susanne Rostock Documentary SPACE, ALIENS, UFO’S AND RELIGIOUS TRADITIONS

Eugene Botha Productions / It’s Wrap Productions Exec prods: Eugene Botha / Anna Teichert Documentary STAND UP AFRICA

On Air Media Dir / Story Ed: Mike Bardsley / Lex Dominguez Documentary THE BLACK JEWS AND THE LOST ARK OF THE COVENANT

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary VIENNA BOYS’ CHOIR MUSIC STUDY TOUR

JULY 11 – 15 UGANDA FILM

FESTIVAL INTERNATIONAL (UFFI)

Kampala, Uganda

www.ugandafilmfestivalinternational.org

17 – 19

MEDIATECH AFRICA

Coca-Cola Dome Northgate, Johannesburg www.mediatech.co.za 18

SCREEN AFRICA TECHNOLOGY & PRODUCTION CONFERENCE

Northgate, Johannesburg ellen.oosthuizen@pixie.co.za

18 – 28 DURBAN INTERNATIONAL FILM FESTIVAL

Durban www.cca.ukzn.ac.za

19 – 23 TALENT CAMPUS DURBAN

Durban www.cca.ukzn.ac.za

20 – 23 THE DURBAN FILMMART (DFM)

Durban www.cca.ukzn.ac.za

SummerTime Productions Prod / Dir: Tanya Vandenberg Corporate

Advertisers List Screen Africa relies on

received and cannot be

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Series

Sandton Convention Centre, Johannesburg info@agda.co.za

Cape Town & Johannesburg www.encounters.co.za

accuracy of information

DRAGON’S FEAST 3D

Cooking With Siba

New Vision Pictures and S2 Multimedia Exec prod: Dineo Ranaka Reality

04 May AFRICAN GLOBAL DJ AWARDS (AGDA) 2013

6 – 23 ENCOUNTERS SOUTH AFRICAN

INTERNATIONAL DOCUMENTARY FESTIVAL

Bonngoe Productions Prod: Tumi Rabanye Variety

DINEO’S DIARY: A MOGUL IN THE MAKING

The Labia Theatre, Cape Town www.flamedrop.com/events

MASTERS OF DREAMS

AFROX YEAREND RESULT

Prod: Siba Mtongana Variety

JUNE

Khaki Productions Prod / Dir: Christelle Parrott / Wynand Dreyer Documentary – kykNET

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

Club Culture

26 Apr – 02 May

2013 SOUND ON SCREEN MUSIC FILM FESTIVAL

JERUSALEM, JERUSALEM

AFROX AFRICA INSIGHT EPS 4

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

MAY

held responsible for any errors or omissions which may occur. E-mail production updates to: online@screenafrica.com

Aces Up..........................................31 AJA Video Systems.......................17 Atlas Studios .................................49 Blackmagic Design..........................7 Blade bfx...........................................3 Boiler Room Studios....................23 Broadcast Film & Music Africa...47 Case Connection, The.................49 Collective Dream Studios...........13 Concilium Technologies................... IBC Discop Africa.................................45 DTI....................................IFC Electrosonic ........................... 15, 48 Film & Publication Board (FPB)..........................26 – 27 Film Publication Board (FPB).

FC Fix It Post Production..................35 General Post..................................32 Glasshouse.....................................38

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GlobeCast.................... FDPS Guillotine........................................40 Howard Music ..............................48 LaserNet.........................................43 Mediatech Africa......... OBC Mushroom Media..........................36 Obeco..............................................23 Orchestra Blue..............................38 Pepperoni Pictures.......................37 Priest................................................39 Pro-Sales.........................................42 Refinery...........................................34 Riot..................................................40 Rocket Science..............................11 Sasani Studios................................41 Sony...................................................9 SOS..................................................19 Telemedia..............................24 – 25 Upstairs Post Production............39 Vision Cases...................................48

May 2013 | SCREENAFRICA | 51

Social

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Olympus Has Fallen Première

Hollywood stars Gerard Butler and Aaron Eckhart

Miss Earth South Africa 2012, Tamerin Jardine

Professional SA rugby player Francois Hougaard (right) with a friend

SA electro pop duo Locnville with a friend

SAFTA Award Winners’ Dinner

Tsholofelo Moadthodi Modise

Bongi Selane and Elouise Kelly

Bonginhlanhla Ncube (Mr B) and John Wani

Leroy Gopal and Azania Muendane (NFVF)

Lunga Shabalala

Mmabatho Ramagoshi, Jerry Mofokeng and George Leolo

NFVF CEO Zama Mkosi and Tholi B

Sello Molefe Mmabatho Mogomotsi

Thuli Thabethe

Vusi and Nadia Zion

Photos by Gerhard Minnaar

Ghoema Awards

Afrikaans country singer Chereé Strydom and Afrikaans singer Snotkop

New Appointment

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Adriaan Bergh, Mr SA 2011 and Melinda Bam, Miss SA 2012

Ed Van Blerk was recently appointed as senior animator at Aces Up in Johannesburg.

He started his career in the advertising industry doing DTP and design work after which he joined one of the country’s leading agencies where he assisted in setting up its multimedia department where he worked on South Africa’s Soccer World Cup bid. Van Blerk’s drive to find challenging assignments led him to part-time lecturing in design, animation and multi-media.

At Aces Up he is responsible for design, illustration, 2D animation, compositing and editing.

Some of the brands he worked on include Sun International, Nedbank, FNB, Vodacom, Virgin Mobile, Cell-C, Clover, Opel, Toyota and many others he can’t remember right now.

Van Blerk’s big dream is to write and direct at least one movie that at least six people watch.

52 | SCREENAFRICA | May 2013

Afrikaans singer and actress Sorina with a friend

Afrikaans singer Karlien van Jaarsveld with husband Derick Hougaard

Janine van der Vyver and SA singer Steve Hofmeyr

Tribute to Ang Lee

Elsie Potgieter, Sue Webber, Kobus Kapp, General Denis Earp, Beth Earp and Dave Potgieter

SA singer Kurt Darren with wife Dunay Nortjé

US Embassy Event

Colonel Daniel Hampton (Defence Attaché from the USA), Mel Hampton, Colonel Richard Milot (Defence Attaché from Canada) and Anne Milot

Martie Bester with legendary actor Samuel L. Jackson

17 – 19 July 2013, Coca-Cola Dome, Johannesburg, South Africa advanced technology trade show

www.mediatech.co.za

Free Registration

at www.mediatech.co.za before 7 July 2013 and avoid paying R50 at the door

Use your unique code:

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Broadcast & Film Industry Networking Hub Production & Post Production Lighting, Staging & Rigging Animation & New Media AV System Integration 130 Exhibitors International Manufacturers Satellite & Signal Pro Audio & Video Outdoor Sound Demo’s Technology Workshops & Conferences International Speakers 800 Brands

SCREENAFRICA technology + production Conference

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Brought to you by Thebe Exhibitions and Sun Circle Publishers