Screen Africa - October 2012

audiovisual industry in Gauteng.

Contact us and we’ll show

RICA ICA FRidea location to bringDyour big A A XB OMAcolourful toPR vibrant life. you why COP AisFthe perfect DISGauteng

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VOL 24 – October 2012 R35.00

Big Ideas. Perfect Locations.

Gauteng Film Commission, 56 Main Street Johannesburg, 2108 South Africa Tel: +27 (0) 11 833 0409 Email: info@gautengfilm.org.za

Gauteng with its world-class Gauteng with its world-class infrastructure, recognised infrastructure, recognised expertise and wide range of expertise and wide range of locations for all forms of film locations for all forms of film shoots is South Africa’s shoots is South Africa’s powerhouse province and powerhouse province and a world-class destination for a world-class destination for filmmaking. filmmaking.

www.gautengfilm.org.za

The Gauteng Film Commission The Gauteng Film Commission (GFC) serves as a centralised (GFC) serves as a centralised industry intelligence hub that industry intelligence hub that ensures the development ensures the development and growth of a sustainable and growth of a sustainable audiovisual industry in Gauteng. audiovisual industry in Gauteng.

Contact us and we’ll show Contact us and we’ll show you why Gauteng is the perfect you why Gauteng is the perfect location to bring your big idea location to bring your big idea to vibrant colourful life. to vibrant colourful life.

Big Big Ideas.

Ideas. Perfect Perfect Locations.

Locations.

Gauteng Film Commission, 56 Main Street Johannesburg, 2108 South Africa Tel: +27 56 (0)Main 11 833 0409Johannesburg, Email: info@gautengfilm.org.za Gauteng Film Commission, Street 2108 South Africa Tel: +27 (0) 11 833 0409 Email: info@gautengfilm.org.za

www.gautengfilm.org.za www.gautengfilm.org.za

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2012/09/20 1:53 PM

BROADCAST, FILM, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS

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VOL 24 – October 2012 R35.00

PBN faces closure

South Africa’s Prison Broadcasting Network (PBN), founded in 1999, remains on the verge of closure despite a statement issued on 3 March 2012 by the former Minister of Correctional Services that the service had been reinstated.

PBN founder Marius Boaden explains: “Our radio station, which featured inmates as the presenters and broadcast in Pollsmoor for nine years, went off-air in 2008 due to an irreparable intercom system.

Fortunately we had established our television production division earlier that year where we not only trained prisoners in video production but also broadcast the programmes they produced through the internal prison TV networks to make a positive impact on the greater prison population. The same concept we used with our

radio station.

“In July last year we were informed that we had to renew our service agreement with Pollsmoor and weren’t permitted to continue our free services in TV training and broadcasting until this had been done. The renewal process took six months.”

Boaden was then informed in January this year that all PBN services were no longer relevant to Pollsmoor as it was converting to an awaiting-trial prison, where inmates are not given rehabilitation programmes.

“We challenged this on both a Pollsmoor and regional level but received no response,” continues Boaden. “PBN then asked the Minister, the National Correctional Services Commissioner and the parliamentary portfolio committee to intervene. Again

we received no response.

“SABC3’s investigative magazine show Special Assignment produced a programme about the good services we had provided and a week later the Minister issued a statement on all SABC News channels which stated, among other things, that our services had been reinstated but that we may have to move to another prison. That was on 3 March 2012 but as yet nothing has been forthcoming.

“I have spoken to some of our former offender students who are still currently incarcerated in Pollsmoor and they are devastated at having lost their training and an opportunity to change their lives for the better,” comments Boaden.

Although PBN has trained over 120 offenders Boaden – continued on next page

Massive Ster-Kinekor / Christie deal South Africa’s largest cinema exhibitor, Ster-Kinekor Theatres, has confirmed a major deal with Christie to supply high end projectors as the company undertakes the full conversion of its cinema sites to digital, with a view to become 100% DCIcompliant by mid-2013.

With more than 400 screens and 63 000 seats spread across 55 sites, Ster-Kinekor Theatres currently has Christie Series 2 and NEC projectors operating within the Group. The number of digital projectors installed by the movie exhibitor will grow over the next 12 months,

including the installation of Solaria One and Solaria One+ projectors.

Ster-Kinekor Theatres CEO Fiaz Mahomed says that the upgrade is a critical step in helping the company grow the business and take film viewing to the next level. “Converting to digital is a significant step in the progression of Ster-Kinekor Theatres as we continue to grow our business. The benefits to the consumer are the most exciting part of the project as this rollout will result in more 3D content being screened, superior picture quality, new genres of film

content and closer alignment of local release dates with international ones.”

Doug Place, Ster-Kinekor Theatre’s marketing executive adds: “We continuously try and find the best possible way to show films on the big screen to consumers. Our digital conversion is not just about the size of the image on the screen but about the picture quality as well. There is a really discernible improvement in picture quality from 35mm projectors to 2K and 4K projectors “Another important issue is – continued on next page

SHACK ATTACK: Director Adze Ugah with actress Lilian Dube on the set of Gog’ Helen. See page 24

Prepaid pay-TV takes off At the time of going to press over 3 000 TopTV prepaid vouchers had been activated since 13 August, when the South African satellite pay-TV operator became the first in the country to launch a prepaid payment option for subscribers.

The vouchers were sold before the roll-out of TopTV’s marketing strategy, which commenced on 23 September.

Approximately 20% of the vouchers were purchased by new TopTV customers, with the rest bought by existing but dormant subscribers.

The introduction of the prepaid model is positioned as a key factor in TopTV’s turnaround strategy, motivated

by a full review of the broadcaster’s business earlier this year.

“Our call centre gets between 100 to 150 calls a day enquiring about the prepaid payment option,” says Brandon Duffield, VP of Sales & New Business.

Activation of the prepaid vouchers is done through mobile phones: subscribers merely punch in their decoder smart card number together with the prepaid voucher number and the TopTV service is activated in 15 seconds.

Each voucher runs for a period of 30 days and subscribers can choose from the Variety Package or the Ultimate Package. It is possible to upgrade or downgrade between the two options at any time. There are no re-connection fees in between activations.

“The design and implementation of the prepaid system took place in a very short time – only six months with two weeks of extensive testing.

– continued on next page

Continued from page 1 | Prepaid pay-TV takes off

PBN faces closure

CORRECTIONAL SERVICE – A PBN student busy with a mix

believes the main impact of the service was through its programmes, which reached thousands of prisoners.

PBN was funded solely by a handful of individuals and companies with no government support.

Says Boaden: “It was only through very meticulous financial management that we have managed to exist for 12 years.

Sponsorship for equipment has been relatively easy and Sony and especially Sennheiser have assisted us tremendously.

However funding for operating costs and human resources such as salaries has been extremely difficult.

“We are a Non-Profit Organisation (NPO), a Public Benefit Organisation (PBO) and are BBBEE certified, with donations being tax deductible, but it has done little to elicit the funding that this sort of initiative requires. Much of our sustainability has come through sacrifices I have had to make personally, but I consider it worth it when we see how it has changed lives.”

PBN currently occupies three offices in Pollsmoor which consist of a radio station, sound studio and TV studio and facilities.

The crisis comes in the midst of PBN’s plan to launch a national TV station for prisons. This would include careerorientated and educational shows; prison health and hygiene programmes; wholesome films; and programmes that

could open their blinkered world to a much bigger and brighter world.

Says Boaden: “It would also connect all the internal TV networks in the country’s prisons together so that there would be synergy in each prison (even when offenders are transferred) and give a realistic means to benchmark the success of the project.

“Such a national TV station would cost millions to set up but our focus is not so much about what it will cost but the value it could bring to the entire prison environment and to our nation as a whole.”

The major part of the television infrastructure is already in 66 prisons. All PBN would have to do is connect them and broadcast its programmes.

“We had possible free satellite space when we made our initial proposal in 2011 and the major cost was for uplinking and the specific type of decoders we required to keep our broadcasts closedcircuit,” concludes Boaden.

PBN recently shared in the glory of two Loerie Awards for a Public Service Announcement (PSA) produced by Ogilvy Cape Town and Platypus Productions about PBN which was filmed by former ex-inmate students of PBN. More information about PBN can be found at: www.prisonbroadcast.org.za

Massive Ster-Kinekor / Christie deal

DIGITAL MOVE – Christie Integrated Media Block

sound – 35mm projectors use analogue sound which degrades over time while digital projectors have full digital sound capabilities.”

Place points out the administrative benefits in the migration to digital. “It means not having to ship large amounts of heavy 35mm reels around the country as digital projectors make use of hard drives and memory sticks. The reduced shipping costs help fund the digital roll 2 | SCREENAFRICA | October 2012

out. Furthermore, 35mm reels degrade with use, unlike digital prints.”

He notes that once the conversion is complete a quarter of Ster-Kinekor’s screens will be 3D. “We currently have 64 3D screens but this number will rise to more than 100. The Christie 4K projectors are to be deployed at our bigger sites around the country. Currently Gateway and Sandton City have 4K projectors installed with more to be added over the next few months.

In line with the current move by Hollywood to High Frame Rate (HFR) technology, all the new Christie projectors are HFR-enabled.

“At the moment films are projected at 24 frames per second (FPS) while HFR runs at 48FPS or 60FPS, which means a far smoother, more ‘life-like’ picture,”

Credit is due to two people, Belinda Jonker, our GM of ICT, and Bennie Vorster, VP of Platforms,” explains TopTV’s chief technology officer Frans Lindeque.

“We’ve not had a single glitch in any of the voucher activations,” notes Duffield.

According to Jonker, TopTV originally wanted the prepaid activation to operate via SMS (Short Message Service). “But we decided to go the USSD (Unstructured Supplementary Service Data) route because there is only one interaction involved. Plus the cost of operation is cheaper than SMS. However, with any system utilising USSD you are dependent on mobile service providers,” she explains.

USSD is the protocol used by mobile phones to communicate with TopTV’s computers. Unlike SMS, USSD messages create a real-time connection during the session.

Locally based technology company iTouch Messaging Services is responsible for the USSD development and hosting, while PIN generation is handled by CHKVIEW and Blue Label Telecoms.

Says Vorster: “The only change that TopTV had to make on its side to

accommodate the prepaid system was to amend its billing system, with software created by CRM.COM, a company in Cyprus.”

Duffield points out that the system ensures a secure way for TopTV to receive its revenue. “And it offers complete convenience for the subscriber because you don’t have to go to the bother of phoning a call centre and you’re not limited to retail hours.

Subscribers have been activating vouchers at all hours of the day or night, some even as late as 02h00 in the morning.”

Eventually TopTV subscribers will have access to prepaid vouchers in over 12 000 outlets across the country, ranging from supermarkets to petrol stations to hawkers.

Says Lindeque: “TopTV has introduced many innovations in the pay-TV market and we’re proud of being trend-setters. The introduction of prepaid has reduced the barrier to entry to pay-TV significantly.”

Prepaid pay-TV has only been launched in two other African countries – Ghana and Angola. Both systems are different to the TopTV model.

TESTING TIME – Brandon Duffield, Belinda Jonker and Bennie Vorster

explains Place. “Peter Jackson has just shot The Hobbit on HFR and it is the first film to have been shot on this format.”

According to Richard Nye, Christie’s cinema sales director EMEA, the Christie Solaria Series 2 all-in-one digital cinema projector solution is the brightest and highest performing with the lowest operating costs of its class. It was designed from the start to be fully upgradable to 4K technology and the models are 3D ready.

“The Christie Solaria One is a high-value projection system that’s perfect for screens up to nine metres. It also has the lowest total cost of ownership on the market today, yet delivers 8 000 lumens within the DCI colour space via Xenon illumination and S2K DLP Cinema technology.

“Much of the cost reduction can be attributed to the built-in Integrated Media Block (IMB). Feature film content is displayed using the built-in Christie IMB. This media block is linked directly

to external commodity storage systems so it’s incredibly flexible.”

Nye explains that the IMB decrypts and decodes the feature film content and delivers it to the projector in a useable format. “The Christie IMB was built to complement the projector’s software, thermals, vibrations and internal power availability. It is easily upgradable to provide HFR and 4K support and is fully DCI-compliant. Christie’s IMB provides streaming MPEG2/H.264 support for advertising and alternative content from the attached commodity storage device.”

Ster-Kinekor’s technical services division is rolling out the installation in their own premises, while Arts Alliance Media will offer Network Operation Centre (NOC) support.

Christie will provide support from its local office in Johannesburg with stock for spare parts, and will appoint a local service provider for convenient, locally based support and repair.

From the editor

Big industry events Screen Africa is proud to be a media partner of two major industry events that take place in Johannesburg in October – the DISCOP AFRICA 2012 television content market and co-production forum, and PromaxBDA Africa. This issue of the magazine includes a special feature on both events and will be distributed at them.

DISCOP AFRICA 2012, to be held at the Sandton Convention Centre from 31 October to 2 November, promises to be bigger and better than previous editions held in Ghana, Senegal and Kenya, with an increased number of exhibitors and delegates.

Key to the 2012 event is that it is being held in South Africa for the first time ever. In addition, a co-production forum and a pitching competition have been added to the mix. With these components DISCOP AFRICA, the only pan-African industry gathering strictly dedicated to the production and distribution of multiscreen television content, is sure to live up to great expectations.

PromaxBDA Africa, which comprises an awards ceremony and a conference focused on on-air promotion and marketing, has since its inception been extremely popular. It is the only event of its kind dedicated to this sector of the industry. The production companies and agencies that produce promos and on-air branding house some of the most creative minds in the country. It is no easy task to grab the attention of television viewers and convince them to watch a particular programme. The subtle art of on-air promotion will be celebrated at the Sandton Convention Centre on 26 October.

This month’s Adcetera is devoted to the Loerie Awards, South Africa’s premier brand communication awards, which were held in mid September in Cape Town. Anton Crone, our regular Adcetera columnist and former ad agency creative director, gives readers a unique insider view of the Loeries International Seminar of Creativity and the awards ceremonies.

On the subject of insider views, be sure to read Ian Dormer’s report on the recent IBC2012 in Amsterdam to find out about the latest technologies utilised by global broadcasters, production studios, post-production facilities and content producers.

In this issue we report on two new South African feature films, both shot in indigenous languages. A dark comedy set in a Gauteng township, the Zulu-language Gog’ Helen is described as a fun story where the women go through hell, fight back and defeat the giants.

The storyline of Elelwani, the first ever feature film to be shot in the Tshivenda language, also has a female focus, as a modern Venda woman tries to reconcile her progressive ambitions with Venda traditions.

Joanna Sterkowicz

SCREENAFRICA Editor: Joanna Sterkowicz: editor@screenafrica.com

Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com

In-house Journalist: Linda Loubser: news@screenafrica.com

Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Melaney Van den Berg: mel@screenafrica.com

Contributors: Andy Stead, Anton Crone Ian Dormer, Martin Chemhere, Mike Dearham Sub-Editor: Tina Heron

Accounts: Natasha Glavovic: accounts@sun-circle.co.za Front Office: Delight Ngwenya: adminsa@screenafrica.com

Ratings: Enid Venter enid@ihjohannesburg.co.za Head of Design: Trevor Ou Tim: design@screenafrica.com Website & Production Updates: Berkia Banda: online@sun-circle.co.za Subscriptions: Delight Ngwenya: adminsa@screenafrica.com

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

Contents

4

12

26

32

SPECIAL FEATURES

ADCETERA

PROMAXBDA AFRICA

Looking back on the Loerie Awards................. 8 / 9 Loerie Award winners............... 10

The attention seekers...... 12 / 14 The clear approach.................... 14 Promos get sporty...................... 16 Award-winning emotive work. 18 2012 Conference at a glance... 20 Conference sessions.................. 21 A decade of promos.................. 22

DISCOP AFRICA DISCOP AFRICA comes to Johannesburg...................... 34 / 36 SABC primed for continental market........................................... 36 Sprouting top content............... 37 The potential for African content............................ 38 DICSOP AFRICA statistics....... 39

NEWS PBN faces closure; Prepaid pay-TV takes off; Major Ster-Kinekor / Christie deal.1 / 2 Port St. Johns Film Office imminent; Prosound LIVE launches; Sasani Studios buzzes.. 4 SA film on Western Sahara conflict; Young filmmakers face reality................................................ 6

23

INDUSTRY Director Speak – Jozua Malherbe............................ 23

FILM Gogo with a gun......................... 24 A little piece of history............. 26 Gauteng creative industries poised for growth....................... 30

FINANCE The difference is YOU!...28

PRODUCTION Finding an audience for African stories....................... 29

TELEVISION SA’s braai culture sizzles on TV................................ 31

DOCUMENTARY When chocolate has a bitter after-taste............... 32

CAMERAS A challenging shoot.................... 40

GLOBAL TRENDS / IBC IBC turns heads................. 42 / 43 TRACKING TECHNOLOGY Keeping up with broadcast demands; Compact SDI router.................................... 44 Router control panel with a difference; Highest sound quality tool........ 45 Joint venture provides mobile milestone; Going into overdrive; Eclipsing the competition.......... 46 New XDCAM innovations; Feeding London’s Olympic broadcast....................................... 47

AFRICA From workshop to screen........ 48 Ethiopian multi-country feature; Monitoring Malawi’s broadcasting................................. 49

Regulars Audience Ratings.................. 51 Film Lab Stats...................... 51 Production Updates....... 52 / 53 / 54 / 55 Social................................. 56

October 2012 | SCREENAFRICA | 3

NEWS |

Port St. Johns Film Office imminent

2011, is the first of its kind in South Africa to officially include film tourism.

Like any world-class film office, the objectives of the Port St. Johns Film Office include aggressive local and international marketing of the destination as film friendly, developing local talent, coordinating all public service providers, and creating and lobbying for competitive incentive programmes.

“Uniquely however, the Port St. Johns Film Office will be equipped to identify, co-develop and leverage film projects which lend themselves to film tourism,

Sasani Studios buzzes

ON SET – Shooting Muvhango

Sasani Studios in Johannesburg is abuzz with activity having recently welcomed the popular SABC2 soapie, Muvhango, on site.

Muvhango, which is the first ever Venda-language soap and which generates excellent ratings, has relationships with various radio stations throughout South Africa. Sasani Studios hopes to assist in a 4 | SCREENAFRICA | October 2012

potential live broadcast on the Phalaphala Radio Station in the near future.

This brings the number of soaps being shot or post-produced at Sasani Studios to five: e.tv’s Rhythm City and Scandal, M-Net’s The Wild, SABC2’s 7de Laan and now Muvhango.

Says Sasani Studios CEO Eileen Sandrock: “In order to accommodate the high level activity on site we are in the process of building new set storage areas.

We are currently extending the storage linked to Stage Two and will commence Stage Three storage shortly. A sets storage area for Stage Five is also in the pipeline.”

The entire brain of Sasani Studios has been replaced with a new high definition (HD) router system and six new HD cameras. This allows for multi-camera HD shoots.

“We recently purchased six new LDK 8000 HD/SD switchable cameras,” adds Sandrock, “which enable us to switch between HD and SD easily as required by our clients.

“In addition we have integrated fibre into all our studios, to centralise the connectivity between our studios. We hope to extend our tapeless recording systems going forward and plan to build a new control room to accommodate the high level of activity.”

Looking forward, Sandrock is bullish: “We hope to secure an SABC sitcom soon and an SABC HD shoot early in the New Year.”

much like New Zealand did with Lord of the Rings. Depending on the project, this potentially opens an array of support services in finance and marketing to the producer.”

Wilhelm points out that Port St. Johns has already been facilitating films for

Prosound LIVE launches Copyright: Prosound

The preliminary framework for the creation of a film office in Port St. Johns, a scenic town on the wild coast of South Africa’s Eastern Cape province, is 70% complete and should be fully operational by the first quarter of 2013.

According to film sector development specialist Dominic Wilhelm, who developed South Africa’s first Film Induced Tourism (FIT) plan as part of a Port St. Johns Film Office Feasibility Study, the project has been a priority of the Port St. John’s Development Agency since its inception in 2010.

Says Thabisa Nodada, CEO pf Port St. John’s Development Agency, “As one of the poorest municipalities in the country, this is precisely the sort of development that is needed in the area. We are grateful for the government’s continued support and look forward to transforming and re-launching Port St. Johns to the world.”

Wilhelm continues. “The Feasibility Study, which was commissioned in late

three decades. Currently, an adventure film involving American actor Sean Astin (The Lord of The Rings, The Goonies) is being developed for Port St. Johns that involves large set builds, exotic African mythology, lost treasure and a pirate legend.

Some of the productions that have utilised Port St. Johns over the years include: Amazing Race Australia; Amelia; Blood Diamond; Blue Crush 2; Boesman and Lena; Goodbye Bafana; Human Cargo; Red Dust; Shout at the Devil; Son of Man; Stander; The Cradock Four; The Philanthropist; Themba; White Wedding; and Wild Ocean 3D. Port St. Johns currently offers infrastructure that includes good cell phone reception, Internet, excellent provincial roads, a tarred air strip, comfortable accommodation and experienced local location scouts and managers.

“Over the next several years, however, the transformation of Port St. Johns will include major infrastructural and spatial developments infused with the allure of exotic Africa and the film world,” concludes Wilhelm.

Through the launch of its online radio station Prosound LIVE, Roodepoort based pro-audio, lighting, design, supply and installation company Prosound has gone a step further in its support of live music and the arts in sub-Saharan Africa.

Prosound LIVE radio provides a much needed platform for any genre / subculture of music that has a following in South Africa but no medium in which to present itself.

“We encourage artists to think of new ways of selling and presenting themselves in the new and very cluttered digital world,” says Justin Acres of Prosound. “By providing a live space for live streaming, recording and rehearsing in a production studio, a radio studio and outside broadcast (OB) capabilities, aspiring DJs, producers and musicians have a setting in which to showcase themselves using state-of-the-art equipment.”

The radio station is situated in the Prosound demo room and equipped with the following: an AEQ forum digital broadcast mixer; ELectro voice RE 20 broadcast presenter microphones; Electro voice RE N/D 767 vocal guest microphones; sound devices USB PRE2 Sound card; and Tannoy studio monitors.

Acres notes that Prosound shares a long history with the South African music industry and is committed to supporting the development of local musicians. “We recognise South Africa’s dynamic arts and music legacy as one of the country’s richest resources contributing to the countries distinct identity.

“In an industry where so many talented artists are at risk of being drowned by the mainstream, it is considered vital that they are given a space to expose and present their style to a wider audience.”

The Prosound LIVE demo room plays host to live gigs and DJ workshops where products are put through their paces by interested artists.

Years of experience have proved that seeing Prosound equipment in action is what wins the products their biggest fans.

“As Prosound, we recognise that artists are the life blood of our business,” concludes Acres, “by investing in and exposing the best South Africa has to offer, outside of the mainstream, everybody wins.”

To pitch an idea to Prosound LIVE contact Matt Hallowes at prosoundlive@prosound.co.za or call 011 470 6800. Also visit facebook.com/ prosoundliveradio.

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NEWS |

SA film on Western Sahara conflict

THE DESERT SONG – Refugees in a refugee camp in Algeria

An invitation to show South African films about solidarity at the FiSahara Film Festival 2011 in Dhakla, a refugee camp in Algeria, prompted Milly Moabi of Dinepe Productions and Bheki Sibiya of Sobabili Films to make a two-part documentary about the on-going conflict in the Western Sahara region.

“This conflict is centred on Morocco’s illegal occupation of the Western Sahara and their violation of the Sahrawi people’s human right to self-determination,” explains Moabi. “The Sahrawi are misplaced refugees living in Tindouf in the Algerian desert, having run away from the violence in the so-called

‘occupied territories’.

“After the Spanish colonisers left and Morocco took over the Western Sahara, the Sahrawi formed the Polisario Front liberation movement and have been trying to negotiate through the UN Security Council to claim back the region.”

Moabi notes that this violation of human rights by Morocco for the last 30 years is similar to the oppressions of apartheid and colonisation. “Morocco has enforced a media blackout surrounding the conflict and erected a barrier wall on the scale of the wall of China.”

Mayibuye I’ Western Sahara (Let it Return- Western Sahara) Part 1 is

scheduled for completion this month. The style of Part 1 is factual – a mix of interviews, archives and ‘explosive footage’ of the conflict. Narrated by Radio 2000 talk show host and voiceover artist Thabiso Tema, the documentary aims to be informative and to spread solidarity for change in the Western Sahara.

The filmmakers plan to return to the conflict zone to shoot Part 2 in the near future.

Prior to the first shoot in May 2011, Moabi joined the Free Western Sahara network for research purposes. During the shoot the team went to refugee camps,

Young filmmakers face reality Of the three finalists in the South Africa’s Next Top Filmmaker 2012 competition, two have completed the shoots on their mini reality television shows and one is about to start.

According to finalist Mpumi Tshabalala, her shoot went well. “The weather was a bit of a challenge – we had four seasons in one day – but I managed to pull myself together and had a great shoot. Everyone was amazing from the cast to the crew to the bystanders who sometimes distracted the cast.”

Anton Burggraaf from Ochre Moving Pictures was Tshabalala’s mentor.

“Mpumi was great at interpreting her script and keeping to her own brief and the scenes were well executed with advice and discussion with the cameramen,” notes Burggraaf.

Mondli Magenuka is being mentored 6 | SCREENAFRICA | October 2012

FINALIST – Mpumi Tshabalala (left) busy with her shoot

by Tracy-Ann Van Rooyen at Endemol South Africa. “I was constantly worried about the content, but there were moments where I felt like, yeah that’s gonna sell, bring it on,” says Magenuka.

“I have learnt the importance of having all crew members fully briefed about what the director wants to achieve and also to have that authoritative voice for direction.”

Van Rooyen has been happy with Magenuka’s progress. “He has made calls on why he has chosen to incorporate certain things in his pilot and has motivated it, which shows an attachment to his concept. I appreciate it when he fights for his ideas, as it shows a commitment to his concept.”

For Tebogo Kgakoa, who has only shot

schools, hospitals, humanitarian organisations and visited the ‘war museum’.

The crew interviewed Sahrawi refugees, soldiers, UN representatives, peacekeepers, ambassadors and humanitarian aid workers.

“When we stayed in the refugee camps and experienced the hardship of the lives of the Sahrawi, I was inspired by their peaceful resilience. I was also inspired by the words of solidarity shared by former South African leaders Thabo Mbeki, Oliver Tambo and Nelson Mandela for the Sahrawi’s freedom.

“It was difficult living in the refugee camps but you have to put yourself in their shoes. Coming from a sordid past in South Africa ourselves it was traumatic having to hear about and see the same atrocities we experienced during apartheid,” comments Moabi.

The film crew was hosted by the local Arts Ministry and explored the theme of culture in conflict.

“It is admirable how the Sahrawis have not lost their heritage. The adults and children sing freedom songs as a way to deal with the conflict,” says Moabi.

Following the first shoot the producers managed to get some financial support from the Department of Arts & Culture.

In the meantime they are trying to negotiate licensing deals with broadcasters such as SABC Africa, CNBC Africa and Aljazeera Africa etc.

“Being a member of the Documentary Filmmakers Association (DFA) has been helpful in identifying the international film markets such as HotDocs that we can utilise to pitch to international broadcasters,” concludes Moabi.

his title sequence, the real work is about to begin. “For the intro sequence we had a small crew so it was easy to move around.

The weather wasn’t great but we managed to make it go right. I’ve learnt that from planning to execution, it’s vital that you have a plan B as your backup, should anything go wrong. So far I managed to keep close to the original vision.”

JP Potgieter of Quizzical Pictures has been mentoring Kgakoa. “I have seen Tegogo grow in leaps and bounds in the past couple of weeks. I am amazed, almost daily, at how well he is doing and how organised he really is. The standard of talent and experience is much higher this year and TK is right up there. I expect great things from him.”

The finalists have been paired up with experienced reality editors at General Post for the post-production phase of the competition.

Once the offline is complete, they will go to final mix at Finetune Studios and have the opportunity to grade their work on the Baselight system sponsored by The Bladeworks. Then it’s back to General Post for online and graphics in preparation for the big reveal in October.

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Report on the South African commercials industry by Anton Crone

Looking back on the Loerie Awards

H

olding the Loerie Awards International Seminar of Creativity in Cape Town’s City Hall on 19 September could be an ironic venue for the advertising establishment. City Hall is a functioning relic where admissions of guilt are paid and lectures are delivered beneath organ pipes so dusty the first note should be a loud cough. It’s a dose of reality for this slick industry, a dirty old rag taken to a shiny veneer.

Here in this dusty hall, before descending on the shiny Cape Town International Convention Centre for the Loeries awards ceremonies that coming weekend, advertising folk were treated to the wisdom of speakers who shape the industry. Among them were two people largely responsible for South Africa’s creative reputation: TBWA World Wide creative director, John Hunt, and his protégé from Hunt Lascaris days, Tony Granger, who is now global chief creative officer of Y&R. Hunt was the recipient of the Lifetime Achievement Award on the weekend but in this old hall he cautioned us about the modern peril of media saturation; that to stand a chance of being noticed you can no longer aim for great, you must aim for iconic, a sobering proposition for an industry that struggles ever more to persuade its clients of the virtues of such work.

This is not a local problem as speaker 8 | SCREENAFRICA | October 2012

David Nobay, creative chairman of Droga5 Sydney pointed out. Nobay relayed five ugly truths about advertising, namely that clients don’t always want great work; that there are too many of us; that we’ve lost the exotic; that we’ve forgotten how to sell; and that we reward mediocrity.

Speaking to a few local players most of them expounded on Nobay’s point that clients don’t always want great work. King James’ chief creative officer, Alistair King said: “A major portion of the clients who say they want great work don’t know what it is when they see it. ‘Great’ is a word that they use with good intentions, but what they in their mind think of as great is a different thing altogether. Great, to many clients, means all the boxes ticked, all the category norms abided by, and no major feeling of discomfort involved.”

FoxP2’s creative director Justin Gomes added: “That’s why we named ourselves FoxP2 – after the creativity gene – so we would attract clients who want to do great work. It takes too much precious time and energy to change a client’s viewpoint on creativity, so we don’t go after clients who don’t share the same philosophy.”

Festus Masekwameng, creative director of 97 Mother Russia, probably said it best: “Every client gets the work that they deserve.”

Creative director of Saatchi & Saatchi, Cape Town, Gavin Whitfield honed in

on Nobay’s ugly truth: losing the exotic.

“It seems everyone can operate some kind of basic software that allows you to (badly) put something together, or search for a reference they like or see something a 12-year-old in Tokyo has done on YouTube. The curtain has been lifted and this exposes us and our processes to a lot of back seat driving. The skill and craft of trained professionals seems increasingly undervalued. It’s something writers have been battling with for years – everyone can spell their name, so everyone thinks they can write. Art directors, directors, musicians and others are all now under the same pressure.”

Category overload?

If talent is spread so thin and media is so varied then naturally award shows reflect this with multitude of categories rewarding mediocre work. One of the speakers who challenged the proliferation of these categories was Alex Schill, chief creative officer of the successful independent global agency, ServicePlan.

To improve the quality of work alluded to doing away with categories and simply awarding outstanding work.

Chief creative director of Y&R, Graham Lang, agrees: “Categories have exploded and award shows and agencies are taking advantage of it. Take the brilliant Be The Coach entry by Ogilvy

CT. It was eligible to be entered into more than a handful of categories and received top honors across the board. The fact that one excellent piece wins across so many categories is fantastic for the agency but it suppresses other great pieces from getting rewarded.”

Bravery Like Schill, Chris Lee’s talk was punctuated with examples of outstanding, brave work. Lee is the founder and creative director of idea agency, Asylum, in Singapore, and the examples he and Schill showed breathed life into City Hall and inspired many. Theirs seemed to be another world; full of possibilities; at the forefront of the multimedia revolution.

Lee’s agency structure challenges convention made up as it is of eclectic thinkers and designers from many different spheres. It can indeed be looked at as an idea agency and thus they sidestep media silos and think purely about the core of the brand.

Although the work was very different, Schill’s approach was similarly eclectic and probably best illustrated by his unconventional work for Lego that tapped into the playful core of this brand, yet explored all media channels imaginable.

He has brave clients and the bandwidth to explore this. Sadly the limitations of our own bandwidth were illustrated when

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Ogilvy winners

a four-way online video link up with key players from around the world, failed, leaving presenter Julie Maunder of industry website, I Did That Ad, fumbling on the stage, and frozen on the screen.

And so the audience left the municipal parquet of City Hall to prepare for the red carpet awards ceremonies in the Convention Centre that weekend.

Awards ceremonies Despite the Loerie’s Revolution theme in the build up to the event, the old tradition of the industry was still apparent in this modern setting. As another journalist

Johan Stemmet

pointed out to me, there was little evidence of diversity in the crowd and this was later echoed by ex-advertising man, Khaya Dlanga, in the Mail & Guardian: “The more we try to avoid the issue, the more likely we are to find the industry being hauled before the bully pulpit of Parliament to explain ourselves,” he said.

There was even less expression of revolution when it came to the show on Saturday night as the role of MC was taken by Johan Stemmet of Noot vir Noot, a personality far better suited to hosting the Pendoring Awards. On Sunday the colour was right but the relevance was wrong as American hip-hop has-been

MC Hammer took the stage to recite prescriptive lines off a teleprompter.

As lacking as the sense of revolution was during the event, Alistair King believes it is not up to the Loeries to inspire revolution: “I think the industry and the creative people in it lead the way, not the Loeries. The Loeries is just the annual snapshot of the year that was.”

SA identity Jury chairman Tony Granger stated that the work is more expressive of a South African Identity than ever before. This was particularly evident in the work out of

the Nando’s stable and King adds: “They have the courage to tackle the subjects many brands are too afraid to, and that’s very South African. Ironically, I believe only a South African brand is able to talk about the many sensitive subjects we face as a nation.”

But tackling the subject of diversity does not appear to be top of mind when it comes to the structure of agencies and this reflects on the work itself. Aside from Nando’s there were few truly South African ideas.

The recently added New Voice category in radio goes a small way to changing this. Saatchi’s Whitfield praised the Snickers ad, one of the winners in this category, saying: “Nowhere else in the world would that work as well as it does here.”

A category like this makes you wonder if perhaps the Loeries can inspire a revolution. Perhaps by altering categories to recognise purely South African ideas, artists, designers, writers, directors, risk takers, and game changers, then there can be positive change.

But what is South African? As 97 Mother Russia’s Masekwameng said: “The problem may be that there still isn’t consensus on what really constitutes the South African identity, and this is not the industry’s fault. It’s just the way things are in the republic.”

If anything this republic is iconic because of its history; because of its diversity. Hunt asked the audience in City Hall, “If you aren’t trying for iconic, what are you trying for?”

Revolution! It was shouted through the Loeries megaphone, punted by game changers beneath the dusty organs of City Hall. Or was it just a loud cough?

Tony Granger at City Hall October 2012 | SCREENAFRICA | 9

COMMERCIALS |

Loerie winners

The Loerie Awards, the premier brand communication awards for South Africa, Africa and the Middle East, took place on 22 and 23 September at the Cape Town International Convention Centre. Listed below are some of the winners in the Television, Film and Video Communication categories. The full list of winners can be accessed on www.theloerieawards.co.za

TELEVISION, FILM AND VIDEO COMMUNICATION:TV & CINEMA COMMERCIALS – UP TO 90S ENTRANT Black River FC Net#Work BBDO Black River FC King James King James Ogilvy Cape Town Lowe Bull Cape Town Ogilvy Johannesburg

TITLE The Last Dictator Standing Balance Sir Sneaky – Parody – Back at ya – Hands Sir Sneaky – Parody – Back at ya – Hands Time Flies Face Off Leila So Good

BRAND Nando’s South Africa Ndalo Media Nando’s South Africa Santam Allan Gray Kraft Foods Organ Donor Foundation Yum Restaurants

PRODUCT Meal for 6 Destiny Man Magazine Nando’s Flame Grilled Chicken Meals Santam Allan Gray Stimorol Mega Mystery Organ Donor Foundation KFC

MEDAL Grand Prix Campaign Silver Campaign Gold Campaign Gold Silver Silver Silver Silver

TELEVISION, FILM AND VIDEO COMMUNICATION: INTERNET & MOBILE COMMERCIALS ENTRANT Ogilvy Cape Town JWT Cape Town

TITLE Cockatoo confused by laser pointer Bloodsport

BRAND Wilderness Foundation Kalahari.com

PRODUCT Forever Wild Anti-Poaching Initiative Kalahari.com

MEDAL Campaign Silver Campaign Silver

TELEVISION, FILM AND VIDEO COMMUNICATION:TV TRAILERS, CHANNEL & STATION PROMOS ENTRANT Ireland/Davenport Ogilvy Johannesburg

TITLE Bedtime MK is... Peace, love & happiness (2 of 7)

BRAND Fox International Channels, TOP TV Multichoice M-Net

PRODUCT The Walking Dead MK

MEDAL Campaign Silver Campaign Gold

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S – CINEMATOGRAPHY

South African Great Film Composers

ENTRANT TITLE BRAND PRODUCT MetropolitanRepublic Dog First National Brand Bank

MEDAL Craft Gold

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS UP TO 90S – SPECIAL VISUAL EFFECTS ENTRANT TITLE BRAND Ogilvy Cape Town Face Off Kraft Foods

PRODUCT Stimorol Mega Mystery

MEDAL Craft Gold

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS ABOVE 90S – DIRECTION ENTRANT 140 BBDO

Catalogues Joseph Shabalala • Ray Phiri • Ringo Madlingozi • Caiphus Semenya Mbongeni Ngema • Don Laka • Sello Twala • Sipho Mabuse Mduduzi Magwaza • Lloyd Lelosa • Kevin Botha • Thami Mdluli Anton Goosen • Peter Moticoe • John Leyden • Lusanda Mcinga Nico van Rensburg • Mpho Sibotho • Khabonina Winnie Vilakazi• Dan Tshanda Sandile Ngema • Thandiswa Mazwai • Johnstone Mnyandu David Masonda • Joseph Mbiza • Mphatheni Khumalo • Isadora Nkosi Nico Carstens • Josephine Ndou • Thomas Makhatini • JC Taljaard Representing some of the biggest international publishers in Africa, including Warner Chappell and Walt Disney, among others.

BRAND Distell

PRODUCT Oude Meester

MEDAL Craft Gold

TELEVISION, FILM AND VIDEO COMMUNICATION: TV CRAFTS ABOVE 90S – CINEMATOGRAPHY ENTRANT TITLE BRAND PRODUCT MEDAL Velocity Films The Masters Oudemeester Oudemeester Craft Gold Brandy

TELEVISION, FILM AND VIDEO COMMUNICATION: TV & CINEMA COMMERCIALS – ABOVE 90S ENTRANT Egg Films

Use music in new ways

For more info contact Zodwa Vundla | 011-280 3000 | zodwa.vundla@gallo.co.za

10 | SCREENAFRICA | October 2012

••SA_quarter page_1_composers.indd 1

TITLE To the Masters

9/28/12 12:21 PM

TITLE Baby’s on Fire

BRAND Die Antwoord

PRODUCT Die Antwoord

MEDAL Gold

PROMAXBDAAFRICA |

Compiled by Linda Loubser

The attention seekers The annual PromaxBDA Africa, which celebrates the art of on-air promotion and marketing, will take place at the Sandton Convention Centre in Johannesburg on 26 October. Screen Africa spoke to some of this year’s conference speakers about the art of engaging an audience within a changing media landscape.

THE SPEAKERS – Bron Schultz

T

Jens Hertzum

he question of what makes a good promo has a very different answer today to what it was a few years ago.

This is the opinion of regular PromaxBDA Africa speaker and project manager at South African company Reel Media, Bron Schultz.

“Promo making in South Africa has now reached a standard where there are a lot of ‘good’ promos on air. Technically, the industry has reached a very high level of delivery but the problem is that a lot of these ‘good’ promos are very same-ish.

The design is lovely, the writing is clever, the editing is sharp but their efficacy is declining. Playing out 30-second spot after 30-second spot, with similar technical proficiency is creating a new kind of, very beautiful, wallpaper.”

According to Schultz promos should be part of a broader thinking campaign that extends to other media. “I’m not talking about expensive billboards or magazine runs for every programme, but clever use of mobile and online platforms that engage the audience instead of just

Roseanna Donovan

delivering information.”

Creative director of LifeStyle Channels Australia, Jens Hertzum, adds that an effective promo needs to be different: “Keep the message striking, simple and memorable. Engage on a level that grabs the audience’s attention in a unique way – the only way to stand out is by being different, so communicate in a way that’s a little bit different from the pack.”

He notes that the effective use of audio, which his session at PromaxBDA Africa will focus on, is one of the many tricks that can make a promo stand out and cut through the clutter. “The audience has an innate desire to engage with something smart, so make something smart for them to engage with and allow them to complete the communication loop.”

Clutter Maurice Marable, creative director and VP of Creative Services at BET in the US, believes one of the secrets to a good promo is being clear about the assignment

Cindy Gallop

and your creative goals. “I am a big fan of research and understanding the nuances of the target audience. Developing creative concepts that break through the clutter happens when you apply good research with great writing.

“Also follow through on your concept – every element must reinforce your message emotionally or practically. That includes great music, appropriate sound design, graphic design and casting the voice. If you treat every element with equal importance, you will produce a great promo.”

Creative director and copywriter Roseanna Donovan, based in Australia, believes that a good promo, as with other forms of advertising, should be relevant to the product or brand and to the audience and should show respect. “We’re intruding into the leisure space of the audience – let’s be polite, good company and not wear out our welcome.

“Look for the idea in the product, not in your own head. What’s this message really about? How can you express that in

“Now, as the audience engages with several media platforms at the same time – Facebooking and Tweeting, while watching their programme – channel hopping or whizzing past your work, you have to work harder to break through.”

12 | SCREENAFRICA | October 2012

– Bron Schultz

Maurice Marable

a way that no-one else is doing? What’s being over-done at the moment? What’s not being done much at all? What’s the ‘brand truth’ of this product?

Genuineness is also important. Avoid pretension, jargon, clichés and buzzwords. Find the truth in the product and talk about that. And don’t write for your colleagues or friends or the awards panel, write for the audience.”

Founder and CEO of IfWeRanTheWorld Cindy Gallop has a background in brand building, marketing and advertising. Her advice for a good promo is: “Do it differently. Do it interactively. And do it where they least expect it.”

Schultz adds: “Stronger ideas that truly engage an audience to think about and choose their content are necessary.

Offering digital collateral or extras on mobile and online platforms or creating communities around products or content creates loyalty and loyalty is the key word to cutting through the clutter.”

Changing landscape Gallop believes that the ‘old world order’ of entertainment is collapsing with the nature, form and delivery methods of content changing. “Stop trying to protect your old world order business model.

Redesign an innovative, disruptive new world order way of making money,” says Gallop.

Schultz notes that audiences are increasingly difficult to reach. “It used to – to page 14

Photo by Burtoo, flickr.com/photos/burtoo/6603180015

PROMAXBDAAFRICA | from page 12 be simple as the audience sat there and waited for you to show them what you wanted to, when you thought it would be most effective. However now, as the audience engages with several media platforms at the same time – Facebooking and Tweeting, while watching their programme – channel hopping or whizzing past your work, you have to work harder to break through.

“Some broadcasters have started using social media effectively to supplement their reach, but I don’t think that there is enough innovation happening within the field of promos, or, more broadly, broadcast marketing in general.

“The market is fragmenting and will continue to fragment further as more and more content is disseminated in a manner that allows viewers to decide when and where they will view. Broadcast marketers need to start getting ahead of the curve and thinking about ‘permission marketing’ and how to put their message out there in a way that will allow viewers access to it, when they want it.”

Hertzum adds that audio can also play an important role in grabbing attention in a multi-screen environment. “Good audio is vital to a good promo and the old adage

“Breaking through is like writing a mini movie. You must have a great concept and story. People don’t want to be talked to, they want to feel something; they want to be entertained.” – Maurice Marable still holds that lacklustre visuals can be saved by a good music track, clever sound design or strong voice-over delivery.

Furthermore, when watching TV, people are often playing with their iPads, reading or making a sandwich rather than being totally captive to what’s on, so good audio alerts and engages them far quicker than a visual.”

According to Marable, the secret to engaging an audience is to be fearless.

“My approach is to find a way to touch people – be it emotional or pure entertainment. Breaking through is like writing a mini movie. You must have a great concept and story. People don’t want to be talked to, they want to feel something; they want to be entertained.

They want to laugh, smile, or even cry. I am always pushing for ‘WOW!’ I want to sweep the audience away.

“Along with that, I push for high production value. That doesn’t mean

spending a lot of money; it means making sure I am pushing every piece of the promo towards the best possible execution.”

Donovan warns creatives to be aware of the difference between a big idea and big execution. “A big idea is apparent straight away, on the page and in the script. Big execution usually needs a big budget and a lot of explaining and lengthy rationales and doesn’t convince anybody, usually because it’s all show and not much substance.”

Trends According to Schultz, international trends point towards the creation of virtual communities and brand evangelists. “In other words, accessing your very specific target audience, and recruiting them to become brand or content evangelists of the likes of Apple fans.”

The clear approach Derek White, CEO of award-winning agency Clearwater, explains that they’ve long since moved their focus from purely designing channel imaging and creating promos, to a philosophy he calls UX (User Experience).

“I believe very strongly that in the promo making and imaging industry worldwide, the craft of design and animation is becoming a bit of a commodity with so many companies and small start-ups doing much the same thing equally well,” explains White. “We realised a while ago that the future of our business doesn’t lie in that. The market is overtraded, technology is constantly evolving and our clients demand far more than a good idea and a pretty picture.”

He believes that a promo is not just a mechanism for encouraging people to watch a show. “It’s part of something much bigger, it’s part of the complete user experience, which has many components.

This includes the choice and content of the shows that we’re promoting, the imaging and communication that surrounds them, the intelligence and convenience of scheduling, the interactive media supporting them, right down to how the customer experiences and interacts with the channel’s brand. These, among many others, collectively shape a viewer’s opinion.”

“For us, the real value our customers gain is not just from the audience ratings (ARs) we help generate from the promotion of a particular show, but from the user experience we create for a viewer 14 | SCREENAFRICA | October 2012

engaging the brand over a period of time.

Shows spike and dip, it’s the complete

package that we’re interested in, and I believe promotion is playing an ever more

Hertzum adds that he has noticed a trend of promos being far less conceptual.

“More reliance on overly produced design and shoot work has made us promo makers lazy and the use of key skills such as scriptwriting and audio design have been overlooked and under used; much to the detriment of our output. It’s time for promo makers to stop looking to advertising for techniques and to reignite their own skill base by using copywriting and audio as their new promo weapons of choice.”

Donovan notes that there is a lot of ‘sameness’ in Australian promos. “For example, promo makers are using the same, frequently unpleasant voice-over; same irritating presenters; same clichéd graphics and camera techniques. Leave your ego at the door, but keep your creative courage with you and try something new. You’ll never bore anyone into buying what you’re selling.”

significant role in forming the perception of our client’s brands and the user experience those brands deliver.”

White explains that there are three elements to UX: visibility, functionality and business savvy.

“The visibility aspect is what most people in our industry focus on: making promos, making them sexy, getting some kind of message across, choosing the right music, the right voice artist and designing smart graphics. However, you can craft the most award-winning, visually beautiful piece, if its function is poorly considered and it isn’t sensibly rooted in business savvy, then in my view it’s a waste of airtime and money. It seems so obvious, but I’m amazed how many over-engineered promos with no clear objectives or links to business savvy are on air right now.”

According to White, although promos are usually the most valuable weapon in the on-air marketer’s arsenal, they also need to be designed in conjunction with what happens off the box, in print and outdoor advertising, online, social media and all the brand’s other touch points.

“Collectively, that makes a business case,” says White.

He adds that, over time, Clearwater’s business has become about brand and business intelligence, more than just craft – a philosophy that developed through their interaction with their clients.

“We’ve been immensely fortunate to have M-Net as a client since the day we opened our doors almost 17 years ago.

We’ve built trust with them which has enabled both companies to experiment, measure, adjust and write new chapters on packaging and marketing entertainment content,” concludes White.

PROMAXBDAAFRICA |

Promos get sporty FOOTBALLER’S JOURNEY – Euro 2012

LIVING LEGEND – London Olympics 2012

As one of the biggest sports broadcasters in the world, SuperSport flights approximately a hundred new promos a month to advertise upcoming coverage to subscribers in South Africa and the continent.

“The sporting calendar is relentless,” says SuperSport on-air creative director David Martin. “Promo-making is a tough environment and, with such a demanding output, one needs to find creative inspiration in every aspect of your day in order to maintain a certain level of work.”

For longer events like the Olympics and World Cups SuperSport creates additional promo inventory, mostly out of necessity.

“When tournaments are drawn out you need to ensure that the viewer is kept engaged for the full length of the broadcast. In that respect, a single promo just won’t cut it these days. We also look to create value-adds, like player and team profiles, endorsements, exclusive online content and the like, just to keep the campaign fresh,” explains Martin.

The bulk of SuperSport’s promo work is outsourced to its stable of three production houses, although the broadcaster has its own in-house producers who tackle some of the workload.

“By and large our promo briefs to productions companies are ‘blue-sky!’” comments Martin. “We don’t like limiting our creatives with too narrow a playing filed. But we do let them know the target market of the promo and the 16 | SCREENAFRICA | October 2012

BIG BRANDING –Transformers

overall aspects we wish to communicate. I think that on the whole this garners the best results for us as a brand. However, our in-house team does conceptualise many of our own branding pieces throughout the year, ideas which we then farm out to externals in order to be brought to life.”

Cocktail Martin believes a good promo is like any decent cocktail, which requires the perfect balance of ingredients. This comprises a hook to draw the viewer in and some sort of narrative to keep him there until the end-board rolls, when it needs to leave him wanting more.

He says: “This should all be supported by well-chosen visuals, killer music and sound effects along with dynamic graphics. At the end of the day, if you can connect with your target market on an emotional level, you’ve won half the battle.”

As to whether SuperSport has an advantage in terms of attracting viewers to its broadcasts in that subscribers are already sports fans, Martin answers, “Yes and no. On the one hand it does help that you have die-hard fans who live, eat, sleep and breathe their sporting codes of choice, however the challenge is getting fans to leave their comfort zones and tune in to alternative sports.

“This is an incredibly difficult task, especially when the different sporting names and faces are foreign to them as are

the rules involved. What’s more, while general entertainment boasts wildly fresh content every year, the sports events don’t change from one year to another, so on a creative level you really have to raise your game to sell them in new and interesting ways.”

Big campaigns SuperSport’s biggest campaigns this year have been Euro 2012, the London Olympics and its Transformers branding piece.

The Euro campaign centered on a footballer’s journey through a hall-offame, a journey littered with past greats.

He eventually takes the field, raising the question: ‘Who will be immortalised this time round?’

“This concept really captured the history and scale of the Euro event,” says Martin. “Our Olympics campaign also touched on iconic moments and personalities from bygone eras. Here, each moment was narrated by a living Olympic legend, which really added some weight to our messaging. The concept cut to the essence of what makes sport and the Games as a whole so spectacular. It oozed emotion and really created a buzz and hype around the Games that we’ve never experience before.

“Lastly, our big Transformers branding piece was a nod to the movie franchise of the same name. Here we wanted to try something totally fresh, modern and eye-catching and removed the human

element altogether to focus on the sporting stages themselves. This was an example of a grand idea bred in-house that was brilliantly executed by an external production company.”

On-air imaging SuperSport’s branding and imaging is all about encapsulating its pay-off line, ‘The World of Champions’ in a professional and entertaining manner.

“The use of the iconic ‘S’ within the equally recognisable star-field speaks directly to this,” comments Martin.

“Our brand offers our subscribers access to a world of sport, thus a snapshot of earth from space.

“Our pay-off line, and specifically the inclusion of the word ‘champion’, has various connotations for us as a brand. Firstly, it speaks to the sportsmen and women that are showcased across our channels.

Secondly, we boast the biggest and best sports personalities on offer, from the most in-demand presenters, to the most sought-after commentators.

“Thus, we bring you the champions of track and field, packaged along with the champions of the television industry. Ultimately, SuperSport has the world of sport covered from every angle, and our strong branding and imagery reflects this”.

In conclusion, Martin notes that the SuperSport cabinet has its ‘fair share’ of PromaxBDA Africa awards.

JHB 38447 © Getty Images

Violins Soft focus lens Romantic grade The hero’s performance Those 3 perfect words

Connecting with people is an art.

Here’s to those who do it best.

PROMAXBDAAFRICA |

Award-winning emotive work

“We did the intro sequence for the first season of The Wild, and loved it. For the second season we were rebriefed and asked to make it darker, more dramatic and to take it outside – into nature – a lot more. Of course it’s twice as big, with half the budget.”

– Delarey Hattingh

18 | SCREENAFRICA | October 2012

M

ulti-disciplinary creative agency Monarchy, although a relatively new company, won 17 awards at PromaxBDA Africa last year and earlier this year won 10 awards at the international PromaxBDA event in the US, including Creative Design Team of the Year (Out of House).

Monarchy director and co-owner Delarey Hattingh notes that their entries this year includes work for clients on the DStv platform such as the M-Net Movie channels, the Africa Magic channels and Afrikaans channel kykNET. One of their entries is the intro sequence for the second season of M-Net location-based soap The Wild, for client and executive producer of The Wild, Bobby Heaney of Imani Media.

Hattingh explains: “We did the intro sequence for the first season of The Wild, and loved it. For the second season we were re-briefed and asked to make it darker, more dramatic and to take it outside – into nature – a lot more.

Of course it’s twice as big, with half the budget.”

He explains that they kept the core concept of the ‘evil underneath the polished surfaces’. “We tried to make the theme evolve by keeping some of the iconic shots we had in the first season but to rework it for the second one. The score was rewritten to be more epic – bigger and darker – and all the shots were a lot more aggressive. Luckily our

client was very open to all the ideas we had.”

This included the idea from their creative director, Nicci Hattingh, to put a grand piano in a river. Continues Hattingh: “We were shooting with crocodiles (where we lost a camera), snakes and falcons. We also had naked people in a veld and we burnt down massive trees. So it was produced on an enormous scale, and was lots of fun for us to do.”

The intro sequence was shot in high definition (HD) on a RED Epic camera with all production and postproduction done in-house.

“Pre-production was quite extensive, and from shoot to delivery was about two or three weeks. There is lots of CG that most people won’t notice – we added fire to the burning tree and we did some CG animals for the shots where we couldn’t use real animals.”

After the shoot the footage had to be converted to ProRes for editing on Final Cut. Compositing was done on After Effects, 3D on 3D Studio Max and design in Adobe Photoshop.

Hattingh believes that a good promo needs to enlist emotion. “It can be the prettiest thing, it can be high concept, but if people don’t feel anything, it is a complete waste. More money and more time doesn’t mean more effective.”

PROMAXBDAAFRICA |

20 | SCREENAFRICA | October 2012

Conference Sessions | PROMAXBDAAFRICA Maurice Marable –

Creative Director & VP of Creative Services, BET THE STORY SEEKER – A creative journey through the ever-evolving career of Maurice Marable.

Marable has directed some of the most provocative and beautiful promos on television, taking home three Gold statues for his visionary work on HBO’s Boardwalk Empire. He has directed celebrated national commercials and his work as VP of Creative Services at BET Networks has propelled it to garner the #1, #2 and #3 sitcom premières of all cable networks. Marable always begins and ends with what the story is – and this is his.

Polle de Maagt – Digital Strategist FROM SOCIAL GIMMICKS TO SOCIAL BUSINESS In almost 10 years of social media the industry hasn’t really changed much. Most broadcasters have a hard time really engaging audiences, while most companies rarely go beyond an occasional campaign or retweet-sweepstake. We fail to show real business impact, convince management, make employees really understand the new transparency and lay the foundation for more social companies.

Polle de Maagt, Belgium’s youngest leading digital strategist, calls for less retweets and shares his experience from KLM, IKEA and Nike, among others.

Jens Hertzum –Creative Director LIFESTYLE CHANNELS Australia SOUND IDEAS This informative and aural-laden session will demonstrate the critical role good audio plays in promotions and design. Hertzum delivers an entertaining and informative insight into how strong audio concepts can deliver a message far more effective and arresting than visuals alone. He will utilise diverse examples of work from around the world to showcase how ‘sound ideas’ should not be an after-thought in the creative process but a driving force behind the idea.

Roseanna Donovan – Creative Director & Copywriter FROM BRIEF TO GRIEF? OR BRILLIANCE? The brief is where creative inspiration can start or suffocate – it takes insight, experience, sensitivity and psychological insights to write a good one. Is there a foolproof way to know if your ‘Big Idea’ is full of genius or just hot air? The brief is a team sport, so better learn how to play to win.

IT SEEMED LIKE A GREAT IDEA AT THE TIME Every dreary, banal, repetitive, overwritten, nonsensical and under-thought-through message you see on TV or online was once someone’s big idea? Mediocre creativity is everywhere. It becomes the wallpaper of our society, saying nothing much to no-one who’s very interested. As David Ogilvy said: “No-one was ever bored into buying something”. The Big Idea is not one of the great mysteries of life, it’s a real possibility.

Andrea Chinese – Project Manager Mediaset DTT: SWITCH ON FROM AN ITALIAN PERSPECTIVE Chinese will give an in-depth look at digital terrestrial television (DTT), introducing a case study of how this new technology platform radically changed the broadcast market in Italy. Since DTT’s launch the Italian television industry has been bubbling with expansion. It has been an extraordinarily complex technological change for the country. Chinese will demonstrate television brand manoeuvres that have benefitted and lost with this technological shift.

Bron Schultz – Project Manager Reel Media BRIDGING THE GREAT DIVIDE – A ROUND THE WORLD TRIP The end of the 30-second spot has been hailed and debated for close on a decade now. Of course video didn’t kill the radio star and neither has PVR killed the TV show. What has happened is massive fragmentation. In this session Schultz goes around the world to look at how this necessary innovation is delivering high-end entertainment and masterful digital artwork to bridge the great divide between viewers’ lives and delivering broadcasters’ messages.

Tim Horwood – Creative Director MTV Networks Africa AFRICA RE-IMAGINED The world’s perception of Africa is riddled with stereotypes and misconceptions. Horwood will discuss the new, contemporary African creative space and showcase some exciting work being produced in the rapidly growing music and TV environments.

Cindy Gallop – Founder & CEO IfWeRanTheWorld THE BUSINESS OF FUN: MAKING ENTERTAINMENT MAKE MONEY IN THE NEW WORLD ORDER As the nature, form and delivery methods of entertainment change, old world order business models are collapsing and revenue streams are tanking. Advertising, brand-building and marketing guru Cindy Gallop provides some thoughtprovoking perspectives on what’s disrupting the world of entertainment and how you can harness the twin forces of creativity and technology to leverage new opportunities and business models, and cash in on the interface between the two.

October 2012 | SCREENAFRICA | 21

PROMAXBDAAFRICA |

A decade of promos

A

ward-winning agency and production company C-Squared Productions has just entered its tenth year of operation, and owner Chris Dobson notes that they’ve been lucky to have the support of a brand like pay-TV broadcaster SuperSport behind them since they first started.

Their ‘prize job’ of the year, and one of their entries into PromaxBDA Africa, is a pitch they won to create on-air promotion for the UEFA Euro 2012 football tournament on SuperSport.

“The headspace we were in was that, with this campaign, we really wanted to think big. As it was one of SuperSport’s flagship events of the year, we also had a slightly larger budget to work with,” notes Dobson.

“Our tagline was ‘Prepare for Immortality’ – it was a bit of a retrospective of the players who had become legends through the tournament.”

Creative director Greg Viljoen continues: “One of our strong points is that we know what attracts people who love sports, being sports lovers ourselves.

This time, our idea was to take viewers on a first-person perspective journey through

a hall of legends. This was not something that we could afford to build physically, so we had to create the whole thing digitally.”

Dobson notes that the graphics had to be superb and believable. “We outsourced the animation to Greg Meek and his team from FLiC. The challenge was that

we set out to produce a 95% graphic driven promo and we needed to do it pretty quickly. As we didn’t have the luxury of time, we had to make some pretty decisive calls throughout the process. Luckily the client was quite flexible and supportive.”

He explains that the job was initially

done in three to four weeks. “It was a very complex process, involving players being sketched up, pulled into the animation studio and remodelled. They also had to build the stadium and the tunnel and light it. It turned out pretty well considering that we actually needed more time.”

According to Viljoen they drew inspiration from the host countries Poland and Ukraine to create propaganda-style posters of the featured players. “It was an amalgamation of film, 2D design work and 3D animation requiring lots and lots of rendering and After Effects.”

The creative directors on the production were Greg Viljoen and Charl Jacobs and the director was Cameron Naidoo. Louis Enslin did the final mix and score.

Dobson explains that sports promos are very different to other kinds of promos.

“With movies and programming there’s a storyline already there. In sport we have to dream up our own storyline each time, and it has to be one that appeals to the target market, and is intriguing and engaging enough to someone who is not necessarily a sports fan.”

| INDUSTRY

Director Speak Jozua Malherbe South African Jozua Malherbe graduated from AFDA with a BA Degree (Cum Laude) in producing. He got his start in the industry during his third year when he produced a documentary with Peter Faiman (Crocodile Dundee) for Australian television, and in 2005 he worked with Sharlto Copley (District 9) and Simon Hansen (Inspired Minority Pictures) as first assistant director on the feature film Spoon.

He has also worked on many South African long form television and film productions, including as assistant producer on Big Fellas and as first assistant director on Schuks Tshabalala’s Survival Guide to South Africa, Roepman, Superhelde, Erfsondes 2, Innocent Times and Intersexions. His passion for telling stories is constantly being pushed on sometimes rather experimental projects and his film blog (readwrite.co.za) is a filmmaker’s handbook.

Malherbe recently directed his first feature film, Wolwedans in die Skemer and directed the fourth season of Deon Opperman’s Getroud Met Rugby, which is currently on kykNET.

WHAT ADVICE WOULD YOU GIVE TO SOMEONE WANTING TO MAKE THE LEAP FROM ASSISTANT DIRECTOR TO DIRECTOR?

Keep at it – make stuff on your down time. You are in a position where you meet the producers and directors; it may come in handy if they know your intentions and your work!

WHAT DO YOU KNOW NOW THAT YOU WISH YOU’D KNOWN WHEN YOU STARTED OUT AS A DIRECTOR?

Don’t be precious. Your work will evolve and perfection is your enemy.

IF YOU COULD HAVE ANY DIRECTOR SUPER POWER WHAT WOULD IT BE?

Producer hypnosis…

HOW STRESSFUL WAS IT TO DIRECT A FILM WRITTEN BY A FAMOUS CRITIC (LEON VAN NIEROP)?

It was actually quite cool. I thought that, if he liked what we were doing, then it must be ok… He never made us feel like we had to prove ourselves to him which is a very humble attitude to take!

ARE YOU SCARED OF WOLVES?

Only werewolves.

HOW WOULD YOU DEFINE THE BOERENOIR GENRE, WHICH IS HOW WOLWEDANS IN DIE SKEMER IS TAGGED?

WHAT IS THE SCARIEST EXPERIENCE YOU’VE HAD ON SET?

On Wolwedans we had to tie a camera to a dingy and drop it off a very rocky waterfall of about 15 metres.

Coenie van Dyk, the first assistant director, decided he would go down on the dingy to secure the camera.

Unfortunately the boat clipped a rock on the descent and Coenie went flying. The Canon 5D smashed against the rock and we lost the lens and the underwater housing. Coenie surfaced with eyes the size of plates. Shortly thereafter Tom Marais (DOP) was swimming across the same river a little further down to take the card to the DIT and went down a slip stream and tumbled 10 metres down a rapid. Just to add, no-one was hurt and we completed the shooting day all smiles… amazing what a crew is willing to do if they want something badly enough!

WHAT FAMOUS DIRECTORS INSPIRE AND INFLUENCE YOU AND WHY?

I love Michael Haneke’s work. It is dark and honest using medium to enhance narrative. Recently I also found Todd Solondz who breaks your soul with his super-realism. Someone who is very popular now is Nicolas Winding Refn – I think his insight into the medium is very current and his story telling methods gripping! For me a good director uses the picture medium to enhance the story and characters of the film.

IF YOU HAD ONE LAST MEAL TO HAVE ON THIS EARTH, WHAT WOULD IT BE?

Officially it’s a drama-thriller but I think boere-noir speaks a lot more to the film. It’s a boer interpretation of noir – gothic, dark, entertaining…you know. Noir.

A delicious burger and chips. No doubt.

WHAT ARE YOUR ICONIC NOIR FILMS?

Yes. Although they may not know it. Working with Gerrit Schoonhoven, Bobby Heaney, Gray Hofmeyr, Deon Opperman, as well as Alex Yazbek (all as a first AD) taught me a lot of what I needed to know about making films. Some have strong technical inclinations while others work with actors incredibly. Just being on set with them and listening, soaking it all up gave me the tools and confidence to make Wolwedans and Getroud met Rugby.

Billy Wilder – Double Indemnity Alfred Hitchcock – Strangers on a Train Orson Welles – Touch of Evil ICONIC! WHAT IS YOUR FAVOURITE ONE LINER FROM ANY FILM, NOIR OR OTHERWISE?

Wow – there’s a lot! First to mind is a scene from Casablanca.

In response to Yvonne: “Where were you last night?”

Rick answers: “That’s so long ago I don’t remember…”

Only to top it with Yvonne: “Will I see you tonight?”

Rick: “I never plan that far ahead.”

Such good dialogue throughout that film that it is still used in pop culture today!

DO YOU HAVE ANY MENTORS IN THE LOCAL INDUSTRY? IF SO, WHO ARE THEY?

WHAT ARE YOU WORKING ON AT THE MOMENT?

I am currently sitting in Stellenbosch busy in prep for a teen dramedy called Thomas @. Written by Henrietta Gryffenberg and produced for kykNET, the show is a 26-part series starting in February. It’s something between Malcolm in the Middle, Swartkat and Uile.

October 2012 | SCREENAFRICA | 23

Gogo with a

gun

FILM |

By Linda Loubser

Local Zulu-language feature film Gog’ Helen premièred at the Durban International Film Festival in July.

The dark comedy is set in a Gauteng township.

A

dze Ugah, director of local feature film Gog’ Helen, explains that the inspiration for the story came from his frustration at always being the ‘little guy’.

“You always wish you had more money, power and influence to just snap your fingers and have things happen, but it doesn’t work like that. In reality you have to deal with bullies whether you’re at school, at work, or even on the road.

“Sadly, in South Africa women are often exploited and at the receiving end of a lot of bullying. This film is my answer to that, but not as a spotlight on how women go through hell, rather as a fun story where the women who go through hell, fight back and defeat the giants,” explains Ugah.

Originally from Nigeria, Ugah has worked in South Africa since he came to Johannesburg to do his honours degree at AFDA in 2003. He has directed the TV dramas Jacob’s Cross, Society and Zone 14.

the narrative.

“The F3 is a fantastic camera in low light. Most of the story happens in exterior day, so Jonathan made the choice not to use a lot of lights. The audio was done by Joel Kapend.”

Camera and lighting equipment came from Media Film Service and postproduction was done at Refinery.

Quirky film “Gog’ Helen is a quirky film, it’s eccentric but it’s rooted in a social reality that South Africans and anyone else in the world can identify with,” says Ugah.

“It’s about a woman who decides to buy her grandmother a new mattress without knowing that her life savings were hidden in the old mattress. This initiates a series of events that ultimately test her and her grandmother’s resolve to stay together as a family.”

The script was originally turned down by local content pay-TV channel Mzansi Magic. “Then producer Cati Weinek, who I worked with on Zone14, called and asked if I had a script for a film.

Surprisingly, she and her business partner both liked it. They had private investors lined up who wanted to get involved in media and funded the film. The funders formed an entity called Goliath Productions to get the film made,” explains Ugah.

Because they were on a shoestring budget, they followed what Ugah calls ‘a poor man’s process’. This meant that, among other things, they couldn’t afford stuntmen. “It’s a very energetic story in the sense that it required things from actors like falling down and being shot.

Some of our cast members were almost 70 but had to do their own stunts. That freaked me out because there was always the concern that they’d get hurt, but they did it anyway.”

The film was shot in 10 days between 14 and 24 December 2011. “The short production time was a nightmare, because 24 | SCREENAFRICA | October 2012

Unconventional distribution

DANGEROUS Granny – On the set of Gog’ Helen in the Joburg CBD

one day of rain or bad weather would have ruined it. Luckily, the rain kept away until the moment the AD said, ‘It’s a wrap’.”

According to Ugah the location was a Gauteng squatter camp called Thabo Mbeki village. “It’s a very small squatter camp and it’s really miserable and poor with no water or electricity – the people there struggle and have very few uplifting things in their lives. So when we came to shoot with a small crew of less than 20 and a few cast members who are soapie stars, for them it was a huge event.”

He notes that the making of the film was a big learning curve. “We made some risky choices in terms of the storyline, the cast – who had no feature film experience, the location and the language, even the music. There’s nothing conventional about this film. Either way we’ll learn from it – to do it better, or not to do it at all,” jokes Ugah.

Gog’ Helen stars Lillian Dube and Kagiso Rakosa as the grandmother and granddaughter duo, as well as Jet Novuka,

Andile Mxakaza, Bongani Maseko and Bubu Mazibuko.

“The big thing our film has going for it, is the cast – they really blew me away.

It’s a very demanding story, but they all came to the party. Most of them are soapie actors and they proved that they can rise to the occasion when demanded,” says Ugah.

Chaotic and organic Director of photography Jonathan De La Querra shot the film on a Sony F3 with prime lenses. Ugah elaborates: “The nature of a squatter camp is quite chaotic and organic. We wanted a style that spoke to that – we didn’t want to make it elegant and romanticise poverty.”

Their solution was a handheld, spontaneous and almost documentarystyle. “There wasn’t even one tripod shot.

We wanted to convey a sense of urgency, because the story itself has a sense of a ticking clock. Every frame has to serve

According to Ugah they made the film in township Zulu, and it is textured towards a black South African audience.

Therefore they have decided to bypass traditional distribution methods and have teamed up with Thapelo Mokoena’s Kasi Movie Nights to exhibit the film in townships in and around Gauteng and KwaZulu-Natal in December.

Gugu Zuma, head of Marketing for Gog’ Helen, explains that the distribution strategy is motivated by getting the film to the audiences for which it was made.

“Our most established distribution channels in South Africa are not able to do this successfully and so we have decided to complement what they do with our own strategy. We will be hosting screenings in townships and other high density or transit areas and ensuring our DVDs are available in those areas at reasonable prices.

“In addition, we have invested a lot into getting media partners that will support our marketing strategy, and we are doing all we can and more to make sure that as many people in our target audience as possible know about our film and then are sufficiently convinced to watch it for its quality, actors and story line,” concludes Zuma.

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FILM |

A little piece of history Elelwani, the opening night film of the 2012 Durban International Film Festival (DIFF), is the first ever Venda feature film shot in the Tshivenda language. But for director Ntshavheni Wa Luruli, this historical undertaking was a journey of 10 years.

N

tshavheni Wa Luruli is quite possibly the most humble filmmaker you are likely to meet.

When the organisers of DIFF phoned to tell him his film had been chosen to open this year’s festival, he was certain they’d made a mistake.

“Once it sank in I was excited of course but it added lots of pressure,” says Luruli.

“I arrived at the opening night event at Sun Coast CineCentre and was bewildered to see hundreds of people milling about. When I asked one of the DIFF organisers why there were so many people, he said that they were all there to see my film. I was astounded and dismayed as I’d assumed only a few people would turn up to see my mediocre film.”

The tumultuous applause and cheers at the end of the screening proved that the audience thought the film anything but

TRADITIONAL WAYS – A scene from Elelwani

26 | SCREENAFRICA | October 2012

mediocre.

“I slept easily after that and felt very relieved,” admits Luruli.

Elelwani is the screen adaptation of the first ever Venda novel written in the Tshivenda language. Author TN Maumela wrote the book during South Africa’s apartheid era as a reaction to the notorious ‘Bantu education’ system, which enforced racially segregated educational facilities.

About a decade ago Luruli, who read Elelwani as a school set work in the 1970s, approached public broadcaster SABC to propose a TV series based on Maumela’s books.

“After years of unproductive haggling I decided to make a feature film instead. I met producer Florian Schattauer (Long Street) of Shadowy Meadows Productions at a conference in Cape Town and blurted out my frustrations about the difficulties

of filmmaking, whereupon Florian said: ‘Let’s go ahead and make your film’.

“Florian was tenacious in raising money and over the years managed to secure funds from the National Lottery Distribution Trust Fund, the Hubert Bals Fund, the National Film and Video Foundation and the Department of Trade & Industry. The film’s budget was about R3m,” comments Luruli.

Misunderstood culture Luruli, whose previous feature films include the award-winning The Wooden Camera and Chikin Biznis – The Whole Story! believes that the world is ready to see and experience South African stories.

He continues. “I felt it was important that Elewani create a window about a little known, misunderstood culture.

Traditionally the Venda people have always been despised, because we are the smallest indigenous group in South Africa.

“As a Venda person myself I had to come up with a visual idiom for the film that could best articulate the subject matter with dignity, truthfulness and reality, without falling into the trap of romanticising the Venda culture. I wanted to make a human story that would touch everyone.”

The film tells of a progressive young woman, Elelwani, who is torn between the dictates of Venda traditions and modern aspirations.

Anyone who sees the film will notice that most of the shots are interior and sparsely decorated. This is because Luruli concentrates on Elewani’s internal journey.

Luruli explains: “Elewani is a complex film as it deals with Venda beliefs; for instance we don’t separate the African life from the cosmos. When someone dies we believe that the person has passed on but their spirit is with us in many forms, whether it be goats, lions or whatever. We don’t compartmentalise our life into politics and religion.

“When structuring the script I didn’t

follow the classic three-act structure as I didn’t want to walk the same path that western or eastern filmmakers have gone before. There are no camera movements or dolly shots in my film. It’s a quiet and still story, all about the lead character’s inner journey.

“Venda people spend a lot of their time on the earth sitting and squatting so I deliberately used low camera angles. The minimalist wardrobe in the film and the sparseness of the hut interiors all reflect the Venda style.”

Rainy days Elelwani was shot on location in the spectacularly beautiful Thohoyandou area of the Limpopo Province. Unfortunately the whole shoot was entirely rained out.

Says Luruli: “I slept about two hours a night, using the weather report to schedule scenes and do re-writes. The rain was so bad that bridges were washed away and our trucks got stuck in the mud.

This is despite the fact that we planned the shoot for January when there is supposed to be no rain at all!

“Luckily I was sandwiched between two giants on set – director of photography Lance Gewer (Tsotsi, Otelo Burning) and production designer Robert Van der Coolwijk (Mr Bones, Wild at Heart).

“The people of Venda were also amazing and I couldn’t have made the film without them. Aifh Eli Tshivhase, the younger brother of reigning Venda king Kennedy Tshivhase, acted as our location manager.

“King Kennedy himself was so gracious and kind and allowed us to shoot in the palace – it is unheard of to have access to the palace.”

Luruli is effusive in his praise of lead actress Florence Maseba. “She was wonderful and carried the film from the beginning to the end. Florence did extensive research and was even allowed to stay in King Kennedy’s house.”

Elelwani will be released by Indigenous Films in 2013. – Joanna Sterkowicz

The IDC Media and Motion Pictures unit provides

Previously IDC-funded productions include internationally

development finance to grow and facilitate the creation of a sustainable South African film industry.

acclaimed Hotel Rwanda and the Academy Award-winning film Tsotsi.

The unit focuses mainly on projects to enhance the value chain and the development of locally-produced television shows, feature films, documentaries; television, the production of local music, and radio broadcasting, alternative distribution technologies and establishing cinemas in new markets.

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

Playing a developmental role in the

Chillibush7838IDC

Media and Motion Pictures industry

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

FINANCE |

The difference is YOU! While there are several European film funds that are accessible to South African and African filmmakers, it requires specialised knowledge to access them.

Treaty co-productions An official treaty co-production can give a project dual nationality as long as there is an exchange of technical and creative input and if you abide by the rules.

“With co-production status a film can get national film funding, distribution and support from both countries. Co-production opens up a whole world for your film. South Africa has co-production treaties with Germany, Italy, France, Ireland and the UK as well as Canada, Australia and New Zealand,” stated Nedjad.

Fund options SOURCING FINANCE – Roshanak Behesht Nedjad

“R

obert Rodriguez’ first feature film El Mariachi cost $16 000 to make and went on to be a big hit, which proves that filmmaking is not about the money. If you have a good story you should be able to find finance.

“It is often said that there are only 16 basic movie plots or stories in the world, all drawn from Shakespeare, Dostoyevsky or Aristotle. The difference in any story is your point of view – that’s what makes a script unique,” said Roshanak Behesht Nedjad of the European Audioisual Entrepreneurs (EAVE) training and networking organisation at a recent Durban FilmMart master class.

Nedjad told delegates about a French website that lists every possible means of funding available for whichever country – www.souslarbreapalabres.org.

She stressed that besides the type of

financing you access, it’s important when, where and how you apply. If you apply for funding too early in a project’s development it will burn out in a year or two.

“Once the script is ready approach producers in other countries but only if you have a certain percentage of financing from your own country. Cast your leads when you pitch because it’s like a package that you can present to potential investors.

“European countries most likely to be interested in African projects are France, Germany, Switzerland, Belgium and the Netherlands. Italy and Spain are not a good idea and neither are east European countries because they struggle to finance their own films. It’s also important to remember that the UK only finances English-language films,” commented Nedjad.

“The first thing you need to get right before you apply for funding is the script synopsis.

This has to reveal the movie’s universe, the story (in no more than two lines) and the tone and feel of the film.”

28 | SCREENAFRICA | October 2012

– Roshanak Behesht Nedjad

She noted that there are three kinds of financing services available in Europe and all three can be accessed by the filmmaker.

They are: money that you can spend however and wherever you want; mixed funds where you have a local producer in the other country and you need to spend some of the money there; and funds that can only be spent in the region they come from – you can shoot or post-produce there or source your cast and crew there.

Nedjad suggested that South African filmmakers try to access, among others, the World Cinema Fund. This is run by the Berlin International Film Festival and requires that you apply with a German co-producer and that you shoot in Germany. For France’s Cinema du Monde fund you need a French producer and you have to post-produce the film there.

She noted that Europe is extremely bureaucratic and that’s why foreign filmmakers need a local producer to help fulfill the requirements.

“There is another source of funding but it’s very difficult to access – European broadcasters. Europe is a rich continent in terms of countries but there isn’t enough money to go round, even for European films. ARTE might finance nonEuropean films as might one or two other broadcasters but it’s very tricky to pull off,” said Nedjad.

Market circuit Co-production markets such as CineMart in Rotterdam and the Berlin Film Festival are a good source of funding as they all have prizes with money. There are also script development projects, as found at festivals such as Sundance and Torino, as well as the Jerusalem Film Laboratory.

According to Nedjad a big problem is that there are too many film projects in the global market. “However, people are looking for fresh stories and new talent.

The first thing you need to get right before you apply for funding is the script synopsis. This has to reveal the movie’s universe, the story (in no more than two lines) and the tone and feel of the film.

“Don’t worry about describing the plot in detail. Remember that you are pitching to business people who get bored easily so you have to make the synopsis quick and easy to read. Never make a synopsis longer than a page. Photos are helpful if they reveal the tone, taste and atmosphere of the film.”

Partners How does one find the right European producer? Nedjad continued: “You need to travel and make yourself visible. Go to festivals, co-production markets and script development programmes. It’s vital that you network; Europe is very big on networking. If you have a short film send it out. Use the whole ‘six degrees of separation’ theory. You know someone who knows someone who knows someone…

“Also utilise websites such as YouTube, Kickstarter and Indiegogo. Kickstarter works specifically for issue driven documentaries. You may be able to raise money through donations.

“Marketing your project can be helpful if you have a website or blog that has about 20 000 hits. Awards are important because there is an ocean of films out there so an award win for your project brings it visibility. If you have a film with an issue, think of a way to make it public via a website or blog.”

Nedjad concluded by saying that the destruction in the movie The War of the Roses is nothing compared to a co-production that goes wrong.

“Co-productions must be based on trust. Remember that you can’t protect or copyright an idea which is why you must have trusted partners,” she added.

– Joanna Sterkowicz

| PRODUCTION

Finding an audience for African stories

By Linda Loubser Many African filmmakers hope to release their films in Europe or the US. However, at the recent Durban FilmMart, French screen writer, teacher and script developer Jacques Akchoti from the European Audio Visual Entrepreneurs (EAVE) urged writers to focus on their local audiences.

“I

n terms of writing, global markets don’t exist. You can’t start off writing a story thinking it’s global,” noted Jacques Akchoti, who recently worked on the acclaimed French-Chadian co-production A Screaming Man by Haroun Mahamat Saleh, and has collaborated with critically acclaimed directors such as Robert Bresson and Lars von Trier.

“The potential market for African films in Europe is very small, it’s a niche market,” said Akchoti. “I say forget about European co-production. You can’t rely on Europeans because they are always changing their mood. Your problem here is that you first have to fight your own system and get more local support and money into filmmaking.”

Financial systems He explained that, to understand filmmaking, you have to understand the financial systems behind it. “France has a cultural approach to filmmaking, which means that even if the financial system is

losing money, it’s not a problem as long as it is maintaining jobs and maintaining culture.”

According to Akchoti, France supports films from other countries around the world because they think cultural diversity is important. “However, they have specific ideas of what those films should be – they should either advance cinematic culture or portray a certain political point of view. There will always be a focus on countries where there are political things happening that we’re interested in. For example, the past few years Iranian films have been big in France.

“However, we’re also interested in films with a very original approach to filmmaking and that use the language of film in an inventive way.”

He noted that an understanding of why you’re making a film and who your audience is, is fundamental. “Each filmmaker I talk to in South Africa wants to make films for Hollywood and thinks going to Hollywood means success.

However, the Hollywood system works with the main goal of making money because it is built on private money, not public money. Even if a film is good or groundbreaking, that is a bonus, but it is not the main purpose of the film.”

“When you write a film, ask yourself in which market it will fit and what its potential is. That should determine your budget. You have to know who you are addressing,” said Akchoti.

SA industry “As a writer I consider it my responsibility to write stories that are interesting to those around me. South Africa has a potentially big audience, but it needs to be developed. The question in South Africa is: how do we build an industry?”

Akchoti explained that, first and foremost, filmmakers need to understand their local markets and know what their audiences like and need. “It’s not about ideas, it’s about characters. To get local people into cinemas, you have to tell interesting stories with relatable characters. I’m not saying you have to only make commercial films, but you have to understand your audience.

“Everyone I meet seems to want to

Original Approach – Jacques Akchoti

“The film business is about entertaining people. What you have to understand is that your job is not being an intellectual, a journalist or a philosopher, but being an entertainer.” – Jacques Akchoti make a thriller, but it doesn’t work, because it’s really an American genre. If French people are acting like Americans, I don’t believe it and I’d rather just watch a Hollywood thriller. You can’t make up something that doesn’t exist – like a fat policeman in France – because people won’t believe it.

“In France we just don’t have that same culture of being scared, our films are about who is sleeping with who – that’s our culture, but we address a lot of serious issues through that. In the same way, all Scandinavian films are about depression in a dark place.”

South Africa’s niche, Akchoti believes, is township films. “It’s an interesting social place, and it encompasses what the African story is about. When you see a local film you want to recognise yourself and recognise your reality. I can’t relate to an issue, I can relate to a person. The only global rule is being human.”

Entertaining According to Akchoti, there are misconceptions about the responsibility of a writer. “The film business is about entertaining people. What you have to understand is that your job is not being an

intellectual, a journalist or a philosopher, but being an entertainer.

“Filmmakers like making art house movies, but the reality is that the most successful films in almost every country are comedies – including the Leon Schuster films in South Africa. However, being an entertainer does not mean being stupid.”

To get an audience interested, he believes the focus should be on emotional involvement, not on a message. “People don’t want to be lectured; telling stories is about telling the audience how a group of people of a certain place or culture go about life, and getting them emotionally involved in these people. It’s not an intellectual approach, it’s understanding who your characters are and how they approach life.”

He emphasised that the world doesn’t expect South Africans to make Hollywood films. “If South African financiers expect to be making big bucks they should go and invest in Hollywood films, not local films. You have to get an understanding of the South African system and its limitations.

“The future of South African film is here in South Africa, not in Hollywood or Europe.”

October 2012 | SCREENAFRICA | 29

FILM |

Gauteng creative industries poised for growth In April this year, the Gauteng Film Commission (GFC), an agency of the Gauteng Provincial Government tasked with the development and promotion of the audio-visual industries in the region, was moved from the Department of Economic Development to the Department of Sport, Arts, Culture and Recreation.

AT THE HELM – GFC CEO Mzwandile Masina

R

ecently appointed chief executive officer (CEO) of the GFC Mzwandile Masina believes the move has brought about positive changes in terms of aligning all the creative industries within the ‘Mzansi Golden Economy’.

“We are currently working on a business case on how best to leverage resources, expertise and talent to grow the creative sector as a whole. To this end we’ve contracted an independent consulting firm to look at all facets of the creative industries. A lot of research has already been done to ensure we are able to make sense as a new agency,” says Masina, who was previously chief operations officer at the Gauteng Department of Sport, Arts, Culture and Recreation.

The new development will necessitate a name change for the agency. According to Masina it’s likely that the new agency may be called the Gauteng Creative Industries Agency. However, the name change can only be approved by the MEC of the Department of Sport, Arts, Culture and Recreation, Lebogang Maile, once the business case is finalised and the relevant legislation changed.

“MEC Maile recently announced contemplated changes and how the new envisaged agency can fit in with the UNESCO vision of the creative industries,” continues Masina. “I can confirm that film and television will be the main anchor of the new agency but we will add music, arts & crafts, fashion and interactive digital media services to the mix.

“It’s vital that we remain focused on the work we do as the GFC, which is to facilitate and enhance the contribution of the film and television industry to the economic growth of the Province, while simultaneously streamlining the other aspects of the creative industries.”

Smooth move Masina notes the move between Departments has not affected the day to 30 | SCREENAFRICA | October 2012

day activities of the GFC. “We are fortunate that the Department of Sport, Arts, Culture and Recreation utilised its expertise to ensure that all the changes were done in time,” he states.

“Because the spectrum of the new agency is much broader than that of the GFC, we have requested additional funds from the Department.”

Masina stresses that it’s important to recognise that the GFC is a going concern and to contextualise the new agency. “The GFC has been able to raise the film profile of Gauteng and we’ve seen an increase in applications for film funding. We plan to support 23 films a year and, in a progressive move, we have created an appeals committee in the board for applicants who are denied funding and who wish to take up their cases. “ During the 2011 /2012 financial year, the percentage of filming permits facilitated by the GFC rose by 22% from 157 to 192.

A major motion picture to have shot in Gauteng in 2012 is Long Walk to Freedom, the highly anticipated screen adaptation of Nelson Mandela’s autobiography.

All the agency’s film permit activities are expedited by its Industry Support Development unit.

(See pie chart below for detailed breakdown)

Priorities Masina’s mission is to take the agency’s brand to the communities where it belongs. He says: “We have four main priorities, the first being to unearth talent from previously disadvantaged communities. In this regard we want to increase the intake into higher education facilities. Education is going to be central to our repositioning,” explains Masina.

Industry transformation is another major priority. “This has not been done effectively so far,” continues Masina, “and we need to bring more black players into the industry. There is this perception in South Africa that all producers are white and actors are black. We want to create a more equitable balance in the industry without being racial.”

A third priority is to create markets for locally produced content. The agency is engaging with public broadcaster SABC about the new channels it plans to launch once South Africa migrates to digital terrestrial television (DTT).

“Local filmmakers invariably look to overseas markets to sell their products without exploiting local opportunities,” notes Masina.

Research is another priority as the agency aims to position itself as the

central repository for information and data about the creative industries, to which practitioners will have full access.

Signature event The agency is in the process of planning a signature festival event for the Gauteng creative industries.

“We feel it’s important for the Province to host such an event as Gauteng is the gateway to over a billion people in africa,” comments Masina. “If things go as planned this signature event will be held annually.

“In terms of direct engagement with the industry we are planning to host a Film and TV Indaba once our business case is completed. We’re hoping that it will take place before year end.”

Masina points out that the agency is currently negotiating a number of industry partnerships, such as the recently signed Memorandum of Understanding (MoU) with the Film and Publication Board (FPB).

“This partnership will assist in our community outreach strategies and aid us in dealing with classification because there is huge disparity at this level.

“We are at an advanced stage in our discussions with the National Film and Video Foundation (NFVF) regarding support for the province’s industry. In addition we are speaking to industry organisations such as the South African Screen Federation (SASFED).

“For our signature event we will have partnerships with the Encounters South African International Documentary Festival and Fashion Week, among others, to create a seamless programme of events. We’re also in discussions with Atlas Studios, Big Fish and Nemisa about training initiatives.”

The new agency will continue to promote and market Gauteng as a film location at key international festivals such as Cannes, Tribeca and Berlin.

– Joanna Sterkowicz

| TELEVISION

SA’s braai culture sizzles on TV

By Linda Loubser

New South African reality cooking series Ultimate Braai Master, created by Cooked in Africa Films and hosted by local chef and TV personality Justin Bonello, started on SABC3 in September.

U

ltimate Braai Master host Justin Bonello explains that the new series developed as a natural progression from the concept of his cooking and travel show Cooked, alongside the success of cooking shows such as MasterChef.

“I believed it was high time that we developed a South African concept, starring South Africans and filmed by South Africans that taps into the South African psyche. The concept seems so obvious that it begs the question – why has no-one thought of it before,” says Bonello.

He adds that they created the series with the intention of capturing the imaginations of all South Africans. “It’s a homegrown original that features a treasure trove of new recipes, extreme cuisine cook-offs, adrenalin-driven adventure and unscripted human drama packaged into 13 episodes.

“Getting it made, however, has taken almost two years, from working out what the challenges would be, to finding the right judges for the show, to pitching the concept to sponsors and finally getting the green light.”

The unexpected For a totally new concept, Bonello notes that they weren’t sure what to expect.

“We were pleasantly surprised by the amount of people who entered (6 400) and the calibre of entries. When we ran the audition rounds we were looking for a diverse cross section of people who understood food and the alchemy behind timing and combinations. If you can cook in the kitchen, you should be able to replicate any dish on the fire. Of course, being a television show we were also on the lookout for character, although that was less important than cooking ability.”

Fifteen teams of two contestants each were selected to compete for the prize of R500 000 cash, a new Renault Koleos 4x4 valued at R325 000 and a Cadac BraaiMaxx valued at R15 000.

Filming on the series started in July and took place at 18 outdoor locations. “It took 52 days with a crew of 50 and 30 contestants, including 15 contestant vehicles and 12 production vehicles. We covered 8 000 kilometres from one end of South Africa to the other.”

Locations included the banks of the Orange River in the North, Cape Town, the Karoo, the Wild Coast, Durban, the Midlands, the Drakensberg and the Pilanesberg.

Bonello continues: “Logistically it’s

been a long road. By now I’ve perfected the art of filming with a small crew, so initially the idea of filming with a crew of 50 seemed like a bit of a nightmare.

Luckily my business partner Peter Gird has done massive amounts of really big advertising campaigns, so his expertise was valuable in getting the show made.”

Extreme production Director of photography Sunel Haasbroek explains that they shot on Sony EX1 cameras. “Because of the nature of filming reality TV in the great outdoors, it was a no brainer to use the EX1 because of its robustness, versatility, workflow and picture quality. We also got to play with the NEX-FS100 – one of Sony’s new 35mm CMOS censor cameras. This enabled us to get the same narrow depth of field and incredible picture quality that I would from the Sony F3, but at a fraction of the cost.

“We added a COOKE 25 – 250mm lens via a PL adapter, making it possible for us to get a more filmic look to add to our signature Cooked in Africa aesthetic.

“The Sony HDR-CX760E Handycam – a great little camcorder – was also used in conjunction with our steady drone to get epic aerials anywhere, anytime. The great thing about this Handycam is the lens stabilising system. This basically means that, especially when filming aerials, no matter how much the camera moves, the lens will move inside the camera body independently to keep the image stable.”

She adds that, because they often had to shoot after sunset, she used fire and practical lights as often as possible keeping with the outdoors feel of the show. “Although I did use external HMIs and other light sources to light scenes, I tried to keep it as natural as possible,” notes Haasbroek.

The Glidetrack HD Slider was used for tracking shots, Minijib Arms for crane shots and Go Pros for car shots.

Haasbroek notes that filming reality comes with various challenges. “We had one film crew covering the entire series, which included filming one 24-hour main challenge directly followed by a 15-hour elimination challenge. The series required extreme cooking but it’s fair to say that it was an extreme production in every sense of the word.”

“Because it was a competition, you couldn’t ask someone to compromise what they were doing and jeopardise their chances, just to get the shot. To be fair to the contestants, we had to think on our

ON THE GRID – Camera crew film Ultimate Braai Master contestant, Roger Harris

Justin Bonello with Ultimate Braai Master judges, chefs Bertus Basson and Marthinus Ferreira, as well as the Cooked in Africa Films crew

toes the whole time to make sure we got the story, the drama and the action the first time round – and we had to do this with the highest production value possible.”

Post-production was done in-house at Cooked in Africa by 14 fulltime staff and seven freelancers.

Hybrid funding model According to marketing and sponsorship manager at Cooked in Africa, Lara Black, the programme was funded using a hybrid model within the traditional AFP (advertiser-funded programme) structure.

“Branded entertainment is less about the classic bells and whistles of AFP platforms and more about the entertainment values, less about the brands behind it than about the content and the action of the series.”

The series is sponsored by Pick n Pay and supported by Renault SA and Coca-Cola.

Continues Black: “The series is one element within an integrated and multi-dimensional marketing platform that includes a dedicated website; print, radio and TV partners; a cook book; braai ambassadors and activations; as well as in-store branding.”

October 2012 | SCREENAFRICA | 31

DOCUMENTARY |

When chocolate has a bitter after-taste

By Joanna Sterkowicz

Screened at this year’s Durban International Film Festival, the documentary Semisweet: Life in Chocolate shows that not everything about chocolate is sugary and delicious.

N

either the producer nor the director of Semisweet: Life in Chocolate is a chocoholic. In fact, the idea for the film was spawned years ago when Canadian producer Lalita Krishna began to research child labour on cocoa farms.

Says Krishna: “All my films deal with children’s rights so in 2007 when someone mentioned to me that 65% of the world’s cocoa comes from Cote d’Ivoire in Africa, I looked at how cocoa is farmed. I discovered that hundreds of thousands of children, some as young as six, run away from countries like Burkina Faso and Mali to work on cacao plantations in Côte d’Ivoire in the hopes of making their fortune. Other children are abducted and sold as plantation workers.

“The conditions on the plantations are brutal and inhumane. Some children never return to their countries and those that do come home virtually emptyhanded.

“There is a whole mystery around the supply of cocoa and many of the big chocolate manufacturers in the world are in denial about it. I wanted someone who could tell this story in a truthful but quirky way because, given that chocolate is such a universal and loved product, the film had to be palatable.”

For this reason Krishna chose fellow Canadian Michael Allcock to direct.

Most of Allcock’s previous work was scripting docu-dramas on a range of complex and layered subject matter.

Krishna felt Allcock would be able to compress her two years of research into a compelling film.

Semisweet has four threads running through it, linking three continents – Africa, Europe and North America.

32 | SCREENAFRICA | October 2012

The un-fair trade During the film’s development phase Krishna and Allcock went to Burkina Faso to speak to children and youths who’d worked on cacao plantations.

Heart-breaking stories emerged.

“It’s almost like a rite of passage for these kids; they think if they run away and work on cacao plantations they will be able to buy a new shirt or dress. Kids on cacao plantations work in horrific conditions – they’re beaten and forced to handle banned toxic pesticides which can cause paralysis of the limbs. Some of these kids even die.

“We sourced two young girls, Awa and Mia, who at age nine fell prey to plantation recruiters. Luckily their father rescued them just before they crossed the border into Côte d’Ivoire. Now the girls are 12 years old and employed as domestic workers, but all they actually want to do is go to school,” explains Krishna.

In the film brick maker Noufou and fisherman Mamoutou recount their hazardous experiences on cacao plantations in their youth. Ironically, neither of them knew at the time what cacao beans are used for or what chocolate tastes like.

Artistry in chocolate In Paris, Patrick Roger, voted the top chocolatier in France, is so passionate about chocolate that he even makes giant sculptures from chocolate, usually to create awareness around issues of sustainability.

One such sculpture is a giant orangutan, constructed to highlight the fact that this species faces extinction due to the rampant destruction of forests.

Patrick talks about his addiction to his chosen craft and how chocolate is all about temperature and temperament. He jokes that when he dies, his coffin will probably be made from chocolate.

Chocolate Aztec-style Even more quirky than Patrick are Ron and Nadine, a couple living in a remote area of Ontario, Canada who hand make chocolate with organic, fair trade cacao beans.

They make the chocolate in the same way as the ancient Mayans and Aztecs;

THE ARTIST – Patrick Roger sculpting

THE VICTIMS – Awa and Mia

Ron even sings a Mayan chant as he demonstrates the production process.

The film shows Ron trying to offer his chocolate to astronauts, punting it as a nutrient-rich food full of anti-oxidants and ideal for space travel.

Disneyworld of chocolate In complete contrast to the poverty and misery of plantation workers in Côte d’Ivoire is the town of Hershey in Pennsylvania, US. This is home of arguably America’s most famous chocolate, the Hershey Bar. “Everything in Hershey is artificial, it’s a bit like The Stepford Wives,” notes Krishna. They even have a Hershey amusement park, dubbed ‘The sweetest place on earth’.

“My film is not critical of Hershey neither is it investigative. Hershey did have some concerns about the film but only because they were in the process of

shutting down a factory and laying off 500 workers.”

Dealing with the guilt Semisweet is one aspect of a larger transmedia project as Krishna explains: “I’ve had people tell me I shouldn’t eat chocolate because of how cocoa is farmed.

So, because I’m a filmmaker and not an NGO I had to find a way to consume chocolate without feeling guilty about it.

We all want to eat more chocolate but there should be a responsibility attached to it.”

Krishna’s solution was to convene a focus group and start a website where people can tell their stories about chocolate – www.choco-locate.com.

The website, which also encompasses a geo-locating app, includes a listing of stores, the ingredients of their chocolate and how to pair chocolate with different food and drink.

31 Octobre Novembre 2012 FILM &- 2TV MARKET SandtonCO-PRODUCTION Convention Center FORUM • Johannesburg CONFERENCE PROGRAM

The N°1 event dedicated to the commerce, the production and the distribution of multiscreen, television content across Africa

31 October - 2 November 2012 Sandton Convention Center Johannesburg VISIT DISCOPAFRICA.COM FOLLOW US ON FACEBOOK.COM/DISCOPAFRICA HOTLINES LOS ANGELES +1 323 782 13 00

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DISCOPAFRICA |

DISCOP AFRICA comes to Johannesburg For the first time ever, the premier continental television content market and co-production forum, DISCOP AFRICA, will be held in South Africa, having previously been held in Senegal, Kenya and Ghana. This seventh edition of DISCOP AFRICA runs at the Sandton Convention Centre from 31 October to 2 November.

D

KENYA

ISCOP AFRICA is positioned as the only pan-African industry gathering strictly dedicated to the production and distribution of multiscreen television content.

According to Patrick JucaudZuchowicki, GM of Basic Lead, the Los Angeles based organisers of the event, this will be the largest DISCOP AFRICA to date.

“The number of delegates has doubled in less than three years and we are expecting a record attendance for the 2012 event with about 1 000 delegates.

There will be over 700 exhibiting companies from 85 countries represented at the event. Our exhibitors come from China, South America, Europe, UK and Africa.

“We have made the decision to hold

34 | SCREENAFRICA | October 2012

GROWING DEMAND – Patrick Jucaud-Zuchowicki

DISCOP AFRICA in Johannesburg from now on because the city meets all the necessary requirements to hold a successful pan-African industry gathering, which is dedicated to the production, programming and commerce of multiplatform television content. This includes a strong local television industry, a great convention centre and an airport that is easily accessible from all over Africa,” explains Jucaud-Zuchowicki.

He notes that the format of DISCOP AFRICA has changed as it now includes a co-production forum designed to foster closer regional and international collaborations and to attract independent African television content producers.

“To this end we are launching a new pitching competition – FORMATS FROM AFRICA – to promote original TV formats created in Africa, which can

begin as local successes resulting in international hits. This competition will be held annually at DISCOP AFRICA.” Only non-scripted genres (reality, game shows, factual entertainment, lifestyle, variety, unscripted comedy, formatted documentary and talk shows) are eligible for the competition. Independent producers are invited to submit proposals with local, regional and international appeal. The concept and structure of the format must attract viewers in the country of origin but also across Africa and internationally.

Ten shortlisted candidates will pitch to a panel of African and international commissioning editors, co-producers and distributors.

Winners will be awarded US$2 500 and receive expert guidance provided by major format companies to further develop their format into a pilot and ensure their vision is translated into a successful end product.

Demand for local content The relevance of an event such as DISCOP AFRICA is made more and more significant by the ever growing demand for local content on the continent. It’s become abundantly clear that increasingly Africans want to see their own identities, cultures, stories and languages reflected on their small screens.

“We believe that in the not so distant future, one of the main drivers of content business in Africa will be local programming,” comments JucaudZuchowicki. “Inevitably, there will be a shift to regional co-production and distribution models as non-African content will play a lesser role on the continent.

“Independent

television content production is already undergoing a huge renaissance as Africa transitions from a massive importer of content to a producer of content that is far more locally relevant, outpacing in the process the traditional production formulas that the rest of the world relies on so much.”

The demand for local content will spiral once African countries migrate from analogue broadcasting to digital terrestrial television (DTT). Digital migration will result in a plethora of new digital channels, all hungry for content.

This, in turn, will give rise to thematic channels as DTT broadcasters follow the path taken by pay-TV operators in creating niche channels to target specific audiences.

African broadcasters have until June 2015 to complete their digital migration.

Following this date the analogue signal will no longer be protected in Africa by the International Telecommunications Union (ITU).

Pay-TV, an enormous consumer of content, is already very active in Africa.

According to Balancing Act – Africa TV Research, there are about seven million non-pirate, paying pay-TV subscribing households across Africa.

The largest grouping is South Africa (55%) followed by sub-Saharan Africa excluding South Africa (40%) and North Africa (4%). Nigeria accounts for 16% of the total figure, reaching about 1.125 million subscriptions.

Exhibitors Global companies expected to exhibit at the three-day event include BBC Worldwide, CCTV, Caracol, Canal+ Overseas, Côte Ouest, Zee TV, Fox International Channels, Sony Pictures Television, NBC Universal, France 24, Globo TV, IMC, IMG, MGM – to page 36

SENEGAL

DISCOPAFRICA |

from page 34 Networks, Mondo TV, Nollywood Worldwide Entertainment, Optima Sports, Telemundo, Televisa, Thema, Trend TV, Fox Studios, Sky News, TV Azteca, TV5 Monde, UFA TV, Venevision, Endemol South Africa and many others.

All of Africa’s major broadcasters, pay-TV platforms, mobile operators, broadband-based TV services, closedcircuit networks and territorial distributors will be at DISCOP AFRICA. This includes A24 Media,

AfricAvenir, Kenya Film Commission, Modern African Productions, Multimesh, Nollywood Worldwide Entertainment, OH Africa, Royal Roots and Wananchi Programming Group.

Among the more than 100 South African companies present will be the SABC, e.tv, TopTV, M-Net, MultiChoice Africa, Rapid Blue, Endemol, SAFACT, Setanta Sports, SuperSport, Urban Brew Studios, Stimulii, National Film and Video Foundation, Nielsen South Africa, IMG South Africa, Octagon and Seed Entertainment, among many others.

Content buyers will have an abundance of programming to choose from including genres such as feature films, drama series, animation, comedy shows, formats, sports content, documentaries and educational programming.

Business all the way

Says Jucaud-Zuchowicki: “Because we evaluate the efficiency of our DISCOP AFRICA markets by the number of

SABC primed for continental market At DISCOP AFRICA the South African Broadcasting Corporation (SABC) will launch two ‘hot’ new African formats – The Start Up and Big Up. Says Ida McNair, head: International Sales, “We are very excited about these formats as they are award winning programmes that have yielded increased viewership and revenues for us. Both formats have the potential to do the same for HD CONTENT – A Country Imagined other broadcasters who license them.” content provider of high quality African In addition the SABC will programmes and we are continuing to release a number of new high definition develop new HD titles for distribution.

(HD) titles, such as Shoreline, A Country Being based in Africa, which is regarded Imagined, The Lab Season 3, and The as the Hollywood of wildlife, the SABC Mating Game. More titles are to follow has positioned itself as an important within the next 18 months. player for future partnerships which will McNair continues: “We will be take the Corporation and its content targeting the entire continent at DISCOP into a new dimension.”

AFRICA as our catalogue is very Popular SABC titles that have been extensive and can offer African successfully sold into Africa include the broadcasters something of value that is soapies Generations and Isidingo, as well aligned with their schedules. as the prime time dramas, The Lab and “The SABC is by far the largest 36 | SCREENAFRICA | October 2012

meetings held during the three-day event, we provide our participants with personalised and online assistance to identify qualified prospects, set-up and confirm meetings with them.”

In partnership with Gauteng Conventions and Events Bureau, special efforts have been deployed to attract South American, North American and European television content acquisitions executives interested in the increasing range of good quality content and formats created in Africa. This initiative is driven by recent TV consumption trends which indicate that a growing number of television operators around the world are acquiring programming made in Africa.

(See page 38) Nonnie Kubeka, marketing manager at Gauteng Conventions and Events Bureau, adds: “We are very pleased to support DISCOP AFRICA in encouraging international TV content buyers to seek out African programming for their own networks. Our mission is to cultivate and facilitate an environment that allows Africa’s film and television industries to play a meaningful role in the socio-economic development of the Gauteng region.”

As part of DISCOP AFRICA’s coproduction forum and training programme a number of sessions on topical issues, helmed by international

experts, will be presented during the event.

Breakfast keynote sessions include: • The benefits of digital migration (Wednesday 31 October) • The mobile impact (Thursday 1 November) • Measurable audience (Friday 2 November) In addition there will be sessions under two themes: The Co-production Track and The Training Track.

The Co-production Track: • Developing, co-producing and exporting francophone television projects (Wednesday 31 October) • Pitching day for formats / comedy shows / documentaries to be made in Africa (Thursday 1 November) • Co-production opportunities between Africa and Brazil, and between Africa and the Arab world (Friday 1 November) The Training Track: • From entrepreneur to investment capital raiser (Wednesday 31 October) • Television with a purpose (Thursday 1 November) • The power of television brands (Friday 2 November) • For more information about DISCOP AFRICA visit www.discop.com

Hard Copy.

In addition to showcasing content on offer, the SABC will also be looking to acquire documentaries and other entertaining genres for its channels at DISCOP AFRICA. SABC Education will take the lead role in the DISCOP AFRICA conference session titled: TV With A Purpose.

Facilitated by Che Che Mazoka, SABC’s head of Funding and Partnerships, this session will focus on how broadcast content can be both highly entertaining, educationally sound and attractive to funders while yielding research results that illustrate behavioral changes in viewers and communities alike.

Examples to be discussed will be children’s content,

dramas, formal education content, etc. It will be an exciting session because, given the shared health and educational needs of the continent, media solutions will be presented that can be applied to all African markets and beyond.

The SABC’s International Sales unit is a veteran of DISCOP AFRICA events, having participated in 2007, 2008 and 2010.

According to McNair, “DISCOP AFRICA affords the SABC the opportunity to engage with other African broadcasters who share a collective vision of continuing to grow a strong African broadcasting industry.

“Our International Sales division annually assesses our presence at DISCOP AFRICA based on business results that are related to market trends in Africa, the demand for African content and ultimately the client base that will be attending the market.”

Conference element

Shoreline

| DISCOPAFRICA

TOP TITLES – Buli Maliza

Sprouting top content

I

ndependent Johannesburg-based continental distribution company Seed Entertainment will make its first ever DISCOP AFRICA appearance at this year’s event.

Armed with a substantial catalogue of titles covering genres such as feature films, documentaries, comedy, music specials, drama series and reality programming, Seed Entertainment CEO Buli Maliza will target African broadcasters, as well as channels that broadcast in South Africa.

Among the new titles in the Seed Entertainment catalogue that is sure to attract interest is the series Iconoclasts produced by Robert Redford. It includes interviews with famous personalities such as South African Oscarwinning actress Charlize Theron, South African activist and retired Anglican bishop, Archbishop Desmond Tutu, British entrepreneur Richard Branson and American author and poet Maya Angelou, to name a few.

“Another exciting title is Visionaries: Inside the Creative Mind, produced by Oprah Winfrey’s network, OWN,” says Maliza. “This series is exceptional and focuses on several Americans who have made their mark in their particular fields.

Oprah starts with actor Tyler Perry and moves on to fashion designer Tom Ford, Avatar and Titanic director James Cameron, music star will.i.am and legendary photographer Annie Leibovitz.

“And then of course there is our favourite reality show – Joan and Melissa: Joan knows best. American

comedian Joan Rivers does not need any introduction. She is hot.”

While at DISCOP AFRICA, Maliza will also seek new programming to add to her catalogue. “I am always on the look-out for exciting titles,” she comments, “and regularly attend international markets and festivals such as Berlin, Sundance, Cannes and Los Angeles.”

Seed Entertainment supplies content to all of the South African broadcasters as well as broadcasters across the continent.

“Basically our catalogue appeals to anyone looking for exquisite programming, from hot contemporary dramas and comedies, to historical documentaries. Our titles feature the likes of Dave Chapelle, Chris Rock, Eddie Murphy, Steve Harvey, Bill Cosby and Richard Pryor,” notes Maliza.

Seed Entertainment has been in existence since 2004 and is the first South African distribution company run by a black woman.

Maliza has been in the media business for many years and played a key role in the restructuring of the SABC Television division. She was also the head of African Renaissance, which was instrumental in developing and building relationships for the SABC with other African broadcasters.

“My mission is to license the most compelling content in Africa and across the globe,” states Maliza.

October 2012 | SCREENAFRICA | 37

DISCOPAFRICA |

The potential for African content Transnational television and IT networks catering for specific African cultural and linguistic audio-visual programming have flowered during the past decade or so, and several of these networks can also be accessed by Africans living on the continent, writes MIKE DEARHAM, senior vice president of the Côte Ouest group and GM of the Mauritian office.

Ouest has pioneered the global sales penetration of African TV productions to international TV stations. For example, M-Net’s The Wild and Jacob’s Cross sold to key French TV broadcasters. The first Kenyan soap Mali and the Kenyan drama series Siri have attracted keen interest from TV stations in the UK, Canada and the US. There has been a definite improvement in production values of Straight to Video (STV) products, which constitute about 60% of audio-visual content in Africa.

STV content from South Africa, Nigeria, Ghana, Kenya and Tanzania has found a home in the programme schedules of African and African Diaspora TV stations, as well as niche Internet platforms. Several STV projects have also had the benefit of international theatrical release.

The big challenge for African content producers now is to penetrate the realm of global format trade, which constitutes close to 50% of trade at key international TV markets.

TRADE GROWTH – Mike Dearham

R

ecent studies show population estimations of over 200 million Africans who constitute a diverse transnational African diaspora community. There is a natural yearning and appetite amongst African diaspora communities for factual and fictional information about their respective countries of origin.

Early results seem to show a significant preference for IPTV as preferred delivery mechanism, and African diaspora TV services are currently present in the UK, Canada, France and the US. Côte Ouest, a distribution company, has experienced a steady demand for African content from international TV channels for African drama series, telenovelas, documentaries and speciality shows. We package and distribute African content that has proven successful in domestic markets and that resonates with African diaspora consumer demand.

Regional trade status Two key challenges have slowed down the pace of African regional trade in the film and TV sector. First is the need to integrate regions into more efficient trade units to ensure the creation of economies of scale to support sustained growth and 38 | SCREENAFRICA | October 2012

development of the audio-visual sector.

The second obstacle is to ensure the removal of trade barriers through provision of free trade agreements, in the form of robust co-production agreements sensitive to the economic realities of respective African country economies.

Growth of the TV content trade in Africa is also influenced by dynamism in the global trade arena, which has witnessed rapid growth and development in the South and East of the continent.

Africa has steadily forged connections with Brazil, India and China (part of the BRICS countries). This has heightened activity in terms of an intra BRICS coordinated trade pattern, which in turn has resulted in positive development in the TV broadcast sector and spikes in the number of TV co-production projects on the continent. Strategic relations with BRICS countries have the potential of harnessing TV content trade in and between regions in Africa.

Quality on the up We have seen radical improvements in the level of production values and the integrity of the African story, to the extent that several African drama series have been sold internationally. Côte

Export readiness If we are to grow and develop a sustainable pan-African film and television industry export readiness should be a natural reflex for content creators. This requires intelligent responses to three questions: What products do we choose to create? What markets do we choose to sell them in?

Which media platforms should we engage to deliver our products to the markets we select?

However, if content creators decide to focus solely on African regional markets, then this should inform the funding or sponsorship partners we involve in financing the project. But if we choose to create content for broader international markets, then our product clearly needs to be free of sponsor branding.

What is evident in the pan-African production space is the poor capacity of content creators to effectively leverage all potential sources of production finance available. Such sources include (yet may not be limited to) – government / donor grants, tax credits, recoupable equity investments, deferrals, private investor finance and distributor pre-sales. Too much emphasis has been placed on TV broadcaster commissions and product placement finance.

Telenovelas in Africa The telenovela is possibly the most successful drama format in the history of television, with some estimates of viewership statistics at over two billion people.

One of the key factors in the success in Africa of Brazilian company Globo TV’s telenovelas is their high production value – a production budget of approximately $350 000 per episode. Their telenovelas are also more realistic and apt to broach controversial subjects, with convoluted plots and sub-plots involving three or more different geographical settings. Use of culturally diverse casts is a common feature in Globo TV productions. More important is Brazils’ shared history and subsequent cultural similarity with the people of Africa.

We have witnessed a steady rise in the number of African telenovelas produced over the past five years. Popular examples of African telenovelas include M-Net’s Inkaba and The Wild and Kenya’s Mali.

Digital release of content African content creators and owners should take advantage of the new digital technology that has made possible the introduction of Pay Per View (PPV) and which has introduced pressure to collapse the window between video and pay-TV. It has also meant more channels, including more film channels, with the ability to introduce several genres and cater more easily to minority tastes.

The wider choice from pay-TV as well as the introduction of VOD and the new hard-disk Personal Video Recorders (PVRs) will lead to the relative decline of free TV and the end of video rental. As content becomes more readily available to the viewer, by whatever means, the windows will compress. But they will also multiply – there will always be some scope for charging more for earlier showings of popular movies.

Premium pay-TV movie channels will continue to be popular. They offer value for money for people who want to watch movies regularly and are prepared to wait. But VOD will reach new audiences as it targets specific segments of the market, and for content providers, it is a lot cheaper than traditional broadcasting.

Whatever the platform, content will be the key to success.

What to expect at DISCOP AFRICA

| DISCOPAFRICA

The DISCOP AFRICA 2012 Multiplatform, Film, TV Content, Formats and Packaged TV Channels Market and Co-Production Forum will regroup:

175+ 350+ 150+ 100+

Exhibiting Sellers / Companies from Africa and the rest of the world, with popular films, TV series, animation, comedy shows, formats, sports content, documentaries, educational programming and packaged TV channels for sale and content management solutions fit to position Africa as a world class digital destination.

Registered delegates receive • Access to participants and content search engine services

Non-Exhibiting Content Buyers / Companies representing African broadcasters, thematic channels, pay-TV and ondemand platforms, mobile, broadband and closed circuit networks, as well as alternative content distribution platforms.

Non-Exhibiting Film and TV Content Producers / Companies, most of them from Africa, seeking to build regional / international co-production and distribution partnerships and eager to learn more about innovative content, accessible funding sources and new content distribution models.

Non-Exhibiting Visitors / Companies representing peripheral, film and TV content-driven sectors of activity such as advertising, TV brand licensing, sports events and team management, media buying, merchandising and direct marketing, TV shopping, audience measurements, subscriber management and creative and financial services.

• Access to advance matchmaking services • Access to onsite Valet Meeting Services • Access to all social events and networking functions • Access to all keynotes and conference sessions • Access to Visa Support services • Access to discounted Hotel packages • Free copy of DISBOOK AFRICA

October 2012 | SCREENAFRICA | 39

CAMERAS |

Did the REDs deliver?

The September issue of Screen Africa reported on mushroom media’s production and stage direction of South African singer Lira’s The Captured Tour concert DVD. Here ANDY STEAD takes an in-depth look at the complex camera set-up, which comprised 13 RED cameras and eight Canon 5Ds.

MAKING THE GRADE – Warwick Allan

U

sing 13 RED and eight Canon 5D cameras is not only a highly complex procedure but can also lead to unforeseen problems, both during the shoot and in post-production.

“There were problems,” confirms mushroom media’s Warwick Allan, “the first being where to source 13 RED cameras.”

The solution turned out to be Panavision.

“The Lira concert DVD project was a real challenge which required a lot of organisation,” says Panavision’s Clive Shirlaw. “Warwick wanted to shoot on RED Epic cameras and Panavision Primo Optic lenses as they have their very own special look.

“At the time of the concert the Epic was very new on the market and we were not able to supply 13 Epic cameras.

However, through Panavision’s international booking system we were able to source seven RED MX cameras and six Epics.”

Allan is complimentary about the team at Panavision. “They really pulled together to make this happen. We managed to source all the Canon 5Ds from independent suppliers.”

The mushroom media team had access to the concert venue, the Sun City Superbowl, two days before the event.

“After final rehearsals and gear checks

Clive Shirlaw

we powered the cameras down,” continues Allan. “One hour before the concert was due to commence we powered them up again and because this did not allow for individual camera checks, we proceeded to shoot the show with no breaks for two and a half hours.

“Towards the end of the show we began ‘losing’ cameras as the batteries were expiring, but this was expected, and we were delighted with the shoot. The Panavision team was with us in the control room offering their expertise throughout the shoot.”

Shirlaw likes to be on site on big projects. “In this way I get to keep a close eye on the gear and monitor how it works in the field, not just in the gear check bay, but also to give our clients a more personal approach to their needs and requirements.”

Frame rates “It was only when we started transcoding back at base that we realised there were problems,” comments Allan. “When we examined the frame rates we realised that three of the RED cameras – all Epics – had errors. These three defaulted to 23.976 frames per second (FPS) which is the international standard, whereas we had set all the cameras up to shoot at 25FPS when we powered down.

“There was no way of knowing this during the shoot, so we were oblivious to the problem.”

40 | SCREENAFRICA | October 2012

– Warwick Allan

“There was no way of knowing this during the shoot, so we were oblivious to the problem. Since each of the RED cameras had a specific shooting programme during the concert, the loss of three of them would have had a major impact.”

Allan admits that the problem was not as simple to fix as he had hoped.

“Panavision advised us that all the frames were actually there and that we just had to extract them from the raw in the right frame rate.

“The workflow that I found to solve this was to use REDCINE-X PRO. I exported out quick time movie/reference movie which is everything I would use for Quick Time PAL proxy because I was multi-clipping 14 simultaneous streams.

When I exported from the raw into PAL on the error cameras, I was able to force it to be 25FPS. But I was worried that those camera streams would be treated differently in the grading package because we wanted to grade from the raw.”

In post The grade was done on the Baselight at Pudding in Johannesburg. According to Allan the grade seemed to be accurate and the footage was all in time.

“It may seem that this defied logic but I spoke to several people and the thinking was that one would have to output DPX sequences at 25FPS and conform those back to the DPX and not the raw, as you can’t just make up the frames. But for some reason the mathematics that REDCINE-X uses is the same used by the Baselight to extract the 25FPS from the raw.

“So we were lucky – we got out of jail on that! When you have all of those

cameras sitting on one timeline for a two and a half-hour show you can’t afford to have one camera behaving differently to the rest. Everyone and everything must play by the same rules otherwise it will be a complete mess. I was holding my breath when we conformed – but it all came out fine in the end, and the fix was seamless,” he states.

Shirlaw points out that the problem with the Epics was a base frame rate or project frame rate change.

“I can only speculate that there was a user error,” he says, “as the whole interface of the camera is controlled by the touch screen monitor and the handle grip, so confusion with the operators between base speed and record frame rate could have been the problem. Another reason could be a camera reset to default when powered down incorrectly.

“The problem could have been fixed with the correct software. With user education and firmware updates this problem would not have occurred. I have never come across this problem with an Epic since.

“There is a reason for having a digital imaging technician (DIT) on set watching over the recorded image for quality checks (QC). He is able to look for problems in base speed, project size, format and any other defects and metadata errors, etc, so this can be picked up straight away and corrected. In the case of the Lira concert, with 13 cameras and a live concert, it was really hard to do that.”

Close cooperation between the production team and Panavision was the key to resolving a complex problem.

Allan has nothing but praise for the Panavision team. “They really came to the party,” he concludes.

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GLOBALTRENDS | IBC

IBC turns heads

The International Broadcast Convention (IBC) 2012 Exhibition and Conference, which took place at Amsterdam RAI in September, reported a final attendance figure of 50 937. This number is slightly up on last year and a firm indicator that decision makers in the broadcast fields are busy, or about to purchase, in an ever expanding industry, writes IAN DORMER.

F

or me, the overwhelming impression of IBC was that television is far from dead. I recall last year’s IBC themes, which indicated that the ‘second screen’ (the tablet computer) was going to eat into broadcasters’ profits. However, television is clearly here to stay and is evident in the increase of viewership by 100 million worldwide in the past year, plus the upsurge of new developments.

The success of broadcasting remains hinged on the need for the continual creation of compelling content. Few sectors in the industry have changed over recent years as much as acquisition has. At the sharp end of the production chain, it is here that the momentum towards new formats starts.

At the same time technological advances in line with Moore’s Law (the observation that over the history of computing hardware, the number of transistors on integrated circuits doubles about every two years) have meant that a whole new generation of television producers can do more with less — both in terms of budget and size.

The IBC Production Village in Hall 11 provided visitors with hands on experience in the very latest production technologies. From the field of digital single lens reflex cameras (DSLRs), stereoscopic 3D rigs and camcorders, to the latest in the high speed cameras that have revolutionised sports coverage. The Production Village provided not only insight but an opportunity to ‘touch and feel‘ new technologies and allowed visitors to make their own comparisons when considering acquisition formats.

42 | SCREENAFRICA | October 2012

Extra hall IBC increased the amount of exhibition space this year by adding a fourteenth hall dedicated to the connected world of set-top boxes (STBs), IPTV, mobile, home and broadband services.

There are more than 50 million connected in-home devices in Western Europe, from smart TVs and games consoles to pay-TV STBs. For the content creator and the broadcaster, the challenge is to keep the viewer immersed in the programme, and the best way to do that is with second screen content that adds to the interest of the television programme.

Olympic broadcasts Second screen content popped up in discussions around the success of the London 2012 Olympic Games, as highlighted in IBC Sports Day conference sessions. Barbara Slater, head of BBC Sport, summarised the 17 days of coverage as the most extraordinary, successful and complex event ever transmitted in the UK. Slater reminded delegates that when the BBC started planning the Games back in 2005, there were no tablet devices, less than half of the UK viewers were digital and Facebook was embryonic.

“There was no such thing as Twitter,” she said.

NBC’s director, Post Production & Highlights Factory, Daryl Jefferson commented that despite complications on the satellite feeds between London and New York, their viewing numbers

exceeded 300 million on Beijing.

“It was the biggest digital event in American TV history,” he said.

“Particular attention was paid to core metadata. We dare not underestimate the importance of metadata.”

Jefferson attributed NBC’s smooth operational running to an end to end Avid workflow.

Eye-catching fare So what caught my eye at IBC? One thing that definitely stood out at IBC2012 has actually been an industry talking point for years now, and that’s workflow. It changes with the introduction of each new technology.

What first became an issue as the industry moved gradually towards tapeless production chains is now an issue when it comes to tying second screen content to mainstream broadcasts.

Media Asset Management (MAM) systems are abundant and there are clear indicators that there is no one single system that offers all, due to the plethora of formats and systems out there.

But there are a few systems that pop up time and time again as clear leaders in the field. Thunderbolt technology was everywhere, mostly evident in storage technology with some solutions providing transfer speeds of up to 1 000mbs.

Storage has become bigger in terms of the amount of data but smaller in size.

The rapid expansion of Solid State Device (SSD) technology since the devastating floods in Taiwan earlier this year, all but destroyed conventional hard drive

There are more than 50 million connected in-home devices in Western Europe, from smart TVs and games consoles to pay-TV STBs.

production and led to a whole new range of raid-based storage devices that are smaller in size and more power efficient.

In fact, small was the order of the day all round at IBC. One of the smallest, live high definition (HD) production vehicles I have ever seen was on display in the Outside Broadcast Vehicle area. The TriCaster XD300 HD portable live production system offers live switching, live full HD streaming, live virtual sets, multiple effects, a portable multi-channel HD/SD slow motion replay system and a satellite uplink module mounted on the roof of a Mini Cooper. And who says size counts!

IBC | GLOBALTRENDS

3DTV sets.

While 3D seems to be good for cinema, 3D content for television was much spoken about at IBC. The Cameron Pace Group highlighted the public’s curiosity with 3D in a stunning presentation with Vince Pace and James Cameron (Avatar, Titanic) showing their technology that they have developed for ESPN, for the coverage of live and canned sport.

As always IBC provided an insight into the future of broadcasting and the exciting thing for me is that after my experience this year – the future looks great!

4K on the rise Acquisition and workflows were all highlighted at IBC as the industry moves to a 4K standard. Some impressive 4K displays like the Sony 84” 4KTV highlighted how good the acquisition format really is, but apart from having to renovate your living rooms to accommodate the beast, the price tag of $25 000 puts me off for now.

Camera technology is ever changing and the 4K offerings from Canon, Panasonic and Sony were equally impressive. It was interesting to note that Nikon exhibited at IBC for the first time ever. Nikon’s range of DSLRs are highly competitive in today’s market as are those from Canon with their eagerly-awaited 4K cinema camera, the EOS C500.

Helped along by some of their very nice PL and EF mount cinema lenses, the images were very impressive indeed.

However, the amount of data that the camera produces is staggering and it requires dual 3G HDSDI outputs to transfer the raw image data to the external recorder or recorders.

Apart from new model releases from Sony and Panasonic my head really turned when I saw Blackmagic Design’s latest addition, the Blackmagic Cinema Camera MFT. This is an impressive, affordable, little camera that, unlike some of its competitors, offers a full range of ‘Ready to Shoot Kits’, designed by the world’s largest manufacturer and distributor of professional motion picture equipment, Arri.

LITTLE GIANT – TriCaster’s XD300 HD portable live production system

In addition to the accessories they offer, the Blackmagic Cinema Camera MFT comes standard with a full copy of DaVinci Resolve for colour correction and Blackmagic UltraScope software for waveform monitoring. This means the user can simply plug into a Thunderbolt laptop and run UltraScope to get full waveform monitoring scopes on set!

and power efficient lighting units that actually compete with the traditional forms of lighting in terms of lumens, but totally destroy them in terms of power consumption.

Well established manufacturer FloLight demonstrated a number of designs that provided 1KW worth of light while drawing only 35W of power.

Illuminating

3D TV not all the rage

Lighting was another area where massive changes due to the advancement of Light Emitting Diode (LED) technology have allowed manufacturers to produce cool

Stereoscopic 3D seems to have taken the backbench, at least for now. Most TV sets on display were being marketed as Smart TVs with 3D capabilities as opposed to

While 3D seems to be good for cinema, 3D content for television was much spoken about at IBC.

October 2012 | SCREENAFRICA | 43

TRACKINGTECHNOLOGY |

Keeping up with broadcast demands XOR Media has announced that Finnish commercial television station MTV Oy (MTV3) chose XOR for its mixed play-to-air and production storage infrastructure.

The new MTV Oy play-to-air and production setup utilises the XOR Universal MediaLibrary storage and XOR MediaClient software codecs servers.

XOR technologies replaced MTV Oy’s 10-year-old multi-vendor server system, which had reached its storage operational limit. The broadcaster also experienced challenges in the complexity of having separate SD/HD servers and in repurposing content for new viewing platforms. MTV Oy needed to redesign their ingest, production, and play-to-air architecture to keep up with new broadcasting demands; yet they need to minimise changes in their already reliable workflow.

To delimit MTV Oy’s storage infrastructure, XOR Media deployed the Universal MediaLibrary storage system, each of the two nodes with a massive capacity of 144TB, located separately with a distance of 7km between them. In MTV Oy, one UML node serves as ingest/playout while the other serves as production storage. The UMLs are mirrored to act as each other’s backup systems, resulting in a simplified and fully redundant architecture.

Eight XOR MediaClient 8200 (MCL 8200) software codec servers are connected to both UMLs to support the 30-input and 42-output channel requirement, with HD playout and SD up conversion. In the present configuration, the MCL 8200 features a new functionality called multipath, which allows the playback decoder to stream clips from either the primary or the secondary UML in a fully automated manner. The multipath feature adds redundancy and flexibility to the playout server.

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44 | SCREENAFRICA | October 2012

Compact SDI router

At the recent IBC2012 in Amsterdam, AJA Video Systems announced KUMO 3232, a new compact SDI router with 32 inputs and 32 outputs to provide cost-effective, high quality signal routing in a small 2RU form factor.

KUMO routers are perfect for any broadcast, production or post-production environment, from mobile sports trucks and edit suites, through to corporate video installations and live A/V setups where additional inputs and outputs are needed.

Additionally, significantly new lower prices have been announced for all existing KUMO products.

KUMO is AJA’s family of compact SDI routers delivering full 3G SDI capabilities for high quality signal routing fitting within any facility and budget. The KUMO 3232 rounds out the existing AJA line of KUMO routers, including the KUMO 1604, KUMO 1616 and the KUMO CP Control Panel, a 1RU control panel for all KUMO routers. KUMO products offer unique no-configuration set up via BonJour, and simple operation via LAN connectivity using its built-in web server, or direct push-button control via its KUMO CP control panel.

All KUMO routers exceed SMPTE standards to ensure the highest quality signal allowing customers to make longer cable runs and minimise interference. KUMO routers are standalone devices and can be controlled from any computer on the network using a standard web browser; additionally, multiple KUMO routers can be controlled from a single KUMO CP on the same Ethernet network. With a forthcoming v2.0 firmware update, KUMO routers can be integrated into existing infrastructure using the industry standard Grass Valley Native Protocol over an RS-422 or Ethernet connection.

| TRACKINGTECHNOLOGY

Router control panel – with a difference

Blackmagic Design’s Videohub Master Control is a new style of router control panel that allows spin knob scrolling of all router sources and destinations as well as direct button entry of any router crosspoint.

The new Videohub Master Control provides a built in LCD with easy to read anti-aliased graphic labels for full access to every single cross point on the largest 288 x 288 Videohub routers.

Videohub Master Control allows for very flexible control because it has two main methods for changing cross points on Videohub routers. The simplest way to use Videohub Master Control is for customers to simply select either destination or source and then scroll though all the cross points in the router using the larger knob on the right side of the panel. The built in LCD shows cross points as the user scrolls using large easy to read labels, and scroll order is based on alphabetical order of crosspoint labels so it’s easy to scroll to the crosspoint the customer requires even on a very large router.

Videohub Master Control also includes direct entry of cross point labels via built in buttons.

These buttons are a combination of customisable buttons as well as numeric buttons. Customers can easily set the customisable buttons to labels such as ‘monitor’, ‘deck’ or ‘edit’ etc, and then router cross points can be entered in by simply pressing the custom button followed by the number. Direct entry buttons also allow limiting the scroll list when using the spin knob.

The system features YRGB illuminated crystal look buttons combined with an attractive colour LCD for status and machined aluminum knob for scrolling cross points.

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MediaMove has adopted the CLEAR platform for archiving and delivery of television commercials to all the broadcasters.

Broadcasters who have adopted this platform are SABC, MNet, eTV, Top TV, and CNBC Africa, further afield, MTV Africa, One Africa TV and NBC. Other African broadcasters to follow soon. CLEAR is also used worldwide and content can be delivered to other broadcaster outside of Africa through our CLEAR nodes around the world.

MediaMove is now able to offer searchable TVC with intelligent tagging and Lucene searching capability to find exactly the TVC that meets your search criteria.

MediaMove has changed the way content is received and distributed to the broadcasters, bringing this in line with the formats that the broadcaster require, this includes HD content.

Content delivered via MediaMove will be searchable via the client’s portal. The client can then send a link to a TVC for review, a DVD can be made of the TVC or an email version can be sent through the portal.

MediaMove in conjunction with Adsend and Onecom is able to offer you Brandfiler, a CLEAR portal for managing TVC’s, Radio, Print and new media advertising through one portal.

This will enable your content to be searchable and made available with a click of a button anywhere in the world.

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Processing Package Edit Delivery

Avid has announced the new Pro Tools|HD Native Thunderbolt interface, delivering the lowest latency and the highest sound quality of any host based audio workstation for Thunderbolt technology equipped CPUs. The Pro Tools|HD Native Thunderbolt interface brings the industry-standard Pro Tools HD toolset and premium conversion of Pro Tools HD Series interfaces to a broader group of customers who use a laptop or other computer with Thunderbolt technology, at great value.

With its elegantly implemented Thunderbolt connectivity, the Pro Tools|HD Native Thunderbolt interface gives producers, engineers and mixers the incredible sound quality, low latency, and sheer power of the award-winning Pro Tools|HD Native system in a mobile-based hardware solution, while connecting with Pro Tools HD Series interfaces (such as HD OMNI and HD I/O) for capturing and monitoring audio with pristine clarity. In addition, customers can conveniently monitor mixes using the interface’s built-in audiophile-grade headphone output, which is powerful enough to drive headphones with high impedance loads.

“Pro Tools|HD Native makes it easy for professionals to get top quality sound and performance in an affordable, host-based solution,” says Chris Gahagan, senior vice president of products at Avid. “With Avid’s new solution, pros now can choose from two Pro Tools|HD Native designs: the new Thunderbolt interface for Thunderbolt-equipped laptop and desktop computers, or the original PCIe card.”

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October 2012 | SCREENAFRICA | 45

TRACKINGTECHNOLOGY |

Going into overdrive

Joint venture provides mobile milestone

Panasonic Professional Camera Solutions has announced a new development in its ongoing collaboration with LiveU, a pioneer of portable video-over-cellular solutions.

The new announcement comes as an exciting new development for remote and field based mobile camera teams and broadcasters seeking simple, fast and more cost effective means to relay rushes and live content for transmission.

LiveU technology has been married with the latest Panasonic broadcast equipment in one fully integrated camera solution.

Using the recently announced Panasonic AJ-HPX600 P2 camcorder, which at 3.2kg sets new industry standards as the lightest weight shoulder mounted camcorder with low power consumption, a new 2/3 type MOS sensor and high sensitivity, the solution provides live video uplink capabilities by using a highly innovative LU40 video uplink device. The LU40 will be linked via the camera’s interface, giving camera operators a real-time indication of LiveU’s transmission status and video transmission quality. With the LU40 enabled HPX600, a camera operator will be able to manage the video uplink while shooting, a must for a one-person remote crew.

Samuel Wasserman, LiveU’s CEO, said, “Our strategic partnership with Panasonic offers customers a powerful, all-in-one tool for transmitting live HD video from the field, at any time. This new announcement represents an important technical milestone, made possible by the strong working relationship and close collaboration between our development teams.”

Ross Video continues to enhance its OverDrive Automated Production Control System with the release of version 12 software. Version 12 software introduces SideBox and SideSlide – two new control surfaces which give the operator unprecedented control of all production elements.

“SideBox allows mapping of any ‘button press’ or automation system function to a 28 button shot box, while SideSlide provides tactile control of audio to provide best-in-class control among APC systems,” says Scott Bowditch, marketing product manager for OverDrive, Ross Video. “These control surfaces can be placed at the user’s fingertips, regardless of the location of the OverDrive client screens or production switcher panel.

With these two additions, OverDrive users can maximise flexibility of staffing and space.”

Also new for version 12 is OverDrive Ultimate Redundancy. This will enable the use of fully redundant switchers to provide a system with no single points of failure. Along with video server sync-roll, redundant servers and multiple clients, OverDrive offers a level of redundancy that fits any customer’s needs, regardless of risk tolerance level or budget.

At IBC in Amsterdam in September, Ross Video demonstrated Version 12.01 operating with the Annova Systems OpenMedia Newsroom Control System. Now scheduled for release, the new NRCS integration illustrates Ross’ commitment to continuous improvement and development of APC. Integration with Annova will make the use of OverDrive advantageous for additional news outlets around the world.

Total video production solution

Live video production has evolved dramatically into a new generation of programming.

Once delivered to a single channel for one-time viewing, programmes are now intended for multiple screens – on-demand, online, and social media platforms. With this radical shift, producers must engage viewers when and where they are ready with the compelling, supplementary content they demand.

TriCaster 8000 is a complete live production and media publishing solution with everything that happens on-screen, under the user’s control. With both a keyboardmouse combo to manage every system function and a definitive hardware console, the user now has two choices for fully managing sessions, plus the flexibility to add independent operators to handle various tasks.

The total TriCaster 8000 solution is built to keep pace with the rapidly changing landscape of video production and help unleash the potential of the user’s media strategy with unprecedented versatility.

It starts with a 24-channel switcher, amplified by eight fully re-entrant M/E rows.

The TriCaster 8000 extends to external router support for large-scale, multi-camera production in native full-resolution HD, eight channels of ISO recording in up to 1080p, and live output to up to 14 different display destinations. It boosts the user’s content strategy with integrated social media sharing to publish to a host of social networks – live – keeping the brand consistent and the audience engaged. And, with the world’s most powerful integrated effects system, it creates a mind-blowing, custom-branded visual masterpiece.

See page 47 for details of the new Pro-Sales TriCaster Competition.

46 | SCREENAFRICA | October 2012

| TRACKINGTECHNOLOGY

P

R

B r o a d c a s t

New XDCAM innovations IBC2012 provided Sony with a launch platform for a number of XDCAM technological innovations, including new XDCAM workflow solutions for newsgathering and mainstream production applications.

As broadcasters transition to a tapeless environment, the need to standardise operations and improve workflow speed and efficiency is becoming a key factor in the broadcast and production markets. Over the past few months, Sony’s close relationship with industry partners has brought to life several new and exciting solutions, expanding the XDCAM product portfolio.

The popular XDCAM HD422 50Mbps workflow, widely adopted by many broadcasters across Europe and worldwide, is now being enhanced to include the new PMW-50 SxS Field Gear, ideal for field operations, where speed, weight and reliability are essential. Battery-powered capability enables operational flexibility by removing the reliance on mains power and the 3.5” LCD display is perfect for clip review and media management. The PMW-50 will serve as an ideal field companion to the popular PMW-500 camcorder.

Sony also showcased at IBC2012 the new XDCAM Studio Recorder, a half-rack dual SxS slot deck, that will allow XDCAM users to cost-effectively manage their SxS workflow, with a range of applications, from studio to DSNG. The operational functionality of Sony’s XDS Station has also been developed and improved. This multi-tasking deck for broadcasters and live operators alike is a bridge solution between the SxS and ProDisc, bringing together the traditional broadcast operation and modern IT workflow. Sony is continually expanding the XDS’s NLE interoperability and it is the only solution in the market offering an edit-whilst-recording function (frame-chase editing), allowing the final cut to be broadcast quicker. The new v2.0 firmware upgrade, developed with XDCAM users’ feedback in mind, is available from October 2012 and will enable XDCAM users to experience greater speed of operation and new features, such as linear editing.

Feeding London’s Olympic broadcast UK-based systems integrator Dega Broadcast Systems reports a highly successful conclusion to the building of the BBC Production Centre for its coverage of the Olympic Games in London this summer, based on a Harris integrated broadcast solution.

The BBC has won international praise for its coverage of the event, which topped UK viewing audience figures with 51.9 million people watching at least 15 minutes of the coverage; and 90 % of the UK’s population tuning in to the BBC during the games.

Throughout the games, the BBC and Dega Broadcast output content to three broadcast networks and maintained 24 interactive feeds, which provided continuous live coverage of every event on any given day. The majority of the broadcast output was live.

Harris supplied a range of technology for the BBC Production Centre onsite at the games in London this summer, including the Selenio media convergence platform and the new Harris HView SX Pro multi-display management solution hosted in a Harris Platinum routing system, as well as a large array of Harris HView QS QVM 6800+ multiviewers.

The purpose of the Production Centre was to take the host broadcast feed from the venues and personalise it. The broadcaster added commentary and its own presentation feeds. All post-production, commentary and presentation was implemented through the facility within the international broadcast centre (IBC), which is situated on the site of the games.

O

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V i d e o ,

S

A

A u d i o

L &

E

S

L i g h t i n g

Supplying broadcast video, audio, lighting and everything in between for 25 years...

Simplistic ...but highly effective

Much like the

Compact, easy to use professional mobile studio

Win

A LED camera light

by sending us a pic of your most creative way of using a cable tie.

Entries can be jpeg files emailed to info@pro-sales.co.za Close of entry is 30 October 2012 and the winner will be announced in the November/December issue of Screen Africa.

www.pro-sales.co.za www.proOFFICE. (0027) 11 462 0000 FACSIMILE (0027) 11 706 7140 EMAIL. INFO@PRO-SALES.CO.ZA ADDRESS. 1 ORMONDE STREET, BRYANSTON, SOUTH AFRICA, 2023

AFRICA |

Report by Joanna Sterkowicz

From workshop to screen Nairobi Half Life is the second production to come out of One Fine Day Films, an alternative production company that trains upcoming filmmakers in Africa to explore their talent and imagination.

STREET SCENE – Downtown Nairobi

P

remièred at this year’s Durban International Film Festival, Nairobi Half Life follows in the footsteps of its predecessor Soul Boy, which screened at the same festival two years earlier.

One Fine Day Films was founded by Marie Steinmann and acclaimed German director Tom Tykwer, known for films such as Run Lola Run, Perfume and The International.

The company’s African training initiative, which takes the form of workshops leading to the production of a film, is run in conjunction with Deutsche Welle (DW) Akademie and Nairobibased production company Ginger INK. A stylish and vibrant crime thriller with heart, Nairobi Half Life tells of a young man from rural Kenya who arrives in Nairobi to pursue his dreams of becoming an actor. When his money and belongings are stolen, he joins a small-time gang in order to survive. Although drawn into criminal activities, he never relinquishes his dream of becoming an actor.

The film was produced by Sarika Hemi Lakhani, Ginger Wilson and Tykwer and directed by Kenyan David ‘Tosh’ Gitonga.

According to Lakhani, One Fine Day Films and DW Akademie held a two-week long workshop for eight different film disciplines in Nairobi in September 2010.

“We attracted applicants from Malawi, Ghana, South Africa, Namibia, Zambia, Mozambique, Ethiopia and Kenya. The word about our workshops is spreading – in 2010 we had 54 participants and last year there were 67 participants. Our third 48 | SCREENAFRICA | October 2012

film, Something Necessary (working title), premières in January 2013,” says Lakhani.

Rodrigo Villarzú of DW Akademie adds: “As the educational arm of a public broadcaster we concentrate on training journalists. But when Tom (Tykwer) and Sarika (Hemi Lakhani) came to tell us about One Fine Day Films we decided to support such a worthwhile project.”

The write stuff In terms of scriptwriting Tykwer, Wilson and Lakhani identify who they would like to work with on each film.

Wilson continues: “For Nairobi Half Life we appointed Billy Kahora, who wrote Soul Boy, as the supervising writer.

Our other writers were Serah Mwihaki, a talented and disciplined product of our first ever workshop, Charles Potash Matathia, a journalist with strong opinions on youth culture and society at large, and Samuel Munene, someone who Billy recommended as a new short story writer and who has spent time with gangs and in jail.

“There was very little time to write the script as we had to go into production in October. The writers got the synopsis done in a single day and worked very quickly after that,” explains Wilson.

David ‘Tosh’ Gitonga, who participated in the director workshop, was a strong contender to direct the film. All the workshop directors had to do one-minute videos about themselves and their abilities.

“Tosh’ had nagged me for some time about directing the film. I’d worked with him when my company, Ginger INK, did

Joseph Wairimu in the lead role

a service job for a Nike commercial and he was the second assistant director on the shoot,” explains Wilson.

Lakhani notes that it was a tough job choosing the right director. “We had about eight directors to choose from and they were a really good bunch. Eventually we chose ‘Tosh’ as he comes from a TV drama background. He had lots of fun directing the gangster sequences.”

On set The 96-minute long film was shot in 25 days with a crew of over 80 (including apprentices) compared to the hour-long Soul Boy which was shot in 13 days with a crew of 40.

“We were shooting in hard-core areas of Nairobi,” comments Wilson. “It could have been dangerous but it wasn’t. There were lots of locations so it was a really hectic shoot. I spent most of my time securing permits for guns and locations.

“The cast is wonderful. In Kenya it’s difficult to earn a living as an actor so it’s

tough trying to find good local actors.

Nairobi Half Life was shot in three languages – Swahili and Kikuyu and Sheng, a slum language created by Kenyan youth.”

Interestingly, this was the first ever production in Africa to be shot on the then new Arri Alexa.

“One Fine Day Films is a low budget initiative but our films don’t look low budget. We managed to raise €500 000 for the film and were dependent on the generosity of suppliers.

“The work we do is an inspiration to continue. It’s wonderful for us to see a film made on the continent that works on the continent,” states Lakhani.

Nairobi Half Life was released in Kenya on 30 August and opens in Germany in October.

At the time of going to press the film had been selected as Kenya’s official entry into the Best Foreign Language Film category of the Oscars.

Reports by Martin Chemhere

Ethiopian multi-country feature In recent years an increasing number of African filmmakers have embarked on multi-country feature shoots.

A good example of an African multicountry feature film is Africa United, co-produced by Rwanda’s Eric Kabera and shot in three African countries – Burundi, Rwanda and South Africa.

The latest production to be added to this list is Ethiopian director Theodros Teshome’s feature film Triangle, which wrapped up in July in the US. Locations in America included Los Angeles, California and Nevada, as well as Tijuana in Mexico.

Earlier shoots took place in Italy, Ethiopia and Libya. Addis Ababa, Nazareth, Bahir Dahr and Semara are the featured Ethiopian locations.

Shooting began in May this year in Ethiopia, before moving to the other locations.

Triangle has a running time of three hours and is divided into two parts: Triangle One: The Refugees and Triangle Two: Heart for Heart. It is written and directed by Teshome and produced by his company Sebastopol Entertainment / Teddy Studios.

challenge was filming in the other countries, where the locals are not cooperative. You are considered an alien and all payments are in dollars. It’s difficult to obtain foreign currency in Ethiopia.”

Samuel Demiss, production manager THREE COUNTRIES – Theodros Teshome directing a scene from Triangle at Sebastopol Entertainment, particularly likes the Despite the multi-country shoot, the film’s cast, featuring some of Ethiopia’s budget for the film was low.

‘A-listers’ like Solomon Bogale and “It was a big undertaking for a low Mahider Assefa, and highly talented new budget African production,” comments names like Selam Tesfaye and Muluken Teshome. “I thanked the actors and all Teshome. Director Teshome also stars in the crew for being so patient with me during shooting, especially during the desert scenes in the 49-degree heat.”

Shooting in four different countries on three continents always presents challenges. Teshome explains: “The main

| AFRICA

the film.

“Triangle is very different to our previous film, Abay vs. Vegas, which is a dramatic comedy. This new film is very suspenseful and has tragic elements,” says Demiss.

The theme of Triangle reflects recent Ethiopian history which has seen the migration of Ethiopians to other countries in search of a better life.

In this film two Ethiopians, Mahamer (Bogale) and Jemal (Muluken Teshome), are willing to endure any hardship to reach America, a destination they deem as a promise of a better life. Along the way they meet Winta (Assefa), who is from Eritrea and on a similar journey.

Mahamer and Winta fall in love during the arduous and illegal journey through Libya, Italy, Mexico and finally to America. Their love for each other is tested thoroughly as the group is subjected to violence, sickness and tragedy.

States Demiss, “Triangle is slated to be released in late 2012. The plan is to release the film simultaneously around the country like we did with Abay vs.

Vegas. We are also considering a release in South Africa.”

Monitoring Malawi’s broadcasting As Malawi’s broadcasting space expands so does the need to regulate it, requiring state-of-the-art monitoring.

The Malawi Communications Regulatory Authority (MACRA) recently acquired its new broadcast monitoring equipment; the Volicon Observer supplied by US based company Volicon.

Able to store information for up to seven years, the Volicon Observer has the capacity to enable the authority to easily monitor the content of Malawi’s ever increasing number of radio and television operators.

However, this particular system is being used to monitor radio only, according to Zadziko Mankhambo, communications manager at MACRA. “By monitoring we mean analysing aired programmes to see whether they adhere to broadcasting regulations and licence conditions. Monitoring is also used to enhance professionalism in journalism and broadcasting ethics,” explains Mankhambo.

The Volicon Observer, which is used by the world’s leading broadcasters, offers extreme scalability and allows the user to repurpose content with ease, validate

TRACKING RADIO – A radio station in Malawi

signal integrity and undertake compliance monitoring and centralised monitoring for stations and advertising verification.

Volicon products and services are positioned to meet the requirements of not only broadcasters but cable and IPTV service providers, as well as enterprise and government organisations looking to improve broadcast product quality,

enhance video management and lower costs.

States Mankhambo: “We chose Volicon so that as a regulator we can work more effectively utilising the best means of analysing data and providing advice efficiently.”

The equipment will be used to monitor 13 radio broadcasters, although the

system has the capacity to monitor over 30 radio and 15 television stations.

Previously MACRA used VCR tapes with which to monitor broadcasts.

Mankhambo explains that in addition to causing storage challenges, this wasn’t a professional system.

“Thereafter we purchased Winfast software with tuners using desktop computers. This was a more professional system but it couldn’t monitor all broadcasters. We could only monitor broadcasters whose signal reached our base in Blantyre,” says Mankhambo.

He elaborates that the Volicon Observer works like a PVR system where it is possible to rewind a live programme.

To check a recorded programme, the date and the time has only to be input in the system and the programme is automatically retrieved.

To date MACRA has issued 25 radio licences and eight television licences.

Other major projects that MACRA is currently busy with include the Communications Act Review, spectrum reframing and digital migration.

October 2012 | SCREENAFRICA | 49

Broadcast

DVD

News

DISPLAYS & MONITORING

Digital Media Delivery Video Streaming MOBILE TV

Editorial

AUTOMATION SYSTEMS

Forum

Services

FILM EQUIPMENT BREAKING NEWS OB & ENG

TELEVISION

POST-PRODUCTION Guide to Filming in South Africa

RADIO

Jobs

Corporate Video

Directory Contacts Film Festivals

Film

Facilities & Rentals

Industry Directory

Production Companies TV & VIDEO PRODUCTION

New Media

Film Festivals

International Expos Organisations

Equipment Suppliers Studios Documentaries

Corporate & Events

AFRICA

Magazine • Website • Directory • Newsletter

Tracking Technology

Profile

LATEST NEWS BUSINESS

COMPANY NEWS Production Updates

TRAINING

Mediatech FESTIVALS

Audience Ratings Golf Day

PRESS RELEASES

Special Focus

COMPUTERS

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LIGHTING

3D TECHNOLOGY

Vital Statistics

Commercials

Editor’s Comment SATELLITE & TRANSMISSION

We b s i t e : w w w. s c r e e n a f r i c a . c o m

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ANIMATION & GRAPHICS

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CAMERAS & Accessories

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Awards

Events

Organisers Expos

Email: publisher@screenafrica.com

Te l e p h o n e : + 2 7 ( 0 ) 1 1 0 2 5 3 1 8 0

July 2012 | RATINGS & STATS 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.

Audience Ratings

SABC3 Rank Programme 1 Isidingo: The Need 2 The Incredible Hulk 3 Isidingo – R 4 Hellboy II: The Golden Army 5 Days of Our Lives M-Net Rank Programme 1 Transformers – Dark of The Moon 2 Carte Blanche 3 Masterchef South Africa 4 Lincoln Lawyer 5 Idols SA e.tv Rank Programme 1 Rhythm City 2 News 3 Kung Fu Hustle 4 Scandal 5 Lotto Draw Live

Date Genre 11/07/2012 Soap 11/07/2012 Dram 18/07/2012 Spor

AR 25.0 18.8 18.7

Genre

Start Time

Day/s

Frequency

Channel

July 2012 AR

June 2012 AR

SABC2 Rank Programme 1 Muvhango 2 Powerball 3 Streets of Mangaung 4 Moferefere Lenyalong 5 Bophele Ke Semphego III

The cream of the local productions Name

The top five programmes

SABC1 Rank Programme 1 Generations 2 Zone 14 3 Laduma Soccer Build-Up 4 Carling Black Label Cup:

Orlando Pirates vs Kaizer Chiefs 5 Tshisa

28/07/2012 Spor 13/07/2012 Dram

17.7 16.2

3 Talk

Talk

16:35

M-F

S5

3

2.7

2.8

3rd Degree

Actu

21:30

Tue

W

e

3.7

3.8

7de Laan

Soap

18:30

M-F

S5

2

7.1

7.6

Binnelanders

Dram 18:30 M-F S5 K

0.8 0.9

Carte Blanche

Maga 19:00

Sun

W M

0.7

1.2

Fokus

Actu

Sun

W

4.2

4.5

Generations

Soap 20:00 M-F S5 1 21.9 20.8

Date Genre 10/07/2012 Dram 10/07/2012 Vari 10/07/2012 Dram 29/07/2012 Sitc 13/07/2012 Dram

Date 13/07/2012 14/07/2012 13/07/2012 07/07/2012 17/07/2012

Date 08/07/2012 01/07/2012 17/07/2012 15/07/2012 01/07/2012

Genre Soap Movi Soap Movi Soap

Genre Movi Actu Maga Movi Real

Date Genre 16/07/2012 Dram 19/07/2012 News 15/07/2012 Movi 19/07/2012 Dram 14/07/2012 Quiz

AR 15.4 13.1 11.1 10.4 10.0

AR 7.2 6.7 6.5 6.2 6.1

AR 1.1 1.1 0.8 0.8 0.7

AR 13.0 12.0 11.7 10.4 10.3

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

Gospel Gold

Musi

Dram 20:30 M-F S5 MM 0.3 0.3

Isidingo: The Need

Soap

18:30

M-F

S5

3

5.7

5.7

Jam Alley

Vari

18:30

Fri

W

1

5.6

6.3

Live Lotto Draw

Quiz

21.30

W/S S2

2

5.3

7.7

Morning Live

Maga 06:00

M-F

2

1.4

1.6

Muvhango

Dram 21:00 M-T S4 2 10.2 9.9

News at Seven

News 19:00

Daily D

e

7.4

7.5

News at Seven on 3

News 19:00

Daily D

3

2.9

2.9

Pasella

Maga 19:30 W W 2 3.8 4.0

Rhythm City

Soap

Scandal

Dram 19:30 M-T S4 e

8.5 8.7

Selimathunzi

Vari 18:30 Wed W 1

4.5 5.1

Special Assignment

Actu

Wed W

3

1.1

1.3

The Wild

Dram 19:00

M-F

S5

M

0.1

0.1

Top Billing

Maga 19:30

Tue

W

2

2.9

2.7

Villa Rosa

Dram 18:00

M-F

S5

K

0.7

0.7

Yo-TV

Y-Ent Vari Vari D e 1.6 1.7

18:30

21:30

Sun

M-F

W

S5

S5

2

e

5.0

4.9

11.2 11.2

Top foreign shows Days of Our Lives

Soap

17:10

M-F

S5

1

5.0

4.8

WWE Wrestling Smackdown

Spor

20:30

W

W

e

5.6

6.0

The Bold and the Beautiful

Soap

18:00

M-F

S5

1

6.5

7.1

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

The Collective Dream laboratory in Cape Town and the FILM LAB @ Media Film Service have chosen not to release statistics at this stage.

The Johannesburg lab has completed the processing of Long Walk to Freedom and has no further feature work at this stage. In this period only one 35mm commercial was processed as well as three 16mm documentaries. Bulk printing reveals that 111 features were printed. There were also 1 761 commercials and 325 trailers printed for cinema.

Media Move reports that they did 1 269 transfers of commercials in July which is up on the previous month, and Adstream reports 1 012, which is way up on last month.

We would like to thank the Johannesburg laboratory, Media Move and Adstream for the information they have supplied to us.

We make no attempt to identify the title of the production, or the

Vari

2

Inkaba

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.

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,

Film Lab Stats

18:30

The above represents a selection of programmes only, and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included please contact Enid Venter on +27 (0)11 339-1051 or email enid@ihjoburg.co.za. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent.

Statistics for August 2012 Through the labs: Johannesburg Features Shorts Commercials 0 1

Doccies 16mm 35mm 3 3 1

Commercials submitted to broadcasters via: Media Move: 1 269

Adstream: 1 012

production house or any other information as this is often confidential information – we supply simply the numbers.

We rely on the co-operation of broadcasters, suppliers of commercial material to broadcasters and local film laboratories for information. However, at the moment local broadcasters are not forthcoming in providing

these vital statistics.

Efforts will continue to be made to build on this statistical data base in order to improve the accuracy, and should readers have comments or other ideas in terms of statistic gathering, please send an email to web@screenafrica.com. Your comments would be appreciated.

October 2012 | SCREENAFRICA | 51

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

general post the finest freelance post-production & creative crew editors * researchers * animators * visual effects artists storyboard artists * directors * sound engineers * writers post-production producers & supervisors

ALSO offering flexible, cost-effective post-production solutions for the commercials industry tel: 0860 111 553 fax: +27 11 706 7949 bookings@generalpost.co.za www.generalpost.co.za after hours emergency number: 076 225 9173

Those productions in red are newly listed this month Production Updates Order of Information 1. Title 2. Production Company 3. Director 4. Genre

IN DEVELOPMENT 80 MINUTES

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

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

Inkwasi Television Prod: Bell Curle TV Magazine AMKA CORPORATE

Panache Video Productions Exec Prod: Haroon Kalla Corporate At The Creek Without A Paddle

Zen Crew Exec prod: Laura Tarling Documentary BAD MEDICINE

Tin Rage TV Production Dir: Enver Samuel Documentary Bagged

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

Sirius Films Prod: Ian Manly Documentary

BODA BODA THIEVES

Yes That’s Us Prod: James Tayler Feature

BREAD AND WATER

Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN

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

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

Current Affairs Films Prod: Jane Thandi Lipman Feature Film E

CHILLI CHICKS

F F IC IE N T

International Radio Pictures, Inc Kit Reynolds TV series COILED

Aspen 16x16, 32x32, 72x72 3G HD−SDI Effective routing over long distances in a compact design

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 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)

52 | SCREENAFRICA | October 2012

Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary ESCAPE

Current Affairs Films Prod: Jane Thandi Lipman / Beata Lipman Feature Film Ex Pats

A LION IN THE BEDROOM

Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709

ECONOMIC TRANSFORMATION

Concept Interaction Producer: Karl Fedderke Educational

Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series FOR THE NEW CITY – DANCE ON FILM

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

DO Productions Prod: Marlow de Mardt / Brigid Olën Feature Genius

Inhlakanipo Films Dir: Dumisani Vusi Nhlapo Short Film GOUE STERRE

Suite People TVP Prod: Bell Curle TV Series GRIZMEK

Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature HISTORICAL KIMBERLEY

Spike Productions Prod: Steve Mueller Bsc. Documentary HOTEL SONGOLOLO

The Media Workshop Dir: Benito Carelsen Comedy Series

Nongoloza

Current Affairs Prod: Jane Thandi Lipman Feature Palace of the Faithless

Production Company: White Heron Pictures Dir: Themba Sibeko Feature PASSARES (BIRDISH)

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

Panache Video Productions Prod: Liesel Eiselen Corporate ROAD ACCIDENT FUND INDUCTION

Panache Video Productions Dir: Liesel Eiselen Corporate SEBOKENG

MPA (Motswako) Dir: Charls Khuele / Zuko Nodada Feature SHORT BUSINESS FEATURE WITH BBC / ABC

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

GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK!

International Radio Pictures Prod: D Gillard Musical The Black Blonde

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

Sukuma Media Dir: Bonginhlanhla Ncube Feature

Current Affairs Prod: Jane Thandi Lipman / Mtutuzeli Matshoba Feature

IK1 – TOURISTS IN DANGER

THE CONSEQUENCE

Inventing Africa

THE EDGE

JAN SMUTS: AN INTERNATIONAL ICON AHEAD OF HIS TIME

THE FILM MAKER

IIQ

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Imageworks Prod: Anthony Irving Documentary

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 Producer: Edmund Mhlongo Documentary LEARNER TEACHERS

Curious Pictures SABC Comedy Series LION GIRL

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

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

Inhlakanipho Films Dir / Writer – Dumisani Vusi Nnhlapo Feature MUTI DOT MOBI

Vuleka Productions.

Prod / Dir: Julie Frederikse / Madoda Ncayiyana .

Feature Film NEW BEGINNINGZ

Sukuma Media Dir: Bonginhanhla Ncube Documentary

DO Productions Prod: Marlow de Mardt / Brigid Olën Feature International Radio Pictures Kit Reynolds TV Series 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 ZERO DIET

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

DO Productions Dir: Bruce Beresford Feature ZEN FILM CREW MANAGEMENT

ZEN Film Crew Management Prod / Dir: Laura Tarling Commercial

P R O D U C T I O N U P D A T E S PRE-PRODUCTION Chabela Day Spa

Grey Cloud Production Dir: Jacques Brand Information Video

WAY TO FREEDOM

Two Oceans Production Prods: Giselher Venzke & Bertha Spieker Feature Film

IN PRODUCTION

Die Verhaal van Racheltjie de Beer

Brett Michael Innes Films Producer: Brett Michael Innes Historical feature film

3 Talk

Elegy: forsaken in South Africa

3RD DEGREE

Market Street Productions Prod: Paul Van Zyl Short film

Holidays for Madmen

Imageworks Prod: Anthony Irving TV Series

IMATU UNION VIDEO

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video LET HEAVEN WAIT

Urban Brew Talk Show 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

Revolution real entertainment Prod/Dir: Deon Potgieter Sitcom

ALL YOU NEED IS LOVE 5

Mandela

ANGLO GOLD ASHANTI SAFETY SERIES

Synergy Films Drama / Documentary MASTERS OF DREAMS

Current Affairs Films / Hambrook Prod: Jane Thandi Lipman Documentary MISTIFY

Gleam studios/ Wilddogs productions Prod/Dir: Sonja Ter Horst / Johnny Swanepoel Independent short film NATIONAL LIBRARY OF SOUTH AFRICA

Panache Video Productions Prod/Dir: Liesel Eiselen Genre: Corporate.

ONE LAST LOOK

Fireworx Media Pruducer: Dan Jawitz / Philip Roberts Feature PSALTED

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Variety RATE MY PLATE

International Radio Pictures Exec Prod: Kit Reynolds Community Project Si-solutions

International Radio Pictures Exec Prod: Kit Reynolds Community Project SAFE IN THE CITY

Imani Media.

Comedy

SLENDER WONDER INFORMATION VIDEO

Grey Cloud Productions Dir: Jacques Brand Information Video TALK OF THE TOWN

SuitePeople TV Productions Bell Curle TV Series

Endemol South Africa Reality

SummerTime Productions Prod/Dir: Sean Gardiner Corporate ABC AMERICA NEWS SPECIAL ON MANDELA

Current Affairs Films Prod: Jane Thandi Lipman Feature News Special AFRICA FACTS SEASON 3

Lebapi Productions Dir: Daniel Moleabatsi TV Magazine AFRICA 360

STUDIO 7

140m SOUNDSTAGE 2

Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series

For Dramas/Newsroom

The Communist Republic of South Africa

Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary

STUDIO 4

270m DAYLIGHT 2

Codesign – commercial spot for furniture designers

SWiTCH Dir – James Tayler Commercial

For TVCs/Events/Screenings

Cool Cats

Red Pepper Exec Prod: Cecil Berry Children’s Show

★

CORTEX MINING

FC Hamman Films PM: Odette van Jaarsveld Corporate Video Come Dine with Me South Africa

24 hr Security

★

★

On-Site Parking

★

★

centraL LOcatiOn

★

★

BackuP generatOr

★

Rapid Blue Prod: Kee-Leen Irvine Reality

cnr. Frost ave & Owl Street Milpark | Joburg

Cutting Edge

SABC News Current Affairs

TV ★ FILM ★ EVENTS ★ SOUNDSTAGES & SUPPORT FACILITIES

AFRO SHOWBIZ NEWS

SABC News International Exec Prod: Jody-Layne Surtie TVMagazine

DINNER DIVAS

AFROX AFRICA INSIGHT EPS 4

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

DIY Met Riaan

Izwe Multimedia / Urban Brew Series Prod: Annalie Potgieter Live Medical Talk Show

AFROX YEAREND RESULT

EASTERN MOSAIC

Ukhamba Communications Music

Red Carpet Productions Magazine Programme FORMIDABELE VROUE: LEONORA VAN DEN HEEVER

Urban Brew Studios Prod: John Kani Telenovela

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video Agape

Gabaza Productions Prod: Sarah Ngubeni Magazine Alex: A history from below

Uhuru Productions Dir: Rehad Desai Documentary ALL ACCESS

Homebrew Films Prods: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show AMBUSH ALLEY

TRUE DREAM

Steplite Films Dir: Jacqui Logie Tv Series

THE MESSENGER

Our Time Productions Dir: Juan de Meilon Corporate Video

THICK SKIN

Wild Images Dir: James Smith, Tim Scoones, Roger Webb Documentary

VKB LANDBOU BEPERK

Stark Films Dir: Danie Joubert TV Drama

FC Hamman Films PM: Odette van Jaarsveld Corporate Video

Child Geniuses

Prods: Michael Mol Magazine

TO CARE FOR YOU ALWAYS

Media Navigation Prod / Dir: Dan Akinlolu Feature Film

Modern Times Prods: S Phirippides / J Pienaar Documentary

DIE VIERDE KABINET

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary

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

Carte Blanche (inserts)

Bonngoe Productions Exec Prod: Pepsi Pokane Music Show

ANIMAL COMMUNICATION

South African Great Movies Production Dir: John Wani Feature

Firefly Animation Studio Exec Prod: Antony Steel Short Films

AFRO CAFÉ SEASON 7

THE LOST ANGEL

Noble Pictures Prod: Claudia Noble Short Film

AVAIL ABLE

BOPSY BUNNY

eNews News Head: Patrick Conroy Current affairs

Dithakeng Projects and Flms Exec Prods: Thabang Nkunyane Short Film Inhlakanipho Films Dir: Vusi Dumisani Nhlapo Feature Film

Kagiso TV Talk Show

DADDY’S MESS

NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary

The Black Out

Bonisanani

Awesome Africa

barbour and thorne: 60 years strong

BBC PLANET EARTH LIVE

BINNELAND

Bopsy Bunny

Firefly Animation Prod: Ant Steel Animation Short

Phone +2711 482 7111

Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom Jan Scholtz Productions Prod: Jan Scholtz Series 2 Blonds and a Redhead Filming Exec Prod: Anne Myers Cookery Series Prods: Riaan Venter-Garforth Magazine

Khaki Productions Prod / Dir: Christelle Parrott , Wynand Dreyer Documentary

FORMIDABELE VROUE: Petronella van Heerden

Khaki Productions Prod / Dir: Christelle Parrott , Wynand Dreyer Documentary Freeway Frog

Firefly Animation Prod: Ant Steel Animation Short FRENZY

Red Pepper Pictures Prod: Palesa Mopeli Variety GENERATIONS

Morula Pictures Exec Prod: Mfundi Vundla Soapie GNLD AFRICA CONVENTION

FC Hamman Films Prod: FC Hamman Corporate Video Gospel GOLD

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show GROEN

Homebrew Films Prod: Jaco Loubser Wildlife HEAVEN – Africa

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Hectic 99

Okuhle Media Prod: Wilna van Schalkwyk Magazine Show

THE DR. MOL SHOW HOUSE CALL

www.atlasstudios.co.za

MASSMART CSI REPORT

SummerTime Productions Prod/Dir: Roxanne Rolando/Sean Gardiner Corporate MATRICS UPLOADED

Imizwilili

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational

Inkaba

MGONGO BY SONY

INSIDE STORY

Million Dollar Race

ISIDINGO

MK Campus

Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama IT’S MY BIZ

Urban Brew Studios Reality business makeover series

Sony Prod / Dir: James Lennox Lifestyle & Entertainment Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show MOFEREFERE LENYALONG

Moja Movie Factory Sitcom Montana 2

JACK UP YOUR SHACK

Penguin Films Exec Prods: Roberta Durrant Drama Series

JOU SHOW MET EMO en Wickus

MOTSWAKO

Judge For You Self

MUVHANGO

Let It Rain Films Reality home make over Homebrew Films Prod: Jaco Loubser Variety Show eNews Current Affairs

Laugh out Loud

Exec Prod: Rapulana Seiphemo Comedy Khumbul’ekhaya

Urban Brew Prod: Enel Viljoen Reality

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

Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show Word of Mouth Prod: Pieter Grobbelaar Feature MZANSI INSIDER

Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine MZANSI LOVE

Fireworx Media Dirs: Myrto Makrides, Mmabatho Montsho, Neo Ntlantleng, Zamo Mkhwanazi Anthology series Music Moves Me

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Music Show News Night

eNews Prods: Nikiwe Bikitsha Current Affairs

October 2012 | SCREENAFRICA | 53

P R O D U C T I O N U P D A T E S SAKEGESPREK MET THEO VORSTER

real IT

real HD

real flexibility

Official Worldwide Olympic Partner

Dirk Mostert Camera Production Dir: Dirk Mostert Talk Show SANPARKS YOUTH & PARKS

Francois Odendaal Productions Prod/Dir: Francois Odendaal Genre: Natural History TV Series SA’S GOT TALENT

Rapid Blue Prod/Dir: Kee –Leen Irvine Reality SCANDAL

Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap C A M E R A S • M O N I T O R S • P L A S M A D I G I TA L M I X E R S • 3 D • P R O J E C T O R S

Avmark Systems cc Digital - Broadcast & AV Systems Unit 5 Bryanston Gate 170 Curzon Rd, Bryanston South Africa Tel: +27 (11) 463-3167/8 Fax: +27 (11) 463-2534 Email:avmark@icon.co.za

Av m Pa

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cia onic B ro a d c a s t S p e

Authorised Distributor

www.avmarksystems.co.za

SCHOEMAN BOERDERY – MOOSRIVIER

Khaki Productions Prod / Dir: Christelle Parrott , Wynand Dreyer Documentary SELIMATUNZI

Sikhoyana Productions Prod: Baby Joe Correira variety series Ses’khona

Tswelopele Productions Prod: Phuthi Ngwenya Magazine SHIZ NIZ

Red Pepper Pictures Prod: Allen Makhubele Variety Shift

Urban Brew Talk show S.I.E.S (SOCIAL IMPACT AND EMPOWERMENT STRATEGY)

Penguin Films Dirs: Roberta Durrant and James Ngcobo Sitcom SISTERHOOD

Red Pepper Pictures Prod: Vuyo Sokupa Variety Siyakholwa – We Believe

X CON Films Dir: Munier Parker Edutainment SKETCH U LATER

Chris Morris Productions Dir: Genna Lewis Comedy series Soccer 411

Engage Entertainment Exec Prod: Vusi Zion (previously Twala) Magazine Soccer zone

SABCSports Head: Sizwe Nzimande Magazine Sony Presents Mgongo

NIGCOMSAT – TELEVISION COMMERCIAL SERIES

SWiTCH Prod: Sarah Wanjiku Muhoho Commercial

Project MV

Zen Crew Prod: Laura Tarling Music Video Religion and the ANC

ONS MENSE

Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary

OXFORD UNIVERSITY PRESS

Red Pepper Prod: Cecil Barry Reality Series

PASELLA

Curious Pictures Prod: Yula Quinn Soapie

Nomzamo

Tom Pictures / Authentic Images Comedy Homebrew Films Prod: Jaco Loubser Current Affairs Plexus Films Prod: Miki Redelinghuys Corporate Film

ROLLING WITH KELLY KHUMALO

RHYTHM CITY

Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme

RHYTHM CITY INTERACTIVE

PEACE PARKS

Rivoningo

NHU Africa Exec Prods: Vyv Simson/ Sophie Vartan Wildlife Documentary Series Phoenix Rising...

The Business of Style

Phoenix Entertainment and Production Prod/Dir: Koketso Sefanyetso Reality Docu-tainment POPCRU 7TH CONGRESS

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Event POWER COMBAT ZONE

Mixed Motion Entertainment Dir: Dieter Gottert Sport – Martial Arts & Combat

54 | SCREENAFRICA | October 2012

Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media

Ukhamba Communications Music Show

The Tech Report

THE WILD

FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video

TRANSFORMATION STORIES

FC Hamman Films Prod Man: Odette van Jaarsveld Commercial

THE TRANSPORTERS

PianoJ Productions Prod: Pia van Rensburg Short Film

THERE ARE NO HEROES

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

Greenwall Productions Exec Prod: Nicky Greenwall Magazine Magic Factory Exec Prod: Bobby Heaney Daily TV Soap Media Village Productions Dir: Diane Vermooten Documentary

Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary 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 TOUCHING THE DRAGON

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Turn It Out

Fuel Media Productions Dir: Ben Brewster Dance Reality show Verraaiers (Traitors)

White Heron Pictures/Film Factory / Bos Bok Ses Films / Spier Films Dir: Paul Eihlers Drama VKB BRANDING LAUNCH

FC Hamman Films Prod: FC Hamman Corporate Video VILLA ROSA

Spectro Productions Dirs: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama WEEKEND LIVE

SABC News Current Affairs

When The World Was Here

STRANDED

Why Poverty?

New Wave Productions Prod: Mishkah Roman-Cassiem Spiritual NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary STUDIO 53

M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme STUDY MATE

Educational Improvement and Study Help Exec Prod: Lisa Blakeway Educational TASOL “Old Geezer”

Bragge Film & TV Dir: Guy Bragge Commercial

The B-Ball Show

Eclipse Prod: Thokozani Nkosi Talk Show

Fuel Media Productions Dir: Scott Smith, Shaft Moropane Documentary Series STEPS International Exec Prod: Don Edkins Documentary Series Wicket to Wicket

SABC3 Lefa Afrika Magazine

Workers World Series

Cape Town Television Prod: Sharon McKinnon TV Series WORLDSOUTH

Leago Afrikan Arts Foundation Dir: Sakhile Gumbi Documentary Xihlovo

Grace Bible Church Religion Yilengelo Lakho

Prod: Nndanganeni Mudau Current Affairs Zone 14

The Bomb Shelter Prod: Angus Gibson Drama

The Cypher

Spoon Fed Generation Lerato Letebele Talk show The Justice Factor

eNews Exec Prod: Debbie Meyer Current Affairs

Onetime Films Prod: Richard Wicksteed Documentary Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature

Why are We so Angry?

The Chat Room

Roots

AFRICA CALLING

Paul Myburgh Film Prod: Paul Myburgh Documentary

Spirit Sundae

ROCKING FUTURE

Homebrew Films Prod: Jaco Loubser Cooking Show

THE STORY OF LITTLE FOOT

Sony Variety

Asi-B Films Exec Prod: Asivhanzi ‘Asi’ Mathaba Kids

ROER

A BUSHMAN ODYSSEY

Periphery Films Prod: Simon Taylor Feature Documentary

Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series

SABC Commissioning Ed: Dinah Mahlabegoane Variety

Summertime Productions Prods: Sean Gardiner / Tanya Vandenberg Educational Video

THE RUDIMENTALS

POST-PRODUCTION 4LIFE NETWORK

Bragge Film& TV Dir: Guy Bragge Infomercials

AFROX CO2 PLANT

AFROX SHEQ INDUCTION

ALL’S FAIR

AMBASSADOR II

Animal Doctor (Working Title)

Animal Doctor cc.

Prods: Greg Simpson, Jonty Acton TV Series Bally Cullen Guesthouse Ad

Panache Video Productions Prod: Liesel Eiselen Corporate Bitter Root

Imageworks Dir: Kerry Negara Documentary BLITZ PATROLLIE

Diprente Films Prod: Kagiso Lediga Feature BUA NNETE

Owami Entertainment Dir: Charles Khuele Short Film Calafornia: Valley Christian School Transformation

Media Village Prod: Diane Vermooten Documentary DEAR SISTER

Media Village Prod: Debbie Matthee Short Film DRAGON’S FEAST 3D

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary ERFSONDES

Imani Media Dir: Peter Heaney TV Drama Freedom Park installations

Kevin Harris Productions Dir: Nadiva Schraibman Documentary FROM GUN TO TAPE

Content House/Shadow Films Producer / Director: Jackie Lebo/ David Forbes Documentary GETROUD MET RUGBY SEASON 4

Bottom Line Productions Dir: Jozua Malherbe Series HARTLAND

Bottomline Entertainment / Fix Post Production Michael Modena TV Drama Hong Kong

Media Village Prod: Diane Vermooten Documentary INTEL HISTORY

Bragge Film & TV Dir: Guy Bragge Corporate IQILI

Impucuzeko Prod: Sharon Kakora Feature Israel Inside (Working Title)

Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary Kemang?

lmol Production Dir: Lizzy Moloto Feature Film

P R O D U C T I O N U P D A T E S JULIUS HAS A DREAM

Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary 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

The Animal Communicator

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary TO THE POWER OF ANNE

Triple O

Bonngoe Productions Prod: Tumi Rabanye Variety

Tandem Communications Exec Prod: Jonas Bauer / Rola Bauer Feature

Cooking With Siba

TRUE DREAM (Revised Version)

DANGEROUS TRAILS – ELEPHANTS IN THE MINEFIELDS

Vallejo Transformation

L. Dukashe Productions Dir: Lumko Dukashe Live Concert DvD

Club Culture

Monarchy Prod: Mosibudi Pheeha Feature

MARRY – ANN

Melodi Jazz Festival 2011

CHINESE SCHOOL, PRETORIA

TREASURE GUARDS

South African Great Movies Production Dir: John Wani Feature Film

Shadow Films Dir: David Forbes Documentary

Imageworks Dir: Anthony Irving TV ad

Video clip productions/Panache video productions.

Prod/ dir Rudi Kruger/Liesel Eiselen.

Corporate.

FX Productions Prod / Dir: Robert Haynes TV Series

Firstfruits media Dir: Nthabiseng Gamede Feature Film

LOVE ABOVE ALL

Child On-Line Protection Week

Media Village Prod: Diane Vermooten Corporate Vehicle 19

Forefront Media Group / Pictue Tree / The Safran Company Exec Prod: Paul Walker Feature

Prod: Siba Mtongana Variety

NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary

Dept of Social Development Congress

Events | OCTOBER

1 SEP – 27 OCT THE HOME MOVIE FACTORY

Johannesburg http://france-southafrica.com/

1–4

SABA AGM

Namibia, Walvis Bay

5 – 7

COLCHESTER FILM FESTIVAL 2012

Colchester, United Kingdom http://www.colchesterfilmfestival.com 13 – 21

17 – 21

18 – 21

FCAT CÓRDOBA AFRICAN FILM FESTIVAL

Spain http://www.fcat.es/FCAT_en/ KUNJANIMATION

Cape Town http://www.kunjanimation.org/ PHOTO AND FILM EXPO 2012

Johannesburg http://www.photofilmexpo.com/

18 – 28

15th UNAFF (United Nations Association Film Festival)

Palo Alto, Stanford University, East Palo Alto and San Francisco http://www.unaff.org/2012/

FC Hamman Films Prod Man: Odette van Jaarsveld Three-day corporate event

19 – 21

DINEO’S DIARY: A MOGUL IN THE MAKING

20 – 20

CITIZEN JANE FILM FESTIVAL

Columbia, Missouri http://www.citizenjanefilm.org/ CITY VARSITY OPEN DAY

Johannesburg www.cityvarsity.co.za

25 – 2 NOV AFRICA IN MOTION FILM FESTIVAL

VERITAS

New Vision Pictures and S2 Multimedia Exec prod: Dineo Ranaka Reality DUMISANI FILM TOUR

31 – 2 NOV DISCOP AFRICA

VIENNA BOYS’ CHOIR MUSIC STUDY TOUR

Creative Pictures / Genius Productions Dir: Vusi Dumisani Nhlapo Documentary

PERFECT SHISHEBO

WALKING IN VICTOR’S SHOES

NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series

PURPLE TOWN

WELLBODI BIZNES

MICROSOFT 365

Bragge film & TV Dir: Guy Bragge Corporate

National Heritage Council Educational Outreach Programme

Panache Video Productions Exec Prod: Amos Mlaudzi Corporate Curious Pictures Prod: Nthabiseng Mokoena AFP – Cooking Show 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

Media Village Prod: Debbie Matthee Documentary SummerTime Productions Prod/Dir: Tanya Vandenberg Corporate

Current Affairs Films SA Prod: Jane Thandi Lipman Feature Documentary

Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary WOLWEDANS IN DIE SKEMER

The Film Factory Dir: Jozua Malherbe Movie ZAMA ZAMA

SA JUNIOR MASTERS

Kokamoya Productions Prod: Bertus van der Walt Feature

SCAREDYKAT

Letcosmart Prod: Zibusiso Nkomo Feature

Our Time Productions Dir: Jaun de Meillon Series on SuperSport 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 South african Field Band Foundation Championships

Panache Video Productions Prod: Liesel Eiselen Documentary STETSON HATS

Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Stolen Time

Prod: Eric Myeni Feature Tanzanian Investment Opportunities

Benchmark Productions Dir: Dermod Judge Corporate TASTE OF RAIN

Luna Films / On Land Productions Prods: Bridget Pickering / Richard Pakleppa Feature Technology Innovation Agency CEO Address

Panache Video Productions Prod: Liesel Eiselen Corporate Technorati

Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show

ZION

COMPLETE AFRICA CALLING

Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature AFRI-INFRA OVERVIEW 2010

Panache Video Productions Dir: Adele de Klerk Corporate

AFROX AFRICA INSIGHT EPS 3

FC Hamman Films PM: Odette van Jaarsveld Corporate Video All the president’s ELEPHANTS

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Angels Of The Sky

CDS-Films Exec Prods: Chris Dos Santos, Andrew MacDonald Feature Film AYESAN – FIGHT TO LOSE

SMS Multimedia Inc Dir: Seyi Specialborn Akanbi Feature AWOYE – RETRIBUTION

Sms Multimedia Line Prod: Temitope Akanbi Feature CHAMELEON

NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary CHEETAH DIARIES 3

NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary

ENDANGERED

Evocative Africa-Ventures of Discovery

Clifton Publications Gerald Cubitt Photographic book publication FIRESTONE

Street Smart Creative DOP: Peter Palmer Commercial Food with Friends

Studio Republic Prod: Darren Kerr Talk Show

Free State Balloon Fiesta

Imageworks Prod: Anthony Irving Corporate

JAM ALLEY CREW VS CREW SEASON 2

Red Pepper Pictures Prod: Melody Xaba Music Reality Competition

GLAMOUR – THE REALITY BEHIND DREAMS

ZG Films Prod: Javed Jafferji Feature GULUVA

BIP Films Dir: BI Phakathi Feature Film I Am Woman – Leap of Faith

Plexus Films and Lisa Chait Prod: L Groenewald, M Redelinghuys, L Chait Television Series IMATU 3 DAY CONGRESS

FC Hamman Films Prod Man: Odette van Jaarsveld Three-day Corporate Event Israel Inside: How a Small Nation Makes a Big Difference

Jerusalemonlineu Prod: Raphael Shore Documentary

JOURNEY TO STATE HOUSE

ZG Films Prod: Javed Jafferji Documentary KAN EK SO LEEF

Liquid Gate Creative Studios Prod: Kobus Swart Music Video Ke mo fumane

StreTalk Productions Bobby Mokhema TV drama KING NAKI

Plexus Films Prod: Miki Redelinghuys Documentary Lepelle Northern Water

SummerTime Productions Prod: Sean Gardiner Corporate

Edinburgh 30 – 31

IP&TV ME AND NORTH AFRICA 2012

Dubai http://iptv-mea.com/

Johannesburg http://www.discop.com/ci/pages/show/da7_index_en

NOVEMBER 27 – 28

MY CONTENT

Dubai http://www.mycontent.ae/

27 – 6 DEC CAIRO INTERNATIONAL FILM FESTIVAL

Egypt http://www.cairofilmfest.org/

Lepelle Water Safety Induction

SummerTime Productions Exec prod: Elaine Tribe Corporate Mad Buddies

Keynote Films Exec Prod: Helena Spring Feature MENTALIST MARTIAL ARTS

Panache Video Productions Dir: Ryan Blumenthal Training

SING YOUR SONG

Dir: Susanne Rostock Documentary SUZUKI “ Braveheart”

Bragge film & tv Dir: Guy Bragge Commercial

Sweet Serinity

Our Time Productions Dir: Juan de Meillon Corprate TERMINATRYX – “Midnight” (The Awakening Remix)

Dzivha Production Exec Prod: Walter Gumbu Feature Film

Flamedrop Productions Prods: Paul André Blom, Sonja Ruppersberg Music Video

My Perfect family

TIMELAPSE

National Heritage Council Educational Outreach Programme

THE BETRAYAL

Mutshenzhe

Bunt Onion Productions Prod: Rethabile Ramaphakela Comedy

Team GR8 (for 48 HFP) Writers: Carl Roddam / Deon van der Merwe Short Film

Pananche Video Productions Documentary

Shakarny Inovations Prod: James Kingston Feature

OTELO BURNING

THE MEDUPI WAY

PASEKA EASTER ELEPHANT

TOUCHING LIVES SEASON 2 GHANA

Cinga Productions Prod/Dir: Sara Blecher Drama NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary PROGRESS

Periphery Films Dir: Simon Taylor Feature Documentary ROCKING FUTURE

Panache Video Productions Exec Prod: Adele De Klerk Corporate Launch Factory Dir: Spero Patricios TV Series Supreme Launch Video (Joe Public)

Fuel Media Productions Dir: Paul Llewellyn Corporate

Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video

VISCOUNT DOWN

SAVING RHINO PHILA

WEC Projects Corporate Video

NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SHAKESPEARE IN MZANSI: FORCED LOVE

Dirs: Itumeleng Wa Lehulera and Annalet Steenkamp.

Penguin Films Drama mini-series Shoprite Showcase

SummerTime Productions Exec prod: Janine Truter Corporate

Msasa Enterprises Dir: Harmon Cusack Feature PSP Productions Dir: Philip Schedler Corporate

YOU LAUGH BUT IT’S TRUE

Day 1 Films Dir: David Paul Meyer Documentary

YOUR LOVE NEVER FAILS: FRED DE MEILLON

Our Time Productions Dir: Juan de Meillon Corprate

Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur. E-mail production updates to: online@screenafrica.com October 2012 | SCREENAFRICA | 55

Social | Photos by Kobus Loubser

Wolwedans in die Skemer première at Ster-Kinekor Cedar Square

David Louw and Leon van Nierop

Anna-Marie Jansen van Vuuren and Rolanda Marais

Morné du Toit and Debré Rossouw

Jozua Malherbe, Leon van Nierop and Danie Bester

Anel Alexander and James Alexander

Photos by Kobus Loubser

Opening of The Home Movie Factory

The Bioscope’s Russell Grant

The team behind The Home Movie Factory

IFAS’s Nicolas Doyard and creative director of The Home Movie Factory, Arya Lalloo

Lurdes Laice and Mlibokazi Mayeza

Odirile Moeng and Bakang Moeng

Silwerskerm Film Festival

Kagiso Lediga and Keenan Harduth Chris Barnard, Katinka Heyns, Marius Weyers, Anneke Weidemann, Elize Cawood, Sandra Kotze, Cobus Rossouw and Dawid Minnaar

Dawid Minnaar and Antoinette Kellermann

Katinka Heyns and Gys de Villiers

Paul Eilers and Leon Schuster

Agter die Ligte premiere

Photos by Simba Nyamukachi

Mzansi Magic Market Day

Dineo Moeketsi

Idols Top 6

iSchoolAfrica Youth Press Team

Front of House team

Rolling With Kelly Khumulo Media Launch

Jerry Deeuw and Abel Kagiso

Cecil Barry and Monde Twala

Kelly Khumalo on stage

56 | SCREENAFRICA | October 2012

Itumeleng Bokaba and Amo Chidi

Lauren Mc Diarmid and Rudy Jansen van Rensburg

Heinz Winckler, Joe Niemand and Adam Barnard

Advertisers List |

Photos by Simba Nyamukachi

Adriaan Roets and Ulrich Janse van Vuuren

The judges – Vanessa Singh, Munya Vomo, Nthabi Moleme and Phiwe Madubela

Itumeleng Nkabinde and Samantha Setlaelo

Lucia Mthiyane and Monde Twala

Nokuthula Ledwaba

AJA Video Systems.......................41

IDC..................................................27

Atlas Studios..................................53

Inala............................... OBC

Avmark Systems ..........................54

Jasco..................................IFC

Blackmagic Design..........................7

Jaycor...............................................44

Blade bfx...........................................1

LaserNet.........................................45

Case Connection, The.................54

Monarchy........................................19

Clearwater.....................................13

MultiChoice / DStv.......................17

Concilium Technologies................... IBC

Obeco..............................................46

C Squared.......................................22

Promax BDA Africa......................11

Discop Africa.................................33

Pro-Sales.........................................47

Electrosonic....................................44

SABC...............................................35

Electrosonic....................................52

Seed Entertainment......................37

Gallo Music Publishers................10

Seed Entertainment......................39

Gauteng Film Commission (GFC).a

Sony...................................................5

General Post .................................52

SuperSport.....................................15

Gauteng Film Commission (GFC)..........FC

Vision Cases .................................52

Panasonic........................................25