Screen Africa - July 2011

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DIFF BROADCAST, FILM, COMMERCIAL, NEW MEDIA & TECHNOLOGY NEWS

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Seta landscape shake-up The recent incorporation of South Africa’s electronic media, film and advertising sub-sectors from the defunct Media Advertising Publishing Printing Packaging-Sector Education Training Authority (MAPPPSeta) into the newly formed Media Information Communication Technologies (MICT) Seta has brought

DTT latest In preparation for next year’s commercial launch of South Africa’s migration from analogue broadcasting to digital terrestrial television (DTT), which has been subject to many delays since it was first mooted by Cabinet in 2005, the Department of Communications (DOC) is amending the Broadcast Digital Migration Policy and reviewing the role of the Digital Dzonga.

Screen Africa readers will recall that the Digital Dzonga was set up in 2009 to oversee the country’s smooth migration to digital broadcasting. In April 2010, the then Minister of Communications, Siphiwe Nyanda, dissolved the Dzonga’s Advisory Council (made up of industry experts) on the grounds of possible conflict of interests.

Nyanda’s successor, Roy Padayachie announced April 2012 as a possible DTT launch date in his recent Budget Vote Speech.

– to page 56

many challenges.

A big point of confusion is that, while electronic media and film now fall under the MICT Seta, the print media sub-sector has been incorporated into the Fibre Processing & Manufacturing (FP&M) Seta.

However, the MICT Seta has undertaken to do its best not to let the new landscape affect stakeholders negatively.

Constituents from the former MAPPP-Seta are reportedly happy with their interaction with the new Seta thus far.

As per Minister of Higher Education and Training, Blade Nzimande, the MICT Seta was formed on 1 April and incorporates the former Information Systems, Electronics and Telecommunications Technologies (ISETT) Seta, working within the ICT sector.

A road show on 2 and 3 June

at the Midrand Conference Centre introduced the new MICT Seta, with the purpose of facilitating skills development in media, advertising and ICT, to stakeholders.

South African Screen Federation (SASFED) board member Michael Lee attended the road show and said that the MICT Seta has been ‘really impressive’ so far. “Their road show ran on time, was well organised, and they listened to our comments. They have struck us as ethical, straightforward, and serious about their mandate,” says Lee. MICT Seta CEO Oupa Mopaki emphasises that the Seta wants to be driven by its stakeholders. “With regard to administration, all qualifications that relate to film, electronic media and advertising have been successfully transferred to the – to page 56

Durban’s big industry events For two weeks in July Durban will host three of the most significant events on the South African film industry calendar – the Durban International Film Festival (DIFF) and the two events run in conjunction with it, the 2nd Durban FilmMart (DFM) and the 4th Talent Campus Durban.

DIFF, the country’s biggest and longest running film festival, runs from 21 to 31 July and will open with South African filmmaker Sara Blecher’s debut feature film, Otelo Burning. Among the 10 other local feature films are Charlie Vundla’s How to Steal 2

Million, John Barker’s 31 Million Reasons and Oliver Hermanus’ Afrikaans-language film, Skoonheid.

At DFM (22-25 July) 10 feature film projects and 10 documentary projects by selected African filmmakers will be pitched to international financiers, sales agents and co-producers. DFM is a joint venture between the Durban Film Office (DFO) and DIFF. Fifty emerging filmmakers from 16 African countries will take part in an intensive programme of workshops and master classes as part of the – to page 56

GOOD FOR A LAUGH: A scene from the new South African comedy, Taka Takata, one of the many local films to screen at the Durban International Film Festival. See page 37

Cape film permits back online Things are looking up for the Cape Town film and commercials industry with the re-activation of the online booking system for film permits as well as reported improvements in the soured relationship between the Commercial Producers Association (CPA) and the Cape Film Commission (CFC).

Screen Africa reported in April that the situation in Cape Town looked dire after the resignation of the CPA and the South African Association of Stills Producers (SAASP) from the CFC in February, due to a lack of confidence in the CFC board and the fact that the turnaround of film permits remained slow while problems in accessing locations persisted.

Following a meeting in June between the CFC, CPA and Cape Town Film Permit Office

(CTFPO), CPA chairperson Peter Carr says although there are many things that still need to be worked on, they are seeing action and a firm commitment towards improvements by the City of Cape Town.

“It is pleasing to announce that as a result of our complaints there is already a huge improvement in the standard of operations within the CTFPO which is really where most of our concerns lay. Head of the CTFPO Thembinkosi Sibanda announced at the meeting that the upgraded technical systems and additional staff have been approved in line with the CPA proposals made some time ago.

Systems will be tested and staff trained ahead of next season for a much more efficient permit office,” says Carr.

The city’s Online Film Location Booking System was re-activated on 4 July, after the previous bugs were fixed and further enhancements made.

Due to requests from the industry the re-activation is also – to page 56

From the editor

Festivals, markets and technology galore!

Welcome to this bumper issue of Screen Africa, which will be distributed at the Durban International Film Festival (DIFF), the Durban FilmMart (DFM) and the biennial Mediatech Africa Advanced Technology Trade Fair in Johannesburg.

We provide extensive coverage of these important industry events in this issue. For instance, you can read about all the exciting new South African films that will screen at DIFF and about the informative workshops that form part of what is the country’s biggest and longest running film festival.

Anyone working on the technology side of the local film and broadcast industry can feast their eyes on some of the latest technologies available, in our Mediatech Africa special feature. Much of this technology is fresh from NAB in Las Vegas. You can also read about the major technology changes that have taken place since the last Mediatech Africa event in 2009.

Our front page story, Seta landscape shake-up, gives insight into the new Sector Education Training Authority (Seta) formed after Minister of Higher Education and Training, Blade Nzimande dissolved the Media Advertising Publishing Printing Packaging-Seta (MAPPP-Seta), which housed the film, electronic media and advertising sub-sectors. As Screen Africa readers may recall, the history of the MAPPP-Seta was riddled with allegations of financial mismanagement and corruption and was eventually put under administration. However, the MAPPP-Seta stabilised in 2010 so it was surprising that the Minister chose to dissolve it. Our story reveals that the new Media Information Communication Technologies (MICT) Seta, which has taken over the film, electronic media and advertising sectors, certainly seems ready and willing to serve its constituents.

It is encouraging to read in another of our front page stories, that there has been an improvement in the film permit situation in Cape Town and in the relationship between the Cape Film Commission (CFC) and the Commercial Producers Association (CPA). Cape Town must strive to be as film friendly a city as possible, if it is to continue attracting foreign filmmakers to its spectacular shores.

The local content pay-TV channel, Mzansi Magic, celebrates its first birthday in July. As per its mandate Mzansi Magic has been commissioning local content since inception and continues to do so.

Its achievements over the past year are documented in this issue.

South Africa’s migration from analogue broadcasting to digital terrestrial television (DTT) has been many years in the planning and punctuated by several long delays, so it’s reassuring to hear from the Department of Communications (DOC) that progress is being made as the government and industry prepare for the commercial launch of DTT in April 2012 (as per Minister Roy Padayachie’s Budget Vote Speech). The logistics are mind-boggling – millions of set top boxes (STBs) will have to be manufactured in time for the launch and the public educated as to why they will have to purchase a R700 STB just to watch free to air television. (See front page story) Joanna Sterkowicz

SCREENAFRICA Editor: Joanna Sterkowicz: editor@screenafrica.com

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

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

Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Hermione Ballinger: hermi@screenafrica.com

Contributors: Andy Stead, Karen van Schalkwyk, Martin Chemhere, Ian Dormer, Peter Bretherick Sub-Editor: Tina Heron Ratings: Enid Venter enid@ihjohannesburg.co.za Head of Design: Trevor Ou Tim: design@screenafrica.com Website & Production Updates: Anusha Dayal: info@screenafrica.com Subscriptions: Anusha Dayal: info@screenafrica.com

Accounts: Marietjie Esterhuizen: accounts@screenafrica.com Front Office: Delight Ngwenya: adminsa@screenafrica.com

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Contents

8

20 SPECIAL FEATURES MEDIATECH AFRICA Changing technology.................. 20 Products on display.........20 – 29

45

39 ANIMATION

INDUSTRY

3D animation spreads wings at Cannes............................. 8

The GFC speaks out.................. 44

FILM TELEVISION

DURBAN INTERNATIONAL FILM FESTIVAL (DIFF) Calling all cinephiles!; Forever film.................................. 37 Feature films at DIFF.................. 38 Documentaries at DIFF............. 39

NEWS Seta landscape shake-up; Cape film permits back online; Durban’s big industry events; DTT latest....................................... 3 Colour TV coming to a small screen near you; Digging up secrets from the mine; SA novel on screen....................... 5 Doccie explores racism in SA; Crowd funding in perspective; Primary school rivalry in new film....................................... 6 Historic indie cinema chain expands; Spreading the risk...... 52

46

sePedi series highlights boys’ rite of passage................... 10 Mzansi Magic celebrates a year of success............................ 12 Austro-German production shoots in SA................................. 45 Soccer lifestyle show revamped...................................... 50

South Africa shoots for the world............................... 45 Retribution to shake up SA distribution; New Afrikaans romcom hits screens.................. 46 A letter to Mandela; Growing pains of a short film................... 48 New NFVF exec ready to face challenges...................................... 50

TRACKING TECHNOLOGY

AFRICA

Movievision goes on the road; ON-AIR’s big project; Avmark wins GCIS contract.................... 16 The loudness wars; New products for SA........................... 18 Optical fibre connectivity for everyone............................. 32 / 34

Portrait of a vice president; ZIFF festival director exits........ 54 New anti-piracy tool; Doc exposes environmental waste; Uncovering modern-day slavery............................................ 55

REGULARS DOCUMENTARY The quest to understand a dictator.......................................... 42

Adcetera............................. 14 / 15 Audience Ratings......................... 57 Vital Sta’tistiks.............................. 57 Production Updates......... 58 / 59 Close up........................................ 60

| NEWS

Colour TV coming to a small screen near you A new South African TV show takes an irreverent and satirical look at the country’s coloured community.

Brand Bernie Productions, Bonngoe Productions and Jungle Works are the producers on Colour TV, a 13-part series which broadcasts on SABC2 from 8 July.

Executive producer Levern Engel of Jungle Works explains that the concept for the show evolved two years ago. “The idea was developed by Bernhard (Bernie) Baatjies who originally suggested a concept called CNN (Coloured News Network). He saw a niche in TV content

MAKING MAKE-BELIEVE – Eloise Cupido, Jade Bronwyn, Kim Cloete, ‘Tyren’, Merlin Balie, Terri Ann Eckstein, Wayne van Rooyen and Quanita Adams

that would talk directly to the nation with a coloured voice. After months of research Bernie discovered that storytelling (and comedy) was the one thread that really unified the community. The idea of a make-believe television network, run by the coloured community, was born.”

It was Engel and a group of talented actors who created the framework for the series. Says producer Kathryn Matulovich: “They sat down and applied themselves to something they considered to be fun, fresh and an opportunity for voices that have not been heard before to be heard. It is one of the largest collaborative projects we have undertaken for a while.”

Colour TV aims to create a platform for South Africans to laugh at themselves. “It invites viewers to laugh along at a demographic that is comfortable about exploiting their own idiosyncrasies in a light-hearted way to bridge a sociopolitical divide.”

This type of project has never been commissioned by public service broadcaster SABC before. Engel explains: “Their response from the start was very positive. The SABC is very proud to be able to give Colour TV a platform to talk directly to a broad South African audience. After all, the coloured community makes up 9.1 % of the South African population.”

Digging up secrets from the mine

STORIES FROM UNDERGROUND – David Max Brown

Norman Maake

The Internet is fast becoming a way to expose your film and pilot it to a global audience. Local producer David Max Brown and acclaimed director Norman Maake (Home Sweet Home, Soldiers of the Rock) recently went this route and showed the three-minute promo of their upcoming feature film online.

Max Brown explains that the trailer for Short Cut is designed to show what the film is about and to raise money and awareness. “You can visit the website (www.internationalmovietrailerfestival. com) and vote for the film. The promo forms part of a global competition called International Movie Trailer that offers a prize of $5 000 (R34 000) to the winner of the audience award. We thought it was worth a shot and entered our promo.”

Letisha Singh first approached Brown

with the feature script of Short Cut. He says: “I read it and immediately knew it was a great story that would be perfect for Norman Maake to direct. Once we decided to shoot the trailer we approached Kodak, the Film Lab and The Refinery and they all came on board. We decided to shoot on 16mm as this gave us the look we wanted.

“The crazy thing at the moment is that if you make a film using digital technology then there are too many other digital films and not enough screens with digital projectors, so this also influenced our decision to shoot film.”

Short Cut centres on Zimbabwean refugees who work in South Africa’s gold mines. Says Max Brown: “The film focuses on black farm workers who are seen by Mugabe’s war veterans as collaborators with European ‘colonisers’ and are forced off their farms to become refugees. They cross the border into South Africa looking for a better life, only to be forced into slavery.

“Letisha’s research revealed that these refugees are sweet-talked to work on the gold mines only to find out later that they are forced into slave labour in illegal mines. The mines are abandoned shafts where the miners work and live for months at a time under the ground.”

Max Brown hopes that some Zimbabweans and South Africans who have made money from mining will “invest in the film and realise the commercial potential of a great action adventure movie that also packs a social punch.”

The biggest challenge in making the trailer was building the mine. Max Brown and Maake got together with Greneve SFX and shot on their farm just outside Soweto. Flo Ballack “did a fantastic job to dress the set and make it look authentic.”

Max Brown explains that he really wanted to do the film because of an instinctual response to the screenplay.

“The story is gripping and I believe it makes a fantastic feature film because it has such deep social value. It is passion that gets things done in this industry and everyone who came on board realised the energy, possibilities and importance of a film of this nature.”

– Karen van Schalkwyk

Developing the show Once the show’s format was locked down, Engel and her team spent over three months in research and content development. Many content ideas were rooted in the personal experiences of the team. Scripts were workshopped to ensure a balance between storytelling and comedy. The cast was carefully chosen to bring the series to life.

According to Engel, the production schedule involved shooting 13 different segments of the show. “These were shot over eight weeks in studios and locations in and around Johannesburg and the Western Cape.”

Colour TV was shot on a variety of different digital formats. Engel continues: “We shot on Digibeta in studios to accommodate the chroma key and used the digital HD camera card on the Panasonic AF101 to acquire the necessary depth of field on location. Each segment is shot to reflect the specific genre.”

Matulovich believes that the South African audience will respond extremely well to the series. “I think they will find it a refreshing offering for Friday night viewing. Given the format of the show there is a little bit of everything for everyone.” – Karen van Schalkwyk

SA novel on screen

DEBUT FEATURE – Barry Berk

Director Barry Berk will start production on his first feature film, a psycho-sexual suspense drama called Sleeper’s Wake, in August.

Berk is known as a writer and director of television series including Yizo Yizo, Gaz ‘Lam and The Lab and directed an award-winning short film, Angel, in 1996.

The screenplay for Sleeper’s Wake was adapted by Berk from a novel of the same title by South African author Alistair Morgan. According to Berk his friend, novelist Damon Galgut, was involved in

the novel as an editor and thought it would make a great film.

After reading the novel – about a man who survives a car crash that killed his wife and daughter – Berk agreed: “It is a psychological exploration of a man struggling with grief and shows how to overcome grief we sometimes have to take ourselves to even more radical places to come out the other end.”

Another interesting aspect of the book is a transgressive relationship between a 46-year-old man and a 17-year-old girl, both dealing with grief. “I thought it was fertile ground for exploration, and the book also contained some wonderful visual elements,” explains Berk.

The film will be shot by director of photography Alard de Smidt in HD on a single camera. Berk says the film has a budget of R6m and will be funded by a Department of Trade and Industry (DTI) rebate, as well as private funders.

While it will be an art house film and stylistically more European than American, Berk hopes it will reach a wider audience and also fare well on the international festival circuit.

– Linda Krige July 2011 | SCREENAFRICA | 5

NEWS |

Doccie explores racism in SA CREATIVEly INDEPENDENT – Phule Diphare

P

ule Diphare can be described as one of the most ‘independent’ documentary filmmakers in South Africa as he finances his own work. Fall of the Tomb is Diphare’s most recent documentary.

The film is a sequel to his acclaimed documentary JG Strijdom is Very Very Dead (1999). “Fall of the Tomb chronicles my return to Strijdom Square, the fall of the Strijdom statue and its aftermath. It has been a long time in the making and we are finally in post-production.

However, it’s been worth the wait as the

Crowd funding in perspective

M

ore and more South African filmmakers are using the Internet and websites to get their films financed.

Shady Valley is the latest local film to do so and is pitched as a horror comedy that centres around a geeky teenager who uses made up karate moves to slay demons.

The film’s producer is Pascal Schmitz from Amariam Pictures and the co-producer is James Adey, who is also the director of photography (DOP).

Tyron Janse van Vuuren is the director.

Schmitz and his team have used Twitter, Facebook and the film’s website to generate over 6 000 views of their crowd funding site – www.indiegogo. com/Shady-Valley. The strategy is to encourage people to be involved in the early stages of the film’s development and to reward contribution, big or small, 6 | SCREENAFRICA | July 2011

film is now more relevant as it explores current racial undertones in the Tshwane CBD.” Fall of the Tomb is a collaboration between Diphare and Swiss filmmaker Thomas Imbach. “Thomas was a workshop facilitator at Encounters 1999 and gave me artistic guidance in refining my vision on Strijdom is Very Very Dead.

We became good friends and when he visited me in Pretoria, we went on an impromptu shooting spree exploring racism and socio-cultural freedom in the city. I met him again in 2002 in Zurich when I was invited by Pro Helvetia to be a resident director at Atelier Zerodeux and he gave me the master tape he had preserved for me. I found that we had shot excellent material.

“My primary objective with Fall of the Tomb was to make a film that interrogates the new socio-political dispensation – a

with ‘cool perks’.

“These early contributors are helping to get the project off the ground, so their perks include everything from VIP website access to special thanks in the film credits to personalised Shady Valley artwork,” explains Schmitz. “So far the project has been supported by people like web guru Arthur Goldstuck and 5FM’s DJ Poppy Ntshongwana. We have managed to raise $5 220 (R35 287) and need to raise an additional $10 000 (R67 600) to shoot a three-minute pilot.”

The Shady Valley team chose the horror comedy genre because they consider it closest to real life. “It feels like I have been working on the script since the early 1940s but it actually it only two and a half years,” comments Schmitz.

Tyron Janse van Vuuren explains the crowd funding concept. “It’s is not something that you launch and then sit back and watch the funds roll in. We have learned that it takes a consistent marketing push to keep it going – this includes personal messages to potential contributors, constant social media updates, Facebook and Google ads and radio and print interviews. We have had some success raising money for the pilot but it would a huge challenge to raise a feature budget in the same way.”

post apartheid era faced with its own realities and expectations. Like all my previous work, Fall of the Tomb is an experimental personal installment.”

The documentary is shot cinema verite.

“We went this route because the film revolves around a conversation between two main characters, one of which is me, and has a casual look and feel,” comments Diphare. “Our locations include salons, boutiques and hawker stalls. It was creatively stimulating to work on an emotive and sensitive subject like racism and social freedom.”

As for self-financing his films, Diphare notes that this is the most difficult route any documentary filmmaker can take. “I have developed a thick skin and have been penniless many times in my career, but I have always been able to complete my films. Luckily I have developed collaborative relationships with a circle of

creative people who share my vision. The advantage of self-financing is that I maintain editorial independence and creative freedom.”

Editor Lauren van der Merwe is one of Diphare’s collaborators. “She is fantastic and always does great work,” says Diphare. “She helped me realise my other works, Dance of the Graves and Sister in Wonderland. I really respect her and adore her creativity and sensitivity as an editor.”

Fall of the Tomb will screen at the Pretoria Art Museum in September as this is heritage month and the film raises pertinent issues about racism, heritage and our new society.

“I aim to take it to alternative viewing circles as with my previous work. The Gauteng Film Commission has been helpful in this regard and supported my screenings,” concludes Diphare.

– Karen van Schalkwyk

Schmitz adds: “Crowd funding is incredibly useful for so called seed funding. Once we have the pilot and a complete package for funders and distributors, we will look at more conventional financing models for most of the budget.

“By investing in film crowd funders, especially those who invest larger amounts, feel they have a degree of influence in seeing the kind of films they want to see on the big screen. I think it’s a kind of democratisation of the film development process.”

Janse van Vuuren maintains that in the future crowd finance for films will become more prevalent. “As media converges and everything becomes more connected, audiences naturally become more involved in the way content is developed and distributed. Crowd funding makes your project very public early on so you can immediately tell if the concept has traction and discover why people like or don’t like the idea.”

The Shady Valley feature film is scheduled to go into production in 2012. – Karen van Schalkwyk

Primary school rivalry in new film

qualities in her personality that she learns what a true leader should be,” explains Du Toit.

Time was a big challenge in making the film, since they were working with children and had to follow the rules of the Department of December will see another Education.

Film Factory movie hit “However, we were South African screens – this very fortunate to time a family comedy aimed at have a hero cast the primary school audience. of very natural According to producer young actors who Danie Bester Hoofmeisie (Head all understood their Girl) is an original, fresh story characters. We were that captures the essence of a surprised by how market never targeted by a dedicated and well local film before. prepared they were on First time feature director New Market – Morne Du Toit a daily basis. It was Morné du Toit says during really humbling to screenwriter Samuel work with such raw talent,” says Du Toit.

Ferreira’s research the biggest question The film, shot on a Canon 5D by was: what is the one thing that schoolgirls DOP Tom Marais, was funded in part by want to achieve in Grade 6 and 7, and equity finance, the Department of Trade what causes the most conflict? The and Industry (DTI) rebate and product answer led them to make a film about placement.

Grade 6 girls and their obsessed mothers, Bester says post-production will be who all share the desire to become head done at Fix Post Production and the film girl of ‘Laerskool Stumbo Pops’. will be released on 16 December on print “The story follows Nadia van Heerden, in Ster-Kinekor, Nu Metro and an orphan who lives with her cynical independent cinemas countrywide. grandmother and shares this same goal. It – Linda Krige is only after Nadia sacrifices the good

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ANIMATION |

3D animation spreads wings at Cannes

By Linda Krige

While July sees the release of South Africa’s eagerly anticipated first 3D animated feature Jock of the Bushveld, another world class 3D animated feature is waiting in the wings.

Z

ambezia is produced by Stuart Forrest and his partners at Cape Town-based Triggerfish Animation Studios Anthony Silverston, Mike Buckland and James Middleton, and directed by Wayne Thornley. It tells the story of a highspirited young falcon who leaves the remote outpost where he grew up and travels to the bird city of Zambezia against his father’s wishes. He hopes to join the prestigious Hurricane defence flyers who patrol the skies to protect the famed bird city.

look will attract audiences. “We’ve had a lot of comments on how it looks different to typical Hollywood studio movies. We also have very appealing characters and beautiful landscapes, which are often lacking in independent animated films. The music is also quite unique,” explains Forrest.

The film went into production in June 2009 and post-production should be completed in October 2011. More than 100 people have worked on the different stages of the project over the past two years.

Cannes At the recent Cannes Film Festival in France a 20-minute 3D promo and a sneak preview of the whole film in 2D was shown, and was very well received.

“We made great sales and have so far sold to 26 territories,” says Forrest. “It’s given us the confidence to raise money to get the sound done at Skywalker Sound in San Francisco, and to add some celebrity voices to boost its marquee value.”

According to Forrest the film was conceived around a table over lunch, and development on the feature started in 2006.

“It was inspired by the idea to tell an archetypal coming-of-age story about a boy who leaves his father to go to the big city, then learns that he needed his father all along and they are re-united,” says Forrest.

The film is aimed at families, which Forrest calls a ‘tough’ audience. “That means it has to appeal to everybody, so it simultaneously needs to be understood by a five-year-old and not seem banal to a 30-year-old.”

However, he believes the film’s unique 8 | SCREENAFRICA | July 2011

stereoscopic workflows proved to be the biggest. “Slowly — as everyone became fully exposed to working in 3D — the process slip streamed itself,” says Cunnington.

Another challenge was monitoring the stereoscopic footage easily and accurately, and in full colour. Viewing the work in stereo is also critical. “Knowing the rules does not fully prepare anyone for the reality and scope of stereoscopic moviemaking, but experience sure helps,” concludes Cunnington.

The team used Autodesk Softimage for CG elements and Nuke for compositing.

Director Wayne Thornley explains another challenge during production — balancing structure, character arcs and humour in a way they liked. Meeting the expectations of an American animated film audience was also more challenging than expected.

“We did several re-writes very late in the game in response to feedback from US test audiences. Though this put tremendous strain on our pipeline it was the right thing to do and definitely worth it. Our ambition exceeded our render power somewhat, but the technical departments worked miracles,” says Thornley.

US voices

3D challenges Lead stereographer Chris Cunnington says 3D animation presented a whole unique set of challenges, of which educating the team to be sensitive to the

Casting also proved challenging. “We really wanted to have an all-South African voice cast and so we cast and recorded the whole movie here in South Africa. Unfortunately the results were not up to the standards our US partners expect and we had to agree,” says Thornley.

Forrest explains: “It was clear from market feedback that the (South African) accents weren’t accessible to international audiences and we are planning to recoup 98% from foreign sales. We are trying to keep some of the original South African

actors but the standards of the international market are high and the tastes of the US market are very specific in the family demographic.”

The voice talent now includes Jeremy Suarez (Brother Bear) as Kai, Jim Cummings (The Princess and the Frog) as Budzo, Phil Lamarr (Futurama, Family Guy) as Kai’s father Tendai and Jennifer Lewis (Cars, The Princess and the Frog) as Gogo.

Thornley says since there is no established voice over industry for animation in South Africa it was unrealistic to expect local actors to compete with US actors who have decades of experience doing voice overs.

As the film hopes to fare well internationally they contacted US-based Cinema Management Group after hearing they managed the foreign sales on Hoodwinked – the most successful independent animated film ever. “They liked our pilot and took us on. They even brought us the financiers who put up the gap. It’s great if the financiers have a relationship with the sales agent as the trust level is already there,” explains Forrest.

Financing came from South African sources such as the Industrial Development Corporation, the Department of Trade and Industry, The National Film and Video Foundation, Triggerfish and the Services Seta, as well as international funding from Wonderful Works in San Francisco and 120dB in Los Angeles.

Distribution in all territories will be held back pending the US release of the film and Forrest explains that they are only likely to secure US distribution once the film is finished.

Triggerfish is currently in full production on its second feature, Khumba, about a half-striped zebra on a daring mission to earn his stripes, and is in development on a third feature.

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TELEVISION |

sePedi series highlights boys’ rite of passage

By Linda Krige

DOP Chris Vermaak and soundman Sam Masemene

THE GREATER SCHEME – Clement Maosa and Cornet Mamabolo

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13-episode educational youth drama, the first sePedi production in South Africa in many years, is currently shooting on locations in Limpopo and Gauteng.

Skeem Saam, directed by Norman Maake, will tell the story of three teenage friends who grapple with tough issues as they navigate their way from boyhood to manhood in a Limpopo township. It will air on SABC1 on 13 October.

According to creator, producer and head writer, Winnie Serite, South Africans have a voracious appetite for good local content, regardless of language.

“The subject matter will appeal to viewers across the country, and the series will also go a long way toward affirming and promoting the sePedi language and

brings another set of challenges.

“The biggest challenge is that there is no vast pool of experienced sePedi speaking actors to tap into. We held auditions in Limpopo and Gauteng and discovered some hidden gems – we are proud to be nurturing new actors and creating a deeper pool of actors,” says Serite.

Rite of passage

Skeem Saam was conceived in response to a 2008 SABC Education brief for a series about the rite of passage for boys.

According to Serite the series is loosely based on a successful radio drama called Ispecial, of which they produced two seasons with SABC Education.

“In townships there are no formal rituals to mark the transition into adulthood, so teens often celebrate in their own misguided ways. Stories of teenage boys’ attempts at a rite of passage often make news headlines,” explains Serite.

The team of five writers did some research and drew on Patrick Seleka, Clement Maosa, Cornet Mamabolo and Lydia Mokgokoloshi their own experiences and those of people around them to develop culture,” says Serite. storylines.

To make the series more accessible, Serite notes: “Central to this drama is hearing impaired viewers, as well as those friendship and how guys use it to build who don’t understand sePedi, will be and assert their identity. Hence the title accommodated with wall-to-wall Skeem Saam, which refers to a friendship subtitles. However, working in sePedi 10 | SCREENAFRICA | July 2011

1st AD Robert Benjamin, DOP Chris Vermaak and director Norman Maake

clique and all the scheming and collaborating that goes on between the boys as the story unfolds.”

Characters Tbose Maputla and Kwaito Seakamela form the backbone of Skeem Saam and the series starts as they celebrate Tbose’s 16th birthday and the fact that Kwaito just won an essay writing competition. However, a hit and run accident thrusts the boys into challenging circumstances and tests their friendship.

Storytelling in the series is driven by the boys: “It also draws upon a wide pool of other characters to create a world ripe with dramatic possibilities. It gives us a glimpse into different family structures – nuclear, single-parent and gogo-headed – and the role parents play in helping boys to become responsible men.”

Fresh setting The setting of the series is the Turfloop township in Limpopo. Serite says Turfloop is a place of contrasts where rural meets urban, where working class meets middle class and where university students mix with ordinary folks. “The setting was chosen because it allows for the exploration of issues relating to community life and has a different social culture to places such as Soweto and Alexandra, where previous SABC youth dramas have been set. This gives us an opportunity to portray new, fresh

characters with a culture that is rarely seen on our television screens.”

Production has passed the halfway mark and according to Serite one of the challenges has been shooting summer scenes in the rough winter weather. They are shooting on locations including Turfloop Limpopo, TembaHammanskraal, Sasani Studios and Tembisa.

Director of photography Chris Vermaak is shooting on a Panasonic AF-101 in full HD at 50 megabites per second to a nanoflash, which allows for seamless integration into Final Cut Pro. Therefore no transcoding is needed as footage is delivered as an uncompressed quick time file using an XDCAM codec.

“We have put together a small but strong team of people that work well together,” explains Serite, “and we are putting in long, but satisfying hours.”

The target audience for the series is youth aged 14 to 34, with spill-over to age groups on either side. Serite believes the talented cast, a mix of experienced and new actors, together with the strong, emotionally engaging stories will attract viewers to the series. “The stories will resonate not only with young people across South Africa, but also with their parents,” she explains.

Funding for the production came from the SABC and The Gauteng Film Commission.

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TELEVISION |

Mzansi Magic celebrates a year of success

Tonight with Trevor Noah – Terry Pheto

When Mzansi Magic was launched in July 2010 it was to create a proudly South African, locally focused, general entertainment channel for television viewers countrywide.

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year later, the channel has done just that – and is entering its second year with the launch of several exciting innovations, including South Africa’s first-ever telenova, a new soapie and an increased focus on the Bubblegum movies that have become such a popular part of Mzansi Magic.

What’s more, Mzansi Magic has also made good on its launch promise to create work for the local television production

My Top10 – Host Tbose 12 | SCREENAFRICA | July 2011

Jacob’s Cross – Prospero, Andile and Jacob

industry: since last year, the channel has created around 350 jobs for local directors, writers, producers, editors, cast, sound crews and cameramen over the past year through an aggressive considered commissioning strategy.

Says Mzansi Magic Channel head, Lebone Maema, “We are entering our second year in the best shape possible with a great mix of the best South African and international, feature films, comedies, sitcoms, drama, talk shows, variety shows, and music shows. Not only have we managed to do what we set out to and create a homegrown entertainment channel, but we have given the local television industry a boost through the many and varied shows that have been commissioned.”

Among these are Redi on Mzansi, Cooking With Siba, My Top 10 @ 10: My Life In Music, Tonight with Trevor Noah, and The Admiral and Akin Go To The Movies, All Acess, – all of which continue as Mzansi Magic heads into its second year.

In exciting news for Mzansi Magic’s viewers, Mzansi Magic’s second year will see the launch of several brand new programmes including the first-ever South African telenova – which takes off from the popularity of these limited-run television serial novel dramas in Latin America. In addition, Mzansi Magic has commissioned its first-ever soapie. Both the Telenovella and Soap will be piloted in 2011 and are intended to commence

Its for Life – The cast

production in early 2012.

“We received an overwhelming number of proposals in response to our request for briefs last year and, as we head into year two, we’d like to thank the industry for their interest in and support of Mzansi Magic,” says Maema.

Mzansi Magic viewers can also look out for a second commissioned comedy/ sitcom, It’s for Life (August 2011) as well as a new international telenova, India – A Love Story. Other new programmes include the popular drama series, Soul Food (August) and Miss South Africa, a reality series launching in September.

One of the biggest successes of Mzansi Magic in recent months has been the Bubblegum films that have been broadcast on the channel. These range from Sello Twala’s Madluphutu series to commissioned features like Who Made Me Pregnant, The Stalker and 48.

“We are now proudly the home of Bubblegum movies,” states Maema.

“We’ve also been actively commissioning, giving us a much bigger pool of these very popular movies to include in our schedule.”

From July, Mzansi Magic also gets a more focused content schedule, enabling viewers to plan their viewing timeously.

Mondays at 20h30 are now Mzansi Magic’s Bubblegum slot while Tuesdays now feature award-winning South African feature films (like White Wedding which the channel broadcast hot off the film circuit in 2010) – also in the 20h30

My Top10 – Rapulana and Tbose

slot. Wednesdays at 23h00 is the regular slot for live music concerts while Thursdays are Mzansi Magic’s variety night with shows like Headline and All Access. Fridays from 19h00 to 23h00 is when comedy takes over the channel and Fridays (20:30), Saturdays (20:30) and Sundays (20:00) are when uninterrupted, blockbuster movies are broadcast.

Mzansi Magic has also become the home for the Mzansi Magic Market Day (September 2011), in association with M-Net Cares. The channel is additionally the broadcast partner for the iSchoolAfrica youth press team programme, as part of its CSI commitments.

With this great mix of content, a strong emphasis on creating quality South African programmes, the showcasing of many homegrown stars, including Siba, Redi, Kenneth Nkosi and Tumi Morake,Trevor Noah, Tshepo Seeletso, Kuli Roberts and Thabo Mokwele and a viewer-friendly schedule, it’s likely that Mzansi Magic will continue to hold its own as one of the top 10 most watched channels on DSTV in its second year. * Mzansi Magic is available to MultiChoice subscribers on DStv Premium, DStv Compact and DStv Select bouquets.

Headline – Kuli Roberts

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Report on the South African commercials industry by Anton Crone

Rubbish rules

Yours truly is in the coffee shop in Cape Town’s Long Street, just around the corner from Velocity Films where I hook up with their new director, Gregg Bailey. Long Street types are streaming into this little enclave – a slick, graphic art gallery come caffeine den.

We’re here to discuss Bailey’s first campaign, conceptualised by creative director, Gavin Whitfield of Saatchi & Saatchi, Cape Town. Created for Tuffy Recycled Refuse Bags, it picked up ad of the month in March. Not bad for a director’s debut, and it’s clear to see why: it breaks the rules. Risky stuff in this day and age.

Bailey knows a little something about risk. He studied at Red & Yellow with the intention of getting into an ad agency, which he achieved. “But after a shoot I walked off the set realising I wanted to be on the other side of the lens.” So it was back to square one, and what followed was a turnaround that took him from film school in New York to the side of Velocity Film’s Greg Gray, his mentor for many years.

Bailey and I talk about what makes the Tuffy

campaign stand out.

The first rule of South African advertising is to appeal to the demographic. However, the protagonists of the Tuffy campaign are not South African housewives; they are young, single types and the voiceover is slick American.

Second rule: do it in 30 seconds. These are 60-seconders with loads of empty space.

Third rule: don’t let viewers know it’s an ad; lure them in then whack them at the end. Not here, there’s an intro up front with title, voiceover and scene with a rubbish truck, all highlighting the fact that this is as an ad for Tuffy Refuse Bags.

In the face of doubt from many sides about this formula, Bailey and Whitfield stuck to their guns and

brought what they had in their minds to life.

The American voiceover gives it a paradoxical twist that stands out from the oft false patois of South African advertising. The 60 seconds of space enhances the comedy, helps it breathe and draws the viewer in, and the intro up front says: “We’re not trying to pull one over on you.”

Breaking the rules is preached but seldom practiced in the ad world. It’s a shame because that’s what it takes to stand out. It’s utterly essential in a world of product parity, low advertising budgets, 130 TV channels and an avalanche of social media channels. But marketers and agencies are increasingly conservative, adhering to outdated formulas when they should be bolder.

Hats off to Tuffy for not recycling old rubbish.

Of meerkats, platypusses and Zoo Zoos Some folk love the Vodacom meerkat. Some abhor him.

A friend of mine said that the recent blue to red transition was horrifying, that the meerkat appeared to be painting the world in blood. He talks of the meerkat as a creature that haunts his dreams and has him cheering with glee every time he watches Meerkat Manor to see a buzzard carrying one of the scrawny little flea-bags away to feed its ravenous young.

One can see the intention behind the meerkat: a speechless, animated, racially obscure and non-age specific ambassador that nobody, and therefore everybody, is meant to identify with.

Vodacom’s sister company, Vodafone, has managed to appeal to an even larger and equally diverse market in India by using speechless, animated looking figures that nobody, and therefore everybody, is meant to identify with.

Sounds similar to the meerkat, but the characters at the centre of their campaign, called Zoo Zoos, are very different. They are actually real life actors in suits made to appear like animated figures. Directed by acclaimed Indian director, Prakesh Varma, represented in South Africa by Cape Town’s Platypus Productions. Platypus is also responsible for every part of the production.

All aspects of the production took place under one roof. Platypus offers everything from high-calibre directors, such as Ian Chuter, Fiona MacPherson, Vicci Turpin, Michael Buckley and of course Varma, right through the line from editing to sound to animation and beyond.

Producer of the spots and owner of Platypus Productions, Ian Chuter, says: “The Zoo Zoos started with Vodafone’s sponsorship of the IPL cricket and have 14 | SCREENAFRICA | July 2011

gone far, far beyond. The paradox of live figures that look animated adds to the appeal, and their simple form and actions enhance the universal humour. Young or old they seem to appeal to everybody.”

Chuter is best known in South Africa for the Woolies’ food campaign and has just completed a Carling Black Label campaign shot in Moscow and Joburg and flighting on all networks. For now he is most proud of the Vodafone work. “This Campaign has been a sea change for us.”

The Vodafone Zoo Zoos won both of the only Grand Prix awarded at the Advertising Association of India ABBY awards in 2009 for campaign and craft. They

have become extremely popular on YouTube and about 100 different Zoo Zoo ads have been televised since, each driving a different message home in a thoroughly entertaining way.

AD cetera

South African (Pencil) lead One could argue that the Cannes Lion is the gong to have, but when you’ve got a stubby yellow pencil on your award shelf, that heavy metal kitty is demoted to a doorstop.

Of the few South African nominations for D&AD pencils, only one made the grade and that was Sean Metelerkamp’s music video, Zef Side, for Die Antwoord. A disappointing turnout for the ad world, but maybe there are some clues in this video that can increase the South African pencil tally.

It’s an unashamedly honest view of culture; not the stuff we are used to. It doesn’t come off a storyboard, in essence the video traces the roots of the band. It’s Die Antwoord and a camera in their mum’s backyard.

Their influences are right there at the core. A city council bin, discarded car door and vibracrete faux picket fence. It’s street side for a slow burn on the neighbour’s Kawasaki and a slo-mo close up of Ninja’s swinging dong as it bounces against the fabric of his Dark Side of the Moon revival boxers.

Metelerkamp is in New York when I reach him and among other accolades, he’s recently picked up a YouTube Play award for the video.

He’s chuffed about the pencil and the other awards but he doesn’t put too much weight on it. As he says: “Too many accolades, not enough food.”

One can tell he’s spent time with Die Antwoord. He’s shot stills and video for them and understands and respects them enough to let them go; be themselves; show their stuff without forcing it. You can’t imagine the band being any other way. When the camera leaves, Die Antwoord remains.

Do we know the people we portray in South Africa? Do we spend enough time with them? Do we make them up, feed them lines and create personas that don’t exist? Are the personalities we see in the media only what we expect them to be?

Here in South Africa we have strong characters and cultures that the western world can’t touch, that excite them because they are unique in their eyes.

Maybe we should portray them as they really are. Maybe this is ‘die antwoord’ (the answer).

The rise of data

Entertainment can be accessed by anyone with an Internet connection. It also means information is more readily accessible. But pure data has never really competed with online entertainment, until

recently that is.

Graphic designers are using animation to portray the facts in ways that are incredibly engaging. Infographics or data visualisation has become a staple of cash strapped aid and environmental organisations needing to engage and activate viewers. Where a pamphlet was used to illustrate their cause and the effect one could have by donating money or making a change, now that information can be expressed poignantly in flash animated film and shared with the world ensuring far greater results.

More and more companies are employing designers to animate their business manifestos, training programmes, achievements and the like, and economists and sociologists have ditched Power Point for this far more engaging medium, often transferring their presentations straight to the world wide web.

Suddenly the facts aren’t so tedious. They’re impactful, astonishing and sometimes mindblowing and if funny cat videos are the staple of the web surfer’s diet, here’s something to balance things out.

TRACKINGTECHNOLOGY |

Movievision goes on the road

NEW STRATEGY – Chris Kennedy, John Harrison, Thomas Taddei, Kim Reed, Kobus Visser in Cape Town

S

outh African professional lighting equipment supplier Movievision recently embarked on road shows in Durban, Cape Town and Johannesburg to launch products from its two new agencies, D.T.S. and ChamSys. In addition Movievision also had demo units of the latest LED products from Socanland.

Says Movievision sales director Kim Reed: “This year

we took the decision to embark on our first ever road shows as an alternative to exhibiting at trade shows. The road show strategy allowed us to target specific end users in Johannesburg, Durban and Cape Town and served as a great launch pad for our new products, such as the D.T.S. Delta 10 and the ChamSys MagicQ lighting console, among others. Software director of ChamSys Chris Kennedy and D.T.S.’ Thomas

Taddei joined us on the road shows.”

Kicking off on 23 May, the road show held at Durban’s Docklands Hotel attracted more than 30 people. “This was a very big turnout for Durban,” notes Reed. “Three days later we moved to Cape Town and held a road show in conjunction with the monthly Wrap Party at the Peninsular Hotel, which was incredibly well attended. On 27 May we moved to Southern

Avmark wins GCIS contract MAJOR INSTALLATION – TBN’s Master Control Room

ON-AIR’s big project

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major project for ON-AIR Systems this year is the complete installation of a six-camera HD chain with master control room, venue set, studio set and green screen room in East London for Trinity Broadcasting Network (TBN).

“This is a significant project for us,” says ON-AIR Systems director of Technical Operations Gavin Flanegan. “The entire budget for this project was handed to us and includes all the wet works, as well as the design, installation and commissioning.

We will also train the client’s operators as soon as the project 16 | SCREENAFRICA | July 2011

has been completed.

“Such a major project is not without challenges, although most challenges associated with the design and installation seemed minor in comparison to those generated by the disaster in Japan in March. This resulted in some delayed deliveries of broadcast equipment to my clients during this particular project and others for that matter.”

ON-AIR Systems recently partnered with other systems integrators and broadcast solutions companies to ensure their ability to provide a full range of equipment and services to the industry.

I

n May this year South Africa’s Government Communication and Information System (GCIS) Video Unit awarded a contract to local company Avmark Systems to supply four Panasonic P2HD cameras and their peripherals. The handover of the equipment took place at the GCIS facilities in Pretoria early in June.

Avmark’ s Renato Acquisto comments: “We tendered for

“We have not secured any additional distribution rights and / or agencies this year so far but we do have some in the pipeline but they can’t be announced until all agreements are finalised. OASYS, our broadcast automation partner from the UK, remains one of our flagship products and we continue to grow this product as an inexpensive channel in a box solution on the African continent,” concludes Flanegan. – Andy Stead

Lighting’s Mai Studio, also in Cape Town.

“The Johannesburg road show took place on 31 May at Atlas Studios. All the road shows proved very successful and generated a huge amount of interest,” comments Reed.

It was at last year’s Plasa Trade Show in London that Reed was able to secure the D.T.S. agency, quite a coup for Movievision as they had not supplied intelligent lighting before.

Reed notes that one of the main selling points of D.T.S. products is that they are all entirely manufactured in Italy and don’t utilise components from other parts of the world.

“Consequently, D.T.S. is able to give a three-year warranty instead of the standard two-year warranty. D.T.S. LEDs (Light Emitting Diodes) incorporate RGB (Red Green Blue) + White so that when projected produce a grey scale shadow. D.T.S. only uses Philips LED lamps – a 3watt LED powering to 1.5watt to ensure long life and a uniform colour that doesn’t fade as the LED gets older. D.T.S LEDs reportedly last for 100 000 hours.”

The D.T.S. Delta 10 Wash Zoom, the brightest LED colour changer in its category

with 5 000 Lux at 5m (15°), proved particularly popular at the road show, as did the NICK 600 Wash , which features a motorised Zoom 13°- 40° with high efficiency optic.

According to Reed, Movievision was keen to secure the ChamSys agency as they have a very strong market share in Europe. “We hired Kobus Visser and immediately sent him to Europe for training, and specifically to provide the necessary back-up, support and guidance for D.T.S., ChamSys and all the other Movievision agencies.”

Says Visser: “At the road shows the ChamSys MagicQ MQ100 Pro 2010 generated a lot of interest as it provides an immensely powerful lighting control console in a compact size. It has full theatre cue stack control on 10 different playback faders, as well as fully configurable FX and on screen cue editing.”

Also popular at the road show was the Socanland LED camera light. Visser notes that the light weighs less than a kilogram and can easily be attached to cameras. “It goes to daylight or tungsten with a click of a button and dims down to zero. It is an incredibly bright light.”

this contract a while back, and were delighted that GCIS decided to go the Panasonic route. As per the contract we supplied two Panasonic AG-HPX372 P2HD cameras and two Panasonic AGHPX174 P2HD camcorders, including peripherals. Avmark will supply full service back-up for the equipment.”

Says Cindy Ludick, GCIS Video Unit manager: “We are extremely happy with the Panasonic equipment. It offers compatibility with most broadcasters and exceptional mobility. This is especially true of the HPX 174, which is a small compact camera and easy to transport.

“The P2 format has gained huge acceptance worldwide and, being a file based recording

format, offers a secure way to record content. It has the ability to move files around in MXF format and allows for archival retrieval.

“On completion of an event or a state visit the GCIS Video Unit cameraman immediately edits on his Mac Book using Final Cut Pro and publishes his inserts on the Presidency’s YouTube website, as well as the Government website.

“The reason for acquiring the equipment is to shoot TV ads as well as promotional DVDs – more creative stuff. We are currently looking into the establishment of a dedicated Government TV channel in the near future.”

Acquisto notes that the P2HD format is used by most broadcasters. – Andy Stead

Panasonic P2HD camera

011 313 1622 • www.pansolutions.co.za

TRACKINGTECHNOLOGY |

T

By Andy Stead As of 1 January 2012 all members of the European Broadcsting Union (EBU) will change their audio specification from peak normalisation to loudness normalisation. This will apply not only to broadcasters but also to the entire audio production and post-production fraternity. he new EBU specification means that audio measurement for the creation and broadcast of audio content as we know it will

change.

It has long been a problem that some broadcast audio is perceived louder and that loudness fluctuates considerably depending on the type of processing applied to the audio. For example, commercials always sound louder because of audio compression. This has a tendency to irritate the listener. On peak

programme meters (PPMs) the level looks fine and within specification but the ear tells a different story.

“Loudness normalisation aims to correct this,” says Danny Booysen of Creative Broadcast Solutions (Pty) Ltd. “New metering components are therefore required to facilitate engineers to produce content that adheres to this specification.

Creative Broadcast Solutions in South Africa represents Merging Technologies, which carries Pyramix DAWS and there

New products for SA

Panasonic AG-HPX250 camcorder

P

anasonic Digital Broadcast authorised distributor Avmark Systems reports a series of successful camera sales and will introduce several new products to South Africa later this year.

Avmark’s Renato Acquisto expands: “The success of the P2 format has seen Panasonic cameras used by broadcasters and production companies worldwide and South Africa is no exception. Luckily, Panasonic manufacture has not been unduly affected by the aftermath of the Japanese earthquake and tsunami.”

In the line-up is the AG-HPX250; a new P2HD camcorder which includes the AVC-Intra codec; DVCPROHD with 10-bit 4:2:2 sampling; 21 x optical zoom; and three optical control rings. Weighing in at 2.5kg, the HPX250 incorporates three 1/3 inch high sensibility MOS sensors, 2.2 mega pixels and a 20-bit digital signal processor to record images with a full HD resolution of 1920 x 1080.The three lens rings allow for independent control of focus, zoom and iris. The 21 x zoom lens offers a 28mm wide angle to 588mm zoom.

Says Acquisto: “This camera is targeted at the traditional production video user as well as the wildlife fraternity due to the long lens. It is also suited to budget conscious productions.

“Panasonic will also introduce a new nine-inch LCD monitor and the amazing Twin Lens 3D Camera recorder P2HD AG-3DP1, which offers full broadcast quality and recording onto P2 cards.”

18 | SCREENAFRICA | July 2011

PEAK LEVELS – Danny Booysen

are already metering software plug-ins available for Pyramix.”

Inala’s Colin Wainer continues: “The EBU has issued a technical recommendation document, EBU R128, which provides the practical guidelines to audio loudness implementation. This document describes in practical detail the most fundamental changes in the history of audio in broadcasting. An example of this is the change of the levelling paradigm from peak normalisation to loudness normalisation. Details of the EBU R128 document can be found on the EBU website – http://tech.ebu.ch/.”

The broadcast world is changing to file-based workflows. As such, the basic principle is that loudness normalisation and dynamic control of the audio signal is recommended, especially for new content.

Metadata is an integral part of file-based systems; it can be active metadata (potentially changing the audio signal) or descriptive metadata (providing information about the signal). The three main parameters are programme loudness, loudness range and maximum true peak level. These form the core of loudness metadata in audio files.

“Dolby as a proponent of metadata and the control of loudness normalisation has equipment that enables a broadcaster to implement in the traditional audio or in the file-based workflow,” notes Wainer.

“Inala Broadcast together with Dolby have expertise in loudness normalisation and we offer our assistance to any interested party wishing to understand

Colin Wainer

and implement loudness normalisation in their facility.”

Louis Enslin of Produce Sound has been using software loudness metering for a while. “But this has just been for my own purposes, as we still need to adhere to the delivery requirements that we have at the moment, which are based on peak normalisation. Consequently, we have to use our PPM meters to set levels for programmes and commercials.

“I really hope that the same change will filter through to South Africa, but I don’t expect it to change as soon as 1 January 2012. The reality is we are a bit behind international trends, especially when it comes to technological changes like these.

So there will probably be a bit of a delay before we are required to deliver material using the loudness normalisation specification.

“This new ruling will help to bring an end to some of the loudness wars out there, and assist in achieving a good sounding mix on air, instead of an over-compressed, thin sounding, tinny mix. As far as gear goes, there are a couple of software plug-ins out there that are specifically made for this, and also a couple of more expensive hardware units.

For those engineers who don’t have one, you’ll have to get one” It’s an awesome step forward and will finally end the different audio levels often experienced during a broadcast, particularly related to the compressed soundtrack of commercials.

Changing technology The continent’s premier advanced technology trade show, Mediatech Africa, takes place at the Coca-Cola Dome in Northgate, Johannesburg from 20 to 22 July. IAN DORMER gives an overview of how technology has changed since the last show held two years ago.

M

ediatech Africa 2009 was a unique event. South Africa had just started on the road to high definition (HD) production, Dolby E and 5.1 surround sound in television were new, there was talk of the migration to Digital Terrestrial Television (DTT) and we were a year away from the 2010 FIFA World Cup. There was a buzz of excitement in the air and while the rest of the world was about to enter a bitter recession, we showcased the cutting edge technology and services that could play a role in staging a successful World Cup and the benefits beyond…

So what has happened in the past two years and what are the trends heading to Mediatech Africa 2011?

3D is undoubtedly the most talked about growth area in the broadcast market internationally and locally, there is a growing need for quality 3D content.

However, there is a significantly widespread gap in the understanding of production techniques, the technology needed and the investments required to make 3D happen. That is why an event like Mediatech Africa is crucial in getting all the role players together to share information and ideas.

TECH SAVY – Ian Dormer

In the past two years we have seen a move towards file based environments and all the problems associated with tapeless workflows. As South Africa slowly catches up with the rest of the world in broadband speed and services, IP networking and content delivery methodology edges ever closer to the top of the trend chart.

The continuing development of image

Avid’s big show

Telemedia displays visual feast As in previous years Telemedia, a leading provider of a range of dynamic media broadcasting services with a proven track record in supplying tailor made quality products, will be present at Mediatech Africa with a wide variety of products on display, including well known brand names.

“We will be showcasing Vislink Communications, Nevion Fibre Products, Ericsson Television, Kroma Monitors, ReflecMedia, Sachtler Lighting and Camera Support, LitePanels, Hitachi Cameras, Advantech Communications, Crystal Vision, Wohler and SNG Van and Flyaway Setups,” says Telemedia’s Quentin Barkhuizen.

Present on the Telemedia stand will be 20 | SCREENAFRICA | July 2011

sensors since 2009 has lead to the intriguing evolution of DSLR cameras that can film in full HD video through to HD video cameras that can film images similar to that of a DSLR camera. We have seen memory cards for camera systems rocket from 16GB to 64GB capacity and the birth of the ‘i era’ has launched thousands of applications that have enhanced the production

environment for filmmakers. From movie slates to storyboard composers through to tele-prompters and data calculators, the iPhone and iPad have changed our world forever.

But perhaps the biggest change in broadcasting over the past 24 months has been the need for multi-platform content delivery and ‘versioning’ for different markets: Mobile TV, Internet TV, Video On Demand, social networking and the ever increasing YouTube-type sites that stream media 24/7.

We have seen how the news broadcasters have embraced mobile phone technology using the portals of social networking to get the story of the day from trouble spots around the globe where the media is generally not welcome.

After a hiccup or two over the past few years, South Africa can finally see the end of the on-off digital terrestrial television (DTT) tunnel and look forward to digital migration with great anticipation. So many digital channels must surely lead to the need for more content and a growth in our local production industry. Perhaps 2011 will see the beginning of better things to come…

specialists Stefano Finessi from Vitec / Sachtler, Ebby John from Nevion, Michael Hall from Crystal Vision and Spencer Newbury from LitePanels.

Telemedia recently won the tender to supply all ATM equipment for public service broadcaster SABC for the South African local government elections.

Barkhuizen continues: “We also set up the streaming of two Lesotho radio stations — Radio Lesotho and Ultimate FM — on the Internet. Currently we are setting up a FTP system for field reporters within Lesotho to send their footage back to Lesotho TV studios in Maseru. So we have had a very busy period of late.”

Telemedia stand number: H9

Avid and its South African channel partners are teaming up for Mediatech Africa to showcase the latest news from Avid and to give users the possibility to connect directly with Avid experts.

At booth E33, AVL Distribution will showcase VENUE. The live sound consoles deliver amazing sound quality, reliability, efficiency and ease of use. Meet the Avid Live Sound Specialist in person and get the latest news about VENUE SC48, Profile and D-Show. Furthermore, visitors can see the Pro Tools audio recording software and hardware. Pro Tools 9 is the world’s most popular, most advanced music and audio production platform with a completely re-architected, open version of Pro Tools software.

MIDI Music at booth C36 will showcase a series of Avid’s live performance and recording solutions for independent musicians looking to take their digital audio creations to the next level. The new tools include Torq 2.0 DJ software, the Eleven Rack guitar recording and effects processing system and the third generation of Mbox family.

All these tools deliver innovative, professional features and flexible, open

workflows so artists can create distinctive and compelling audio, in the studio or on stage. Walk-up stations include M-Audio Axiom keyboard controllers and many more.

At booth B19 Media IT will showcase Avid’s editing solution Avid Media Composer with Nitris DX and the integration with Sony cameras, ISIS 5000, Pro Tools and Pro Tools HD solutions among others. Avid’s Media Asset Management (MAM) Specialist will demonstrate Avid’s Interplay MAM, a complete portfolio of Enterprise Asset Management tools which enable customers to manage, quickly and efficiently, the entire life cycle of virtually any type of asset, integrate tightly with their business processes and implement tailored workflows to deliver cost and productivity benefits.

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Harambe meets the needs New products and technologies from Ikegami Electronics, Evertz Microsystems, Orad Hi-Tec Systems, Audemat and Elti will be on display on the Harambe Technologies stand.

Audemat’s portfolio includes RF and data monitoring equipment and mobile field strength meters for analog and digital radio, digital test and measurement equipment, audio processors, world-class RDS encoders and an extensive range of facility remote control solutions.

Orad Hi-Tec System’s virtual augmentation solution, RealSet, recently enabled Spike TV to integrate in real time 3D virtual objects and animations to precise locations anywhere on the stage in

its Video Game Awards. Meanwhile, leading Turkish broadcasters TRT, TV8 and Haberturk relied on Orad’s interactive virtual graphic capabiities for their broadcasts of the Turkish General Elections on 12 June.

The Harambe stand will highlight several new Ikegami HD flat-panel LCD monitors, cameras and production switchers fresh from this year’s NAB show in Las Vegas. The 3G-SDI 1080/60p HD studio camera, the HDK-97A (or Unicam HD) is a 16-bit portable companion-camera that employs new AIT CCD imagers and an all-new digital video processing system for superior picture detail and accurate rendition of

Concilium goes big

Steve Alves Claiming to have the largest stand at this year’s Mediatech Africa, Gauteng-based Concilium Technologies has taken on some major suppliers since the last Mediatech event in 2009.

“Our largest exhibit will be around the Harris Corporation portfolio,” says Concilium’s Steve Alves. “This covers everything from ingest to transmitters.

We will have a cross section of products, but one that is quite unique is Harris’ new Selenio convergence platform.

“Ross Video is now distributed by

Concilium and they will showcase new mixer products – Carbonite, their Expression CG and a number of other products. HiTech will introduce South Africa to a rather unique device called Ativa, which won an award at NAB 2011.

“In addition we plan to exhibit a range of products from JVC, Apple, ActiveStorage, ToolsOnAir and Telestream in a working studio in a box concept. On the Pro Audio stand Concilium will showcase the new DHD digital audio mixer for professional audio broadcasters, plus a whole lot more.”

Concilium has received confirmation that experts from Harris, Ross, JVC and Telestream will be on the stand to demonstrate their respective products.

Alves notes that one of Concilium’s most interesting recent projects was converting Rhema Church from an analogue, manually driven recording and playout facility to an all digital setup. “It has revolutionised their workflow and is built around Harris, ToolsOnAir and Apple products.”

Concilium Technologies stand numbers: F11, F15 & F23

Pro-Sales has the experience

22 | SCREENAFRICA | July 2011

colour gradations.

The new Ikegami Four-Thirds GFCAM™ camera is equipped with a 4/3-inch optical format Aptina 4K CMOS sensor for high resolution digital filmmaking. Ikegami’s HiMotion2 Super Slow-Mo HD features a unique threeCMOS sensor camera head with built-in memory, delivering greater than 10 x speed for thrilling super-slow-motion playback of HD sports action.

Elti digital transmission technology products at MediaTech Africa will include the sky digital transmitter, arx digital repeaters, halo digital SFN repeaters and analogue digital repeaters, which provide an all in one solution for smooth analogue switchover. Elti

products are DVB-T/T2 and DVB-H compatible.

Denis Saruga, Elti CEO and Elti senior manager: Sales & Marketing, Velmir Toimic, will be on the stand.

Evertz Microsystems is one of the flagship brands at Mediatech Africa as they provide end to end broadcast solutions package from monitoring and control solutions, fibre optics, management software, routing systems, processors, production / post-production, multiviewers, RF products and the latest addition to the Evertz family, the media asset management system.

Harambe Technologies stand number: E9

Lawo’s a step ahead B & I Engineering will demo the new sapphire digital audio mixing console from Lawo at the Mediatech Africa exhibition.

Described by Lawo as ‘a step ahead’, the sapphire mixing console for on-air and production applications combines the best of both worlds. The console not only incorporates proven cutting-edge technology but also features an eyecatching new design.

The advantage of sapphire is that while technicians will be convinced by the possibility of various upgrades, maximum flexibility and sophisticated functionality, broadcasters will be continually impressed by the modern control surface, which makes working with the new sapphire fun. In addition, the sapphire offers everything expected from a powerful mixing console: top quality, intuitive user guidance and clever solutions, all of which guarantee even greater working efficiency.

The sapphire delivers advanced

With combined experience of 47 years, Gauteng based Pro-Sales has supplied a wide range of products from the first Sony reel to reel video recorder to the latest card recording camcorder. Pro-Sales will exhibit a selection of its products at Mediatech Africa.

Arne Sack elaborates: “The main products on display will be Secced, Cosmo Light, Swit, Sony, Panasonic, Cartoni, Basson, Q-Gear, Draka, Newtek, Focus, Cavision, Genus, JZW, Marenius, Matrix Switch Corporation, Rode and Sennheiser.

networking features that allow for studio connectivity and studio arbitration in a remarkably seamless way. Logic states can be exchanged throughout the network, sources can be shared, and intercom functionality is included right into the system making an additional system unnecessary.

Individual requirements will determine which sapphire configuration is the right one for you. All that is needed to start broadcasting is a central module, a channel module and a couple of interfaces.

However, the sapphire is also able to meet more demanding needs — with the addition of more channel modules, a sapphire can be transformed into a true production mixing console placing up to 60 motor faders at your finger tips. Or the extended channel strips or even the optional overbridge can be chosen to offer more ease of use and the best possible workflow in daily productions.

B & I stand number: E7

“Pro-Sales has been very busy recently – we’ve just supplied four complete Triax Camera chains to the entertainment industry. I’ve found that there is a new enthusiasm in the industry and we are approaching sales figures similar to those prior to the recession.”

As far as Mediatech Africa is concerned Pro-Sales will have overseas representatives on the stand. “We expect to welcome guests from Panasonic, Newtek, Focus and Draka,” adds Sack.

Pro-Sales stand numbers: C7, C11 & D9

Visit us at Mediatech 2011 on Stands B31 & B33!

On show:

MovieMart’s first Mediatech Africa Distributor and retailer MovieMart, which caters for the professional film, television and media markets, will exhibit for the first time at Mediatech Africa with a formidable arsenal of quality brands and products.

The full range of Arri, Ari Lighting, Vitec and other premium brands such as FilmLight, DVS, Front Porch, Outsight and The Foundry will be on show.

Says MovieMart’s Marc Eckstein: “MovieMart is not only establishing itself as a leading distributor and reseller but we have committed ourselves to giving the best technical support to all our customers.

“With access to the best qualified Arri trained technicians in South Africa and the most qualified facilities-based infrastructure team in the business, MovieMart is set to take on the demands of this constantly changing and converging industry.”

Eckstein notes that MovieMart keeps a sufficient stock of spares on site for repair and sales, to ensure that turnaround times on servicing are kept to a minimum. All

spares can be ordered through MovieMart.

Latest news is that MovieMart is pushing ahead with two retail stores in Johannesburg and Cape Town. Says Eckstein: “We see a growing demand from a sophisticated professional customer base wanting to invest in cameras, lighting, hard drives and software. A selection of consumables will be available off the floor in the stores.

“We understand that the discerning professional needs unique and specific accessories to go with his investment and MovieMart will be there to provide the best advice and support to those making important purchasing decisions.”

Products offered include: tapes and markers; hardware products; Arri sales; Alexa cameras and camera accessories; lighting and lighting accessories; Arri digital and post-production equipment; camera accessories; lighting accessories; Vitec products; O’connor accessories; Lite Panel equipment; petrol bags; sandbags, apple boxes; foil; and filters.

MovieMart stand number: C19

Musical Distributors is a sound choice

Cape Town-based Musical Distributors (MD) will have a wide variety of products on display at Mediatech Africa including microphones, professional recording and mixing equipment.

Marketing manager Newton Wetter is enthusiastic. “We will feature some of the latest products from Akai Professional, including the Akai EIE Electromusic interface expander. MD will also have the RMP3 production monitors with built-in audio interface and the Synthstation49 49-key keyboard controller for iPad, as well as some new Alesis products. These include the iO Dock Pro Audio dock for iPad, the iO4 four-channel, 24-bit recording interface and the Microtube Solo microphone tube pre-amp.

“On the microphone front we will have a variety of Rode microphones including 24 | SCREENAFRICA | July 2011

the Videomic Pro, NTG-3 precision broadcast-grade shotgun microphone, NTG-2 dual-powered directional condenser microphone and the NTG-1 directional condenser microphone.”

Roland Systems Group products include the M-480 48-channel live digital mixing console, and the VR-5 AV mixer / recorder. Proel professional audio products will be showcased as will the NET series speakers and the Xenia series speakers.

“We will have a full complement of technical staff on hand to provide in-depth information on all our products and urge Mediatech visitors to visit our stand and see the latest innovations from these leading brands,” concludes Wetter.

Musical Distributors stand number: E34

Panasonic’s world first Among the products to be showcased by Panasonic at Mediatech Africa is the AG-3DA1, the world’s first integrated twin-lens full HD 3D camera recorder. The AG-3DA1 features a camera section with two integrated lens systems that are configured to resemble the human eyes, and a recorder section that records left-channel and rightchannel full-HD images using the high quality PH mode of the file-based AVCHD format. With the same approximate weight and size of a 2D camera recorder, the AG-3DA1 doesn’t require any adjustment of the left and right lens alignment such as vertical gap, size difference, rotation and luminance difference. Data files recorded onto a memory card are readily processed using a nonlinear editing system.

Newly added to the Panasonic AVCCAM lineup, the AG-AC160 and AG-AC130 Memory Card Camera Recorders offer a host of advanced functions. The lens, camera section and recorder section of these models have been significantly revamped by incorporating cutting-edge technologies. The new 22x zoom lens boasts wide coverage, from

wide-angle to telephoto, while cam-type zoom, focus, and iris rings let the camera operator make manual adjustments just like with an interchangeable lens. The high-sensitivity, low-noise, high resolution 1/3-type 2.2-megapixel U.L.T. (Ultra Luminance Technology) MOS image sensor and professional AVCHD PH mode ensure high-quality Full-HD (1920 x 1080) recording.

The AJ-HPX3100 memory card camera recorder, weighing just 3.9kg, incorporates a 2.2 megapixel 2/3 type 3CCD, a high performance DSP and an AVC-Intra codec LSI to record broadcast quality HD video with full pixel (1920 x 1080) resolution using 10 bit / 4:2:2 sampling.

Also to be showcased at Mediatech Africa are the AG-AF101E 4/3 inch camera and the AG-HMX100E 8-channel switcher.

These Panasonic products will be on the Timbre Broadcast stand numbers: C9, C11 & D8

Vision Cases has a good case Vision Cases cc is a Gauteng aluminium and based company established polyethylene examples as to make South African well as light cases and custom designed flight cases. cordura nylon padded Its core business is the bags. manufacture of aluminium, “We have been wooden, polyethylene extremely busy since we fabricated flight cases, tripod opened in January and tubes, cordura, nylon padded even work on Saturdays, bags and covers especially and we are looking designed to protect movie forward to being a part of and broadcast equipment Andrew Moyo Mediatech,” says Moyo. while in transit.

Catherine M Nyaumwe and Faith Vision Cases’ Andrew Moyo will be Mpofu will also be present on the stand manning the company’s stand at and will assist visitors with information.

Mediatech Africa. “I will be displaying a variety of flight cases including wooden, Vision Cases stand number: D4

Be sure to see Audiosure’s select range

At Mediatech Africa Audiosure will showcase a selected range of pro-audio, DJ, lighting, projectors and conference products, taking two stands to split the themes. On the one side visitors will see new Vivitek and ProjectionDesign Projector models in action as well as Taiden conferencing and voting solutions, to name a few.

On the other stand Audiosure will demo the very latest in DJ gear from DenonDJ and Allen&Heath (with special celebrity endorsee appearances and performances throughout the show), as well as the iLive Digital mixing desk and

the all new GSR24, 24Channel firewire DAW controller and mixer. There will also be a range of Chauvet Professional lighting, including their new LED PAR cans, washes, moving heads, software interfaces and more that will hang overhead.

Audiosure will also participate for the first time in Mediatech Africa’s outdoor area, reserved for ‘the big sound’. The world renowned Martin Audio (London) W8LM Mini Line Array (mini because of the size, not the power) will handle the mid-high array while the bass will come from 4 x WS218X (double 18”, 2000w

RMS) high performance subs. The system will be driven by Martin Audio digital amps, designed for them by Powersoft, and managed by the Martin drive rack, custom designed by XTA. Although designed for 5 000 to 7 000 people, the system is impressive not for its power, but for its unmatched frequency and level dispersion across a large area, offering minimal dropout or ’dead spots’ in any given area. This is thanks to the sophisticated, yet simple to use and apply, software Martin Audio provides to

determine the ideal configuration per venue. They will run the outside area off the baby iLive desk in the range, the R72 with an IDR 16 stage box.

Visiting Mediatech from the UK will be special guests Simon Bull and Peter Child from Martin Audio UK.

Audiosure stand numbers: B31 & B33

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Our experienced and trained staff will give you clear, impartial, practical advice, and as an authorised Sony service centre, and Imbongi Awards Winner for technical service, you can rest assured that whatever you purchase from us will receive our full technical support.

We offer a wide range of new and used equipment, from various leading manufacturers around the world. So come and talk to us at Mediatech.

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Questek’s big 3D focus At Mediatech Africa Questek Advanced Technologies will focus on stereoscopic 3D, from production to display.

Taking centre stage will be Quantel’s Pablo iQ , the world’s number one digital intermediate (DI) system, used on more than 1 000 movies to date. iQ covers the entire DI spectrum from pre-viz, assembly/conform, effects and grading to titles, trailers, deliverables and restoration, all with real time, full resolution operation right up to 4K. Several iQs can be teamed with Genetic Engineering for even better team working and productivity.

From projectiondesign is the F10 AS3D, the first projector of its kind that offers full active 3D stereoscopic display at 120 fps refresh rates at all resolutions up to 1920 x 1200 pixel resolution inputs. Visitors to the Questek stand will view its 3D offering on a DNP high gain rear projection screen and with XPAND 3D active glasses.

For the rental and staging market, the award-winning Pandoras Box media player from Coolux features the most powerful render-engine and offers real time compositing in 3D, allowing projections on any shape and any surface.

The Broadcast Pix Portable is designed for broadcasters and staging companies on the move, while Slate 1000 integrates the functionality of a video switcher, multi-viewer, Inscriber CG, clip and graphic stores, Fluent™ workflow software, and aspect and format conversion into a single system.

Marshall offers a broad range of small portable monitors (from 3” to 37” displays) ideal for cameramen. Their technology includes anti-reflective outdoor monitors, portable camera-top monitors, In-Monitor Display (IMD), Quad Viewers, converters, standalone field / post monitors.

Overseas guests on Questek’s stand will include Quantel’s Mike Grieve, Broacast Pix’ Fred van Elk and Coolux’ Harry Gladow.

You Asked—We Delivered

Introducing Media Composer 5.5

Questek Advanced Technologies stand number: H15

TID has sound at Mediatech Africa

“Based on recent Avid developments, I would suggest Media Composer to micro-budget productions, as well as multi-million dollar budgets—and everything in between.”

–Shea Kammer, executive producer (Red State) “Amazing—PhraseFind is truly going to change the way we edit!

It’s going to make me so much money.”

–David Baertsch, creative director and senior editor, db Editorial

Johannesburg-based Technology Innovated Distribution (TID) will display a selection of technologically advanced audio solutions and products at Mediatech Africa.

These include the latest wares from Bose, beyerdynamic, Bittner, Biamp, Barix, Carparelli, Snapjack and Burns London.

“We were recently appointed as Contractor of the Year worldwide by Bittnet Audio International at the Pro Light and Sound expo 2011 in Frankfurt, so Mediatech Africa is the perfect platform for us,” says marketing manager Tiaan Hoogstad.

TID is proud to announce that the new beyerdynamic Touring gear series of microphones have been awarded the Red Dot Design award for 2011.

Present on the TID stand at Mediatech Africa will be the CEO of Bittner International Joachim Schwartz and business development manager Cees van Hooft, as well as Biamp’s regional manager Prashant Govindan.

“We will also have one of our endorsed bands, The Graeme Watkins Project, on our stand for an acoustic performance,” adds Hoogstad.

In addition TID will exhibit in the outdoor area at Mediatech Africa where they will have a Stageline SLPro mobile stage truck on display. This truck offers a footprint of 20m x 7.5m.

“On this truck we will demonstrate the latest Bose LT series of high output mid / high frequency LT speakers, as well as the Panaray MA 12 line array loudspeakers that deliver high speech intelligibility and natural sounding music,” concludes Hoogstad.

TID stand number: D23

“[Media Composer] is the Moviola of our era. It’s what everybody is using. It’s so robust, so industrial strength.”

–Jay Cassidy, A.C.E., editor (Never Say Never, Waiting for “Superman”, Into the Wild)

Through the years, it’s people like you—the editors, producers, and directors of the world—who’ve helped shape Media Composer® into what it is today: a trusted tool that accelerates your creativity by removing barriers and bottlenecks. And thanks to you, it’s now more open and interactive than ever.

Download the free trial: www.avid.com/mctrial © 2011 Avid Technology, Inc. All rights reserved. Promotions and discounts are subject to availability and change without notice. Product features, specifications, system requirements and availability are subject to change without notice. Avid, the Avid logo, and Media Composer are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners.

Media IT solutions

W

ith a more than two-decade track record in supporting, supplying and delivering turnkey solutions for the local and regional broadcast industries Media IT, a Jasco company (formerly Spescom Media IT), will be showcasing a number of solutions at Mediatech Africa, such as its ViewCast streaming media appliances that provide some answers to the current challenges facing local broadcasters.

Says Thomas Makore, MD of Media IT: “South African broadcasters are now positioning themselves to move to IPTV, exploiting the demand for content on mobile devices like smartphones and tablets and via Internet. To meet the needs of local broadcasters, we have entered a partnership with ViewCast for its range of streaming media appliances.”

Local bandwidth limitations (speed, coverage and cost) mean broadcasters can only do some of what their international counterparts can – like stream a live broadcast to the broadcaster’s server system on a dedicated network for

28 | SCREENAFRICA | July 2011

download by users who log into the server, rather than stream the broadcast live directly to users. The ViewCast range of solutions – the Niagara streaming appliances (including portable solutions), Osprey video capture cards and VMp digital media management systems – simplify the complex workflows required for the web-based streaming of news, sports, music and other video content to computers and mobile devices for not just broadcasters but businesses and public sector organisations that wish to exploit

current technologies to more effectively reach, communicate with and expand their audiences.

Says Makore: “The ViewCast solutions enable easy transformation, management and delivery of digital media over enterprise, broadband and mobile networks. They include powerful easy-to-use digital media management tools as well as professionalgrade HD streaming systems that are tailored to meet the needs and budgets of a broad range of organisations. ViewCast’s solutions are proven, robust, reliable and cutting edge and their entry into sub Saharan Africa is well timed.”

Media IT has also secured an agency for Thomson Video Networks products, becoming the vendor’s SLA Level partner for Multichoice and the distributor for Thomson Video Networks’ product range in Southern Africa. As a worldwide leader in compression systems for satellite, terrestrial, cable, IPTV, mobile TV, and web streaming, Thomson Video Networks supplies a broad range of needs, from hybrid multiformat compression systems to contribution links for content exchange networks.

Says Makore: “Through its relationship with Thomson Video Networks, Media

IT is responsible for the local support of the MultiChoice satellite and mobile TV head end platforms.”

Through expertise, reliability and passion for innovation, Thomson Video Networks allows you to deliver Superior Video Quality.

As a market leader in video delivery systems, Thomson Video Networks provides everything you need to deliver the best video quality and viewing experience to your subscribers.

Visit Thomson Video Networks at Mediatech Africa 2011 in South Africa on July 20-22, 2011 on the booth of our partner, Media IT, to get a glimpse of our complete video compression solutions, which include: • Convergent TV and Over-theTop (OTT) solution with the new ViBE VS7000 video system, a fully-integrated IP video solution for convergent applications.

• Multiscreen video delivery solutions. Featuring the Thomson ViBE encoder and NetProcessor product range. These flexible gears enable operators to deliver high-quality video services to TVs, PCs, and mobile devices.

• MPEG playout solution, showcasing the unique Thomson “channel-in-a-box” Sapphire system.

Media IT stand numbers;: B15 & B19

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Sound Quality

Visual Impact SA is the leading provider of digital and high definition (HD) broadcast solutions in Africa and for productions originated in South Africa. They not only sell and rent out video cameras but all the required broadcasting equipment as well.

“We will have a wide variety of products on display at Mediatech Africa,” says Juanne Whyte, head of sales. “These include items from Atomos Ninja, Sony Broadcast, Convergent Design, Gemini, Sound Device Video and Audio, Go Pro, Sony PMW F3 3D rig, Zacuto, Ianiro, Dnacore and other LED light solutions, Rode, Edirole and Zoom. As you can see it should be an exciting display and I would encourage visitors to spend some time at our stand.”

The Sony PMW F3 3D rig will be manned on the stand by Russell Bowden, a renowned 3D specialist who can demonstrate the capabilities of this device.

“It sounds better. It just sounds more like music.”

Niko Bolas, producer (Neil Young, Melissa Etheridge)

Performance

Visual Impact stand number: A17

“It moves as quickly as I work.”

It’s a Case of Connection

Morgan Page, remixer/producer (Madonna, Katy Perry, Coldplay)

Affordability “I can finally get the sound I want at a much, much lower cost.”

D.A. Wallach, vocalist/producer (Chester French)

The Case Connection designs and manufacturers high performance cases for transport and turnkey solutions of essential equipment.

Says The Case Connection’s David Livesey: “Part of our commitment to providing quality products that suit the varying needs of our customers is keeping up to date with new and improved materials and fittings both locally and abroad.”

The Case Connection recently introduced Honeycomb Polypropylene, a polypropylene – plastic twin-wall sandwich construction which weighs 20% less than equivalent aluminium and 40% less than equivalent wood. The result is a tough flight case that is much lighter than traditional plywood.

“All our products are built to order and fitted with bespoke foam cutouts to protect your equipment. No project is too big or too small,” comments Livesey.

At Mediatech Africa The Case Connection will showcase its complete range – wood, aluminium, HPP and Polyethylene cases, as well as Nylon padded bags, covers and raincoats.

The Case Connection stand number: E15

What could you do with Pro Tools|HD Native?

Find out at avid.com/hdnative © 2011 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Use of the enclosed software is subject to a related license agreement. Avid, the Avid logo, and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein are the property of their respective owners.

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Optical fibre connectivity for everyone!

By Peter Bretherick

What is fibre? How does it work? And who can use it!

W

e have a number of telecommunication suppliers in South Africa who are now going up and down both major and minor roads digging up the sidewalks or cutting slots in the roads and burying fibre. These services are of course provided by the old faithful Telkom, their new rival Neotel and several other less well known participants offering Metro Ethernet services. At the moment, there is a lot of hype about the buzz word “fibre” and many telecommunication operators are offering services which operate over fibre.

Such services generally provide a limited bandwidth and are a managed service, 32 | SCREENAFRICA | July 2011

utilising only a small portion of the bandwidth of the fibre.

The new kid on the block is Dark Fibre Africa which is providing unmanaged fibres into a slot that they cut in the road.

Many of you will remember main roads being cut with this wonderful machine that is imported from France and if you are unlucky enough to be cycling along the road and get stuck in the slot, you will find it very difficult to steer your bicycle out again.

Generally the old copper cables suffered from a number of disadvantages not the least of which was that they were expensive, were a lucrative target for thieves, were prone to lightning strikes

but also carried very limited bandwidth.

A copper pair now carries a telephone circuit typically 300Hz to 3000Hz and perhaps on a ADSL line the overhead on which may go up to 1.1MHz or 2.2MHz, provided the distance to the exchange is not too far. The fibre, on the other hand, has virtually an unlimited bandwidth. It doesn’t conduct electricity, which can be an advantage with regard to lightning, or a disadvantage because all the remote equipment can no longer be powered over the line. Most of our telecommunications operators are therefore putting in fibre optic cables for interconnectivity of wideband signals. They are then chopping up the virtually infinite

bandwidth they can get on these fibres into more manageable chunks, typically of 5Mbits or 10Mbits, and renting this capacity at significant markups, which allow them huge profits if they can get the occupancy on the fibre.

Essentially fibre optic is labour intensive and designed to connect between two points whereas satellite, with typical bandwidths of transponders limited to 72MHz, can handle multiple destinations within the footprint.

Currently fibre is used for huge capacity data and even video interconnection networks where, with such technology as DWDM (Dense Wavelength Division – to page 34

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from page 32 Multiplexing), some 40 1.5Gbps channels can be sent on one fibre. It is this technology that is currently employed by Telemedia, which in conjunction with Dark Fibre Africa, is providing a network of high density Dark Fibre circuits between broadcasters and broadcast facility suppliers throughout the Johannesburg Municipal area. In general the Dense Wavelength Division Multiplexing technique will allow for full bi-directional operation on one fibre, where one wavelength of light can travel in one direction and another wavelength or colour of light can travel on the other direction. These different wavelengths of light can be modulated usually on/off to convey intelligence at extremely high data rates. 10GIG Ethernet and high definition uncompressed television images are typical of what can be conveyed over one channel or one colour bandwidth of light on a fibre optic cable.

Advantages of fibre Optical fibre has gained incredible popularity as a cabling medium, specifically in the broadcast business over the last few years. Below are some of the reasons why more and more people are using optical fibre to future proof their connectivity infrastructure.

•

The fibre has no high frequency

• • • • • • •

roll off.

Fibre supports bit rates of 10Gbps and beyond.

Fibre attenuation is very low.

The fibre core is very much smaller than a copper wire.

Fibre is extremely lightweight.

The fibre is not sensitive to any cross talk or inter-modulation.

Fibre is glass. ie. it is a dielectric and not a conductor.

Fibre has a transmission capacity of up to 100Tbps.

Wideband unmanaged fibre can be used to convey uncompressed video circuits which are therefore conveyed at the speed of light and do not suffer from any of the problems typically associated with compression techniques where two or three seconds of delay are apparent. The common problem with compressed circuits for contribution is usually the period of dead air apparent between cueing of a presenter and the start of his presentation.

Generally a single fibre can convey far more data than a single satellite which will carry perhaps 40 to 50 by 72MHz transponders. Fibre circuits are relatively cheap and can convey intelligence for 50KM to 80KM without reamplification; fibre optic does not waste precious bandwidth in the airwaves.

Are there any disadvantages to fibre?

Yes, of course there are disadvantages but in general they are outweighed by the advantages. The principle disadvantage of any cable fed system is that eventually somebody will dig up the cable and take it home or perhaps a bus running down a hill out of control will collide with a signal junction box parked on the pavement and then the recovery time of such a fibre could be several hours or even days. In order to obviate this, the normal arrangement is to ensure that there are two continuously operating diverse paths.

So, in the ideal world, two fibres will be connected to your equipment and should go out into the street at two completely different entry/exit points. One fibre should be conveyed in one direction while the other fibre is conveyed in the other

34 | SCREENAFRICA | July 2011

such that they meet at your destination in the same manner ie. via two separate paths. Generally this sort of architecture gives a reliability in the area of 99.95% or more and this coupled with the enormous bandwidths available on fibre optic technology gives an extremely reliable high capacity path. Obviously digging up the road is messy and there is almost always disturbance to other services: a street gang armed with picks and shovels recently severed our three phase mains power cable then broke the 4” water main, they then chopped the street lighting cables in several places and burrowed under the road into the storm water drain.

The proliferation of operators who never seem to manage to synchronise their excavations means that one service provider quickly follows another digging up the same area and often disturbing the services laid down by its predecessor.

Other disadvantages of fibre are of course the requirement to amplify the signal if long distances are envisaged. Fibre is suited to permanent infrastructure and not for occasional use feeds.

So is fibre the future?

Yes, very definitely fibre will have a huge part to play in the interconnection of wideband data. It is predicted that fibres will even eventually arrive directly to everybody’s home and be divided into chunks of bandwidth typically in excess of 10Mbits or 20Mbits per second for each household. They will eventually be used for broadband IP and IPTV directly to the home.

The only obstacle to the implementation of fibre is perhaps over very unfriendly terrain and the area that comes to mind of course is the necessary connections to be made to all the new broadcast DVB terrestrial transmitters, which often have sites in remote locations on tops of mountains over very hostile terrain. It is very likely that these sort of sites will not be served by fibre but will continue to rely on satellite technology but there is no doubt that fibre is here and will provide significant expansion of broadcast and data circuits particularly for high definition television.

Peter Bretherick is the MD of Telemedia

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Calling all cinephiles!

From 21 to 31 July fans of discerning world cinema can revel in South Africa’s largest and longest running festival, the Durban International Film Festival (DIFF). Running alongside DIFF are the 2nd Durban FilmMart Co-production and Finance Market (DFM) and the 4th Talent Campus Durban, as well as an extensive programme of seminars and workshops aimed at developing the local film industry.

W

ith principal funding from the National Lottery Distribution Trust Fund, this year the DIFF line-up comprises 83 feature films, 48 documentaries and 44 short films. Festival director Peter Rorvik is delighted to report a strong South African crop among these, namely 11 feature films, 23 documentaries and 24 shorts.

Says Rorvik: “The challenge for our audiences is how to pick and choose from such a fantastic selection. I’m very excited about the quality of films this year, particularly as we were fortunate enough to secure a number of last minute films from the recent Cannes Film Festival.

“DIFF has for many years presented films that conscientise audiences about environmental issues and with the COP 17 conference taking place in Durban later this year the 2011 Eco-Lens strand is extremely strong. High profile films are led by The Big Fix (about the devastation caused by the Gulf of Mexico oil spill and subsequent cover-ups) and Countdown to Zero (nuclear threats and disarmament challenges). Into Eternity is about a facility deep underground in Finland that is expected to house nuclear waste for 100,000 years.”

A special guest of the festival is acclaimed Burkinabe filmmaker,

The DIFF team, with Peter Rorvik (top left), Nashen Moodley (front row, third from right) and Monica Rorvik (front row, left)

Gaston Kabore, one of the founders of FESPACO and head of the Imagine Institute in Ouagadougou. Kabore will present a master class at Talent Campus Durban, which features nearly 50 emerging filmmakers from various African countries.

Another guest is renowned Canadian environmental activist, Paul Watson, the Greenpeace Foundation co-founder, and current director of Sea Shepherd Society – DIFF will screen the documentary Eco Pirate – the Story of Paul Watson.

Rorvik notes that, just like Talent

Campus Durban, the creation of DFM was a logical trajectory for DIFF and adds a very important dimension.

“DFM facilitates industry growth and the production of African films. This year DIFF will screen the Egyptian film Hawi, which was in last year’s DFM, and we fully expect the process to deliver more great films for screening at DIFF and other festivals in the future.”

The Royal Hotel will once again serve as the hub for DIFF, DFM and Talent Campus Durban, and the festival has added a dedicated screening

venue within the hotel complex. DIFF has brought in a specialist from the Netherlands to help with technical issues around the wide spectrum of digital formats (including HD) submitted to the festival.

Now in its seventh year, the Wavescape Surf Film Festival has been a very successful component of DIFF and will kick off on 25 July with an outdoor screening at the Bay of Plenty on Durban’s beachfront and then run for five days at Ster-Kinekor Musgrave.

Many of the films feature South African surfers and locations.

Midnight in Paris, which opened Cannes, will screen at DIFF courtesy of Videovision Entertainment. There is also the Swedish coming of age film, Play, and the French film, The Snows of Kilimanjaro.

Fresh from Cannes is South African writer/director Oliver Hermanus’ Skoonheid. Says Moodley: “This was the first ever Afrikaans-language film to be selected for the Cannes Un Certain Regard competition and won the Queer Palm award. I think it’s magnificent and Oliver and his cast will be at DIFF. “Our opening night film is another South African production, Sara Blecher’s fascinating Otelo Burning.

Among the other local films are Charlie Vundla’s stylish film noir, How to Steal 2 Million, and John Barker’s striking heist film, 31 Million Reasons.”

There is also Faith Isiakpere’s taut police brutality drama, The Algiers Murders; the hilarious comedy Taka Takata by Damir Radonic; The Dream

by Zuko Nodada; Mukunda Michael Dewil’s psychological thriller Retribution; Eldorado by newcomer brother and sister team, Shaldon and Lorreal Ferris, and Black Butterlies, Paula van der Oest’s moving Ingrid Jonker biopic.

African cinema is represented by DRC filmmaker Djo Tunda Wa Munga’s unique Viva Riva!; Nigerian director Andrew Donsunmu’s visually beautiful Restless City, Justin Chadwick’s uplifting Kenya-set film The First Grader, and Ebrahim El Batout’s Hawi, a project at the inaugural Durban FilmMart in 2010.

Forever film

T

he year-round selection process for the Durban International Film Festival (DIFF) sees festival manager Nashen Moodley viewing a staggering 600 films or more.

“I’m delighted to say that we have an excellent selection this year – quite an edgy group of films in fact,” says Moodley, whose search for the best in world cinema takes him to festivals such as Cannes, Berlin, Rotterdam, Toronto, Pusan and FESPACO. He notes that DIFF has a broad sensibility: “Basically we look for films that excite us. We do seek some level of geographical representation and while we want films from established filmmakers, DIFF is also keen to show audiences new talents. I think it’s sad that there is such limited exposure in

South Africa to different styles of cinema. That’s why festivals are so important.”

A special focus at DIFF 2011 is Indian cinema, with six films from the late, award-winning Satyajit Ray and five new films from fresh talents, as well as a documentary on Bollywood.

This year Moodley saw many wonderful films from Canada, which has resulted in a special Canadian focus at DIFF 2011, led by Best Foreign Language Film Oscar nominee, Incendies (brought to DIFF courtesy Ster-Kinekor).

In a coup Moodley managed to secure a number of films from this year’s Cannes Film Festival, namely the Palme d’Or winner, Tree of Life (Brad Pit and Sean Penn), brought to DIFF courtesy of Nu Metro. Woody Allen’s

Feature FilmS at DIFF 31 MILLION REASONS

By John Barker, South Africa Bollywood meets South African cinema in this stylish, pacy film about a corrupt cop who, desperate to clean up his act, is given the opportunity to go legit by doing one last job. Set in Durban’s Indian community, 31 Millions Reasons was inspired by a massive heist that took place in 1997, for which 14 people were arrested. World Premiere.

Filmmaker in attendance

ASSHOLE (GANDU)

By Kaushik Mukherjee, India Gandu – whose self-adopted nickname means asshole – is an angry and aimless young man who finds meaning only in freestyle rap and beatboxing. When Gandu meets a Bruce Lee-obsessed rickshaw driver named Ricksha, they descend into a rap-infused world of sex, drugs and darkness.

Filmmaker in attendance

decides to write a new will and leave nearly everything to his spoilt daughter.

Elena was the winner of a special jury prize in the Un Certain Regard section at Cannes this year.

ELITE SQUAD 2 – THE ENEMY WITHIN (TROPA DE ELITE 2 – O INIMIGO AGORA E OUTRO)

By Jose Padilha, Brazil A box office hit in Brazil, the actionfilled Elite Squad 2 tells of Nascimento, the leader of a military police unit in Rio de Janeiro. After he mismanages a prison riot, Nascimento is reassigned to an intelligence post where he uncovers a massive web of corruption leading to the highest levels of government.

THE FIRST GRADER

By Justin Chadwick, United Kingdom, South Africa, Kenya

BLACK BUTTERFLIES

CIRCUMSTANCE

By Maryam Keshavarz, Iran, Lebanon, United States This exquisitely rendered study of the links between sexuality, modernity and tradition in modern-day Tehran is a striking and moving debut by Maryam Keshavarz. Sixteen-year-old Atafeh, the daughter of a wealthy liberal family, and Shireen, her best friend whose deceased parents were anti-government activists, have a closeness that is forbidden in Iran.

NADER AND SIMIN, A SEPARATION (JODAEIYE NADER AZ SIMIN)

By Asghar Farhadi, Iran, 2011 This beautifully made film traces the breakup of an Iranian family set against the political tensions of life in contemporary Tehran. Nader and Simin have decided to get divorced, ostensibly because Simin wants to emigrate overseas to ensure a better future for their daughter. While not overtly political, the film is starkly critical of life in Iran, particularly the massive class divide. Winner of the Golden Bear at Berlin this year.

Filmmaker in attendance

RESTLESS CITY

By Paula van der Oest, Germany, The Netherlands, South Africa

Black Butterflies tells the story of the life of South African poet Ingrid Jonker, her love affairs, complex relationships with her father and country, and her suicide in 1965. With an award-winning performance from Dutch actress Carice van Houten as Jonker, the film is a tribute to the power of her words and the contradictory nature of human existence. Filmmaker in attendance

Following the death of their mother, Jeanne and Simon learn that their absentee father is still alive, and that they have a brother they have never met. The two travel to the Middle East to unravel the tangled strands of their mysterious past.

This moving and uplifting drama tells the true story of Maruge, an 84-year-old Kenyan villager and former freedom fighter who fights for his right to go to school for the first time to get the education he could never afford.

Maruge ends up joining a class of six-year-olds. Filmmaker in attendance

HOW TO STEAL 2 MILLION

By Andrew Dosunmu, Nigeria, United States Restless City tells the story of Djibril, a young Senegalese immigrant and musician struggling to survive on the margins of New York City. When Djibril falls in love with a prostitute who works for a local small-time loan shark, his previously aimless existence is suddenly given fresh purpose and he is forced to make some difficult decisions.

Filmmaker in attendance

RETRIBUTION

By Charlie Vundla, South Africa This engaging debut feature from young South African director, Charlie Vundla, follows an ex-con named Jack, who desperately wants to go straight but is presented with an opportunity for a job with a R2m take. The cast includes Menzi Ngubane, Rapulana Seiphemo, Terry Pheto, Hlubi Mboya and John Kani. World Premiere.

Filmmaker in attendance

By Mukunda Michael Dewil, South Africa This impressive first film from young South African director, Mukunda Michael Dewil, tells the story of a retired judge who is sent by his editor to write his memoirs in an isolated cabin in the wilderness, where he encounters a lost hiker. With great performances from Jeremy Crutchley and Joe Mafela, Retribution is a terse thriller. Filmmaker in attendance

INCENDIES

SKOONHEID

By Denis Villeneuve, Canada,

By Oliver Hermanus, France, South Africa

ELENA

By Andrey Zvyagintsev, Russia This third masterpiece from director Andrei Zvyagintsev (The Return, The Banishment, both of which played at DIFF) tells the story of Elena, a middle-aged wife and mother who has remarried a wealthy new husband, who

This provocative Oscar-nominated Canadian film follows a twin brother and sister in their quest to uncover the truth about their family history.

This is is the second outing from young South African director Oliver Hermanus, whose Shirley Adams was a DIFF 2009 highlight. Skoonheid tells the

story of a closeted married man who finds himself deeply attracted to the handsome adult son of old family friends. This beautifully controlled film took the Queer Palm award at Cannes this year for the best film dealing with gay, lesbian, bisexual or transgender issues. Filmmaker in attendance

TAKA TAKATA

By Damir Radonic, South Africa Kabelo owns and captains a soccer team. With a string of losses, and half the members walking out on him, he feels he’s destroying the team’s legacy.

Challenged to a match by an old rival who heads the winning local soccer team, Kabelo’s brother-inlaw, Rasta, steps in to help him, but this might not be what he needs. The film features hilarious performances from Kagiso Lediga and Trevor Noah.

Filmmaker in attendance

TOAST

By SJ Clarkson, United Kingdom Toast is a beautifully modulated account of famous British chef Nigel Slater’s childhood romance with cookery and his ongoing battle for the affection of his father. When his mother dies and his dad begins to takes an interest in Mrs Potter (Helena Bonham Carter), their working-class maid, Nigel finds himself in fierce competition for his father’s loyalty and control of the household’s domestic life.

THE TREE OF LIFE

By Terrence Malick, United States From American master Terrence Malick comes this gripping drama starring Brad Pitt, Sean Penn and Jessica Chastain. It chronicles the origins and meaning of life as seen from the eyes of a 1950s Texas family growing up in the birth of the space age. Winner of the Palme d’Or at Cannes this year.

VIVA RIVA!

By Djo Tunda Wa Munga, Congo-Kinshasa, France, Belgium In the Democratic Republic of Congo, petrol is in extremely short supply – fantastic news for Riva, who has just arrived from Angola with the only shipment of petrol around for miles. Riva starts to live the high life and finds himself attracted to a mysterious woman with links to a local gangster. This sexy action drama signals a brave new direction for African cinema.

Filmmaker in attendance

Documentaries at DIFF COUNTDOWN TO ZERO

By Lucy Walker, United Kingdom Countdown to Zero traces the history of the atomic bomb from its origins to the present state of global affairs. Walker (Waste Land, Blindsight) makes a compelling case for worldwide nuclear disarmament. Filmmaker in attendance.

shantytowns refuse to be moved. They invoke Mandela’s example by becoming leaders in an inspiring social movement.

World Premiere.

Filmmakers in attendance.

THE DAWN OF A NEW DAY

By Ryley Grunenwald, South Africa This film tackles Africa’s healthcare problem through the eyes of three West Africans in need of specialised surgery. Meanwhile, a South African plastic surgeon leaves his successful private practice to volunteer on a hospital ship sailing to Benin. World Premiere. Filmmaker in attendance.

DEAR MANDELA

By Dara Kell, Christopher Nizza, South Africa, United States

Mama Africa is an inspirational tribute to the late, legendary Grammy Awardwinning South African singer and activist Miriam Makeba, affectionately known to fans as “Mama Africa”. A film packed with five decades of rare archival footage, interviews and excerpts from the performances that exhilarated millions and inspired musicians like Harry Belafonte, Hugh Masekela and Paul Simon. African Premiere.

Filmmaker in attendance.

A

By Keith Jones, Deon Maas,Czech Republic, South Africa In Mozambique, Zimbabwe and South Africa, punk represented a genuinely radical political impulse. The film traces this story from the underground rock music of 1970s Johannesburg to the first multi-racial punk bands formed after the Soweto Uprising and the militant anti-apartheid hardcore/post-punk bands of the 1980s, to the Africaninspired ska bands of the 1990s. World Premiere. Filmmakers in attendance.

By Susanne Rostock, USA Although best known as a Grammy, Tony and Emmy Award-winning singer from Jamaica and a movie star who broke colour barriers in the 1960s, Harry Belafonte’s greatest legacy is his tenacious human rights activism in the civil rights and anti-apartheid movements. This film traces Belafonte’s relationships with such greats as Martin Luther King, Eleanor Roosevelt and Nelson Mandela.

SOBUKWE, A GREAT SOUL

By Mickey Madoda Dube, South Africa Robert Sobukwe, founder of the Pan Africanist Congress, lit the fire for anti-apartheid protests such as Sharpeville, an historic moment that led to his arrest and subsequent nine-year long detainment under a special amendment that became known as the Sobukwe Clause. World Premiere.

Filmmaker in attendance.

STREET KIDS UNITED

By Leonard Retel Helmrich, The Netherlands This film is the final part of a trilogy that took 12 years to make. It took the top prizes at both Sundance and IDFA as did

By Moussa Sene Absa, Senegal Created By Silver Bear-winning Moussa Sene Absa, this poetic documentary is a call for respect. When a boat is found washed up in the Bahamas (where Absa

By Tim Pritchard, South Africa, United Kingdom Shot in Durban during the months leading up to last year’s FIFA World Cup, this film explores how a simple sporting event, the Street Child World Cup, can empower people both on and off the field. African Premiere.

Filmmaker in attendance.

have been absorbed into the industry.”

Rorvik explains that the workshop component has grown enormously in recent years, particularly with the inclusion of Talent Campus Durban (TCD), now in its 4th edition (in co-operation with Berlinale Talent Campus), and, with the partnership of Durban Film Office, the Durban FilmMart (DFM) goes into its 2nd year.

“This year sees the addition of Doc Station Durban to TCD, where three selected talents will receive mentoring before pitching projects in DFM’s Doc Circle Day. “TCD will run two Master Classes.

Award-winning documentary filmmaker Leonard Retel Helmrich

(Position Among the Stars) will talk on single-shot cinema, while Gaston Kabore, the renowned filmmaker and head of Imagine Institute in Burkina Faso, will present a master class on the challenges that face African filmmakers.” DFM delegates may also attend these sessions as part of the Doc Circle exchange.

Panel discussion topics in the open-to-public Africa in Focus programme include distribution; funding; pre-production and postproduction issues; documentary ethics; co-producing with Hong Kong, North America and Europe; and a session on animation in India.

The Request For Proposals session will include an RFP from Don Edkins for the global documentary series, Why Poverty?, a follow-up to the documentary series, Why Democracy?

Panel participants will include 3 Continents (Nantes), BRITDOC Foundation, International Film Festival Rotterdam (IFFR), International Documentary Film Festival

Amsterdam (IDFA), Berlinale Film Festival, Dubai, The Good Pitch, Goteborg Film Festival, Sundance and a range of industry experts and filmmakers, local and international.

The festival also highlights African initiatives such as the Mokolo Network, along with Mobi CINE, PUMA Creative, People2People, and the NFVF’s Sediba programmes for scriptwriting and producing. DIFF will be the site of the launch of the KwaZulu-Natal Film Commission, which is anticipated to boost filmmaking opportunities in the province.

DIFF’s partner for the past 11 years has been the National Film and Video Foundation (NFVF). Rorvik continues: “DIFF would not be complete without the NFVF’s session for the industry about their plans for the year. The NFVF will also address emerging filmmakers and present their bursary opportunities. They will also present a prize to one of the Durban Short Film Challenge winners.”

DIFF at work long with showcasing the best in world cinema, the Durban International Film Festival (DIFF) has always been committed to the development and growth of the South African film industry. To this end it runs a comprehensive programme of workshops, seminars and panel discussions about all aspects of filmmaking.

DIFF assistant manager Monica Rorvik is proud to report that for the 10th year running, the festival will partner with the University of KwaZulu-Natal (UKZN) Audio Visual Division to present an audio-visual workshop for entry-level filmmakers from community organisations. “It’s very encouraging to hear that students who have done the course over the years

its predecessor. Retel Hemrich uses incredible single-shot camera work to reveal underlying political, social, economic and religious patterns of life in Indonesia, through the life of one family. Filmmakers in attendance.

PUNK IN AFRICA

POSITION AMONG THE STARS When the South African government begins evicting shack dwellers from their homes, three friends living in Durban’s

SING YOUR SONG

MAMA AFRICA

By Mika Kaurismäki, Finland, Germany, South Africa

teaches film) with 11 bodies on board, Absa returns home to learn about their dreams, and of their betrayal.

Filmmaker in attendance.

THE SACRIFICE

Contact: Tel +27 (0) 31 260 2506 / 1816 Website: www.cca.ukzn.ac.za

www.cca.ukzn.ac.za

Twitter: @DIFFest

40 | SCREENAFRICA | July 2011

Documentary |

By Karen van Schalkwyk

A new documentary, billed as the definitive account of Robert Mugabe’s life, takes an in-depth look at one of Africa’s most infamous dictators.

D

Machiavellian social misfit who hungers for power. At the very least ‘the good’ Mugabe may have been badly affected by his fight against the Smith regime in the amoral sense and that the moral compromises of the bush war years were carried through to the 1980s. This is what led us to the Nietzsche quote: ‘He who fights with monsters must take care lest he too become a monster’.”

The documentary aims to set the record straight and encompasses the history of Rhodesia and Zimbabwe.

Auret stresses that the film tries to avoid the white supremacist version of history.

“It is an attempt to show Zimbabweans their history in an objective manner so that they can understand how it is that SHEDDING LIGHT ON MUGABE – Simon Bright they still live in a fascist state equal to the fascist regime of Ian Smith, or even worse.” team of writers decided to present a thesis and an antithesis in order to come up with a synthesis. “The thesis is that Mugabe is Funding a good man gone bad, while the antithesis is that Mugabe is a bad man who did not Bright approached Auret with funds show his true colours until it became generated by a licence deal with ZDF / necessary,” explains Auret.

ARTE and Fonds Sud. He notes that like his parents and many “As Mugabe the White African did Betrayal others, Bright believed that Mugabe was a phenomenal business Spier Films decided real hero in the 1980s and a good man to invest in Simon’s film and retain the Zimbabwe-born Auret says that the Thesis vs antithesis gone bad. Auret continues: “However, right to sell it. We applied to the Open question of what happened to the country there is evidence to show that at worst, Society Institute of Southern Africa for a is one that people want answers to. “My After much debate about the film’s Mugabe has always been ruthless and a grant, raised some equity from other father had written a book called From structure, the director, producers and investors and applied for the Department of Trade and Industry (DTI) rebate.

“Raising funds for the original budget was relatively easy but the film took much “It is an attempt to show Zimbabweans their history in an longer to edit and finish than expected, so we ran over budget. We are now looking objective manner so that they can understand how it is that for finance to fund the 52-minute they still live in a fascist state equal to the fascist regime of cut-down version for broadcast and the archival clearance for world rights. I must Ian Smith, or even worse.” – Michael Auret say that Ronelle Loots did a fantastic job with the edit,” comments Auret. irected by Simon Bright, Robert Mugabe… What Happened? tracks Mugabe’s life from successful liberation leader to dictator.

Says producer Michael Auret of Spier Films: “The documentary begins as a journey to discover how the hero of the liberation and subsequent development of Zimbabwe could have led the country in such a murderous manner to wrack and ruin.”

Auret explains that Bright approached him to produce the film. “Simon’s home country is Zimbabwe. He wanted to go on a personal journey back there and ask: what happened? His family was opposed to Ian Smith’s regime in the then Rhodesia and emigrated but returned in 1982 to work in the Agricultural Ministry as they were impressed with the liberator Mugabe. Later Simon witnessed the decline and fall of his hero, which ultimately pushed him out of the country again. This documentary is a search for understanding.”

42 | SCREENAFRICA | July 2011

Liberator to Dictator; a Personal Account of Mugabe’s Descent into Tyranny – and while editing the book with him, I began to understand how much my parents and other Zimbabweans believed Mugabe and entrusted their futures to him, only to be betrayed. This left them with unanswered questions as to who Mugabe really was and what motivated him and the eventual deception of his people.”

Auret’s family also opposed the Smith regime and left Rhodesia. “In 1981 Mugabe encouraged people to return after they fled as refugees from Rhodesia in 1979. How Mugabe the man changed is what people want to understand. Heidi Holland’s book Dinner with Mugabe suggests that Mugabe actually yearned to be an English gentleman accepted by the Queen and the west, yet was confused by the impact of this desire on his Africanness and his supposed revolutionary ideology. This theory suggests that Mugabe is somewhat schizophrenic and his vindictive reaction to white farmers, for instance, were the actions of a jilted lover. There are many theories about Mugabe and this is just one of them.”

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DIGITAL ASSET MANAGEMENT

• Specialist in Archiving Workflows & Digital Asset Management.

Kevin Duggan, award winning DOP, UK

• 3D Production Marius van Straaten Stefan Nel Russel Bowden Shaun de Ponte • 3D Preparation & Acquisition Stefan Nel and Russel Bowden • 3D Post-production Roland Brown,Chair of the UK Digital Television Group

PRODUCTION + POST PRODUCTION

• Assessment of the transition to digital broadcasting in African countries Russell Southwood,CEO, Balancing Act.

DVB-T2

• Keynote - DTT ( Digital Terrestrial Migration) Department of Communications • DVB-T2, THE Ultimate DVB Technologies for South Africa Christophe TROLET - TeamCast

DIGITAL MIGRATION

• Panel Discussion DTT and the Opportunities

Book your conference seat now Contact Ellen Oosthuizen

Cell 083 268 6868

E-mail ellen.oosthuizen@pixie.co.za

www.screenafrica.com

INDUSTRY |

GFC The Gauteng Film Commission (GFC) has been through a tough time recently with budget cuts compromising some areas of their activities. They are, however, optimistic about their goals and objectives and say that two important projects will create benefits for the Gauteng industry.

Andy Stead chats to GFC CEO Terry Tselane.

AS: Please comment on your current two big projects.

TT: Both the Film Partnership document and the Film City proposal are in advanced stages of development and we hope to release the reports shortly.

Following that we will workshop both projects with the industry.

The Film City proposal is an internal document which seeks to establish sites and motivation for the development of a true film city within the Gauteng province.

In fact we have already identified a site in Midvaal; the other option is to partner with Blue IQ around infrastructure they are developing near OR Tambo Airport.

We are very excited about this initiative and need to develop a project plan and a costing exercise. Remember that the Cape Town Film Studios spent almost R350m on their ‘film city’. Ours is likely to require around R1bn, so it’s a huge project. We would like to have an anchor tenant broadcaster on board. Minister of Arts and Culture Paul Mashatile has stated that he is prepared to consider a partnership with us to push this ahead.

The GFC also seeks private investment.

AS: An exciting project indeed. Are you involved with anything else?

TT: Our other projects are more run of the mill and we continue to support local productions. The Bang Bang Club is launching in South Africa on 13 July and 44 | SCREENAFRICA | July 2011

OPTIMISTIC – Terry Tselane

we are involved in that project as we partnered with local production company Out of Africa and the Canadian co-producer Foundry Films.

AS: Please comment on last

year and on the GFC’s prospects for 2011.

TT: Last year was tough and 2011 is proving to be the same. Budget cuts have forced us to compromise on quite a number of projects. Every year we try to take our projects to international markets but when budgets are reduced this is the first platform to be sacrificed.

Consequently our presence at international events is now almost non-existent, which is sad as apart from taking filmmakers to these markets, we use them to find people who are interested in South African films.

Secondly our marketing budget has suffered greatly. We are trying to push our limited resources to support film projects and productions. The GFC is nevertheless still hopeful that the Provincial Government will see the importance of investing more and more in film.

AS: Your website and newsletter are always well received – any changes there?

TT: We used to have quite a number of publications to communicate with the industry but all we can do now is partner with various entities and organisations as we no longer have the capacity for in-house publications. We have decided to partner with Screen Africa in this regard as it has the reach and capacity and we have had a long standing relationship with the magazine.

AS: What were GFC’s highlights last year?

TT: The 2010 FIFA World Cup presented a huge opportunity and allowed us to showcase South Africa. Several foreign production companies that came here to do documentaries about the Soccer World Cup were very excited about our highly skilled and experienced crews. I had a number of interviews with international channels that were all very impressed with the local film infrastructure and talent that we have to offer. The World Cup was also a

great platform for showcasing our locations.

We did in fact have quite a number of projects related to the World Cup; one was Ace The Movie, about a South African soccer icon. The World Cup enabled the producer to begin to work with us on that project.

We also had The Bang Bang Club which the GFC partly financed.

When we were at the Toronto Film Festival in September last year everyone was impressed with the movie, which indicated that we had a good product.

AS: Your own plans for the future?

TT: I have been the Gauteng Film Commissioner for six years now. My term was extended after the first three years and now ends in December 2011. If need be I could make myself available for another term, but I think I would like to move on to other challenges. I have managed to establish the GFC as an independent organisation and am proud of the way it has developed and grown.

Reports by Karen van Schalkwyk

| TELEVISION

Austro-German production shoots in SA

J

ohannesburg-based service company Mannequin Films recently facilitated a German television movie called Löwenstein (Lion Rock) for Austrian EPO Films and German company Zoela Films.

Löwenstein follows the life of a young girl, Stella, who lives on a safari lodge in South Africa. When her mother dies Stella goes on a journey of self discovery to her homeland, Austria.

ARD Degeto Film from Germany and the Austrian Broadcast Corporation (OFF) will distribute the film.

Delon Bakker of Mannequin Films explains that they have worked with the two companies before. “It is always good when foreign filmmakers return to South Africa as it is a compliment to the locations and the services that we offer.

This country really has amazing rural landscapes that translate beautifully on screen.”

Asked what some of the challenges were with regard to the shoot, Bakker responds: “I would say the biggest challenge was the logistics of the locations. We had locations as far away as Hartbeespoort and Germiston, with up to three moves on one of the shoot days.

Our unit manager, Steve Watchorn, had his fair share of pressure and handled it extremely well. We shot in various

GREAT LOCATION – On the set of Lowenstein

locations including mines and airports.

These locations are very restricted areas but our planning was thorough and the shoot went without a hitch.”

The house in the series required a substantial build. Says Bakker: “We used an existing structure on Tweedsmuir Farm near Lanseria that was modified quite substantially by Space Craft.

Sean Pretorius and Chris Booysens headed up this part of the project and did a fantastic job.”

According to Bakker each country that shoots in South Africa approaches production in a different way. “For me it’s always interesting to see how different countries work and the things they do to make a production run that much smoother. It also helps to have great directors on board and Xaver Schwarzenberger is a fantastic director and a pleasure to work with.

“I believe that South Africa’s reputation as a world class location is still up there

with the best as it offers incredible diversity of locations, brilliant crew and facilities. A service company has to be prepared to work very hard to make great productions. I also think that a lot of the success boils down to understanding a client’s needs. This is one of the main reasons why we got this job.”

Mannequin Films has facilitated numerous films from around the world including India, Austria, Nigeria and the US.

| FILM

South Africa shoots for the world

T

IN A GOOD SPACE – Vlokkie Gordon

he South African film industry is currently in a good space as in the past few years some very significant feature films, A-list directors and cast have filmed in the country.

So says Vlokkie Gordon, head of Production at Cape Town-based Film Afrika, which has worked with the likes of Warner Bros. Sony, Universal / NBC, BBC, Channel 4, Weinstein Company, HBO, Showtime and Hallmark.

“Eighty percent of the films that Film Afrika is involved in are international co-productions. The territories that South Africa has co-production treaties with are Canada, Germany, UK, France, Italy and most recently Australia. In the past 18 months Film Afrika’s co-productions have included Treasure Guards, Lost Future, Outcast, Sniper Reloaded, Lost Boys, The Thirst and Dark Side.”

Gordon believes that the success of films like the Oscar-nominated, Peter Jackson (Lord of the Rings) produced, District 9, went a long way in making

other producers aware of South Africa’s potential.

She continues: “I do think we’re the flavour of the month, but then the South African industry has worked very hard to get to this point. At one stage we were the destination for foreign producers who had very little money but wanted to produce an amazing project. Now even the bigger budgets are starting to tap into our huge production value.

“The launch of Cape Town Film Studios (CTFS) late last year has had a great impact in terms of marketing South Africa as a serious film destination. This Hollywood-style studio facility is a huge asset to the country. It is also an investment in our future as a serious player in the world market and proof that we are willing to invest in our industry as a world class film destination. CTFS will assist us in securing projects that were out of our grasp before. Now we can facilitate long running, high end TV series from the US and the UK and we can open our doors to more VFX intensive films. The

possibilities are endless.”

Gordon adds that another benefit of filming in South Africa is the Department of Trade and Industry rebate, which offers an incentive for foreignowned productions shooting in South Africa, as well as for South African films and co-productions.

“This has added a lot of value, especially on the lower budget range films between $2m and $5m. For the bigger projects it is more of a cherry on top, but we will have to look at lifting the cap if we want to attract the bigger films. I believe they will come to South Africa but we need to address the rebate.

“The co-production and local film rebate has helped us to employ more South Africans in key creative positions and this way they gain experience which they transfer back to the local industry.”

Other Film Afrika productions include Mandela & De Klerk (Showtime) and Last House on the Left (Wes Craven / Focus Features).

July 2011 | SCREENAFRICA | 45

FILM |

BLEEDING FOR FILM – A dramatic scene from Retribution

Retribution to shake up SA distribution

U

pcoming South African thriller Retribution will be co-distributed by the National Film and Video Foundation (NFVF) and United International Pictures (UIP) as part of a NFVF project to create a distribution model for local filmmakers.

According to NFVF production and development executive Thandeka Zwana, they have been exploring the possibilities of distribution because of the lack of distributors for local films in the South African industry. “We are always eager to

By Linda Krige

learn more about fields that we are expected to advise on and one of our roles is to give sound advice to filmmakers when promoting and distributing their films,” explains Zwana.

The NFVF first got involved as distributor on the film Skin, released in 2010. Zwana says they will combine what they learned from distributing Skin with what they hope to learn from Retribution into a model that filmmakers can access to ensure that they negotiate the best possible distribution deal for themselves.

Among the lessons learnt from Skin is

that there is no set rule to distribution in South Africa and that audiences respond well to good stories. “When negotiating with exhibitors on Skin, we were advised that the story would not appeal to audiences in the Soweto area as this was not their type of film. However, Skin went on to reap its best results in Soweto,” says Zwana.

For the release of Skin they also embarked on a marketing drive in partnership with the Mail & Guardian.

“This paid off as the release of the film was excellently advertised and this helped to reach a much wider audience than we had anticipated.”

Zwana says they also learned that films should be given a wide release in many venues, and enough time to benefit from word of mouth.

With regard to Retribution, written and

directed by Makunda Dewil and produced by Philip Key of Moonlighting, Zwana says: “We felt that it would be perfect for the kind of model we are looking to put together for distribution.

The budget was conducive and the production model interesting and so we saw this as an opportunity which was in line with our thoughts around low budget film models.”

The film was shot in only 14 days on a very low budget and features only one location and two main cast members, Joe Mafela and Jeremy Crutchley. However, they did engage top crew members.

“As a result we have a low budget, high quality thriller that is sure to make filmmakers look at many of the scripts that we are developing now, more so in light of the budgetary constraints that we face when it comes to producing South African content. With the budget as low as it was, we hope that Retribution not only recoups the money invested but goes on to make the production company a healthy profit,” explains Zwana.

Among the major challenges still facing distribution in South Africa is getting the optimum number of prints or digital copies of the film made, and the limited run of local films at cinemas.

“Limited runs limit the box office potential of any film, and while we appreciate that the exhibitors need to see evidence of the film drawing audiences to the cinemas to warrant a longer run, we hope that steps will be taken to promote either lengthier runs or additional venues that show South African films,” says Zwana.

The NFVF is yet to confirm a release date, but Retribution should be in cinemas before the end of the year.

New Afrikaans romcom hits screens

By Karen van Schalkwyk

E

k Lief Jou — a new Afrikaanslanguage romantic comedy — is distributed in South Africa by UIP this month. It stars popular local singer Kurt Darren in the lead, model Christina Storm, Ilse de Vis and Andre Frauenstein.

The movie is produced by Makadi Entertainment and is directed by Ate De Jong (Drop Dead Fred, Miami Vice TV series).

Producer Anton Ernst (Number 10, Eternity, Jakhalsdans) explains that it has been a while since South African movie goers have seen a locally-produced romantic comedy. “We believe Ek Lief Jou has a great story and is very entertaining.

With our great cast I think it will be a success.”

Ernst says that he was very keen to work with Afrikaans artists and sat down with co-creator Andre Frauenstein Senior to come up with a concept for a film. “We knew that romantic comedy was a winning genre. Deon Meyer, who also wrote Jakhalsdans, wrote the script.

“Bringing Kurt Darren on board was a 46 | SCREENAFRICA | July 2011

ROMANTIC COMEDY – Ilse de Vis, Kurt Darren and Christina Storm in Ek Lief Jou

natural progression. He is a very well known Afrikaans singer and was just perfect for the lead role. I worked with Christina Storm on Jakalsdans and she is a great actress with brilliant comedy timing. We brought in Belgian actress, Ilse de Vis, who is very Sandra Bullocklike. She has a wonderful ‘girl next door’ charm combined with star quality.”

Europe-based Ate de Jong came on board as he and Ernst have known each

other for five years.

Ek Lief Jou was financed with private equity and the Department of Trade & Industry (DTI) rebate. The film’s budget was about R3.2m and it releases with 45 prints on a combination of film and digital.

Says De Jong: “I came on board five days before the crew started shooting. It was a challenge but I really liked the script and working with Kurt Darren was

a wonderful experience. He gave a lot of input, was spontaneous and has great knowledge of how the music industry works.

“I’m used to working on bigger budget movies with far more preparation time.

However, the small budget forced me to come up with creative solutions.”

Ek Lief Jou was shot on Canon 5D and 7D cameras. Both impressed De Jong with their ‘great picture quality’.

He notes that working with actors always requires flexibility. “If you are working with professionally trained actors there is more opportunity to be experimental and you can make them work with the script’s subtext. With untrained actors, however, you have to put them completely at ease. You can’t make them feel insecure. A director is a physiologist.”

De Jong adds. “I loved working here in South Africa for the first time. Your crews are fantastic and I would love to shoot here again. I think South Africa is on the brink of a very exciting time and is a great place to be.”

FILM |

A letter to

Mandela

By Karen van Schalkwyk

Dear Mandela is a socio-political documentary that looks at the lives of three young people who live in the slums of South Africa and take a stand against authority to find a way of life that is ultimately free and dignified.

T

he documentary was produced by Fireworx Media and co-directed, produced and edited by Dara Kell and co-directed

by Christopher Nizza, who was also co-producer and editor. Neil Brandt of Fireworx Media was co-producer and Matthew Peterson the director of THE DIRECTORS – Dara Kell and Christopher Nizza photography (DOP).

Kell explains that the Pithouse’s article The Struggle in School. inspiration for the documentary is South “The article was about the birth of a new Africa’s political landscape. “I grew up social movement led by people living in under apartheid and was a real child of shacks in Durban. Their philosophy was the ‘Rainbow Nation’. Nelson Mandela about a new way of life that was based on became president in 1994 when I was 14. respect, where everyone counts. They Things changed fast and a lot of called it ‘living politics’. We visited the wonderful things happened, but I was community and witnessed people really disturbed when I learned that the resisting evictions. In almost every number of people living in shacks had instance the evictions were illegal and actually doubled since 1994.” violated the constitution. Many of the In 2007 Kell and Nizza read Richard

THE THREE LEADERS – Mazwi, Zama and Mnikelo

community leaders were young people who took a stand.”

Dear Mandela follows three particular young leaders Mazwi, Zama and Mnikelo who have made a difference.

Kell continues: “In many ways films about poverty are told by experts in a very dry and factual way. We wanted people to delve into the world that Mazwi, Zama and Mnikelo live in and shot for hours and hours, just spending time with our characters. Eventually the characters challenged the government – all the way to the Constitutional Court.”

Trust One of the most difficult aspects was gaining the trust of the community. Says Kell: “We first met with members of the Abahlali baseMjondolo (Zulu for ‘people of the shacks’) at their headquarters in the Kennedy Road informal settlement in

Durban. They grilled us for hours about our plans for the documentary and then sent us away. Later we received an SMS giving us permission to film. It was a tough shoot with many life-threatening incidents as we felt a responsibility to bear witness to what was happening.”

DOP Matthew Peterson went for a dramatic and cinematic style using the Red One camera, which was perfect for epic aerial shots and big scenes. He created unusual in-camera colour effects to give certain scenes a more magical and surreal feeling.

Eighty percent of the film was shot with no outside funding. Kell and Nizza are freelance film editors and selffinanced the travel, camera hire and expenses. Crucial support came from the Sundance Institute Documentary Film Programme, the National Film and Video Foundation (NFVF) and a few smaller foundations.

g pains of a short film

Growin

SPIRIT OF INDIE FILMMAKING – Director Norman Kgatla and Johannes Schoutsen setting up a shot

C

anadian camera operator Johannes Schoutsen, who has lived in South Africa for two years, was recently approached by local filmmakers Norman Kgatla and Gcinumuzi Damoyi of Gad Creations to be DOP on their short film, Growing Pains of a Middle Aged Man. Shot over a weekend in the notoriously crime-ridden Johannesburg suburb of Hillbrow, this film-without-a-budget short served as a practice run for Gad Creations’ feature length project, which is currently in pre-production.

Growing Pains of a Middle Aged Man tells the story of a man desperately in need of money for his terminally ill daughter and of the emotional and physical struggle he endures. In the end the film shows 48 | SCREENAFRICA | July 2011

that sometimes all we need is a little luck.

Says Kgatla: “I really wanted to up the quality of my film and have a different look and feel – something not yet seen in South Africa. Johannes (Schoutsen) was key in achieving this.”

Schoutsen used his own Sony EX1 camera to shoot the film. “With a 1/2 inch chip and a beautiful Fujinon HD zoom lens, this camera is capable of producing stunning HD images. l believe the EX line-up offered by Sony is the workhorse of the independent industry.

The workflow of the EX1 is so easy and so widely accepted that Sony has included it in its new F3 camera, which says a lot.

“During the shoot a Schneider Optics Digicon filter helped to raise black levels

Vusi Mhlongo (sound recordist), Dirk (focus puller), Johhanes Schoutsen (DOP), Nkosana Madonsela (actor) and Gad Damoyi (producer)

while lowering highlights and allowed me to play more with the image in postproduction and achieve the look I was after. I used a Kessler Crane Pocket Dolly and a Glidecam, which meant the camera was always moving and never locked down. This allowed more set-ups during the day and created a ballet of movements in the scenes. Norman wanted a dark, distant feel as the film is of a depressed nature.”

Locations were mostly interior, with a few exterior establishing shots.

Despite the threat of crime in Hillbrow, the crew encountered only curiosity from passers-by.

“People just walked by and sometimes asked questions on what we were shooting,” comments Schoutsen. “They

seemed more excited about the concept of the film than anything else.”

He notes that a real spirit of independent filmmaking was evident during the making of the film. “We had only a two-day shooting schedule and no payment at all for duties rendered. Yet the crew showed up faithfully each day and worked incredibly long hours. During the drug bust scene we needed help from the police department as we had a cruiser pull up and arrest some drug thugs. The action of this scene brought out the neighborhood. We also shot some very dramatic and emotional scenes at a hospital in Soweto.”

The film is post produced at Nemisa (National Electronic Media Institute of South Africa).

INDUSTRY |

Reports by Karen van Schalkwyk

New NFVF exec ready to face challenges The National Film and Video Foundation (NFVF) of South Africa recently appointed Thandeka Zwana as its production and development executive, replacing Ryan Haidarian who has left to pursue new ventures.

A

s someone who is passionate about script development, advancing the local film industry and who has vast production experience, Thandeka Zwana feels she is well qualified to take on the NFVF position.

“Previously I had been through the NFVF skills development process, starting with the Sediba Spark programme for script editors, followed by the Sediba Masters programme. In a way I am a product of the NFVF mandate and its values. By joining the NFVF now I can ‘pay it forward’.”

PAYING IT FORWARD – Thandeka Zwana

Zwana stresses that the NFVF must, first and foremost, adhere to its Parliamentary mandate, which is to develop and promote the industry, provide information, skills development and training and address historical imbalances. “Applying this ethos to my department, my responsibilities include engaging with filmmakers, experienced and novice, offering support and advising them on how to be successful filmmakers.”

One of the NFVF’s biggest challenges is to build on its relationships with filmmakers. Says Zwana: “The NFVF has had a somewhat shaky relationship

with many of the more seasoned filmmakers who may not agree with some of its policies. We strive to explain our mandate to them so that they recognise it is in line with Parliamentary objectives.

“The NFVF supports the industry as a whole and one of our big drives is for filmmakers to be fully self-sustainable and avoid working on a project by project basis. Our Sebiba Producer’s Programme teaches delegates the business of film.”

Another challenge facing the industry is the lack of basic skills in previously disadvantaged communities. “We find aspiring filmmakers who have a great vision yet don’t know how to package a concept to attract investors and creative partners. The NFVF wants to partner these filmmakers with graduates of the Producer’s Programme so that they can learn the business of film,”

explains Zwana.

She believes it is critical to align South African film budgets to local box office performance. To this end the NFVF has analysed box office figures and the figures can be found on the NFVF website (www.nfvf.co.za).

Also on the website is the list of nine documentaries and 11 feature films that the NFVF has in development. Says Zwana: “We are about to have our first council meeting which will select the next batch of projects to be granted development and production funding.

Each submission is sent to independent panelists who assess and give recommendations on the projects.

“Once notes are received from the panelists my department goes through them and we add our own recommendations. These combined notes go to management and then council makes the final decision on which projects will receive funding.”

Zwana notes that the industry should move away from the mindset that filmmaking is not financially viable and that investors should only view film funding as a tax break. “We must become a sustainable and viable business and develop a culture of consistency,” she adds.

TELEVISION |

Soccer lifestyle show revamped

South African Premier Soccer League (PSL) club Mamelodi Sundowns set a Johannesburg production company the challenge to come up with a fresh new look for its monthly television show broadcast on pay-TV channel SuperSport 4.

T

he aim of Sky is the Limit, a collaboration between Alight Productions and Spagetti INK, is to create a public platform to spread news about Mamelodi Sundowns.

Says Dean Konidaris of Alight Productions: “The club’s president Patrice Motsepe and management felt that they needed something new for their TV show and tasked us to come up with a lifestyle magazine programme.

They specifically wanted a vehicle to showcase the club’s pedigree.

“Our goal is to keep viewers constantly engaged by presenting a vibey show with six clear segments: player profile on the field; player profile off the field; fan profile; club / coach / management profile; feature story; and club news.”

According to Konidaris, the design and look of Sky is the Limit was inspired

by Nike commercials, as well as a short documentary that triumphed at the 2010 Vimeo Awards – Last Minutes

50 | SCREENAFRICA | July 2011

with Oden.

“With these references we developed a look that we believe has not been seen on local TV before. We shoot on the Canon 5D camera with Carl Zeiss lenses and use a combination of tight shots, many of which are handheld.

There is a fair amount of movement within the shots, with lots of in-focus and out-of-focus positions. Shots typically include stadiums with full capacity crowds blowing vuvuzelas, or a bunch of kids on a soccer field.”

Most of the shows are shot on location which means that the quality of audio is defined by the locations. Konidaris notes that once the offline edit is completed the audio is sent to be cleaned up and / or corrected. “By using an array of equalisers, vocal correction and noise removal tools, we are able to bring the audio up to a ‘usable’ level and reduce unnecessary background sounds.

Sometimes the background noise will be used within a shot to create a ‘buzz’ track to help create atmosphere.”

Alight Productions created a song title track for the show. “We have a music video type approach to the title sequence and use in-house generated graphics, with stings in and out of ad breaks,” explains Konidaris.

He notes that the Sky is the Limit budget is not phenomenally large but because there are very talented individuals who operate in-house between Alight Productions and Spagetti INK, the budget can be stretched a lot further than most production houses that need to outsource certain elements.

“The fact that the show is monthly allows us the time to deliver a top quality show. This is a big advantage and also has the added benefit of not placing any undue pressure on the work we create for our other corporate clients,” concludes Konidaris.

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NEWS |

Reports By Karen van Schalkwyk

Historic indie cinema chain expands

S

outh Africa’s largest and oldest independent cinema exhibition company, Avalon Group, which trades under the CineCentre brand name, recently opened a luxury cinema complex at Johannesburg’s Killarney Mall.

Avalon’s AB Moosa Jnr says the

NEW CHAPTER – Avalon Group CEO AB Moosa Jnr and Moosa Moosa

company was keen to have a presence in the northern suburbs of Johannesburg.

“We were delighted when the Killarney Mall opportunity came up. After its recent revamp the mall is unique and big enough to offer a large variety of retailers, yet contained enough to be convenient.

The public response to our Killarney cinemas has been extremely positive and admissions continue to grow by the day.”

Founded in 1930 by AB Moosa Snr, Avalon has CineCentre sites all over the country and has faced its fair share of challenges over the years. Under apartheid the group was almost destroyed.

Moosa Jnr explains: “During this time we were almost vanquished through racist laws such as the Group Areas Act, which had demarcated white and non-white areas. As a result the cinemas that were established by my late grandfather prior to the apartheid laws, were either expropriated or forced into sales. My father Moosa Moosa, executive chairman of the group, had to bear the brunt of these unfair challenges.”

Moosa Jnr says that this situation forced the company to sharpen its business skills in order to survive. “I think that the apartheid system, without intending to do so, compelled us to sharpen our wits to survive no matter how unfair the odds or the size of the competition.”

Avalon introduced many firsts into the country. “Our history includes innovation and we were the first to introduce 10am

Spreading the risk Insurance on films and commercials is critical as it protects productions from potential losses that may occur.

52 | SCREENAFRICA | July 2011

K

en Cubberley of Johannesburgbased Film and Media Adjusters, which specialises in the film and entertainment industry, says: “Feature film budgets today can reach figures of $200m plus, while daily budgets for commercials can comprise anything from R25 000 to R1.5m. Therefore production companies need to be covered in the event of an incident that may result in a fairly substantial expense – such as a re-shoot, additional post-production costs or abandonment – it all depends on the event.”

Under the Film Producers Indemnity Policy (FPI Policy) the items insured depend on the needs of the production.

“The FPI Policy covers cast sickness and injury and a medical examination is a pre-requisite. It also covers film negative which includes ‘the faulty perils’, such as defective cameras, processing and raw stock,” explains Cubberley.

Other insurable items include props, sets and wardrobe and extra expenses arising from the inability to perform due to loss of property and / or facilities (eg. a road that is washed away preventing the production team from getting to set).

The cover of miscellaneous equipment also falls under the FPI Policy. Says Cubberley: “This covers the production house for its responsibility to the rental house, should loss or damage occur to hired equipment while in their care, custody and control.

“With FPI cover the production company can also request, apart from its direct actual expenditure incurred, additional cover – a mark-up which the

and 5pm shows,” comments Moosa. “We were the pioneer importer of Bollywood films from the early 1940s, the first to introduce flavoured salts for popcorn at cinemas and the first to provide individual sachets. Avalon was the first to encourage patrons to keep their 3D glasses in our branded pouches. We also hold the world record of a 72-year uninterrupted relationship with 20th Century Fox. “In keeping with the spirit of being innovative and a desire to provide a unique offering to the existing and new cinema patrons, Killarney Mall CineCentre is the first multiplex in South Africa to have all its screens 3D compatible. Cine 5 has been branded Cine Premiere and has the most luxurious cinema seats in South Africa.”

Moosa Jnr believes the main reason for Avalon’s success is that it is a hands-on company. “As an independent cinema exhibition group we are less bureaucratic than large conglomerates and this enables us to make business decisions and respond to market dynamics faster. Being the biggest conglomerate does not necessarily mean you are the best or the most profitable, as the recent global economic crisis proved.”

majority of insurers accede to. This is usually between 10 and 12%.”

However, the FPI Policy does not cover human error and does not guarantee the ability of crew to perform within the normal specifications of the industry.

Cubberley explains how the claim process works: “When a production house sustains an incident of loss that is insured under the FPI Policy, they notify their broker or insurer. The insurance company or underwriter appoints an independent loss adjuster to investigate the overall circumstances. If he is satisfied that the incident of loss represents a peril insured, he requests the insured to formulate a claim. The adjuster, upon receipt of the claim formulation, proceeds to adjust the quantum. Then a report is issued and settlement is recommended to the insurer or underwriter.”

The most common losses on commercial productions relate to weather day interruption but it is far more expensive than the FPI. Cubberley says that claims range from veld fires, wind havoc, external sets and theft of equipment to cast claims and sickness. “Our climate conditions can sometimes involve unusual circumstances.

For example, recently a camera malfunction occurred due to the degree of static electricity in the atmosphere at that specific geographic location and time of year.”

The ratio of insurance remains constant to the value of the production unless the production warrants a once-off rating due to the possibility of a higher risk and loss – such as filming in the Polar region.

AFRICA |

Reports by Martin Chemhere

Portrait of a vice president

Journey to State House:The Life of (Maalim) Seif Shariff Hamad, a documentary about the vice president of Zanzibar, held its world premiere at this year’s Zanzibar International Film Festival (ZIFF) in June.

SAYING IT LIKE IT IS – Shariff Hamad in scenes from the documentary

According to Jafferji, the 50-minute film aims to raise the bar to such an extent that it re-invents the Tanzanian movie scene and ushers in a new era of world class film production to the country.

“Journey to State House is a celebration of Sharrif Hamad’s personal determination to bring peace to Zanzibar and is an eye opener to those unfamiliar with the history of Tanzanian and Zanzibari politics,” states Jafferji.

Although topics discussed within the film are political, Jafferji stresses that the overall aim is to celebrate one man’s exceptional life and struggle, while emphasising the importance of peace in Zanzibar.

The production team worked tirelessly for six months to document the referendum and general elections in

ZIFF festival director exits After transforming the Zanzibar International Film Festival (ZIFF) into a force to be reckoned with, Professor Martin Mhando’s run at the east African festival ended with this year’s edition held in June.

When Martin Mhando was appointed ZIFF director in 2006, he aimed to ensure that ZIFF become a creative networking platform for east African filmmakers. “My strategy was also to make the festival sustainable in the face of donor fatigue and open it up to the African diaspora and 54 | SCREENAFRICA | July 2011

Photo by Peter Bennett

Director Javed Jafferji, who produced the film in 2010 under his company ZG Films in conjunction with Media House, believes his film is a celebration of the Zanzibari people. “We have gone through political turmoil since the multiparty system was introduced in 1992.”

Journey to State House premiered on 19 June at ZIFF, with Sharrif Hamad in attendance. “It was great to have the vice president present to launch the film,” notes Jafferji.

Contrasting the political struggle of one man and one archipelago, the film is also rich in historical insight and imagery.

With accounts from politicians and observers alike, the film paints a fascinating backdrop to the sheer political magnitude of Shariff Hamad, who was elected into power by the Zanzibari people in 2010.

BOWING OUT –

Martin Mhando, ZIFF Director indigenous cultures.”

Major achievements since 2006 saw ZIFF reduce dependence on donors from 100% to 30% within five years. Mhando enlisted American actor Danny Glover’s aid in 2009 to link ZIFF with the African diaspora. Thanks to the introduction of the Children Film Panorama, 2 000 school children have received film analysis training at ZIFF. Mhando also set up the Festival of Festivals Programme, where filmmakers get to see and learn about other filmmakers’ work.

ZIFF’s exposure in international media and increased links with other festivals around the world took an upturn during Mhando’s tenure. There was also the establishment of the Festival Exchange Programme with Trinidad and Tobago; the Cinetoile Project for the distribution of African films; and the introduction of

Zanzibar that changed its political history forever, and to collect previously unseen photographs and film footage.

Jafferji explains: “This story is told for Zanzibaris to spread the news of a monumental shift in local politics further afield, and also to spread the good news of what is happening on the islands.”

The documentary follows Shariff Hamad on five months of the concluding leg of his 22-year long struggle to transform from political outcast into the very first vice president of Zanzibar.

It also reveals Shariff Hamad’s personal life from happy childhood to his regrets as a father and husband. For nearly three years Shariff Hamad was unlawfully imprisoned after being unexpectedly ejected from the Zanzibari government as chief minister, as well as from the struggle

party Chama Cha Mapinduzi (the sole legal political party at the time) in 1988.

He and his family suffered greatly over the years due to his enduring commitment to the politics of the nation.

Another aspect of the film gives the audience a more complex sense of Shariff Hamad — his family’s participation in the holy month of Ramadhan.

This is Jafferji’s first feature documentary and follows his other smaller productions that promote Zanzibar’s major calendar events like the Sauti za Busara Music Festival, ZIFF, Swahili Fashion Week and Naomi Campbell’s Fashion for Relief.

Jaffarji’s latest feature documentary, fresh from the edit suite, is titled Glamour: The Reality Behind Dreams.

Bongo (local) movies into ZIFF. A strategic budgetary move reduced ZIFF’s permanent staff from seven to three.

During his ZIFF years Mhando was also in academic service at Australia’s Murdoch University. He says: “The only reason I was able to balance the two jobs is because Murdoch University recognises the importance of creativity to its teachers, especially those teaching production courses. The university has been magnanimous in giving me research leave each year to run the festival.

“ZIFF has been a rejuvenating activity for me and the development of digital technology allowed me to manage the festival from 10 000kms away. Since 2006 I have worked two jobs on a daily basis – from 8am to 6pm for the university and then from 7pm to midnight for ZIFF. It has been a rollercoaster and I need to thank my family for supporting this lifestyle.”

The east African film industry is now richer with Mhando’s guidance, particularly in the acceptance of video halls as a major industry component in east Africa, a culture that was not given much respect before.

ZIFF also brought Bongo movies and east African films to the attention of the world. For the first time an east African film, Malooned by Kenyan Bob Nyanja, was picked up at ZIFF for international distribution. Last year a Swahili movie, Nani, by Tanzanian director Sajani

Sameer was selected to tour Germany under the ZIFF Potsdam Programme.

“It is in distribution where the east African industry will truly take off,” stressed Mhando.

Professor Ikaweba Bunting replaces Mhando as ZIFF director. Mhando offers this advice to his successor: “The professor should acknowledge that ZIFF is defined by its difference – we can’t be an African version of Cannes because we are African and Cannes is French. People must come to ZIFF to experience a Zanzibari film festival deep in the heart of a World Heritage site.”

Mhando will continue to sit on the ZIFF board of directors to facilitate the transition to Bunting’s leadership.

When asked which is the best east African film he saw in competition at ZIFF during his time as director, Mhando responds: “Malooned – not only because it was creatively made but because it was prophetic in many ways. Two years after its release the Kenyan post election riots took place. The film was a warning.”

Mhando is well known for his own feature film, the 2000 release Maangamizi. In 2008 Mhando made a documentary called Liyarn Ngarn about Aboriginal politics in Australia. The latter will be shown under the ZIFF’s Festival of Festivals Programme as part of a selection of Australian indigenous cinema.

Next year Mhando hopes to shoot his new film, It’s Secret, in Zanzibar.

| AFRICA

New anti-piracy tool US-based company EggUp is making inroads into Africa with its film distribution and anti-piracy tool – Egg – that encrypts films into secured files.

It is estimated that over $18.9bn is lost globally to piracy each year, of which about $200m is lost in Nigeria alone.

Available for download for iPhone, iPad, MAC and PC users, Egg is already in use in Nigeria where a deal was recently struck with the government and local filmmakers.

States Chris Lucero, EggUp’s head of PR and Marketing: “Nigerian filmmakers are very excited to use a tool that gives them an opportunity to enter the global market.”

Egg took EggUp two years to develop and prototype before it was launched in January this year. Lucero says the tool is unique as currently there is nothing similar on the market. “We don’t know of

any platforms that are pushing antipiracy. Whereas most platforms only concentrate on consumer demands, we’re going the opposite route by focusing on the filmmaker’s demands.”

Filmmakers in Cameroon, Kenya and South Africa have shown interest in Egg and are in talks with his company.

“Africa is a significant market and it’s clear that the continent’s filmmakers are hungry to dominate the film world.

EggUp is willing to partner that movement,” comments Lucero.

In May this year EggUp won the prestigious Living Labs Global Award for Sustainable Initiative on Intellectual Property Protection in Stockholm, Sweden. This award was one of eight categories in partnership with cities that seek to identify the best solutions to meet their strategic challenges.

The growing threat for Lagos, Nigeria is film piracy. Nigeria is the second largest film industry in the world next to India.

Forbes.com states: “Nollywood will be the next big thing in world cinema.” It is currently an $800m industry.

Over 245 submissions were submitted from companies in 127 cities in 30

Doc exposes environmental waste

The hypocrisy of some of the world’s biggest industrial conglomerates regarding the protection of the environment is exposed in a new Cameroonian documentary.

CONSEQUENCES – Eloi Bela Ndzana

Nkapa (Une Affaire Africaine) is produced

by French based film production house Skopia Films. The script was written by Skopia’s Franck Sanson (the film’s director) and Cameroonian Eloi Bela Ndzana (assistant director).

Ndzana explains: “While the developed world keeps ranting that action is necessary to save our planet, many industrialists show no concern about environmental consequences as they continue to pollute Africa.”

The film aims to show industrialists that they have turned Africa into a ‘very large dustbin’ and that they should take responsibility for the situation.

It took four years to develop the script for the 52-minute documentary, which

features personalities such as Wangari Matai, the renowned Kenyan activist and the first African female to win a Nobel Prize. Representatives from the Greenpeace Foundation and prominent African journalists also appear in the film.

Making the film, which was shot over five months in 2009 and 2010, was not easy according to Ndzana. “We always had to conceal the fact that we were filming as the army is concerned about film shoots in Cameroon.”

This situation is not isolated to the west African nation; many of the continent’s hard line states still view people working for international broadcasters and production houses as ‘sellouts’.

Government restrictions mean that the film will not be seen in Cameroon. Says Ndzana: “The film is censured in Cameroon because of its political stance.

But (at time of writing) we are negotiating to screen it at the Ecrans Noirs Festival in Yaoundé, Cameroon, from 18 to 25 June.”

Funding for the film was private with additional support from the French national film body CNC. Skopia Films is handling worldwide distribution for all regions except Cameroon.

countries for the Living Labs Global Award, and 40 of submissions, including EggUp, were shortlisted as category winners. As such EggUp.com is able to pilot its platform and partner with Lagos city government.

A soft launch of the EGG anti-piracy software solution was conducted with a few Nollywood films that remain un-pirated to this day. They include Timeless Passion 1 & 2, Nollywood Hustlers 1 & 2, Bursting Out 1 & 2 and Guilty Pleasures.

Lucero continues: “Our main problem is partnering with the right government, companies and film organisations. To make the partnership work, all

components need to strategically align themselves with one another to build structure and sustainability.

“In the US many distributors are still holding onto traditional methods and are suffering dramatically diminished revenues because of piracy. Other platforms are coming out pushing new technology to get to the marketplace but there is no business model on how to prevent piracy.”

Lucero observes that influential people in the US independent film industry are talking about EggUp, among them Jon Reiss of thinkoutsidetheboxoffice.com and Orly Ravid of thefilmcollaborative.org.

BRAVE STORYTELLING – Wunmi Mosaku as Malia in a scene from I Am Slave

Uncovering modern-day slavery A UK-made drama takes a chilling look at child trafficking around the world.

Released on South Africa’s Cinema Nouveau art house circuit on 24 June, I Am Slave is based on the real-life experiences of a Sudanese woman called Mende Nazer.

The film tells the story of 12-year-old Malia who is snatched from the arms of her father during a militia raid on their village. She is sold as a slave to a Khartoum family, where she undergoes a terrible ordeal for years. At 18 she is sent to work in London.

Directed by Gabriel Range (Death of a President), I Am Slave was written by Jeremy Brock and producer Andrea Calderwood, the team behind Oscarwinning film The Last King of Scotland.

Calderwood explains how the story came about: “Jeremy (Brock) met Mende Nazer after she escaped and was seeking asylum in London. She made an incredibly brave decision to tell her story to the world and expose the shocking truth about how widespread modern day slavery is.

“Very few people are aware of this, but it is estimated that about 5 000 people are being held in conditions of slavery or domestic servitude in London alone, and the pattern is repeated in big cities around the world. Jeremy approached me to make a film that would not only expose the issue, but in particular, give a wide audience the chance to understand how it feels to be a young woman caught in this

By Karen van Schalkwyk

situation.”

It was a big challenge to make a film on such a tough subject on a tight budget.

According to Calderwood the filmmakers faced many legal, political and financial hurdles along the way. But in the end they found a combination of financiers, broadcasters and distributors who saw the potential power of the film and recognised how important it is for this story to be told.

“Together with Gabriel Range we attached the best possible cast to bring the characters to life and create a strong emotional connection between the characters and the audience.

“We shot the film in the Rift Valley in Kenya, where our production designer Christina Casal built a Nube village. We were delighted when Nube people who saw the film thought it was a real village,” notes Calderwood.

I Am Slave received three standing ovations at the Toronto Film Festival.

“Audiences were not only moved by the film and by Wunmi Mosaku’s performance as Malia, they also gave Mende Nazer a huge ovation for having lived through such painful experiences and having the courage to tell her story,” comments Calderwood. “Many people asked what they could do to help expose and end this practice in their countries and how they could support the people of Sudan.”

Calderwood believes that there is a wide audience for African films. “Our upcoming film, Half of a Yellow Sun, is set in Nigeria. I feel that some of the strongest stories in the world are told from Africa.”

July 2011 | SCREENAFRICA | 55

Continued from page 1 | Seta landscape shake-up MICT Seta, putting us in a position to accredit aspirant training providers and to register assessors and moderators and issue competency certificates to learners against those qualifications.

“All the projects that were transferred from the MAPPPSeta to MICT are progressing very well, with project monitoring and evaluation running smoothly without any glitches. In fact most of the service providers have commended us on our systems,” says Mopaki.

He notes that a big challenge was sharing the MICT funding model with the stakeholders from the film, electronic media and advertising sub-sectors. “A lot of displeasure was expressed and we duly took note of that,” says Mopaki.

According to SASFED’s Lee most of the challenges of the new landscape relate to the specific way the film and broadcast industry functions.

This includes the fact that the MICT Seta is focusing on employers as the main point of their activities.

Cape film permits back online happening in the off-season while the old fax-driven system is being phased out.

CFC CEO Denis Lillie adds that the CTFPO has also increased their number of staff members and improved their technology. “We’re quite pleased with the improvements and have been hearing from experienced international filmmakers in the past few weeks who consider Cape Town one of the most film friendly cities in the world,” says Lillie.

According to Carr they are taking positive steps on all their past issues, including a long term plan to recover some valuable locations that were red flagged or becoming expensive. “There’s some way to go but at least the various responsible parties and

associations have come to agree on seeking amicable dealings with each other and are fixing the problems rather than just talking about them. The City has acknowledged the economic value of our industry and is motivated towards ensuring that Cape Town is the film friendly city that we market to our clients,” explains Carr.

As for the relationship between the CPA and CFC, Carr says the CFC board announced at their meeting that their legal team was still busy with the restructuring of their articles of association. Therefore it could not discuss all the CPA’s concerns with the future board structure and future mandate of the CFC and their CEO.

Durban’s big industry events Talent Campus Durban (22-26 July).

DIFF has secured a number of titles from the recent Cannes Film Festival, including the Palme d’Or winner, Terence Malick’s Tree of Life, starring Brad Pitt and Sean Penn, as well as other Cannes films including Woody Allen’s Midnight in Paris, Play, The Snows of Kilimanjaro, The Source, Skoonheid, and The Big Fix. “We are also very excited to host the African premiere of Viva Riva! a co-production between the DRC, France, Belgium and South Africa that has generated a huge buzz on the festival circuit and sold internationally,” says festival manager Nashen Moodley.

“DIFF is also delighted to screen the Egyptian film,’ Hawi by Ebrahim El Batout, which first appeared in Durban as a project at the inaugural Durban FilmMart in 2010.”

According to assistant festival manager Monica Rorvik, the crop of documentaries at DIFF 2011 is outstanding. “Position 56 | SCREENAFRICA | July 2011

Among the Stars, by Indonesianborn Netherlands-based Leonard Retel Helmrich, is a work of genius. It is the Sundance- and IDFA-winning third part of a trilogy about an Indonesian family, a microcosm for the political situation in post-Suharto Indonesia.

“The film is riveting because of the amazing camera technique that Retel Helmrich has used for the 12 years it took to film the trilogy. He films each scene in a long, very carefully planned single shot and then edits other shots into that.

Consequently, you engage more closely with what’s on the screen and you can’t take your eyes off it. Retel Helmrich works with the documentary format as if it’s literature. He will present a master class at Talent Campus Durban.”

Among the other big international documentary titles at DIFF is the Canadian production, Prosecutor, directed

by Barry Stevens and produced

by Peter Raymont. “This film is about the president of the

“Our industry is not employeremployee driven but freelance and independent driven. The skills development plans and Workplace Skills Plans (WSPs) do not address the majority of the industry, and furthermore, most companies are small and do not have the time or resources to dedicate themselves to the process. This causes a huge skewing of the information the Seta receives and the industry representatives they naturally interact with,” explains Lee. He believes this is especially true in the area of scarce skills: “I

think everyone at the road show from the film industry was startled to see that the MAPPPSeta reported video editing as a scarce skill in the industry. This is one of the least scarce skills I can think of.”

However, according to Lee the freelance nature of the film industry was one of the issues discussed at length when two top Seta representatives visited their school, the Academy of Screen Arts, recently. “They proposed that there should be on-going communication with industry stakeholders, even those who are not employers and don’t

necessarily fit as a direct constituency of the Seta. This should help the Seta to understand the industry better and be able to interact with it more appropriately,” says Lee. Mopaki confirmed that the Seta plans to engage with stakeholders continuously by having round table discussions on the matter. “Suggestions that came through at the road show regarding the employers / training providers forums were formerly recorded and are being followed up with a view to implementing them,” says Mopaki. – Linda Krige

“It was agreed that we would make a joint statement when we’ve reached agreement on issues that are still unresolved.

What I can say is that we have agreed in the meantime to co-exist independently but on better terms and each party will act in the best interests of the development of the Cape film industry, especially when dealing with the CTFPO and in any areas where we have mutual interests,” says Carr.

According to Lillie the issue will be tabled at the next CFC board meeting, but he expects the outcome of the talks to take the form of a memorandum of understanding between the CFC and CPA, and a better working relationship between the two organisations going forward.

In the meantime, Lillie says

there is still ‘overwhelming’ interest in Cape Town as a location for commercials, films, documentaries and animation.

After the recent Association of Film Commissioners

International (AFCI) conference and locations show he received about 30 new enquiries from productions interested in shooting in Cape Town.

– Linda Krige

International Criminal Court, Luis Morinho-Ocampo, who is trying the make the world accountable for its crimes. One of the prosecutors featured in the film is from South Africa,” explains Rorvik.

Local documentaries include Ryley Grunenwald’s The Dawn of A New Day, Dear Mandela, by Dara Kell and Christopher Nizza and Mama Africa, about the late, legendary South Africa singer and anti-apartheid activist, Miriam Makeba.

Last year 24 900 people attended DIFF screenings.

Festival director Peter Rorvik notes that audience figures increase incrementally every year. “In addition to a large number of screening venues around Durban, DIFF is committed to making our films accessible outside the city centre.

We are pleased to present screenings every weekday at the Luthuli Museum in Groutville, North Coast, and daily at the Ekhaya Multi Arts Centre in KwaMashu.”

For more on DIFF and DFM see pages 36 to 41.

DTT latest

Says Ministerial spokesperson Tiyani Rikhotso: “In the meantime we are in the process of establishing the Digital Migration Project Office, which is located within the department. We foresee that the Digital Dzonga shall play an advisory role to the Minister.”

Rikhotso notes that the strategy for the local manufacture of the set top boxes (STBs) required to decode the DTT signal has been finalised, subject to Cabinet’s approval.

“We are presently setting up an STB conformance scheme and have already finalised the tender for the conformance hardware.

Going forward we will issue a tender for the conformance software,” he explains.

With the price of DTT STBs likely to be around the R700 mark, Cabinet has approved 4.5 million of South Africa’s poorer households for possible subsidies. “Of course this figure might increase or decrease given the continuous changes in the socio-economic profile of the poor households,” comments Rikhotso. “The subsidy scheme is meant to go to Cabinet soon for finalisation. In the meantime the Universal Service and Access Agency of South Africa (USAASA) is putting in place systems to implement the subsidy scheme. We believe subsidies should include aerials for these households but this issue is still under consideration.”

The DOC has an Implementation Plan for DTT which talks to the activities that must be undertaken by the Department, the Independent Communications Authority of South Africa (ICASA), parastatal signal distributor Sentech, broadcasters, USAASA, etc.

This plan was developed through consultation with key stakeholders.

According to Rikhotso, parastatal signal distributor Sentech has already achieved 60% coverage on the DVB-T2 DTT standard.

The SOS: Support Public Broadcasting Coalition and Media Monitoring Africa (MMA) held a workshop on 24 June at Cosatu House in Johannesburg to explore the progress of the country’s digital migration.

A DOC representative was scheduled to address the workshop but cancelled on the morning of the event. DTT stakeholders were addressed by SOS’ Kate Skinner, as well as e.tv group executive of Regualtory Affairs, Lara Kantor (also the former chairperson of the Digital Dzonga Advisory Council) and Gerhard Petrick of the Southern African Digital Broadcasting Association (SADIBA).

Among the issues discussed were challenges with regard to sourcing enough content to fill the new digital channels and concerns about ensuring that the market isn’t flooded with cheap STBs of inferior quality.

Petrick emphasised that digital migration is a ‘huge exercise’, with a need for all parties to work together to ensure the country is ready.

“Digital migration is only going to happen if homes migrate, and they will only do so if they think it is sensible and valuable.”

Wayne Samson, Ellies CEO, raised the concern that many South Africans, possibly between 30% and 50%, will have to replace their aerials because digital television will be broadcast on new frequencies.

He maintained that this could be ‘one of the biggest potential failures’ of digital migration if the public wasn’t made aware of this, and if government subsidies did not include new aerials.

APRIL 2011 This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison.

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

The cream of the local productions

Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes. Television Universe estimated at 5.232 million households. One ratings point of all viewers

April 2011 AR

Mar 2011 AR

18: 00 M-F S5

3

1.8

1.5

Day/s

Channel

Talk

Frequency

3 Talk

Start Time

Name

Genre

represents about 145 590 viewers.Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment,

The top five programmes

SABC1 Rank Programme Date Genre AR 1 Generations 27/04/2011 Soap 23.9 2 Zone 14 25/04/2011 Dram 18.7 3 Intsika 19/04/2011 Dram 16.9 4 Society 08/04/2011 Dram 16.9 5 Intersexions 05/04/2011 Dram 14.9

| Audience Ratings

3rd Degree

Actu 21: 30 Tue

W

e

5.5

6.6

7de Laan

Soap 18: 30 M-F S5

2

7.7

7.6

Binnelanders Sub Judice

Soap 18: 00 M-F S5 M

0.4

0.5

SABC2 Rank Programme Date Genre AR 1 Muvhango 12/04/2011 Dram 12.1 2 Stokvel 10/04/2011 Sitc 11.9 3 Ga Re Dumele 17/04/2011 Sitc 11.1 4 Lesilo Rula 08/04/2011 Dram 10.4 5 Mohlolahadi 29/04/2011 Dram 9.7

Carte Blanche

Maga 19: 00 Sun

W M

0.9

1.0

Fokus

Actu 18: 30 Sun

W

2

5.2

4.1

Generations

Soap 20: 00 M-F S5

1

22.0

22.2

Gospel Gold

Musi

W

2

5.1

5.0

Isidingo: The Need

Soap 18: 30 M-F S5

3

3.3

4.6

Jam Alley

Vari

W

1

5.8

5.1

Live Lotto Draw

Quiz 21.30 W/S S2

2

5.8

4.8

SABC3 Rank Programme Date 1 The Royal Wedding HRH

Prince William & Catherine Middleton 29/04/2011 2 Isidingo – R 20/04/2011 3 Toy Story 2 24/04/2011 4 Generations – R 07/04/2011 5 Isidingo: The Need 01/04/2011

Morning Live

Maga 06: 00 M-F S5

2

1.8

2.3

Muvhango

Dram 21: 00 M-T S4

2

9.6

10.2

News at Seven

News 19: 00 Daily D

e

6.6

6.1

News at Seven on 3

News 19: 00 Daily D

3

2.8

2.9

Pasella

Maga 19: 30 W

W

2

4.3

4.3

Rhythm City

Soap 18: 30 M-F S5

e

10.4

8.7

M-Net Rank Programme Date 1 Schuks Tshabalala’s Guide To SA 17/04/2011 2 Carte Blanche 17/04/2011 3 Invictus AKA Human Factor 24/04/2011 4 Valentine’s Day 10/04/2011 5 CSI Las Vegas 19/04/2011

Genre AR Actu Soap Movi Soap Soap

7.0 5.9 5.1 5.1 4.9

Genre AR Movi 1.6 Maga 1.1 Movi 1.0 Movi 0.9 Dram 0.9

e.tv Rank Programme Date Genre AR 1 Rhythm City 12/04/2011 Dram 12.6 2 Spider-Man 03/04/2011 Movi 12.3 3 Spider-Man 3 17/04/2011 Movi 12.0 4 Spider-Man 2 10/04/2011 Movi 11.7 5 News 12/04/2011 News 10.8

brought to you by

The Cape Town Lab reports that it is finishing both its features which had large footage counts compared to the previous year. A Bollywood feauture has been processed, as were student productions on 16mm and 35mm. There were no documentaries.

The Johannesburg Lab is still without any feature processing.

Commercials have increased slightly from last month but in general the work level remains low.

The commercials submitted by Media Host have tailed off a bit from the previous month although the level indicates that most commercials are submittted to broadcasters via this method.

We would like to thank the laboratories and Media Host for the information they have supplied to us.

We make no attempt to identify the title of the production, or the production house or any other information as this is often confidential information – we supply simply the numbers.

Sun

18: 30 Fri

Scandal

Dram 19: 30 M-T S4

e

8.9

7.6

Selimathunzi

Vari

18: 30 Wed W

1

4.7

4.5

Special Assignment

Actu

Vari

M/T S2

3

1.7

1.8

Top Billing

Maga 19: 30 Thu W

2

3.0

2.4

Yo-TV Y-Ent Vari Vari D e 2.1 2.1

Top foreign shows Days of Our Lives

Soap 17: 10 M-F S5

1

4.0

4.1

WWE Wrestling Smackdown

Spor 20: 30 W

W

e

5.9

5.8

The Bold and the Beautiful

Soap 18: 00 M-F S5

1

8.7

7.4

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)11 884-3162. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent.

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

VitalStats

Vari

Statistics for April 2011 Through the labs: Johannesburg Features 0 Cape Town Features 3

Shorts Commercials 0 15

Doccies 16mm 35mm 3 9 9

Shorts Commercials 0 9

Doccies 16mm 35mm 0 0 12

Commercials submitted to broadcasters via Media Host May 2011: 1 526 compared with 1 777 last month

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.

July 2011 | SCREENAFRICA | 57

P R O D U C T I O N U P D A T E S You could be here

FOR FURTHER DETAILS VISIT www.screenafrica.com

phone (011) 025-3180

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Those productions in red are newly listed this month Order of Information 1. Title 2. Production Company 3. Director 4. Genre

IN DEVELOPMENT 4Play: Sex Tips for Girls Curious Pictures Drama Series Season 2 5 GOUE STERRE SuitePeople TVP Prod: Bell Curle TV Series 80 MINUTES Periphery Films Dir: Simon Taylor / Julia Taal Feature Drama AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine AMBUSH ALLEY NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMBASSADOR 2 Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature

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BAD MEDICINE Tin Rage TV Production Dir: Enver Samuel Documentary BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary

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 Small ads p 7/1/11 11:19 AM Page 2 C

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BREAD AND WATER Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CHILDREN OF THE STRUGGLE Current Affairs Films Prod: Jane Thandi Lipman Feature Film CHILLI CHICKS International Radio Pictures, Inc Kit Reynolds TV series COILED DO Productions Prod: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary ECONOMIC TRANSFORMATION Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary ESCAPE Current Affairs Films Prod: Jane Thandi Lipman Feature Film FORSAKEN DO Productions Prod: Marlow de Mardt / Brigid Olën Feature GRIZMEK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature

IK1 – TOURISTS IN DANGER Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature IIQ Sukuma Media Dir: Bonginhlanhla Ncube Feature KADU’S JOURNEY DO Productions Prod: Marlow de Mardt / Brigid Olën Feature LEARNER TEACHERS Curious Pictures SABC Comedy Series LION GIRL DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature NEW BEGINNINGZ Sukuma Media Dir: Bonginhanhla Ncube Documentary ON THE LION’S TRACK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature RATE MY PLATE International Radio Pictures Exec Prod: Kit Reynolds Community Project SHARON AND MUGABE’S ELEPHANTS NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SHORT BUSINESS FEATURES 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 Theatre Production THE BODA BODA THIEVES Deddac & Switch Prod: James Tayler / Donald Mugisha Feature THE CONSEQUENCE DO Productions Prod: Marlow de Mardt / Brigid Olën Feature THE EDGE International Radio Pictures Kit Reynolds TV Series THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary WARD 22 AKA SPECIAL OPS DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS DO Productions Dir: Bruce Beresford Feature

PRE-PRODUCTION MANDELA SPECIAL ABC Exec Prod: ABC America TV Magazine

MASTERS OF DREAMS Current Affairs Films Prod: Jane Thandi Lipman Documentary MONTANA Penguin Films Prod: Roberta Durrant TV Series SCAREDYKAT Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM South African Great Movies Production Dir: John Wani Feature

IN PRODUCTION 3RD DEGREE e.tv Investigative TV series ABC AMERICA NEWS SPEACIAL ON MANDELA Current Affairs Films Prod: Jane Thandi Lipman Feature News Special AFRO CAFÉ SEASON 7 Bonngoe Productions Exec Prod: Pepsi Pokane Adult Contemporary/ Music AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TVMagazine AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ALL ACCESS Homebrew Films Prod: Paul Venter / Hannes van Wyk / Tammy Anne Fortuin Magazine Show ANIMAL COMMUNICATION NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary BINNELANDERS SUB JudicE Stark Films Dir: Danie Joubert TV Drama BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films CHEETAH DIARIES 3 NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary CLASS ACT Curious Pictures Dir: Donovan Marsh Reality Competition Series DRAGON’S FEAST 3D NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary EASTERN MOSAIC Red Carpet Productions Magazine Programme FIRESTONE Street Smart Creative DOP: Peter Palmer Commercial GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla SOAPIE GROEN Homebrew Films Prod: Jaco Loubser Wildlife HOUSE CALL Izwe Multimedia / Urbanbrew Series Prod: Annalie Potgieter Live Medical Talk Show INSIDE STORY Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature ISIDINGO Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama JOU SHOW MET EMO Homebrew Films Prod: Jaco Loubser Variety Show TOP SHAYELA Curious Pictures / Vuzu Prod: Khobi Ledwaba Reality Magazine Series

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P R O D U C T I O N U P D A T E S MASTERS OF RHYTHM Fuel Media Productions Dir: Marvin Raftopaulos Dance Reality Contest

TOUCHING THE DRAGON NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary

SOKHULU AND PARTNERS 2 Paw Paw Films Prod: Roberta Durrant TV Drama

MARY ANNE Shadow Films Exec Prod: David Forbes Documentary

VILLA ROSA Spectro Productions Dir/s: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama

STETSON HATS Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate

WALKING IN VICTOR’S SHOES Current Affairs Films Prod: Jane Thandi Lipman Feature Documentary

TASTE OF RAIN Luna Films / On Land Productions Prod: Bridget Pickering & Richard Pakleppa Feature

WHY ARE WE SO ANGRY? Fuel Media Productions Dirs: Scott Smith / Shaft Morapane Documentary Series

TREASURE GUARDS Tandem Communications Exec Prod: Jonas Bauer / Rola Bauer Feature

MK Campus Homebrew Films Prod: Jaco Loubser & Ben Heyns Student Show MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine O SESSIONS Fuel Media Productions Dir: Paul Llewellyn Music Show ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS Plexus Films Prod: Miki Redelinghuys Corporate Film PASEKA EASTER ELEPHANT NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp/ Werner Hefer TV Magazine Programme PEACE PARKS NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary Series RATI EN MAATS Khaki Productions Dir: Wynand Dreyer Edutainment REDI ON MZANSI Imani Media Prod: Bruce Townsend TV Series RHYTHM CITY Curious Pictures Series Prod: Yula Quinn e.tv Soapie RHYTHM CITY INTERACTIVE Curious Pictures/ e.tv Prod: Viva Liles-Wilkin Interactive Platform Media ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video ROER Homebrew Films Prod: Jaco Loubser Cooking Show SAVING RHINO PHILA NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap SHORE – THING Homebrew Films Prod: Jaco Loubser Reversioning SLENDER WONDER FC Hamman Films DOP/ Dir: FC Hamman Commercial STRANDED NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary STUDIO 53 M-Net Inhouse Productions Insert Dirs: Navan Chetty Mag Programme TECHNORATI Talent Attack TV Dir: Maxine Nel Technology Magazine Show THE RUDIMENTALS Periphery Films Prod: Simon Taylor Feature Documentary THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary THE TRIP OUT A Roddam van der Merwe Production Prod: Bonginhanhla Ncube Feature THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine

POST-PRODUCTION A MILLION COLOURS – eLollipop 2 Cloverleaf Films Exec Prod: Charles Fries Feature AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature BUA NNETE Owami Entertainment Dir: Charles Khuele Short Film CAPE TOWN INTERNATIONAL JAZZ FESTIVAL 2011 Esp Afrika (Pty) Ltd Prod: Yana Lombard Documentary CHAMELEON NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary CHEETAH DIARIES 2 NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary DANGEROUS TRAILS – ELEPHANTS IN THE MINEFIELDS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary DEAR SISTER Media Village Prod: Debbie Matthee Short Film DOOMSDAY Rogue Pictures Dir: Neil Marshall Feature ENDANGERED NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series HARTLAND Bottomline Entertainment / Fix Post Production Michael Modena TV Drama HOOFMEISIE The Film Factory / Fix Post Production Dir: Morne Du Toit Family Comedy IQILI Impucuzeko Prod: Sharon Kakora Feature KING NAKI Plexus Films Prod: Miki Redelinghuys Documentary LACONIA Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature MISSION CRANE Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature OPERATION CRANE Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature PERFECT SHISHEBO Curious Pictures Prod: Nthabiseng Mokoena AFP – Cooking Show PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary RESTYLE MY STYLE Curious Pictures Prod:Anita van Hemert Children’s Programming SAFE HOUSE Moonlighting Prod: Genevieve Hofmeyer Feature SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Series on Supersport SCHOOL EWASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate

VINE COLLEGED (PTY) LTD Sukuma Media Dir: Bonginhlanhla Ncube Corporate WELLBODI BIZNES Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary WINNIE Ma Afrika Films/ Equinoxe Films Dir: Darrell James Roodt Feature ZAMA ZAMA Kokamoya Productions Prod: Bertus van der Walt Feature ZION Letcosmart Prod: Zibusiso Nkomo Feature

COMPLETE 48 Sukuma Media Bonginhlanhla Ncube Short Film ALICIA KEYS ON HER JOURNEY BACK TO AFRICA DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary

S O I D U T S ABLE AVAIL

★ 2

460m

DRAMA/SITCOM STUDIO

TV ★ FILM ★ EVENTS ★ SOUND STAGES & SUPPORT FACILITIES

Cnr. Frost Ave & Owl St | Milpark | Joburg | +2711 482 7111

www.atlasstudios.co.za

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AYESAN – FIGHT TO LOSE SMS Multimedia Inc Dir: Seyi Specialborn Akanbi Feature AWOYE – RETRIBUTION SMS Multimedia Line Prod: Temitope Akanbi Feature COLOUR TV Bonngoe, Jungle & Brand Bernie Productions Line Prod: Hulette Pretorius Variety FORERUNNERS SaltPeter Productions Dir: Simon Wood Documentary INHLIZIYO YAMI Sukuma Media Exec Prod/ Dir: Bonginhlanhla Ncube Music Video INTERSEXIONS Curious Pictures / JHUCCP Creative Dir: Rolie Nkiwe Drama Series JOURNEY INTO WILDERNESS Tekweni TV Productions Prod: Sandra Herrington Documentary KAN EK SO LEEF Liquid Gate Creative Studios Prod: Kobus Swart Music Video O SESSIONS Fuel Media Productions Dirs: Paul Llewellyn / Shaun Pearce Music Show PROGRESS Periphery Films Dir: Simon Taylor Feature Documentary

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RED SUN OF AFRICA DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature ROCKING FUTURE Summertime Productions Prod: Sean Gardiner / Tanya Vandenberg Educational Video TIMELAPSE Team GR8 (for 48 HFP) Writers: Carl Roddam / Deon van der Merwe Short Film THE TEACHER BIP Films Dir: BI Phakathi Feature THE BETRAYAL Shakarny Inovations Prod: James Kingston Feature VISCOUNT DOWN Msasa Enterprises Dir: Harmon Cusack Feature WRONG CALL Team GR 8 Dir: Bonginhlanhla Ncube Short Film

Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur. E-mail production updates to: info@screenafrica.com

July 2011 | SCREENAFRICA | 59

Close up |

McCann Erickson Insight Exchange, Johannesburg

Encounters Opening Night, Cape Town

Events | JULY 20 – 22

Mediatech Africa

Coca-Cola Dome, Northgate, Johannesburg www.mediatech.co.za.

20 July

Screen Africa Production + Technology Conference

Coca-Cola Dome, Northgate, Johannesburg www.screenafrica.com

Jacky Laurens, Paulos Eshetu, Lauren Kotzé and Joy Sapieka

21 – 31 July Durban International Film Festival

Flip du Plessis, Jeremy Maggs, Gordon Cook and Rob van Rooyen

Durban, KwaZulu-Natal www.cca.ukzn.ac.za www.durbanfilmoffice.com 22 – 25 Durban FilmMart

Durban, KwaZulu-Natal www.durbanfilmmart.com 22 – 26

Theresa Raizenberg, Arthur Mataruse and Joy Sapieka

4th Talent Campus Durban

Durban, KwaZulu Natal www.cca.ukzn.ac.za/talentdiff2011.htm

Leon van der Merwe (Cape Winelands Film Festival) and Denis Lillie (CFC CEO)

AUGUST Stuart Tudor-Owen, Telkom SA Ltd and Rob van Rooyen

Oct – Nov

Out In Africa South African Gay and Lesbian Film Festival

Various venues and dates www.oia.co.za

SEPTEMBER 8 – 13

Simon Bright (director, Robert Mugabe – Whatever Happened?) and Mandisa Zitha (Encounters director)

Jonathan Shapiro and wife Karina Turock, Lauren Beukes (director, Glitterboys and Ganglands) and producer/ husband Matthew Brown

IBC2011Conference

Amsterdam RAI, Netherlands www.ibc.org The General Motors team: Geraldine Naidoo, Tim Hendon, Rob van Rooyen, Melanie Maddux, Kumari Moodley

9-13

IBC2011 Exhibition

Amsterdam RAI, Netherlands www.ibc.org 9 – 25 Tri Continental Film Festival

48 Launch Party, Firkin, Centurion

Johannesburg, Pretoria, Durban, Cape Town www.3continentsfestival.co.za 10 – 12

People to People International Documentary Conference

Johannesburg www.people2people.co.za

Godfrey Thobejane

Millicent Tshiwela Mothiba (nee Makhado), Simon Mothiba and friends

Jethro Goko (McCann Worldgroup COO), Rob van Rooyen and Luca Lindner (McCann Worldgroup Regional Director: Latin America Caribbean / Middle East / Africa)

OCTOBER 27 Oct – 6 Nov

Africa in Motion (AiM) Edinburgh African Film Festival

Edinburgh, Scotland www.africa-in-motion.org.uk/ 28 October

6th Annual PromaxBDA Africa

Sandton Convention Centre, Johannesburg www.promaxafrica.tv

DECEMBER Date TBC

Africa International. Film Festival

Port Harcourt, Nigeria www.africafilmfest.com/ Art director Annelize Kraounakis, Mr. B and Liezel Botes

Simon Mothiba, Millicent Tshiwela Mothiba (nee Makhado) and Mr. B

LOG ON TO NEWS •

New SABC board members appointed

• • •

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www.screenafrica.com

•

FEPACI president passes away

Radio frequency spectrum to be reviewed

•

New DTH line-up in east Africa

Call for African music films

•

Tsotsi actress joins The Bold and the Beautiful

•

SA shows on The Home Channel

DoC’s strategy for state-owned enterprises

•

Community radio gets a boost

•

More controversy around Winnie film

•

Stereoscopic 3D partnership

•

UK release for The First Grader

60 | SCREENAFRICA | July 2011

Jeffrey Sekele and Carl Roddam

•

Manyi’s comments anger Press Club

•

SA kids urged to get creative

•

Viva Riva! wins MTV Movie Award

•

Building Brand South Africa

•

POWA ad awarded at One Show

•

Africa’s first iPad-only newspaper

•

Broadband access for all

Advertisers List | Aja Video Systems...........................7 Aon Insurance...............................49 Aon Insurance...............................58 Atlas Studios .................................59 Audiosure.......................................23 Avid........................................... 27, 29 Avmark Systems............................33 Black Ginger...................................15 Black Magic Design.........................9 Case Connection, The.................35 Concilium Technologies...............19 Creative Broadcast Solutions (CBS)...............................................35 Durban FilmMart..........................40 Durban FilmMart..........................41 Gauteng Film Commission.........57 General Post .................................58 Harambe.........................................25 HDHUB..........................................28 IBC...................................................51 Jasco..................................IFC

Lawo / B&I......................................13 Mediatech Africa...........................47 M-Net TAG Awards........FC MovieMart......................................53 Movie Vision................... IBC Musical Distributors.....................33 Mzansi Magic............ FPDPS Natal Video.....................................35 On-Air Systems........... OBC Panasonic........................................17 Pink Room Productions..............49 Pro-Sales...............................30 – 31 Puma Video........................49, 58, 59 Screen Africa Technology + Production Conference...............43 Stock Options ..............................58 Telemedia........................................11 Thomson.........................................21 Video Africa....................................35 Vision Cases .................................59 Visual Impact..................................26