SAFTAs – WATCH THIS SPACE BROADCAST, FILM, TV, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS
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VOL 32 – APRIL 2020 R38.00
| IN THIS ISSUE
24 OB SATELLITE UPLINKS – THERE IS LIGHT ON THE HORIZON!
3 NETFLIX INCREASES INVESTMENT IN AFRICA
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SAGE CONDUCTS SURVEY TO HIGHLIGHT LATE PAYMENTS IN THE FILM & TV INDUSTRY
NAB SHOW 2020 CANCELLED DUE TO COVID-19 OUTBREAK
NEWS |
ADCETERA |
FILM |
MEDIA ASSET MANAGEMENT |
Netflix increases investment in Africa..... 3
Inside the making of Chicken Licken’s new
Inside the making of Teboho Edkins’s new documentary feature,
MAM: a contextual retrospective on changing times, technologies
Easy Bucks campaign................................... 10
Days of Cannibalism.............................. 20
and processes.............................................. 26
How brands can self-medicate
ANIMATION |
during this pandemic........................... 12
The making of animated
Durban FilmMart partners with Talents Durban........................... 4 New shows on Cape Town TV spotlight women’s struggles............ 6 World Literacy Foundation and Vizrt Group launch international partnership..................... 7
ADVERTORIAL Introducing SAERA............................ 8
Media Asset Storage: it’s in our DNA.................................................. 28
short Intergalactic Ice Cream................. 22
How to maximise business objectives using hybrid
OUTSIDE BROADCAST |
cloud architecture....................................... 30
INDUSTRY REVIEW | SAGE conducts survey to highlight late payments in the film and TV industry............................ 14
OB satellite uplinks – there is light on the horizon!............... 24
REGULARS | Marketplace....................................32
NAB Show 2020 cancelled due to COVID-19 outbreak................ 9
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FROM THE EDITOR
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Greetings and welcome to the April issue of Screen Africa. As I write this – a day before South Africa is to commence lockdown due to the escalating COVID-19 pandemic – I, and I’m sure you too, sit with a heavy heart. These are unprecedented and uncertain times that we as an industry, a country and the world at large are facing. The global film and television industry has been dealt a huge blow: production studios have stopped filming; cinemas have closed across the globe; and releases have been pushed back indefinitely. Festivals, markets and award shows that were scheduled to take place over the next few months have been cancelled or postponed indefinitely. These include MIPTV, the Cannes Film Festival, Cannes Lions, the BAFTA awards, Hot Docs, the Daytime Emmy Awards, our very own South African Film & Television Awards, and the Cape Town International Animation Festival, to name a few. In a massive blow for the global broadcast, media and entertainment technology industry, the 2020 NAB Show has also been cancelled as a result of COVID-19. The global media and entertainment industry is currently at a standstill and unsure of the future. With the local film and television production industry, its equipment suppliers and service providers largely made up of small businesses and freelancers, the economic repercussions that are already being felt as a result of the impending lockdown, are only going to intensify. While the future of our beloved industry lies in limbo, I would like to encourage you all to use this time to contemplate and strategize for what lies ahead. Keep in mind that once the lockdown period has ended, it’s unlikely that the ban on gatherings of more than 100 people will be lifted immediately – further hindering our industry. Now is the time to band together and adapt so that when all this is over, we as an industry are in the best possible position to rebuild and move forward efficiently. Let’s do our best to stay positive and plan for whatever the future looks like. Until next time, stay safe and healthy. – Chanelle Ellaya
THE TEAM EDITOR
Chanelle Ellaya is a writer and a journalist. She completed her BA Journalism degree at the University of Johannesburg in 2011. While writing is her passion, she has a keen interest in the media in various capacities. Chanelle is an avid social networker and a firm believer in the power of social and online networking. Between writing and tweeting, she finds time to feed her love for live music.
SUB-EDITOR & FEATURES WRITER David Cornwell writes fiction, films and features for a variety of publications. His debut novel, Like It Matters (Umuzi, 2016), was long-listed for the 2017 Sunday Times Fiction Award and the 9mobile Prize for Best African Debut.
JOURNALISTS
Lara Utian-Preston is a passionately committed marketer and strategist with a focus in promoting African content and events. Two decades of working across Africa have provided her with insights and experience that she puts to work for the projects she manages. In 2006, Lara founded, and still personally manages, Red Flag Content Relations, a full service below-the-line agency that also focuses on African entertainment and lifestyle brand marketing, strategy, and publicity.
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Louise Burgers is a veteran editor and journalist with over 20 years experience in the advertising, media, marketing and communications industries. Based in Cape Town, South Africa, she worked as the editor of AdVantage magazine, as well as Bizcommunity. com. She is currently publishing editor of TRENDAFRiCA.co.za.
Ian Dormer was born in Zimbabwe and has been in the TV business since the 1980s, having served in various positions at the SABC, M-Net and SuperSport. Ian currently works and resides in New Zealand.
Gezzy S Sibisi is a journalist and photographer with experience in print, broadcast and digital media. Her portfolio of work includes working as a lifestyle reporter as well as contributing business and education articles to The Times, Sowetan and Daily Despatch publications. As a freelancer she has worked on content development for corporate newsletters, community newspapers, blogs and educational websites.
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A scene from Queen Sono
NETFLIX INCREASES INVESTMENT IN AFRICA Netflix premiered its first script-to-screen African original production, Queen Sono, on 28 February. Created by Kagiso Lediga, directed by Tebogo Malope and starring Pearl Thusi, the spy-thriller marks the start of the streaming giant’s investment in Africa. Dorothy Ghettuba
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ollowing hot on the heels of Queen Sono’s global release, the company recently announced its next African original: the yet-to-be-titled ‘Akin Omotoso project’ from Nigeria. Dorothy Ghettuba, who heads up African Originals at Netflix, was in Johannesburg ahead of the Queen Sono release where she expanded on the company’s “Made in Africa, Seen by the World” narrative and the company’s future investment plans for the continent. “Netflix believes that great stories come from anywhere and will be loved
everywhere. We want to tell amazing stories tailored to different languages, different tastes, and different moods. The intention is to showcase African talent not only to African audiences but to the rest of the world,” said Ghettuba. “We believe that more people should see their lives reflected on screen which is why we want to tell African stories to other Africans and to people around the world.” According to Ghettuba, Netflix sees the value in having a slate that offers diversity and variety, and they believe that key to this is working with creators
from across the globe, to tell stories from every corner of the world: “As a global business that spans all over the world, it’s incredibly important for us to make sure our slate reflects the diverse cultures and experiences of our members, especially in Africa. Netflix has already made important investments in the African content space, with Netflix Originals and the licensing of African content.” For those hoping to one day join the likes of Queen Sono creator Kagiso Lediga and get their stories streamed to viewers around the world, Ghettuba says a passion for storytelling is vital and that it’s important to remember that the company is not making South African content just for South Africa, but for the world, and so ultimately, the strength and uniqueness of the story is what matters the most. “First and foremost, we look for great storytellers because we believe that great stories can transcend borders. We commission based on human intuition and judgement. The key, like in many creative endeavours, is the strength of the idea and the creative team behind it. We want to work with passionate creators who have a story they want to tell and one that the world wants to watch. We give talent the freedom to tell those stories – some of which have never been seen before – exactly how they want. We
then have the ability to distribute these projects on a global stage. We’ve built a strong reputation with the creative community this way, and we have a deep and diverse set of executives around the world who continue to champion these passion projects,” explains Ghettuba. “We want to tell amazing stories tailored to the different languages, different tastes, and different moods of our members. You may crave an unscripted series to watch alone on a Wednesday, but then want to enjoy a comedy with your friends or family on a Friday night,” she continues. “People’s moods and tastes vary, so we want to make sure we always have your next favourite series, including stories that didn’t previously get told because linear TV had limited shelf-space. That’s also why we invest in a variety of content, such as limited series, short-form series, concert specials, animated series and stand-up specials. Diversity and variety are key.” “African content has the ability to travel all over the world – good stories transcend borders. There’s a wealth of diversity, multiplicity and beauty in African stories that have yet to be told and we want to be top of mind for creators, especially when it comes to stories they haven’t had a chance to tell yet,” Ghettuba concludes.
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Filmmakers in discussion during DFM 2017
DURBAN FILMMART PARTNERS WITH TALENTS DURBAN The Durban FilmMart (DFM) has announced a new partnership with Talents Durban, as applications open for the 2020 edition.
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cheduled to take place from 16 to 20 July this year, Talents Durban is a five-day talent development programme, which has been presented in Durban, South Africa for the past 12 years in co-operation with Berlinale Talents, an initiative of the Berlin International Film Festival. Every year, 20 emerging African filmmakers and developing film critics are selected to participate in the Talents Durban programme. The programme comprises workshops and seminars by industry experts, and presents participants with valuable opportunities to connect with a global network of film industry professionals, and benchmark
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their work against African and global trends. “Through discussion with the Berlinale Talents and the Durban International Film Festival (DIFF), in which Talents was previously housed, we felt that as an industry facing programme, it was a logical fit for Talents Durban to be incorporated into the Durban FilmMart,” said Toni Monty, head of the DFM. Christine Tröstrum, project manager of the Berlinale Talents commented, “Talents began in Durban ahead of the creation of the DFM 13 years ago. The Talents programme and the DFM have both now evolved into solid vital industry initiatives on the African continent. With our shared aim to create again more synergies in project development and promotion, we are sure that the intensified collaboration will provide some excellent opportunities for the participants.” The DFM also announced the appointment of Menzi Mhlongo as the manager of the programme for the 13th edition this year. “Menzi Mhlongo has been the project manager of Talents
since 2017, and brings a wealth of institutional knowledge to the table, providing programme stability and excellent curatorial experience,” said Monty. “The framework for the Talents Durban programme remains the same,” said Menzi Mhlongo. “This is a just an operational shift, and we will continue to support emerging talents from the continent – with a special attention to promoting a community of filmmakers to inspire growth and expansion of African cinema. I am very excited about working more closely with the industry through the platforms that the DFM provides.” The Talents Durban programme comprises a Storytelling Lab for three features, three shorts and three TV/Web series currently in development; a Doc Lab, in which three Talents Durban with documentary projects are given expert mentorship and can pitch their projects at the Durban FilmMart’s African Pitching Forum; the Animation Lab, which is open to screenwriters and animation directors with animation projects; and Talent Press, which offers mentorship for three
emerging African film critics and journalists The Talents will also be able to participate and interact within the formal DFM programme – scheduled to take place between 17 and 20 July – with 1000 delegates expected to be in attendance this year. Applications for Talents Durban are now open online. Talents Durban will cover participants’ accommodation, airfare, and market accreditation. Deadline for applications is 24 April 2020. Selected projects will be announced mid-May 2020. Talents Durban is one of seven Talents International initiatives around the world formed by Berlinale Talents. It is an initiative of the Durban FilmMart in cooperation with Berlinale Talents, with support from the Durban Film Office, the Gauteng Film Commission, the International Emerging Film Talent Association and the Namibia Film Commission. – Sharlene Versfeld
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NEW SHOWS ON CAPE TOWN TV SPOTLIGHT WOMEN’S STRUGGLES
Lenina Rassool
Women facing difficult issues such as genderbased violence are getting a helping hand from Cape Town TV (CTV). The community broadcaster is tackling these social ills and more with several new shows for women.
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he channel has scooped popular South African women’s TV series, Rise. Initiated by the Soul City Institute, Rise is an intergenerational, lifestyle talk show designed to encourage young women to aspire to be greater than their circumstances. The four hosts of the show are Kgomotso Matsunyane, Khanyisile Mazibuko, Nyiko Shikwambane and Lebo Ramafoko. They chat about romance, friendship, alcohol abuse, financial management and other issues that concern women’s welfare. Rise airs on Tuesdays at 6.30pm. Karen Thorne, CTV station director, says: “We are very excited to be airing this wonderful series, which combines an entertaining approach to serious issues with a wealth of information that empowers women. The content of this
series is very relevant today and I’m sure our viewers will be thrilled to learn more from this series, as well as from our own series on women’s issues.” Excitingly, the channel has produced its own women’s series called The Womxn Show. Funded by the Ford Foundation, the series looks at women’s issues with a focus on gender-based violence (GBV) and gender justice. The show’s producer, journalist and GBV activist Lenina Rasool, notes that, “South Africa has some of the most progressive legislation on gender violence in the world. Despite this, our femicide rate is five times the global average and the UN has described the rates of rape and violence as ‘a war on women’. “In recent times there has been a rise in women’s movements across social media
and the country, sparked by several high-profile femicides. These and the almost daily reports of assaults and murders have fuelled calls for no bail and the death penalty. The Womxn Show aims to draw on a large body of NGOs, activists, experts and stakeholders to give a deeper and more accurate view of the systemic issues that both drive genderbased violence and hamper effective prevention and responses to violence against women and children.” Rassool believes that part of the solution is making justice and court procedures more transparent so that victims, especially women, are better able to navigate the system. “The show will focus less on the abuser and more on the justice system and mechanisms that exist to prevent and respond to different types of violence,”
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says Rassool. “I’ve found that people don’t know anything about the justice system until they have to engage with it. And when they do, ineffective service delivery and misinformation often provides secondary trauma to women who are already battling and broken from abuse.” The Womxn Show, which airs on Fridays at 8am and Tuesdays at 7pm, aims to make court processes and the justice system more transparent so that women are more aware of their rights, the correct procedures that should be followed and are empowered to hold stakeholders accountable when those processes are not followed. The documentary film Women Hold Up the Sky joins the list of womenfocused features coming to CTV. Subtitled ‘African women rise for climate justice’, the film tells the stories of women affected by coal, oil and megainfrastructure projects in South Africa, Uganda and the Democratic Republic of Congo. Women Hold Up the Sky explores stories of resistance and communities in active struggle to take back control of their land, their rights, their bodies and their lives. In South Africa, the women of adjacent communities in KwaZulu-Natal, Somkhele
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and Fuleni, fight against the encroachments of a coal mine. The mine uses vast water resources to wash coal in preparation for export whilst women walk up to 25 kilometres per day to access drinking water. “Can you see the dust we drink? What are we supposed to do? Imagine what our insides must be like? No good comes from the mine,” says local resident Khiphile Msweli. In Uganda, land-grabbings and forced removal of thousands of people to make way for oil exploration has left communities in despair yet determined to rise up to defend their land and livelihoods. And the Democratic Republic of Congo’s US$80 billion Inga hydropower megadam project has already displaced many people. The Grand Inga, the world’s largest hydropower scheme, promises a power grid across Africa that will fuel the continent’s industrial economic development vision, all at the expense of poor communities. CTV viewers will get to follow the journeys of these activist women as they fight for voice, build inspiring solidarity and take action in the face of violent repression. Women Hold Up the Sky will air on CTV in April. The Scars Behind My Make-up is a talk show aiming to raise awareness about women abuse by creating a platform for
abuse survivors to voice what they have experienced and conquered to empower other women out there who might be enduring any form of abuse. “Women both young and old fall victim to abuse and many find themselves hiding their tears, hurt, anger and insecurities. Sometimes such women carry themselves with so much grace and beauty that no one can even tell what they carry beyond how they look, creating a facade in order to blend-in with the those around them while underneath are the cries of a bruised soul,” said the show’s producer. The aim of the show is to inspire, motivate and encourage women who suffer any form of abuse and are too afraid to open up about the issues they are facing. The series, produced by an NGO called Women Inspired, will help raise awareness not only for victims but also to send a strong warning to perpetrators or potential perpetrators. It advocates for a change of attitude towards women in our societies and communities. The Scars Behind my Makeup starts airing on Monday, 18 May at 6.30pm, and repeats on Sundays at 9pm.
“The Womxn Show aims to draw on a large body of NGOs, activists, experts and stakeholders to give a deeper and more accurate view of the systemic issues that both drive genderbased violence and hamper effective prevention and responses to violence against women and children.
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– Lenina Rassool
– Mike Aldridge
WORLD LITERACY FOUNDATION AND VIZRT GROUP LAUNCH INTERNATIONAL PARTNERSHIP TO TACKLE ILLITERACY RATES AMONG DISADVANTAGED CHILDREN The World Literacy Foundation and the Vizrt Group have announced an international charity partnership for 2020 to bring literacy skills to 500,000 highly disadvantaged children who can’t read or write.
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he collaborative partnership will allow the World Literacy Foundation to harness the technology and expertise of the Vizrt Group in order to help reach their objective to give children from disadvantaged backgrounds access to books and learning resources.
The Vizrt Group has pledged to make a $250,000 donation encompassing technology, resources, expertise and cash. Petter Ole Jakobsen, founder and chief innovation officer at the Vizrt Group, says, “We believe at the Vizrt Group that storytelling is one of the keys to a better-informed world. By making reading skills a priority for disadvantaged children we can stimulate their curiosity helping them to gain the skills that can change their world.”
In 2020, 770 million people in the world are illiterate and a further 2 billion people struggle to read a single sentence. According to CEO of the World Literacy Foundation (WLF), Andrew Kay, this is an international disgrace and much more needs to be done. “We must provide every child a chance to learn to read. At the WLF we estimate the social and economic cost of illiteracy is hundreds of billions each year. If a child struggles to read, they often become an adult who struggles with
issues related to unemployment, welfare, crime and health. Research tells us every $1 spent on quality literacy development, returns back $7 to the economy.” Jakobsen states that: “Video is the most effective form of digital communication out there today – and we happen to be experts in it. If we can utilise this expertise to help the WLF reach their goals in 2020 then we will be living and breathing our purpose as an organisation.” “We hope that the partnership with the Vizrt Group can help us with several projects across the year including our Sun Books initiative. This initiative provides classrooms in Africa a new, innovative solar panel tablet device that will lift the reading skills of children in 1200 remote and significantly under-resourced classrooms, and mainly in places where there is limited internet connection and electricity,” Kay concludes.
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INTRODUCING SAERA
Established to provide a collective voice for rental (studio and production equipment) companies within the local film and television industry, the South African Equipment Rentals Association (SAERA) is an industry association comprised of film, television and broadcasting facilities companies.
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SAERA was constituted in 2017 when rental companies realised that having collective representation is essential to ensure a healthy and viable environment. A key driver was the reality of becoming uninsurable due to the high amount of claims as a result of theft and fraud. SAERA believes in cooperation and a unified South African film industry. The association works closely with key industry bodies such as the Commercials Producers Association, South African Insurance Association and the Crew Members Association. “We have been very fortunate to welcome members of the National Prosecuting Authority and SAPS to our association. Membership has grown consistently in a short period of time, and SAERA invites all equipment rental companies to apply,” says SAERA chairman, Visual Impact’s Marius van Straaten. “SAERA is always keen to extend its membership, to help other groups and to strengthen the South African industry. Our member companies provide employment to thousands of people and have a combined annual turnover of well over R200 million in providing services to
almost all African-based productions. We have a very good understanding of the film, television and broadcasting industries; no-one is better placed to enhance, maintain and protect them,” he continues. Stacey Keppler of Zootee Studios comments: “As a female-owned and operated company, safety for my staff is multifaceted and it is my priority, while trying to provide a welcoming experience for our customers. After our armed robbery in November 2019, every SAERA rental house rallied behind us and helped us meet our scheduled bookings by offering gear at massive discounts and even offered emotional support – not to mention flowers and gift baskets. Through sharing information with another rental house that was robbed, we were able to link our cases in ways that the police otherwise might not have, and this will, in turn, build a stronger case against the men in custody. Communication is key in keeping one another safe. In our experience, as a smaller rental house, all the members of SAERA genuinely want one another’s businesses to be prosperous and have been incredibly generous with their knowledge and resources.”
“Being able to collectively transform our industry through SAERA and the Visual Impact Training Academy, and have our members offer greatly reduced equipment rates to previously disadvantaged filmmakers, has been very rewarding,” van Straaten concludes.
SAERA’S MISSION IS TO: • Maintain and enhance technical standards within the industry • Ensure standards of health and safety are adhered to • Fully embrace transformation of the rentals industry • Maintain professional working practices • Collectively promote the industry within South Africa and around the world • Establish relationships with other industry associations and unions • Act as a forum for positive, creative discussion • Assist members in fighting the epidemic of fraud and theft and provide professional support where South Africa’s prosecutorial systems are failing
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NAB SHOW 2020 CANCELLED DUE TO COVID-19 OUTBREAK Every April, Las Vegas sees an influx of media, entertainment and technology specialists who flock to Sin City for the muchanticipated NAB Show. A calendar highlight and premier event for the broadcast and media technology industries, NAB provides a platform for industry people to learn about and interact with the new and disruptive trends set to define the broadcast market for the year ahead. But this year, it’s not to be.
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ith key brands pulling out of the now-cancelled 2020 NAB Show due to concerns over the COVID-19 outbreak, on 12 March the National Association of Broadcasters (NAB) announced the cancellation of the annual broadcast extravaganza, which was scheduled to run from 18 to 22 April at the Las Vegas
Convention Centre. Last year, in its 96th edition, the NAB Show attracted 91,460 people. “In the interest of addressing the health and safety concerns of our stakeholders and in consultation with partners throughout the media and entertainment industry, we have decided not to move forward with NAB Show in
April,” said president and CEO of NAB, Gordon Smith, in a letter to the NAB community. “We are currently considering a number of potential alternatives to create the best possible experience for our community. “For nearly 100 years, NAB Show has provided superior value and the best-possible experience for exhibitors and attendees. We knew that if we could not deliver on those expectations, we would not move forward. More importantly, keeping the community safe
and healthy is NAB’s highest priority; therefore, we are deferring to the developing consensus from public health authorities on the challenges posed by coronavirus. “I want to stress that despite our disappointment at how this year’s show has been impacted by global public health concerns, we are more excited than ever about the future of the NAB Show and our relationship with you,” Smith concluded.
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INSIDE THE MAKING OF CHICKEN LICKEN’S NEW EASY BUCKS CAMPAIGN Stills from the new Chicken Licken Easy Bucks campaign
Chicken Licken’s genius new Easy Bucks campaign, titled Everyone Talking About It, revisits some of the most iconic scenes in South African television history.
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or the campaign, Joe Public United, in collaboration with Giant Films, remade popular film and TV moments, and launched an interactive website. Giant Films producer and director Karien Cherry expands: “The campaign idea was to launch Chicken Licken’s new Easy Bucks meal and get Everyone Talking About It. Our TVC would kick off the campaign… In addition, the agency wanted to create an interactive website where viewers could flick through the TV channels themselves. I was really excited by the entertainment potential of the concept, and getting total creative freedom in how to bring that to life meant I was hooked.”
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Cherry says that as much as she was captain of the ship on the project, “filmmaking is a team sport.” The production team for the campaign included DoP Adam Bentel, production designer Keenen McAdams and Bridget Baker, who worked on costume design. “We went all in! To truthfully recreate so many different genres we had to treat every scene individually. We considered all the aspects of each genre – the camera, lensing, lighting style, shot design, sound treatment, costume design etc.,” says Cherry. Casting director extraordinaire Bonnie Bouman spent hours with Cherry reviewing actors for the different roles and scenes.
“Each channel needed to deliver an entirely different type of energy and performance, and I had so much fun building the scenes with the actors in rehearsals. I am incredibly proud of the performance work on this campaign,” she shares. The campaign kicked off with a full-length television commercial featuring a man who falls asleep in front of the TV and wakes up to numerous channels all advertising the same thing – Chicken Licken’s Easy Bucks meal. No matter what channel he switches to, ‘everyone is talking about’ Chicken Licken’s Easy Bucks. The clever TVC references popular film and television moments, including a scene from talk show Katch It With Khanyi
featuring host Khanyi Mbau; a Clientele funeral policy ad; an iconic scene from popular soapie Generations with actor Tau Mogale; and Star Trek, to name a few. The TVC also references popular film genres, from zombie movies to Nollywood flicks. Nine of the scenes from the initial TVC were extended to create individual 60-second ads and all scenes used the same Chicken Licken promotional script. “The chance to delve into so many different genres is any film lover’s dream, and we had so much fun creating the worlds and playing with the tropes of each genre. We ended up creating 12 channels, [and] even got to experiment with genres
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TECH CHECK
BTS with director Karien Cherry
EQUIPMENT • Camera: Arri Alexa Mini
that we would otherwise never have gone near!” The production team had five weeks to prepare and shoot a combination of studio and location shots over four days. “The fact that we pulled this off is a testament not only to the dedication and talent of our team but also to the agency. I have rarely experienced the level of trust that I received from Joe Public on this job,” comments Cherry. The scenes were shot on a variety of different cameras to best represent each genre reflected in the spot. Cameras included the Arri Alexa Mini, a VHS camera and a 16mm film camera.
“The shoot itself was something special. It was a really rewarding experience to see crew members having fun on set. And it was such a creative shoot that everyone on set had the feeling of doing what they loved. Hopefully, it shows,” she says. In terms of post-production, editor Kobus Loots’s “wry sense of humour was great on this job,” says Cherry. Strangelove handled the visual effects work and the grade, with their artists Charmaine Greyling, Darian Simon, and Nic Apostoli. “And I had the privilege of working with sound designer Lourens Sterling (from Sterling Sound) and composer Adam Howard (from Howard Audio),” adds Cherry.
Since its launch, the campaign has been extremely well-received, with viewers praising Chicken Licken’s approach to creativity. “Creating work that would land with Chicken Licken’s devoted fan base was a huge driving force behind the creative decisions we made. So it’s been great to witness their response to the ad, and specifically to the local references,” Cherry concludes. – Gezzy S Sibisi
The Chicken Licken Easy Bucks campaign was shot on the Arri Alexa Mini, VHS and 16mm film cameras.
KEY CREW Producer/Director: Karien Cherry Director of Photography: Adam Bentel Editor: Kobus Loots Sound: Lourens Sterling and Adam Howard
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HOW BRANDS CAN SELF- MEDICATE DURING THIS PANDEMIC In a market where there is only uncertainty, and where many industries have already collapsed, as businesses face ruin and scared consumers are hiding out in their homes – how do you market anything to anyone?
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“Coronavirus will change the world permanently. A crisis on this scale can reorder society in dramatic ways, for better or worse.”
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irstly, there is an end in sight: look at China emerging to a semblance of normality in some areas in March, albeit with temperature checks all over, three months after the pandemic took hold in that country and mass lockdowns started in February. Yes, we have already been told that this pandemic may be with us for two years, as treatment protocols are refined and a vaccine possibly developed, but – in about six months’ time, after our winter – South Africans will have an economy to rebuild, as will most of the rest of the world. That is what we all need to start planning for now. Even in the face of total shutdowns, we all have skills and careers that we have invested in. We now need to reengineer them and look at how to do things differently. In any crisis situation, be it war or this unprecedented lockdown of our global society and economies, innovation thrives. We have to be creative to work remotely; to start new businesses if our current ones fail; to look at how to take our unique skills or hobbies or passion-projects and turn them into businesses. South African futurist and future of work consultant at TomorrowToday, Graeme Codrington, has been releasing a series of videos on his YouTube channel to counsel business leaders on what to do next – this after his globetrotting career speaking at events and to companies for 11 out of 12 months each year was abruptly curtailed by travel restrictions. We all have to start thinking differently and more virtually, using online tools to connect and work and be more effective, he says. Influential American site Politico also surveyed 34 leaders and thinkers across society, technology, the economy, health and politics, to find out how the world will be changed by this pandemic. It is a long but excellent read and will spark ideas as to how we will need to do things differently and how we will all be changed by remote-working and self-isolating for
months, while trying to keep our work going. The main take-away from the article: “Coronavirus will change the world permanently. A crisis on this scale can reorder society in dramatic ways, for better or worse.” It is not only our ways of working that will change, but society in general. This needs to be taken into account in future business decisions.
PURPOSE OVER PROFIT However, before that, we need to support our immediate communities: our families, friends, customers and clients. Purpose over profit – that is how we have to go forward. All the futurists say plan and prepare. Accept there will be massive personal and business losses financially, which are unquantifiable at this stage, and so prepare for the worst-case scenario and plan what to do when society returns to a semblance of normality. What do people need now? Where do consumers need support now? A young filmmaker in Italy, for example, had people share their stories from quarantine with him about what they would have done differently before the pandemic – his short docudrama has gone viral. There are many such projects that filmmakers and film editors could take on from their homes, for example. It may not be enough to pay the bills in the short-term, but may ensure a future in the long-term. Now is the time for empathy, supporting others and passion projects. Global advertising agency Ogilvy has prepared a communications plan for its clients and partner agencies worldwide and shared it globally to aid other brands. Called COVID-19: How to Communicate in Turbulent Times, the agency advises: “Using your expertise or brand capital to help during a crisis is not about commercial advantage or profit. It is about doing the right thing for society and showing a company’s true values and citizenship.” Summing up the main findings in the report, Scott Kronick, Ogilvy’s regional
lead of PR and influence in the AsiaPacific region, says that this challenging time for broader society is also a challenging time for marketers and communicators as they have to go into full-scale crisis communications mode. There is no normal right now. This is Ogilvy’s advice, as outlined by Kronick: “First, it’s crucial that communicators make sure they are dealing with accurate information. Times of crisis can be confusing and frightening, resulting in an amplification of speculation, conspiracy theories, obfuscation and censorship. Communicators must ensure that they are dealing with facts and not fiction, real information and not rumour. “Second, it’s crucial to have an understanding of the ultimate goals of the communications being delivered. This is not a time to try to market or sell, but rather it is a time to reinforce the values that define leading organisations. What can be done given the various objectives we are working to address? It all comes to down communicating effectively. “And last, communicators need to properly place the ongoing crisis and issue in a greater context. What does it mean for globalisation, economic growth and more—and how does that play out as the world works to get through the crisis together?”
SURVIVAL STRATEGIES AdWeek reports that agencies will be forced to address technology shortcomings during this time and advises brands that cause-related marketing may work better than any other kind, as consumers need to feel supported. A growth in ecommerce is also expected, as all transaction systems move online and retailers beef up their online shops. I believe many small businesses will also upgrade to shop windows on social media and ecommerce platforms and online marketplaces will thrive.
| ADCETERA
While companies grapple with everything required to allow workers to work remotely, brands and retailers are also having to cope with massive drops in revenue as retailers close the world over and foot traffic all but disappears across much of the retail sector. What brands have to remember is that consumers will develop new habits over this period: people will shop online, order groceries online and order prepared food online in their communities (restaurants have to evolve in this direction) – and get all their entertainment online, from gaming to movies. Safe delivery will be key, of course, but as more consumers get comfortable with shopping and ordering online, these consumer habits will still be there after this is all past and a massive technological leap-frog will have taken place in retailing, meaning brands will have to do things differently going forward. Reports AdWeek: “Industry watchers also suggest that if a brand hadn’t devoted major resources to ecommerce in the past, now is the time to do it. While many analysts have said ecommerce cannot replace all lost foot traffic (especially if consumers hit by curtailed or lost incomes have less money for shopping), it’s also true that in the wake of the coronavirus, over 46% of consumers are more likely to buy clothing online, and nearly 65% are more likely to head to the internet to buy personal care products, according to recent data from Red Points.” The one comforting thought, as South Africa stares down the barrel of this pandemic, is that after two months of lockdown, China is slowly getting back to normal. We have to hold on to that and plan for the disruption that will face all business sectors this year. – Louise Burgers *The link to the Ogilvy full paper for free download is: https://www.ogilvy.com/uploads/O200316_ Paper_COVID(1).pdf.
APRIL 2020
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INDUSTRY REVIEW
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SAGE conducts survey to highlight late payments in the film and TV industry Since 2013, the South African Guild of Editors (SAGE) has conducted annual and periodic surveys with members and other industry stakeholders to gather and share data about editors and other postproduction professionals working in the local film and television industry.
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fter receiving a number of complaints about outstanding payments, SAGE decided to conduct a short anonymous survey in December 2019 to determine the extent of late payments in the industry over the past year. A payment is considered late when an invoice or salary has not been paid on a specific date as arranged. Eighty-seven percent of the 45 survey respondents indicated that they were not paid on time. Though 28 per cent reported that the issue was resolved within a month, 35 percent had to wait up to three months for payment, while 20 percent of respondents were still waiting to be paid at the time of the survey. Seventy percent experienced late payments more than once during the year. Seventy-two percent of the respondents had to remind the company that they hadn’t received remuneration, and 16 percent of the companies ignored all communication according to the survey respondents. The average amount not being paid on time was R57 844. The largest outstanding amount was R600 000, followed by R300 000 and R240 000. Seven outstanding amounts were larger than R75 000.
Many of the companies guilty of late payments are well-known production companies, and produce popular shows for the South Africa Broadcasting Company (SABC) and DSTV channels, as well as the subscription-on-demand service Showmax. The findings of the survey have confirmed the reality that many, if not most, industry professionals are being paid late – and sometimes not at all. This is a serious concern for an industry comprised of many freelancers and small business owners, who require timely payments to stay afloat. SAGE welcomes further conversation with other stakeholders in the industry to report and prevent bad business practice. It’s important for all post-production professionals to insist on a contract or formal agreement with the company or client, as well as to discuss a payment schedule, before commencing a job. When invoicing, a date of payment should clearly be indicated. SAGE proposes that if a payment is late, an interest of two percent per month should be charged, which is in line with the National Credit Act (NCA). SAGE also believes that it is the onus of the production company or producer to communicate issues about late payments rather than the professional owed money
to follow up. The chasing of payments costs the unpaid practitioner further inconvenience and time. SAGE has drawn up a list of late-paying production companies and intends to discuss the matter with other stakeholders, including the Independent Producers Organisation (IPO) and the South African Screen Federation (SASFED), in order to encourage accountability and to protect industry professionals from engaging with these companies. When specific broadcasters are involved, the matter will also be brought to their attention. SAGE is a non-profit organisation representing post-productions professionals in the TV and Film industry. It is run on a voluntary basis, and since its inception in the early 1990s it has become a recognised player in the film and television industry. SAGE provides support to their members regarding work-related issues. Unfortunately, the organisation cannot assist those who are not members, and therefore encourage non-members to join. It is important to have a united front in order to fight abuse in the industry. For more information about SAGE, please visit to www.editorsguildsa.org
– SAGE
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CELEBRATING FIVE YEARS OF YOUNG, AUTHENTIC AFRICAN STORYTELLING TALENT Lights, camera, action! Words uttered by young, talented film makers who are telling authentic African stories and turning their dreams into a reality. Building one dream, one story, and giving hope to one idea at a time, the M-Net Magic in Motion (MIM) Academy (the Academy) is celebrating five years of unforgettable memories and continuous invaluable teachings for film graduates. These stories have been watched and loved across South Africa and will continue to entertain young and old audiences. Established in 2014 and directed by acclaimed filmmaker, Bobby Heaney (pictured right),The main focus of the academy is on transforming South Africa’s film industry by upskilling film graduates, empowering them with the necessary knowledge and exposure that they will require to start their careers. In December 2019, the Academy, began the next chapter with its renaming to the MultiChoice Talent Factory South Africa or MTFza. Expressing how he feels about the journey the Academy has taken, Heaney says he finds it fitting that the last movie under the MIM brand, is the 20th one to be produced by the Academy’s interns for Mzansi Magic DStv channel 161. After this, the initiative will complete its evolution into MTFza. The Academy puts interns on an intensive year-long programme and tasks them with producing four unique films. The films, made almost entirely by the interns, enables them to forge relationships in the local industry that
will stand them in good stead in their future careers. “We are very proud to say that every single one of the 20 movies in our five years of existence were conceptualised, written, directed, produced and crewed by the Academy’s interns, with only a few professionals filling in gaps such as unit management, sound and make-up when required,” adds Heaney.
The Academy plays a critical role in ensuring industry sustainability and competitiveness. Developing Local Talent All the graduates from the Academy have since made their mark in the industry, with a number of them in turn, now owning their own production companies.
With further support from the MultiChoice Enterprise Development Trust, recently renamed the MultiChoice Innovation Fund, companies such as A Tribe Called Story, Eccentric Circus Productions, and Beyond Black Productions have been able to grow their businesses and reach audiences beyond where they had ever imagined. Some of the noteworthy success stories include A Tribe Called Story that had their 13-part series, Impilo: The Scam debuted on Mzansi Magic in July 2019. To mark the occasion, MultiChoice Group hosted an exclusive screening premiere night as a fitting celebration of their achievement. “We are truly grateful for the MIM internship program as it played a huge role in accelerating our careers,” says Aluta Qupa, Producer and Co-founder of A Tribe Called Story.
“This was more than an internship program because we were entrusted with producing four made-for-television movies as recent graduates, and that is unheard of.” Qupa continues: “All it takes is for one person to believe in you and give you the opportunity. Magic in Motion has done that. Our lives have been enriched and we will keep the magic alive.” Another popular short film, Themba Lam, was written and produced by Eccentric Circus Production, graduates from the MIM class of 2016. Neo Sibiya, writer for Eccentric Circus Productions says: “We have six Mzansi Bioskop films to our name and one feature film that’s just about to come out on Showmax, called Uhambo. I could not be prouder to be part of the Academy. It was like 10 years of experience in one year, where I got to learn about every department, and the production value chain. Without MIM, I would not have met my business partners Xolani Nhlapho and Thabo Mashiala, or dreamt of one day owning a production company.
Beyond Black Production, another production company to come out of the Academy, has already shot three films that will also be aired on Mzansi Magic later this year. “The Academy not only equipped us with the skills and attitudes needed to make a name for ourselves in the film and television industry, but it also encouraged us to be industry leaders which is exactly how Beyond Black Productions was formed,” says Nandisa Mkize, Executive Producer and Head Writer at Beyond Black. “We’ll carry everything we learned from the Academy well into our careers in the industry.” Investing in Local Content Research has shown the top-watched shows across all DStv packages are undoubtedly local originals, attesting to the fact that being able to tell and hear one’s own stories is driving the call for more local originals.
“Like many incredible works of art, TV shows or movies, it often starts out with a dream. We dreamt of using our experience to empower the next generation of Africa’s storytellers, by practically developing their skills in the film and TV industry. I am happy to say that many of our interns are now working in the industry producing shows that we broadcast,” explains Yolisa Phahle (pictured below), CEO for General Entertainment at MultiChoice Group. While MultiChoice Group continues to invest in securing the best international content, local content reflecting local cultures and told in local languages, gains popularity across the African continent and sparking conversations among the group’s many diverse audiences.
MultiChoice Group, Africa’s most-loved storyteller, received more than 150 nominations in the 2020 South African Film and Television Awards (SAFTAs) as testament to its commitment to delivering the best in local content.
Heaney says: “Several of our writers are now writing professionally and have even been nominated for SAFTAs, and the employment uptake of our MIM graduates is very pleasing. The reputation of the Academy has spread across the industry and we are constantly getting requests for them to assist on productions. For me that is amazing.” Phahle added: “We are proud of the M-Net Magic in Motion, now called MTFza, which continues to have such a positive impact in the career development of these young film makers. We remain committed to uplifting, supporting and investing in your talent in the film and television industry, and strive to always have a pipeline of a new generation of storytellers”
Investing in the Future of Storytelling For this reason, MultiChoice Group is focusing more investment on the development of local content, which not only has greater resonance with its customers but is also key in creating a sustainable talent pipeline for the video entertainment industry in Africa. “Part of this investment is about developing a pool of young, talented filmmakers that shine in front of and behind the camera, setting new and higher standards each year in creating local content that our customers
love, ”Reggy Moalusi, MultiChoice South Africa Executive Head for Corporate Affairs. This new generation of storytellers is empowered to succeed in an industry characterised by ever-advancing technology and the need for creative content and production prowess, all aimed at satisfying a diverse and demanding audience. The recent class of 2019, who are soon to graduate, are passionate about film making and grateful for the exposure they received from being part of the Academy. “By getting the chance to be on the set of Isithembiso, in writer’s rooms at The River, in story pitches at Mzansi Magic, it moulded my drive and ambitions to not only be guided by purpose but also by experience from being hands on,” says 2019 intern, Lunga Mazi Molema. “It’s a rare privileged opportunity provided to grow young storytellers.” His colleague, Maya Buys says: “The academy is about more than just making a perfect film. It is about making something out of nothing. It is about making films as young filmmakers that speak for us and where we are in the South Africa of today.” “Over the years, we have seen with deliberate support, it is possible to create a local video entertainment industry competes with the best in the world. Several winners of the SAFTAs received their grounding in these programmes. It is exciting for us the very thing we are passionate about can result in meaningful change for young people and entire communities,” concludes Moalusi.
FILM
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Scenes from Days of Cannibalism
Inside the making of Teboho Edkins’s new
Days of Cannibalism High in the mountains of Lesotho lies the remote town of Thaba Tseka – home to a community of proud Basotho herders and businessmen, and, more recently, an increasing number of Chinese settlers. The arrival of these economic migrants upsets the balance of power in Thaba Tseka. The documentary film Days of Cannibalism explores the emerging relationship between these two cultures. 20 | SCREENAFRICA | APRIL 2020
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uch like the film, director Teboho Edkins’s upbringing is a blend of diverse cultures and experiences. The son of a German mother and a South African father, he spent most of his early years in Lesotho. “I grew up in Lesotho because my father, a white South African, left his country in the 70s for political reasons and eventually moved to Lesotho with my mother. At the time, Lesotho was an island of resistance located within apartheid South Africa. My naming actually happened when the Queen Mother, Mamohato, met my pregnant mother and told her that her child should be called Teboho. And Teboho is a name for both girls and boys so it was a wise choice.” Despite moving to other countries, including Germany, South Africa and France, Edkins says that his deep-rooted connection to Lesotho always carries him back home. “It is the place which feels most like home. My fondest memories all blur together to form a blissful rural childhood captured by the Nikon camera and its 80s colour palette – the one my father used to photograph my brother and me,” he shares.
Times may have changed since then, but the majority of the Basotho people still remain fixed in their traditional ways of life and business. “The remoteness creates its very own particular universe and atmosphere,” says Edkins. But even this small, sparsely populated and seemingly far-off place is not immune to the forces of globalisation – and that is what he wanted to explore in Days of Cannibalism. As part of his research for the documentary, in 2012 Edkins spent some time exploring the sprawling city of Guangzhou in China and the remote mountainous regions of Lesotho. He returned to both countries, gathering footage between 2015 and 2019. “What really struck me is that although a Chinese megacity and a village in Lesotho couldn’t be more different, there are parallels in the experiences of the African traders in China and the Chinese businesspeople in Lesotho; they both feel misunderstood and disrespected by the other. There is solitude and loneliness in both sides of the (economic) migration,” Edkins expands. Days of Cannibalism provides an unusual look at how capitalist globalisation is threatening social, cultural
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FILM
TECH CHECK EQUIPMENT Cameras: • Sony FS5 • Sony A7 II Lenses: • Zeiss • Nikon Director Teboho Edkins during the Lesotho shoot of Days of Cannibalism
“I don’t mention the location specifically in the film, other than when the characters talk about it, because I feel that it is important that the film is universal in that it speaks more broadly about something that is taking place across sub-Saharan Africa, where the Chinese are settling and certain cultural and social problems arise.
”
– Teboho Edkins
documentary feature, and ancestral structures. Edkins explores this topic by showing how the arrival of the new settlers ignites social tension within the community, upsetting the existing balance of power. He cleverly highlights the contrasting elements of these two communities – the Chinese and Basotho – with a parallel editing rhythm. “I don’t mention the location specifically in the film, other than when the characters talk about it, because I feel that it is important that the film is universal in that it speaks more broadly about something that is taking place across sub-Saharan Africa, where the Chinese are settling and certain cultural and social problems arise. So the film is a universal commentary on globalisation and capitalism, but at the same time also extremely location-specific and focuses on a very localised culture,” he explains. “There are no central characters or overarching plot; instead, the film observes strained encounters and moments between the newly arrived pioneers and the indigenous communities.” Days of Cannibalism is filmed in CinemaScope, ensuring that DoP Samuel Lahu captured as much of the vast landscape as possible, while keeping a
good distance from the characters. “We used the Sony FS5 camera and a range of Nikon and Zeiss photography lenses,” Edkins adds. “The camera is light enough to carry about easily, but combined with a good-quality, fast lens, gives a good image in natural light. In China, we used a Sony A7 II camera coupled to an external recorder because it was less conspicuous than the FS5.”
Sound designer Jaim Sahuleka worked with silences, wind and small jarring sounds for the film. “For sound I boomed with the classic Sennheiser 416 directional microphone, a sound device recorder, and we used radio mics for a back-up audio signal to the camera,” says Edkins. The documentary was edited by Laurence Manheimer and Cédric Le Floc’h in France. Sound design, final mix and colour correction were done by Joel and Jaim Sahuleka from FeverFilm – a post-production studio in Amsterdam. Days of Cannibalism had its international premiere in the Panorama section of the Berlin International Film Festival in February this year where it was well-received by audiences and critics. “The five screenings were all sold out online within 30 seconds,” says Edkins. It was also selected to screen at the 2020 New Directors/New Films Festival, organised by the Museum of Modern Art (MoMA) and the Film at Lincoln Center in New York. However, the festival has been postponed until further notice as a result of the spread of the COVID-19 virus.
“We used the Sony FS5 camera and a range of Nikon and Zeiss photography lenses. The camera is light enough to carry about easily, but combined with a good-quality, fast lens, gives a good image in natural light. In China we used a Sony A7 II camera coupled to an external recorder because it was less conspicuous than the FS5.”
KEY CREW Director: Teboho Edkins Producer: Janja Kralj DOP: Samuel Lahu Editors: Laurence Manheimer and Cédric Le Floc’h Sound: Jaim Sahuleka
– Gezzy S Sibisi
APRIL 2020
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ANIMATION
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Caption
The making of animated short Intergalactic Ice Cream When Triggerfish Animation launched the Story Lab writing contest in July 2015, Andrew Phillips put pen to paper and rose to the challenge.
22 | SCREENAFRICA | APRIL 2020
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wo weeks later, I found myself hunched over a keyboard at 02h00 in the dead of winter, working on my third story submission – about a Depression-era New York flea, who wants to be famous. I was cold, sleep-deprived, and slightly disturbed by newly-acquired and totally excessive knowledge of fleas. But I was deliriously happy. I’d never written for animation before that, and I haven’t stopped since,” shares the animation writer and creator from Punch Monkey Studios. While the Depression-era New York flea didn’t win the judges over, for Phillips it was the start of his love affair with animation, which eventually led him and his equally creative buddy, Howard Fyvie, to open their very own Cape Town-based animation studio.
Speaking about the partnership, Phillips says: “Whenever we got together, we’d come up with ridiculous characters and story ideas that made us laugh, so we created a legal entity to turn that childlike joy into cold hard cash.” Since then, the pair has participated and excelled in several prestigious animation competitions including winning the Turner animation pitching competition at DISCOP 2016; getting their concept optioned by Turner APAC at Annecy 2017; and, more recently, seeing the Intergalactic Ice Cream pilot screen on Cartoon Network as part of Cartoon Network’s Creative Lab. Two months before the deadline for Cartoon Network’s Creative Lab 2018, Phillips entered his creative space-inspired short, Intergalactic Ice Cream. “It started with the title. I was throwing a bunch of ideas around, and one of the things I wrote
down was ‘Intergalactic Ice Cream’. Something about that phrase just kind of hooked me,” shares Phillips. “I used it to develop what’s become a really personal project based on my experiences growing up as a perpetual new kid, an upbeat outsider, desperate to fit in. And then I wrapped that gooey emotional centre in some fun stupid things I love. Space adventures? Yes, please! Weaponised ice cream? Hell yeah! A talking chicken leg?!” Intergalactic Ice Cream is a three-minute animation short that follows Makhaya, a 13-year-old former cool kid whose after-school job is delivering ice cream across the galaxy with a gang of misfits – Sally, Milton and Chicken Leg. Their delivery job launches them into the craziest, danger-filled and dairy-fueled adventures this side of the Milky Way!
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Intergalactic Ice Cream was one of the top ten projects pitched to Cartoon Network Africa’s content team in late 2018. The project made the final top three and underwent a year-long creative process assisted by the experts at Cartoon Network and Mind’s Eye in 2019. Speaking about the experience, Philips had this to say: “Ariane Suveg, Nicolas Rostan and the rest of the Cartoon Network Creative Lab team always sought to protect the creative integrity of the project, while at the same time providing endless support and guidance to ensure the short met Cartoon Network’s high standards for animated awesomeness. That tightrope balancing act was amazing to see up close, and I learnt a lot from the experience.” For the conceptual process, Phillips reworked some of his initial ideas with his business partner, Fyvie. The pair decided on four talented individuals, including Fyvie, to voice the various roles in the short. Phillips expands: “Mak is played by Sanda Shandu, an actor best known for his roles in The Kissing Booth (2018) and Deadly Leaks 2 (2017). Michaela Richards, a radio presenter on Magic 828 AM, provides the voice of Sally, the rocket ship’s kickass captain. Milton, Chicken Leg, Robo Cow and Pie Hole are all played by the legendary Rob van Vuuren, whose long list of IMDb credits shouldn’t be surprising when he can squeeze four roles out of a three-minute short. And the bovine villain, Queen Lactavia, is voiced by Howard Fyvie, who’s hilarious when he’s angry.” The Cartoon Network Africa team was involved throughout the journey to creatively supervise the development and production of Intergalactic Ice Cream. “We had briefings in January 2019 and wrapped around May 2019 after a lot of creative deliberation. So, three minutes took about five months,” shares Phillips. Mind’s Eye Creative was involved in the production process and assigned more than 23 of their in-house artists, including animators, script editors, storyboard artists, animatic editors, riggers, concept artists, editors, design artists, compositors, VFX artists and production managers to the project. Furthermore, Mind’s Eye managed the
ANIMATION
creation of the short from end to end, coordinating with local composers, sound engineers, voice recording companies and editors. “The incredible team at Mind’s Eye Creative used industry standard digital technology, including interactive display screens, Toon Boom animation software, Adobe Creative Cloud production premium software, Cinema 4D, Frame.io and state-of-the-art workstations,” Phillips adds. Intergalactic Ice Cream had its premiere on Cartoon Network Africa on Saturday, 11 January 2020 at 17h15. A repeat of the pilot was shown the next day at 18h10. Sharing his thoughts on seeing his pilot on-screen, Phillips said: “I know I’m supposed to say it was a childhood dream come true, that ever since I first watched Cartoon Network in the 90s, I hoped that one day I’d turn on that channel and see something I made. But that would be a lie because thoughts like that never once entered my boyish brain. I had zero ambition and never dreamed or hoped for anything more than making the under 13B hockey team. So I can honestly say the experience of seeing my short on Cartoon Network was beyond my wildest dreams.” Intergalactic Ice Cream is now owned by Warner Media, which will decide on the future prospects of the pilot. However, Phillips hopes for the pilot to one day be turned into a full series. “Cartoon Network is committed to creating original African content produced in Africa. So you never know. I certainly don’t. But I’d be so pumped to take Intergalactic Ice Cream to series. Those ridiculous misfits need new adventures!” he concluded. – Gezzy S Sibisi
KEY CREW Writers: Andrew Phillips and Howard Fyvie Director: Steve Cloete Editor: Nick Cloete Sound: Pete O’Donoghue
“It started with the title. I was throwing a bunch of ideas around, and one of the things I wrote down was ‘Intergalactic Ice Cream’. Something about that phrase just kind of hooked me. I used it to develop what’s become a really personal project based on my experiences growing up as a perpetual new
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kid, an upbeat outsider, desperate to fit in. – Andrew Phillips APRIL 2020
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OUTSIDE BROADCAST
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OB satellite uplinks – there is light on the horizon! Over the past few years, we have seen pretty big technology changes in the media entertainment industry, especially in the outside broadcast (OB) landscape. With this evolution has come a great deal of technological innovation based around IP delivery and increased wireless connectivity – technologies that have changed the face of contribution, which has previously always been reliant on satellite uplinks for connectivity. Some might say that the use of satellite up and down links within the outside broadcast environment has had its day… or has it?
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S
outh African-born space entrepreneur, Elon Musk, is busy developing his Starlink project, a network of nearly 12,000 internet satellites in orbit that could provide live up and down link connectivity for broadcasters, with little or no latency. OB is one area in the broadcast business which remains particularly challenging. We live in an ‘instant world’, which has grown an appetite for instant coverage of breaking news, live music events and, of course, our insatiable demand for live sport. For the old-school broadcaster, competition has become quite fierce as technology and the cost barriers to entry have reduced, making it simple for anyone to stream live content at the touch of the button. Monetisation is also at play here. Broadcasters have to up the ante and offer better quality and wider choices, otherwise consumers will simply go elsewhere. There are loads of examples in the broadcast business where monetisation is impacting their models. The outside broadcast industry is one that is seeing that impact, with many vans now staffed by a small group of staff who have to operate all the equipment, do all the filming, editing and contribution, etc. themselves. This is putting added pressure on those people at the helm and making production more challenging to uplink the content to the right place in a timely matter. Traditionally, most OB trucks were built with satellite antenna dishes as standard – but, with other ways to get the feed from the field back to the broadcast centre effectively, has the satellite uplink become obsolete? Satellite does come with a number of challenges, especially when faced with reduced crews: without skilled satellite operators on site, it is all too easy to misalign the antenna, which
can lead to a degradation of the feed or even a total loss of signal, and so one of the biggest challenges for OBs is getting consistent quality throughout the process. Many of the challenges of satellite have been solved with better technology – auto-pointing antennas and amplifiers make accuracy easy, and there is no longer such a pressing need for trained staff to operate equipment in the field. The advantage of satellites is that they offer coverage virtually anywhere in the world. You don’t have to rely on existing infrastructure to ensure a feed and no additional preparation is needed – something crucial in a time-critical industry like news, for example. As anyone operating in the OB space knows, existing ground data infrastructure is often problematic, either because it is totally lacking, or because all the local data bandwidth is being used by other operators. When it comes to breaking news, like coverage of disasters, for example, any existing connection infrastructure is likely to have been damaged or destroyed. In these cases, satellite is the only way to get a quick, reliable connection out. Its reliability and efficiency remain unrivalled. However, latency has always been an issue with satellite links: the delays creating awkward moments between host and presenter on live crossings, for example. New satellite technology such as Space-X’s Starlink programme could well assist the OB industries traditional link and contribution issues. Starlink, once complete, would consist of nearly 12,000 satellites, blanketing the Earth with high-speed, low-latency and affordable internet access, as well as a possible connection hub for users like broadcasters. That’s more than six times the number of all operational spacecraft
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“The advantage of satellites is that they offer coverage virtually anywhere in the world. You don’t have to rely on existing infrastructure to ensure a feed and no additional preparation is needed – something crucial in a time-critical industry like news, for example.
now in orbit. Each Starlink satellite can handle eleven hundred 4K streams simultaneously and the goal is to finish the project in 2027. The problem with data beamed over existing satellites is that it suffers from lag. That’s because nearly all those spacecraft orbit some 35,000 kilometres from the surface, in a geostationary location above the Earth. That’s enough distance to cause a more than half-second of lag in audio, and even more in video data. The Starlink satellites will sit at an altitude of about 550 kilometres, which is about 65 times closer to Earth than geostationary satellites — and therefore has far less lag. Each final Starlink spacecraft will link to at least four others using lasers, so that they can beam data over Earth’s surface at nearly the speed of light, thus bypassing the limitations of fibre-optics. Half of the maximum 4,400 low-Earth orbit satellites are supposed to be deployed by 2024, and the full constellation by 2027. SpaceX is not stopping with 4,400 satellites in low-Earth orbit. It also plans to roll out 7,500 satellites in very-low-Earth orbits, or
”
about 338 kilometres in altitude, providing another blanket of ultra-fast up and down link capabilities. The global economic effects of the COVID-19 pandemic are taking shape, as markets tumble and countries take emergency actions to respond. As global habits change to adapt to the new realities of the outbreak, consumer spending is also likely to fall, and the impacts could have far-reaching effects on the media, sports and entertainment industries. The outside broadcast sector is perhaps set to be hardest hit, with mass cancellations or postponements of major sporting events worldwide. I’m not sure how we will survive without the Super Rugby over the next few months, but we all know that, in time, the industry will bounce back, and everything will get back to normal. In the meantime, just sit back and relax – do a bit of stargazing and watch Elon Musk’s satellites pass by as the Starlink network evolves before your eyes. – Ian Dormer
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MAM: a contextual
retrospective on changing times, technologies and processes Written by Brett Lindsay, digital philosopher and new technology consultant
Since the digitisation of media throughout the film and television industries, the amount of footage captured and stored as file-based media has created new challenges for how productions need to work with their data, but it has also given rise to new opportunities and new ways of working.
N
ew technology, the rate of change, increased demand and consumption of media content and a virus epidemic have had and will have a huge impact on local and international productions, remote workforces and cloud computing/ storage. Media Asset Management is crucial now more than ever, as productions start to make use of decentralised resources accessing centralised infrastructure. It has become more and more critical to manage the media from camera to edit and final master. With the various resolutions, formats, frame rates and codecs that new digital cameras offer, the understanding and storage of them has become an important facet of any set or production.
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PROBLEM STATEMENT Two decades ago ‘media workflows’ weren’t something discussed in pre-production meetings. Producers and production managers had to ensure they had the right crew and relied on them and their ways of working to deliver the production through the process. In tape-based production, the reliance was on the physical tape that held the captured ‘gold’, and in professional setups the tapes were only used once: recorded in cameras, logged off of VTR, digitised in edit and then, hopefully, stored in library with log notes and easy-to-find labels in the hopes that, if needed, in future it would be available. Concerns during this era of production were generation loss in quality of footage from each run of the tape/duplication. The rate of change meant that, for a while in the early-2000s, it seemed that every few months there was a new tape format to gear up for, ranging from BETA,
Digi-BETA, DVCPro, Mini-DV to HDV, and – up until a few years ago – most airplanes even made use of Hi-8 tapes, meaning that production companies had to ensure they had the correct hardware to deliver the precious productions. This gave rise to post-production facilities that would invest in the numerous end points for media delivery and allow productions access to shared facilities as needed. This seemingly worked well and allowed for the rise of specialist roles throughout the production process.
CURRENT PERSPECTIVE The dawn of digital and its pervasive spread through productions of any scale has meant that while things have changed, mostly for the better, in some instances new challenges have been created. More affordable digital cameras and the endless range of options now cater to any user and budget. The impact is that we have exponentially increased the
amount of media captured to meet the evergrowing demand of content required to meet the eager audiences out there – audiences consuming content through mobile phones, online streaming, terrestrial, satellite and OTT VOD services. The ubiquity of the modern camera has meant that we can go anywhere with them, taking our image capturing to new heights with drones and up-close-andpersonal action with GoPros and action cameras. All of this, however, adds to the complexity of managing media. Even the simplest of productions has become a multi-cam production with the inclusion of DSLR cameras, drones, GoPros and, quite often, even smartphones, each one of them with different resolutions, formats, frame rates and codecs. Along with the media data is an endless amount of specific and customised meta-data information – essentially the data about the data, which now provides richer information and immediate ‘log notes’ about the camera, various timecodes, production, operator, DoP info (if setup on camera prior to shoot), etc. So, if the footage alone wasn’t
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New technology, the rate of change, increased demand and consumption of media content and a virus epidemic have had and will have a huge impact on local and international productions, remote workforces and cloud computing/storage. Media Asset Management is crucial now more than ever, as productions start to make use of decentralised resources accessing centralised infrastructure.
enough to worry about, there’s even more (albeit very useful) data to manage. So, how to handle it all and what do with it, now that it’s here, there and everywhere?
OPPORTUNITY IDENTIFICATION These developments have seen the rise of the media management/workflow specialist, data/media wrangler and – these days – we have DITs (Digital Imaging Technician) on set and into post-production, assisting DoPs and directors with the ability to view graded media quite often in real-time. These days, clapper loaders, loggers, on-set editors, grade artists and camera assistants have all started to merge into one critically important role on any set, with deep knowledge of the media requirements/limitations of equipment and a broad view of production requirements, from camera to edit and master delivery. While the digital age may have made capturing footage easier, it may not have made it simpler. The numerous tape formats have been replaced by numerous camera card options all requiring their own reader to allow for the transfer of media from the ‘native’ card to a mobile HDD (Hard Disk Drive), SSD (Solid State Drive), or NAS (Network-Attached Storage) solution.
INDUSTRY IMPACT In a relatively short period of time new players have become established brands and trusted partners on every production
around the world. As technology drives new opportunities, so more areas of need are identified. Brands like LaCie, Western Digital, Orico, SanDisk, AJA and BlackMagic, to name a few, are now commonplace wherever you go, all delivering valuable services at every point of any production.
BUT WAIT, THAT’S NOT ALL… The rate of change hasn’t stopped or slowed, in fact it’s quite the opposite, all this data needs a final home, but who has enough central storage for all of it? In order to have data ‘on premises’, at the production facility, important infrastructure is required to support it. This includes data centres with racks, network switches, power supply management, climate controlled temperature and humidity. In most environments this will also require a resident engineer, or a service-level agreement with an external specialist trusted with keeping it all going. This solution must also provide quick turnaround, in terms of fixing issues at the speed required in the TV and film production process, to keep everyone moving forward in order to continue feeding the media monster and eager audiences. With all of this racking up huge investment costs for production companies and facilities, not to mention large, on-going costs to maintain and support it, is there a better way to do handle data storage?
KEY AREAS OF FOCUS How do you ensure your media is managed effectively throughout the process and provide continuous access to the right people when they need it, sometimes all at the same time?
ENTER THE CLOUD For a lot of creatives in film and TV, the idea of also having to be technicallyminded is already daunting enough, and most have trusted crew members that they work with on most productions. The thought, then, that production specialists should now have an understanding of IT is understandably quite daunting. Cloud storage allows for users to expand their storage requirements as they require without having to go through the trouble of setting up their own infrastructure. The benefits to using a shared cloud storage service means you don’t have to hire on-premises engineers or incur expensive SLAs for infrastructure you own.
WHO IS DOING THIS NOW? Modern MAM software demystifies and revolutionises the hard work around managing your media, reducing operational costs, improving efficiency and providing more time for creatives to do great work. MAM software allows for users, regardless of their specific focus on any production, to access and interact with the media of their choosing. Editors, loggers and assistants have workflows to suit them, while directors and producers have different tools that allow them to view media without disturbing anyone else in the workflow. Most of them will help you easily catalogue the vast amount of media from multiple sources and allow some sort of preview or ability to log or add to the metadata. Automation has also become a key feature of MAM software, allowing you to crunch through all of the media at your disposal and make quick work of organising it, transcoding it into your preferred format and arranging into the correct folders for later access.
This software is often referred to as MAM, but is also known as DAM (Digital Asset Management) or a CMS (Content Management System). A quick Google search will find you a ton of options, most with a free trial period. A lot of the storage hardware and NLE (Non-Linear Editing) software, like Adobe Premiere Pro or Avid Media Composer, has some basic level of MAM available in their features or has supporting software to enhance it. There are a number of productions and broadcasters in Africa looking for ways of being more efficient in how they deliver high-quality episodes while maintaining a viable business model. However, even a bit of research yields a lot of results and plenty of choices. The best advice, for now, is to ask yourself a few easy questions to identify your needs in a MAM and cloud storage solution: • What am I wanting to produce? • What do I think I need to produce it? (Number of users and storage volume) • Do I need to allow multiple users to access it? • Will it improve the way we work already? • How much will it cost? • Is there an option between capital investment and operational expense? New technology exists, the decision to find what works and ultimately incorporate it into your business or production is a choice that will require a level of change management for the way you work and the crew that uses it. A lot of partners provide very useful case studies and testimonials around new workflows and technology which will help you better understand the fit and the expected outcomes of this new way of working.
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MEDIA ASSET MANAGEMENT
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Media Asset Storage: it’s in our DNA When it comes to the storage of media assets (or any data, for that matter), whether it’s online or up on the cloud, there’s no doubt that the immediate future of data storage remains magnetic tape. Recent technological advancements have given new life to hard drives, but when it comes to long-term archiving of assets, the tape or hard drive of the future could be something very old, something that everyone has inside them: DNA.
T
he first commercial digital-tape storage system, IBM’s Model 726, could store about 1.1 megabytes on one reel of tape. Today, a modern LTO tape cartridge can hold 30 terabytes. Meanwhile, a single robotic tape library can contain up to 556 petabytes of data. While tape doesn’t offer the fast read/write speeds of hard drives, the medium’s advantages are many. For starters, tape is reliable, with error rates four to five orders of magnitude lower than those of hard drives. They are energy efficient: once all the data has been written, the tape cartridge simply sits in a slot in a tape library without consuming any power until it’s needed again. And tape is very secure, with built-in, on-the-fly
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encryption – and if a cartridge isn’t mounted in a drive, the data cannot be accessed or modified. The main reason why tape is so popular is simple economics. Tape storage costs one-sixth the amount you’d have to pay to keep the same amount of data on disks, which is why you find tape systems almost any place where massive amounts of data are being stored. But, as mentioned, tape is slow, and so the development of hard drive technology continues. The longevity of hard disks, and the rapid rise of solid-state drives (SSDs), can be attributed to a continual improvement process to minimise the drawbacks of tape technology. The hard disk game changed dramatically in 2005 with
perpendicular magnetic recording (PMR), where, broadly speaking, magnetised bits stand perpendicular to the head of the hard disk platter instead of lying down, making room for more bits. However, after years of data density improvements using PMR (densities doubled between 2009 and 2015), researchers are once again hitting the physical limits: each magnetic ‘bit’ is becoming too small to reliably hold its data, increasing the potential for corruption. Shingled magnetic recording (SMR), introduced by Seagate in 2014, is one way to fit more data on a disk’s platter. In an SMR disk, when the write head writes a data track, the new track will overlap part of the previously written track, reducing its width and meaning
more tracks can fit on a platter. The thinner track can still be read, as read heads can be physically thinner than write heads. Western Digital launched a 15TB SMR hard drive in 2018 targeting data centres, with plans to increase the capacity per rack by up to 60TB soon. The next big thing is twodimensional magnetic recording (TDMR). This is another Seagate technology, and aims to solve the problem of reading data from tightly packed hard disk tracks, where the read head picks up interference from tracks around the one being read. TDMR disks use multiple read heads to pick up data from several tracks at a time, then work out which data is needed, turning the noise into useful
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MEDIA ASSET MANAGEMENT
HAMR actuator arm
HAMR actuator and disks
data that can be analysed and then discarded when not required. 14 and 16TB TDMR drives came onto the market in 2019. The multiple read heads of TDMR disks can improve read speeds, but to improve write speeds while increasing data density you need to move away from SMR to the latest hard disk technology: heat-assisted magnetic recording (HAMR). This aims to overcome the compromise of SMR by changing the material of the hard disk platter, to one where each bit will maintain its magnetic data integrity at a smaller size. As HAMR’s name implies, the solution is to use a laser to heat up part of the hard disk platter before the data is written. This lowers the material’s coercivity enough for the
data to be written, before the heated section cools and the coercivity rises again to make the data secure. HAMR has the potential to increase hard disk density tenfold. Therefore, both hard drive and magnetic tape technologies work for the storage and retrieval of data assets – but the trouble is that technology is battling to keep up with the continual flood of data currently being generated, and forecast to be generated in the future. What’s the solution? The hard drive of the future could actually be something very old, something that is inside every person reading this: DNA. Deoxyribonucleic acid, or DNA, is the molecule that dictates how an organism develops. DNA can also
hold a staggering amount of information: 215 petabytes (1 petabyte is about 100 million gigabytes) of data on a single gram. Just as impressive is its longevity. Traditional mediums like magnetic tape and flash memory tend to degrade, whether through repeated use or simply time. DNA degrades, too, but at a significantly slower rate: depending on the storage conditions, it can last thousands, or even tens of thousands, of years. The idea of storing data on DNA was proposed back in the 1960s by Soviet scientist Mikhail Neiman. In the decades since, researchers have made great strides in making it achievable – though at a price. Currently, the most cost-effective DNA storage technique costs about US$3,500 per
MB to write the data and US$1,000 per MB to read it, so don’t retire your LTO or hard drive array just yet. DNA’s storage capabilities, however, are intriguing and have huge potential for computing in the future. For years, technology roughly followed the path laid out by Moore’s Law, which stated that every two years or so, we could double the number of transistors that fit on a microchip. However, computer chips have become so small these days that it’s increasingly unlikely we can continue to squeeze more transistors in there. Essentially, Moore’s Law is dead, but DNA-based computing for the future is very much alive and well. – Ian Dormer
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How to maximise business objectives using hybrid cloud architecture Written by Jerome Wauthoz, vice president of products, Tedial
I
n the IABM’s executive keynote speech at last year’s IBC, the organisation said that over 47 percent of media companies are deploying public cloud services, up from 39 percent in 2018. The question to ask now is: How can your media facility benefit from a hybrid cloud environment?
The cloud has had a major MAXIMISE STORAGE OPPORTUNITIES, impact on broadcast workflows, REDUCE COSTS AND INCREASE VALUE with media companies moving The hybrid cloud offers their infrastructure to the cloud or private broadcasters the ability to meet data centres in a bid to simplify workflows and business reduce costs. Many broadcasters are now looking to a objectives quickly while hybrid cloud approach, which leverages a mixed computing maintaining full control of storage and services environment that combines onmedia archives and premises infrastructure (and/or private cloud services) and costs. It also ensures a a public cloud – such as Amazon Web Services (AWS) or low-risk transition into the cloud by Microsoft Azure – with orchestration between moving the operation in these various platforms. line with business needs. Sensitive data and valuable content can be secured on-premises under company 30 | SCREENAFRICA | APRIL 2020
control in a safe IT environment with multiple security layers. Hybrid cloud architecture also reduces the total cost of ownership. CAPEX is lower, as the upfront investment is calculated based on the nominal usage and not for peaks, which allows the broadcaster to keep the investment at the desired level. In 2020, on-premises costs of deep archive management (tape library) will continue to be lower than the public cloud as the download costs from the public cloud are still a key factor when production teams require constant download (either full or partial) from the archive. This is especially true when UHD content is considered. By using computing storage and services architecture that combines the privacy and security of a private cloud with the scalability of a public cloud, users benefit from orchestration among various platforms and multiple sites. They can store sensitive data and high-value, high-resolution content on-premises, inside a secure IT environment that’s not accessible outside their facility and fully under the control of their IT team, all the while less critical operations can be deployed and run in the cloud. This provides flexibility, as burst or peak demands in business
The hybrid cloud offers broadcasters the ability to meet business objectives quickly while maintaining full control of media archives and costs. operations can also be quickly deployed and run in the cloud. This means that media companies pay only for the period of time required by the additional business operations. High-cost services such as storage for archiving can benefit from the ability to tailor operations to the business cost criteria. Using hybrid cloud architecture also means that optimisation and control of bandwidth: latency is improved, as is the prioritisation of ingest and delivery workflows. Low-res data can be accessed from the public cloud from anywhere in the world, at any time providing the same quality of service for end users thanks to public cloud geographical deployments. Media companies can move business processes to the cloud at their own pace, as their business grows. Their business is future-proofed as cloud technology will evolve faster than the technology used on-premises or in a private data centre. Also because cloud costs evolve over time, the split between the on-premises versus cloud business operations can be reviewed frequently to keep costs under control.
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MEETING TECHNOLOGY DEMANDS NOW AND IN THE FUTURE
Hybrid cloud allows the transition of certain processes into the cloud with minimum risk as the workflows can move seamlessly without affecting normal operation. This assists the customer with the change management process. Another key benefit is the capability to test new ideas and deploy new workflows or new solutions outside of the current primary workflows, without affecting normal operation, using the latest cutting-edge cloud technology and only for the duration of the test. If the test is successful, then it can be integrated as part of regular operations. If the test is unsuccessful the project is simply discarded, and the facility has only incurred the cost associated with the time and infrastructure used to carry out the test. The hybrid cloud allows the integration of updated cloud AI tools for automatic content enrichment. AI tools will improve considerably in the incoming years and executing them from the cloud will guarantee the most up-to-date version is always used. Cloud is also ideal for content delivery, as many delivery services are currently running in the cloud and customers can securely access content due to the native cloud security mechanisms.
To take advantage of hybrid cloud architecture media companies need a dynamic content management solution that transparently manages various tiers across departments, locations or in the cloud. This includes on-premises live storage, nearline storage, deep archive tape libraries or public cloud storage such as AWS S3 or AWS Glacier. This technology should enable media companies to efficiently operate using their chosen current architecture with the capability to evolve as future operational and commercial factors change. Tedial’s Evolution MAM is built with aSTORM, a dynamic storage management solution that is agnostic to storage tiers (on-premises live storage, nearline storage, deep archive tape libraries or public cloud storage). aSTORM provides the ‘link’ between various storage and hosting scenarios available today and in the future. Using logical storage groups and rules defined within each group, the technology seamlessly moves, backs up and restores content when and where required. Live content can be kept on online storage for a period of time depending on its genre. The content management solution can immediately archive content to tape while storing it online for a certain period of time depending on the logical storage group. News content can be kept online for 48 hours, while live sport, which might need to be kept for editing throughout a whole week, can be kept in online storage for seven days, for example. Similar rules can be set using a public cloud. Providing advanced security features in addition to standard IT protections, Tedial Evolution also integrates with cloudbased AI technologies. Although
workflows can be deployed on-premises or in cloud, non-critical workflows such as automating metadata tagging with AI would typically be deployed in the cloud, while critical workflows would be deployed on-premises. The advantage of this hybrid cloud integration is that customers keep full control of their critical workflows and operation while benefiting from the latest cutting-edge cloud features, technologies and infrastructures, providing increased value to the production team. Using Tedial’s HTML5 web-based Evolution MAM, operators from all departments and external partners can access content from anywhere, anytime. For example, teams are able to find more content, browse proxies, download or edit files without going through an archive team, who can now fully focus on their primary work of cataloguing and preserving content, significantly improving efficiency and productivity. In a typical hybrid cloud solution, users should deploy all workflows needed for normal operations on-premises and deploy additional workflows in the cloud for peak operations, and keep low resolution content and metadata in the cloud and high resolution content on-premises on online storage and in a tape library, to avoid high costs related to downloading content from the cloud. High resolution content can be managed by on-premises delivery workflows, which can ensure QoS of delivery is met. Users can also implement delivery workflows in the cloud to maximise performance and efficiency. Using Tedial’s Evolution MAM with aSTORM, media companies can achieve a secure and successful hybrid cloud approach.
Central Site (On Prems / Cloud / Hybrid) Object Storage Management Metadata + Proxy Workflows Orchestration
Hybrid Local Site Workflows Execution Local Object Storage Management Cache > 2nd Tier
Local Site Workflows Execution Local Object Storage Management Cache > 2nd Tier
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M A| FILM
R KET PL AC E
UPCOMING EVENTS A message from the Screen Africa team With numerous countries currently on lockdown and most practicing social distancing due to the accelerating COVID-19 pandemic, the global events and entertainment industry is facing unprecedented disruption and has come to a standstill as a result. These are difficult and uncertain times for the industry but we must remain positive and play our part to contain the virus. Keep the faith – we will come out of this stronger.
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AG-CX350
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