SAFTAS WINNERS BROADCAST, FILM, TV, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS
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VOL 29 – MARCH 2019 R38.00
SAFTAS 13 WINNERS
Jackie Motsepe
Ellen, Die Ellen Pakkies Storie: Daryne Joshua
Ellen, Die Ellen Pakkies Storie: Quinn Lubbe
Outstanding Provincial Contributor
Isithembiso: Sevetian Maslamoney & Zeno Petersen
Kanarie: Christiaan Olwagen & Charl-Johan Lingenfelder
SCANDAL!: Kgomotso Christopher & Yvonne Langa
Youth Achiever Award
Layla Swart
Mi Kasi Su Kasi: What Box
Best Achievement in Directing – Feature Film
Best Achievement in Scriptwriting – Feature Film
Emoyeni: Mothusi Magano, Phakamile Dladla Best Actor – TV Drama
Best Achievement in Original Music Score – Feature Film
Best Actress – TV Soap
Emoyeni: Thishiwe Ziqubu
Best Achievement in Scriptwriting – TV Drama
Uzalo: Nokubonga Ngobeni
Best Achievement in Wardrobe – TV Soap
Best Achievement in Cinematography – TV Soap
Best Youth Programme
Nommer 37: Simon Beesley
Best Achievement in Editing – Feature Film
The River: Tshedza Pictures
Best Telenovela and Most Popular Telenovela
Lockdown 2: Black Brain Pictures
Sew the Winter to my Skin: Yellowbone Entertainment
Best TV Drama
Best Feature Film
Tali’s Wedding Diary: Sketchbook Studios
Tjovitjo: Vincent Moloi
Best TV Comedy
Best Achievement in Directing – TV Drama
Uzalo: Stained Glass Productions Best TV Soap
| IN THIS ISSUE
30 TELLING THE STORY IN THE RIGHT WAY
27 THE BUSINESS OF SUNDANCE
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RISKY BUSINESS
AN INSPIRED, IMMERSIVE, MULTISENSORY EXPERIENCE AT MEDIATECH AFRICA 2019
NEWS |
ADCETERA |
INDUSTRY REVIEW |
EQUIPMENT RENTALS |
Sustainability takes a giant leap forward in the SA Film Industry with Bluewater Trailers......................................... 4
Ackermans’ latest lingerie campaign inspires women to celebrate their true selves....................... 12
Taking the pulse of 2019.......................... 22
From Absconsion to Obsolescence: evolving challenges in the rental equipment industry................................... 32
SA film students break into video-on-demand business......................... 6
A Rich Blend: The story behind Egg Films’ collaboration with Viceroy ...................... 14
Film and Publication Board brings stakeholders together to advocate for Internet safety......................................... 7 Star-studded line up for 2019 Cape Town International Animation Festival..... 8
TECHNOLOGY NEWS | Atomos Shinobi – the new super bright, super light 5” 1920x1080 HDMI monitor................... 9 GatesAir wins national Ivory Coast digital TV transition contract.................. 10
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On being a SAFTAs judge........................ 23 Using storytelling to regenerate a healthy world........................................... 25
FESTIVALS & EVENTS |
TELEVISION |
The Business of Sundance....................... 27
Director Speak: Vincent Moloi................ 16
The Africa Hub & EFM: Asking What If? & Why Not?.................... 28
FILM | Jenna Bass’s Flatland explores what it means to be a woman in South Africa today.................. 18
SAFTAS 13 WINNERS | All the winners at the 13th annual South African Film & Television Awards.......................... 20
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An Inspired, Immersive, Multisensory Experience at Mediatech Africa 2019.............................. 29
ON-AIR GRAPHICS & VISUALISATION | Brainstorming for Better On-Air Graphics........................................ 38
REGULARS | Marketplace................................................. 40
CINEMATOGRAPHY | “Telling the story in the right way” Screen Africa sits down with Marc Rowlston, The Girl From St. Agnes DoP................. 30
@screenafrica
Risky Business: “Managing and mitigating risk in the equipment rentals business”........................................ 34
Upcoming Events....................................... 40
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FROM THE EDITOR
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THE TEAM
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EDITOR It’s almost time for the much-anticipated NAB Show 2019, set to take place from 6 – 11 April in Las Vegas, Nevada. This time every year, the media and entertainment technology industry comes alive with news of which new technologies and trends are set to dominate the market in the year ahead. Keep an eye out for our April issue where we will put together an NAB 2019 preview – including new products and technologies, conference themes and conversations. As always, if you’re visiting NAB this year and would like to give us some feedback on your time there, please don’t hesitate to contact us with news, opinions and insights. We are always looking for contributions from thought leaders within the industry. Let’s get into the issue… In our Adcetra section this month, on pages 14 – 15, we get into the making of the new Viceroy TVC, conceptualised by Singh&Sons and directed by Robin Adams of Eggs Films. Titled The Perfect Blend, the campaign is aimed at raising the profile of Viceroy brandy in Kenya. We also get behind the scenes on the new Ackermans lingerie campaign – page 12 – produced by creative agency 99c and shot by Ola! Films. Aptly titled, #IAmMe, the campaign aims to invoke a body positive message, calling on South African women to celebrate their true selves and each other by embracing their so-called imperfections. Our Film section this month takes readers behind the scenes on award-winning director Jenna Bass’s new film, Flatland. A female-led contemporary western, Flatland sees three different but equally desperate South African women undertake a journey of self-discovery in the Karoo semi-desert. The film has had quite an interesting and lengthy journey from pre-production to now. We get into everything from the inspiration for the film, casting, the arduous financing process and the equipment that was used on shoot. Read all about it on pages 18 – 19. We close out the issue with our Equipment Rentals section which, this year, features a lengthy and comprehensive feature by our journalist and sub-editor David Cornwell, titled Risky Business. David, with the help of leading figures in the local film and television equipment rentals industry, gets into the risk that comes with the business and how it’s managed – check it out on pages 32 – 35. Till next month! – Chanelle Ellaya
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 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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SUBSCRIPTIONS: Tina Tserere: tina@sun-circle.co.za Delight Ngwenya: admin@sun-circle.co.za
EDITOR: Chanelle Ellaya: editor@screenafrica.com JOURNALISTS: David Cornwell: news@screenafrica.com DESIGN: Trevor Ou Tim: design@suncirclegroup.com
ACCOUNTS: Helen Loots: accounts@sun-circle.co.za ADVERTISEMENT SALES: Marianne Schafer: marianne@screenafrica.com Graham Grier: graham@sun-circle.co.za
Louise Marsland 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.
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Editorial Disclaimer The views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Screen Africa or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use. Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher. MARCH 2019
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Film Afrika, one of South Africa’s leading television and film production and servicing companies, is pioneering the move towards environmental sustainability by using Bluewater Trailers on the set of Raised By Wolves, TNT’s highly-anticipated serialised sci-fi series from master storyteller and filmmaker Ridley Scott (The Martian, Blade Runner, Alien: Covenant), which marks his television directorial debut. The series is currently in production in the Western Cape.
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he Bluewater Trailers are keeping the 400-strong crew hydrated through the peak of the South African summer, and – since December – have already eliminated the use of almost 50 000 single-use plastic water bottles on set. Throughout the duration of the production it’s estimated that the Bluewater Trailers could reduce single-use plastic waste by up to 581 818 bottles, while significantly lowering the drinking water cost to the production company. The Bluewater Trailer is a mobile water station dispensing purified, potable chilled water that is either still or sparkling. Bluewater’s flagship product, the pioneering Bluewater Pro 400, harnesses a patented second-generation reverse osmosis purification process called SuperiorOsmosis™ that can generate up to 7 000 litres of pure water every day, including from normally tough-to-purify brackish or borehole water. The Raised by Wolves crew members, working since 2018 on an isolated outdoor site, are each refilling a multi-use water bottle with still or sparkling chilled water dispensed from Bluewater Trailers located in multiple positions around the set. In the initial set-build period alone, from 3 December 2018 to 1 February 2019, approximately 16 238 litres of water were provided to the set – the equivalent of around 49,215 330ml single-use plastic
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PHOTO BY PATRICK TOSELLI
SUSTAINABILITY TAKES A GIANT LEAP FORWARD IN THE SA FILM INDUSTRY WITH BLUEWATER TRAILERS
Thanks to Bluewater Trailers, the 400-strong crew on the Raised by Wolves set are enjoying chilled purified water without the need for single-use plastic water bottles. water bottles. Furthermore, because the water provided by Bluewater is sourced and purified from a non-potable supply, Raised by Wolves is not impacting Cape Town’s scarce municipal water resources – something close to the hearts of both Bluewater and the production company. Unit and Transport head Grant Kilian, one of the many ‘water warriors’ working on Raised by Wolves, has championed this initiative: “We are thrilled with this solution. We are not using municipal water and we are eliminating the use of a massive amount of single-use plastic that we otherwise would have to transport to and from site at significant cost. We have saved a huge amount of money by replacing all those bottles with the Bluewater Trailer water and the crew are raving about having chilled still and sparkling water on tap. We look forward to seeing the overall saving after the estimated eight months of production.” For some time now, key role players in the South African film industry have acknowledged the critical need for a unified front in adopting measures to mitigate the environmental impact of film productions, and the Raised by Wolves production team aims to assist in
developing a model for responsible, sustainable film production. With the assistance of Wrap Zero and GreenSet – under the umbrella of the SA Film Academy – together with a passionate, dedicated team of consultants, suppliers, managers and crew, the aim is to implement a holistic and integrated environmental sustainability pilot project throughout the course of this production, with Bluewater Trailers playing a vital role. Bluewater launched their trailer service in September last year and has been assisting some of South Africa’s largescale events, like the Sanlam Cape Town Marathon and music festival Rocking the Daisies, to become more sustainable by reducing their use of single-use plastic while simultaneously lessening their impact by not using municipal water sources. “Sustainability and innovation are at the heart of Bluewater’s business mission and to partner with Film Afrika on such a large-scale and ambitious production as Raised by Wolves, right here in the Cape, is a special opportunity for us. We are incredibly proud to showcase the best of Swedish water purification technology in
the Bluewater Pro, with the best of Bluewater ingenuity in the Mobile Water Trailer, to serve refreshing and greattasting water to people working in very testing conditions on set,” said James Steere, executive director for Bluewater’s operations in Africa. “Our work with the Raised by Wolves production team is demonstrating what a true commitment to single-use plastic waste reduction can achieve. It is inspiring for all of us in the Bluewater team and we hope that the film and television industry will take note that reducing environmental impact makes good business sense, with a superior product offering that also boosts the bottom line.” Bluewater Trailers are an ideal solution to the on-set drinking water needs for large groups of people involved in shortand long-term productions. Bluewater, a global water purification technology and products manufacturing company with international head offices in Sweden, is now bringing the Bluewater Pro technology to South Africa, as well as serving the events industry with the Bluewater Mobile Trailer. – Maryann Shaw
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NEWS
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SA FILM STUDENTS BREAK INTO VIDEO-ON-DEMAND BUSINESS Broadcast TV isn’t an option and using self-publishing platforms like YouTube means competing against millions of videos from across the globe, so how do South African film students get their work noticed? A recent deal between video-on-demand (VOD) service Showmax and African film school AFDA is set to showcase local talent in an entirely new way.
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hanks to the growing popularity of VOD services, there’s a new opportunity to help kick-start the careers of local filmmakers. Numerous Hollywood blockbusters (District 9, Tomb Raider 2018 and The Avengers: Age of Ultron, to name a few) have featured substantial shoots in Johannesburg and Cape Town. While providing great opportunities for South Africa’s production talent, aspiring writers and directors don’t get the same benefit. So where can local creatives showcase their work? Broadcast TV isn’t a natural home for unknown short films, and while self-publishing platforms are readily available hosting options, it’s tough to get noticed and get traffic when competing with videos from across the planet. But with the emergence of VOD services into the mainstream, there’s now a solution. The African film school AFDA has teamed up with streaming service Showmax to give local talent a much larger platform than ever before. On 18 February, 18 of the best recent short films made by AFDA students from their Johannesburg, Cape Town, Durban and Port Elizabeth campuses went live on Showmax. Drama, documentary, fantasy and animation are all represented, in pieces running from under eight minutes to almost half-anhour long. Teresa Passchier, CEO of AFDA, said: “AFDA, Africa’s number-one school for the Creative Economy, is proud to kick-start this exciting and meaningful journey with Showmax and AFDA students, ensuring emerging young African filmmakers’ voices are heard and given a platform. It’s ground-breaking to share young, local, culturally-relevant content on the same platform as Hollywood blockbusters. I am certain that this unique initiative will serve to boost and develop the African film
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industry and the careers of many young South African and African students alike.” AFDA is an Academy Award-winning institution and the first and only African film school to win an Oscar for Best Foreign Student film in 2006 – the postgraduate film Elalini, directed by Tristan Holmes. Included in the AFDA short films on Showmax are award-winners Junior and O-Puncha. Junior, directed by Bert Dijkstra, picked up the Audience Award at the Made in South Africa Competition at the shnit Worldwide Shortfilmfestival Awards in 2017. O-Puncha, directed by Adam Hansen, won two awards at the 5th annual Eldorado Film Festival: Best Student Made Short, and Best Editing, for Alexander La Cock. Another celebrated film is Sicela Amanzi, directed by Mlu Godola, which talks to the subject of water shortage. The film’s heroine Zoleka is a mild-mannered young woman forced to go to extreme lengths when a small community’s only source of water unexpectedly collapses. The power of films like this is that they shine a light on critical topical issues in new ways. Speaking about working with the film school, Candice Fangueiro, Head of Content for Showmax, said: “There’s immense depth of filmmaking talent in Africa and it’s a privilege to be able to give that talent a home and a platform. Showmax is becoming part of the fabric of film and TV production in Africa, and importantly we’re doing this as a partner rather than just as a consumer. This is a key competitive advantage of being local and something we aim to continue to work on.” – Richard Boorman
THE FULL LIST OF AFDA SHORT FILMS ON SHOWMAX IS AS FOLLOWS: • Lullaby from the Crypt, directed by Keenan Lott & Raven Davids • Ko Ga Cherenyane, directed by Sibonokuhle Myataza • Izilwane, directed by Kyllian Roux • Mallemeule, directed by Jaco Van Bosch • Canal Street, directed by Brodie Muirhead • On the Fence, directed by Warrick Bews
• Wolf, directed by Brett van Dort • The Walk Home, directed by Sisanda Dyantyi • Bear, directed by Wesley Roodt • Junior, directed by Bert Dijkstra • O-Puncha, directed by Adam Hansen • Umngeno, directed by Siphosethu Ndunge • Doreen, directed by Luvuyo Equiano Nyawose
• The Righteous Few, directed by Lindo Langa
• Forever, directed by Lindo Langa
• Hlogoma Peak, directed by Luke Ahrens
• Sicela Amanzi, directed by Mlu Godola
• Frozen Flame, directed by Cameron Heathman
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FILM AND PUBLICATION BOARD BRINGS STAKEHOLDERS TOGETHER TO ADVOCATE FOR INTERNET SAFETY The South African leg of the global Safer Internet Day advocacy campaign rolled into Bloemfontein, Free State on 5 February, as the Film and Publication Board (FPB) rallied together stakeholders and schools in the area around the theme Together for a Better Internet.
WORLDWIDE CONVERSATION WITH A LOCAL FOCUS South Africa joined over 140 countries who participated in conversations and debates around the safe use of digital technology, especially as it relates to the
internet and social media. The campaign, held on the second Tuesday of the second month every year, raises awareness and shares ideas about the steps that internet users can take to keep safe on the internet. The initiative is coordinated by the joint Insafe/INHOPE network, with the support of the European Commission, and national Safer Internet Centres across Europe and beyond. The FPB are the official partner of this network in South Africa in its capacity as the regulator of content in films, games and certain other publications. The Fourth Industrial Revolution (4IR) has brought many changes into society – both beneficial and potentially harmful.
The proliferation of content that is now readily available to citizens through the internet and social media platforms places the impact of 4IR directly within the scope of the Film and Publication Board (FPB), as it advocates for the protection of children from harmful content as well as from exploitation in this digital world. Issues such as cyberbullying, trolling, revenge pornography, body shaming and several forms of cybercrime continue to grow in prevalence in society and the lived experience of the citizen in the street. Children of South Africa growing up in the digital age are vulnerable to online dangers such as sexual grooming and pedophilia, with the number of global
sexual predator networks proliferating on the dark web. According to statistics, South Africa has the fourth highest rate of cyberbullying in the world: 24% of South African teens have experienced cyberbullying first-hand, and 84% know someone who has been a victim. Other pertinent statistics paint a distressing picture of the growing influence of the cyber world and its impact on the “offline world.” Together for a Better Internet is a call to action for every South African to play their part in creating a safer internet for everyone, in particular the youngest users within our society. The FPB and their partners intend to raise awareness of emerging online problems – encouraging children, their parents and caregivers to become responsible digital citizens and take this message of online behaviour change into their schools and communities as ambassadors of the cause. To be good cyber citizens, the FPB encourages all internet users to respect the rights of other online users and to “THINK” before they post: T – is it True? H – is it Honest? I – is it Inspiring? N – is it Necessary? K – is it Kind?
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Still from Spider-Man: Into the Spider-Verse
STAR-STUDDED LINE UP FOR 2019 CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL Proudly presented by Animation SA, the Cape Town International Animation Festival (CTIAF) has announced the programme for its eighth edition, which takes place from 8 to 10 March 2019 at the River Club in Observatory, Cape Town.
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he CTIAF is known for presenting world-class content – from animated films to insightful workshops and masterclasses – as well as providing a unique platform to engage with global industry leaders. The festival also hosts business-to-business sessions, producer events, networking opportunities and government panel discussions in addition to student competitions, a family programme and an outreach initiative.
SPEAKERS The 2019 line-up of speakers includes Academy Award-winning producer Aron Warner and Academy Award-nominated director Peter Ramsey (Spider-Man: Into the Spider-Verse). Warner is a writer and producer of the animated blockbusters Shrek, Shrek 2, Shrek the Third and Shrek Forever After. He also produced the critically-acclaimed animated feature The Book of Life. Currently, Warner is developing a number of projects with Sony Pictures Animation. He previously held the post of vice president of production at Twentieth Century Fox, where he supervised production on films such as Independence Day, The Ice Storm, The Crucible, Alien: Resurrection, Volcano and the number-two blockbuster of all time, Titanic. Ramsey directed Spider-Man: Into the
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Spider-Verse, which was released in December 2018 by Sony Pictures Animation and was announced as the winner of the Golden Globe® for Best Animated Feature Film in January this year. Additionally, the film has taken home the following awards for Best Animated Film: the Critics’ Choice, the Los Angeles Film Critics Circle, the New York Film Critics Circle, the Producers Guild of America and the Los Angeles Online Film Critics Society. Peter Ramsey began his career as a storyboard artist on a notable number of live action feature films, including Bram Stoker’s Dracula, Boyz n the Hood, Minority Report, Being John Malkovich, Fight Club and Ang Lee’s Hulk, among many others. He served as second unit director on live action feature films like Tank Girl and Godzilla. Making a transition to the world of feature animation, he joined Dreamworks Animation as a story artist on Shrek 3 and head of story on Monsters vs. Aliens. Ramsey went on to direct the Monsters vs. Aliens TV special, Mutant Pumpkins From Outer Space! – after which he directed the 2012 feature film Rise of the Guardians. Other international speakers include Autodesk’s John Paul Giancarlo, who has been working in the TV and film industry for more than fifteen years. He was instrumental in integrating Maya in Brown
Bag’s pipeline and has worked on the Emmy-awarded TV show DocMcStuffins (currently on Disney Jr), Octonauts (on CBeebies), and Peter Rabbit (on Nick Jr), among others. Visitors to this year’s festival will also hear Tomoya Imai, production designer of Mary and the Witch’s Flower, share his tips and tricks on the traditional painting-onpaper style of animation creation. Meanwhile, Furio Tedeschi is a concept artist, freelancing at Paramount Pictures, whose previous projects have included Transformers: The Last Knight and BumbleBee Movie. Also joining the speaker’s line-up are David Prescott of Skydance Animation, who has more than twenty years’ experience in live action visual effects and animation for feature films and commercial production, and Archita Ghosh, executive producer at Montrealbased indie animation studio e.d. films, whose talk will focus on discussing trends in the Canadian animation industry. Other exciting speakers to look out for include Tasania Parsadh, Vanessa Sinden, Ree Treweek, Isaac Mogajane, Caroline Vos, Lesego Vorster, Goddy Roodt, Somtochukwu Ajuluchukwu and many more. South African illustrator and animator Marc Moynihan is this year’s theme artist. His work is unique in style and he has always had a passion for drawn animation and picture books. Additionally, there will be a unique opportunity to learn from teachers at the prestigious Gobelins School of Animation, who will be presenting masterclasses and panel discussions at this year’s CTIAF. Acclaimed films to be presented include a series of African premieres, such
as Mamoru Hosoda’s Golden Globenominated Mirai, as well as Makoto Shinkai’s romantic fantasy drama, Your Name. Hot off its debut on BBC One on Christmas Day, the CTIAF presents Magic Light Pictures’ Zog, directed by Academy Award-nominated director Max Lang and adapted from the book by Julia Donaldson and Axel Scheffler. “The packed programme again includes our pitching competition for Annecy, with the winning pitch taking the invaluable prize of being presented at Annecy as part of the National Film & Video Foundation’s South African delegation,” says festival director Dianne Makings. “Don’t miss the Live Drawing sessions with Wacom!, the popular annual Cosplay Masquerade, the Student Awards announcement ceremony, stop motion workshops, the Artists Alley and our outdoor cinema experiences. “Last year we saw a record number of visitors and sixty local and international speakers at the Festival and we are proud to have positioned CTIAF as a leading market place for the fast-growing African animation industry, while giving consumers the opportunity to enjoy the world’s best animated films, which would otherwise not be accessible to them. Seats at events are reserved on a first-come, first-served basis and tickets are required to access all events except the stop-motion and Zoetrope workshops held at the Clubhouse.” Following the incredible success of the CTIAF Outreach Programme, there will – for the third year running – also be screenings of films, drawing classes and various workshops to teach the fundamentals of animation held at the Isivivana centre in Khayelitsha.
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ATOMOS SHINOBI – THE NEW SUPER BRIGHT, SUPER LIGHT 5” 1920X1080 HDMI MONITOR Go everywhere and see everything exactly how you want it with the Atomos Shinobi – a high brightness 1000nit 5-inch HDMI monitor that’s perfect for vloggers, creatives and photographers.
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hen you’re shooting video on mirrorless cameras and DSLRs, the Shinobi gives you the perfect view and is packed with the latest features, but is small and light enough to take anywhere – weighing in at a mere 200g (7 oz). Shinobi shares the same HDR 1920x1080 display and colour processing found in the multiaward-winning Atomos Ninja V monitor/ recorder. With a professional 1000nit brightness screen it can be seen clearly even in daylight. It has an impressive pixel density of 427 PPI (pixels per inch) and is factory calibrated for colour accuracy. The polycarbonate body is lightweight and durable. It has ¼” – 20 mount points on the top and bottom to allow flexible mounting. A headphone jack on the side allows users to monitor audio from most cameras and clear on-screen audio level meters give users confidence that their audio is set correctly. Shinobi can run for up to six hours on a single Sony NP-F750 type battery, already commonly found in most video shooters’ kit bags. An on-screen battery gauge shows the status of the battery and when
it is running low. The central position of the battery mount on the rear of the Shinobi ensures good balance when mounted to mirrorless cameras. Atomos is well known for its AtomOS 10 system with simple to use touchscreen interface. The Shinobi has the latest monitoring features of AtomOS 10, allowing users to quickly and easily check and adjust image settings to best capture their creative intent. In moments they can magnify the image or engage peaking to check focus, pull up false colour, a histogram, zebras or waveform to gauge exposure, or add guides or markers to aid composition. The interface has clear, yet unobtrusive icons which allow the image to be the focus of attention – and with a simple swipe all the menus go away for a totally clear view. These features allow the user to really concentrate on their shot and its framing. Vloggers will especially
value the flip-screen function which mirrors the image when you are filming yourself talking to your audience. For broad compatibility the Shinobi’s HDMI port can accept signals up to 4K (4096x2160) at 30fps, or HD video up to 60fps. The screen can also perfectly display 10+ stops of dynamic range when being used with Log or HLG HDR outputs. Atomos’ advanced colour science gives a complete range of in-built gamma presets to match popular cameras when shooting Log or HLG. Creative users who want to see their Log or flat images with a creative look applied can easily load LUTs directly into the Shinobi’s built-in memory. Simply place a compatible LUT onto a SD card and pop it into the Shinobi, then load it into one of Shinobi’s eight internal preset LUT memories. Once done, any of the eight LUTs can be recalled immediately
for speedy comparison. In addition, countless more LUTs can be kept on the SD card and loaded in when needed. The same SD card slot can also be used to install any future firmware updates. For more advanced users the Shinobi features a new multi-tool Analysis view that simultaneously shows the image, plus waveform, histogram, vectorscope and audio-level meters. In addition, there are multiple options inside each of these tools. This gives the operator a complete picture of what is going on in the image at any time. Although the Shinobi is designed primarily for smaller cameras, its advanced features mean that users of larger cine cameras, traditional camcorders or other Atomos monitor/ recorders may also find it an excellent additional monitor for their needs. It also enables operators on multi-camera shoots to have the same high quality HDR monitoring on additional cameras. If shooting Log or HLG HDR the Shinobi features the Atomos HDR engine, which allows the operator to see more dynamic range on screen at once. Users simply engage a dedicated preset for their camera and around 10 stops of dynamic range are shown, giving an accurate representation of the image in HDR while shooting. It can also be used to give a much better indication of what the image can look like after post production. You can also connect the Shinobi to your Mac or PC for use as an extra monitor while editing – even in the field.
MARCH 2019
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SCREENAFRICA
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TECHNOLOGY NEWS
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WWW.SCREENAFRICA.COM
GATESAIR WINS NATIONAL IVORY COAST DIGITAL TV TRANSITION CONTRACT
Ivory Coast launch
GatesAir, a global leader in wireless, over-the-air content delivery solutions for TV and radio broadcasters, will continue its long-standing business relationship with the Republic of Ivory Coast through a turnkey equipment and services contract to support the African country’s national digital TV (DTV) network. The first phase consists of seven transmitter sites to cover the city of Abidjan and the next six largest cities, with the Abidjan site providing DTV services to 30 percent of the country. The subsequent six sites will expand DTV services to approximately 80 percent of the country, with 100 percent coverage expected by 2020.
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he turnkey equipment package for phase one includes 21 GatesAir Maxiva UAXTE air-cooled, high-efficiency UHF transmitters in redundant configurations to ensure a continuous on-air presence. Each of the seven sites includes three transmitters along with DVB-T2 headend equipment, antennas and towers, and can support three programming multiplexes (one government, and two private). The government multiplex, featuring seven channels of programming, is now on the air, with the private multiplexes to follow.
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Each multiplex will deliver multiple channels of DTV programming and rich data services, including electronic programme guides. The Ivory Coast DVB-T2 network is GatesAir’s ninth DTV transition project in Africa, strengthening its position as the market-leading over-the-air vendor on the continent. GatesAir has recently supported transitions in Ethiopia, Malawi, Nigeria, Rwanda, Seychelles, Tanzania, Togo and Uganda. GatesAir’s success in managing these transitions, including adherence to challenging delivery
timelines, was essential to securing the contract. GatesAir’s strong customer service reputation, high-efficiency transmission technology, and global leadership in complex, national DTV transitions also played substantial roles in the decision. “The digital transition is very important for the Ivorian population as it opens the television space more than ever before,” said Bruno N’Doua, director of Studies and Development, Société Ivoirienne de Télédiffusion (IDT). “These populations will now have the option to watch seven channels to start, whereas before there were only two channels available. This will change the viewing habits of Ivorians, and is a major step forward in the liberalisation of the audiovisual space. This is not the first time the Ivory Coast has worked with GatesAir. They were formerly known as Harris, and their transmitters have helped us provide high-quality distribution of TV programmes for at least 15 years. Therefore, we already knew the robustness of GatesAir equipment, and it is an immense pleasure to work with GatesAir again.” The selection of GatesAir’s Maxiva UAXTE transmitters will provide several performance benefits and long-term cost savings for IDT. The UAXTE’s highefficiency design (based on GatesAir’s PowerSmart Plus architecture) will reduce utility bills network-wide – a substantial
operational benefit given Ivory Coast’s high electricity costs. Maintenance is simplified through the transmitter’s modular design, which allows IDT’s engineering team to use common spare parts across the entire network. Dual power supplies, hot-swappable PA modules and other PowerSmart Plus design attributes further strengthen on-air reliability. GatesAir partnered with African Union Communications for headend systems and with regional partner STA, based in the Ivory Coast, for towers, antennas and transmission shelters. GatesAir will also work closely with STA across all installation, commissioning and ongoing maintenance services, as well as training, service and support initiatives. “GatesAir will bring nearly 100 years of global over-the-air broadcast expertise to support Ivory Coast’s national DTV transition, and deliver exceptional picture quality with reliable service to the population,” said Bruce D. Swail, CEO of GatesAir. “We will also ensure the lowest total cost of ownership to IDT through reduced energy consumption, streamlined maintenance, and local service and support. We thank IDT and the Republic of Ivory Coast for trusting in GatesAir, and look forward to supporting future DTV transitions throughout Africa.” – Brian Galante
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TECH CHECK
Ackermans’ #IAmMe campaign
EQUIPMENT
ACKERMANS’ L ATEST LINGERIE CAMPAIGN INSPIRES WOMEN TO CELEBRATE THEIR TRUE SELVES Leading value retailer Ackermans’ latest lingerie campaign for Valentine’s Day, produced together with creative agency 99c, may look a little different from what you’ve previously seen from the retailer…
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itled #IAmMe, the new campaign features five much-loved South African women – dressed in their cheeky Ackermans lingerie – who ‘celebrate their true selves’. The campaign aims to raise the message of body positivity by calling on South African women of all shapes and sizes to love themselves, their bodies and each other. Conceptualised and produced in partnership with the retailer’s lead creative agency 99c, the campaign’s primary message is not one of romantic love, but rather, self-love. “The bodypositivity movement is gaining traction all over the globe, and #IAmMe says to women that rather than hide or grudgingly accept your flaws, these so-called ‘imperfections’ are what make you unique,” says Tanya Ruiters, marketing specialist at Ackermans. Directed by Ola! Films director Chris Saunders, the campaign features a star-studded cast, including Busiswa Gqulu, Pearl Modiadie, Minki van der Westhuizen, Rami Chuene and Kim Jayde. Christopher Smith, creative director at 99c, says that great care went into choosing the celebrities: “Lingerie advertising typically makes use of sample-size models, which can invoke a sense of inferiority in the consumer who may not fit that particular body ideal. Ackermans wanted to promote bodypositivity and use the power of celebrity to authentically convey the message of the campaign. “We wanted to show that no matter
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how wealthy or famous you may be, we all struggle with the same insecurities. And rather than hide or be ashamed of these so-called ‘flaws’, we should embrace them and not let them stop us from achieving our dreams. We ultimately selected five uniquely beautiful, successful and talented women at the top of their game, who have turned the narrow and outdated definition of ‘beauty’ on its head.” Living across a multitude of channels including social, digital and traditional media – and with ATL, BTL, PR and in-store executions – #IAmMe serves as a shining example of a holistically integrated piece of work. Smith admits that this was no easy feat: “While all from different backgrounds, there was this instant, genuine connection between the celebrities when they met each other on set. One of our challenges was to attempt to tangibly capture this spirit of ‘women supporting women’ across every touchpoint of the campaign, and I believe we’ve achieved this. “We wanted to tell the story of five enormously successful, vivacious women at the top of their game, and show that they have the same insecurities and vulnerabilities as all of us – yet they’re choosing to embrace these so-called ‘flaws’. “And in this ‘age of the influencer’, we wanted to leverage their collective number of followers for good; use their platforms to encourage other women to do the same, and join the movement.”
The commercial was shot at Light Station Studio in Johannesburg in just two days. True to its spirit of authenticity, the intended look and feel is clean, with uninterrupted visuals which allowed the celebrities’ personalities to shine through. A combination of wide shots, close and extreme close ups were used to highlight the personalities of the celebrities and to further showcase their comfort in the lingerie. Director of photography Deon Van Zyl shot the #IAmMe campaign on the Red Epic Helium, selected for its light weight and very high resolution, “allowing us to be in a low light, moody environment yet capture all the detail of the celebrities and the lingerie,” adds Smith. Josh Borill from Post Office Post handled post production. In keeping with its message, the spot employs minimal retouching, with only shadows and minor blemishes removed. The beautiful, bold yet realistic imagery proudly displays stretch marks, curves and bumps, in all their glory. The retailer maintains that in today’s world, brands need to work harder to cut through the clutter. “It’s more important than ever to know your customer through engaging in conversations that are meaningful to them and showing that you understand their hopes, dreams and hurdles,” says Ruiters. “It goes beyond simply product. Rather, it’s about demonstrating to customers the different ways in which you add real value to their lives.” Smith says that the commercials will resonate with South Africa women because it celebrates our diversity: “The commercial brought together a group of diverse women to authentically convey a message that audiences can relate to. Everyone has insecurities and so-called ‘flaws’ and having celebrities, who are traditionally perceived as perfect, embrace all of theirs, encourages audiences to follow suit.”
• Camera: Red Epic Helium
The #IAmMe campaign was shot on the Red Epic Helium which was selected for its light weight and very high resolution.
KEY CREW 99C: Creative Director: Christopher Smith Art Director: Chane Joemat Digital Art Director: Lee Ashton Stemmet Broadcast Producer: Adiela Mosoval
OLA FILMS: Director: Chris Saunders Executive Producer: Olivia Leitch Producer: Brian Critchfield Director of Photography: Deon Van Zyl Gaffer: Terry Molloy Editor: Josh Boirill (Post Office Post) Music and Audio Mix: Field Sound
HOMEMAKERS Expo celebrates our 15th exhibition with the CTICC in 2018... it has been a pleasure working with the management team and the dedicated staff on the ground all these years! Sandy Edwards
Branch Manager & Expo Organiser - Cape Town HOMEMAKERS Expo
Nestling in the shadow of the majestic Table Mountain, and overlooking the spectacular Atlantic Ocean, the CTICC is a magical place where the imagined becomes real, visions turn into strategies, consumers become customers, and strangers from across the globe become colleagues, partners and friends. So much more than a multi-purpose event destination, this African icon combines expansive venues, impeccable service, cutting-edge technology and the finest global cuisine, to transform your convention, conference, exhibition, banquet or meeting into an extraordinary experience. For more information, or to book your event at the CTICC, call +27 21 410 5000, email sales@cticc.co.za or visit www.cticc.co.za.
ADCETERA
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A RICH BLEND: How Viceroy’s latest campaign had the team from Egg Films “dreaming in diamonds” Distell – one of Africa’s leading producers and marketers of spirits and wines – recently partnered with creative agency Singh&Sons and Egg Films to produce the Perfect Blend campaign, aimed at raising the profile of Viceroy brandy in Kenya.
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| ADCETERA
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roduced and bottled in Stellenbosch, Viceroy holds a large stake of the African market with both their five year and newly introduced 10 year brandies. Distell wanted to reintroduce the brand with a young yet still sophisticated edge representative of this market. The result is a visually rich, diamondinspired spot that skilfully carries a lot of different design elements and textures through its 30-second running time, creating an urban (and urbane) look and feel that delivers spectacularly on its brief.
BRIEF AND CONCEPT According to Robin Adams, director at Egg Films, “The brief for Viceroy was simple enough: the golden raffia (in the shape of diamonds) encasing the bottle plays a big role in the iconic representation of the brand,” he explains. The decision was taken to “use this extrinsic imagery of the diamond and seed it visually throughout the commercial.”
modernity and tradition. “I really loved the visual design aspect of the brief, and it became my voice as we moved through the prep on the job. My team and I started dreaming in diamonds every step of the way,” Adams says.
UNIQUE CHALLENGES “What was interesting for me as a filmmaker,” Adams explains, “was deciding to put more of my focus into the post-production aspect of the job. Not to say that it was a simple shoot by any means, but it became a bit of a colour-bynumbers kind of job. At many points it felt like crew members were looking at me thinking, Where does this fit into the bigger picture? But at the end of the day the beauty was in the split screen technique, as this married the idea of the diamond throughout.” Shot on the versatile ARRI Amira, the advert’s idiosyncratic design required a great amount of buy-in from the post-production team, Adams explains. “With so many visual elements at play, it
reads a whole lot easier than it was practically piecing it all together!” Over and above this ambitious split screen project, “There was a need to showcase a representation of the ‘future’ of Kenya in one of the scenes,” Adams says. Furnished with some references and 2D blueprint drawings, “Our online CGI maestro, Blake Prinsloo, was asked to create a building in the middle of the Savanna that would be representative of the techno-cities being planned there in the future. The drawn out blueprint became a 3D printed model (seen at first in the spot), which then became the 3D base model used to build the eventual building and surrounding world – all crafted by the man himself.”
THREE-CARAT RESULTS Viceroy Global Brand Manager, Renato Santana, explains the message that the Viceroy brand wishes to promote: “As the world constantly changes, so do our
TECH CHECK EQUIPMENT • Camera: Arri Amira
“The new Viceroy commercial was shot on the ARRI Amira.”
KEY CREW SINGH&SONS Creative Director: Roger Paulse, PJ Kensley Senior Copywriter: Liora Friedland Senior Art Director: Annie Klintworth Account Director: Kate Bailey Agency Producer: Julie Gardiner
Viceroy campaign
Although this process sounds “simple enough”, the execution of it was anything but. As Adams says, “Each shot had to be meticulously designed and choreographed to work in the diamond template so that, although busy, the uniform structure and sequence holds the viewer’s attention without becoming overwhelming. It’s also important to mention the excellent craftsmanship of both Kezia Eales (art director) and Fabian Vettiger (director of photography) in this respect.” Diamonds are ever-present in the sensuous and textured commercial – from intricately-cut drinking glasses to futuristic buildings, pixelated shields and carved patterns on wooden drums, a beautiful mish-mash of images that signifies both
meant the really hard work was all in post-production. Buying into our vision, the post-production team of Stephen Du Plessis (2+3 Post Productions), Blake Prinsloo (Static Black) and Nic Apostoli (Comfort & Fame) put in an outstanding effort.” Giving details of the process, Adams shares: “We had four different templates on the drawing board – the ‘1 Diamond’, as we called it – which showcased three large diamonds with 11 split screens, as well as templates where we could showcase as many as 81 split screens (in three rows of smaller diamonds). Each of these split screens were numbered and coded to allow us control over which shot went into which split screen at any given point in the edit. I can assure you that this
habits, and the way we connect with each other. That’s why Viceroy, which has a rich heritage and celebrates over a century of tradition, prides itself in still remaining relevant across the generations.” Reflecting on the project, Adams concludes: “Inspired by the diamondpatterned ‘cage’ encasing the bottle, we wanted this ad to celebrate the kaleidoscope of forces – natural, cultural, social – that influence and shape Kenya today. My process throughout was to do this justice. Although I might not be the right person to comment on this, I feel my team and I achieved this with excellence – and I am sure this will show in the client’s returns.”
EGG FILMS Director: Robin Adams Producer: Kerry Hosford Executive Producer: Colin Howard Director Photography: Fabian Vettiger Art Director: Kezia Eales Editor: Stephen Du Plessis (2+3 Post Production) Post Production: Nic Apostoli (Comfort & Fame) VFX Post Production: Blake Prinsloo (Static Black)
– David Cornwell MARCH 2019
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TELEVISION
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DIRECTOR SPEAK
This month Screen Africa chatted to Vincent Moloi, director of the multiaward-winning productions Tjovitjo and Skulls Of My People…
NT VINCELOI MO
WHAT IS YOUR BACKGROUND AND HOW HAS IT SHAPED YOU AS A DIRECTOR? I grew up like most township kids; nothing of significance there, really. In my early teenage years, my grandmother, who was the breadwinner, sent me and my siblings to relatives in QwaQwa. So I had the privilege of a township experience and a rural experience. Soweto helped me a lot with appreciating diversity of cultures mixed into this one humongous urban township culture, which by sheer numbers, dominates and shapes South African urban culture. While in Poelong village, QwaQwa, I was immersed in Basotho cultural values and discipline. I appreciate it a lot more now than I did then. It’s been useful to my storytelling philosophy. WAS A CAREER IN TELEVISION/FILM PRODUCTION ALWAYS THE PLAN? No, I didn’t plan to make films. As a child I desperately wanted to be a talk radio host. Then I wanted to be a painter, after coming second in a school painting competition in Johannesburg. This happened without any training at all. It was just pure love and an honest perspective. Then in my college years, I tried engineering, which I just didn’t have the IQ capacity for. I failed every test if I remember well. But I don’t remember the details; probably because I tried hard to wipe that phase of my life from my memory. WHAT KIND OF CONTENT DO YOU ENJOY CREATING AND WHY? Anything authentic goes. It doesn’t matter to me what the genre or subject is, as long as it stems from a place of truth. I am also just genuinely fascinated by human experience.
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YOU ARE CURRENTLY DIRECTING SHOWMAX’S FIRST TRAVEL SHOW, TRIPPIN’ WITH SKHUMBA. WHAT DREW YOU TO THIS PROJECT? I could write a whole research paper on the reasons why I got interested. Kagiso Lediga invited me to the project. When he told me the concept, I thought we could do something exceptionally rich, a first of its kind. Plus I loved what the folks at Diprente have been doing. Then there’s Skhumba: his views, his opinions, the subjects he’s interested in. The fascination he has about his comedian friends, and where they come from. That’s a winning formula right there… And lastly, it was important for me to form a relationship with Showmax, which is a key player in the future of video publishing in this county. This could be home to many of us looking to make unconventional shows that do not have to conform to old and tired programme format templates. IN YOUR OPINION, WHAT VALUE DO VOD & SVOD PLATFORMS LIKE SHOWMAX HOLD FOR THE AFRICAN FILM INDUSTRY AND EMERGING FILMMAKERS IN PARTICULAR? There’s a generation of filmmakers that are interested in reaching out, breaking barriers and expanding their niche audience across the continent. So VOD & SVOD are essential elements to the filmmakers’ growth. This also gives power to the producer with a good audience hit rate. You can literally measure the impact immediately. DO YOU CONSIDER DIGITAL PLATFORMS A THREAT TO TRADITIONAL BROADCAST CHANNELS IN THE FUTURE? OR DO YOU THINK THE TWO CAN CO-EXIST? I genuinely think they can co-exist. The question is how quick and willing can any platform be to adapt to the changing behavioural and lifestyle patterns of the audience. In my experience I find that both traditional and digital broadcasters’ process of acquiring and producing content is still old and slow. The moment a new player with a whole new process management system comes in, it will change the game. And then the
old will inevitably die with their business. There’s enough case studies for us to know that. But I’d also like to caution that we still need traditional broadcast channels, especially in this country: that’s where the majority of the audience is. In this way we maintain a base of audience and encourage the culture of watching moving pictures. If we lose the public broadcaster, we’ll lose a significant share of motion picture culture. AS SOMEONE WHO HAS NO DOUBT MENTORED MANY IN THE INDUSTRY, DO YOU HAVE ANY MENTORS OF YOUR OWN? I think fondly of Jerry Ramaboa, Alberto Iannuzzi, Fikile Ka Ntanzi, Phybia Dlamini, Sello Molefe… The list of people who have shown me the ropes and given me an opportunity is endless. I feel very privileged. That’s why I feel an obligation to give back whenever I can. In our last production, we had 14 interns – excluding members of the community we were filming in, whom we hired in and paid competitive rates to in spite of the fact that this was a self-funded project. Giving back and passing skills to others has become part of our DNA at Puo Pha Productions.
WHAT HAS BEEN YOUR BIGGEST CHALLENGE AS A DIRECTOR OF PUO PHA PRODUCTIONS? The biggest challenge is always to manage the business and come up with creative business models that can survive this forever-changing and turbulent industry. I joined Puo Pha Productions five years ago as an equal share director. It was co-founded by Lodi Matsetela and Makgano Mamabolo. Makgano has left us to pursue her other personal goals. We continue to learn and refine our strategies, but more importantly we want to create productions that appeal to audiences beyond our borders.
WHAT ADVICE WOULD YOU GIVE TO YOUNG PEOPLE WANTING TO PURSUE A CAREER AS A DIRECTOR IN SOUTH AFRICA? Take your failures with grace and learn from them. Learn to understand that you’re special. Be authentic, remain true to your story and try not reference anyone else’s journey to yours, because we’re all unique in different ways. But also learn to work with others. No one succeeds on their own without help from other partners.
WHAT NEXT FOR VINCENT MOLOI? It’s a project we have been working on for years now. As a young teenager growing up in QwaQwa, on weekends I would take cattle to far-away, but greener, grazing fields in Monotsha village. This village is in the foothills of the Maluti Mountains, right by the Lesotho border. There I would witness a different ecosystem and trade by gangs of shepherds on horseback. So the next project is about that. This project is going to define me as a director. It’s an important part of my childhood so I need to do it properly.
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FILM
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IMAGES CREDIT: SHAUN SWINGLER
Jenna Bass’s Flatland explores what it means to be a woman in South Africa today
Nicole Fortuin in a scene from Flatland
Female-led contemporary western Flatland sees three different but equally desperate South African women undertake a journey of self-discovery in the Karoo semi-desert.
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hen Natalie’s catastrophic wedding night leads to an accidental killing, she runs away from her husband and her small, rural town in South Africa’s Karoo region. Reuniting with her rebellious, heavily-pregnant best friend Poppie, the two young women escape together on horseback across the vast winter landscape. Lonely policewoman Captain Beauty Cuba, intent on proving the innocence of her long-lost fiancé, who has been framed for Natalie’s crimes, is hot on their trail. The fate of these three desperate South African women will eventually converge “as they ride towards self-discovery in the face of the everpresent threat of violence – psychological as well as physical.”
A FEMALE WESTERN Flatland writer and director Jenna Cato Bass – director of the films Love the One You Love and High Fantasy, and co-writer of Rafiki – says that the desire to craft a female western grew out of her complicated long-time love of these films. Though she loved the genre, Bass says something was always missing for her: “My dad really loves westerns, and I watched a lot of them with him when I was getting into cinema. I started to really
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love them too, but at the same time I always felt something was missing. I later realised it was the lack of female characters – the John Waynes and Clint Eastwoods were just so far removed from me as a person. “Women have just as much right to be in the saddle, and I was sure that women audiences had the same desires I had, as well as the spirit to act them out,” Bass continues. “If I wanted to make a western, I’d have to take a long, hard look at the western and ask myself what is it about this frequently racist, misogynistic genre that I want to hold onto? Maybe the same things that make South Africa such a perfect setting for the western are exactly what makes it so problematic. How different is our present from our colonial past? Maybe the rules of the western itself need to be broken. For me, the starting-point was three different women, on their own terms: a lovelorn policewoman, a pregnant teenager and a naive young bride, all of whom are trapped by circumstances, their environment and by their own misconceptions of what they must be.” Nicole Fortuin, Faith Baloyi and Izel Bezuidenhout deliver strong, moving performances as the three lead characters – Natalie, Beauty and Poppie,
Jenna Bass respectively. Fortuin was the first cast member on board – “she stuck with us through years of financing and development,” says Bass. “I’d seen Izel Bezuidenhout in Dis Ek, Anna and was so impressed with her. She is magical on screen... And Faith was one of the last people we cast after quite a search to find Beauty and she’s also awesome. She has made the role totally her own in a way I’d always hoped.”
FINANCING A real labour of love, Flatland has been a long time in the making. It all started in 2009 when Bass had the idea of setting a western in the Karoo. “At the time, I thought that would be relatively straightforward, but the more I worked on it, and added inspiration from my own
life, and trips to Beaufort West, it grew into something totally different… and better, I think.” The film was first introduced to the market at the 2012 Durban FilmMart (at treatment stage), where it picked up three of the five development awards on offer – “which helped kick-start active development on the project,” says Flatland producer David Horler of Proper Film. In late-2012, development funding support was secured from the National Film & Video Foundation (NFVF) of South Africa, alongside a grant from the Worldview Broadcast Media Scheme. In 2014, Horler concluded a co-production deal with Iranian/German producer Roshanak Behesht Nedjad (who is known for her co-productions with
| underrepresented territories). “Later that year, the project was the recipient of a commitment to financing from Berlinale’s World Cinema Fund and secured intent for world-sales from The Match Factory,” he adds. The year 2016 saw additional production support secured from the NFVF and the commencement of final casting and location scouting. In early 2017, intent was secured from the ZDF Das Kleine Fernsehspiel Co-production and Licensing scheme, and a world sales agreement was concluded with The Match Factory. In 2017, the film won support from the Hubert Bals Fund and Film Fund Luxembourg, as well as the attachment of Deal Productions and Unafilm as co-producers, “which enabled us to close financing and green-light the film for production in 2018,” says Horler. Having completed its active development phase in 2014, Horler says that financing Flatland was “the single greatest reason it took so long to bring the film to life.” “In many ways it was an unavoidable rollercoaster of success and disappointment... In the end though, it couldn’t have worked out better: having been backed by some of the leading film institutions worldwide with very few hard-equity stakeholders, enabling a simpler and unoppressive revenue recoupment stream once the film is distributed. We also created a solid distribution foundation through our partnership with industry-leading sales agency The Match Factory and our collaboration with Europe’s broadcasting giant, ZDF/Arte.”
PRINCIPLE PHOTOGRAPHY The film was shot in just over four weeks in the second quarter of 2018, at twenty-six locations in South Africa’s Western Cape province. Although set in the Karoo semi-desert, Horler says that most of the film could have been shot exclusively in Cape Town, but – “despite oppressive costs and out of respect to the authenticity of the story, as well as
Jenna’s direct inspiration from specific places when writing the script” – the crew elected to shoot the majority of the film on-location, in and around the towns of Beaufort West and Leeu Gamka, as well as in Cape Town. “Our first shot on day one [of filming] was the iconic sequence where Natalie and Poppie ride on horseback through the Karoo semi-desert in slow-motion,” comments Horler. “It was a remote and challenging location that ended up being one of our longest shoot days, setting the precedent for a gruelling and unforgiving schedule.”
CINEMATOGRAPHY Bass says that she wanted the two parallel stories of Beauty, and then Natalie and Poppie, to have very different feels in order to heighten the contrast between the characters. This, she says, resulted in “very different shot design for the two stories”, as well as a different colour palette for each: “We wanted Beauty’s story to feel static and considered, and Natalie and Poppie’s story to feel fidgety and observational.” These choices were largely determined by the characters in collaboration with the camera department – led by director of photography, Sarah Cunningham – and the art department, led by production designer Sara Hartinger. Flatland was shot on the Arri Alexa Mini, which Horler says was chosen for multiple reasons, including its ease of use for data management and postproduction workflow, “and the fact that Jenna is known for highly intimate and fluid composition in her films, which was made easier and more efficient to achieve by the camera’s light weight and small footprint”. A large portion of the film takes place on the open road, with various driving sequences in cars, trucks and on horseback “threading together the multiple storylines unfolding across the Karoo,” adds Horler. “We wanted to achieve as much as possible in-camera with a very low-tech approach to
maximise both the authenticity of the actors being able to drive or ride and the efficiency of our demanding schedule.” Horler says that the grips department – headed up by Nasmie Majiet of Grip This – were the “technical heroes” of the film for flawlessly delivering smart and creative tracking and rigging solutions that translated to some impressive, immersive sequences on screen.
FILM
TECH CHECK EQUIPMENT • Camera: Arri Alexa Mini
POST-PRODUCTION The post workflow was shared across several companies and individual technicians in order to spread the workload and have multiple elements being undertaken at once. Postproduction supervisor Stephen Abbott crafted a minutely-detailed schedule and workflow. He worked very closely with Bass and editor Jacques de Villiers before handing over the film for audio, colouring, VFX and finishing. “Refinery Cape Town was our backbone throughout the delivery process. They went well above and beyond their call of duty and without them, it would have been impossible to finish the film on time,” comments Horler. “We owe Lauren van Rensburg, Peta Synnot-Marzetti, Kyle Stroebel and Armien Baradien an enormous debt of gratitude for everything they and their teams have done for us.” Audio post was split between Sound & Motion Studios in Cape Town and Johannesburg, as well as Philophon – based in Luxembourg – who assembled the final mix. Horler commends Simon Ratcliffe of Sound & Motion Studios, who “juggled various overlapping mixing sessions between three cities and, as usual, delivered refined, evocative and first-class sound, which was complimented by our original composition by Berlin-based DJ, Bao-Tran Tran.” The subtle use of VFX was led by Refinery alongside several freelance effects artists.
A STORY THAT BREAKS THE RULES Impressively, Flatland opened the Berlin Film Festival’s Panorama section in February this year. Horler says that it’s humbling to be recognised by Berlinale, who have been incredibly supportive and nurturing of Jenna’s career over the years. “We hope to continue a successful festival run for the remainder of 2019, culminating in the film’s theatrical release and TV and digital broadcast later this year and in 2020,” he adds. When asked about the film’s intended message, Bass says that – for her – there isn’t one specific message: “It’s more about offering people an experience that is different and surprising and from which they can take what they want. “I hope people will fall in love with the characters, and be swept along by a story that breaks the rules and at the same time feels deeply familiar,” she concludes. – Chanelle Ellaya
“We chose this camera system for multiple reasons, including its ease of use for data management and post-production workflow; and the fact that Jenna is known for highly intimate and fluid composition in her films, which was made easier and more efficient to achieve by the camera’s light weight and small footprint.” – David Horler
KEY CREW Director: Jenna Bass Producer: David Horler DoP: Sarah Cunningham Production Designer: Sara Hartinger Editor: Jacques de Villiers Costume Designer: Chantell Lungiswa Joe Casting: Belinda Kruger and Monique Murray du Plessis
Faith Baloyi in a scene from Flatland MARCH 2019
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SAFTAS 13
| WINNERS
ALL THE WINNERS AT THE 13TH ANNUAL SOUTH AFRICAN FILM & TELEVISION AWARDS South Africa’s film and television talent and content producers gathered at Sun City in the North West province, on 1 – 2 March, for this year’s instalment of the South African Film & Television Awards. The star-studded awards show, hosted by the Metro FM duo Pearl Modiadie and Thomas Msengana, celebrated the country’s film and television talent, with winners – decided on by a panel of 250 judges – walking away with the coveted Golden Horn in various categories.
Popular telenovela, The River, scooped 10 awards, making it the highest winning television production at the SAFTAs this year. NFVF’s acting CEO, Shadrack Bokaba commented on the night’s success stories saying, “With the SAFTAs, the NFVF looks to celebrate the industry as a whole while being able to outline some of the inroads made in the industry and I believe that this weekend, we certainly did that. Well done to all the winners.”
THE SAFTAS13 WINNERS ARE AS FOLLOWS: Best Student Film The Water Dancers, University of Cape Town Best Achievement in Scriptwriting – TV Comedy Thuli noThulani, Rethabile Ramaphakela, Mpho Osei, Karabo Lediga, Anne Davis, Julian Koboekae, Tshegofatso Monaisa, Meren Reddy, Bradley Katzen and Katleho Ramaphakela Best Achievement in Art Direction – TV Comedy Abo Mzala (Season 3), Lerato Pitso Best Achievement in Makeup and Hair – TV Comedy Abo Mzala (Season 3), Regentse Munyai
Best Achievement in Editing – TV Soap Isithembiso , Kirsten de Magalhaes, Rian van der Walt, Jeremy Briers, Molatsi Molefe, Martin Mosala, Sphiwe Nhlumayo, Matodzi Nedmungadi, Tshepo Kgatsoetsoe and Brett Anolik
Best Achievement in Cinematography – Telenovela The River, Gaopie Kabe and Trevor Brown
Best Achievement in Sound – TV Soap Isithembiso, Sound Team
Best Achievement in Makeup and Hair – Telenovela Broken Vows, Mmabatho Seema
Best Achievement in Cinematography – TV Soap Isithembiso, Sevetian Maslamoney and Zeno Petersen Best Achievement in Wardrobe – TV Soap Uzalo, Nokubonga Ngobeni
Best Achievement in Wardrobe – TV Comedy Abo Mzala (Season 3), Gisellah Mcleod
Best Achievement in Makeup & Hair – TV Soap Uzalo, Stella Johnson
Best Achievement in Sound – TV Comedy Bedford Wives, Janno Muller
Best Achievement in Art Direction – TV Soap Getroud Met Rugby, Michelle Cronje
Best Achievement in Cinematography – TV Comedy Tali’s Wedding Diary, James Adey
Best Achievement in Scriptwriting – Telenovela The River, Gwydion Beynon and Phathutshedzo Makwarela
Best Achievement in Editing – TV Comedy Tali’s Wedding Diary, Richard Starkey Best Achievement in Scriptwriting – TV Soap Isithembiso, Charleen Ntsane, Chris Blomkamp, Daniel Zimbler, Sayitsheni Mdakhi, Iain Paton, Catherine Muller, Libby Dougherty, Andrew Petersen, Mbasa Tsetsana, Sydney Dire Zoe Arthur, Thabo Boom and Matthew Jankes
Best Achievement in Original Music/ Score – Telenovela The River, Brendan Jury Best Achievement in Editing – Telenovela The River, Ula Oelsen, Bongi Malefo and Matodzi Nemungadi Best Achievement in Sound – Telenovela The River, Ben Oelsen, Lele Seate and Tladi Mabuya
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Best Achievement in Wardrobe – Telenovela Broken Vows, Princess Morodi
Best Achievement in Art Direction – Telenovela Broken Vows, Sam Dell Best Achievement in Scriptwriting – TV Drama Emoyeni, Thishiwe Ziqubu, Karabo Lediga, Tshenolo Mabale, Nozipho Nkelemba and Mmabatho Montsho Best Achievement in Editing – TV Drama Emoyeni, Itumeleng Nkabinde Best Achievement in Sound – TV Drama Fynskrif, Stef Albertyn Best Achievement in Original Music/ Score – TV Drama Fynskrif, Braam Du Toit Best Achievement in Art Direction – TV Drama The Docket, Ilze Van Den Berg, Richard Rehbock and Nazo Maloyi Best Achievement in Wardrobe – TV Drama Lockdown (Season 2), Gisellah Mcleod
WINNERS Best Achievement in Makeup and Hair – TV Drama Lockdown (Season 2), Babalwa Carol Djieutcheu
Best Achievement in Sound Design – Feature Film Sew the Winter to My Skin, Barry Donnelly
Best Achievement in Cinematography – TV Drama Emoyeni, Marc Rowlston
Best Achievement in Original Music/ Score – Feature Film Ellen: Die Ellen Pakkies Storie, Quinn Lubbe
Best Achievement in Directing – Documentary Feature Everything Must Fall, Rehad Desai
Best Achievement in Editing – Feature Film Nommer 37, Simon Beesley
Best Achievement in Cinematography – Documentary Feature Tribe Versus Pride, Dereck Joubert
Best Achievement in Production Design – Feature Film Five Fingers for Marseilles, J Franz Lewis
Best Achievement in Editing – Documentary Feature Tribe Versus Pride, Jolene Van Antwerp
Best Achievement in Costume Design – Feature Film Five Fingers for Marseilles, Pierre Vienings
Best Achievement in Sound Design – Documentary Feature Tribe Versus Pride, Beverly Joubert Best Wildlife Programme Incredible Bats, Earth Touch Best Children’s Programme Restyle My Style (Season 4), Quizzical Pictures (Pty) Ltd Best Reality Show My First, Mirror Effect Media Best Game Show Noot Vir Noot (Series 43), Stemmburg Television Best International Format Show My Kitchen Rules South Africa (Season 2), Picture Tree Best Factual & Educational Programme Kick It, Engage Entertainment
Best Achievement in Makeup and Hairstyling – Feature Film Stroomop, Minuche Bridgette Snyman Best Short Film Stillborn, Yellowbone Entertainment Best Achievement in Directing – TV Comedy Tali’s Wedding Diary, Ari Kruger Best Actress – TV Comedy Tali’s Wedding Diary, Julia Anastasopoulos as Tali Shapiro Best Actor – TV Comedy Elke Skewe Pot (Season 2), Hannes Brummer as Benny Best Supporting Actress – TV Comedy Abo Mzala (Season 3), Nomsa Buthelezi as Thandi
Best Current Affairs Programme Dr Sello Of Ikhageng, Health-e
Best Supporting Actor – TV Comedy Single Galz, Warren Masemola as Anthony (Care Taker)
Best Variety Show Jan, Brainwave Productions
Best TV Comedy Tali’s Wedding Diary, Sketchbook Studios
Best Magazine Show Nisboere (Season 1), Production etal
Best Achievement in Directing – TV Soap Isibaya, Phiwe Mkhanzi and Sthembiso Mathenjwa
Best Youth Programme Mi Kasi Su Kasi, What Box Best Music Show The Rockets 50ste Herdenking Konsert, All Star Productions Best Made-for-TV Movie Thembi’s Trial, Chocolate Milk and Cookies Best Achievement in Scriptwriting – Feature Film Kanarie, Christiaan Olwagen and Charl-Johan Lingenfelder Best Achievement in Cinematography – Feature Film Meerkat Maantuig, Willie Nel
Best Actress – TV Soap Scandal!, Kgomotso Christopher as Yvonne Langa Best Actor – TV Soap Rhythm City, Jamie Bartlett as David Genaro Best Supporting Actress – TV Soap Isibaya, Gcina Mkhize as Khanyi Best Supporting Actor – TV Soap Isibaya, Abdul Khoza as Qhaphela Ngwenya Best TV Soap Uzalo, Stained Glass Productions
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SAFTAS 13
Best Achievement in Directing – Telenovela The River, Johnny Barbuzano, Catharine Cooke, Zolani Phakade and Ferry Jele Best Actress – Telenovela The River, Moshidi Motshegwa as Malefu Best Actor – Telenovela The River, Presley Chweneyagae as Cobra Best Supporting Actress – Telenovela Ring of Lies (Season 2), Vele Manenje as Shanduka “Shandu” Mukondeleli Best Supporting Actor – Telenovela The River, Lawrence Maleka as Zolani Best Telenovela The River, Tshedza Pictures CC Best Achievement in Directing – TV Drama Tjovitjo, Vincent Moloi Best Actress – TV Drama Lockdown (Season 2), Dawn Thandeka King Ma-Z Best Actor – TV Drama Emoyeni, Mothusi Magano as Phakamile Dladla Best Supporting Actress – TV Drama Lockdown (Season 2), Lorcia Cooper as Tyson Best Supporting Actor – TV Drama Is’thunzi (Season 2), S’dumo Mtshali as Mandla Best TV Drama Lockdown (Season 2), Black Brain Pictures Best Documentary Feature Everything Must Fall, Uhuru Productions (Pty) Ltd Best Talk Show Thando Bares All, Oxyg3n Media Best Achievement in Directing – Feature Film Ellen: Die Ellen Pakkies Storie, Daryne Joshua Best Supporting Actress – Feature Film Stroomop, Ilse Klink as Diona Best Supporting Actor – Feature Film Sew the Winter to My Skin, Zolisa Xaluva as Black Wyatt Earp Best Actress – Feature Film Ellen: Die Ellen Pakkies Storie, Jill Levenberg as Ellen Pakkies Best Actor – Feature Film Ellen: Die Ellen Pakkies Storie, Jarrid Geduld as Abie Pakkies Best Feature Film Sew the Winter to My Skin, Yellowbone Entertainment
MARCH 2019
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INDUSTRY REVIEW
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TAKING THE PULSE OF 2019
Five trends shaping the film and television industries this year…
1
BATTLE ROYALE FOR VOD MARKET
In international terms, the biggest story of 2019 continues to be the scramble for VOD market dominance. Netflix have spent nearly $15 billion in the last two years – building a library of about 700 series and 80 feature films, and attracting real luminaries like the Coen brothers (The Ballad of Buster Scruggs) and Alfonso Cuaron (Roma) in the process. However, Amazon have aggressively started to chip away at this market stronghold. As well as securing exclusive sports streaming rights (including a new deal with football giant the English Premier League), it is reported that “Amazon CEO Jeff Bezos sees quality movies as helping to build his brand.” The company’s leader has previously remarked: “We get to monetise that content in a very unusual way: when we win a Golden Globe, it helps us sell more shoes” – a comment that, perhaps, foreshadows the inevitability of Amazon being a serious contender for VOD market leader in the near future. On the local front, although local streaming service Showmax is producing critically-acclaimed Original series – with a clutch of SAFTA Awards already earned for Tali’s Wedding Diary – the South African VOD market is still developing as a commercial prospect. A January 2019 report from TechCentral states that: “MultiChoice will carry losses incurred by Showmax in the ‘medium term’, but the goal is eventually for the streaming television service to turn a profit once broadband infrastructure in South Africa and the rest of the continent has been built out further to support it.”
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2
‘SERIES CINEMA’
As the writers at American Cinematographer magazine put it: “In recent years, series have developed a new form of cinema that rivals theatrical films.” Dubbed ‘Series Cinema’, this new form has “been enabled by the high quality of small screen cinematography, which is giving a cinematic feel and form to episodic content.” Moreover, the ability to tell “multihour,” complex stories has led to increased psychological depth of characters, and – in the best examples – increasingly enthralling storytelling forms. Dovetailing perfectly with this is the ability to binge-watch series cinema: an immersive mode of consumption to suit an immersive medium. With the Showmax Original The Girl From St. Agnes breaking viewing records after its release on the 31st of January this year, it is clear that locally-produced Series Cinema will be hot property in 2019.
3
GENDER PARITY
The Nostradamus Report for this year – produced by a panel of experts at the Goteborg Film Festival – predicts that we will continue to see increased (and longoverdue) gender parity in film and television productions. Although South Africa is blessed with some high-profile female talent, it is sobering to remember that up to 75% of key positions on film and television productions are regularly filled by men. The report indicates that this social movement towards greater equality of representation – popularly known as
Time’s Up (or #TimesUp) – is being driven both by industry players, “who are organising themselves to put pressure on decision-makers”, and audiences, whose advocacy is making production companies have to “decide to gamble the box office on maintaining the status quo.” However, the report indicates that although change is occurring, “the abysmal starting situation means that reaching full gender parity will take rather more than five years.”
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TVs VS THEATRES
Related to this issue of production standards is the growing disparity between the viewing experience of TV compared to theatre. In strict technical terms, modern (and increasingly affordable) UHD televisions have a more extensive colour space, a greater dynamic range and are capable of higher frame rates than most cinema screens – leaving American Cinematographer to assert that “the situation of movie theatres today evokes the 1950s, when the studios introduced anamorphic lenses to offer wider spectacles than what people could see on their televisions.” However, as Wendy Mitchell for Screen Daily points out, theatres still have a role to play in the “experience economy” – and, through their ability to offer communal viewing experiences, can help “transform premieres into milestone cultural events.” This “fightback” on the part of movie theatres was memorably seen at the beginning of last year, during the release of Black Panther, and – just a month ago – local crime caper Matwetwe excelled at the box office on the back of an effective social media campaign that featured buy-in from megastar music DJ Black Coffee.
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PROMOTION STRATEGIES GEARED TOWARDS RELEVANCE
As the Goteborg Film Festival’s Nostradamus Report asserts: “In the digital world, especially for TV, the distinctions between linear and library services, as well as between free and premium brands are blurring.” In part, this is a symptom of the frenetic and often confusing world we live in, where news broadcasters, politicians, information providers and entertainers all vie for our attention simultaneously – and invariably, by trying to ‘engage’ us on social media platforms. With barriers to entry for broadcasters being lowered all the time – for example, the recent development of the MicroEnterprise Media Engine (MEME) mobile technology platform by South Africa’s Council for Scientific and Industrial Research (CSIR) – our timelines are sure to be full of more things to watch in 2019 than ever before. As the writers of the Nostradamus Report point out, this has huge implications for distribution and promotional strategies. Especially for smaller players in the industry, “As the competition is not for sales or box office dollars, but for audience attention, relevance will be as important as quality and production value.” Be on the lookout this year for promotional campaigns that, like the films they are in service of, “tell stories about the world we live in” and “demand to be heard in the here and now.” – David Cornwell
OPINION
On being a SAFTAs judge
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INDUSTRY REVIEW
Written by Jack Esterhuizen, SAFTAs judge, Chili Box Studio
Jack Esterhuizen
Another year has passed and mundane is far from how I would describe our local films and talent. Blown away is how I felt – inspired, actually; and before I go into the details about why that is, I thought I’d share a little bit about what it entails to be a SAFTA judge.
W
hen I was asked to judge the South African Film and Television Awards (SAFTAs) back in 2015, I was honoured. It was the 9th edition of the awards and I had little idea of what was expected, but as I jumped in and began viewing the spread of selected entries I soon realised that as a country we have remarkable talent and ability, and that my journey down this filmmaking road wasn’t in vain. I’d started editing full-time the moment I graduated from AFDA in 2008 and my focus has always been on long-form work. After winning my first SAFTA award in 2014 I was invited to serve as a judge for the technical awards panel in the years that followed. These awards include Editing, Cinematography, Sound Design and Original Score. And so it began. I sat
down, pressed play, and soon saw the culmination of our industry’s craftsmanship come together. Different cultures in different languages, beautiful land- and cityscapes, great visuals, the ensemble of a great score, rich stories – a loud South African voice. This is us! Now it’s 2019, and making notes on each entry once again became the routine of my evenings. While marvelling at all factors of film and TV making, the technical aspects needed actual scoring. The voting for Round 1 was done through an online portal, with each category being judged on criteria based on three to four questions. Feature films were my category, and the Afrikaans films were intriguing to me as I found that a genre which has sometimes been regarded as ‘conservative’ told
stories like Kanarie and Wonderlus, which would be challenging for most cultures. There was wonder, romance and fantasy in Meerkat Maantuig, Susters and Farewell Ella Bella. South Africa’s first western – Five Fingers for Marseilles – was a visual pleasure. We got a look into ‘real South African worlds’ in Nommer 37, Mayfair and Ellen: Die Storie van Ellen Pakkies. Sew The Winter to My Skin, The Tokoloshe, Raaiselkind and The Recce are also worth mentioning, as they all uniquely crafted films that set us as young storytellers apart from anywhere else in the world. On the night of the final judging round, a couple of technical folks walked into a boardroom in Sandton to start deliberating. An external auditing company facilitates the final voting
evening – ensuring that the process is fair. After these discussions, the judges submit their scorecards. The three names that receive the highest scores make the nominee list, while the auditors tally the final scores submitted to determine the ultimate winner. Casting the final vote was incredibly difficult, as most films succeeded admirably in their genre and execution, and – although I can’t wait to see who receives a Golden Horn for their excellence – l also know that, ultimately, the whole experience and process is the real reward. I encourage everyone to tune into SABC2 on 2 March 2019 and watch the 2019 South African Film and Television Awards as we celebrate our astounding local talent.
“The Afrikaans films were intriguing to me as I found that a genre which has sometimes been regarded as ‘conservative’ told stories like Kanarie and Wonderlus, which would be challenging for most cultures.” MARCH 2019
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INDUSTRY REVIEW
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Using storytelling to rege Jemima Spring
A group of woman filmmakers and creatives are trying to find a new way of working, not just in the industry, but also in terms of how problems are solved, in order to promote sustainable projects that use all their creative skills to make a difference in society.
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Lara Taylor
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ycelium is a cooperative venture, legally constituted and formed by seven South African women working in film, production, design, media, television and research, which is aimed at shifting perspectives and regenerating the world. The founding members are Jemima Spring, Kia Johnson, Lara Taylor, Helena Kingwill, Natalie Nolte, Stef Swanepoel and Jacqueline van Meygaarden. They want to take storytelling to another level to produce communication for a sustainable world, while building an alternative media creation hub and becoming “a collaborative force for change.” Mycelium’s core messaging is to “produce compelling content and experiences that shift people’s minds”, based on collaborative and participatory values. “We aim to use the power of many, combined with our innate passion for the world around us and its balance – which needs to be realigned – and use media as a tool to create awareness and in essence ‘teach’ others how to get back to basics through sustainable living,” explained Kia Johnson, television presenter. “I have for the longest time needed a platform whereby I could spread the word of our current environmental crisis, through not only being a face on TV, but taking a more hands-on approach in order to show others what needs to be done to
get to our ultimate goal, which is a balance in nature.” They want to make films and tell stories and host events about social regeneration. They seek to help in telling the stories of people changing the world, so they will inspire change in others – all the while creating a better way of working. These are lofty ideals, but founder Jemima Spring, filmmaker, is firmly of the belief that the world needs to change, and that those in the creative industries can lead the charge. “My background is in film and broadcast television. I’ve been doing this for 25 years with a growing understanding that things in the world are not okay as regards the environment and social cohesion. There must be a different way of doing things. In the stress of adulthood, we often forget our creative part and where the stories come from that can heal the world. “Some of our industries have a very toxic culture and as a bunch of amazing women who all help each other and share resources, we are still at the mercy of big corporates and financial systems. We needed a structure to support ourselves, but with less hierarchy, training for young people and a collaborative, enterprising way of working. “Our purpose is to change the narrative around how the world can be, using whatever means we can. Many of us are
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INDUSTRY REVIEW
enerate a healthy world Kia Johnson
filmmakers, some are in music, there are writers and a puppeteer. We will grow and include more diversity, we may not always only be women, we are looking for people with the same headspace and who are really flexible,” said Spring.
IMPACT Johnson said she hopes to create awareness and make a huge impact that changes the world for the better. “The industry is cut-throat and dominated by men. Through this co-op, I have already found the ‘sistahood’ most of us speak of achieving in our daily lives as women. This initiative and work environment shows us that this is possible and that because we are many versus one problem, we can overcome some of the obstacles we face through assisting each other.” The power of the collective has astounded Taylor, filmmaker and anthropologist. “The potential of seven vs one has launched me into new avenues
that I may never have discovered alone. The sharing of both challenges and ideas is hugely beneficial and the combining of skills to work together on a greater project, while still having the freedom to continue my personal projects, is the future of work.” Taylor is busy exploring short film on mobile, producing web series and webisodes to create a positive environmental and social message. “I hope to use the increasing popularity of short film and documentaries to reach a wider audience. Mycelium, with the combined forces of strong and intelligent women, is giving me the support and reflection necessary to evolve.” Along with another founding member, Natalie Nolte, Taylor is also running training in mobile video shooting and editing. Training and mentoring the next generation of young filmmakers forms an important part of Mycelium’s values.
AWARENESS “The collective want to produce film and aligned projects that create awareness and inspire people to change their habits,” reiterated Taylor. Spring recounted how she was inspired by the conversations on social media during Cape Town’s drought – how people quickly moved from panic over Day Zero and the city running out of water, to sharing their experiences with grey water systems, water-saving tips, compost toilets and other innovative ways to deal with the crisis. These were necessary conversations that would not have taken place without an immediate crisis, but demonstrated the innate human condition to solve problems with creativity and innovation when challenged. Johnson says that Mycelium’s members hope to be a part of something bigger than themselves. “We want to create a unity among us as filmmakers. There are
many limitations that we face on a daily basis, in the freelancer lifestyle that we lead, or the difficulty with access to doors opening for various projects. Through this collab, I have already seen how our ‘many versus one’ attitude has shifted our focus and enabled us to have better access to so many different aspects of the film industry.” Spring concluded: “It is very clear to me that we have to create a better future. I’ve been on this path for a while. A new story is rising and we all need to step up and play a role, create a healthy and safe space for each other and future generations. It is early days, but I’m very positive and hopeful.” – Louise Marsland
“Some of our industries have a very toxic culture and as a bunch of amazing women who all help each other and share resources, we are still at the mercy of big corporates and financial systems. We needed a structure to support ourselves, but with less hierarchy, training for young people and a collaborative, enterprising way of working.
”
– Jemima Spring
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FESTIVALS & EVENTS
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Gaza
Luce
The Business
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American filmmaker Julius Onah (The Cloverfield Paradox) and British-Nigerian director Shola Amoo. Described as “a social thriller on race and identity”, writer-director Onah’s latest feature Luce stars Kelvin Harrison Jr. in the title role, playing a star athlete and debate-team captain in his suburban US high school, worlds away from his former incarnation as a child soldier in Eritrea. But Luce’s idealised image as star pupil and immigrant success story is challenged when a teacher (Octavia Spencer) uncovers fireworks in his locker, as well as incendiary political views in an essay he has written. When she confronts Luce’s parents (Naomi Watts and Tim Roth), an intense on-screen debate is ignited, exposing unsettling tensions at the intersection of race, class, gender and power. Writer and director Amoo’s semiautobiographical The Last Tree follows the story of Femi, a British boy of Nigerian heritage (played by Sam Adewunmi), who – after a happy childhood in rural Lincolnshire – moves to inner London to live with his mother. Struggling with the unfamiliar culture and values of his new environment, teenage Femi has to figure out which path to adulthood he wants to take – and what it means to be a young black man in London. Although feature directors like Hood,
the best-possible start for their film, and – with a considerable number of deals being done on the ground – also offers a chance to meet with potential distributors face-to-face and leverage future possibilities. “Sundance is a huge business place, so much is done here. The ultimate goal would be to get theatrical distribution: that would be fantastic. We hope, all in all, this leads to the film being seen widely.” Sundance certainly positions itself as a festival with a strong documentary slate, one that champions risk-takers and storytellers. Speaking at this year’s closing awards ceremony, Sundance Institute president and founder Robert Redford said, “Supporting artists and their stories has been at the core of Sundance Institute’s mission from the very beginning. At this critical moment, it’s more necessary than ever to support
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very year A-list talent, studio executives and tens of thousands of fans descend on the snowcovered streets of Park City in Utah to experience a festival that prides itself on programming bold, independent cinematic storytelling from across the US and around the world. More than just a film event, the 10-day Sundance Film Festival, which this year ran from 24 January to 3 February, has a major influence on the direction of cinema over the following 12 months. With over 90% of the line-up screening as world premieres, what accounts for the continued attraction of Sundance as one of the top choices for directors and producers when it comes to launching their latest films? For Oscar-winner Gavin Hood, the only South African director on the slate this year with political thriller Official Secrets – which stars Keira Knightley as a UK secret service operative during the run up to the Iraq War – it’s all about that first, crucial, audience response. “It’s a big test of the film for an American audience, because it’s essentially a British movie. On a purely practical level, that audience response has an effect on how your distribution goes. So, for me, festivals are purely about the audience.” Aside from Hood, other filmmakers at Sundance this year with a connection to the African continent included Nigerian-
Onah and Amoo are already veterans of film festivals worldwide, for some directors, the festival represents their first exposure to what could potentially be a major launch-pad for their work. An impressive 45 features screened this year were by first-time filmmakers. Irish award-winning conflict photographer Andrew McConnell co-directed the documentary Gaza with fellow countryman Garry Keane, hailed as “a film of stirring visual beauty” by the LA Times in its pick of this year’s best Sundance features. A beautifully-shot portrait of everyday citizens living in the Gaza Strip, it takes viewers behind television news reports to reveal a world of resilient characters trying to lead meaningful lives while living in what is frequently labelled the world’s largest open-air prison. For McConnell, the festival represents
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After ten days, 121 feature films and 73 shorts from over 30 countries, what was the buzz on the ground at this year’s Sundance Film Festival?
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Official Secrets
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The Man Who Played with Fire
of Sundance and The Girl in the Spider’s Web, Larsson was also a journalist whose dedication to fighting right wing extremism has been relatively unknown outside Sweden. Although Stieg Larsson: The Man Who Played With Fire has already had a general release in his home country, Georgsson acknowledges it’s particularly hard for documentaries to get the same commercial focus as narrative features, which is why a festival with a wide international focus like Sundance is so important. “It’s a film about a Swedish person and the Swedish extreme right, but hopefully people can see relevance for their own countries. He was basically fighting for an open, democratic society – and that’s under threat right now.”
Proving the power of a Sundance premiere, before the festival wrapped on 3 February, the US rights for Official Secrets had been picked up by IFC Films in a deal worth over $2 million; Neon and Topic Studios secured American rights to Luce; and the UK rights to The Last Tree, which had opened the World Dramatic Competition at the festival, were secured by Picturehouse Entertainment. John Cooper, director of the Sundance Film Festival, said this year’s programme represented a line-up that was layered and authentic. “These films and artists tell the truth: whether documentaries that illuminate hidden histories or fiction features that spotlight diverse, human
experiences.” Although it’s a major challenge to get into competition at Sundance – last year there were over 14,000 submissions – let’s hope that next year South Africa and the African continent, with its wealth of storytelling talent, can be more strongly represented. Watch a range of features and shorts from previous Sundance Film Festivals, including independent films and premium original series, on SundanceTV in South Africa, exclusive to DStv channel 108. – Fiona Walsh
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independent voices, to watch and listen to the stories they tell.” For Swedish director Henrik Georgsson, a veteran of successful TV series such as The Bridge and Marcella, it’s exciting to see if a documentary feature about the writer Stieg Larsson’s less well-known focus on hunting down neo-Nazis can gain international interest, particularly in a competitive documentary field like Sundance. Stieg Larsson: The Man Who Played With Fire details the famous author’s legacy and includes interviews with people close to Larsson, as well as previously unseen archive footage. Writer of the best-selling Millennium Trilogy, adapted into several successful films including The Girl with the Dragon Tattoo
Shola Amoo Gavin Hood
Festival direct
or Henrik Geo
rgsson
ford
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FESTIVALS & EVENTS
| OPINION
EFM Horizon presentation from Professor Alex McDowell of World Building Media Lab
The Africa Hub & EFM:
Asking What If? & Why Not? Having the amazing opportunity to attend the recent Africa Hub at the European Film Market (EFM), I was overwhelmed at the sheer variety of innovative and collaborative projects that were presented from the African continent.
I
also was fortunate enough on my first day in Berlin to attend an EFM Horizon presentation from Professor Alex McDowell of World Building Media Lab (WBML) at the University of Southern California that framed my thinking for the rest of the week. McDowell set out an inspiring thought process and way of thinking that could have a profound impact on all of us working to improve and develop the creative industries across Africa. At the WBML, McDowell and his team imagine future worlds built on two key questions that initiate and inspire every project they do and every world they create – WHY NOT? & WHAT IF? Combining deep research with irrepressible creativity, the team builds potential future worlds to address some of the most pressing challenges facing society. This ability, to imagine and then to actually map out and build future scenarios that are premised on a spirit of optimism and wonder, is urgently required by anyone working in the creative industries, and especially in Africa. Starting with the premises of what if and why not enables us to ask and imagine.
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What if there were meaningful co-production treaties between African countries, and why not include gender parity requirements in these agreements? We can ask, why not have visa-on-arrival policies for all visitors, like Rwanda does, and what if African creatives could travel cheaply and easily throughout the continent? From just these two scenarios entire future worlds can be imagined. Worlds that see financial and political cooperation between countries to support the film industry. And what if we were to think even bigger and to question even more? World-building began within the realm of science fiction, which – we have seen – is more and more becoming science fact, where what is imagined can be achieved. If we look around the world, it is clear to me that when we do imagine alternative models and scenarios, they are often the most successful and paradigmchanging. At the Africa Hub, a few of these paradigm-shifting trends emerged, although not necessarily explicitly connected to one another. For example, the understanding – which is imminently sensible yet has not often been the norm – that it is more sustainable to focus on
the person than the project, was expressed repeatedly during more than one presentation during the week. A host of projects are now specifically working to develop future sustainable leaders, industry activists and entrepreneurs, instead of just focusing on the rush to develop and produce specific projects. Projects including the Creative Producers Indaba, a collaboration between The Realness Institute EAVE and IFFR PRO, and the Film Pro Series partnership in East Africa between Docubox and The Robert Bosch Foundation, amongst others, are focused on developing the individual who can then go on to develop and support others within their regional industries, as opposed to developing a specific script or film. Taking that to the next level, what if we focused more on education than on production from the start? Why not have film clubs at primary and high schools across Africa to instil an appreciation, love and a language of film amongst the next generation? What if we focused on creativity and creation as opposed to conformity and consumption? Throughout the presentations and conversations at the Africa Hub there was a sense of both frustration and optimism: optimism, first and foremost, at the mere existence of the Africa Hub. Now in its third year, the Africa Hub continues to grow and there has been a conscious effort towards inclusivity and diversity in terms of its attendees and programming. Another cause for optimism is that more and more individuals and organisations are recognising the need
for collaborative and sustainable projects that see past the once-off or short-term project. This optimistic and collaborative kind of thinking is exactly what can lead to the what if and why not kind of world-building that we require. The frustration, however, arises from the realisation that many of the gatekeepers to resources are not keeping up with this mode of thinking. Whether it is the many African governments who refuse to open up visa regulations and to actively pursue economic and coproduction cooperation talks, or some of the top European funders who structure their grants and programmes in accordance with antiquated and outmoded ways of thinking, the gatekeepers need to start asking themselves what if and why not? What if these funders could open up Pan-African funding streams so that organisations operating across the continent could get support without having to apply to three or four regional offices? What if the gate-keepers actually listened to existing needs, instead of providing solutions to challenges that don’t exist? What if African writers, directors, and producers got to retain their IP in co-productions? Why not set up equitable models of co-production and distribution that leave lasting financial impact on the affected regions? Let us all keep asking these questions and challenging those with resources to do the same. It’s time to world-build an ideal African industry that can become a reality. – Lara Preston
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ADVERTORIAL
AN INSPIRED, IMMERSIVE, MULTISENSORY EXPERIENCE AT MEDIATECH AFRICA 2019 As we power into the Fourth Industrial Revolution, the development of technology is gaining increasing momentum and evolving at the speed of light.
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ew trends and technologies are driving innovation, disruption and opportunities for growth in the media and entertainment industry – and going forward, it’s safe to expect a period of exciting change. According to Mediatech Africa exhibition director Simon Robinson, in this age of exponential technology acceleration, keeping step with how breakthrough technologies are unleashing creativity has never been more important; just one of many vital reasons to be at Mediatech Africa 2019. “Those in the media and entertainment industry will benefit from the Mediatech Africa experience planned for 2019 in more ways than one,” says Robinson. “The show line up, as is customary, is cutting edge and promises to showcase the latest products and trends shaping the creative pulse of these industries. It will provide a glimpse into the future, and an unmatched view on how technology is transforming experiences. More than that, because almost every major player and brand features at Mediatech, the possibility for market intelligence to be gleaned from this event is incomparable – and this year will be no different.” A trade show now in its 10th edition, Mediatech Africa attracts over 7 500 visitors and showcases close on 800 brands from more than 150 global and local exhibitor companies. A biennial event, the organisers have announced that the 2019 show will run from 17 – 19 July at the Ticketpro Dome in Johannesburg, South Africa.
Everything about the event is at the forefront of innovation and every touchpoint is designed to enhance the visitor experience. Live demonstrations, presentation zones and special events are again on the programme and other familiar favourites expected in 2019 include the Black Box, the Drone Technology Cage and the outdoor sound demos, to list but a few of the returning highlights. “We also have a few surprises planned for the show this year. Visitors should expect the unexpected,” says Robinson. Speaking about the three-day event, Robinson says, “Mediatech is about giving visitors the opportunity of tapping into the possibilities that exist now and in the future using technology. The show attracts exhibitors who are leaders in their categories – shape shifters of the highest calibre, and we are excited to see what tech trends they will showcase this year.” One of the broad tech trends that is sure to find its way onto the Mediatech conference programme is Artificial Intelligence (AI). Considering that China’s state news outlet Xinhua announced (on Feb. 19) that it has, in collaboration with search engine Sogou, created the world’s first female AI news anchor, it’s obvious that AI will and already is changing the face of the broadcasting and entertainment landscape. Another example of AI’s recent impact on this industry is when IBM Watson generated highlight reels of what it thought were the best shots of the 2017 Wimbledon tennis tournament.
Anyone who viewed the highlights would be none-the-wiser that there was no human input; nor would they argue with the choices the system made. Normally this would take a large team hundreds of hours to accomplish, yet Watson could do all of this automatically using cognitive algorithms to analyse audio and video from the footage. From there, Watson was able to identify shots and points that were highlight-worthy. “The media and entertainment landscape is in flux. From creative processes to content delivery – AI is just one disruptive technology trend having a profound impact on the industry and yet we have barely uncovered its true potential,” says Robinson. “That said, at this stage there’s still the question of the creativity conundrum. Will a computer ever be able to match the creativity of a person? Clearly there is still plenty of room for debate when it comes to where AI starts and ends and what better forum to unpack this than at an industry event like Mediatech.” Beyond AI, there are many other trends
and technology shifts that are expected to feature at the expo, including advances in projection mapping technology synchronised with dynamic soundtracks, drone technology, VR and lighting, all of which can be used for creating compelling, immersive and memorable AV experiences. “No one would argue that piloting the changing landscape to find success in the media and entertainment industry is often a confusing, exasperating pursuit. To capitalise on the opportunities that changes bring, rather than being disrupted by them, is to play the game and win – and that’s why Mediatech offers so much value. It’s an unbeatable source of education and a destination for the industry to come together and do business,” says Robinson. “Technology is increasingly the genesis of creative expression. Our show has become the hallmark for the expression of creativity and it’s about discovery, learning, being inspired and bringing ideas to life using the latest tech in niche verticals,” he concludes.
“No one would argue that piloting the changing landscape to find success in the media and entertainment industry is often a confusing, exasperating pursuit. To capitalise on the opportunities that changes bring, rather than being disrupted by them, is to play the game and win – and that’s why Mediatech offers so much value. It’s an unbeatable source of education and a destination for the industry to come together and do business.
”
– Simon Robinson
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CINEMATOGRAPHY
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“Telling the story in t Screen Africa sits down with , The Girl From St. Agnes DoP
Marc Rowlston
Marc Rowlston is enjoying a good start to 2019. Not only did his contribution, as cinematographer, to the record-breaking Showmax Original The Girl From St. Agnes see him name-checked by co-director Cindy Lee as “the discovery of the series”, but in early March he was also honoured with a SAFTA Award for his work on the popular SABC drama series Emoyeni. Screen Africa chatted to Marc about his approach to shooting The Girl From St. Agnes, how to work around tight budgets and the fundamental importance of storytelling to the cinematographer’s craft.
GIVE US A SENSE OF YOUR BACKGROUND AS A CINEMATOGRAPHER. I’ve been shooting since 2000. I wouldn’t say I’ve been a DP for that long, but I’ve been shooting a lot in the corporate environment – anything you can get your hands on, you know? I did a lot of magazine shows for TV, kept working and pushing – the hardest thing is to get a reel together. My first job in the industry was actually as an extra in 1986, I was a soldier in a war movie. I was really young at the time, but my brother was in the industry and he kept me connected to it while I was at art school. I played in a band and I tried to be an artist for a while, but I found it too lonely – and then I gripped for about five years, including some big productions like Gavin Hood’s A Reasonable Man. But along the way I got the chance to operate a little bit, like third camera – and I knew that’s where I really wanted to be involved. So I did a few more years of apprenticeship – doing loading and things like that – and then I was ready to start shooting, and some opportunities came up.
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HOW DID YOU GET INVOLVED IN THE PRODUCTION OF THE GIRL FROM ST. AGNES? That was definitely down to Catherine [Cooke, co-director of the show]. I’ve worked with her before, and I’d heard her speaking about the show and it sounded like a very exciting project – and when the time came, she pushed for me. I went for an interview and I got it. Catherine and I have done months of work together in the past, directing and shooting on telenovelas, we did a lot of scenes together and I love the way she works – it’s smart, and it’s fast. INITIALLY, WHAT EXCITED YOU ABOUT THE PROJECT? The idea of doing something for Showmax was exciting – and then when I received the scripts, I read them from start to finish, as quickly as I could. That’s also the nature of the show, obviously, the ‘whodunit’ aspect was very appealing. In fact, the references Catherine gave me excited me the most – it was things like Jean-Marc Vallée, who did Sharp Objects, directors who work a lot with natural light.
That was the sensibility. No flags, nothing major set up – just using some practicals and getting a naturalistic look that can still be well-photographed and pleasing to the eye. That sensibility really excited me, because you can get stuck in the groove of over-lighting things like faces – and shots can start to look very samey. THAT IS DEFINITELY ONE OF THE MOST VISUALLY STRIKING ELEMENTS OF THE SHOW: THE EXTENSIVE USE OF LOW-LIGHT PHOTOGRAPHY, AND YOUR WILLINGNESS TO LET IMAGES STAY QUITE DARK ON SCREEN. Well, that’s the thing – the book says you need a key light, you need a fill, you need some backlight, and that stop has to be X and that stop has to be Y – otherwise most producers won’t pass it, it won’t get on television and they’ll send scenes back to reshoot. I think there is something about the very natural look that adds to the viewer’s experience. The world feels more authentic. It wasn’t about striving for the perfectly lit shot, but rather telling the story in the right way.
AND I’M SURE THE TIME-SAVING ASPECT OF THIS SHOOTING APPROACH WAS ESSENTIAL FOR A LONG-FORM PROJECT LIKE THE GIRL FROM ST. AGNES, WHICH RUNS FOR A TOTAL OF ABOUT EIGHT HOURS? Definitely. We had a good production schedule, as far as these things go, but we were still left to shoot about eight or nine pages a day. So this style that we decided on made a lot more sense in terms of the time we had and what we needed to focus on. It was also really fortunate that the style resonated with the themes and the tone of the show – it was a liberating experience, being able to shoot somewhat ‘on the fly’ but with a lot of confidence in what we were doing. And it led to a lot of exciting creative moments on set – asking ourselves, “How can we do all this in one shot?” – and finding some stylish solutions.
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the right way”
CINEMATOGRAPHY
TECH CHECK EQUIPMENT • Camera: Arri Alexa • Lenses: Sigma • Lights: Arri SkyPanel S60
“The colour space and the dynamic range is amazing. After shooting on all kinds of different cameras, the Alexa was a real pleasure.”
ANOTHER NOTICEABLE ELEMENT IS HOW MANY OF THE IMAGES ON SCREEN SEEM SUFFUSED WITH COOL, BROODING COLOURS – BLUES, TEALS AND TURQUOISES. WERE YOU INVOLVED AT ALL IN THE GRADING OF THE FOOTAGE? I sat in the grade for one day with Craig Simonetti, who was amazing to work with – and the first version we came out with was actually even darker, and much bluer. It got scaled back a bit in the end, but the art department was so consistent with their use of those cool colours in the design of the show, I don’t think anything’s been lost. THE MOVEMENT OF THE CAMERA IS ALSO VERY INTERESTING. RATHER THAN STATIC ‘SET-PIECES’, THERE’S AN ‘OPEN WORLD’ QUALITY TO THE ACTION… This was the first thing I worked on where we hardly ever used marks. It was strange for me, coming from multi-cam shoots where hitting marks was so important – but here, it was on the shoulder, so I would just tell the performers to move around but stay this side or that side of me, and trust that I’d find them. I think the approach helped a lot of the performers
– some of whom don’t have a ‘technical’ background – and we (including Catharine and Cindy) wanted that freedom for them. One of the actresses, Tessa Jubber, watched the show and she said, “It felt you were there with every breath of every character” – and that’s what we wanted, we even wanted the camera to feel like a living, breathing presence in every shot. WHAT WAS THE EXPERIENCE OF WORKING WITH MORE THAN ONE DIRECTOR ON THE PROJECT LIKE? I’m used to it – but it was even easier this time round. Both Catherine and Cindy were 100% committed to the project, and they came to it from slightly different places. You’ve got to get used to people, the way they work, but we slotted right in and learned to trust each other very quickly. I tried to keep the vision of how we saw things – how we’d spoken about things – in tact, and we had one consistent lighting style, so it all came together. It’s beautiful when it unfolds like that; it’s what I live for – creative collaboration.
FINALLY, AFTER ITS SUCCESSFUL OPENING IN SOUTH AFRICA, WHAT ARE YOUR HOPES FOR THE GIRL FROM ST. AGNES? I hope it gets me another job! Seriously though, I hope it earns that international distribution deal, and just contributes to improving circumstances in the industry so it becomes a real option to make great television shows here. We need more of our local stories on international screens. We have a voice and we have the talent – I think we’ve matured as an industry in recent years and as storytellers – and all we need now, really, is the backing.
“Very solid lenses. They don’t have much of a personality – they’re quite sharp, if anything – so we used some haze to soften things.”
“We didn’t have a big lighting package – some old-style Kinoflos and some tungstens – but the Arri SkyPanel S60 made a big different on set.”
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EQUIPMENT RENTAL
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From Absconsion to
evolving challenges in the rental Camera rental houses have been in business from around the 1920s. Scouring through an archived 1924 edition of American Cinematographer magazine, I found numerous ads for ‘equipment for rent’. Even back in those days there were DoPs who owned their own cameras but couldn’t afford lenses, lights or hefty equipment like cranes and dollies, and so – through necessity – the rental industry was born.
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he unique specialty of any good rental house is the ability to stay on top of technology and changing trends. In the mid-1990s, there were really only two video camera choices: the Sony Betacam SP (analogue) and Sony Digital Betacam (digital). Nowadays the industry is awash with formats, codecs, cameras and hundreds of different types of lenses, offering TV producers more choices than ever. The first big shift was when, after years of development, the ATSC (Advanced Television Systems Committee) established 18 different categories of High Definition. Sony and Panasonic took different paths, towards 1080i and 720P respectively, and both manufacturers began developing cameras and technologies to handle their chosen solutions. Meanwhile, TV networks, production companies and
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cinematographers also had to choose, because cameras couldn’t do both, and so created a battle that challenged rental houses by making them have to support more formats. What’s more, when cameras used to cost six figures, rental companies had a monopoly – but with the increased use of ‘prosumer’ cameras being used for at least portions of TV shows, that is no longer the case. Travis Boult, of Camera Hire in Adelaide, Australia, maintains that: “Rental facilities have to offer lots of choices, but choices that make sense in the bigger financial picture.” Even the smaller rental companies generally carry selections like the ARRI Alexa, the Phantom, RED, Sony FS7, FS5 and F55, Canon Cinema EOS C300 and C500, as well as the Canon 5D Mark II, the Sony A7S Mark II and various SD-card based POV cameras. Each rental house has had to decide what video cameras to purchase and support. As the number of formats and, more recently, codecs change rapidly, rental
houses must be cautious about amortising technology that may be obsolete before it’s paid for. Although changing technology and time would seem to strike a blow against the existence of rental houses, Dave Kenig of Panavision in the USA says they are, in fact, doing better than ever. “Today there are probably more camera rental houses than ever due to the proliferation of digital equipment. Many of the older survivors have now transitioned over to digital cameras, while many new smaller houses have appeared.” Meanwhile, Stacey Keppler of Zootee Studios in Cape Town feels technology changes are not felt as severely in South Africa as in the States or European markets, because the South African market seems only to rent what they know. “For example, the Panasonic Varicam seems hugely underrated here, or even the newish EVA1 gives you 10-bit 4:2:2 and dual native ISO onto an SD card, which is really great and certainly better than Sony’s FS5 – but we
haven’t bought one yet, as people would rather rent an older Sony FS7, which is tried and tested amongst their peers, than ‘experiment’ on other camera formats,” says Keppler. “This is peachy for rental companies though, because we don’t have to stock every camera under the sun. So local filmmakers and content creators being sceptical of what they don’t know actually makes stocking our inventory a lot easier.” Jenny Balee van Vlerken of Bangkok Video Services agrees, maintaining that technology shifts are a double-edged sword. “While it’s good to offer your customers a choice, the problem is that you can’t own everything and it doesn’t make financial sense to have every grade of camera in your rental house.” Many, if not all, rental companies no longer have a monopoly on the cameras used in film and television productions, and so lenses and accessories have become the emphasis. For Camera Hire in Adelaide, lenses are a big investment. “Digital cameras have a shelf life of about
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EQUIPMENT RENTAL
Obsolescence:
equipment industry
three years,” says Boult, “but lenses will be around for twenty years plus.” Similarly, Rule Boston Camera, a rental facility based in Massachusetts, USA, has a full line of accessories and has concentrated its inventory on building out this part of the market. “We have an eye towards what people need, be it lighting or dollies, jibs and so on,” says general manager Brian Malcolm. “Lenses in particular are a great investment, as their price has gone up – not down – and there are more choices out there.” According to Malcolm, ten years ago, almost everyone rented a complete camera package. “Now, every other job is to accessorise someone’s C300 or Epic,” he says. “DPs are being hired because of their talent, but also on the basis of their personal camera package. And they come to us for the accessories.” Embracing change is usually the way to keep the doors open and the company flourishing – and, while rental houses have demonstrated nimbleness in adjusting to industry changes, at the same time their
Sony A7SII mirrorless camera – the most rented camera worldwide executives realise that their business has become more precarious and changeable than ever before. Which brings us on to an unfortunate challenge that rental houses of today have to cope with: theft. Theft in the rental industry has, unfortunately, become an unavoidable issue worldwide. American and Canadian rental companies have formed a trade organisation called the Production Equipment Rental Group, which runs a collective database to try track and recover missing equipment being offered for resale throughout the world. Last year’s listings were valued at more than $20 million for small rental houses alone. Most thefts fall into one of three categories. Some are direct break-ins to
rental facilities, others have been cases of theft from production vehicles. Some of the thefts are clearly done by professionals who know exactly what they are after, while others appear to be random crimes of opportunity. Perhaps the largest category has been by fraud, where customers with fake IDs have rented gear and disappeared. Insurance for rental equipment is different in each country, and for Stacey Keppler of Zootee Studios, it’s a tricky subject in South Africa. “There is essentially only one underwriter that will insure smaller camera rental companies and it would be ideal if there was some competition in the market, or even if insurance excesses weren’t so high.”
Keppler continues, “The threat of absconsion holds us back a lot. It is seen as a ‘trade risk’ and not covered by the insurance underwriter. ‘Absconsion’ is essentially when we hand over our equipment willingly to someone who then does not return it. Ever. Yes, one would think this is just plain theft – but to the insurance underwriter, it is not. These scammers have different ways of deceiving us and, as a result, our registration protocol has become more and more elaborate which frustrates honest customers. Every year these scammers get smarter which forces us to do deeper background checks into our new customers. But the fact is, every new customer is a risk – and this shouldn’t be the case”. As a matter of interest, do you know which camera is the most-rented worldwide? The humble Sony A7S Mark II mirrorless camera tops the list, while ARRI’s Alexa takes a close second spot! – Ian Dormer
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RISKY BUS “Education is what you get from reading the small print; In the film and television production business – where equipment is expensive, and all kinds of mishaps and malfunctions may occur – it is a blunt fact that players need to take steps to manage and mitigate risk wherever possible.
R
isk – most effectively understood here as the likelihood of losing something valuable – is a defining feature of the equipment rental industry, an everpresent shadow hanging over the operations of both established businesses and start-ups alike. In fact, as Visual Impact’s Goran Music points out: “I think, unfortunately, the less resources people have starting out, their appetite for risk
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actually gets bigger. This is because playing safe entails going with the best backup and support, full insurance – but not many people can afford this in today’s world.” For this feature, Screen Africa spoke to rental equipment companies and insurance underwriters to identify the key risks of this market sector, and to discover the steps individuals and businesses take – or should take – to limit their exposure to risk.
SINESS
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EQUIPMENT RENTALS
Experience is what you get from not reading it.”
1
GEAR IS DAMAGED
The most common problem, “as equipment has become more technical” – in John Harrison of Southern Lighting’s words – “it has also become more prone to getting damaged on set.” As Denise Hattingh of KEU Underwriters explains, “In the case of damages, the issue is always why the equipment has been damaged. If it is accidental, then it is covered by the policy. So we work closely with the market and it is very quick, usually, to determine why the damage reports have been provided and you can then move forward on the basis of that. “Where it becomes problematic,” she continues, “is when they are damages to the camera, for instance, and the production crew didn’t follow market protocol. For some reason, they did not know that if you are filming in humid conditions at the coast then you need to actively prevent water damage or rust and so forth.“ To point things in perspective, she says: “But with damages, I would say 95% of cases are covered by the damage report and the process is straightforward. Most often, people trip and fall: it’s heavy equipment and they work in rugged terrains. As an insurer, you work with people you’ve known for years, it’s a reputational issue and most of the time it’s quick to finalise.” John Harrison shares his thoughts about the frequency of damages in the rental equipment environment: “Is the crew on shoot actually qualified to use this equipment? Do we ask production companies to send around a list of everyone involved, so I can verify that
they are all qualified? It’s an impossibility: you can’t do that in each and every case. It could be the old ‘rent a car syndrome’ – let’s just put our foot down, and who cares? Or it could be that some people on set entrusted with the gear don’t know what they’re doing.” Hattingh also picks up on the necessity for greater training in the industry to preserve and protect its vital equipment: “The older generation of equipment – the big setups where you had physical film going through – I think demanded more respect, because it was big and heavy and very specific, highly skilled things needed to happen. Now, with the new generation of cameras, anyone can use them – or more accurately, they think they can use them. We’ve seen examples where new technology comes out, and a crew member will switch off the fan to eliminate the noise – and then the system overheats. I would say one of the biggest recommendations is that youngsters entering the industry have a proper grounding in how to use and maintain the equipment on set safely. They must be trained on an ongoing basis.” However, when all is said and done, the only way for reputable rental companies to manage this risk effectively is to ensure they can provide an alternative solution when things break down. In addition to large inventories, many rental companies have on site workshops and Harrison reflects on the
importance of this aspect of Southern Lighting’s operations: “A client engages you in good faith because they need something to do the job. From our side, we need to guarantee them that we can provide back-up so they can do that job. That’s why we’ve been in business for 50 years: not because we’ve got the latest equipment, but because we work person to person and get them on the go.”
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STOCK BECOMES OBSOLETE
A related risk – because one ends up with stock on the floor that can’t (or won’t) be used – is the issue of obsolescence. Interestingly, obsolescence may pose a threat in two distinct ways. Products may become obsolete simply because of the ‘here today, but better tomorrow’ nature
of technological developments in the industry, where perfectly serviceable, three-year-old LED lights, for example, will be disregarded because they don’t have the ‘latest’ range of features or mobile app integrations. This is where sound buying decisions and inventory nous are crucial. However, perhaps even more concerning, is the issue of built-in obsolescence: what to do about gear that has been designed not to be fixed? As Goran Music explains: “Through the years we became official distributors for Sony, at first, and then Arri lights and cameras, and as such we have had to honour the warrantees and carry out services. That skill is quite unique, and the engineers we have are truly the last of their kind. Their experience is irreplaceable. Equipment, these days, is built not to be fixed – which doesn’t stop us from fixing it – but training is no longer conducted on a component level. If something on a board is blown, just throw it out, they say – put in a new board. But the skill of being able to fix things saves the day in our pressurised environment,” he says, and recounts an international shoot in Mpumalanga where a lightning storm blew out 20 of 40 operating cameras, leading to a heroic on-site repair mission conducted by the Visual Impact team. March 2019 | SCREENAFRICA |
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5 4 3
GEAR GOES MISSING
Turning now to the unsavoury aspects of risk in the equipment rental industry, one real vulnerability is that the gear you rent out simply never comes back. Legally termed “absconsion”, Denise Hattingh explains that it is an all-toocommon phenomenon – and something that rental companies must purchase additional cover for. “We processed many claims last year to do with absconsion. It is a standard exclusion on all policies, but the person insured then has the option to bring it back into the policy at an additional premium, and subject to some terms and conditions and checking-points in place.” According to Frank Meyburgh of the Magic Light Company, it is “unfortunate that these checking-points have had to get more and more severe over the years, but scamming is a key vulnerability for our business.” John Harrison shares a story from just last year when Southern Lighting “had a new client come in and they furnished us with IDs, company registration certificates, B-BBEE certificates and an email copy of proof of payment. We did our checks – and not one of those documents was genuine.”
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VIOLENT CRIME
Far more harrowing was to hear every one of the respondents share stories of violent crime in the equipment rental business. It is a truism that crime cuts across every industry and affects all people in society, but in the film production environment – where so much is going on, where attention is split in so many different directions and where a single minivan could be housing millions of rand’s worth of equipment – violent, opportunistic crime, in Frank Meyburgh’s words, is “the single greatest concern” when gear goes out. He says, “We’ve had crews working in Soweto where we’ve had to bring in new gear twice in one week – because they’ve been hit more than once. In KZN three months ago, a production minivan was targeted and all the equipment taken along with it. It’s just thank goodness that none of the shots that were fired hit any of the crew members.” Hattingh, who deals with a “shocking” amount of these cases, describes a responsive, dynamic criminal market, characterised by groups who “will shoot first and then see what is there for the taking.” With Eskom’s woes, “we’ve started to see generators go missing from film sets at a greater-than-average rate.” While there is only so much individuals can do to limit their exposure to acts of criminality, Meyburgh describes how he has adapted to “being personally available for late-night deliveries, rather than having the equipment transported and housed somewhere unsafe and unalarmed overnight. That’s one way we manage this risk on the back end and try be our own loss adjusters on that level.”
YOU DON’T GET PAID
Although it may seem counterintuitive – at least to an outsider – issues of non-payment are not associated with insurance policy agreements in the equipment rental industry. “That is a business trade risk and not insured in terms of an equipment All Risk policy,” as Hattingh says. John Harrison explains, “This is becoming more and more prevalent following the downturn of the SABC. They give out contracts, guaranteeing to pay the filmmaker – and then they don’t. And as the renter, sometimes you don’t know who’s telling the truth. You might have already invested costs into the production, such as labour and fuel, but your debt is not coming back. And if you multiply this by a number of companies, the situation can get quite grim.” He says that to get recourse in these instances, “you go through legal channels and get the company blacklisted. And then the only way to overcome a blacklisting is to pay off your debt.” However, somewhat incredibly, Harrison explains that even this system seems to be skewed in favour of the defaulter and to the rental company’s detriment. “These bad debt payments are interest-free. Even if you’ve defaulted 10 years ago, you pay back that original amount. Which is obviously less in real terms than it would have been if it was received when it was duly owed.”
6
YOU DON’T UNDERSTAND YOUR RESPONSIBILITIES
Although established rental companies have ‘been around the block’ and are familiar with their policies and exclusions, Hattingh says that individuals who rent out their own equipment – such as “DoPs who come on set with their own camera as part of a package deal” – are often guilty of bad assumptions about the insurance process. “The biggest piece of advice is to be clear from the outset who is responsible for the insurance of the equipment. Don’t just assume the production company will be responsible. You need to be clear about this before filming starts.” Frank Meyburgh, meanwhile, speculates on the “generational aspect” of being caught without adequate cover – or, in the worst cases, with no cover at all.
“A lot of young people in the industry – the Instagram generation, I believe they’re called – they buy their own equipment, but see insurance itself as a kind of scam. It hasn’t happened once or twice, it’s happened a dozen times, where someone will come in and buy a new camera on a credit card – and within a week of purchasing it, it’s been dropped or stolen. And we feel so sorry for them, because this equipment has always been bought on a budget – but there’s nothing we, as the retailers, can do about it.” At a minimum, Hattingh says, “You need to make sure your equipment is protected when it’s not in use. If your house is broken into, for example, that is solely your responsibility – and if you already booked a job that’s depending on you to be there with that equipment the next morning, you can land yourself in a lot of trouble. People lose a lot of money by not thinking through the process carefully and protecting themselves for things like loss of income.”
7
THE CLAIMS PROCESS
Although the claims process, by definition, is a beneficial function of the insurance policy – from the point of view of rental companies, it contains its own risks and potential pitfalls. As Goran Music puts it: “It’s a numbers game” – and, again, it was striking how many similar stories and scenarios were described to me by the respondents. Going into detail about excess payments (the standardised cost that rental companies must pay for each insured item claimed), Frank Meyburgh quips: “Let’s say 10 Super Speed lenses get stolen, each with an excess of R10,000 – overnight, you have to come up with an excess payment of R100,000 for the pleasure of having your equipment stolen.” Worse still, what if the loss or damage was due to client negligence, and – already being on a shoe-string budget – they have no money to cover this excess payment? John Harrison describes innovative ways of trying to overcome this “doublerisk” of enormous excess payments, on the one hand, as well as the need to externalise them onto the client, on the other. “At the moment, we’ve got it defined that a shoot is one claim, not every item of equipment on that shoot.
| This is to protect our clients – and frequently we don’t lodge claims, as we can fix most problems relatively inexpensively on our side.” In this way, Harrison says, “Insurance is a bit like Medical Aid: you don’t lodge each and every complaint, but you have it in the background for catastrophic incidents. You could make the client pay all the time, but then they won’t be a client anymore – they’ll be too busy paying insurance costs. In our view, it’s better to absorb some of these costs and keep the client.” This view was uniformly expressed by the respondents, and yet – despite these countless incidents where claims were not made and losses were simply absorbed by the rental company – every one of the interviewees described a “cycle” where, after needing to lodge some big claims in quick succession, they found their insurance policy promptly cancelled by
their providers. This, of course, affects the company’s risk profile – and, as Goran Music puts it, “Now you’re left in a position where you have 30 days to find another insurer, and they’re going to charge you double the previous premium.”
8
EVOLVING BUSINESS MODELS
The final risk for equipment rental companies in our survey is future-orientated, but it is growing out of the current conditions of South Africa’s production landscape. Music says, “The national broadcaster really hasn’t performed to its mandate and has decimated the production environment. Small companies used to be able to get by from commission to commission – making small-scale, interesting and independent work and getting paid for it. But now consolidation
has happened: only big companies with economies of scale can make it work anymore; they can take on five or six commissions at a time and just float the business if payment is late.” In Music’s view, this trend will put increasing pressure on small- to mid-size rental companies in the future, and might also see the emergence of “peer-to-peer rental models; like Airbnb for film equipment.” He does concede that this model might be “problematic in South Africa, because our risk profile is so unique” – and this view is supported by Melissa Warner, an underwriter at KEU, who confirms that business models like this are emerging in the industry, but also that they are “extremely problematic from an insurance point of view, because responsibility becomes so hard to establish.” With so many risks facing rental
EQUIPMENT RENTALS
insurance companies – and with so many of these potential dangers either beyond their control or else, seemingly, administrated under unfavourable terms – Goran Music describes the need for a Rentals Company Association. “At the moment, we don’t have a basic code of conduct, or any legal body to represent us and our interests and to lobby for certain things on our behalf. So far it’s six of us that have come together, but we want to get everyone involved and we’re getting closer to registering that Association – as a union, of sorts. It’s a shifting-sand environment, the equipment rental business, and I think it’s very important that we start to take care ourselves and each other.” – David Cornwell
March 2019 | SCREENAFRICA |
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ON-AIR GRAPHICS & VISUALISATION
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Brainstorming for Better On-Air Graphics Integrated media organisation and recognised leader in global entertainment, World Wrestling Entertainment (WWE), decided during the course of last year that it was time to up their creative game and develop new and innovative visual content to enhance the production values of their flagship product, WrestleMania. They embarked on an ambitious project to improve their on-air graphics presentation, by incorporating high-end Augmented Reality (AR) content and technology to enhance their already action-packed productions in new and exciting ways. The powerhouse of smack-downs and take-downs threw out many questions, searched high and low for the perfect solution and ended up in Spain to find the answer.
W
orld Wrestling Entertainment consists of a portfolio of businesses that create and deliver original content 52 weeks a year to global audiences, reaching more than 800 million homes around the world in 25 languages. WWE’s events, especially WrestleMania, are some of the world’s most visually stunning when it comes to graphics production value, which could – arguably – be called more realistic than the wrestling action itself. For WrestleMania 34 in 2018, WWE wanted to include high-end AR content and technology to enhance both production values and the WWE Superstars’ presence. After research and deliberation, they chose Spanish company Brainstorm to help them in their quest. Jointly headquartered in Madrid and Valencia, Brainstorm is a global company that provides real-time 3D
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graphics solutions for broadcast, feature film production and corporate presentations. Brainstorm’s flagship product, eStudio, is unique in the market due to its sophistication, open architecture and versatility, enabling both design and real-time playout of virtual studios and 3D graphics, as well as the easy creation of customised products and applications. WWE chose InfinitySet, Brainstorm’s virtual set solution, because of its ability to render realistic content with convincing reflections and transparencies in real-time. WWE especially liked the quality of InfinitySet’s rendering with PBR materials and advanced shaders like refractions, which they could add to their existing models. WrestleMania was phase one of an ambitious project aimed to create new ways to impact global audiences by using advanced imagery mixed with live entertainment. The AR
graphics package they developed for WrestleMania included substantial amounts of glass, as well as other semi-transparent and reflective materials. They also needed an engine that could render particles well, which was something InfinitySet was very capable of. In the virtual environment, WWE required a powerful graphics solution to create content that is a convincing representation of real life mixed with virtual elements, where the goal is to create a composite that feels married together and where one cannot discern the real from the computer-generated. The toolset available in InfinitySet has allowed WWE to accomplish this objective better than all the other
solutions they researched in the market. Especially useful were the depth of field/ focus feature, and the ability to adjust the virtual contact shadows and reflections to achieve very realistic results. InfinitySet also allowed the WWE production team to create a wide range of content, from on-camera wraparounds to be inserted into long-format shows, to short, self-contained pieces.
INSIDE THE BOX The complete setup comprises three different studios: a multi-render Virtual Studio, a smaller AR Studio and a portable AR system. The Virtual Studio includes three cameras with an InfinitySet Player renderer per camera (with Unreal Engine plugins), all controlled from the
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InfinitySet Controller via a touchscreen in the control room and Blackmagic Ultimatte 12 chroma keyers. For receiving the live video signal, InfinitySet integrates with three Ross Furio robotics on curved rails, two of them on the same track with collision detection. The setup also includes an OnDemand license to manage the playout of data-driven AR graphics. The AR Studio, meanwhile, is a compact version of the multi-render one, and relies on a single camera on a jib with Mo-Sys StarTracker with InfinitySet + Track license. The AR Studio receives only video from the camera, and all the keying required is done using InfinitySet’s internal chroma keyer. This smaller studio, suitable for more compact events, allows
the creation of AR content with simpler setups and requires less resources to install, drive and derig. Finally, the Portable AR system is a custom-made road case with a redundant InfinitySet with tracking and internal chroma keyer for live AR productions on the road. This sytem will deliver advanced AR content to a wider range of WWE productions and special events held throughout the year. This kit was designed to be sent anywhere in the world and requires minimal installation. Operators just need to take it to the event, open the lid, plug the power in – and they instantly have a turnkey AR system with redundancy to ensure reliable operation on remote sites. InfinitySet is used to create content that
ON-AIR GRAPHICS & VISUALISATION
airs across WWE’s many media platforms, including their award-winning direct-toconsumer WWE Network, as well as their various digital outlets and through their broadcast partners. Brainstorm Multimedia is a relatively young company who started activities in 1993 as a provider of 3D graphics services to broadcasters. These services were based on the software previously developed by the company’s founder, Ricardo Montesa, later commercialised as the eStudio suite, a 3D graphics and virtual studio solution currently regarded as the industry’s fastest 3D real-time rendering engine. Today, Brainstorm’s product portfolio covers a wide range of solutions, from news clients like CNBC and sports affiliates within the European
Football League to financial and elections graphics, weather or film pre-visualisation, not forgetting branding applications like those of the WWE. Brainstorm is currently immersed in an ambitious technological partnership with Avid to provide eStudio’s sophisticated and highly intuitive real-time 3D rendering technology embedded in AMG (Avid Motion Graphics), Avid’s new line of broadcast graphics products. Through this agreement, Brainstorm provides Avid, one of the most influential companies in the broadcast sector worldwide, with the core technology behind eStudio’s 3D real-time rendering engine. – Ian Dormer
MARCH 2019
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SCREENAFRICA
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M A R KET PL AC E
UPCOMING EVENTS MARCH 1 – 10 MIAMI FILM FESTIVAL Miami 8 – 10
CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL Cape Town
8 – 17 SXSW FILM FESTIVAL Texas 15 – 21 LUXOR AFRICAN FILM FESTIVAL Egypt 30 – 1 APR VANCOUVER SOUTH AFRICAN FILM FESTIVAL Canada
APRIL 6 – 11
NAB SHOW Las Vegas
7 – 10 MIPTV Cannes
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