AV Integration November/December 2019 by Sun Circle Publishers

BROADCAST, FILM, TV, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS

WWW.SCREENAFRICA.COM

VOL 31 – NOV/DEC 2019 R38.00

Celebrating Africa’s Inﬂuence on the World

Visit us at: DISCOP 2019 (Johannesburg) Booth #29 & 30 ATF 2019 (Singapore) Booth # M24

DIGITAL STREAMING

PREMIUM CABLE

CONTENT PRODUCTION

demandafrica.com | theafricachannel.com/tacstudios

LOCATED IN THE HEART OF CAPE TOWN

Vision

YOU BRING THE

WE SET THE SCENE LET YOUR IMAGINATION TAKE YOU PLACES AT THE CTICC

Connect to endless possibilities with the code #CTICCFILM. Call us on +27 21 410 5000, email us at sales@cticc.co.za or visit www.cticc.co.za for more info. Ts & Cs apply.

4530 FIlm Awareness Campaign Advert full page_228x320mm.indd 1

Experience Extraordinary Cape Town International Convention Centre

2019/08/01 11:04

| IN THIS ISSUE

16 KNUCKLE CITY PAYS HOMAGE TO BOXING TOWNSHIP MDANTSANE

eSp

DISCOP JOHANNESBURG ENTERS THE ESPORTS ARENA

ort

5G 33

THE VIRTUAL WILD

NEWS | DISCOP Johannesburg to present The Africa Channel masterclasses............ 3 Rea Moeti starts shooting new Showmax Original in Maboneng...... 4 Award-winning documentary Someone to Blame – The Ahmed Timol Inquest now on Showmax.............. 6 SA-animated Zog up for an international Emmy.................... 7 Location, location, location!........................ 7 DISCOP Johannesburg enters the eSports arena......................................... 8

2019 – A YEAR OF CHANGE AND THE NEED FOR SPEED

SATELLITE AND TRANSMISSION |

Jacaranda FM and Kaya FM employ Telemedia’s VSAT offering for live outside broadcasts.............................. 11

ADCETERA | South Africa’s digital consumer craves simplicity....................... 12

TELEVISION | Director Speak: Rea Moeti....................... 24

Wunderman and Shell celebrate the beautiful game.................... 14

BROADCAST TECHNOLOGY | 2019 – a year of change and the need for speed..................................... 28

FILM | 2019 Highlights from the African Film and Television Industry...................... 15

Jasco Broadcast Solutions and Memnon completes Nelson Mandela Foundation digitisation project................10

Knuckle City pays homage to boxing township Mdantsane............... 16

GatesAir amplifies Middle East and Africa team with appointment of Graham Lay..................... 10

ADVERTORIAL

WWW.SCREENAFRICA.COM

FESTIVALS | Inaugural Page to Stage Secondary School Film Festival targets Soweto schools........................................... 22

ADVERTORIAL Comrex IP Connectivity Solutions.........30

VR | The Virtual Wild.......................................... 33 CAMERAS & ACCESSORIES | On Set with DIT Tanika Wessels.............36 POST-PRODUCTION | The Refinery colourist Kyle Stroebel talks working on Universal’s Bulletproof 2....................... 38 REGULARS | Marketplace.................................................. 40 Upcoming Events........................................ 40

Inside The Magic Light Box Company....18

facebook.com/screenafrica

IPTV | Horses for courses – demystifying IPTV and AVoIP technologies...................32

@screenafrica

za.linkedin.com/in/suncircle

screen_africa

FROM THE EDITOR

THE TEAM

I can hardly believe that this is our final issue for 2019. We’ve had a busy year here at Screen Africa attending back to back festivals, trade shows and events, and of course putting together your monthly African film, television and broadcast news fix. The African film and television industry is undoubtedly going from strength to strength, with our favourite film festival and market – and Africa’s premier film event – the Durban International Film Festival & Durban FilmMart once again reporting an increase in numbers this year; the Encounters South African International Documentary Festival was, as always, well-attended and went off without issue this year after facing funding issues last year; and the Jozi Film Festival delivered a successful 8th edition in October. Additionally, 2019 saw the birth of a new local film festival – the Knysna Film Festival – which we covered in our September issue. The broadcast industry continues to boom with global players continually increasing their investment in the African broadcast market. This year we witnessed the 10th edition of the bi-annual advanced media and entertainment technology trade show, Mediatech Africa, and – as always – global media, entertainment and technology leaders and lovers gathered in Amsterdam for IBC this year, where the total attendance figure of 56,390 saw a record number of next-generation (18–35s) attendees. Still to come before we close off the year is the annual DISCOP Johannesburg – the continent’s largest television market – and its sister event, the Joburg Film Festival. The Screen Africa team will have a presence at both these premier industry events – so if you’re attending, please come and meet with us. With that, let’s get into the issue… In our Film section we go behind the scenes of award-winning director Jahmil X.T. Qubeka’s latest picture, Knuckle City. Produced by Yellowbone Entertainment, the film is Qubeka’s second Oscar-nominated film – it was selected as the South African entry for Best International Feature Film at the 92nd Academy Awards – after the success of his 2018 film, Sew The Winter To My Skin. In the article Qubeka takes us through the creative process behind this Oscar-nominated crime-drama. We take a look at the inaugural Page to Stage Secondary School Film Festival in this issue’s Festivals & Markets section. With the objective to unearth young film and television talent – both behind and in front of the camera – and to give young students a voice, the Page to Stage Secondary School Film Festival headed to four schools in and around Soweto. We spoke to Page to Stage founder Lawrence Simelane about why he launched this important initiative. In his final contribution for 2019, Ian Dormer takes us through the top broadcast trends that have dominated the market this year and will continue to do so going forward. Titled ‘2019 – a year of change and the need for speed’, Ian touches on how AI, the move to IP, a thriving eSports market, multi-platform content, industry convergence and, of course, 5G are revolutionising the media and entertainment industry. Other noteworthy contributions to the issue include a thought leadership piece from Exterity CTO Mike Allan on IPTV and AVoIP technologies, and ‘On Set with DIT Tanika Wessels’, where we get a closer look at what it means to be a Digital Imaging Technician. On behalf of Screen Africa, I would like to thank you all – our readers and advertisers – for your continued support. As always, please feel free email us regarding what we can improve on and what you would like to see more of. We are always looking to improve. Till next year. Happy holidays! – Chanelle Ellaya

SCREENAFRICA PUBLISHER & MANAGING EDITOR: Simon Robinson: publisher@screenafrica.com EDITOR: Chanelle Ellaya: editor@screenafrica.com JOURNALISTS: Gezzy S Sibisi: news@screenafrica.com DESIGN: Trevor Ou Tim: design@suncirclegroup.com

WEBSITE ADMINISTRATOR: Michael Lotriet: web@suncirclegroup.com SUBSCRIPTIONS: Tina Tserere: tina@sun-circle.co.za Delight Ngwenya: admin@sun-circle.co.za ACCOUNTS: Helen Loots: accounts@sun-circle.co.za ADVERTISEMENT SALES: Marianne Schafer: marianne@screenafrica.com Graham Grier: graham@sun-circle.co.za

EDITOR Chanelle Ellaya is a writer and a journalist. She completed her BA Journalism degree at the University of Johannesburg in 2011. While writing is her passion, she has a keen interest in the media in various capacities. Chanelle is an avid social networker and a firm believer in the power of social and online networking. Between writing and tweeting, she finds time to feed her love for live music.

SUB-EDITOR & FEATURES WRITER David Cornwell writes fiction, films and features for a variety of publications. His debut novel, Like It Matters (Umuzi, 2016), was long-listed for the 2017 Sunday Times Fiction Award and the 9mobile Prize for Best African Debut.

JOURNALISTS

Lara Utian-Preston is a passionately committed marketer and strategist with a focus in promoting African content and events. Two decades of working across Africa have provided her with insights and experience that she puts to work for the projects she manages. In 2006, Lara founded, and still personally manages, Red Flag Content Relations, a full service below-the-line agency that also focuses on African entertainment and lifestyle brand marketing, strategy, and publicity.

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.

Gezzy S Sibisi is a journalist and photographer with experience in print, broadcast and digital media. Her portfolio of work includes working as a lifestyle reporter as well as contributing business and education articles to The Times, Sowetan and Daily Despatch publications. As a freelancer she has worked on content development for corporate newsletters, community newspapers, blogs and educational websites.

SALES BROKER Emmanuel Archambeaud: earchambeaud@defcommunication.com Tel. +331 4730 7180 Mobile. +336 1103 9652 Sun Circle Publishers (Pty) Ltd Tel: 011 025 3180 Physical address: First Floor, Process House Epsom Downs Office Park 13 Sloane Street, Bryanston, Johannesburg, South Africa

www.screenafrica.com

Postal address: PO Box 559, Fourways North, 2086 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.

facebook.com/screenafrica

@screenafrica

za.linkedin.com/in/suncircle

| NEWS

screen_africa

Registration at DISCOP 2018

DISCOP JOHANNESBURG TO PRESENT THE AFRICA CHANNEL MASTERCLASSES THE PRACTICAL AND OUTCOMES DRIVEN SESSIONS INCLUDE THE FOLLOWING:

Africa’s largest content-focused event, DISCOP Johannesburg, taking place from 20 to 22 November, will put a strong emphasis on African television projects in development, partnerships with South Africa and the booming animation sector.

newly revamped and focused DISCOP Johannesburg programme will see a scope that goes beyond content buying and selling and that will include a strong sidebar programme of panel discussions and masterclasses. This DISCOPRO programme will see more than 50 speakers, including many intrepid disrupters, on stage for panel discussions headlined by a series of masterclasses and a panel discussion led by experts from around the world sponsored by The Africa Channel. These sessions will specifically address how independent producers can export their content and best adapt to the fast-paced world of multicultural television. Four sessions will provide a rapid course of study on what makes a project aimed at multicultural audiences actually sell in today’s challenging environment. DISCOPRO programme director Andrew Boozer discusses this programme further: “Given the growth predictions of content produced in Africa, this year’s programme will address how producers, writers and directors can best adapt in

this fast-paced multiscreen and crossborder world and highlight how Africa can play an influential role in tomorrow’s global content production and distribution industry.” The DISCOPRO speaker line-up includes experts from broadcasters from across Africa such as Ethiopia’s Kana TV, the SABC, Royal Media from Kenya and others. International companies such as Côte Ouest, Warner Media, Turner Africa and Fox Studios will also be represented in the DISCOPRO line-up. Narendra Reddy, EVP and General Manager of The Africa Channel, added, “We are proud to partner with the DISCOPRO conference programme, which presents both an educational opportunity and an information exchange to accelerate growth in the Africa entertainment and media sector. The global technology shifts in content consumption and distribution presents a significant opportunity for producers on the continent to access new markets and the breadth of speakers and the panellists will seek to address any perceived barriers to entry.”

1. Panel discussions around seven key pillars needed to facilitate unfettered growth in Africa’s fast-moving entertainment and media marketplace: • Exporting Content Produced in Africa – Inside and Outside Africa • The Content Monetisation Challenge • Empowering Women in the Entertainment Industry • Stop Fake News • The United World of Animation • Bringing Video Gaming Competitions to the Screen • Why Dubbed Content is Important

2. A Masterclass Programme comprised of real-world case studies emphasising practical solutions to issues: • The Critical Importance of the Development Phase • The Value of Copyright • Music as a Cross-Border Accelerator • Win-Win Distribution Strategies • How to Shoot a Film for Under $10,000 and sell it to Showmax

3. A Tutorial Track focused on co-production opportunities with South Africa In addition to proper targeting, original themes and international distribution, multi-party co-production is increasingly becoming an important factor for success. South Africa – with a rapidly-developing content production and distribution sector, competitive advantages and many

co-production treaties already in place – is becoming an important supplier of talent, stories and production services to the global community. This tutorial track will put under the spotlight projects that can benefit from existing co-production treaties between South Africa and France, the UK, Canada and Australia.

4. A Pitching Programme showcasing original Animation Projects For the third year running, DISCOPRO – in partnership with the African Animation Network (AAN) and the Annecy Animation Festival and Market (MIFA) – will host the grand finale of the Pan-African Animation du Monde 2020 Pitching Competition. This program also includes an additional Pitching Showcase organised under the DISCOMICS banner and in partnership with the AAN. With the world looking to the continent as a growth centre, Africa is expected to play a role in the expansion of the global animation industry and Africa will be the focus territory for 2020 at the MIFA gathering.

5. THE FIRST LOOK SERIES OF INNOVATIVE IDEAS Intertwined in the general agenda, the First Look Series will feature a line-up of inspiring presentations from experts, entrepreneurs, key players and great speakers who have the edge on how independent producers and storytellers can improve their crafts, generate more revenue and expand their reach. – Lara Utian-Preston

NOV/DEC 2019

SCREENAFRICA

| 3

NEWS

WWW.SCREENAFRICA.COM

REA MOETI STARTS SHOOTING NEW SHOWMAX ORIGINAL IN MABONENG Woke In Progress, Showmax’s second Original scripted comedy, is now shooting in Johannesburg.

he fish-out-of-water comedy is set at The Maboneng Marble, where two broke, tryna-be-woke twenty-somethings become unlikely roommates. Having just found out she’s adopted, 22-year-old Martie has come to Joburg searching for her birth parents; 25-year-old Amandla is trying to reconnect with the motherland after decades of following her political elite father between international posts. Think 2 Broke Girls meets Dear White People, or Broad City meets Insecure, or Unbreakable Kimmy Schmidt meets Ayeye. Woke In Progress is created by 30-year-old showrunner Rea Moeti, who has rapidly made a name for herself since graduating with her Masters at The National Film and Television School in the UK – named one of The Top 15 International Film Schools by The Hollywood Reporter last year. Moeti’s Marikana-themed short film, Mma Moeketsi, won Best African Short Film at Cape Town, Jozi, and Zanzibar International Film Festivals, and is currently up for an Africa Movie Academy Award. She was also head writer on the first two seasons of Lockdown, winning the SAFTA for Best Drama Writer. But comedy is Moeti’s first love: she was head writer on SAFTA-winning sitcoms like Ses’Top La and Abo Mzala, as well as a director on the SAFTA-nominated Thandeka’s Diary. In 2017, when Moeti first pitched Woke In Progress to Showmax, Vogue had just proclaimed Maboneng “the coolest neighbourhood in Johannesburg,” while last year Forbes included the cultural hub

4 | SCREENAFRICA | NOV/DEC 2019

Rea Moeti directing a scene for Woke In Progress

in its roundup of “The 12 Coolest Neighbourhoods Around The World.” “Our first two scripted Originals – Tali’s Wedding Diary and The Girl From St Agnes – both broke records as the most-watched shows on Showmax ever, so we know our audience is hungry for quality South African series,” says Candice Fangueiro, head of content at Multichoice’s Connected Video, which houses Showmax and DSTV Now. “We think they’re going to love laughing with Maboneng’s Afropunk crowd just as much as they did with Talibabes in Sea Point in Tali’s Wedding Diary.” Newcomer Laura Lee Mostert plays Martie. She spent 2018 studying in Los Angeles: method acting at Lee Strasberg Institute, whose alumni include Marilyn Monroe and Uma Thurman; and improv at The Groundlings Theatre, whose alumni include Melissa McCarthy and Will Ferrell. Zandile Lujabe, best known as Palesa in Isidingo and Mpho Pop’s love interest

Ziyanda in Ayeye, plays Amandla. Like Mostert, Lujabe also studied acting internationally, at New York Film Academy, whose alumni include Issa Rae. Other key cast include Kiroshan Naidoo, winner of the 2016 Fleur du Cap for Most Promising Student, as Christo, a paranoid misanthrope programmer who shares the flat with Martie and Amandla; Lebogang Tlokana (aka The Funny Chef) as the over-entrepreneurial apartment manager, Lerato; Ebenhaezer Dibakwane, the 2016 Comics Choice Newcomer and 2017 Intermediate Award winner as her brother Puma, the receptionist/artist; and SAFTA nominee Yule Masiteng (aka Jomo Zungu in Scandal!) as the homeless sage who camps outside The Maboneng Marble. They’re joined by a support cast of hoteps, Tinder-fodder, taxi-blessers and tour guides. “Working on Lockdown was evidence for me that MultiChoice is offering shows that are becoming more and more

daring, and that our audience is ready,” says Moeti. “When I first pitched Woke In Progress to Showmax, it was tamer than it is now, because I thought that was what South African platforms wanted. But Showmax has pushed it to go further. So it’s because of Showmax that the girls are as liberated as they are now.” Moeti co-created Woke in Progress with Emma Lungiswa De Wet, one of the writers on the hit animation Munki and Trunk, which has two million YouTube subscribers. “In a way she’s Martie to my Amandla,” jokes Moeti. They later brought on Karabo Lediga, who won 2019 SAFTAs for both drama (Emoyeni) and comedy (Thuli no Thulani) writing, and Moeti’s fellow National Film and Television School MA graduate Sipho Sondiyazi. Woke In Progress premieres on Showmax on 12 December 2019. – Kevin Kriedemann

“Vogue had just proclaimed Maboneng the coolest neighbourhood in Johannesburg, while last year Forbes included the cultural hub in its roundup of The 12 Coolest Neighbourhoods Around The World.”

Record Button Perfectly positioned record start/stop button.

ISO, Shutter and White Balance Instantly change critical exposure settings while shooting.

Function Buttons 3 user customizable function buttons to get to features quickly.

Mounting Points Standard 1/4 inch-20 mounting point on top and bottom of camera.

Tally Lets you know when the camera is recording.

Includes

DAVINCI RESOLVE STUDIO!

Scroll Wheel with Push Quickly scroll through settings and control your electronic iris when shooting.

EF Lens Mount Use a wide range of compatible lenses.

Built-in Microphones 4 built in high fidelity shock proof microphones.

Flexible Connections 3.5mm stereo input, full size HDMI out, USB-C expansion port and XLR audio.

Introducing Pocket Cinema Camera 6K Dramatically increase the production values of your work by using cinematic 6K digital film quality! Dual Native ISO for Exceptional Low Light Performance

The Blackmagic Pocket Cinema Camera 6K has professional features that allow you to create the same “look” as Hollywood feature films. You get a massive 6K high dynamic range digital film sensor, dual ISO for great low light performance, an EF lens mount, built in 5" touchscreen monitor and Blackmagic RAW recording so you can dramatically improve the production value of your work!

The Blackmagic Pocket Cinema Camera 6K features dual native ISO up to 25,600 and is optimized to minimize noise while maintaining full dynamic range. The native ISO of 400 is ideal for well lit scenes while the secondary ISO of 3200 is perfect in low light. That means you’ll always get clean images, great color and accurate skin tones, whether you’re shooting in bright sunlight or almost no light at all!

High Resolution Cinematic Digital Film Sensor!

The quality of RAW and the speed of video!

The Blackmagic Pocket Cinema Camera 6K features a 6144 x 3456 sensor with 13 stops of dynamic range and dual native ISO up to 25,600 along with the same advanced Blackmagic color science used in high end digital film cameras. The large Super 35 sensor combined with high quality EF lenses let you create cinematic images with shallow depth of field and gorgeous bokeh effects!

In addition to ProRes, you can shoot Blackmagic RAW, a revolutionary new format that preserves the quality of the camera’s sensor data. Unlike compressed video formats such as H.264, which add noise and artifacts that damage the image, Blackmagic RAW gives you stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering.

Multifunction Grip with Fingertip Controls! The multifunction handgrip is designed to be familiar and comfortable, putting the most important controls at your fingertips. Recording and still buttons, ISO, WB, shutter controls and customizable function buttons are all exactly where you expect them to be. Plus, the built in touchscreen and Blackmagic OS gives you fast tap and swipe access to all advanced camera features!

Blackmagic Pocket Cinema Camera 4K ...... R25,200* Blackmagic Pocket Cinema Camera 6K ...... R48,500*

Learn more at www.blackmagicdesign.com/sa

*All prices subject to VAT, exchange rate fluctuation and import duties.

NEWS

WWW.SCREENAFRICA.COM

Director Enver Samuel

Howard Varney – Lead Lawyer for the Ahmed Timol Inquest

AWARD-WINNING DOCUMENTARY SOMEONE TO BLAME – THE AHMED TIMOL INQUEST NOW ON SHOWMAX Someone to Blame – The Ahmed Timol Inquest, winner of Best South African Documentary at the Jozi Film Festival in October, is now streaming on Showmax.

his was just in time for the 48th anniversary of Ahmed Timol’s death, which was commemorated at Freedom Park in Pretoria on 22 October 2019. This coming December, former Apartheid policeman Joao Rodrigues will finally go on trial for Timol’s murder. “The jury was unanimous in selecting Someone To Blame as this year’s Best Feature Length Documentary, and I couldn’t have been more pleased that they did,” says Jozi Film Festival director Lisa Henry. “Selecting Someone To Blame for the Jozi Film Festival was a no-brainer. It’s the perfect example of the kind of film we support: an independently-made documentary that, through tireless effort and unwavering dedication by filmmaker Enver Samuel, tells the story of the murder of antiapartheid activist Ahmed Timol, and the decades-long search for justice. Documentaries are meant to inspire, educate and inform – and his film does all that. As we move further and further away from the Bad Old Days of Apartheid, it is critical to remember the history of our country, and for those born after 1994, to

educate them about where we have come from.” This year, Someone to Blame also screened at Input Bangkok, a conference showcasing the world’s best broadcasting in the public interest, and won Best Documentary at the Zanzibar International Film Festival and Best South African Documentary Short at the South African Film and Television Awards (SAFTAs). Roodepoort school teacher Ahmed Timol was 29 years old when he died on 27 October 1971 while in police custody at the notorious John Vorster Square in Johannesburg. The South African security branch said it was suicide, and a 1972 court ruling upheld their version of events, declaring that “no living person” had been responsible for his death, despite overwhelming evidence that Timol had been brutally tortured. Decades later, having grown up with his uncle’s legacy and his family’s grief, Ahmed Timol’s nephew Imtiaz Cajee began lobbying to have the case re-opened, and in 2017 the inquest was brought before High Court Judge Billy Mothle. In his opening remarks on the

case, Mothle said: “There is no doubt in my mind that during these proceedings, we, as South Africans, are about to enter a door that will rekindle painful memories, a door that invites us to embark on a journey which will cause all of us to confront the sordid part of our history. That door will only close once the truth is revealed.” Following on Samuel’s SAFTA-winning 2015 documentary about Timol, Indians Can’t Fly, Someone to Blame documents the landmark 2017 case that saw Timol’s untimely death ruled a murder – not suicide – a decision which could, at last, lead to some form of closure and justice for his family. The documentary follows the court proceedings, focusing on key witness testimony. It speaks to Timol’s nephew and the lawyers who presented the case, as well as surviving political detainees who recount their own horrific experiences at the hands of the security police. It takes us along with the legal team as they revisit the scene of the crime with Dr Salim Essop, who was detained and tortured at John Vorster Square along with Timol. It shows us the compelling forensic evidence presented by expert witnesses and even the testimonies of a brand-new eyewitness who helped the legal team build their case. We also get to see Rodrigues and other former security policemen take the stand, protesting their innocence,

insisting they don’t remember what happened. Rodrigues failed to convince the judge, whose landmark ruling on 30 July 2018 recommended that he be investigated and prosecuted. For many, the case revived memories of the apartheid-era police methods revealed by the Truth and Reconciliation Commission, giving hope to families who lost loved ones under the apartheid regime. Someone to Blame paints a vivid, personal picture of the injustices of our past, and brings us into the courtroom for a ruling that established a crucial precedent for cases of human rights violations under apartheid to be reopened. “The apartheid regime believed it had crushed all opposition to the state, but activists like Timol kept up the struggle,” the Ahmed Timol Trust said in a statement about his commemoration. “Ultimately, his death served as an inspiration to many other activists to continue to fight for the democracy we enjoy in South Africa today.” “For many of our current generation, Someone to Blame is an eye-opener to our past history of atrocities,” says Samuel. “We tend to forget that ordinary people from all walks of life were killed, disappeared or went into exile and that the scars of this trauma are still lingering.” – Kevin Kriedemann

“For many of our current generation, Someone to Blame is an eye-opener to our past history of atrocities. We tend to forget that ordinary people from all walks of life were killed, disappeared or went into exile and that the scars of this trauma are still lingering.

6 | SCREENAFRICA | NOV/DEC 2019

”

– Enver Samuel

facebook.com/screenafrica

@screenafrica

za.linkedin.com/in/suncircle

| NEWS

screen_africa

SA-ANIMATED ZOG UP FOR AN INTERNATIONAL EMMY South Africa is having a good year at the International Emmys: first, The River was nominated as best Telenovela, and now Zog, animated in Cape Town by Triggerfish for the UK’s Magic Light Pictures, is up for Best Kids’ Animation.

o-directed by two-time Oscar nominee Max Lang (The Gruffalo and Room On The Broom) and multi-award-winning South African Daniel Snaddon (Stick Man), Zog is competing against Grizzy and the Lemmings (France), Jorel’s Brother (Brazil), and Lamput (India). The winner will be announced on Tuesday, 31 March 2020 in Cannes, France.

Zog has already won Best Animation at the Shanghai International TV Festival and the Audience Award for ages 3-6 at New York International Children’s Film Festival. “We’re delighted,” says Stuart Forrest, CEO of Triggerfish. “Congratulations to Magic Light, Max, Daniel and everyone who helped bring Zog to life. We hope this latest nomination encourages more South Africans to try out animation...” Zog is the keenest but clumsiest pupil in his class at Dragon School, where he longs to win a gold star as he learns how to fly, roar and breathe fire. He keeps meeting a kindly young girl who patches up his bumps and bruises, but can she help him with his

trickiest school assignment yet: capturing a princess? The short film is based on Julia Donaldson and Axel Scheffler’s much-loved 2010 picture book, which sold over 1.5 million copies and won the Galaxy National Children’s Book of the Year Award in the UK. Hugh Skinner (Fleabag) plays the clumsy dragon; 2019 Olivier award winner Patsy Ferran (Jamestown) is the kindly young girl; Kit Harington (Jon Snow in Game of Thrones) is the bumbling knight Sir Gadabout; Sir Lenny Henry (Broadchurch) is the narrator; and Tracey Ullman is Madame Dragon.

Zog premiered on BBC last Christmas to five-star reviews, 8.8m viewers and the highest share (37%) of any programme across Christmas week on British television. In South Africa, the short premiered at The Cape Town International Animation Festival in March 2019 and on Showmax in August. Zog is the fourth in a string of BBC Christmas adaptations animated by Triggerfish for Magic Light, following the multi-award-winning Donaldson-Scheffler adaptations Stick Man (2015) and The Highway Rat (2017) as well as the Oscarnominated Roald Dahl adaptation Revolting Rhymes (2016), which also won the International Emmy in 2018. Before teaming up with Triggerfish, Magic Light also made three previous Donaldson-Scheffler adaptations: the Oscar-nominated The Gruffalo (2009), Room On The Broom (2012) and Annecy winner The Gruffalo’s Child (2011). All seven family classics are now streaming on Showmax. Snaddon is currently co-directing The Snail and The Whale, his third BBC Christmas special for Triggerfish and Magic Light Pictures, based on another Julia Donaldson and Axel Scheffler classic, which is coming to Showmax in 2020. – Kevin Kriedemann

Location, location, location!

The CTICC is purposebuilt for conventions and meetings. And, as many production houses and film companies have discovered, it is perfectly built for filming too.

he Cape Town International Convention Centre (CTICC) offers possibilities for almost any urban film scene imaginable: multi-storey escalators, ballrooms, auditoria, restaurants, a Skybridge, offices, meeting rooms and roof terraces with the most astonishing views... The CTICC has it all. If you prefer to create your own sets, there’s 21 000 m² of column-free space in divisible exhibition halls just waiting for you. With ceiling heights that range between 10 and 18 metres and a floor

that can take loads of up to 3 tonnes per m², these spaces have in the past portrayed train stations, airport hangars and more. Plus they’re served by enormous marshalling yards that make set-up and break-down a breeze. The CTICC exists to connect people, and this focus extends to the connectivity infrastructure, which includes the best internet and broadcast services available. Fibre-optic cables, running at 10 Gb/s, form the backbone of the CTICC’s data network and are available for applications like voice and video. The centre is flood-wired with CAT5e and CAT6 Ethernet cables ensuring data can be delivered to all event venues. These connections can be used to patch into

the data network, running voice, video or telecommunications in a star and point-to-point configuration. Wi-Fi? The CTICC’s got you covered. There are a number of hotspots throughout the buildings and exhibition halls, providing free internet access on the basic wireless network service – this is ideal for web-surfing and checking web-based email. There’s also the option to hire world-class internet bandwidth with a management and monitoring platform provided via our industryleading wireless system with platinum 1:1 internet connectivity, supplied by our internet service provider. The network management system allows us to allocate a dedicated virtual local area network

(VLAN), not only segmenting traffic but also allowing one to connect different spaces in the CTICC to the same VLAN. Tell the CTICC what you need, and they can purpose-build a dedicated network to suit the level of connectivity and internet services you require. In addition, parking for a broadcast/ satellite vehicle is available outside Auditorium 1, and a satellite station can be arranged for further vehicles. With excellent broadcast facilities and so many location options, all set in the heart of a beautiful city with a dynamic film industry, it’s no wonder the CTICC is considered a prime shoot venue. Connect with them today and discover how you can realise your vision.

NOV/DEC 2019

SCREENAFRICA

| 7

NEWS

WWW.SCREENAFRICA.COM

DISCOP JOHANNESBURG ENTERS THE ESPORTS ARENA

The organisers of DISCOP have announced a new initiative that will bring the world of professional competitive gaming closer to TV screens across Africa. This programme will showcase the eSports experience to broadcasters and brands who understand that television is still the most powerful advertising medium in Africa.

lobal video gaming competitions have grown from a nascent idea to a powerhouse industry, with millions of fans watching individuals and teams compete for tens of millions of dollars in prize money. In conjunction with DISCOMICS, and its partners across the continent – ICON Comics & Games Convention, Nairobi Comic Con, Pro Series Gaming and the African Animation Network – DISCOP will present a brand new, broadcastpartnered initiative to explore the

8 | SCREENAFRICA | NOV/DEC 2019

potential of eSports in Africa, as well as provide two video gamers a chance to take on the world’s best. The world of professional competitive gaming, therefore, is now firmly on the agenda at DISCOP Johannesburg 2019, with a session titled Bringing Video Gaming to Screens to be jointly hosted by Nick Wilson, president of the African Animation Network; Les Allen, president of the ICON Comics and Games Convention; and Thomas Imboya, president of the Nairobi Comic Convention and Pro Series Gaming – the biggest eSports competition organisers in East Africa. China, South Korea, North America and Europe have emerged as the main hubs for the burgeoning competitive eSports scene. The industry is far smaller in Africa, but it is starting to gather pace with start-ups springing up across the continent to produce games with African

themes. The African continent had 23 million video game players in 2014, and that reached 500 million in 2018 – largely due to the rapid penetration of smartphones. In South Africa, eSports stars earned close to $300,000 in 2018, up 6.8% on the previous year. The games market itself has grown from $105 million to $570 million in the same four-year period. In Kenya, the video games market was worth over $50 million in 2016 and is expected to double by 2021. Combine that with hardware sales and gaming is already a billiondollar business in Africa. “The world of sports entertainment is changing, and eSports is the star player,” says Patrick Zuchowicki, president of DISCOP, who adds, “DISCOP is waking up to video gaming competition’s potential. We will help broadcasters and content producers learn more about this new ecosystem to woo audiences. Not

The continent had 23 million video game players in 2014, and that reached 500 million in 2018 – largely due to the rapid penetration of smartphones. In South Africa, eSports stars earned close to $300,000 in 2018, up 6.8% on the previous year.

just gamer addicts, but everyone from nine years old to 45.” The two-hour session will explore how the rise of competitive gaming will disrupt the traditional notions of sports broadcasting. eSports broadcasting will evolve into something entirely different and much more interactive than what television viewers have seen in the past. Questions to be tackled will include the difficulty of broadcasting video gaming competitions, the growth of physical venues for eSports, how technology can make eSports more interactive and comparisons to traditional sports. “Depending on the way they watch eSports, audiences and their friends sitting in the same room are getting something different out of it. It’s a different interaction model around video games than it is around traditional sports, which have a much higher barrier,” says Nick Wilson, president of the African Animation Network. “We are still at the beginning of eSports broadcast and a lot of competitions are not properly set up to be captured on video. But the rise of competitive gaming in Africa reveals pent-up demand from a new generation of African gamers and we can expect more games to come to screens,” Wilson concludes. – Lara Preston

TECHNOLOGY NEWS

WWW.SCREENAFRICA.COM

JASCO BROADCAST SOLUTIONS AND MEMNON COMPLETE NELSON MANDELA FOUNDATION DIGITISATION PROJECT Jasco Broadcast Solutions and Memnon recently sponsored the digitisation of almost 200 tapes for the Nelson Mandela Foundation.

asco is currently involved in a three-year project with the South African Broadcast Corporation (SABC) to digitise 150,000 hours of content. To undertake this mammoth task, Jasco partnered with Memnon – a Sony-owned company based in Brussels – on the SABC digitisation project. A global leading provider of services to digitise, restore, preserve and provide access to recordings of any format, Memnon has been in the industry since 2005 and to date has digitised over 3 million hours of content worldwide.

THE NELSON MANDELA DIGITISATION INITIATIVE One of the Nelson Mandela Foundation’s (NMF) founding principles is to create, protect and preserve a Centre of Memory about Nelson Mandela. The Centre of Memory contains an archive of Mandela’s life and times, works, and writings. “Whilst touring the facility, Razia Saleh – director, Archive & Research, NMF –

Jasco’s Maximus Magwaza hands over the digitised drive to Razia Saleh at the Nelson Mandela Foundation mentioned that an Australian foundation had donated tapes of Nelson Mandela, documenting, amongst other things, Mandela’s visits to Australia and his interactions with the Australian nation,” explains Maximus Magwaza, Account Manager, Jasco Broadcast Solutions. One of the tapes in question documented Mandela’s visit to Melbourne, Australia, on the invitation of a group of boys hoping to promote world reconciliation on 8 September 2000. The tapes hold great value for the NMF and South Africa in general, but they needed to be digitised. Knowing the state of content libraries in Africa, when presented with the opportunity both Jasco and Memnon agreed that the Nelson Mandela Foundation digitisation initiative would be a project worth sponsoring.

GATESAIR AMPLIFIES MIDDLE EAST AND AFRICA TEAM WITH APPOINTMENT OF GRAHAM LAY The Dubai-based sales and account management professional will leverage customer relationships, industry knowledge to drive new business and strengthen brand visibility across the region.

atesAir, a global leader in wireless, over-the-air content delivery solutions for TV and radio, continues to strengthen its global presence with the appointment of Graham Lay as Regional Sales Manager, MEA (Middle East and Africa), effective immediately. Based in Dubai, Lay reports to Andy McClelland, Managing Director,

10 | SCREENAFRICA | NOV/DEC 2019

Graham Lay as Regional Sales Manager, MEA (Middle East and Africa) EMEA, with a focus on building GatesAir’s market share and brand visibility in the Middle East and eastern Africa. Lay comes to GatesAir with more than a decade of sales and account management experience in the broadcast and communications industry. He spent most of this time with electrical cable distribution company IEWC, where he

The Memnon team handing over the digitised drive to the Jasco Broadcast Solutions team: Neo Modisakeng (Managing Director, Jasco), Baku Morikuni (CEO Memnon), Paul Divall (Cluster Managing Director, ICT Cluster Jasco), Michel Merten (Chief Business Development Officer, Memnon) and Maximus Magwaz (Account Manager, Jasco)

UNDERTAKING THE INITIATIVE

WHAT NEXT?

A lot of time was spent verifying the inventory and what could and couldn’t be digitised: “The tapes were finally collected from NMF and sent to Memnon early this year, where they went through the digitisation process. This included processing of a test batch which allowed for the quality and formats to be agreed upon, checked and signed off by the NMF.” A total of 195 tapes were identified as being suitable for digitisation. These were made up of VHS, Betacam, DigiBeta and MiniDV tapes. “The tapes were in pretty good shape, out of the 195 only two failed to digitise,” says Magwaza. The hard drive with the final content was delivered late in September and was formally handed over to the NMF at a special event which took place on 15 October.

Despite having a fully operational plant at the SABC that is geared to accommodate bulk projects, Jasco Broadcast Solutions is looking at the best ways to cater for smaller capacity projects – like the NMF digitisation initiative – in different formats (video, audio, film or image). “The beauty of digitising content is that it opens up opportunities not only to preserve history, but to make it more easily accessible to the world at large and to ensure that it doesn’t remain a long-forgotten memory, but lives on for generations to come,” comments Magwaza.

consistently took on roles of increasing responsibility. Lay was instrumental in the launch and growth of IEWC’s broadcast and communications business in Europe. He relocated to Dubai in 2015, taking on the role of Business Unit Leader (MEA) for Argosy Cable, part of the IEWC group of companies. Lay’s years of in-region experience with IEWC and Argosy well-position him for success with GatesAir. He has established strong business contacts with broadcasters and systems integrators throughout the region, possessing a customer-friendly mix of relationship skills and technical knowledge. Lay is already building a foundation for new business, and is especially bullish on digital transition opportunities. He notes that GatesAir is an established brand in his region, with a ripe-for-growth transmission presence in most countries. “GatesAir has built a reputation for expertly managing high-volume business opportunities and many of the world’s largest digital transition projects,” said Lay. “Their recent establishment of a new business and manufacturing centre in Europe, and aggressive sales and business development expansion, has magnified GatesAir’s presence throughout the EMEA region. I look forward to working with the greater EMEA team to strengthen

our brand in the Middle East and eastern Africa. We see enormous opportunity to help broadcasters refresh FM radio infrastructure, and to drive large, national digital TV and DAB radio transitions that generate new revenue and service opportunities for our customers.” Lay expects to fortify GatesAir’s regional service and support presence through expansion of its channel partner network, in addition to working directly with customers to solve problems, reduce operational costs and create new opportunities. This includes helping broadcasters transition from legacy TDM networks to intelligent IP transport architectures, leveraging GatesAir’s quickly-growing Intraplex product line. “Graham has invested a substantial amount of time and effort in building his customer base, and his knowledge of regional trends and cultures makes him a perfect fit in this new role,” said Rich Redmond, President and Managing Director (International) for GatesAir. “In the bigger picture, Graham’s appointment represents GatesAir’s continued commitment to strengthening our local and regional teams in every international region, and positioning the company for long-term global success. We’re proud to welcome Graham to the GatesAir family.”

– Chanelle Ellaya

facebook.com/screenafrica

@screenafrica

za.linkedin.com/in/suncircle

| TECHNOLOGY NEWS

screen_africa

JACARANDA FM AND KAYA FM EMPLOY TELEMEDIA’S VSAT OFFERING FOR LIVE OUTSIDE BROADCASTS Telemedia launched its VSAT product offering at MediaTech Africa 2019.

ince then, the company has seen an increase in customers requiring a reliable, yet cost-effective internet over satellite link. Telemedia’s VSAT offering is tailored to each customer’s individual requirements, and can be dry-hired, or accompanied by an experienced engineer. One of the first customers to make use of Telemedia’s VSAT system was Jacaranda FM. The radio station needed to broadcast live from the CompCare Afriski Winterfest, held at the Afriski Mountain Resort in Lesotho. While mobile phone network coverage was adequate for voice calls, it was not good enough to sustain an internet connection for long periods of time – even for small bandwidth users, such as live radio outside broadcasts. Jacaranda FM chose to dry-hire the necessary equipment from Telemedia. The Jacaranda technician who collected the equipment from Telemedia received a quick crash-course on how to align the dish

with the satellite, and how to operate the VSAT Terminal (modem). After locating the satellite and peaking for maximum signal, the terminal locks to the Hub carrier, and receives all of its instructions from then on. The portable 1.2m flyaway uplink dish was easily set up, and provided a dedicated, uncontended 1Mb/s upload and 4Mb/s download speed. Telemedia also provides uncapped data packages, suitable for streaming applications that use a lot of data over a prolonged period of time. Maxwell Motloung, Jacaranda FM’s IT and Technical Systems Technician, was impressed with the easy setup and terminal performance. “Telemedia’s pro-active monitoring of the system, with real-time analytical information was very re-assuring. Being out in the middle of nowhere, this satellite internet connection was our only reliable and consistent connection back to base in Midrand,” comments Motloung. Bi-directional communication lines and

The morning show team set up in the Afriski restaurant

The location for day one of Jacaranda FM’s Live Show broadcast from Afriski Mountain Resort playlist control were also carried over the link. The Jacaranda crew was able to check emails, do general internet browsing and, most importantly, connect their live outside broadcast with the main studio. Kaya FM also made use of Telemedia’s VSAT system at the Jazz on the Lake Festival, which took place at Zoo Lake in Johannesburg. Kaya FM were concerned that cellphone networks would be congested, given that more than 20,000 people were due to attend the free concert. That number was exceeded, and cell phone signal was indeed a problem. The satellite

internet connection provided 4Mb/s in both directions for the duration of the event. Telemedia deloyed an SNG vehicle and engineer for the event, to provide a higher capacity VSAT link. Our Uplink vehicle also provided power for the Kaya FM OB van. Nizaam Ajouhaar, Technical Manager at Kaya FM, was extremely happy with the service, knowing that Telemedia’s IP over satellite link would handle all his connectivity needs. Should you wish to make use of Telemedia’s VSAT links, please email info@telemedia.co.za

The crowd gathering on the Zoo Lake lawns for Jazz On the Lake – the OB and SNG vehicles can be seen on the right

NOV/DEC 2019

SCREENAFRICA

| 11

ADCETERA

“We have great technology, beautiful dashboards… The problem is getting humans to interact with it. Many are scared to go on this journey.” Google Cloud demo kit

SOUTH AFRICA’S DIGITAL CONSUMER CRAVES SIMPLICIT Y The digital consumer came under the microscope at a recent Google Cloud workshop aimed at marketers and retailers, held in Cape Town in October. This is a consumer that can’t imagine their lives without the latest technology.

12 | SCREENAFRICA | NOV/DEC 2019

ccording to Google, with cloud computing, the capital investment in building and maintaining data centres is replaced by consuming IT resources as an elastic, utility-like service from a cloud “provider” – including storage, computing, networking, data processing and analytics, application development, machine learning and even fully managed services. Google Cloud is used in more than 150 countries globally, including South Africa. Google Cloud’s strategy in South Africa is to partner via its Value Added Distributor, Digicloud Africa, to take its cloud solution to market. The recent Equiano subsea cable from Portugal to South Africa is an opportunity to grow the cloud market locally, which is still in its infancy globally.

EMPOWERED In the opening keynote at the Google event, entitled The State of Retail: Past, Present and Future and presented by research house IPSOS account director Hendrik van Blerk and account manager Tasnim Kolia, the digital consumer was dissected in detail, and retailers, brands and other service providers were warned that they need to cater to this empowered consumer in order to remain relevant. Van Blerk was first up and said that in this complex world, consumers desire a life of greater ease and simplicity. “They are driven by an innate hunger for success personally and professionally, however they suffer the tension between their ambitions and affordability. People want to be inspired, they are looking for new and increasingly seeking new and positive sources of inspiration from unexpected sources.”

Kolia, in turn, emphasised that these digital consumers feel that they have no life without technology. “With a keen eye, they are constantly looking at their screens, which not only enriches their lives, but the high pace also drives extreme efficiencies. They cannot imagine their lives without technology. Being left behind is not an option anymore, they are driven by a constant need to try new technology. They strive hard in every way to keep up to date with the latest technology.” Many of these consumers spend eight hours a day (or 80% of their time) online – from reading ebooks to social media, online shopping, messenger services and so on. They are true citizens of the world and technology enables them to feel part of the global community. “Their intense connection to the global world makes them feel more of a citizen of the world than their own country.”

| ADCETERA

EXPERIENTIAL As regards eCommerce, the focus of much of the workshop, consumers want personal experiences. It comes down to simplicity again: consumers are faced with a lot of choice online, they feel overwhelmed and so seek out personalisation and experiences tailored to their needs. While South African retail consumers are wary of handing over personal info online, they are also resigned to the expected loss of future privacy and are willing to part with their personal information in exchange for personal experiences. Linah Maigurira, Retail Industry Manager, Marcel Matodes, Google Marketing Platform The word from IPSOS is that Google South Africa Lead, Sub-Saharan Africa the future lies in omni-channel integration, where online shopping and brand experiences are integrated with bricks When it comes to the South African and be more relevant for the brand. and mortar retailing. consumer’s brand choices, Van Blerk There is a desire for relevant advertising This changing retail ecosystem is due pointed out that online credibility and that can really assist in navigating and to the rise of the empowered consumer, convenience are key drivers. aiding brand choice. said Linah Maigurira, Retail Industry “Overwhelmed in a world of unlimited Van Blerk said it was important for manager of Google South Africa. She had choice, more than ever, they are turning brands to build salience to have an two significant points to make: “We need to brands they trust to deliver the best impact on brand choice and brand to prepare for a near future where customer service and experience.” communications, at all touchpoints that everyone uses the internet on their Online advertising, moreover, needs to the consumer encounters on their journey phone”; and “artificial intelligence is connect with pre-store purchase drivers to purchase. going to be more powerful than fire or

electricity in the future.” It will be transformative and data will be a catalyst in every business. The retailers and brands that will survive are those that are connected to this connected consumer, said Maigurira. What was needed to activate this “wealth of information”, added Marcel Matodes, Google Marketing Platform lead, Sub-Saharan Africa – who spoke at the end of the morning session of the Google Cloud workshop – was for organisations to stop operating “data silos.” “We have great technology, beautiful dashboards… The problem is getting humans to interact with it. Many are scared to go on this journey.” To get started, Matodes said it was important to understand the customer journey through trendspotting, selfservice analytics and customer segmentation. It is important to personalise the customer experience in order to implement data-driven segmentation; only then marketers can make accurate purchase predictions. As Maigurira emphasised, it is about transforming organisational mindsets and shifting them. Even in 2019, digital gets too little marketing effort spent on it. “Brands are remapping to understand the trend of where their consumers are,” she concluded. – Louise Marsland

ENABLING FUTURE-PROOF MEDIA PROCESSING

cloud

Telestream Cloud provides a full range of media processing services including; Transcoding Workflow Automation Timed Test Transcription Quality Assurance

Flip

Timed Text Speech

Quality Control

Easily produce high quality content for a variety of applications with fast and cost effective transcoding in the cloud.

Instantly create highly accurate captions and subtitles with Machine Learning based speech-to-text technology.

Start running quality and compliance checks within minutes without software installation or hardware provisioning.

+ 2 7 1 2 6 78 9 2 0 0 Screen Africa_NOVEMBER 19_Telestream.indd 1

www.concilium.co.za

info@concilium.co.za 2019/10/18 10:10:57 AM

NOV/DEC 2019

SCREENAFRICA

| 13

PHOTOS BY KATLEGO TSHUMA

ADCETERA

Stills from the Shell Helix Ultra Cup commercial

WUNDERMAN AND SHELL CELEBRATE THE BEAUTIFUL GAME In South Africa, soccer is more than just a sport; it’s a cultural experience that unifies the nation.

TECH CHECK EQUIPMENT • Camera: Arri Alexa Mini

DOP Rory O’Grady shot the spots on the Arri Alexa Mini, with additional drone footage captured by Byron Walters.

KEY CREW Director: Lebogang Rasethaba DOP: Rory O’Grady Producer: Julia Schnurr

14 | SCREENAFRICA | NOV/DEC 2019

“S

hell Downstream South Africa understands that soccer brings the nation together,” says Nolly Ntlakana, who heads up Shell PR in South Africa. “Soccer has the ability to solidify the nation and has demonstrated its nation-building ability by uniting us as a nation through the celebration of this beautiful game. It is for this reason that Shell South Africa has chosen to sponsor a soccer event – the Shell Helix Ultra Cup. Soccer is also the most popular sport in the country and is part of the fabric of South Africa. Shell understands that soccer is a unifier and unites South Africans from all backgrounds and we believe the Shell Helix Ultra Cup can play the same role.” The Shell Helix Ultra Cup was established in July 2018 by Stadium Management South Africa (SMSA).The football tournament brings two of South Africa’s biggest teams – Mamelodi Sundowns and Kaizer Chiefs – together to compete for the cup and bragging rights. “Mamelodi Sundowns and Kaizer Chiefs are the giants of soccer in South Africa and we wanted to bring only the best teams against each other for the Shell Helix Ultra Cup. Two of the best teams battling it out on the field to ensure we bring an ‘ultra’ experience to the soccer fans who love these teams,” shares Ntlakana. This year saw the second instalment of the much-publicised event, which takes place at the iconic FNB Stadium. However, as many soccer fanatics will tell you, the game does not start on the soccer pitch but in the streets, with the vibrant football community gathering to

support their team of choice. For the 2019 Shell Helix Ultra Cup commercials, global digital agency Wunderman wanted to capture just this: “Our vision was to bring to life the idea of the rivalry of two football teams and two cities through ultra-performance,” comments Sine Mthembu, account director at Wunderman. “Many of the football ads in South Africa have become bland and expected. When the opportunity came with the Shell Helix Ultra Cup, it was an opportunity to showcase what it means to be a football lover and a fanatic in South Africa. This was an opportunity to go beyond the makarapa and the vuvuzelas you would typically see in most football ads,” adds Mthembu. The agency pitched the idea to Shell earlier this year and they were immediately impressed by the concept. Tasked by Wunderman to share his interpretation of ‘The Rivalry of Two Cities’, Egg Films’ Lebogang Rasethaba impressed the agency with his unique representation of the concept. Speaking about the concept for his film, Rasethaba says: “The Wunderman creative team, led by Theo Ferreira and Thembalethu Msibi, challenged me to make two equally compelling ads that show the real culture behind each team. To accomplish this, I set out to create two ads that really stand out and catch your attention, but without resorting to the expected visuals.” In the ads, ordinary South African citizens, young and old, can be see showcasing their team’s cultural identity by using hand gestures commonly associated with their respective teams as

well as language references. These fans also show their support through dance, song and by donning their colourful team regalia. The ads were shot over four days at each team’s home turf, which was in Soweto for Kaizer Chiefs and Mamelodi for Sundowns. DOP Rory O’Grady shot the spots on the Arri Alexa Mini, with additional drone footage captured by Byron Walters. Each ad explores the different ways that spirited fans show their unwavering support for their respective teams and for the love of the game. “Telling the story of a fanatic through their eyes, what they go through, what it means to be a fanatic of your hometown football club was definitely the most significant highlight and something special,” comments Mthembu. “Using nuances, traditions and language that is specific to Mamelodi or Soweto. The language and performances that are uniquely Soweto or Mamelodi, that was quite magical.” The videos became an instant hit on YouTube, garnering 97,449 views for the Kaizer Chiefs ad and 150,105 views for Mamelodi Sundowns. On 12 October 2019, a game between the two soccer heavyweights took place in a packed stadium at Nasrec, Johannesburg. Ultimately, there can only be one winner – and Kaizer Chiefs were crowned the 2019 Shell Helix Ultra Cup winners after beating Mamelodi Sundowns 4-2 on the day. – Gezzy S Sibisi

| FILM

PHOTO CREDIT STEPHANE MAHE FOR REUTERS

2019 Highlights from the African Film and Television Industry Rafiki

The last time a film from an African country was nominated for an Oscar was Abderrahmane Sissako’s Timbuktu, which was Mauritania’s submission for the 87th Academy Awards in 2014. Meanwhile, the last time an African film won was in 2006, with Gavin Hood’s Tsotsi from South Africa. While many believe that Mati Diop’s Atlantics has a strong chance this year, there is stiff competition with a total of 92 countries submitting films.

Mati Diop receives the Grand Prix award at Cannes 2019

As we wrap up 2019, it’s always worthwhile to reflect back on the year and celebrate some of the highlights and successes from within the African film and TV sectors. We often forget to acknowledge the successes of our colleagues and 2019 was a bumper year, with many talented people worthy of recognition.

n no particular order, here are only some of the notable highlights and successes that have taken place over the past year.

JOEL KAREKEZI: MERCY OF THE JUNGLE Rwandan filmmaker Joel Karekezi has had an amazing year with his film, Mercy of the Jungle, which has won a number of top awards. Most recently the film picked up four awards from its eight nominations at the African Movie Awards, for Best Film, Best Lead Actor, Best Costume Design and Best Make Up. Earlier in the year, the film took home the top prize at FESPACO, followed by wins at The Rwanda Film Festival (Best Feature), the Audience Award at Afrika Film Festival Köln in Cologne, The Grand Prize Ecran d’Or in Cameroon and the The Youth Jury Prize at the F5C 5 Continents 2019 Film Festival.

This powerful film about the Rwandan genocide also screened at the Seattle International Film Festival and the New York African Film Festival, and has also been picked up Canal+. This massive haul of awards is the recognition of many years of hard work from this amazing filmmaker.

WANURI KAHIU: RAFIKI The courage it took director Wanuri Kahiu not only to make this film, but also challenge the powers that be to enable its screening in Kenya, should not be overlooked. The intolerance around homosexuality and LGBTQ issues in East Africa is only growing, with Uganda once again looking to install the death penalty for homosexuals. Apart from being a beautiful film, Rafiki was a brave statement from an African woman who is not afraid to embrace difficult topics and yet still do so in a sensitive and moving manner. The film has been recognised across Africa and around the world with screenings at over 120 festivals in more than 20 countries. The film has won numerous awards and secured positive reviews in The New York Times, The Washington Post, The Guardian and a host of other international publications. Perhaps most importantly, though, the film gave a voice to many in Kenya and East Africa who have felt marginalised and victimised. It has brought into the mainstream conversation that which was considered taboo. While much of this drama played out late in 2018, the film’s impact has still been immense in 2019, as it was the first Kenyan film to screen at Cannes.

MATI DIOP: ATLANTICS It may seem hard to believe, but 2019 was the first time a black woman director has ever featured in the Cannes Film Festival’s main competition. French-Senagalise director Mati Diop went on to win the Grand Prix for Atlantics, which is also

Mercy of the Jungle

Senegal’s official entry for the Academy Awards. The breaking down of the barriers of “firsts” for Africans, and especially for African women, is important, especially since it reminds us all of just how un-inclusive many of these so-called “international” film events actually are. The film was Diop’s first stint as a feature director and has also been screened at The Toronto International Film Festival, The BFI in London and at the New York Film Festival. Netflix has also scooped up the international rights to the film.

2019 AFRICAN OSCAR SUBMISSIONS This year sees the highest number of African entries to the Academy Awards than ever before, with 10 films up for awards (the previous record was eight). For the first time Nigeria and Ghana have submitted films and are part of the following list of submissions: • Algeria: Papicha, Mounia Meddour, director • Egypt: Poisonous Roses, Ahmed Fawzi Saleh, director • Ethiopia: Running Against the Wind, Jan Philipp Weyl, director • Ghana: Azali, Kwabena Gyansah, director • Kenya: Subira, Ravneet Singh Chadha, director • Morocco: Adam, Maryam Touzani, director • Nigeria: Lionheart, Genevieve Nnaji, director • Senegal: Atlantics, Mati Diop, director • South Africa: Knuckle City, Jahmil X.T. Qubeka, director • Tunisia: Dear Son, Mohamed Ben Attia, director

UZALO REACHES OVER 10 MILLION VIEWERS While South Africa’s South African Broadcasting Company (SABC) stumbles from one crisis to another, there has been a spark of hope with the massive success of the soapie Uzalo. Having breached the 10 million viewers mark and consistently remaining there, the show broke through the 10.2 million viewers mark in October. The previous South African viewing record was on 11 June 2010 for the opening match of the FIFA World Cup between South Africa and Mexico – and that was aired across both SABC 1 and SuperSport. The show is produced by Stained Glass Productions, and even though the SABC has struggled to pay the team, and production was briefly shut down, it has managed to become a phenomenal success within the South African TV space.

AFRICAN FESTIVALS SIGN 50/50 BY 2020 The 5050×2020 gender equality charter was launched at the Cannes Film Festival in 2018 and has been signed by many major film festivals across the globe. Most recently, The Cairo International Film Festival (CIFF) has become the first Arab film festival, and the second African festival, to sign the pledge. The first African festival to sign was the Durban International Film Festival in July this year. Some other 60 international film festivals have already signed the charter. These include: Berlin, Locarno, Venice, Toronto, San Sebastian, London, Sarajevo, Los Angeles, Rome and New York, as well as the Annecy animation and Clermont-Ferrand shorts festivals. – Lara Preston

NOV/DEC 2019

SCREENAFRICA

| 15

FILM

Knuckle City pays homage to boxing township Mdantsane It is regarded as the boxing mecca of South Africa: Mdantsane township has produced over 17 boxing world champions since 1994.

ward-winning filmmaker Jahmil Qubeka grew up in Mdantsane, and – like many young people living in the vast and poor Eastern Cape township – boxing remains a treasured sport. “I have always loved boxing. Growing up in Mdantsane you cannot avoid it as it permeates most aspects of that society’s day-to-day grind. I grew up amongst pugilists and a lot of them were hardly average prize-fighters. These guys were some of the best in the world and yet here they were roaming the streets of my hood,” comments Qubeka. Produced by Yellowbone Entertainment for Mzansi Magic as part of the channel’s premium film package, Knuckle City is Qubeka’s second Oscar-nominated film – it was selected as the South African entry for Best International Feature Film at the 92nd 16 | SCREENAFRICA | NOV/DEC 2019

Academy Awards – after the success of his 2018 film, Sew The Winter To My Skin. The crime-drama delves into the mindset of a fighter and provides an authentic glimpse into street life in one of the oldest and largest townships in the country. Written and directed by Qubeka alongside producer and editor Layla Swart, the film explores themes of toxic masculinity, wasted dreams and fractured family ties. “Knuckle City as a concept has been gestating in my head and heart for years,” explains Qubeka. “It was not until Layla and I became partners that the project blossomed and found a home at Mzansi Magic, who were determined to enter the premium feature film market with some prestige projects. In the Mzansi Magic team we found partners who shared our desire to grow indigenous cinema-going audiences.”

As part of the research phase of the film, Qubeka immersed himself into the lives of some of the country’s greatest boxers and their families. He and his team worked with several boxers from the region alongside the acting talent. “It was not difficult for me to delve into the required research because I already have such a passion for the sport,” explains Qubeka. “We reached out to a lot of professionals for assistance and many of them came to the party. From the likes of trainer extraordinaire, Vido Madikane, to current world champion Xolani Tete’s stable, where I had the honour of working with the likes of former SA champion Loyiso Mtya and former two-time world champion ‘Showtime’ Yekeni,” he adds. In the film, lead character Dudu Nyakama, played by Bongile Mantsai (Inxeba: The Wound), is a down-and-out ageing boxer who is adamant that his days of throwing punches are still far from over. There are three ways out of Knuckle City – through the ring, in the back of a cop car, or in a pine box. Nyakama’s days are numbered in the boxing ring, and –

as a last resort – he enlists the help of his criminal brother, Duke Nyakama. Together, they fight against all odds to make it through the ring but are haunted by the ghost of their father. Dudu soon realises that his unresolved inner conflict and fractured family life is far more challenging than any opponent he can possibly face in the boxing ring. Speaking about the Dudu character, Qubeka says: “It is an honest portrayal of a man on a downward spiral perpetuated by toxic habits he picked up from his own father. His struggle is one that most adult males are faced with today. The ironic part of it all is that despite the extreme level of discipline that the main protagonist applies to his daily training regime, he ultimately fails to put it to use in his home life.” To prepare for the role, Mantasi was trained by the great Xolani Tete at his boxing academy. Qubeka expands: “I knew of no better place than to throw him into the lion’s den that is Mdantsane, and thanks to Xolani Tete’s Last Born Boxing stable, he trained with champions.” Knuckle City is shot in Mdantsane township and in the Buffalo City metro. The film marks the first production to partner with the Eastern Cape Development Corporation. To further incorporate the community of Mdantsane and East London into the production, locals were given the opportunity to rent out their properties to

“It is an honest portrayal of a man on a downward spiral perpetuated by toxic habits he picked up from his own father. His struggle is one that most adult males are faced with today.”

FILM

– Jahmil X.T. Qubeka

TECH CHECK

the crew for the duration of the shoot. Furthermore, budding actors and aspiring filmmakers assisted the crew behind-the-scenes as well as on-screen as extras. “Making the film was definitely a homecoming for me,” affirms Qubeka. “Having grown up in the same streets that I was now shooting a major motion picture in was exhilarating. The support and love we got from the people of Mdantsane and Buffalo City was amazing and deeply humbling. It was evident right from the get-go that the community was making this film with us.”

Knuckle City was shot in 21 days, with DoP Willie Nel capturing the visuals on an Arri Alexa Mini with Zeiss Master anamorphics, “with an incredibly wide 1:66 aspect ratio,” says Qubeka. For the fight sequences, Qubeka wanted to give viewers an immersive experience so they would feel as though they were inside the ring with the fighters. For this, he says he drew inspiration from PlayStation fighting games. “I wanted to give viewers a visceral experience of what it’s like to be punched repeatedly. So choreographing the fights I referenced an old PlayStation game called Fight Night.

In it, there is a point of view mode that gives you a really dynamic perspective of being the actual fighter in the ring. I applied the same technique to the cinematography and the results have been splendid.” In post-production, Layla Swart edited the film while Bladeworks handled online. The sound was done by Guy Steer and final grading completed by Craig Simonetti. Knuckle City had its local premiere at the Durban International Film Festival (DIFF) in July as the opening night film and its international premiere at the Toronto International Film Festival (TIFF) in September this year. The film is distributed in South Africa by Indigenous Film Distribution (IFD) and internationally by AAA Entertainment. Knuckle City opens in cinemas nationwide on 27 December 2019. Qubeka says that he can’t wait for South Africans to view the film and for the people of Mdantsane to get an opportunity to see what they were so intrinsically a part of. “I’m hoping audiences will see how we have all had a role to play in the propping up of what I term the ‘pseudo identity of the macho man’ that is shaped around toxic habits and ways of being,” he concludes. – Gezzy S Sibisi

“The film was shot on an Arri Alexa Mini utilising Zeiss Master Anamorphics with an incredibly wide 1:66 aspect ratio.” – Jahmil X.T. Qubeka

KEY CREW Writer/director: Jahmil XT Qubeka Producer/editor: Layla Swart DOP: Willie Nel Sound: Guy Steer

Jahmil XT Qubeka and Layla Swart

NOV/DEC 2019

SCREENAFRICA

| 17

ADVERTORIAL

Inside the Magic Lightbox Company Frank Meyburgh has been involved in the South African film and television industry since 1989, when he established Magus Vision. After returning to the country in 2014 after a brief stint in the UK, he formed the Magic Lightbox Company: a sales, archiving and rentals business which holds true to the original ethos of Magus Vision, namely: “today’s runner is tomorrow’s producer – and everyone has an integral and equal part to play in the ongoing success of our industry.” Screen Africa caught up with Frank on the eve of the Magic Lightbox Company’s fifth birthday on the 1st of November, to chat to him about his return to the South Africa, the changes he’s noticed in the industry over the past few years and the most exciting recent developments for the business.

eflecting on his return to the country in August 2014, Meyburgh says: “For me, the welcome we received upon news of our return was very humbling. Eighteen months is a long time in this industry – but it passes very quickly and unless one stays in the game – at all levels – stays current and keeps evolving, it is easy to get lost or forgotten. Fortunately, I was commuting between the UK and South Africa and gauged the turning tides in equipment criteria and user demand. This is something that most of us in the industry do as a matter of course, I know, but it became a huge advantage when starting up again – as we could literally open our

18 | SCREENAFRICA | NOV/DEC 2019

doors with the latest equipment from Sony, Canon, and Panasonic.” Speaking about specific technological changes in the industry that surprised him upon his return, Meyburgh comments that: “I was not expecting to find that tape format had become virtually obsolete and transfer bays went from high demand to little or no use. But most surprising was that the golden era of the Canon 5D MKIII was about to change drastically, with the introduction of the Sony A7S and the FS7. “For us, the move into lighting was also a new challenge, as we had previously not given lighting the attention it so clearly deserved. Now was our chance – and, again, it was afforded at a crucial time in the industry. We heavily invested in ARRI Sky Panels and Apurture Lighting Panels,

which has paid tremendous dividends.” When asked about noticeable differences in the production environment over the last decade or so, Meyburgh shares a refrain that is familiar to South African producers and content creators: “The downside is the drop in production value due to budget constraints, and the related fallout due to lack of funding. Many of our clients have had to close their doors – and it is inordinately sad. We have such huge potential in this country: our industry is full of incredible talent and has an inspiring history, which – tragically – is a little-known story. We need to pull together as one industry – not various entities trying to grab a slice of an ever-diminishing pie.” Meyburgh reminds us that South Africa has the second-oldest film industry in the world, a fact he feels we should cherish, and concludes by telling us about the

most exciting of the Magic Light Company’s recent projects: “The biggest and most enthusiastic development for us is the evolvement of our Celluloid and Cinematic Emporium, which began its life in pigeon holes along the reception wall of my previous company, Digitalfilm. “To see the reaction from people, both from within the industry and not, when they enter the newly-renovated space is simply great. We now run the Magic Lightbox Company from a museum of sorts, surrounded by our incredible history and collection of old cinema, film and television cameras, dating back as far as the 1880s. We remain one of the few facilities companies that can offer 16mm and 35mm film cameras and 8mm, Super8, 9.5mm, 16mm and 35mm telecine of negative and positive film to a digital format and drive.” – David Cornwell

ADVERTORIAL

“To see the reaction from people, both from within the industry and not, when they enter the newly-renovated space is simply great. We now run the Magic Lightbox Company from a museum of sorts, surrounded by our incredible history and collection of old cinema, film and television cameras, dating back as far as the 1880s.

”

– Frank Meyburgh

NOV/DEC 2019

SCREENAFRICA

| 19

PHOTOS BY TEBOHO CHAUKE

FESTIVALS

As part of the inaugural Page to Stage Secondary School Film Festival, young learners from four schools in and around Soweto recently took part in an exciting film challenge to see their stories evolve from script to screen.

22 | SCREENAFRICA | NOV/DEC 2019

INAUGURAL PAGE TO STAGE SECONDARY SCHOOL FILM FESTIVAL TARGETS SOWETO SCHOOLS

ounder of Page to Stage, Lawrence Simelane, is a theatrical drama graduate from the Market Lab. It was while completing his studies in 2014 that he first came to work with young people: “As part of my work learning experience I facilitated drama classes for learners during the Inner City Festival. It was while working there that I discovered that I had a passion for working with youngsters and that I wanted to bring such initiatives to my community,” says Simelane. Since then, Simelane has been facilitating theatre and drama classes in various schools around Soweto. This year he partnered with community development organisation The Perfect Storm and local production company Rough Gravel Films to launch his first initiative – the Page to Stage Secondary School Film Festival. The Page to Stage Secondary School Film Festival is aimed at celebrating the film and TV industry, to unearth on-screen talent and to provide an honest reflection of today’s society by

showcasing issues that secondary students are confronted with through short films and social dialogue. The initiative commenced on the first week of August, with Simelane and his team visiting the four participating schools – Vuwani Secondary School, Mapetla High School, Almont Secondary School and Reasoma Secondary School. Students who were interested in pursuing a career in film and/or television were requested to remain after school and participate in a seven-day film orientation programme.

With the assistance of facilitators and a crew, the students wrote scripts, acted and assisted in making their very own films. “The first three days were focused on story concepts and scriptwriting, and then we moved on to acting and rehearsing for three days; the last day was dedicated to shooting the short films,” Simelane comments. During the shoots, students also handled their own production design, including costumes, props and setting up at different locations. “In the future we would like to offer technical aspects of

| filmmaking, including camera helping them hone work, sound and posttheir acting skills. production duties. However, this Boitumelo Musi year we chose to focus more on from Mapetla High content and performance,” adds School was inspired by Simelane. the experience, saying: On 12 and 13 October 2019, “I am looking forward learners gathered at the Protea to making my own film South Hall to showcase their and poetry in the short films as part of the final leg future. My highlights of the Stage to Page Secondary from the festival Film Festival. The community were seeing our work The first Page to Stage Secondary School Film Festival took place in Protea hall was buzzing with excitement on screen and South, Soweto as the learners got to showcase everyone being there their work to an audience for the to support us.” first time. well. So I am looking at the show of A shy Boitumelo Semoko from Altmont Searatoa Van Drie, a part-time theatre interest and audience engagement Secondary School thanked the festival for coordinator for the Jozi Book Fair, was the throughout the films.” giving her a chance to work with others head judge during the Festival. She Vuwani Secondary School presented a even though she found the experience comments: “It is so inspiring to see such film titled Mitodzi Ya Mavhundu (Soul challenging. “For me, the film journey was amazing talent from high school students. City) which delves into issues facing the so challenging, but we had to work Looking at the projects on screen, the LGBTQ community, as well as sexual together as one the whole day. We had to future of film is looking very exciting.” abuse in schools. Mapetla High School’s communicate and listen to each other. Van Drie also took some time to share film, Hand Made, highlighted the issue of I’ve learnt that to have the good things what she was looking for when judging, gangsterism in communities. you’ll have to work hard and practice,” saying, “I am looking for narrative flow; Unforgettable Days by Reasoma she says. the storyline needs to flow seamlessly Secondary School focuses on the topic of The last day of the festival concluded and show a good flow of ideas. I am also bullying in schools and teenage suicide. with an awards ceremony. Prizes – judging on the performance of the The short film Makgalapina Source Street including books and an excursion – characters and the production design, by Altmont Secondary School deals with were sponsored by FunDza Literacy Trust including great detail and attention to the issue of drug use. and the Jozi Book Fair. The Best Short props, sets and locations… Apart from Students including Kamogelo Dlamini Film Award went to Altmont Secondary that, I am looking at how many audiences from Altmont Secondary School and School for their short film, Makgalapina attend different shows because we have Phathutshedzo Manyaga from Vuwani Source Street. asked the learners to market the event as Secondary School thanked the festival for Other awards included the Best Actor

FESTIVALS

Antagonist Award, Best Actress Award, Best Supporting Actor in a Lead Role, Best Cameo Award, Best Actor Award, Best Supporting Actress, Best Supporting Actor and Best Supporting Actress in a Lead Role. Gloria Malematja, a teacher at Almont Secondary School, had this to say about the initiative: “I have seen talent in most of our learners and saw this as an opportunity to showcase their talent… Initiatives like this encourage our learners and can lead to a career for some.” Malematja also thanked the festival for highlighting issues affecting students today, adding that the school has embarked on several projects to address some of the challenges faced by learners: “The school has an initiative aimed at supporting child-headed families by offering them food parcels from the school feeding schemes and also assisting through individuals offering a helping hand. “We also have initiated a campaign against drug abuse, every now and then we call police officers to come and address the learners about the dangers of drug abuse. We invite people from different organisations to give support,” she added in conclusion. – Gezzy S Sibisi

NOV/DEC 2019

SCREENAFRICA

| 23

DIRECTOR SPEAK

REA MOETI

TELEVISION

I love comedy because it’s part of my childhood; that’s what I grew up watching. I watched a lot of television, especially animation, and it was always fun for me to be able to laugh and be entertained by all the ridiculous things animation is able to do, in slapstick ways but also in these magical realism ways. I also liked watching comedy, especially characters like Steve Urkel and The Fresh Prince of Bel-Air, and South African comedies like Sgudi ‘Snaysi and Suburban Bliss. There have been so many comedies that have shaped the South African landscape of entertainment and television and inspired me as a creative. I also like satire a lot; I like being able to make social commentary in funny ways.

Screen Africa spoke to multi-award-winning director Rea Moeti, director and creator of Showmax’s latest Original, Woke in Progress…

SHOWMAX AND NETFLIX ARE INVESTING A LOT MORE IN LOCAL CONTENT, WHY DO YOU THINK THAT IS? A lot more South Africans have access to television than there are film and cinema goers, so it makes sense to invest in local content for the small screen because that is where a lot of South African consumers are. And it’s obvious that South Africa consumes local when it comes to television, so it would be a mistake for Showmax and Netflix not to recognise that.

TELL US A BIT ABOUT YOUR BACKGROUND AND HOW IT HAS SHAPED YOU AS A DIRECTOR? I grew up as an only child, living with my grandparents. A lot of the time it was just the three of us, so I had to entertain myself. I think that pushed me to be a very imaginative child and explore myself creatively through art and craft, painting and drawing. I would call that the start of my storytelling journey. AS THE CREATOR AND DIRECTOR OF SHOWMAX’S LATEST ORIGINAL, WOKE IN PROGRESS, CAN YOU TELL US WHAT INSPIRED YOU TO CREATE THIS SERIES? I wanted to tell a story about two friends who are exploring the city together, inspired by my own experiences exploring Cape Town with a friend. I just thought of it in a different context: Maboneng in Johannesburg. THE SERIES IS SET IN THE UBER-TRENDY MABONENG. WHAT INFORMED THIS CHOICE AND WHAT HAS IT BEEN LIKE SHOOTING IN THE AREA? It’s this really colourful place where young people are together, being free and exploring themselves creatively. It’s chaotic filming in public, in the street, and trying to control the environment. There have been a lot of spontaneous, unexpected moments with members of the public – but Maboneng has been very friendly and

accommodating to us. We’ve had a very good time shooting there; it’s been fun. WHAT IS IT LIKE WORKING WITH SHOWMAX? Showmax have been a pleasure to work with. They have really pushed me and Emma [de Wet] as writers to be as creative as possible, to think outside the box, to think new and to think big. Working with Candice [Fangueiro], Shaamila [Fataar] and the team has been great. We’ve had such great chemistry as an all-female team. It’s also been inspiring to work with their massive marketing team, which is also female-led. It’s been such a new, positive experience that’s been so encouraging and has got the best out of us. YOUR PREVIOUS WORKS INCLUDE THE AWARDWINNING SHORT FILM MMA MOEKETSI AND TV DRAMA SERIES LOCKDOWN TO NAME A FEW, BUT YOU HAVE SAID THAT COMEDY IS YOUR FIRST LOVE. WHAT DO YOU LOVE MOST ABOUT COMEDY?

IN YOUR OPINION, WHAT VALUE DO THESE DIGITAL PLATFORMS HOLD FOR EMERGING FILMMAKERS AND HOW CAN THEY BEST UTILISE THESE AVENUES? The digital platforms are as emerging as the content creators are; they are newer than traditional television. To work with SABC and e.tv, you have to understand the system, which is very strict, with a lot of red tape in terms of how to become a vendor and make content there. Whereas with Showmax, there’s more fluidity and less red tape. WHAT IN YOUR OPINION IS THE KEY TO CREATING A SUCCESSFUL TELEVISION SHOW IN SOUTH AFRICA? This is my first time as a creator and showrunner seeing the project all the way through from conception to post. I’m learning as I go, so I’ll only be able to say what the key is in retrospect. One key I can say right now is people management. You need to be able to carry the vision through to the end, with flexibility at times, because you write something on the page and it’s not always what you see on the day, so you need to be flexible and work with what you have so you still have something successful when you’re done. WHAT NEXT FOR REA MOETI? I’m making a feature film, so look out for that. WHEN YOU’RE NOT ON SET, YOU ARE…? I’ll find out in 2020 when I have more time off-set. I’ve been on set back-to-back for so long, and when I’m not on set I’ve been writing, trying to finish my feature film. For the past four years, I have been working myself to the bone and trying to take all the opportunities ahead of me; I’m really not giving myself as much time to rest as I’d like to, or to be as social as I used to be. – Compiled by Chanelle Ellaya

Rea Moeti on the set of Woke in Progress

24 | SCREENAFRICA | NOV/DEC 2019

BROADCAST TECHNOLOGY

2019 – a year of change 2019 has been a year of technology firsts in the media and entertainment industry. Multi-platform content saw a meteoric rise, Artificial Intelligence (AI) gained ground across many fronts and connectivity, devices and personalisation changed market dynamics significantly.

e have seen the development of new formats, transmission networks and content management systems, and there is no doubt that 5G technology will have a profound impact on the industry as a whole when it is fully rolled out. This year has truly been a year of change and adaption, and some areas may be bigger than we think…

AI One of the star trends this year has been Artificial Intelligence technology. Everyday it is becoming more and more necessary to have tools that allow us not only to automate tasks in order to gain efficiency and speed, but that also allow us to rely on ‘intelligent automation’ for our daily tasks and workflows. Analytics Company, IDC Research, has already forecast an investment of 77.6 billion dollars in cognitive AI systems within the media and entertainment world for the year 2022. Devoncroft’s Big Broadcast Survey for 2019 presented some initial data on investment trends in broadcast

technology, where AI and machine learning already occupy the seventh place in the list of trends considered most important by professionals of the broadcast industry. There is still a long way to go, both in the evolution of these tools and their implementation. Artificial Intelligence offers very interesting advantages, such as automatic cataloguing of metadata, advanced searches of content adapted to the specific needs of users, facial recognition, object detection, audio effects detection or speech-to-text, analysis of the sentiment of images or even performing the transcription and automatic translation of texts.

THE MOVE TO IP One of the big technology drivers this year has been the adoption of new connectivity. IP technology and connectivity derived from the development of new video formats and this form of content transmission not only allows post-production houses and broadcasters to work with higher-quality

eSp

AI 28 | SCREENAFRICA | NOV/DEC 2019

BROADCAST TECHNOLOGY

and the need for speed formats but also allows immediate content delivery and more importantly, remote production. It’s probably one of the most disruptive changes in broadcast history, not only because of the technical challenges, but also in adapting to the way the industry works. Therefore, despite all the advantages it presents, its adoption rates are still quite low.

A THRIVING ESPORTS MARKET Since its inception back in the 1990s, eSports were virtually unheard of and battled to get any mainstream coverage. This year, the situation has changed big time. These tournaments have become increasingly popular, hundreds of millions in prizes and more ‘traditional’ sport structures have made eSports more attractive to broadcasters, and therefore this form of entertainment is attracting money, sponsors and new audiences at an incredible rate. As more people are consuming eSports content, the hours spent watching eSports videos are also increasing every year. In 2012, people were spending only about 1.3 billion hours watching these videos. Now, in 2019, the increase

ort

has been drastic, as the number of viewers has grown to 380 million, who watched 6.6 billion hours of eSports videos worldwide. It’s caught the attention of the broadcast sector who are investing in its future.

MULTI-PLATFORM CONTENT Despite the rumours of its supposed irrelevancy, traditional TV is alive and thriving and predicted to keep growing. It’s a completely brand-safe environment, offering reach, high-quality execution, measurability and storytelling opportunities, but we have entered a new generation for TV. As online video has matured, creating a cross-screen video experience has become a key focus for broadcasters – and 2019 has seen a meteoric rise in the media and entertainment industry for multi-platform content. There has been a marked increase in the demand for multi-platform content producers in the worldwide job market, and technology providers such as Avid, Adobe and Blackmagic Design, for example, have all updated their software with enhanced AI based multi-platform export features within their editing platforms.

INDUSTRY CONVERGENCE

FAST AS 5G

The distinctions between print and digital, video games and sports, wireless and fixed internet access, pay-TV and OTT, social and traditional media are all blurring. Streaming services, TV companies and social networks are now competing over both conventional sports and eSports rights. We are also seeing TV broadcasters, telecoms, tech companies, OTT operators and film studios all competing to provide TV content. Radio stations, podcast companies and streaming services are all competing to provide radio and podcast content. There’s no surprise, therefore, that 2019 saw a ton of merger and acquisitions making the headlines. AT&T and Time Warner merged, and the acquisition of 21st Century Fox by Disney that took place in March are only two such examples. It’s hard to believe that just a few years ago, streaming was the supplement to traditional broadcast television and pay-TV. There were issues with quality of service, quality of experience and the belief that any major event – like the World Cup or even concerts streamed live — would ‘break’ the internet. Netflix proved everybody wrong, becoming the world’s largest global TV channel in 2019 and their success has spurred many others to join the streaming party. Over the next few years, experts are predicting data traffic levels will grow to over 397.8 trillion megabytes in 2022.

5G technology is being developed at a furious pace and the roll-out of 5G wireless networks is inevitably going to change the way media is both broadcast and received. 5G was well represented at both NAB and IBC, offering insights as to how the technology will influence the future of broadcasting. Something that I am following with much interest is a Chinese 5G technology-driven project, which was unveiled at the 2019 Qingdao International Film and Television Expo back in August. Government officials and industry insiders recognise that the ground-breaking nature of 5G technology could potentially give a fresh injection to the broadcasting and TV sectors in China and are willing to throw millions into its development. The establishment of a 5G High-and New-Tech Video Pilot Park in Qingdao will see the roll-out of the first batch of high- and new-tech video products as soon as the end of this year, by adopting state-of-the-art technologies such as virtual reality, augmented reality, mixed reality, 4K/8K Ultra High Definition, high frame rate and wide colour – all of them in 5G. It’s a sign of what’s to come, adding a new impetus to the world of broadcast, media and entertainment beyond 2019. – Ian Dormer

5G NOV/DEC 2019

SCREENAFRICA

| 29

ADVERTORIAL

Comrex IP Connectivity Sol Comrex has been active in the broadcast arena since the 1960s, and the brand is well-known in South Africa for their audio products. Previously, Comrex audio products and solutions consisted primarily of hybrids, audio connectivity units for ISDN and POTS connections and Studio Call Management Systems. Today, broadcast technology leans more towards IP-based workflows and technologies. As such, Comrex have evolved their connectivity products, taking advantage of benefits of IP technology by either improving existing products or introducing new ones with additional IPrelated features.

A BRIEF OVERVIEW OF COMREX IP-RELATED PRODUCTS VIDEO LiveShot: The LiveShot is an IP Video Codec and is available in portable and rackmount versions. The units use MPEG-4/h.264 video encoding that accepts Video PAL; SD/HD-SDI on BNC and HDMI connections. Video is sent in both directions including a cue (audio) channel. This is ideal when using the portable unit for live stand-up positions. The portable unit uses two high performance 3G/LTE modems with high-gain antennas to ensure good mobile connectivity. A USB modem hub can be used to combine up to four USB modems. The portable unit can also take a USB Wi-Fi dongle and on-board Ethernet for fixed network connections.

AUDIO Access: The Access system is an industry leader for Radio OB activities via 3G/LTE connections. The units can send and receive an audio feed to a rackmount unit. The unit can – using an AAC audio algorithm – change the bitrate of the audio depending on the mobile bandwidth available. The Access 2USB and newer NX unit are designed for portable OB use – the units can connect via 2 3G/LTE modems, Wi-Fi or Ethernet connections. Both units operate off a rechargeable battery and can accept directly 2 (NX) or 1 (2 USB) microphone inputs. The units also have a bolt-on mini mixer available, so that up to five microphones/audio sources can be mixed. The Access rackmount NX version can also connect via AES67 Audio. BRIC Link II: The BRIC LINK I/II has, for a long time, been the go-to product for moving audio between broadcast facilities or STL links over IP/internet connections. The codec options on

the unit range from High Quality Full Bandwidth Audio/Uncompressed Audio, which is ideal for managed IP networks, to audio compressed as low as 18Kbs to squeeze through unmanaged, problematic networks. The BRIC unit has a host of codecs that can be tailored depending on network conditions and availability. The unit also has the ability to adjust the bitrate automatically depending on network bandwidth conditions. Opal: The Opal is an IP Audio Gateway allowing out-of-studio guests to interact with the studio via their internet browsers. This product makes operations on the guest’s side very simple: they will be given a URL which directs their web browser to connect with the Opal unit in studio. The Opal uses the OPUS audio encoder, which is built into most web browsers, and the built-in or external microphone on their device. VH2: The VH2 is a dual VoIP hybrid that interfaces between the telecoms world and baseband audio world into radio studios. The VH2 also offers the same functions as its predecessors: Echo Prevention, Automatic Gain Control and On-Hold functions. The unit also interfaces with a VoIP handset so that calls can be transferred back and forth. Earshot IFB: The Earshot is a multi-IFB solution utilising VoIP connectivity. For traditional POTS line converted to SIPS protocol, the unit can accommodate 30 SIP callers or 10 Wideband callers. Users in the field can use the FieldTap on a mobile device to interact with the Earshot. The Earshot unit can accept four input feeds which callers can switch between.

IP TECHNOLOGIES/TOOLS Comrex has developed several IP technologies/tools to allow the easy management of connections between their devices. Traversal Server: The Traversal Server is an online service offered by Comrex so that users have an overview of all the IP devices (video and audio) allocated to their account. The server shows the status of the units – the local IP Address, the connection status, etc. – and is useful for codecs that are used to traverse the internet, as it helps with traversing NATs when connecting between codecs. Crosslock: Crosslock is built into most of the IP Codecs and allows the ability to bond multiple data connections on a device. The application evaluates which connection is better, based on latency, bandwidth and jitter, and will select the appropriate route. It can also function in a Redundancy mode. HotSwap: The HotSwap application is built into Access NX and BRIC-Link II devices where Comrex Connect Modems can be used. HotSwap backs up a link (STL or otherwise) with a wireless modem. If the primary Link fails, the units will automatically start using the wireless modem to keep the connectivity between the units seamlessly and revert to the primary once it becomes available again. For more detailed information, visit www.comrex.com or call Telemedia (011 803 3353) to speak to a specialist.

WITH THREE DECADES OF EXPERIENCE PROVIDING SOLUTIONS FOR THE RADIO AND TELEVISION BROADCAST INDUSTRY

ADVERTORIAL

olutions

NOV/DEC 2019

SCREENAFRICA

| 31

IPTV

| THOUGHT LEADERSHIP

Horses for courses – demystifying IPTV and AVoIP technologies Written by Mike Allan, Chief Technology Officer at Exterity The AV industry is moving away from legacy analogue technologies and towards a future where IP networks dominate the delivery of video, audio and digital signage. Mike Allan, CTO Exterity

et IP-based AV technologies are not all the same and the terms ‘IPTV’ and ‘AV over IP’ (AVoIP) have increasingly been used in an interchangeable way and that has led to some confusion in the marketplace at a technical and application level. The last decade has seen the rise of IPTV to replace older analogue technologies based on RF and less flexible matrix switches. The biggest benefits include the simplicity and flexibility of using a single shared structured cable network and relatively low-cost IP switches for internet connectivity, application data and AV. As, per port, Ethernet switching costs have declined while speeds have increased, today more than 95% of video and digital signage installations use some version of IPTV.

TECHNICAL OVERVIEW IP-based video solutions, including IPTV and AVoIP, work in a very similar way. Initially, content is ingested from a source. This could be a pre-compressed source such as broadcast TV, satellite, cable or DTV, or a Video on Demand server. Alternatively, this ingested content may be a baseband video source such as HDMI or SDI that is then compressed to reduce the amount of bandwidth. This digital compressed video content is then turned into packets that are transmitted across an IP network in chunks. This transmission is normally multicast (one-to-many) or unicast (one-to-one), with packets flowing across the IP network through switches and along ethernet cables or Wi-Fi networks to reach a destination. At the destination device, the packets are received, assembled back into video, decompressed and displayed on a device such as a TV screen, video wall, projector or even smartphone. Each of these steps adds a time delay, or latency, between transmission from the

32 | SCREENAFRICA | NOV/DEC 2019

The primary strength of IPTV technology is its maturity and flexibility, which has led to a high level of adoption within the market and the widest ecosystem of technologies supporting IPTV, including set-top boxes and Smart TVs, as well as tablets and smartphones, which can all display IPTV streams via a wide array of apps. source to being displayed at the destination. In addition, each time the source video is compressed and decompressed, there is a degradation in visual quality, which is a trade-off for the video content being mathematically altered to use less bandwidth. Although a very simplistic description, this concept is broadly the same for IPTV, AVoIP, Software Defined Video Over Ethernet (SDVoE) and several other specialist IP-based AV technologies. The major differences between the technologies is the degree of compression, the resulting latency and the network needed to carry the content.

BENEFITS AND COMPROMISES In very simplistic terms, IPTV uses the most compression and introduces the greatest latency while using the most common type of networks. SDVoE has the least compression and latency while

requiring the most performant network – with AVoIP balanced somewhere between the two. However, for most HD/4K content for hotel infotainment, conference centres, stadiums and corporate offices, the visual difference and latency trade-off are imperceptible to most end user scenarios. The primary strength of IPTV technology is its maturity and flexibility, which has led to a high level of adoption within the market and the widest ecosystem of technologies supporting IPTV, including set-top boxes and Smart TVs, as well as tablets and smartphones, which can all display IPTV streams via a wide array of apps. AVoIP, including SDVoE at the top end, has emerged predominately as a technology that serves use cases that require higher visual quality and lower latency. Although AVoIP is functionally like IPTV, its ability to deliver lightly-

Although AVoIP is functionally like IPTV, its ability to deliver lightly-compressed video at the typical 1GB Ethernet network level is its most compelling advantage.

compressed video at the typical 1GB Ethernet network level is its most compelling advantage. However, for any endpoint with a consumer-grade 55” LED display, this advantage does not translate into a tangible visual benefit for the end viewer when looking at content such as TV, movies, sport or digital signage, as the screen is not big enough to reflect the improvement in quality through less aggressive compression. However, where detail such as smaller text or precision diagrams is important, the higher visual quality can be of benefit. That means that AVoIP is most beneficial – even necessary – for use cases such as medical procedures using cameras or where video is being displayed on very large 3x3 or 9x9 video walls and native 8K video, where compression artefacts are more noticeable.

THE NEED FOR A NETWORK UPGRADE The biggest compromise inherent in AVoIP, and more so with SDVoE, is the requirement for a more advanced network to deliver uncompressed video. This means that customers who need to carry multiple streams must invest significantly in a move to 10GB ethernet network and potentially upgrade not just switches, but structured cabling across an entire facility. At present, many of the AVoIP solutions are still relatively immature, which makes the number of suppliers and alternatives rather limited. This means a higher cost price for solution elements and almost certainly an expensive network upgrade. For most system integrators, choosing which IP technology to use will depend on the application and – as always – it’s a case of horses for courses.

SCREENAFRICA

| 33

PHOTOS BY WENDY PANAINO

PHOTO BY ULRICO GRECH-CUMBO

The Virtual Wild

The Southern African rhino and pangolin populations may have found a new hero in Ulrico Grech-Cumbo, after he set out to add more technological muscle to the fight against the poaching of a threatened species. Armed with high quality virtual reality (VR) centred experiences, he tells the story in a manner that provokes the viewer to action.

NOV/DEC 2019

PHOTOS BY ULRICO GRECH-CUMBO

ince being lured by the possibilities presented by fusing technological advancements and creative endeavours, Ulrico Grech-Cumbo – the founder of Ambrosia XR and (subsequently) Habitat XR – continues to create ground-breaking productions that raise awareness around issues of nature conservation and the protection of endangered species. After almost a decade of exploring and applying fast-innovating immersive technologies in his productions, Grech-Cumbo harbours very strong convictions about why technology has a bigger role to play in advancing the ideals of society. He says: “We believe that, in the modern world, people have become critically disconnected from nature due to many factors including urbanisation, habitat loss and technology.” “Ironically, we believe that technology can help reconnect us to our natural world in a very meaningful way. It’s all about using the power of personalised empathy to foster love and respect for animals and environments that most people will never get to experience in person.”

VIRTUAL REALITY UNTAMED Presenting content through virtual reality has innate advantages that are exclusive to this technology. It has the power to

34 | SCREENAFRICA | NOV/DEC 2019

involve the viewer in a way that compels them to react in a very active manner due to the experience being akin to a confrontation. It is no surprise that the impact of immersive technologies is already making a visible dent in conservation-led wildlife experiences just as much as in other sectors – such as brand experience and entertainment – that Grech-Cumbo has his hand in (through his Ambrosia XR Agency). “Sadly, places we call ‘nature’ today are reserved for a very privileged few. Habitat XR produces some revenue-generating work for conservation non-profits like WWF and Conservation International, as well as original self-funded nature experiences, too,” says Grech-Cumbo. “Our goal is simple; it is to re-connect people with nature through immersive technology,” he enthuses.

GROWING A TREND Immersive technologies are a relatively new phenomenon, and their popularity continues to grow internationally and more so their applications. More and more enthusiasts are consistently finding new ways of bringing the tech to the fore. Spearheading the trend in South Africa, Grech-Cumbo is very high up on the list of those diversifying the opportunities that are presented by XR, by expanding the need for it in both the

commercial and not-for-profit spheres. The former founder of Deep VR believes that it is imperative not to under-value the necessity of great content over our enthusiasm for the technology. “There is very little good VR content out there. If we care about the future of the format, we have to contribute to the body of content that already exists.” “As conservationists at heart, we want to use these experiences in ways that can change attitudes and behaviours for everyone that has the opportunity of witnessing our work,” he adds. Ideally, Grech-Cumbo aims to establish Habitat XR as the world’s preeminent immersive studio with a strong focus on wildlife and nature conservation.

REWILD AND RELOCATED With numerous wildlife productions under the belt, Habitat XR continues to break the mould with more headlineworthy projects. It was inevitable for the company to pursue the rhino conservation conversation. The bleak future that is faced by the rhino population did not in fail in plucking at the heart strings of the conservationists at Habitat XR. Grech-Cumbo assembled a team that came up with a new way of tackling the problem. The refreshed approach was not only in the medium used but also in the way the

story of the species is told. “For a long time, we’ve been wanting to do something on the uniquely South African rhino poaching crisis. A lot of the stories out there have their focus on the same part of the narrative: the front-lines, the poachers and anti-poaching,” he says. He adds: “We heard about the trans-location of black rhino from SA to Chad and decided to focus on a much broader part of the problem – range diversity. We applied to SANParks to be let on the team and they agreed.” The shoots for Rewild were conducted first at a game reserve in the North West (for the identification and capture process) and then the Addo Elephant National Park. The rhinos were then placed at Zakouma National Park in the Republic of Chad. “We’re using a combination of four different cameras to capture these projects. We tend to prefer stereoscopic

SCREENAFRICA

| 35

TECH CHECK EQUIPMENT Cameras: • Kandao Obsidian • Insta360 Pro Mics: • Sennheiser Ambeo • RODE rifle mic Audio recorder: • Zoom F8

(3D) 360, so we filmed most of Rewild on a Kandao Obisidan R,” says GrechCumbo. “There were shots where we knew the black rhinos could destroy them, so we switched to the Insta360 Pro since it would be cheaper to replace.”

THE VIRTUAL PANGOLIN Although not as popular as many other endangered species, the pangolin also faces a disastrous future if left unprotected. The team at Habitat XR made it their mission to diversify their attention on the animal through another virtual reality production titled the Predicament of the Pangolin. In reality, the pangolin is undoutedly the most trafficked animal in the world at this point. “Pangolins are incredibly elusive – not even our in-house game ranger had seen one in 12 years of working in the field.

“An opportunity came up to film some that were being researched in the wild at Tswalu and we thought it would be an incredibly cool VR experience to hang out with these iconic and little-understood animals to learn about how they are the subject of a depressing amount of human damage.” Due to the difficulty of pinning down pangolins, the team opted to film the project in confined spaces. The team opted to employ a two-lens GoPro Fusion camera in order to attempt capturing overlapping visuals and sounds. In all, the crew managed to snap 55 shots using smaller monoscopic cameras but they might have to cut down on the number of scenes they’ll use once post-production resumes.

FUTURE CONSERVATION TECH Grech-Gumbo expresses with great vigour that immersive technologies will

continue to innovate and change the landscape of the film industry. Due to virtual reality being a growing medium, the improvements that will happen to cameras will have a direct impact on the look and feel of VR experiences. “In the future, the cameras will capture scenes at much higher resolutions and frame rates and that will probably bring in changes to how we capture light,” he says. “VR is going to spur a whole new breed of cinematic hardware. Volumetric VR is another trend to look out for – it combines 3D scanning with traditional video capture to create life-like, live action experiences you can walk through wearing a headset,” he concludes. – Levi Letsoko

KEY CREW REWILD KEY CREW Written & directed by: Ulrico Grech-Cumbo Filmed by: Jared Reid; Ulrico Grech-Cumbo Edited by: Telmo dos Reis; Devan Lowery Audio by: Sam Mahlalela

PREDICAMENT OF THE PANGOLIN KEY CREW Story by: Ulrico Grech-Cumbo Written & directed by: Ulrico Grech-Cumbo Filmed by: Jared Reid; Devan Lowery; Ulrico Grech-Cumbo Edited by: Devan Lowery Colourist: Michele Wilson Spatial audio by: Axel Drioli

NOV/DEC 2019

DIGITAL IMAGING

On Set with DIT

Tanika Wessels The role of Digital Imaging Technician (DIT) is integral to any production. With a job scope that encompasses far more than simply ‘data wrangling’, it is the DIT’s responsibility to ensure that everything that is captured on set arrives on the editor’s desk both intact and on-spec. Screen Africa caught up with Tanika Wessels on the set of the new feature film Pou (The Peacock) to learn more about what the job entails.

or Wessels, who started working as a DIT in 2011 and whose experience ranges from features to series, commercials and corporate AVs, “The job runs in my family. My brother is an editor, and so is my boyfriend – and initially, I thought I wanted to be an editor, too. But then I realised that being a DIT is more the role for me, because I like being on set – I like the energy of the production period, and I love that my role is the link between what happens during this stage and the editing suite.” For those who aren’t clear of what, exactly, this entails, Wessels describes the role as follows: “I liaise with the camera department – I get the rushes and then I run the footage through my verification software to make sure every byte is

36 | SCREENAFRICA | NOV/DEC 2019

copied and that we don’t lose a single frame or pixel. Other things could be on-set colour correction, if that’s required, and then – obviously – to create transcodes and back-ups of the footage from the dailies and pass those on to the producer and to the post-production facility. This includes keeping a record of what has been shot – the scenes and slate numbers, any wild sound recordings, everything like that.” Wessels also explains that DITs can set themselves apart from the crowd by offering other services on-set. “One thing I do is that I synch the sound of the rushes before passing them along to the editor,” she says. “This is because I have an editing background, and so I do this as a courtesy to the person who is going to be cutting everything together. It saves a

massive amount of time in the postproduction period: when you’ve shot with a high shooting ratio, it can add at least three days just to synch the sound to the rushes. This is an added bonus I can give to clients, and it gives an added level of security because I can check that we have sound for everything we’ve shot as we go along.” In terms of the hardware and software required to execute the job, Wessels says: “You need a good monitor, you need a lot of RAM and a good PC running i7 or higher – even an i5 can be laggy – and I also use a thunderbolt connection to make the speeds even faster. Some DITs even have a DIT cart, where they build up their station with colour panels and towers and RAID systems.” She explains that a RAID (Redundant

DIGITAL IMAGING

“The job runs in my family. My brother is an editor, and so is my boyfriend – and initially, I thought I wanted to be an editor, too. But then I realised that being a DIT is more the role for me, because I like being on set – I like the energy of the production period, and I love that my role is the link between what happens during this stage and the editing suite.

”

– Tanika Wessels

Array of Independent Disks) is crucial in maintaining a speedy workflow process – “because it reads and writes simultaneously and has built-in back-up systems” – and provides a run-down of the software programs she relies on: “I use ShotPut Pro to offload from the camera; it verifies that you back up every single byte of data and you don’t miss anything. Dragging and dropping doesn’t cut it if you’re an experienced DIT: there is a chance that you lose data, even megabytes, through simple copying processes. It’s much better to run it through verification software that even produces a report for you after you’ve offloaded every card. “To synch things up I use Da Vinci Resolve, which is more a colouring software, but you can use it as an NLE, or

non-linear editing program, as well. Most of the colourists I know of use Da Vinci Resolve, but on this project I’m using Premiere Pro because that was the request from the editor.” This aspect of the job – needing to stay up-to-date with the latest technological developments across the whole range of filmmaking tools and equipment – is both challenging and exciting, according to Wessels. “You have to stay up-to-date with all the latest technology. You have to know your cameras because the workflow is different: I’ve worked with Reds, ARRIs, Panasonics, Sonys – and they all require something different from you in your process. And then when the editing suites change their operating systems or bring in new updates, you need to learn about those, too.”

One piece of advice she would offer production companies is not to underestimate the cost implications that lie behind the choice of shooting format. “The last project I worked on we shot in 8K, which was a challenge. The speeds were slow, even on my machine, and I had to bring in a Red Rocket to keep the workflow moving at a reasonable pace. “This is something productions don’t think of – the extra hard drive space required, the time it takes on set – even though, mostly, the product is only ever released in 4K or HD. The transcoding process – which is me taking the file and rewriting the format for the editor – is made extremely slow by 8K, where the rewriting takes as long as the clip.” Reflecting more generally on the job, Wessels points out that “almost by

definition, DITs have the longest day on set. I’m working two to three hours after everyone else has wrapped, sorting out the transcodes and making sure everything is synched and secure. It always helps to know what the editor wants and I think that’s the biggest piece of advice I could give producers: know and understand the quality of picture you want, because that decision will have echoes all the way through the postproduction period.” – David Cornwell

NOV/DEC 2019

SCREENAFRICA

| 37

POST-PRODUCTION

The Refinery colourist Kyle Stroebel talks working on Universal’s Bulletproof 2 Cape Town-based post production and visual effects house The Refinery recently completed the conform and grading work on Universal’s upcoming Bulletproof 2. Directed by Don Michael Paul and starring Faizon Love, Kirk Fox, Tony Todd and Cassie Clare, the film is due for theatrical release in January 2020. We caught up with Kyle Stroebel, colourist at The Refinery, to find out what his process was like working on Bulletproof 2.

“I

’ve been a colourist for more than 13 years now,” comments Stroebel. “That term has taken on many forms over the years, from the telecine days of film negative to the more modern digital intermediate suites. “I made my way through the early days of grading rushes and handling dailies to now finishing commercials, long form feature and series work. Refinery has a great relationship with Universal, and we have finished a lot of their movies shot locally in the last few years. When the opportunity came to be a part of Bulletproof 2, it was very exciting.” What was your brief when it came to the final grade of the film? My brief was to “make it pop.” Think Michael Bay, think Tony Scott, think strong colours, punchy contrast and a luxurious Miami setting. This kind of grade means adjusting for blue skies and warm skin tones, and makes the final result look like one audiences would expect from a big budget blockbuster.

Kyle Stroebel

38 | SCREENAFRICA | NOV/DEC 2019

WHAT WAS IT LIKE TO WORK WITH DIRECTOR DON MICHAEL PAUL AND DOP MICHAEL SWAN? Don is a great character in as much as he’s incredibly expressive. He uses emotional gestures and adjectives to give you a sense of what he’s looking for. He always wants to go extreme and further, which I love. After we completed the DI (Digital Intermediate), Don had two days with Roundabout Post LA to finesse what I had finished, so if he needed to push it even further, then he could. Michael’s images were beautiful from the get go. I could tell Don had had that very same brief with him, and I was just continuing that vision. DO YOU HAVE ANY FAVOURITE SCENES OR SEQUENCES FROM A GRADING PERSPECTIVE? WHY IS THIS? There’s a gunfight in a strip club lit with neon blues and purples. Local DoPs may go quite conservative in their approach, or overly embrace the neon and lose a bit of sense of reality. Michael Swan got this

POST-PRODUCTION

“I made my way through the early days of grading rushes and handling dailies to now finishing commercials, long form feature and series work. Refinery has a great relationship with Universal, and we have finished a lot of their movies shot locally in the last few years. When the opportunity came to be a part of Bulletproof 2, it was very exciting.

balance just so right. It’s dingy but beautiful. It’s colourful, so the cool blues and purples just contrast the flames and gunfire so magically. WHAT HARDWARE DID YOU USE TO COMPLETE YOUR WORK ON THE FILM? We finished on a custom Linux box running DaVinci Resolve. This is a bit of a change-up for me, as I almost work exclusively on Baselight nowadays. This was fitted with 2 x Nvidia GTX 2080Ti graphics cards and a ton of RAM. We used my Sony PVM OLED monitor and because this station was working literally next to my Baselight Panel, we opted for the Blackmagic Mini panel on the desk for space purposes. WHAT FORMATS AND CODECS WERE YOU WORKING WITH? The shoot was very action-driven, which means there were terabytes of footage from I think around 15 different cameras sitting on multiple raids – everything from Alexa Mini shooting Pro Res, to crash cam H264 and a bunch of S-Log Sony stuff thrown in. For this reason, we actually conformed everything and then managed it out as 12 bit DPXs. This made the most sense as it was what the VFX vendor was finishing in anyway. WHAT WERE YOUR BIGGEST CHALLENGES WORKING ON THE FILM? Continuity. The shooting schedule was really quick and the weather often didn’t play ball. There’s a scene on a dock where it cuts from a midday shot where it’s pouring with rain, almost immediately to a shot in late afternoon sunset. The joy of modern filmmaking is that this can’t interrupt shooting, so the colourist has to sort it out as best as

”

– Kyle Stroebel

possible through the process. It’s such a fine balance. REFINERY USED DAVINCI RESOLVE THROUGHOUT THE CONFORM AND GRADE – CAN YOU TELL US WHY, AND WHETHER YOU FOUND ANY SPECIFIC TOOLS HELPFUL THROUGHOUT YOUR WORK? This was actually a request from the studio. Like I said earlier, Don had a couple of days to finesse with a colourist in LA at Roundabout Post, which is a Resolve-based facility. I found the whole process very easy and intuitive. There’s such an advanced toolset within Resolve that is really easily implemented. The individual channel mixer is something that I use a lot, and with so much of the film being shot later in the day and needing to match the material shot earlier on, the noise reduction on the fly helps a ton. Plus the keyer is incredibly quick to refine, so those blue skies can happen with little effort. WHAT IS YOUR TAKE ON THE CURRENT STATE OF THE INDUSTRY IN SOUTH AFRICA, AND WHAT TRENDS ARE YOU WATCHING CLOSELY? I’ve been doing this long enough now to know there will always be stages of flux and movement. The bedrock of commercial content being produced five to seven years ago doesn’t have the budget in our contemporary era. There’s been a move to digital online content in a deteriorating economy which has forced agencies and content producers to be clever. I think commercials now are as strong as they have ever been, they just may be slightly fewer and further between. However, I think the long form industry

is in a very good place. Slowly locals are beginning to consume more local content. And there is a drive for local narrative entertainment. Netflix has commissioned two Original series (one of which I am currently finishing) and the feature department is in a very buoyant position. Much of that is foreign investment in local talent, seeing the skills and creativity that our industry offers. This is helped by a government rebate program which also directly affects post-production. One way or another, Refinery is busier than we have ever been, and I work seven days a week trying to accommodate all our clients’ needs. WHAT ADVICE WOULD YOU GIVE TO ASPIRING COLOURISTS HOPING TO FOLLOW IN YOUR FOOTSTEPS? Get your hands on anything you can. Start grading material that’s shot on anything. Learn what the balls on your panels do. How they react under different settings. A large part of our job is problem solving, and the only way you’re going to learn how to solve those problems is to be presented with them. And then be prepared to start at the bottom. I guess like any key crew you don’t just start as a director or editor or colourist. You work your way there. It took me five years before I finished my first commercial. If you aren’t prepared to work crazy hours doing the less glamorous stuff, then this probably isn’t for you. I’m lucky that I love what I do. If you don’t truly love this and don’t want to dedicate a large portion of your life to it (mixed with all kinds of sacrifices), then walk away now. But if you do love it, I think it will drive you. It’s certainly driven me.

There’s such an advanced toolset within Resolve that is really easily implemented. The individual channel mixer is something that I use a lot, and with so much of the film being shot later in the day and needing to match the material shot earlier on, the noise reduction on the fly helps a ton. Plus the keyer is incredibly quick to refine, so those blue skies can happen with little effort.

NOV/DEC 2019

SCREENAFRICA

| 39

M A R KET PL AC E

UPCOMING EVENTS

Johannesburg, South Africa

CAIRO INTERNATIONAL FILM FESTIVAL

Cairo, Egypt

20 – 1 DEC

INTERNATIONAL DOCUMENTARY FILM FESTIVAL AMSTERDAM

Amsterdam, Netherlands

BROADCAST

STUDIOS

FORUM

CORPORATE VIDEO

FILM FESTIVALS

FILM EQUIPMENT BREAKING NEWS OB & ENG

TELEVISION

20 – 29

EQUIPMENT SUPPLIERS

Johannesburg, South Africa

DOCUMENTARIES

DISCOP JOHANNESBURG

FILM

20 – 22

PRODUCTION UPDATES

FACEBOOK

NEWS AFRICA

GOLF DAY

DISPLAYS & MONITORING

PRESS RELEASES

AUDIO

SPECIAL FOCUS

CAMERAS & ACCESSORIES

LIGHTING

DVD

TECHNOLOGY