The Callsheet Issue 8

ISSUE 08 | 2016 16 IBC 20 ES LO E R IA N B DUR

+ LEADERS IN EQUIPMENT RENTAL CEOs on Trends and Industry Favourites

+ LOERIES CREATIVE WEEK 2016

Celebrating South Africa and the Middle East’s Top Creatives

YOUR IMAGINATION OUR LOCATION

MIPCOM© & MIPJunior© are registered trademarks of Reed MIDEM - All rights reserved. Création

17-20 OCTOBER 2016 // CANNES FRANCE

THE WORLD’S ENTERTAINMENT CONTENT MARKET

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CONTENTS / 01

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02. UK and SA Ink TV

Co-Production Deal

06 10 20 22

04. Terence Neale Short

MIKE SCOTT IS IN DEMAND

The animation guru gives a candid interview to Kim Crowie. Take a look at page 6.

Wins at Cannes Lions and at AICP

06. Mike Scott Tells All 09. What Marketers Look for in an Agency during a Pitch Process

10. SA Cannes Lions 2016 Winners

11. Frontier Vets Airs On

SOUTH AFRICA CLEANS UP AT CANNES LIONS Our country scooped 58 awards at the prestigious annual celebration of commercial excellence.

SABC 3

12. Insights from

Equipment Rental Leaders

16. Spotlight on

Broadcasting

18. IBC2016: Virtual

Reality and All Things Broadcast

20. Loeries 2016 Takes

Creativity to a Whole New Level

LOERIES 2016

Check out the programme, highlights and speakers from page 20, as SA gears up for the ultimate battle of the creatives.

26. Opportunities 28. A Chat with Last Ones Out Creators

29. Wonder Boy For

President A Riot of Laughs

30. Realness Gets Underway

31. I SEA Scandal at Cannes Lions

ANDREW HUMAN INTERVIEW

The Loeries CEO on maintaining the energy of the event, and the blossoming of creativity in SA.

32. NFVF Highlights 2016/2017

36. Events to Diarise 38. Associations News 40. Directory of Advertisers

02 / NEWS

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UK AND SOUTH AFRICA INK TV

CO-PRODUCTION DEAL

The UK and South Africa have inked a new television co-production agreement, which will aim to strengthen ties between the two countries’ broadcast industries.

U

nder the new agreement, which builds on an existing treaty, both territories will be encouraged to share knowledge, ideas and drive economic growth through television co-production.

Terms for the agreement were negotiated by the British Government’s Department for Culture, Media and Sport (DCMS) and the British Film Institute with the Department for Arts and Culture for the Republic of South Africa.

TV co-productions that will qualify under the terms will be able to access benefits from each territory, such as a higher production-rebate rate in South Africa, which can range from 20% to 25%, while in Britain, qualifying co-pros will be able to access the UK’s high-end television tax relief, the animation tax relief or the children’s television tax relief, all of which offer a rebate of up to 25%.

UK-South African feature films that have qualified under

the existing co-production treaty include Kristian Levring’s The Salvation, Deb Paterson’s Africa United, Thomas Daley’s Tiger House and Pete Travis’ Dredd 3D. “British television is a tremendous success story, but we need to make sure the UK remains well-placed to take advantage of the opportunities that come through international collaboration,” said British culture minister Ed Vaizey in a statement. “This new agreement enhances our already

strong relationship with South Africa and will help television production companies in both countries realise the benefits that come with co-production.”

BFI CEO Amanda Nevill said: “The inclusion of television in the existing, successful film co-production treaty represents exciting new opportunities for growth and collaboration between the UK and South Africa and will be of great mutual benefit to both countries.”

– By Diana Lodderhose for Variety.

MONEYPENNY AND FILM FINANCES TO

TRAIN PRODUCTION ACCOUNTANTS

With the growth in the film and television industry, the shortage of film and television production accountants has been highlighted.

T

o meet the need for more production accountants, Destiny Media Africa has partnered with Moneypenny and Film Finances to host a series of workshops for aspiring production accountants.

Production accountants perform a critical role in any production ensuring budgetary discipline, managing payrolls and providing critical audit reports.

“Time is money and it’s important to know at any one time where your production stands

financially. Your Production Accountant can help you do that”, Jane Fry, Film Finances.

A film production like any other business is dependent on the accurate and effective management of the production budget. Having systems and software to track expenditure is especially critical when it comes to tax incentive claims.

As Shamila Phillips, MD of Moneypenny South Africa says, “Workshops of this nature create a mindset and an industry

standard that with efficient accounting systems and software can be the answer to producers to effectively manage and control their budgets which inevitably assists with the smooth running of the production.”

“We are excited about partnering with the expertise of Moneypenny and Film Finances as our passion is to create platforms that allow the effective transfer of skills, and experience to ensure the growth and development of South Africa

and Africa as a whole”, Andre Pietersen, Destiny Media Africa.

The workshops will take place in Durban (9-10 August) and Johannesburg (11–12 August). Anyone in the film or accounting industry who wants a better understanding of how to manage a production budget or become a production accountant should attend this workshop.

For any enquiries please contact Keabetswe at keabetswe@destinymediaafrica.com or call +27 11 050 1312.

04 / NEWS

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TERENCE NEALE SHORT WINS CRAFT GOLD AT CANNES LIONS AND TWICE AT AICP

Your Future Is Not Mine, a global adidas Originals short film directed by Egg Films’ Terence Neale, won a Gold Film Craft for Original Music at Cannes Lions, thanks to vocalist Daisy Hamel-Buffa and Squeak E Clean Productions.

Y

our Future Is Not Mine won the only Gold in the Original Music category, while Terence was the only South African director whose work was awarded in the Craft categories.

This follows Your Future Is Not Mine’s double-win at The Association of Independent Commercials Producers (AICP) Awards, where it again took home Best Original Music, as well as the prize for Best Agency Art Direction for Johannes Leonardo.

Terence directed the short through RSA Films, who represent him in the UK and USA. Terence and his producers Dagny Warmerdam and Rozanne Rocha-Gray weren’t the only South Africans involved though; Johannes Leonardo’s chief creative officer Jan Jacobs and creative directors Wesley Phelan and Matthew Edwards all hail from Mzansi.

The campaign, which has over six million views on YouTube, challenges the dominant perception of the

future being dystopian by inspiring a new generation to rather create their own.

Egg Films is also celebrating Slim’s win at The Creative Circle Awards for April. One, Slim’s 1Life spot for House of Brave, was named Ad of the Month, while The Safe Side of 1 Star, his TBWA\Hunt\Lascaris campaign for Road Lodge, came third. Sunu also placed second in March for his Castle Lager Coming Home campaign for Ogilvy. www.youtube.com/ watch?v=CupTwyj3JrI

THE CAMPAIGN, WHICH HAS OVER SIX MILLION VIEWS ON YOUTUBE, CHALLENGES THE DOMINANT PERCEPTION OF THE FUTURE BEING DYSTOPIAN BY INSPIRING A NEW GENERATION TO RATHER CREATE THEIR OWN.

All images: Terence Neale’s work for Adidas Originals Your Future Is Not Mine © Egg Films

CAPENATURE / 05

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Conserve. Explore. Experience.

CapeNature invites you to experience our breath-taking landscapes, including mountains, dams, waterfalls, rivers and in some cases tarred roads leading up magnificent passes.

www.capenature.co.za

YOUR IMAGINATION OUR LOCATION Image Credits: Wolfberg Arch, Cederberg Wilderness Area © Dawid De Bruin | Rockview Road, Kogelberg Nature Reserve | Rockpool, Groot Winterhoek Nature Reserve | Assegaaibosch Homestead, Jonkershoek Nature Reserve

S

outh Africa has been described as a world in one country and the Western Cape is renowned for offering every possible cinematic location for its natural and historical destinations.

When searching for the perfect nature location, CapeNature is able to offer you an extensive selection of the most breath-taking landscapes in the world, including mountains, dams, waterfalls, rivers and caves as well as several wellmaintained tarred roads.

We can grant you access to The Cape Floral Region, an evolutionary treasure chest, which was added to the prestigious list of World Heritage Sites in 2004.

We also render services and

provide facilities for research and training, and generate income to sustain our value offerings.

To this effect all revenue raised by filming is ploughed back into CapeNature’s many conservation programmes and activities. All our interventions are informed by sound biodiversity principles in an effort to build a successful Biodiversity Economy in the Western Cape.

CapeNature is a public institution governed by the Western Cape Nature Conservation Board Act. 15 of 1998 and is mandated to promote and ensure biodiversity conservation.

We manage various projects and programmes that not only address these conservation objectives, but also have created

significant socio-economic development opportunities.

Some of our locations have tarred roads complemented by magnificent landscapes making them perfect for vehicle shoots. For almost a decade now, most of the world’s biggest vehicle brands insisted on using these stretch of roads to film their latest model, often in top secrecy under strict security.

As the official conservation agency for the Western Cape, CapeNature aims to provide professional scientific services to support biodiversity conservation programmes. Our Scientific Services Unit (SSU) boasts a world-renowned team of specialists. The Scientific Services Unit supply expert advice on

indigenous aquatic systems, plants, invertebrates, freshwater fish, amphibians, reptiles, birds and mammals to academic and non-governmental organisations.

With prior arrangement via our Marketing department, the Scientific Services Unit is available to assist the broadcasting and filming industry.

As per our commitment to stimulate the economy, CapeNature invites all film schools, students and emerging filmmakers to consider our vast range of locations for their projects.

CONTACT CAPENATURE:

Tel: +27 21 200 1388 Email: locations@permitz.co.za Website: www.permitz.co.za

06 / PRO-SPECTIVE

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MIKE SCOTT TELLS ALL Animator extraordinaire Mike Scott recently wowed the world with his soccer-themed short A Dogshow with Cat. He shares his experience and more with the Callsheet.

Where did your concept for A Dogshow with Cat come from?

Tell us about your original idea and how it has evolved with Story Lab and Disney.

My original idea was Bru & Boegie, about two best friends in underpants. I came up with the idea back in 2002 at university. I’ve created hundreds of comics about them, selfpublished a big comic book, and made music videos and animated shorts using them.

After Bru & Boegie was selected for the Triggerfish Story Lab, Disney and Triggerfish originally took an option on them, but the Disney compliance department was prett y against them wearing underpants, and that’s kind of a core feature of Bru & Boegie.

It was something I wasn’t keen to budge on. We were running out of time to make a short and the impasse was increasing, so rights for Bru & Boegie reverted back to me and we came up with new characters for A Dogshow with Cat. Animals in underpants passed compliance.

Together with Raff aella Delle Donne and Anthony Silverston, we came up with a world for this sophisticated, sensitive dog who just wants to be a good boy, and his best friend, a wired unruly street-cat, who both live in the Karoo desert.

Both Triggerfish and Disney speak the same language – their involvement has very much been to get it appropriate for the target audience of Disney XD, around 6-11, to get the characters’ personalities driving the story forward; and to focus on the heart of the show – the relationship between these two best friends.

Tell us about the 3-minute short you’ve done for Disney XD FC. What’s it like being the only short included from the African continent?

This short formed part of Disney XD FC, a series of ten shorts created by various studios around the world. It had to be soccerthemed and I was keen to not do the obvious thing and put two characters in a real soccer match.

We found a way of keeping it soccer-related while developing a whole show, without the short being the beginning and end of Doggy Poggy and Catlyn’s world or friendship. It’s great representing Africa in this lineup; I feel extremely lucky and fortunate to be in my position.

Is Moosebox still being developed into a series? Last time we spoke you were working on a character bible of sorts. How is it progressing?

I finished the Moosebox bible and printed a bunch (They look amazing if I do say so myself; it’s a great show in waiting). We had a finished 11-minute pilot episode animatic with voices and music.

I put a slightly adult allusion joke in the animatic at the eleventh hour and nobody screened the latest version before they tested it on kids overseas, and when the new adult allusion joke came up they apparently had to stop testing and couldn’t use the test results. Apparently it was wildly inappropriate for their audience. Part of me finds this story hilarious and I’d chalk that up to a success, but I definitely learned my lesson - compliance department picks up EVERYTHING and sadly I believe that episode threw

Mike Scott

WE CAME UP WITH A WORLD FOR THIS SOPHISTICATED, SENSITIVE DOG WHO JUST WANTS TO BE A GOOD BOY, AND HIS BEST FRIEND, A WIRED UNRULY STREET-CAT, WHO BOTH LIVE IN THE KAROO DESERT. a major spanner in the works and I believe it’s been put on the back-burner for now.

I think Nickelodeon share the same sentiment with me that the show works prett y well as a short, but feels a little stretched in its 11-minute format - or at least, my current skill-set is more suited to telling a story in a shorter 3-minute format as opposed to the standard 11-minute episode.

I don’t have a lot of experience in the longer-form. I’m sure there’s a way to make it work in the 11-minute format, but my personal shorts and animated music video stories usually

run about three minutes.

So, there’s still hope Triggerfish have quoted to make some shorts, and we’ve had an ongoing conversation with Nickelodeon about the show. There are two other potential outcomes that both sound awesome, but I wouldn’t feel comfortable putting them on the public record.

What’d be bleak is if Moosebox died in a premature show graveyard and isn’t used in any way.

Nickelodeon own the show and they have the power to do that if they so wished.

PRO-SPECTIVE / 07

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How does it compare working with Nickelodeon versus Disney? What are the challenges of working with such well-known industry behemoths, and what opportunities have you been experiencing (and we’re sure this applies for working with Triggerfi sh as well)?

Both experiences definitely had similarities – I worked closely with Mike Buckland, a Producer from Triggerfish, on Moosebox, and Mike had quite a bit of creative input on the two-minute pilot we made.

Thereafter, I had a looong time to really chew the cud with the bible and I think only finished wrapping that after about a year of development.

Nickelodeon provided a lot of helpful support during the short, but after a period of working with writers for input on the bible, I opted to gestate on the bible by myself for quite a while.

For the Triggerfish Story Lab,

we had an amazing two weeks in Cape Town working on script development. LA superstar author Pilar Alessandra came down and gave us hands-on tuition for our projects, and then Orion Ross from Disney came down to talk to us about series, so that was like a working holiday. I get the sense that he’s seen so many pitches and seen so many shows come and go that he really does have his finger on the pulse. I found his frank feedback refreshing and invaluable. Thereafter we went to the US where Disney opened their doors wide to us and we got to speak to top industry experts at Disney and Pixar about numerous aspects of concepts, development and script-writing, so again – great working holiday.

That already gave us a sense of how the machine works.

Both projects have presented amazing opportunities to connect with some of the top industry experts – Nickelodeon

THERE IS NO SUBSTITUTE FOR EXPERIENCE

introduced me to Phil Rynda, lead character designer on Adventure Time and Pen Ward, Adventure Time creator, both of whose work I appreciate greatly. Disney introduced us to too many amazing people to list – John Lasseter, head of Pixar; a huge hero of mine Steve Purcell, creator of Sam & Max, who now works at Pixar; and we had intense hands-on time with top writers at Disney and Pixar.

Two friends and I visited Pixar after our Disney trip.

We extended our stay in the US by taking a road-trip up there, and we had lunch with Mary Coleman, who heads up the story department there.

I had a moment seeing Nas Hoosen (writing a movie as part of the Story Lab) and Mary connecting over the theme of his story. Mary felt personally touched about the parent-child relationship dynamic in Nas’ movie, and I thought ‘Woahhh, this is crazy.’

For both projects, I find it’s a delicate balancing act between pleasing the client, the studio, and myself, and I’m constantly calibrating. At the end of the day, I need to be happy that the show is still something I want to do and that we’re all building something stronger as a result of a combined effort.

When can we expect A Dogshow with Cat ’s debut on TV? Before working with Nickelodeon or Disney, I had guessed at, heard and read about stories of people taking years to get their shows green-lit, even when it seems like it’s all systems are go and a lot of people like the show. That’s definitely been my experience with Moosebox and Nickelodeon.

So, it’s anyone’s guess if or when A Dogshow with Cat would ever be made into a series for TV. I think my job is to just use the time I have now to put forward the best show I can put together.

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08 / PRO-SPECTIVE

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A Dogshow with Cat

The short three-minute episode we made has already been playing on Disney XD TV in the UK I believe, and it’s up on Disney XD UK’s YouTube page.

Right now, we’re developing the show for a longer 11-minute format and it’s been through various iterations. We had to develop things fairly quickly to make the deadline of the three-minute short so while the world makes sense for a short we felt that we needed a bigger development push for the longer format. We have two great characters that we spent quite a bit of time on, but I’ve reworked the entire show concept into something that really floats my boat.

As a creative mind, where do you fi nd inspiration for your animations, what and who are your influences, do you have any secret formulas for sanity?

There’s that saying ‘1% inspiration, 99% perspiration’ and nowhere is that more true than animation. It’s easy to fall in love with an idea, but the long time it takes to animate that idea requires dedication. I try make a point of finishing projects.

Starting them is the easy part, but finishing often requires some

elbow grease. I get great ideas in the shower, on a run, and hanging out with buddies. I have a notetaking app with various heading for projects to jot them down.

I hardly ever go back to them because new ideas seem to keep coming but I have sketchbooks and documents full of ideas if I ever want to go over them.

There are a few concepts I’ve always wanted to do, and one by one I manage to find sneaky ways to get paid to do them.

One of my biggest animation heroes is David O’Reilly from Ireland. He just does his own thing, has a lot of integrity, and he’s an amazing artist. I was lucky enough to do some work with him for some [adult swim] idents in the US. Another hero is Pen Ward, who created Adventure Time. I was lucky enough to spend a whole afternoon with him in LA. I went to his house and he showed me the latest in VR tech and let me demo some HTC Vive games on his rig. It’s prett y clear that VR can’t NOT be the future; it’s quite incredible.

I maintain perspecti ve in jobs by doing passion projects where the outcome isn’t being questioned so much.

I also run most days to clear my head; I get prett y bleak

ALMOST ANYONE WHO DECIDED TO WHOLEHEARTEDLY DO THEIR OWN THING WITHOUT NEEDING EXTERNAL VALIDATION I FIND HUGELY INSPIRING. when I don’t run. I’m trying to not work on weekends and learning how to have faith in my voice when everyone else is saying differently.

My buddy James inspires me. He’s kind of quit the rat race and leads a humble life in Plett [Plettenberg Bay].

Almost anyone who decided to wholeheartedly do their own thing without needing external validation I find hugely inspiring.

My brother inspires me. His band The Kiff ness is doing very well. We both share a similar sense of humour and my Bru & Boegie characters sometimes relate to my brother and I. My folks inspire me; they’re both amazing people and very supporti ve of my brother and I.

Any last words on A Dogshow with Cat that you’d like our readers to know?

I recently emailed someone who runs a popular animation blog, wondering if he’d be interested in featuring A Dogshow with Cat. I briefl y explained how Bru & Boegie was taken off the table, and he replied: ‘…prett y much anyone who’s ever developed something for the big studios has a story like that. It’s a silly business dealing with execs, standards and practices, child psychologists, and all the other parties who make up children’s entertainment, but you’ve gott a play the game if you want in.’

It’s kind of what I know is the case, but was refreshing seeing it up on my screen like that. As a kid, I used to wonder why all the animation was so safe, that nobody was taking any risks. I now have some idea of the process.

However, I’m determined to still find ways of getting cool stuff up there without it being watered down too much – I know it’s possible and people have done it in the past.

I’m almost finished animating another Bru & Boegie short, and recently had a litt le success with an animated music video on my YouTube channel that generated some ad revenue (I’ve created animated music videos that have racked up millions of views on other channels, but I don’t see that ad revenue) so I’m considering doing a bit of a push on my indie stuff where I’d be able to see the fruits of that labour more directly.

During the ten years I’ve been in animation professionally, I’ve had various authority figures telling me variations of ‘don’t think too big’ or ‘that will never work’ and ‘it’s too risky’. Apart from that limited thinking, I’d be an idiot if I listened to them.

I’m very pleased at the various opportunities handed to me, and plan to make the most of them.

SPOTLIGHT / 09

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WHAT MARKETERS LOOK FOR IN AN AGENCY DURING A PITCH PROCESS

By Johanna McDowell

F

or any business worth its salt, it is hard to be influential unless that business makes a positive, lasting impression among potential clients who are looking at buying into their products or services.

It is the same for the marketing and advertising industry, where explaining what your company does in a short yet comprehensive way goes a long way to making a lasting impression and creating a “sale”.

The reality is that if you do not know how to describe your agency business in five minutes and are not clear on what you do, then marketers will also not be clear; thus an opportunity is wasted.

In many cases, where an agency has been given an opportunity to do a credentials presentation – many clients often leave having not quite

understood what the agency can do for them. This is frequently as a result of the agency focusing on what it does instead of what it could do for the client.

A savvy agency will do some desk research – using all of the tools that are available – in order to assess more about that client’s business activity before meeting them. Some insights about the client’s business and the industry in which they operate will make the difference between a relevant or irrelevant credentials presentation by the agency.

One of the services provided by the Independent Agency Search & Selection Company (IAS) is to help agencies improve their hit rates with prospective clients. The IAS will view the agency’s presentation and give feedback which could

make the difference between a win and a loss for that agency.

During the pitch process, what most marketers look for is an agency that is able to distinguish itself from the rest of its competitors, which makes it very important to elaborate on the authentic nature of the agency which will often be its key differentiating factor in the market place.

Marketers argue that many agencies say the same things over and over again and yet we know that every agency is different in their thought processes, ways of behaving and methods of understanding client business issues.

When marketers look for agencies to partner with, it is always going to be a highly competitive situation. In that type of environment, sometimes it’s the small things in the end that can make a big difference.

Production Music for Professionals representing over 60 international labels and African Planit, a South African Music Library.

Service is our first Priority.

DURING THE PITCH PROCESS, WHAT MOST MARKETERS LOOK FOR IS AN AGENCY THAT IS ABLE TO DISTINGUISH ITSELF FROM THE REST OF ITS COMPETITORS. ABOUT JOHANNA MCDOWELL Johanna McDowell counsels clients and agencies around expectations in the advertising, marketing process. She is CEO of the Independent Agency Search and Selection Company (IAS), a division of blackowned marketing services group Mazole Holdings.

VISIT US: www.synchromusic.co.za

10 / NEWS

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SA CANNES LIONS

2016 WINNERS South Africa has had an incredibly successful year at Cannes Lions International Festival of Creativity from 18-25 June. Here’s a look at the 2016 winners.

T

he 63rd Cannes Lions International Festival of Creativity took place between 18 and 25 June 2016 and saw South Africans bring home a whopping 58 wins – nearly double that of last year.

Sixteen of these were in the brand new Print and Publishing Lions category, while 33 were

ENTRANT

in the Radio Lions. South African agencies also brought home awards in the Promo and Activation Lions, the Outdoor Lions, the Health and Wellness Lions, the Media Lions, and the Design Lions categories.

Winning agencies from South Africa included Ogilvy & Mather, DDB South Africa,

GRAND PRIX CAMPAIGN

GOLD LION CAMPAIGN

FCB Africa, Native VML, Not Morm, Openco – the Open Collaboration – and TBWA/ Hunt Lascaris. Ogilvy & Mather featured prominently, making history with 11 Cannes Lions, while Native VML garnered 11 finalists along with Bronze, Silver and Gold Lions.

Velocity Films in Johannesburg

BRONZE LION BRONZE CAMPAIGN LION

1886 Johannesburg

3

DDB South Africa Johannesburg

2

1 1

Geometry Global Johannesburg

1

Ogilvy & Mather Johannesburg

3 3

6

Openco – The Open Collaboration Johannesburg

2

3 1 4

6

1

4

Velocity Films Johannesburg / Not Norm Cape Town

1

VML Cape Town

1

11 1 1

5 3

11

21 4

11

VML Johannesburg

TOTAL

3

1

5

TBWA\Hunt Lascaris Johannesburg

Total

SILVER LION

3

FCB Cape Town

Ogilvy & Mather Cape Town

SILVER LION CAMPAIGN

worked with Not Norm in Cape Town in Scouts SA’s ‘Learn it Young’ campaign, which won them a Bronze Lion in the Health and Wellness Category – the only film from the country to bring home an award.

Below is a summary of winners from South Africa.

2 5

17

6

19

2

58

Table Source: BizCommunity.com

WINNING AGENCIES FROM SOUTH AFRICA INCLUDED OGILVY & MATHER, DDB SOUTH AFRICA, FCB AFRICA, NATIVE VML, NOT MORM, OPENCO – THE OPEN COLLABORATION – AND TBWA/HUNT LASCARIS. OGILVY & MATHER FEATURED PROMINENTLY, MAKING HISTORY WITH 11 CANNES LIONS.

SPOTLIGHT / 11

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SEASON 1 OF TV SERIES

FRONTIER VETS AIRS ON SABC 3

Green Films Pty(Ltd) have announced the licensing of the first season of the 13 part TV series Frontier Vets to SABC 3.

T

he reality/documentary series follows eight young vet students who have to tackle the responsibility of running an animal clinic in an under-developed rural area on the border of the Kruger National Park.

It’s a coming of age story of personal and professional growth.

Under the guidance of Dr Greg Simpson, the student’s

patients will include dogs, cattle, elephant, lions and rhino. The animals represent the livelihoods of their owners and so the pressure is on the young students.

South African producer and director of the series, Jonty Acton, says they are delighted with the sale as, although it has already sold internationally, one of the main

reasons for making the series was to get the profession of veterinary science into the homes of South Africans.

South Africa is desperately short of vets. According to Acton, the series will highlight the exciting and rewarding nature of the profession in the hope that it will inspire young people to consider becoming veterinarians.

FAST FACTS: The series will air weekly on Saturdays at 11.30am on SABC3, starting on the 9th of July 2016. It will repeat on Thursdays at 9.30am.

More information can be found on: www.facebook.com/ Frontier-Vets-422025894486120 Season 2 of Frontier Vets is currently in development.

12 / FEATURE

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INSIGHTS

FROM EQUIPMENT RENTAL LEADERS Kim Crowie speaks to some of the leaders in South Africa’s rental sector to find out which film cameras are most popular in 2016, how they’re innovating, and where they’re headed in the future.

All images © Visual Impact. Bottom row: Digital Sputnik D range

MARIUS VAN STRAATEN, DIRECTOR, VISUAL IMPACT What are the top three cameras in your rental department?

The Sony FS7 is a great all-round 4K-capable workhorse with the most affordable 180fps slow motion available. We often find clients pair the FS7 with our Sony 7S or R. It is also often the second camera when the ARRI Alexa Mini goes out. The Sony PMW400 is our 2/3 of an inch reality TV go-to camera, with 4.2.2 recording at 50Mbs and all the outputs and codecs to satisfy international clients. It is easily integrated into

an OB van or fly away, multicamera kit with super reliable SxS cards to record to.

Which are the top camera lenses requested in your rentals?

The FUJINON Cabrio 19 to 90mm T2.9 lens has the best 4K glass, with a perfect combination of film style glass and a detachable ENG style hand grip with complete focus, zoom and iris control. Our wide range of Canon EF glass continues to do well, especially

wide zooms like the Canon 16-35mm. The Sony 7S and R with the Metabones adaptor and Canon EF lenses are firm favourites.

Tell us a bit about rentals and reality TV. What are the main things prospective clients need to know about using this kind of equipment and working in this genre?

We have provided the equipment on one of the largest reality TV shows called IAC (I’m a Celebrity).

The various i-TV countries were very happy with facilities and crew provided. We offer an affordable fly away, multicamera, non-OB Truck solution.

Our systems are fibre-integrated and we can run up to 10 kilometre distances with no signal loss as we did on IAC and a couple of smaller shows.

Any exciting rental product news our readers should know?

The most exciting news from us

FEATURE / 13

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is that Visual Impact has acquired some of the latest LED lighting technologies. Digital Sputnik offers complete RGB colour control on each light using a Wi-Fi enabled

device like an iPad or iPhone. In other words, you have complete brightness and colour control remotely of each light separately.

The power consumption is very

low, with a 4 000 watt equivalent LED lamp only drawing 400 watts.

The cost savings in terms of time and diesel generators is significant.

Another amazing offering is our

Velvet LED lamps which are waterproof and the Dracast range of LED Fresnel lamps provide tremendous light output on very little power and heat.

HENK GERMISHUYSEN, OWNER, PUMA VIDEO What are the top cameras that What are the top camera lead the rental pack? lenses requested in The ARRI Alexa is the flavour your rentals? at the moment – if your budget Just because of their allows. But these days, what affordability, the Canon is that?

DSLR lenses. With all the The Sony FS7 is a VERY adapters available and the popular model functioning in the way it interfaces with some commercial, documentary and cameras, it is a clear favourite.

TV drama space at the moment.

Then our Rokinon primes/ Then, speaking for what is Zeiss primes are very popular, trending in our shop, besides mainly more so because of the DSLRs, our Sony PXW 160s the cameras they work on. are proving very, very popular Finally, our new FUJINON Sheet Ad Halfused pg 07-16* 7/14/16 1:05 PM Page 1 are beginning to being on TV-reality, Zooms corporate and game shows. work quite nicely. One has

worked on a feature; they have done a few commercials and have been cross hired by other rental companies.

How has business been in 2015/16? What trends have you noticed?

Make no mistake, it is not easy at all, especially because there are (and have been) some underhand dealings taking place in the rental space. We stay away from that, focusing on what we have to do. Then we M two Y serious CM MY losses CY CMYdue K alsoC had

to theft – a first for us. So this been a tough 2015/16 for us.

In spite of that, I can truly say that I am satisfied with our performance this year. ITO trends, many operators and companies have bought their own cameras, resulting in us quoting on the accessories only. This year we have not done anything really differently.

We have a very solid current camera inventory and a strong lighting and grips component as well – so we are just grinding it out at the moment.

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The ARRI Alexa Mini © Panavision

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Rokinon Cine Primes © DV Info

The Sony FS7 camera

A selection of Panavision lenses © Panavision

NEIL DU TOIT, CEO, MEDIA FILM SERVICE What are the top three cameras in your rental department?

This season we have seen an increasing trend towards ARRI cameras. Our top three cameras in order: Alexa Mini, ARRI Amira, Alexa XT. The Phantom 4K is also very popular and is still the workhorse for shoots requiring high-speed capturing.

We have noticed that there has been an increasing number of commercials and music videos shot on Sony FS7 and Sony A7S cameras.

The ARRI Alexa Mini has been the most popular camera in the last year; the superlightweight carbon fibre body shooting 4:3 anamorphic and ARRIRAW makes this camera unbelievable to use. The ARRI Alexa Mini is the number one choice for gimbals, drones, Steadicam operators, car rigs and handheld operations.

The built-in ARRI Wireless receiver allows you to add up to three motors and control the lenses with your ARRI WCU-4 hand unit.

Upsampling to 4K (UHD) is just a click of a button in post, ensuring you have a beautiful deliverable for your client.

Shooting open gate ARRIRAW will use the entire sensor at 3.4k giving you an image area of 3414 x 2198 at up to 30 frames per second to the internal CFast 2.0 cards.

It is a very popular choice for clients wishing to shoot the best quality on 2 to 1 anamorphic lenses. The camera has built in wireless control. And it’s free.

The ARRI Amira cameras share the same architectural designs and workflows as the popular ARRI Alexa Mini camera except that this camera cannot shoot ARRIRAW, nor in anamorphic mode.

The onboard audio setup allows an external microphone to be plugged onto the camera and with a pair of bluetooth headphones connected to the camera, you are on your way.

The Phantom 4K Flex camera is the flagship of high-speed cameras. Like all the other cameras we own, this camera also has a PL mount lens system.

The captured data at 4096 x 2160 at up to 1 000 frames per second means that should you play back a 1 second clip of recording, it will take 40 seconds to view on your monitor at 25 frames per second. Shooting in HD you can achieve 3 000 frames per second.

The camera is very popular for explosion scenes, pouring of beverages and even sporting events.

The Phantom 4K Flex high-speed camera is here to stay, it will be a long time before anyone needs a better 4K high-speed camera.

What are the top camera lenses requested in your rentals?

As always, anamorphic is in favour, with the most requests at Media Film Service being the Hawk V-Lite lenses. With the Hawk V-Lite lenses in such high demand, we have supplied the Master Anamorphics as an alternative. We have noticed that the Cooke Anamorphic lenses are becoming a popular lens with the feature market.

In spherical, the Master Primes have been hugely popular, with the Cooke S4 lenses and lastly the bullet proof Zeiss T1.3 High Speed primes.

This year, lightweight short zooms for run and gun + “flight work” i.e. gimbals, Steadicam and drone work are popular, for example, 17-35 ARRI zoom, and Angenieux Optimo 15-40 zoom.

Lightweight Anamorphics for the same purpose were also in demand, for example, the Kowa Anamorphics primes. There is also a trend to shoot open gate on ARRI cameras, which makes lens selection limited and a challenge. This year we came up with a modified ARRI LMB 25 to be able to accommodate 4” circular dioptres in the tray system and still accommodating two trays for filters.

How has business been in 2015/16? What trends have you noticed?

The last season we have most certainly worked longer hours

and turned around much more projects than any other year in the history of the Media business.

In addition to the above cameras, the ARRI Wireless MK IV has become one of the soughtafter camera accessory. It’s paired perfectly to the Alexa Mini, but can be used with any of the other cameras housed at Media. Now that we have Cooke, Master, Optimo and Kowa anamorphic lenses, we were able to compete for and service many jobs.

Easy rigs are also in high demand, especially Vario 5 because you can change the tension to suit the weight and they also work with gimbals.

Any exciting rental product news our readers should know?

ARRI Rental introduced the Alexa 65 system, available exclusively through its global network of rental facilities. Media Film Service has already had the privilege of supplying two of the first handful of Alexa 65’s available worldwide.

The Alexa 65 camera is a scaled-up version of an Alexa XT (the 65 sensor has an active imaging area of 54.12mm x 25.58mm), able to capture an uncompressed ARRIRAW 65mm image of stunning intensity and definition. We at Media Film Service are proud to be associated with ARRI and supporting their continuing innovations and product developments.

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TONY EDDY, MANAGING DIRECTOR, PANAVISION What are the top three cameras in your rental department?

With the fairly recent addition of the Alexa Mini to add to the already-popular ARRI Alexa and Amira platform of cameras, we have seen this particular camera consistently requested on both commercials and features due to its compactness and versatility.

However the Alexa XTs and Amiras remain the staple alongside the newer RED Weapon and Epic cameras.

What are the top camera lenses requested in your rentals?

PANAVISION is renowned for excellence in glass and we continue to design and manufacture new ranges of both spherical and anamorphic lenses to cover the standard S35 formats and of course the bigger 65mm formats as well. The recently-launched

Primo 70 lenses are all equipped with internal motors and share lens data intelligence internally via the lens mount to the camera.

The Primo 70 range includes both prime and zoom lenses.

Apart from our own proprietary products, we ensure that we can offer an excellent choice of all the newest non-proprietary lensing as it is launched, The Cooke S4 and S5 I’s, The Leica Ranges including the Summicrom-C’s and SummilexC’s, All the latest Angeneiux Optimo zooms and in particular, the wider-angled zooms and the FUJINON Alura lightweight zooms to name but a few.

How has business been in 2015/16? What trends have you noticed?

We continue to see steady growth in our rentals business in South Africa as we have

done in previous years. Part of this may be attributable to the attractiveness of the continuing weakness in the SA Rand against the Euro/Dollar, but I believe that we must take ownership of this sustained growth path as a result of the local industry being able to continuously deliver an above-average experience to both local and specifically international producers with our ability to supply top equipment, excellent crews and an overall great shooting experience within Southern Africa.

In particular, at PANAVISION we are seeing a trend of equipment needs being tailored around tighter budgets and a more hit-and-run style of filming with more handheld and quick-setup types of work which dictates a particular trend of equipment requirements. Looking to 2016 and beyond, we expect TV series work to continue to increase,

as has been the worldwide trend, and we will be keeping our eyes open for changing equipment trends as the internet becomes a more acceptable platform on which to advertise.

Any exciting product news our readers should know?

PANAVISION has recently made public our development of a new proprietary high-resolution, large-format digital camera – the MILLENIUM DXL which will be optimised to work with our vast array of recently launched large format lenses including the System 65, Sphero 65 and the Super and Ultra Panavision 70 ranges. This camera will deliver 21 megapixels of true 4K anamorphic images and will have optimised 8K and 4K workflows embedded into the camera. Colour-Science soft ware management is by Light Iron.

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SPOTLIGHT ON

BROADCASTING

Kim Crowie speaks to some of the organisations innovating and moving SA’s broadcast landscape forward. with the migration from analogue to digital, but issues of internet connectivity continue to plague the region, hindering content development and dissemination.

That said, Africa still has heaps of potential. South Africa’s SABC launched a 90% local content policy in May which has been welcomed by the music industry in particular. Whether this will encourage more quality, local television productions in the long run remains to be seen.

QUIZZICAL PICTURES

The Lucky Specials is a fictional exploration of the TB epidemic, © Quizzical Pictures

A

picture says a thousand words, but these days, the quality of your picture is just as important as the story it tells. As broadcasters the world over have adjusted to HD, and are now breaking into the 4K arena, we will continue exploring new technology, new storytelling methods, and yes – new ways of navigating the beast we call television.

In this period of disruption, broadcasters are competing against multiple screens, online streaming platforms like Netflix, Amazon and the many African VOD platforms like Buni.tv, iROKOtv – not to mention telecoms also searching for a piece of the pie. Africa, too, has many challenges in this arena. Not only is the continent and South Africa in particular struggling

Quizzical Pictures has recently launched Fleet Street studios.

These can be rented on a dry hire basis or can be supplemented with equipment packages. As producers themselves Quizzical understand intimately the needs of productions under budget pressures. “Producers are looking for competitive pricing and great service, which we strive to provide”, says Geva. The studios have been busy: since their launch in September last year, over 200 episodes of a variety of shows have already been shot there.

These include the sitcom Those Who Can’t and Clover’s The Little

Big Cook Off for SABC 3 as well as reality shows for Via like Skoonma se Tong and Op die Spyskaart.

Besides the studios themselves, Quizzical has been working on a diverse slate of shows and films for broadcasters.

Doubt is a murder mystery on Mzansi Magic about a bride whose husband is arrested on their wedding day. SAFTAaward-winning drama Umlilo’s latest season is playing on eTV. Beyond the River, produced with Heartlines, is a buddy story set around the Duzi Canoe race.

The Lucky Specials is a fictional exploration of the TB epidemic, produced with Discovery Learning Alliance. The company has, through their new Fleet Street studios, produced literally hundreds of episodes in the last year, including Skoonma se Tong, Op die Spyskaart and Kook, Proe, Liefde. The studios are also available for rent, offering tailor made solutions.

According to Nimrod Geva, Head of Development at Quizzical Pictures, in order to stay ahead of the curve you need to constantly come up with fresh angles on universal stories filled with great

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characters. He believes that there are many ways in which to reach audiences in the twenty-first century, with digital TV playing a role in this. “Creators can get to their audiences directly and make stuff that is more personal or edgy. They won’t have to go through broadcasters. But the challenge is getting noticed in an ocean of user-generated content.

Broadcasters will have to stay relevant by boosting production values and creating enough buzz that viewers will want to be part of the conversation – witness Game of Thrones.”

When it comes to comparing South Africa and the continent’s commissioning structure, Geva says that from a producer’s perspective, the challenges are making a very different model work. “In SA, broadcasters generally pay 100% of the costs of making the show in a commission.

In the rest of Africa cashstrapped broadcasters generally sell their airtime and allow the buyer to sell the airtime on to advertisers to cover the costs of production. This means more risk but possibly more reward.

For licensing content are also lots and lots of small territories, so there’s a huge amount of legwork involved in getting those small fees to add up.”

SASANI STUDIOS

Sasani Studios is a world-class studio facility offering ten cutting-edge studios and digital control rooms, HD facilities and equipment for multiple

The Voice SA coaches: Lira, Karen, Kahn and Bobby. © M-Net

productions, and the newly completed Sasani Africa situated in Highlands North, Johannesburg.

The company has since its inception been home to a range of soap operas including Rhythm City, Scandal, 7de Laan, Isidingo, Muvhango and Tinsel, as well as more recent reality shows like Big Brother The Chase and The Voice SA. According to Eileen Sandrock and Riaan van Rooyen, Sasani Studios are currently seeing “volatile conditions in the market”.

This is chalked up to tight budgets and a number of new studio complexes giving them a healthy run for their money.

“In addition, the investment into HD technology is expensive and so typically we will design our solutions to our clients’ requirements, i.e. we secure the project prior to making the investment. The most recent investment was for The Voice, which has a very specific technical ‘Bible’,” says Sandrock.

Broadly speaking, the control room linked to The Voice includes the following: i. 12 x LDX Grass Valley cameras, which are top of the range, full HD, 1080i cameras. ii. Full control room equipped for the live environment with the capacity for up to 16 cameras. iii. Audio: digital audio desk (Including Madi, Dante and Fiber Stage Box I/O’s) iv. We record directly into file format, up to 12 video channels and 96 embedded audio channels v. The system is designed for collaborative editing on a shared storage system As one can imagine, the differences between hosting a soap opera and a music extravaganza are incomparable.

The technology and skills required are different. “The daily soap is a relentless train

that never stops for a breather, and a music extravaganza does have breathers, but when it is in production, it is massive.”

There are many challenges to broadcasting on the continent, says Riaan. Because Sasani is mainly a facilities-based company, their main challenges are the language barrier, broadcast specifications, and technical expertise of broadcasters in Africa – although this hasn’t stopped them from working on The Voice Angola as well as Portuguese and French content. “Infrastructure is currently still a challenge in Africa, but with investments currently being made in expanding fibre networks all over Africa I think access into Africa will become a lot easier. Mobile technology and second screen can be seen as a partner in broadcasting and not as competition. When used correctly it offers the viewer higher levels of engagement while keeping their attention on a specific subject.”

18 / SPOTLIGHT

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IBC 2016 PREVIEW Virtual Reality and all things broadcast - by Imogen Campbell.

T

he multifunctional exhibition location RAI Amsterdam will host the International Broadcasting Convention from 8 – 13 September 2016. The annual gathering is composed of a Conference, which starts a day ahead of the Exhibition component. It is designed to attract industry professionals worldwide, with programme streams comprising Content and Production, Platform Futures, Audiences and Advertising, Business Transformation, Advances in Technology and the IBC Big Screen Experience.

The theme this year is ‘Transformation in the Digital Era: Leadership, Strategy and Creativity in Media and Entertainment.’ Approximately 300 executives from companies like Netflix, the Foundry, Vevo and Spotify, amongst a bright and relevant line-up, are geared to expound on critical issues. Virtual reality, a topic of pivotal significance, will be tackled in an IBC masterclass, where some light will be shed on this exhilarating visual medium by presenters Dr Nick Lodge and Sol Rogers.

The organisers commented on the highlights of this year’s

programme as follows: “Virtual reality (VR) continues to grow as a major topic for our industry.

Our Future Zone will see leading edge technology including 360° cameras and headsets on display, while the conference has a series of VR-related speakers as part of a carefully curated programme linked to technology and content.

The overarching theme for IBC 2016 is transformation in the digital era. We will be looking at leadership strategy across the media and entertainment industry. The Future Zone will also feature the latest in screen technology – screens are getting larger, higher resolution, cheaper and of course feature HDR capabilities. 3D audio will also be a key attraction for the pro-sound community. IP will also feature heavily across the exhibition and conference streams, from business transformation to technology innovation. IP truly permeates everything, and people will leave IBC 2016 saying this was the year that IP became a reality. 3D audio will also be a key attraction for the pro-sound community.”

A number of keynote speakers will address attendees. Dominique Delport, the Global Managing Director of Havas Media Group

OUR FUTURE ZONE WILL SEE LEADING EDGE TECHNOLOGY INCLUDING 360° CAMERAS AND HEADSETS ON DISPLAY, WHILE THE CONFERENCE HAS A SERIES OF VR-RELATED SPEAKERS AS PART OF A CAREFULLY CURATED PROGRAMME LINKED TO TECHNOLOGY AND CONTENT.

SPOTLIGHT / 19

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and Chairman of Vivendi Content will opine on how the media landscape has changed and the impact thereof for traditional media companies. His experience encompasses guiding clients in how to respond to rapid development in technology.

Shahrzad Rafati, the Founder and CEO of BroadbandTV (involved in online video and the largest worldwide multi-platform network) is set to deliver an address about working across multiple platforms. She will espouse on creating partnerships, notably with Huffington Post, and touch on how the younger generation engages with technology and its possible impact for traditional media.

Vevo’s President and CEO, Erik Huggers will share research insights into how the online generation listens to music. He will also share how music is a strong driver for growth in streaming media.

Sir Martin Sorrell, a marketing

sage will elucidate the trends driving change in the media scene.

The exhibition extends over fifteen halls in the RAI and is set to host over 1 600 exhibitors.

These comprise exhibitors over the creation, management and delivery of electronic and media entertainment spectrum. The Future Zone is where leading projects from Research and Development laboratories and universities are showcased. It is also home to the renowned Posters, the peer-reviewed ideas chosen by the IBC Technical Papers Committee, chosen for relevance and their ability to jolt one’s imagination. IBC describes it as a portal to view their future direction rather than just a glimpse of the future.

The Technology in Action Theatre is free-to-attend industry case studies covering aspects of cloud, IP, production etc. The IBC Launch Pad, in its second year and reserved for first-time exhibitors, illuminates trend and exposes

attendees to new technology.

At the IBS Hackfest; hackers get together over a 48-hour period to brainstorm and build an idea, imbibed in an innovative space.

The Leader’s Event is an exclusive invitation-only occasion, with a format designed to provide a single day of high-powered discussion.

Additional facets include the free-to-attend IBC Rising Stars catering to young professionals yearning to make a mark in this profession. The centre-piece of IBC2016 and part of the Business Transformation Stream, the IBC Big Screen Experience features the very latest in cinema technology. This stream also hosts the Video on Demand debate entitled ‘Is the Future of Video Vertically Integrated.’ The debate is around whether models like Netflix and Amazon are the way forward in a world where it has been traditionally handled on a horizontally segmented business model. Experts will discuss the future of subscriber video-on-

demand and also the direction that this industry could be heading.

The IBC2016 Innovation Awards ceremony is scheduled for 11 September 2016. Trends emerging from work produced by the entrants include IP, 4K and OTT (Over-the-Top) content.

The awards are unique as its focus is the “application of the latest technology in the real-world”.

We asked the organisers why African broadcast industry professionals should attend the event and they responded as follows: “IBC is a unique international event. It’s very connected to the people that exhibit and attend and, as we move towards our 50th year in 2017, we remain willing to change and adapt to the evolving needs of the industry, and strive to be a trusted voice. IBC works hard to stay on the leading edge, encouraging people to think and discuss new technologies in an atmosphere that engenders grown-up debate.”

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LOERIES 2016

TAKES CREATIVITY TO A WHOLE NEW LEVEL Loeries® Creative Week™ takes place in Durban from 15 to 21August 2016, with a fresh programme that explores how creativity improves business, brands, the economy, and life.

Ali Ali speaking at the 2015 DStv Seminar of Creativity © The Loeries and Gallo Images.

T

he Loeries have long recognised creativity and innovation as vital tools for business and brand communication, and over the years they have championed the most fascinating and captivating African and Middle Eastern campaigns through their awards ceremonies. In 2016, a number of new categories have been added, not to mention a slew of engaging speakers, masterclasses, dinners and networking opportunities.

Taking place on Durban’s idyllic

beachfront from 15 to 21 August, the Loeries® Creative Week™ opens with Judging Week from Monday to Thursday, with the Loeries MasterClasses held on the Thursday, the core delegate days from Thursday to Sunday, and the award ceremony on the last two evenings of the event.

DSTV SEMINAR OF CREATIVITY

The DStv Seminar of Creativity will once again be part of the festival programme, taking place on the

mfundo mkhize - rendani mukheli - chris saunders - amy allais Our directors specialise in storytelling, across the spectrum from traditional TV Ads, to branded content, and on all platforms.

Contact Executive Producer Olivia Leitch on +27 11 447 6370 or info@olaalms.tv

19th. The 2016 Jury Presidents and speakers for this event are as eclectic as ever: Jimmy Smith, Chairman, CEO and CCO of Amusement Park in LA; Bridget Jung, Digital Creative Director at Marcel Sydney in Australia; Laura Jordan-Bambach, Creative Partner at Mr President in London; Debra Mallowah, VP: Personal Care at Unilever in Nairobi; Sarah Personette, VP: Global Business Marketing at Facebook in New York; and Marco Cremona, Google Creative Lab in Moscow, Russia.

This is a brilliant opportunity for agencies, marketers and brand communicators to connect and hear about the latest trends in the industry.

LOERIES MASTERCLASSES

A new introduction to this year’s event is the Loeries MasterClass series, taking place on the 18th at the Tsogo Sun Elangeni Hotel.

These interactive workshops are designed to inspire innovation and foster creative thinking. In addition to the stellar lineup and

the fact that some of them are free to attend; participants will also receive a Loeries MasterClass certificate of completion. Opening this series is comedian Donovan Goliath, who will speak on ‘Turning Ideas into Currency’, particularly aimed at junior or mid-level creatives and students.

“I’ll prett y much be telling my story as someone who worked in advertising for six years, left to become a stand-up comedian and started a franchise called GoliathandGoliath with three business partners,” Donovan explains, “I’ll be talking a lot about how I still can’t believe that people pay to hear to my crazy thoughts on stage.”

When asked what he’s most looking forward to at this year’s event, he says, “Definitely networking and being inspired by all the work. I think they should make me a judge. But not a serious judge. I’ll be an angry judge who just hates everything and talks rubbish. No? Ok. Looking forward to some of the other

SPOTLIGHT / 21

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MasterClasses as well. I think it’s gonna be a great learning and connecting environment.”

Other workshops on the MasterClass programme include Accenture’s ‘Design and Innovation’, Google’s ‘YouTube as a Creative Tool’, and the IAS MasterClass ‘Creativity vs Strategy with Mike Schalit’.

Other industry programmes are the PRISA National Conference from 17 to 18 August, and the MMA SA Mobile Marketing Leadership Forum on 18 August.

YOUTH A LOERIES FOCUS

The next generation of exceptional creatives is always just around the bend, and the Loeries have consistently invested in the future of brand communication. Now in its ninth year, the Adams & Adams Young Creatives Award celebrates extraordinary young talent in Africa and the Middle East by rewarding them with tled-2 7/7/16 2:50and PMaPage 1 R50 000 gold Loerie.

The Creative Future

Scholarship is also announced at the Loeries® Creative Week™ Durban, and is open to all KwaZulu-Natal-based learners in Grade 12 who dream of a future in the creative fields. Last year for the first time, the Loeries awarded five bursaries and scholarships with a total value of over R1million to KZN learners. The lucky recipients will study at the Vega School of Brand Leadership and Communication, and the Design School South Africa.

“It is so important for us to lead the conversation that creativity can transform young lives. This opportunity can lead to a successful career path and a bright future for school learners,” says Andrew Human, CEO of the Loeries.

FRINGE FESTIVAL AND NETWORKING HUBS

This year the Fringe Festival is back – an initiative that involves the city of Durban’s creative community. The Fringe Festival

IT IS SO IMPORTANT FOR US TO LEAD THE CONVERSATION THAT CREATIVITY CAN TRANSFORM YOUNG LIVES. gives local businesses, individuals and creative-related events the opportunity to make their mark on Durban with their own creative flair. From film and design to music, architecture, live entertainment and craft s, Durbanites are encouraged to captivate and ignite interest around their work through this event.

The Loeries have created some new networking hubs especially for delegates to connect with friends and colleagues throughout Creative Week. DStv Beach Café is a fun new hub on the beach at Circus Circus, Elangeni Patisserie offers some of the best cake in town, and Tall Ships Bar is CM stop!

MY CY CMY K theClast,M lateY late

THE CALLSHEET AT THE LOERIES The Callsheet will be present at the Loeries® Creative Week™ Durban once again in 2016, this time as an official media partner. We will be creating printed daily newspapers for Creative Week, with three print dailies and two digital news updates from 18-21 August. For more information on where you can find them, or to book your perfect position in the dailies, please contact Kerrin Beining on +27 (0)21 674 0646 or email kerrin@filmeventmedia.co.za.

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A CHAT WITH

ANDREW HUMAN

Andrew Human, CEO of The Loeries gives the low down on what to expect at this year’s Loeries® Creative Week™ Durban from 15 to 21 August. with over 3 100 entries. Entries from outside South Africa were also up, but most importantly the number of countries entering has grown.

This year we have 21 countries outside South Africa entering: Angola, Botswana, Egypt, Ghana, Israel, Jordan, Kenya, Kuwait, Lebanon, Mauritius, Mozambique, Namibia, Nigeria, Qatar, Saudi Arabia, Tanzania, Tunisia, Uganda, UAE, Zambia, and Zimbabwe.

Andrew Human © Gallo Images

Tell us a bit about the changes to the Loeries in 2016 and what motivated these improvements.

Loeries® Creative Week™ has become the main annual gathering for the brand communications industry in South Africa. While the awards ceremonies are still the highlight of the week, there are now many other events taking place. The MasterClasses are an example of an addition to the week adding opportunities to learn and be inspired. Another important element of Creative Week is the networking opportunities, and Durban offers a great platform for the Loeries as everything takes place in a very localised area along the Durban promenade. This year we’re introducing the DStv Café on the beach, and the Patisserie in the Elangeni foyer – adding

to all the other activities. So, whether by chance or design, you’re bound to bump into many friends and colleagues.

What was your reasoning behind adding the MasterClasses to Loeries® Creative Week™?

The MasterClasses offer a way to have smaller focused areas of interest, allowing delegates to choose what they want to attend. Compared to the DStv Seminar of Creativity with an audience of around 900 people, the MasterClasses focus on audiences from 20 to 60 people.

Was there an increase in submissions since 2015?

Where have the bulk of the entries come from?

Entries are up slightly this year

How do you maintain your energy and ability to innovate and recreate the same event each year with more excitement, creativity and vigour?

What’s your ‘secret sauce’?

The Loeries represents ‘creative excellence’ and we have to make sure that everything we do lives up to that goal. Perhaps the ‘secret sauce’ is to remain relevant and to be the most inspiring week of the year. Also it’s important to remember that everyone works very hard the whole year and this is a highlight for many people. It’s a chance to get away from your desk, let your hair down, and have some fun.

What important life lessons have you learned over the years you’ve organising the Loeries?

I think you can make things happen if you’re willing to push hard.

Mostly when you try something new, you’ll be given many reasons why it can’t be done. You have to overcome all those reasons and make it happen – and that’s when you achieve something a little special, sometimes.

What is your vision for the Loeries 10 years from now?

How do you picture the event and its impact in the future?

Creativity is in a great space, perhaps its best period for a long time. I hope that the Loeries will continue to grow as the primary advocate for the value that creativity adds. It should be a forum for inspiration as well as a measure and a standard for the best work being done. And I’d like to see the regional stature of the Loeries grow significantly so that it becomes equally relevant across the region.

Any last words?

Clearly, if you’re not in Durban for Creative Week, you’re in the wrong place.

YOU HAVE TO OVERCOME ALL THOSE REASONS AND MAKE IT HAPPEN – AND THAT’S WHEN YOU ACHIEVE SOMETHING A LITTLE SPECIAL, SOMETIMES.

A SCOUT’S HONOUR

In the face of stiff global competition, Velocity Films’ director, Gregg Bailey, waved the flag high for South Africa at the recent Cannes Lions International Festival of Creativity.

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can’t help but share.

Bailey will remember forever.

Africa

has

opportunity

arose

So, how do you show the lasting impact that training

Not Norm ECD

concept

that

Bailey

The

strength

of

the

as a Scout can have on someone’s life, in less than two minutes?

You show that the practical skills learned at Scouts are never forgotten – a powerful theme

that

Bailey

carries

through with his pared-down treatment of the commercial.

No voiceover, minimal onscreen text, imagery placed front and center... the weight of the message is carried by the idea behind it.

Scouts ‘Learn it young. Remember it forever.’ www.youtube.com/watch?v=rpMFkcSn5IM

helena@velocityfilms.com karen@velocityfilms.com | +27 21 424 4971 Gregg Bailey’s showreel | www.velocityfilms.com/bailey

www.velocityfilms.com

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LOERIES CREATIVE WEEK ®

™

DURBAN PROGRAMME

The Loeries are the premier awards for brand communication in Africa and the Middle East. Here’s a look at what you can expect at this year’s Creative Week Durban from 15-21 August 2016.

JUDGING WEEK: MONDAY, 15 AUGUST - THURSDAY, 18 AUGUST Loeries® Creative Week™ Durban kicks off with the 2016 judging that will be taking place from 15 - 18 August at the Durban International Convention Centre (ICC). Judges include panels of South African and International industry leaders. Please note: access to Judging Week is limited.

PRISA NATIONAL CONFERENCE: WEDNESDAY, 17 AUGUST

- THURSDAY, 18 AUGUST

The Public Relations Institute of Southern Africa will be hosting a two-day conference at the Tsogo Sun Elangeni Hotel from 17 – 18 August.

LOERIES EXPO & REGISTRATION: THURSDAY, 18 AUGUST - FRIDAY, 19 AUGUST

The Creative Week Expo includes many top brands and forms part of registration at the Durban ICC.

LOERIES MASTERCLASSES: THURSDAY, 18 AUGUST This year we introduce learning

in the form of the Loeries MasterClasses. These are a series of interactive workshops designed to inspire innovation and foster creative thinking.

The DStv Seminar of Creativity will be held at the Durban ICC on Friday, 19 August.

The seminar is an unmissable opportunity to hear industry leaders from across the globe.

MMA SA MOBILE MARKETING ADAMS & ADAMS STUDENT LEADERSHIP FORUM: PORTFOLIO DAY: THURSDAY, 18 AUGUST The MMA SA Forum is a FRIDAY, 19 AUGUST fantastic opportunity to hear about transforming marketing through mobile at the Tsogo Elangeni Hotel on 18 August.

DSTV SEMINAR OF CREATIVITY 2016: FRIDAY, 19 AUGUST

A once-a-year opportunity to meet our most talented students and future industry leaders – all in one room! Selected students from SA’s top tertiary institutions display their best work to the industry at the Durban ICC.

KAYOS CASTING DIRECTORS At Kayos Casting Directors we are passionate about making sure that everyone we work with looks good.

It’s that simple and is what still drives us after nearly 20 years of casting. Contact Monique Murray or Kay Price-Lindsay.

T: +27 21 462 6353 C: +27 84 4571341 E: monique@kayos.co.za W: www.kayos.co.za Adams & Adams Student Portfolio Day © The Loeries & Gallo Images.

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THE AWARDS CEREMONIES WILL BE HELD ON SATURDAY 20 AUGUST AND SUNDAY 21 AUGUST, AT THE DURBAN ICC. CHAIRMAN’S PARTY BROUGHT TO YOU BY YFM: FRIDAY, 19 AUGUST

Brought to you by YFM, the legendary Chairman’s Party can’t be missed on Friday, 19 August.

MMA SMARTIES: FRIDAY, 19 AUGUST

The MMA SMARTIES is the only global awards programme created specifically to recognise best-in-class mobile marketing campaigns from around the world.

UNILEVER BRUNCH: SATURDAY, 20 AUGUST

Rub shoulders with the who’s who of the industry on Saturday 20th August. For VIP delegates and invited guests.

THE AWARDS: SATURDAY, 20 AUGUST AND SUNDAY, 21 AUGUST

The awards ceremonies will be held on Saturday 20 August and Sunday 21 August, at the Durban ICC. Doors open at 17h30 and

the last entry will be at 18h30.

The dress code is Black Tie. Cocktails and snacks will be served prior to the awards and the bar will be open afterwards.

THE SATURDAY NIGHT PARTY: SATURDAY, 20 AUGUST The official Saturday Night Party is to be on the Beach – by invitation only.

Red Carpet, Pre & Post Awards © 2015 Loerie Awards & Gallo Images

CHANNEL O PARTY: SUNDAY, 21 AUGUST

The culmination of Loeries® Creati ve Week™ Durban will include a stellar line-up of DJ’s that will be playing for Loeries guests and delegates on Sunday, 21 August.

I HEART LOERIES MARKET: SUNDAY, 21 AUGUST The Loeries brings Durban’s best craft market to the beach, curated by the I Heart Market.

For more information on Loeries® Creative Week™ go to www.loeries.com

2015 Loeries, DStv Seminar of Creativity © 2015 Loerie Awards

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CALL FOR MICRO BUDGET

FILM PROGRAMME SUBMISSIONS 2016/17

T

he Durban Film Office is calling for submissions for micro-budget films for its 2016/2017 cycle.

Now on its third year, the Micro-budget Film Programme aims to support local emerging filmmakers and encourage the production of content in order to stimulate the local film industry. The programme seeks to develop a local model and brand of low budget film-making that is cost-effective, practical

and commercially viable. The Durban Film Office defines ‘emerging’ filmmaker as having acquired some experience producing a work which has earned industry or public attention, and is aspiring to write, direct or produce feature film length works.

The Micro-budget Film Programme offers R150 000 for production of a feature length film. The programme specifically targets fiction

feature projects, and will run for a period of 12 months with an aim of producing five micro budget films per year.

Please download application forms from our website www. durbanfilmoffice.com. The Micro-budget Film Programme factsheet is also available on the website to assist you, with regard to evaluation criteria, contractual agreements, funding drawdowns, etc.

Project submissions must

be delivered to: Durban Film Office, 11th Floor Rennie House, 41 Margaret Mncadi Avenue Durban No emailed submissions will be accepted. For more information, please contact: Sibongiseni Shangase or Nosipho Hlophe on 031 311 4788 or email Sibongiseni. shangase@durban.gov.za or nosipho.hlophe@durban.gov.za.

Submission deadline 31 August 2016.

CALL FOR NATIONAL BURSARY

APPLICATIONS T

he National Film & Video Foundation (NFVF) is a statutory body mandated to spearhead the equitable growth and development of the SA film and video industry.

The NFVF’s bursary programme is aimed at stimulating and developing skills for applicants who want to enter the film and TV industry.

The bursaries are awarded to qualifying applicants who are studying or intending to study towards any qualification in the film and television industry at any accredited South

African tertiary institution.

Live Performance or Acting diplomas/degrees are excluded.

QUALIFYING CRITERIA

An applicant must: • Be a South African citizen • Have a good academic record • Demonstrate a need for financial assistance • Registered or provisionally registered to study for a full-time undergraduate or postgraduate diploma or degree in film/TV disciplines at an accredited South

African tertiary institution.

Preference will be given to students enrolled at public tertiary institutions.

Applications must be accompanied by a detailed motivation why the applicant must be awarded a bursary together with all the certified copies of supporting documents indicated in the application form.

Applications will not be considered if: • The application form is incomplete or wrong information is provided • Supporting documents are missing or not certified Applications sent via fax or email will not be considered.

Deadline for applications: 31 August 2016 at midnight.

HOW TO APPLY

For any queries on the application process and qualifying criteria, please email Lebohang Khunou at lebohang@nfvf.co.za

Complete an online national bursary application form available on the website, www.nfvf. co.za or nfvf.praxisgms.co.za.

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SPORT, RECREATION AND ENTERTAINMENT

INSURANCE BROKING A

on specialises in insurance covers for the Sport, Recreation and Entertainment (SRE) sectors. Innovative, custom-made insurance solutions including Film Production insurance, Weatherday or Crew and Cast Personal Accident insurance are needed to cover the unique risks facing clients in this dynamic sector.

Properly-scoped policy wordings and guidance provided by a specialist and experienced broker are essential to ensure that when risks arise, the financial consequences to the production, concert, event or sporting tournament do not come to an abrupt end.

ABOUT AON

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Through its more than 72 000 colleagues worldwide, Aon unites to empower results for clients in over 120 countries via innovative and effective risk and people solutions and through industryleading global resources and technical expertise. Aon has been repeatedly named as the world’s best broker, best insurance intermediary, reinsurance intermediary,

captives’ manager and best employee-benefits consulting firm by multiple industry sources.

Visit www.aon.com for more information on Aon and www.aon. com/manchesterunited to learn about Aon’s global partnership with Manchester United.

ABOUT AON SOUTH AFRICA

Aon South Africa is a leading provider of risk management, insurance and reinsurance brokerage, and human resources solutions and outsourcing services. Aon Empowers Results through over 700 colleagues in 14 offices in South Africa with its head office in Sandton, Johannesburg.

Dani Ettridge, Business Unit Manager: Sport, Recreation & Entertainment Division

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T: +27 11 944 7412 E: info@aon.co.za

Focus on production, we’ll take care of the risks We will formulate innovative, custom made insurance solutions catering to unique production risks for Feature Films, Film Producers, TV Commercials, Weatherday and Personal Accident cover for your crew and cast.

Partner with Aon to Empower Results for your Film and Advertising business, call +27 11 944 7412 or visit www.aon.co.za Aon South Africa (Pty) Ltd is an Authorised Financial Services Provider (FSP #20555).

Risk. Reinsurance. Human Resources.

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AFRICAN ZOMBIES? YES PLEASE!

Director Howard Fyvie and Producer/Actor Gregory Kriek tell all on Last Ones Out – Africa’s first zombie film made on an unbelievable budget of R50 000.

Howard James Fyvie and Greg Kriek at Durban FilmMart 2016.

D

irector Howard Fyvie and Producer and Actor Gregory Kriek have taken the microbudget to new heights with the creation of Last Ones Out – an African zombie film made on an incredibly low budget of fiftythousand smackers. You heard us.

R50 000. But despite the obvious setbacks to creating a visually engaging, arthouse zombie drama at that price, they’re some of the happiest people around. Not only have they done what they loved without having to wait on finances to accumulate – something that can take years – but they’ve also managed to inspire South African and international filmmakers with their story.

“It’s almost like the story behind

Last Ones Out is about taking what we’ve got and inspiring other filmmakers and ourselves to go out there,” says Howard. “We’re not the only ones. Jenna Bass did that last year when she made Love the One You Love also on no budget and it did really well and that’s cool. We need more of that; we need everyone to be doing that!”

“What’s been interesting is getting feedback and how the film has morphed even in the postproduction process,” Greg adds.

“We had tests and screenings with friends and industry professionals and incorporated their feedback – which even led to a pick up day or two, which is crucial in terms of just finishing off. I love the fact that we were open-

minded about it and did what we could given the resources.”

Last Ones Out stars Gregory Kriek (Momentum, n Man Soos My Pa), Christia Visser (Hollywood in My Huis, Alison, Tess) and veteran performer Tshamano Sebe. It is hailed as the first zombie movie made in Africa for Africa. The story follows Henry, a cynical American stranded in the middle of a zombie-infected Africa.

He must trust the help of three strangers as they attempt to make it to the evacuation point on time.

The production was chosen by the NFVF to represent South Africa at the Cannes Film Festival market in 2015, which Kriek says was a milestone moment. “Cannes was beautiful to see the world at play, to see the whole world market coming to life in front of our eyes.” He says it was humbling seeing how small South Africa is in the grand scheme of things, but also inspiring to see a marketplace for everything under the sun from films and packages to sales agencies, distributors and more.

“I think creativity breeds creativity, and being in that culture and seeing people actually doing it was awesome for me. The myth of what the film industry is was debunked, in the sense that for many people, filmmaking is an elusive industry that’s exclusively for the select few. In many ways, sometimes yes, but in other ways, this is an industry of trade professionals, and we have to get with the programme.”

Fyvie adds that there were many posers, but it was still worth attending. “I would say that every filmmaker has to go to Cannes at

least once. It’s like a Mecca of filmmaking, and you’ve got to take that pilgrimage. It really grows you up, it inspires you and it devastates you at the same time.”

The two have jumped through some crazy hoops to take this film to completion, from an incredibly tight shoot schedule to some difficult locations and harrowing moments. But it’s all paid off.

Last Ones Out had its premiere at Durban International Film Festival this year, and will have a theatrical release if all goes well.

Of the overall experience Gregory says: “It was such an authentic South African cast and crew literally representing the whole country – it was incredible.

I felt like on a micro level, this is how SA could actually function.

It was such a power team. I’ve worked on big productions and sets, but nothing has compared to the ethos and the team spirit that we had on Last Ones Out. I’ve got to be honest.

Money can’t buy you that.”

I LOVE THE FACT THAT WE WERE OPEN-MINDED ABOUT IT AND DID WHAT WE COULD GIVEN THE RESOURCES.

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WONDER BOY

FOR PRESIDENT A RIOT OF LAUGHS If ever there was a reason to laugh at South African political shenanigans, now would be the time. Kim Crowie explores the zany world of Wonder Boy. *Spoiler Alert*

I

never thought that one day I would seriously consider the prospect of a comedian as a presidential candidate. But after watching Wonder Boy for President, a film written, directed and produced by John Barker and Kagiso Lediga, that might actually become a reality. Their filmmaking techniques were nothing short of insane, and they managed to pull it off with style.

Here are the basics: Lediga is Wonder Boy, a mythical leader who emerges from the depths of the Indian Ocean in

the Eastern Cape. A charismatic young man who is popular with the people, he is coerced into politics by two dubious, corrupt ANC officials, Brutus (Tony B Miyambo) and Shakes (Ntobeko Ntosh Madlingozi). Things soon go haywire when they realise he’s a bit too honest for their liking – not to mention his absolutely horrifying love affair with DA Youth League leader Mbale Sithole (Thishiwe Ziqubu).

The film’s creation is just as incredible and satirically charged as the storyline. Taking the form of

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a mockumentary, Wonder Boy for President used guerrilla film tactics to create a cocoon of reality for viewers. It was shot over five years, and includes an assassination scene that piggybacked on an actual ANC rally at the FNB stadium with 90 000 people, a retinue of the country’s leaders, and, of course, Kagiso making his now almost infamous three-finger Wonder Boy sign to tens of thousands of slightly confused and unsuspecting onlookers. It includes ‘cameos’ from Zille, Zuma, Maimane, Malema, Zapiro, Ramaphosa and many

of South Africa’s political giants, and overall is a very intelligent and roaringly funny look at how absurd our government can be.

Many of SA’s comedic talents were involved in this production in some way or another – Loyiso Gola, Lara Lipschitz, and even Tell Me Sweet Something’s Akin Otomoso. This is an impressive labour of love that manages to coax the laughs out while getting under your skin in the best way possible.

It’s a film I like to call a ‘Napoleon Dynamite’: you’ll either love it, or hate it completely. And I loved it.

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REALNESS GETS UNDERWAY REALNESS African Screenwriters Residency began its first leg in Durban this June. Here are the basics on what the future of African cinema will look like.

U

rucu Media, under the mentorship of Berlinale Talents, in partnership with Nirox Foundation, Durban FilmMart, Restless Talent Management, The French Institute of South Africa and Institute Français’ Cinémas Du Monde, Torino Film lab, EAVE and World Cinema Fund, opened REALNESS during the week of Durban FilmMart in June of this year. Under the auspices of Elias Ribiero, Owner of Urucu Media and Cait Pansegrouw, one of the residency organisers, the five writers will be mentored by local and international industry professionals over seven weeks which began at Durban

FilmMart in June and culminates at the Nirox artists residency in the Cradle of Humankind.

The screenwriter’s residency aims at fostering a new generation of African cinema.

After carefully evaluating 175 projects from 29 countries in Africa, five writers/directors were chosen for the residency where they will develop a new draft of their original feature screenplays: Luck Razanajaona, Amirah Tajdin, Wim Steytler, Sheetal Magan, and Hiwot Adamasu.

According to Elias, although this is their first annual residency, they hope to continue fostering young talent in years to come.

He invites industry professionals,

corporates and organisations who want to get involved to get in touch and join as sponsors.

THE SCREENPLAYS DISCO AFRICA – LUCK RAZANAJAONA (MADAGASCAR)

Disco Africa follows 25-yearold Kwame who works as a clandestine sapphire extractor in Madagascar. After contracting a lung infection, he returns home where he discovers his father’s old records combining various West African 70’s Afrobeat artists. Through these snippets of the past he learns about his dad’s hopes, dreams and values – taking him on a journey he does not expect.

HAWA HAWAII – AMIRAH TAJDIN (KENYA)

Hamedi is a Swahili wedding singer with a deeply fractured relationship with his mother.

Not only is he a wedding singer, but he also performs in drag as his alter ego, Hawa Hawaii – a character inspired by Bollywood sirens. The story takes place over his mother’s last seven days alive, where Hamedi painfully finds closure from the hurt he’s been running away from his whole life.

UITLANDER – WIM STEYTLER (SOUTH AFRICA) Realness Writers at Durban FilmMart © Image courtesy of Cait Pansegrouw

Uys is a misfit South African farmer and closet intellectual.

After a tragic hunting accident,

he is blamed for his best friend’s death and is ostracised by his small-town community. While at his lowest, he finds friendship in a mysterious French New Age couple. Panic ensues in this pseudo-thriller when the French couple violently turn on him and he is drawn into a destructi ve killing spree.

THE DAY AND NIGHT OF BRAHMA – SHEETAL MAGAN (SOUTH AFRICA)

Told from the perspecti ve of an unborn child, The Day and Night of Brahma draws one into the inner world of a modern Indian couple whose first pregnancy marks a descent into deeper questions of love and selfsacrifice. As their relationship threatens to implode under social pressures, secular and traditional issues, and Gita’s batt le with mental health, we are invited to witness the remarkable fragilities of human life.

A FOOL GOD – HIWOT ADAMASU (ETHIOPIA)

Eleven-year-old Mesi lives with her grandmother, litt le brother and sick mom. One morning out of desperation to save her mother she performs a ceremony that requires slaughtering a hen. Because traditionally only men can perform these spiritual rituals, her grandmother holds her responsible for her mother’s subsequent death and Mesi’s escape from blame leads her to form an unlikely friendship.

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I SEA SCANDAL AT CANNES LIONS

Grey Singapore caught in Cannes Lions award debacle.

PR

refugee crises earlier this year.

“This isn’t someone passing out at Cannes from to [sic] much Champagne, this is no joke. It was a human life lost for the most tragic of reasons. Hope of a better life,” he continued. “And Grey won an award off the back of this. Did the champagne and caviar have a salty taste as you celebrated your win? Imagine the salt consumed by people drowning... A truly horrid way to die. And how many died while you partied away in Cannes?

Hundreds, thousands?”

Bullock, who has worked in senior marketing roles at Wall Street Journal Asia, WWF, Motorola and Cathay Pacific, raised the point that the I SEA app had not gained clearance from the client.

It had also not produced a working version effecti ve in identifying stranded refugees.

“A test app. That is what you called it. Except you didn’t. You had no approval from the charity you proposed it came from. You had no working version that you submitted. Tell me, how do

Syrian and Iraq refugees arrive in Greece © Ggia via Wikimedia Commons

you look your clients in the eye when you pitch?” Bullock wrote.

He added that perhaps it was the pressure of clients who walk into agencies and always look towards the shelf of awards, taking “comfort from knowing that you are successful at what you do.” He then went on to explain that this is one example of an “open secret” that has been going on for years. “Cannes has cancer,” he said, “Time to cut it out and let us hope we can

recover. There is so much good work, both commercial and CSR that we should highlight.

And rightly so. But by not taking back this award, the jury, organisers and attendees of Cannes are as implicit in this disgraceful entry as the person who decided to submit this so called app for the award in the first place. Change will only come if we the clients and fellow creati ve agencies take a stand against this.”

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T

he internet erupted in disgust on 5 July 2016 after a Senior Marketer’s open letter to Grey Singapore and Grey Global regarding their Cannes Lions win went viral. The award-winning app I SEA, which was marketed as a new way to save stranded Mediterranean refugees, was exposed as fake.

In an open letter to Grey published on LinkedIn, Ali Bullock, Global Senior Manager, Sponsorship and Social Media for Hong Kong-based Formula One team Infiniti, said he would not “entertain a pitch, submission or award” from the agency until the company returns the award that it won for the controversial I SEA app.

“This is something that I feel cannot be ignored. I held back on writing this post for a few days in the hope that (Grey Singapore) might do the right thing and return the award they falsely won. Alas my initial disgust has now turned to anger,” he wrote.

He then asked readers to take a long, hard look at an image of a child who drowned during the

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Urucu Media presents Necktie Youth , a film by Sibs Shongwe La-Mer. Produced by Elias Ribeiro and John Trengove © Hanro Havenga

NFVF HIGHLIGHTS 2016/2017 T

he NFVF will play an important role in promoting social cohesion and correcting imbalances of the past which include audience development and accurate representation of their proud history.

It will for this reason concentrate on funding the development and production of films of historical significance: • Two documentaries for the 40th anniversary of the Soweto Uprising, • Two documentaries for the 60th anniversary of the Women’s march.

It will also embark on a nationwide public screening campaign during significant

historical months as follows: • June, which is Youth month, • August, which is Women’s month, • December, to celebrate the 20th anniversary of the promulgation of the Constitution.

TRANSFORMATION

The NFVF addresses this issue within the film sector by ensuring reallocation of resources in the budget so as to increase funding for Emerging Black Filmmakers in partnership with the IDC. More resources will be allocated to tier 3 filmmakers. The intervention is geared towards first-time filmmakers and not limited to filmschool graduates from historically disadvantaged backgrounds.

ENTERPRISE DEVELOPMENT PROGRAMME This year will see the NFVF support four Black-owned production companies over a 3-year period as part of this programme.

WOMEN AND YOUTH FILMMAKERS

• The NFVF will continue its support of this important group. The project has seen 20 films produced each by young and women filmmakers.

It has concluded a deal with the SABC to screen these films during Youth and Women’s months.

• It will continue its partnership with the MICT-Seta and will place 80 interns at

various broadcasters, film commissions and production houses across the country.

The NFVF will commission a research study to assess the economic impact of the film industry in South Africa as a follow-up to the Economic Baseline Study conducted in 2012.

As per the foreword by the Chairperson of the Council, Mmabatho Ramagoshi, the NFVF continues to successfully deliver on its mandate by addressing the imbalances of the past. They will also continue to globally position the SA film industry and improve their policies through research conducted on a regular basis.

The issue of transformation remains a concern in the industry.

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STRATEGIC OVERVIEW

The first films created under the Female Filmmaker Project have been screened by SABC 1 to a wider audience reception. The NFVF has moved into the second year of the Youth Filmmaker and the Female Filmmaker Projects, thus creating more viable products ready for broadcast.

The NFVF has continued the successful partnership with MICT-Seta which placed 50 interns successfully and awarded 55 additional bursaries for film-related studies. The NFVF has strengthened its partnership with the KZN Film Commission on its SEDIBA Scriptwriting Programme and Youth Filmmaker Project.

PROGRAMME PERFORMANCE ENVIRONMENT: The NFVF conducted a Transformation study – findings confirmed a number of challenges being experienced by the film industry in SA as follows: • Government policies have influenced the development of the SA film industry, i.e. policies crafted had a positive impact by directing transformation in the film industry.

• Companies that have embarked on transformation initiatives noted that they are unable to achieve actual transformation and insisted that support from the Government is crucial to enhance genuine transformation in the industry.

• Strides have been made to provide opportunities to people who were disadvantaged especially women. However, there is still more to be done in order to ensure women are able to compete fairly as the industry is still maledominated at all levels.

• The industry is still perceived to be white, male-dominated and it was not easy for the previously disadvantaged groups to compete with them because of the experience and resources that they have.

SKILLS DEVELOPMENT AND TRAINING

The major skills gaps as identified by the NFVF continue to hinder the industry from sourcing adequate and alternative financing resources and/or models to produce films that could perform locally and internationally while providing audiences with engaging and entertaining content.

These gaps are dominant in screenwriting, directing and exclusive producing particularly in the PDI communities.

The NFVF will continue to increase the number of projects it supports in development to allow for a better ratio between development and production which remains too low. The ideal number would be 10 scripts developed for every one film produced. This would ensure that only the best projects come to fruition.

This increase is an important step in the right direction.

The NFVF has adopted a 3-tier approach to the financing of both development and production. Tier 1 targets experienced filmmakers who have a track-record of developing and producing films. Tier 2 targets filmmakers with limited experience in the industry, but who have developed and produced television fiction, documentaries and commercials seeking to venture into featurefilm development and production.

Tier 3 targets new entrants into the industry, particularly recent film-school graduates from historically disadvantaged backgrounds. This intervention will enable first time filmmakers to have a gateway into the industry.

By securing funding partnerships with other government departments and entities, the NFVF will leverage its position with regard to projects budgeted between R5m – R7m and ensure that such projects secure as much of the upfront funding as possible.

MARKETING AND DISTRIBUTION

Central to the successful growth of the South African film and television industry is the increase in demand and growth of local audiences through increasing loyalty for the South African film brand and creating new markets for SA film content.

The strategic objectives of marketing and distribution include: • Increased awareness of the South African film industry • Develop and maintain positive stakeholder relations • Increased awareness of NFVF programmes for the film industry • Increased access to SA film content to local audiences, • Promote and position SA film industry opportunities locally and globally.

Some notable budgetary information according to Annexure A: • Necktie Youth has been allocated R66 400 for Marketing and Distribution Projects.

• Durban International Film Festival has been allocated R1 500 000 for festival funding in this financial year, followed

by Encounters at R959 000.

• Training Providers were allocated R360 112 as follows: 1. Writer’s Guild of South Africa – R70 000 2. Documentary Filmmaker’s Association – R290 112.

PRODUCTION AND DEVELOPMENT OF CONTENT Production and development of content is at the core of the work the NFVF engages in. While the quantity of films produced locally is a decisive factor in the growth and sustainability of the film industry, the quality of films is also important in order to ensure widespread distribution to a loyal market. Feature films, documentaries, short films and television concepts are all considered for development and production funding.

COMPANIES THAT HAVE EMBARKED ON TRANSFORMATION INITIATIVES NOTED THAT THEY ARE UNABLE TO ACHIEVE ACTUAL TRANSFORMATION AND INSISTED THAT SUPPORT FROM THE GOVERNMENT IS CRUCIAL TO ENHANCE GENUINE TRANSFORMATION IN THE INDUSTRY.

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Sombrero Caota, Benguela Angola © F. Mira, flickr

ANGOLA

Imogen Campbell investigates a filmmaking community hallmarked by regeneration.

Luanda Skyline from the Fortaleza de Sao Miguel © David Stanley

A

ngola is one the largest countries by area in the world with a ranking 23rd globally. It is slightly larger than South Africa (25th) and second-biggest oil producer in Africa behind Nigeria. Located in Southern Africa, it is bordered

by Namibia in the south; the Democratic Republic of the Congo in the north, Zambia is in the east and the Atlantic Coast borders it on the west.

The country, formerly colonised by the Portuguese, was torn apart by a longrunning civil war which ended in 2002 and has since been experiencing an economic boom characterised by much development and rebuilding.

The country has not yet hosted major international blockbuster film productions. It has, however, produced documentaries and some films, mostly international co-productions. The nascent industry is hamstrung by a lack of financing as well as skills and training. Angola’s cinematic fortunes are perfectly illustrated in its cinemas; some remain in ruins and others, though restored, are used for other purposes including convening political commissions. The Cine Atlântico, still in use, hosts the annual Luanda International Film Festival.

Death Metal Angola, a film capturing the resonant Angolan anguish reverberating in the hard-core musician’s work, depicts

his quest to organise the first national rock concert. The 2016 Berlin International Film Festival featured the Portuguese movie Cartas da Guerra. It was shot in Angola provinces and also starred local actors Orlando Sérgio and David Caracol. Zézé Gamboa’s film The Hero won the World Cinema Dramatic Jury Prize of the 2005 Sundance Film Festival. It was a fusion of European technical skill and African storytelling. Pablo Cesar’s film, God of Water, is an Argentina-Angola co-production.

Njinga: Queen of Angola was also shot in Angola and Portugal.

The production company Semba Comunicação acquired the film.

It has also been reported that aspirant Angolan filmmakers

make films Nollywood-style.

The Angolan government has been directing funding towards the television industry. The hit television Lusophone-inspired soap opera Windeck is shot in Angola; produced by Semba Comunicação and nominated at the 2013 International Emmy Awards telenovela category. Facilities for TV programmes include the Camama Production Centre owned by the Angolan Public Television (TPA) as well as TV Zimbo.

There are still remnants of the war in the guise of ruins and communities mired in poverty.

A fixer needs to navigate around all the potential pitfalls. Remi Morawski, owner of Emerge

LOCATION SPOTLIGHT / 35

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CLIMATE: The climate around Luanda is moderately tropical. Angola has distinct rainy and dry season. The climate varies according to latitude and altitude with the cool Bengula Current tempering the coast.

Average Min and Max Temperatures in Luanda, Angola 40°C 25°C 0°C

Jan

Feb

Mar Apr May Jun

Max temp

Jul

Aug Sep

Oct Nov Dec

Min temp © www.weather-and-climate.com

Average Monthly Hours of Sunshine in Luanda, Angola 300hrs 150hrs 0hrs

Jan

Feb

Mar Apr May Jun

Jul

Aug Sep

Oct Nov Dec

© www.weather-and-climate.com

GETTING THERE BY AIR: The major hub servicing Angola is Quatro de Fevereiro International Airport in Luanda. The major airlines are as follows: • South African Airways • TAAG Angola Airlines • Ethiopian Airlines • Air Namibia • Kenya Airways

POPULATION 19,625,353 (Source: World Fact Book);

Njinga , Rainha de Angola © Semba Conumicacao

Film Solutions commented on Angola’s biggest drawcards and the sort of scenes a prospective filmmaker would be inspired to shoot in Angola. He said: “It’s usually a specific subject matter that brings visiting productions to Angola. Locations of note include Miradouro da Lua, Kalandula Waterfalls, Quiçama National Park, Mussulo Island, and the capital Luanda. Angola is the source of the Okavango Delta.”

He said that Emerge Film Solutions receives a range of enquiries for shoots in Angola covering a diversity of subjects such as wildlife parks, the oil industry, Angola’s relationship with China, land-mine clearing, as well as the bushmeat and ivory trade, Angolan dance forms and rock climbing, to name a few. Most recently they arranged production services for Oracle and CNN.

CONTACTS: Embassy of Angola in South Africa Tel: 012 342 0049/50 Website: www.angolanembassy.org

FIXERS IN ANGOLA: Emerge Film Solutions: Network of international fixers with shooting crews in Angola.

Email: wheretoshoot@mac.com Website: emergefilmsolutions.com

ANGOLA’S CINEMATIC FORTUNES ARE PERFECTLY ILLUSTRATED IN ITS CINEMAS; SOME REMAIN IN RUINS AND OTHERS, THOUGH RESTORED, ARE USED FOR OTHER PURPOSES.

36 / EVENTS TO DIARISE

AUGUST LOCARNO FILM FESTIVAL 3 - 13 Locarno, Switzerland MZANSI WOMEN’S FILM FESTIVAL 6-7 Johannesburg, South Africa KLEINKAAP SHORT FILM FESTIVAL 7-8 Pretoria, South Africa RHODE ISLAND INTERNATIONAL FILM FESTIVAL 9 - 14 Rhode Island, USA

SARAJEVO FILM FESTIVAL 12 - 20 Sarajevo, Bosnia and Herzegovina LOERIES CREATIVE WEEK 15 – 21 Durban, South Africa VENICE FILM FESTIVAL 31 – 10 September Venice, Italy

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EVENTS TO DIARISE / 37

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JOZI FILM FESTIVAL 15 - 18 Johannesburg, South Africa

43RD TELLURIDE FILM FESTIVAL 2-5 Telluride, USA CALIFORNIA INDEPENDENT FILM FESTIVAL 8 - 14 California, USA TORONTO INTERNATIONAL FILM FESTIVAL 8 - 18 Toronto, Canada HARLEM INTERNATIONAL FILM FESTIVAL 14 - 18 New York, USA 11TH ANNUAL ATLANTA INTERNATIONAL DOCUMENTARY FILM FESTIVAL 15 - 17 Atlanta, USA

Large Format canvas posters banners plans wallpaper window vinyl Gardens Centre +27 21 461 9334 sales@wizardz.co.za

15th PYONGYANG INTERNATIONAL FILM FESTIVAL 16 - 23 Pyongyang, DPR Korea GLOBAL PEACE FILM FESTIVAL 19 - 25 Orlando, USA OTTAWA INTERNATIONAL ANIMATION FESTIVAL 21 - 25 Ott awa, Canada 19TH ANNUAL MANHATTAN SHORT FILM FESTIVAL 23 - 2 Oct New York, USA ZURICH FILM FESTIVAL 22 - 2 Oct Zurich, Switzerland

12TH CAMDEN INTERNATIONAL 15 - 18 Camden, USA

SAN DIEGO INTERNATIONAL FILM FESTIVAL 28 - 2 Oct San Diego, USA

ROME INTERNATIONAL FILM FESTIVAL 15 - 18 Rome, USA

REYKJAVIK INTERNATIONAL FILM FESTIVAL 29 - 9 Oct Reykjavik, Iceland

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Tina Fey And Amy Poehler in Sisters © K. C. Bailey / Universal Pictures

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38 / ASSOCIATIONS NEWS

INQUIRY INTO SUBSCRIPTION TELEVISIONS BROADCASTING SERVICES The ICASA Council announced a Committee to conduct an inquiry into subscription television broadcasting services.

It will be chaired by Katharina Pillay. She will be assisted by two Deputy Chairpersons Cllrs Nomvuyiso Batyi and Botlenyana Mokhele.

The organisation is tasked with the responsibility to ensure open, competitive and sustainable communications and broadcasting service markets. It was convened, firstly to address industry stakeholder concerns. Secondly, the Authority wanted to determine why despite efforts made to introduce competition into the broadcasting market, only two licencees have launched services. Additionally, two others have struggled with sustainability and others have been unable to even launch.

The Authority endeavours to understand the challenges of new entrants, and in so doing create an enabling environment for the introduction of competition.

They anticipate that the entire inquiry process will be completed in the current financial year.

Effective stakeholder participation is key. Periodic updates will be released.

Other news relating to ICASA concerned the notification to stakeholders and media about the, Complaints and Compliance Committee (CCC) public hearing scheduled for 26 June. The complaint was lodged by The Trustees for the Time Being of the Media Monitoring Project Benefit Trust, Support Public Broadcasting Coalition and Freedom of Expression against the South African Broadcasting Corporation (SABC). It was lodged after the SABC recently stated it would no longer broadcast footage of destruction of public property during protests.

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APEX AWARDS 2016 WINNERS ANNOUNCED The winners were announced at a black-tie event on 7 July 2016 in Bryanston. It was a celebration of communication campaigns’ efficacy.

The awards recognise performance excellence across three key categories: Launch, change and sustain.

Sponsors included SABC and Unilever. Two special awards were also bestowed: one for campaigns that demonstrated the most ingenious responses to limited advertising to research funds and one for the most successful campaign for a nonprofit or charity organisation or cause. These were sponsored

by Milward Brown and Alexander Forbes respectively.

The full list of 2016 APEX winners is as follows: Apex Category: Launch • One-up!ping the competition - Volkswagen South Africa - Ogilvy & Mather Cape Town - Silver Award Apex Category: Change • Savanna Premium Cider Redefining Normal - Distell Group Limited - FCB Cape Town - Bronze Award • The Better Gift Challenge - South African National Blood Service - DDB SA - Bronze Award • 1818: Lighting Up Moments to Ignite Sales - Brandhouse Beverages (Pty) Ltd - J Walter Thompson Cape Town - Bronze Award

• “Africa is Absolut” - Pernod Ricard South Africa - Native VML - Silver Award • Iliadin® “Man Flu” - Merck (Pty) Ltd South Africa - Joe Public Ignite - Silver Award Apex Category: Sustain • Brothers for Life Medical Male Circumcision Drive Centre for Communication Impact - Joe Public and Mediology - Bronze Award • Nedbank Savvy - Nedbank - Joe Public - Silver Award Special Awards: • Brothers for Life Medical Male Circumcision Drive Centre for Communication Impact - Joe Public and Mediology - The most successful submission for non-profit or charity organisation or cause • The Better Gift Challenge South African National Blood Service - DDB SA - The entry that demonstrates the most ingenious response to limited advertising or research funds

ASSOCIATIONS NEWS / 39

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• Chairperson: Sihle Hlophe • Johannesburg CoVice Chair, Treasurer and Capacity Building: Ritesh Seecharan • Johannesburg Co-Vice Chair, Professional Development: Matthew Kalil • Cape Town Co-Vice Chair, Communications, Relations, Branding: Mamokuena Makhema • Johannesburg Co-Vice Chair, Legal Services: Anirood Singh • Johannesburg Subcommittee for Legal Services: Peter Michael Goldsmid, Richard Harry Nosworthy Communications: • Mumtaaz MohamedPeerbhay – Cape Town • Polani Fourie – Cape Town • Benedikt Sebastian – Cape Town Professional Development • Regional Manager – Johannesburg Godisamang Khunou • Subcommittee for JHB: Christopher Tifflin Keitumetse Qhali Professional Development • Regional Manager –

Pretoria Stanley Bhebhe • Subcommittee for PTA: Allan Spijikers, Sylvia Malatji Co-opted to Council Professional Development • Regional Manager – Cape Town Clea Mallinson • Subcommittee for CT: Lukhanyo Sikwebu Refilwe, Mathapelo Mofokeng Co-opted to Council Professional Development • Regional Manager – Soweto Yolanda Mogatusi • Subcommittee for Soweto: Siphiwe Mbata, Nhlanhla Zitha There were no candidates standing in Durban and the WGSA would like to call upon volunteers in Durban to assist in setting up a Professional Development Subcommittee for Durban.

COPYRIGHT AMENDMENT BILL (2015) Last year the Department of Trade and Industry (DTI) published for comment, a draft of the Copyright Amendment Bill, designed to bring up to date the existing Copyright Act 98 of 1978. SAGA was able to submit a comprehensive analysis of the bill and made a number of proposals, to which the DTI has been most receptive.

Among the suggestions SAGA made was that, in order to give effect to a new copyright law, the Performers Protection Act 11 of 1967 would first need to be amended.

SAGA has subsequently established a mutually respectful relationship with the DTI; the department had a representative attend a recent conference when SAGA hosted a delegation from the International Federation of Actors (FIA), including legal specialists from the American and Canadian actors unions SAG-AFTRA and ACTRA. Performers Protection Act On 5th July, Minister of Trade and Industry Rob Davies published a notice in the Government Gazette of his intention to introduce the Performers Protection Bill into Parliament in the coming month.

“To amend the Performers Protection Act No 11 of 1967 so as to insert or substitute certain definitions; to address issues relating to the payment of royalties to performers; to safeguard the rights of contracting parties; to promote performers’ moral and economic rights for

performances in audiovisual fixations; and to provide for matters connected therewith”.

Central to the suggestions made by SAGA (and informed by the Beijing Treaty) are legal recognition of the actor as the owner of their image (both their physical and vocal likeness) with full moral and economic rights connected with the exploitation of that image. An actor’s earning potential is directly proportional to the extent to which their image is exploited; once an actor is indelibly associated with a certain character, for example, the possibilities for pursuing other opportunities diminish. Control over the exploitation of their own image is essential if an actor is to build a sustainable career.

SAGA has further proposed that the moral and economic rights to their own image be acknowledged as inalienable; it is current practice to require an actor to relinquish all further rights ahead of their engagement on a production The Guild has also requested that it be legally recognised that an actor has an intellectual input in their performance over and above that of the author of the work, and thus that an actor is eligible to assert copyright in their work.

Excerpts as provided by Adrian Galley | SAGA Vice Chair & Media Liaison Cape Town

© Sebastian Unrau

THE WGSA ANNOUNCE 2016/ 2017 COUNCIL

40 / DIRECTORY

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Synchro Music Management

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Velocity Films

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