The Callsheet Issue 6 by Film & Event Media

ECY ANN

We won

judge

you

just you

work

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CONTENTS / 01

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02. New Head of Film at AFDA Cape Town

10 12 30 38

SANDTON CONVENTION CENTRE This established leader in the business-events industry is opening its doors to the ﬁlm and commercials sectors.

04. CPA: Creating a

Uniﬁed Voice and Strong Foundation for an Industry in Flux

06. Cannes Lions

International Festival of Creativity 2017

08. Daniel Radcliﬀe to Star in SA Film

SHOOT YOUR COMMERCIAL IN AFRICA

Need more convincing? Turn to our annual supplement for a roundup of SA’s commercial service success.

12. Why You Should

Shoot Your Next Commercial in Africa

18. Commercial Directors to Watch

20. Outstanding Crew at Your Service

22. Specialist Services to Suit Every Need

24. SA Locations:

Replicating the World

26. African Animators

and Post Houses on the Rise

TRISTAN HOLMES

Director of the Callsheet’s favourite commercial of 2016, we delve deeper into the magic behind the scenes.

28. The Delectable

World of Tabletop Productions

30. Tristan Holmes

on Directing Coronation’s Because It’s Your Money

32. Testimonials:

What the World Says

38. Namibia: Top Film

NAMIBIA

Most often recognised as a dynamic feature ﬁlm location, this unique country is open to commercial shoots, too.

and Television Service Destination

40. Events to Diarise 42. Associations News 44. Directory of Advertisers

02 / NEWS

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NEW HEAD OF FILM AT

AFDA CAPE TOWN

David Max Brown of Noem My Skollie fame has been appointed as Head of Film at AFDA’s Cape Town campus.

FDA Cape Town is delighted to announce the appointment of renowned film producer David Max Brown as the Head of Film School. David recently produced the feature film, Noem My Skollie by director and AFDA alumni Daryne Joshua and supervised the publicity and distribution campaign. Noem My Skollie was a box office hit in 2016 and was South Africa’s entry to the 2017 Foreign Language Academy Awards. David was also the supervising producer on the feature film The Whale Caller by Director Zola Maseko which was shot in Hermanus and will be released in cinemas in July 2017. David has been producing factual and fiction film for over 25 years. He began his visual career as a photographer with the ANC in 1983 and then studied film in Canada and set up a production company in Swaziland in 1990 where he made many films on development issues. In 1998, he moved to the country of his birth, South Africa, and directed and produced the documentary film The Spirit of Malombo and then produced the docu-drama The Secret Safari with director Tom Zubrycki in 2001 which won the Australian Dendy Award. In the following year he made the short film A Drink in the Passage, winning a prize at Fespaco with director Zola

DAVID RECENTLY PRODUCED THE FEATURE FILM, NOEM MY SKOLLIE BY DIRECTOR AND AFDA ALUMNI DARYNE JOSHUA AND SUPERVISED THE PUBLICITY AND DISTRIBUTION CAMPAIGN. NOEM MY SKOLLIE WAS A BOX OFFICE HIT IN 2016 AND WAS SOUTH AFRICA’S ENTRY TO THE 2017 FOREIGN LANGUAGE OSCAR AWARDS.

Maseko, and in 2002 he was producer and cinematographer on the documentary Children of the Revolution. In 2005 he produced the three part mini-series Homecoming with director and AFDA alumni Norman Maake. The series was then edited into a feature film that screened to festi vals around the world and in 2006 opened the New York African Diaspora film festi val. In 2006, David produced 26 episodes of the family drama One Way and between 2006 and 2008 he produced 52 episodes of the hospital drama series Hillside for SABC. In 2008/9 he produced a feature length docu-drama The Manuscripts of Timbuktu with actor Eriq Ebouaney and director Zola Maseko, which had its European Premiere at IDFA in November 2009 and won the Walter Mosley Award in Ghana. In 2010, David produced a short film with director Teddy Mattera Stay with Me (24 mins) and in 2011 supervised production of a new 13 x 1 hr drama series Skeem Saam and produced a short film Down for director Lev David in the Focus Features AfricaFirst Programme. In 2013, he produced and edited Tapiwa Chipfupa’s documentary film The Bag on My Back in coproduction with Al Jazeera and in 2014 supervised the production of Skeem Saam from a weekly show to a successful daily drama/soapie.

04 / SPOTLIGHT

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INTRODUCTION TO

THE COMMERCIAL PRODUCERS ASSOCIATION Creating a unified voice and strong foundation for an industry in flux.

or those who have any insight into or experience of the film and television production industry, it is easy to grasp the magnitude of the challenges that these industry professionals face daily. From negotiating onerous location requirements to working with SARS to better understand how industry freelancers should be taxed, the world of production is rife with the unexpected and sometimes, the seemingly insurmountable. For this reason, it is critical that industry professionals have a robust network of support and guidance behind them. In 1984, just a few years after television advertising began in earnest in South Africa, the Commercial Producers Association (CPA) was established with the clear aim of creating such a network – as well as to professionalise the fast-growing industry and represent the interests of its members. Today, the CPA has 60 member production companies, all of which specialise in the production of television commercials for the South African and the international market. Our members range from SMEs and middlesized enterprises to the largest companies in the industry. Since inception, the CPA’s role has evolved and changed along with the industry. At the

Bobby Amm, head of the CPA.

outset, our primary mission was to create an element of selfregulation within a sector that was essentially unregulated. To this end, the CPA actively develops and negotiates contracts and other key agreements to enable member companies to operate efficiently and with fewer risks. As many of the issues that the CPA deals with are legislative, the Association draws on the advice of specialist attorneys and consultants. In addition to the administrative and legislative function, the CPA is also committed to promoting best practices – acting as a conduit for key insights and information shared amongst our network of international counterparts and local members. Notably, the CPA conducts an annual survey to determine the state of the industry and to identify key opportunities and

IT IS CRITICAL THAT INDUSTRY PROFESSIONALS HAVE A ROBUST NETWORK OF SUPPORT AND GUIDANCE BEHIND THEM.

SPOTLIGHT / 05

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challenges on the horizon. Over the years, our commitment to creating a production friendly and efficient environment for members has resulted in several important wins for the industry at large. For example, the CPA reversed burdensome location requirements and a proposed by-law to re-zone properties in Cape Town for film use. Without this reversal, legal filming in Cape Town would have been impossible – and a major industry asset would have been rendered non-existent. The Association was also instrumental in opposing a high court judgment in the

Constitutional Court that sought to make it impossible for animal handlers to obtain the licenses needed to work with animals on set. Again, without this legal turnaround, it would have been near impossible to incorporate any animal into a television commercial, TV programme or feature film! More recently, the CPA led a fundraising drive to lobby the Department of Home Affairs to temper new immigration legislation. This legislation made it virtually unworkable for international clients to bring their business to South Africa – a situation which would have

had dire consequences for the entire South African service sector (which turns over R5billion every year and is critical to providing resources to the local production industry). Additionally, the CPA and its industry partners were the first in the country to enter into a formal arrangement with Home Affairs to facilitate the issue of visas to clients and their teams. Notably, the formation of the Film Industry Visa Assistance Program or “FIVA” has seen over 15 000 skilled industry professionals entering the country under this system over the last two years! Apart from these legal

challenges, the CPA has helped to ease member companies into an era largely dominated by new technology and driven by digital platforms. We developed a Digital Production Protocol for the industry to highlight the changes (and potential risks) that new technology brings to the production process. Looking ahead, with the inherent risks and challenges brought about by globalization and widespread economic malaise, industry bodies such as the CPA are more important than ever if the production industry wishes to retain its independence and stature.

IN ADDITION TO THE ADMINISTRATIVE AND LEGISLATIVE FUNCTION, THE CPA IS ALSO COMMITTED TO PROMOTING BEST PRACTICES – ACTING AS A CONDUIT FOR KEY INSIGHTS AND INFORMATION SHARED AMONGST OUR NETWORK OF INTERNATIONAL COUNTERPARTS AND LOCAL MEMBERS.

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06 / CANNES LIONS

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A scene of celebration at the 2016 Cannes Lions Awards.

THE

CANNES LIONS AWARDS

he Cannes Lions Awards celebrate the best creati ve work in the world. Winning at the Festi val puts you among the world’s creati ve elite: the Lion is recognised globally as the ultimate achievement in branded communications. It truly is the one to win.

CATEGORIES • • • • • • • • • • • • • • • • •

Creati ve Data Creati ve Eﬀecti veness Cyber Design Digital Craft Direct Entertainment Entertainment for Music Film Film Craft Glass Health & Wellness Innovation Titanium Integrated Media Mobile Outdoor

• • • • • • •

Pharma PR Press Print & Publishing Product Design Promo & Acti vation Radio Titanium

THE JUDGING PROCESS

Every year, new jury panels are put together to judge each Lion, following a rigorous selection process. The judges that make up these panels are industry leaders and experts in their respecti ve ﬁelds. Each and every one of them has distinguished themselves over an impressive career in creati vity. The juries review all of the work entered into the awards, whitt ling them from their thousands into a shortlist, before sett ling on the winners who will be awarded at the glittering awards shows in Cannes.

THE JOB OF THE JURY IS TO IDENTIFY AND AWARD THE VERY BEST IN GLOBAL CREATIVITY, RECOGNISING AND CELEBRATING WORK MADE BY ALL PEOPLE FROM ALL CORNERS OF THE WORLD.

CANNES LIONS 2017 JURORS

43% women represented across all juries. 390 people from 50 countries across all juries have been confirmed and two new countries – The Dominican Republic and Vietnam – join the panels for the first time. 43% of jurors are female in 2017, a record for the Festi val. The number of women on the juries has doubled in the last five years, from 21% in 2012. Jose Papa, Managing Director of Cannes Lions, added “The job of the jury is to identify

and award the very best in global creati vity, recognising and celebrating work made by all people from all corners of the world. The make-up of this year’s juries marks another step forward in the Festi val’s mission to improve diversity among its judges, and is something we’re committed to continuing in 2018 and beyond.”

SIZE DOES MATTER

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08 / NEWS

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DANIEL RADCLIFFE TO STAR IN SA FILM

Daniel Radcliffe, of Harry Potter fame, will play political prisoner Tim Jenkin in a film based on his autobiography Inside Out: Escape from Pretoria Prison.

Daniel Radcliffe in Swiss Army Man

nown for his role as Harry Potter, Daniel Radcliffe is taking on new roles far from his childhood career path. His next film, an escape thriller, will see the 27-year-old star in a story based on Tim Jenkin’s autobiography, Inside Out: Escape from Pretoria Prison. It tells the tale of how Tim escaped Pretoria Maximum Security Prison using a device made from a broom handle and a mirror hidden in his cell. With him, he took fellow inmates Stephen Lee and Alex Moumbaris. Tim, who is now 68, had been arrested and sentenced to 12 years for handing out leaflets supporting the then banned

African National Congress. Sam Neill (Jurassic Park, Hunt for the Wilderpeople) will star alongside Radcliffe as social campaigner and activist Denis Goldberg, who was a member of the ANC’s military wing and a key player in the struggle against apartheid. Titled Escape from Pretoria, it will be produced by David Barron, and is written and directed by Francis Annan. Annan has experience as a cinematographer and will make his directorial debut with the film. Principal photography begins in early 2018 on location in SA. “I am very excited to work with the immensely talented Francis Annan on this astonishing

true story. Political without being polemical, Escape From Pretoria is a rare combination of genre and drama and I am delighted to bring together the potent combination of Daniel Radcliffe and Francis Annan,” said producer David Barron. Worldwide sales company The Works has introduced the film to buyers in Cannes and marks the second new project with Radcliffe debuting at the Cannes market. Barron, Footprint Films’ Mark Blaney and Jackie Sheppard will produce alongside The Works Film Group. Executive producers for The Works are Martin McCabe, Deepak Sikka and Mick Southworth.

I AM VERY EXCITED TO WORK WITH THE IMMENSELY TALENTED FRANCIS ANNAN ON THIS ASTONISHING TRUE STORY. POLITICAL WITHOUT BEING POLEMICAL, ESCAPE FROM PRETORIA IS A RARE COMBINATION OF GENRE AND DRAMA.

10 / SANDTON CONVENTION CENTRE

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SANDTON CONVENTION CENTRE / 11

SANDTON CONVENTION CENTRE Sandton Convention Centre has multiple spaces that can be configured in an almost endless array of styles. Exhibition Hall 2 is 5 050m 2 â&#x20AC;&#x201D; truly a massive space that fulfils every filmmakerâ&#x20AC;&#x2122;s needs, as it can easily be adapted for a variety of shoots. The SCC is technologically advanced and discreetly offers full connectivity - including ISDN, analogue and digital telecoms links via pillars and floor hatches. The SCC is air-conditioned and fully equipped with electrical outlets and rigging overhead. A variety of boardrooms and committee rooms are ideally suited for use as production offices, make-up studios and dressing rooms for leading talent.

CONTACTS Maude Street, Sandton, 2196, South Africa | PO Box 782553, Sandton, 2146, South Africa t: +27 11 779 0000 e: scc.info@togosun.com www.sandtonconventioncentre.com

12 / SHOOT YOUR NEXT COMMERCIAL IN AFRICA

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SHOOT YOUR NEXT COMMERCIAL IN AFRICA / 13

WHY YOU SHOULD

SHOOT YOUR NEXT COMMERCIAL IN AFRICA Fair weather and fairer service are just two of myriad reasons why South Africa and the wider continent are ideal for commercial shoots, says Kim Crowie.

ALL IMAGES: Absolut One Source Â© Sunu, Egg Films

14 / SHOOT YOUR NEXT COMMERCIAL IN AFRICA

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he scene opens to a young Caucasian girl on a road trip with her parents. At the same time, an African boy travels cross-country in a VW with his family. Somewhere along the line they connect from afar, waving at each other and playing whimsical games in the car as children do. They’re on completely diﬀerent journeys, yet follow the same road. Their concurrent stories collide when they reach the same destination and delightf ully get to meet. The tale speaks of the beautiful melting pot of people one meets across South Africa. It showcases South Africa’s scenic beauty as a location. It speaks of a car that can go the distance. It subtly uses an emerging trend in commercial-making: multiple storylines and character arcs highlighting speciﬁc themes. Other great examples of this

0307 and Ogilvy Cape Town collaborated on VW South Africa’s On the Road, which captures the story of two families connecting on their road trip from Johannesburg to Buffelsbaai.

trend are Coronation SA’s If Your Money Came Easy by Net#work BBDO, Nedbank’s See Money Differently, and Terence Neale’s multiple award-winning Adidas originals campaign Your Future Is Not Mine. In the case of VW, it brings a rush of nostalgia and

longing for childhood and the ‘good old days’. If you haven’t already guessed it, this is Volkswagen’s 2016 campaign On the Road, where the company wanted “to reconnect with their audience on an emotional, human truth level” in the way

Left and right image: Moonlighting Commercials’ work on World of Tanks for Hungryman. Director: Dave Laden, Photographer: Lambro

Moonlighting Commercials’ work on the Izze Fusions campaign for 1stavemachine, USA.

Egg Films director Terence Neale’s work for Adidas.

VW was once so famous for, says Director Kim Geldenhuys. Welcome to the world of commercial service in Africa, where visual brand communication has grown immensely over the last twelve months. The usual summer

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commercial season seems to have lasted longer, and more awardwinning work is being created; visuals are more eye-catching, and original concepts are hitting the ground running. The industry has seen several global challenges present themselves this year, but there are still a number of heartening trends to look forward to – not to mention innovati ve and creati ve problem solving along the way.

VALUE FOR MONEY, QUALITY SERVICE

Although the world is in turmoil with Brexit, Trump, and even Zuma making questionable political decisions, the commercials industry in SA has generally beneﬁ tted. This is thanks to the Rand’s ability to stretch when compared with the US Dollar or the Pound Sterling – although feelings are mixed. Sean Beukes, Executi ve Producer at Egg Films says the last season was not a good one when compared with others. “Even though the Rand was a lot weaker this season, the Pound lost so much value last year that it rendered us expensive for the UK nonetheless,” he explains, “Also, the globalisation wave that has been predominant for a long while now seems to be waning. Countries are looking inward to beef up their own economies, employment rates etc. which could aﬀect us into the near future, if not already.” That said, SA is still a

SHOOT YOUR NEXT COMMERCIAL IN AFRICA / 15

drawcard for internationals. When coupled with more than 300 days of sunshine in various parts of the country, a plethora of locations, looks and talent to choose from, and excellent, experienced crew, it’s not hard to see why foreigners are still flocking to the continent in search of the picture-perfect visual. Moonlighting has seen work that could have shot in South Africa shoot in Spain and Portugal, although Marketing Manager and Partner Beccy Kellond insists that from a service perspecti ve, the industry is still healthy. “There is no change in the incomparable set of benefits that South Africa can offer to the international production industry; hence it remains as one of the top production destinations in the world. The features side of the business is equally busy and there is a direct, positi ve influence on the commercials side with the skills and technical equipment that this business brings.” Beukes, too, has a positi ve outlook on the sector. “The SA commercial service industry is in a good place – it has been for many years,” he says. “I think we need to be flexible and able to adapt to whatever economic conditions the world faces. At the end of the day, a good product at a good price is what keeps any business or industry going.”

#ADOFTHEYEAR MarkLives is renowned for its in-depth analysis, insight into brand communication, and much-anticipated Ad of the Week ratings by Oresti Patricios. Here are their top ﬁve campaigns for 2016. • First Kiss | Y&R Cape Town, for Safely Home (Western Cape Government) Directed by Jason Fialkov of Egg Films, First Kiss is a graphic ode to what can go wrong in a split second. It is described as “a gut-wrenching reversal of mood” that highlights the importance of always wearing seat belts. • Iziko Slave Calendar | Geometry Global Cape Town, for Iziko Slave Lodge Museum What’s in a name? For slaves who landed at the Cape, it was stolen along with their freedom. Each photo from this calendar depicts a slave descendant and is accompanied by a quote from each subject. A video shares deeper insights. Shot by David Prior, one of SA’s mostawarded photographers. • Promaths | Y&R SA, for Investec

Telling the story of a remarkable young person from a local township who, with the help of an organisation called Promaths, was able to achieve a 100% pass in Matric maths. Directed by Keith Rose in trademark blackand-white, it is part of a larger campaign called #OutOfTheOrdinary. • Deﬁne Tomorrow | Net#work BBDO, for Unisa Net#work BBDO’s inspiring commercial is a mini-movie about a young man working as a taxi driver, who uses every spare moment to study. It’s beautifully shot, edited and scored, with direction by 0307’s Kevin Fitzgerald. • The Girl Who Rewrote Her Future | T+W, for Absa and Afrika Tikkun Produced by Thackwell & Whittaker, The Girl Who Rewrote Her Future is based on the true story of Senanziwe Ndlovu who thanks to a bursary from NGO Afrika Tikkun was able to matriculate with exemption and then study further. The ﬁlm was directed by Rainn Vlietman.

BRENDA WILSON +27 82 923 5762 www.firstpencil.tv

16 / SHOOT YOUR NEXT COMMERCIAL IN AFRICA

TRENDS IN COMMERCIAL SERVICE

One of the major trends to come out of the local industry is the growing confidence in SA’s postproduction houses. Brin Kushner is Executive Producer and Director at AFS Productions. The company recently serviced Traktor’s Most Interesting Man campaign for Dos Equis, with Brin directing a section of it as an add-on service when, due to budget and time constraints, the international directors were unable to complete. He says there is a prevalence of CGI and local post houses are becoming more equipped to tackle these needs. Another campaign AFS worked on was for Old Spice featuring animatronic gorillas that will be at Cannes Lions. “The Dos Equis TVC had knife throwing, hovercraft racing, a helicopter Winnebago, and a football made out of a coconut – so a number of interesting challenges there!” Kushner laughs. “It was one fun campaign, from a massive helicopter on a game reserve at sunset where we had to stop filming due to an inquisitive Rhino in the area, to Samurai sword battles in an old abandoned factory, to Airboats racing over the Atlantis dunes just outside of Cape Town.” Kushner adds that the industry could benefit from accessible tax incentives for short-form production. “Tax incentives encourage foreign investment, business and make co-productions more desirable (as these are often only seen in feature films and long-form productions). Similar incentives for local clients and advertising agencies could even encourage more local content to be produced.” Another trend that’s not going anywhere is agencies doing everything in-house or ramping up to have in-house production facilities, says Louis Enslin, Owner of award-winning company Produce Sound. “It’s hard to keep track as there are so many ‘small shops’ opening up. Gone are the days of the four big agencies doing all the work, there are now

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Brin Kushner, from AFS Productions directing the Most Interesting Man for Dos Equis .

50 smaller ones doing more.” he cites remote workflow, faster internet, and quicker turnaround times as other trends to watch. The rise of visual brand communication rather than traditional TVCs is another trend that’s here to stay – although reaching the widest audience is arguably still done through television, says Colin Howard, Executive Producer at Egg Films. “The TV commercial is still as big as ever,” he says, “There is no other medium where you can get even close to the audience you get with a well-placed TV ad. Don’t get me wrong: advertising

is changing and good campaigns still need many layers to be successful, but the TV ad is still often the leading component in the best campaigns out there.” According to a recent opinion piece on SA Creative Network by Jarred Cinman of NATIVE, transitional is the new normal. “Until the progress of technology stops, the way we communicate will constantly be shifting, evolving and rendering previous approaches redundant,” he wrote. “Nowadays you know in the first minute that you put a piece of content whether it’s working. You can tell if they dwelled on it or

engaged with it straight away. If it’s not working, you can change it. That’s the new paradigm. You’re never finished.” He says this is also the most responsible way to spend advertisers’ money. This transitional trend is seen even in the types of integrated campaigns being launched. One with particular flair and popularity that has certainly continued to evolve is NATIVE VML’s Absolut campaign, Africa is Absolut, directed by Kyle Lewis and Lebogang Rasethaba. The brand films bagged a Silver at the Apex Awards and generated almost 300 000 views on YouTube alone. Following on its

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SHOOT YOUR NEXT COMMERCIAL IN AFRICA / 17

An Old Spice campaign featuring animatronic gorillas - image courtesy of AFS Productions.

success was the Absolut One Source campaign directed by Sunu Gonera, where we saw the trend of bands and brands collaborating coming into its own. This was an intense creative process with a four-part documentary series where Khuli Chana collaborated with leading artists from Kenya, Ghana and Nigeria. It speaks to how the continent and South Africa as a country is finding a voice and visual identity that sets it apart. “There is something raw and honest about content from Africa, an aesthetic eye that only exists here,” says Lewis. “South Africa has always struggled with fair representation and we have allowed internationals to tell our stories all too often. We will shine internationally when we no longer see international as gospel but rather see our incredible country as our main source of inspiration and pride.”

A WORD ON BIDDING

Bobby Amm, Chief Executive of the Commercial Producers Association of South Africa, recently made a case for fairness in the industry. Several international agencies with inhouse production teams were accused of structuring bids to

their own tenders using the intellectual property presented in bids from independent production houses. “It’s a global issue with the potential to deeply affect South African independent production houses,” says Amm, “Not just by the threat of their own closure, but also by the knock-on effects that inhibit the industry’s ability to employ and develop new talent, while providing competitive services.” The Institute of Practitioners in Advertising (IPA) has advised agencies to ensure that they don’t use information disclosed to them by production companies to enhance their own bids. But the CPA and related international bodies believe that this is simply not possible in practice – even with the best, most honourable intentions. To address the need for transparency and to protect the integrity of the industry, the CPA and its members agreed in February 2017 to no longer pitch against in-house production companies. This trend has also been adopted across North America and Europe. “Bottom line?” asks Amm, “Agencies have two options for commercial work: to produce their own material or to call for bids to outsource. Not both.”

SA’S BEST LIKED ADS OF 2016 Kantar Millward Brown’s quarterly Best Liked Ads celebrates SA’s favourite TV commercials. These ads have been rated as the best liked by the South African audience, and do not reflect international ads serviced in SA. Quarter 1 1. Lays: Distraction | Tiempo BBDO 2. Coca-Cola: Anthem #EnjoyTheFeeling | Mercado-McCann 3. Toyota Hilux: The All New Era of Tough | FCB Joburg 4. Fattis Monis Pasta: The Stuff of Legends | TBWA 5. Huggies: New Babies, Mom’s Love and Care | Ogilvy Johannesburg Quarter 2 1. Samsung Galaxy S7: Sister | Leo Burnett Chicago 2. Nivea: Rich Nourishing Care | FCB 1886 3. McCain: Jonathan Thanks His Mom | Joe Public 4. VW Polo Vivo: School

Kids | Ogilvy and Mather Cape Town 5. Nestle Cerelac: Little 1s | Ogilvy Healthworld Quarter 3 1. Debonairs Pizza: Gogo Crammed Crust | FCB Joburg 2. Pampers: Pampers Pants, Great Fit | Saatchi and Saatchi Brands Rock 3. Hunter’s Extreme #GOBOLD | 140BBDO 4. Coca-Cola: Magician | FCB Joburg 5. Hunter’s: Bring the Heat | 140BBDO Quarter 4 1. Vodacom: Play Every Day | Ogilvy & Mather Johannesburg 2. Ford Ranger: The Science of Tough Combo | GTB Asia Pacific 3. Pampers: Active Baby Dry, Driest Diapers | Saatchi & Saatchi Brands Rock 4. Adidas: Sport Needs Creators | 72andSunny 5. Simba Chips: Mapha 2.0 – Wena Wedwa | Net#work BBDO

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The Tusker campaign was directed by Dan Mace © Egg Films

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Zwelethu Radebe © Egg Films

COMMERCIAL DIRECTORS TO WATCH

We’re constantly amazed at how local creatives are growing their concepts and spreading their wings. Here’s a roundup of the hot new directors and an update from ever-rising stars in SA’s commercials firmament.

NEW DIRECTORS ON THE RADAR ZANDI TISANI | ARCADE CONTENT

Zandi entered the film industry with Zaki Ibrahim’s 2012 music video Go Widdit, and is a self-described screenwriter who has recently broken into the directorial scene after signing with Arcade Content just a few months ago. She directed two brand films for Standard Bank: Take the First Step and Make One Day. “Audiences are becoming wiser and more cynical. Being creative in the sphere of branded content is about disarming your audience and carrying them through an experience as opposed to force feeding them concepts,” she told the Callsheet in May. Roice Nel – behind the scenes © Casta Diva Pictures

ZWELETHU RADEBE | EGG FILMS

Zwelethu Radebe joined Egg Films in April where he now works with producer Dumisani Mvumvu from Joburg. He took home a Silver Student Loerie for Ster-Kinekor’s Thato just months after graduating, and of late has been working with FCB Joburg and SA Tourism on a new project. His work is characterised by authentic, down-to-earth, storytelling. Other commercial work he’s done recently include The Butterfly Effect for Strongbow, Matchday for Mastercard, and Home for Sunlight.

ROICE NEL | CASTA DIVA PICTURES

Fashion film director Roice Nel recently signed with Casta Diva Pictures in Cape Town. His portfolio includes H&M,

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Dan Mace © Egg Films

Foschini, Spree, Markham, Levi’s, Volkswagen, Polo, Puma, and Sunglass Hut, and most recently worked with lions on Kat Van Duinen’s Spring/ Summer campaign. “I came from a background in camera department where I worked closely with photographers and artists,” Nel says, “imagery is very important to me.” Exec Producer Katherine Leach-Lewis comments, “It was a real pleasure introducing Roice to some of the Johannesburg agency creatives… he has an uncanny knack for finding really unusual music that connects with the visual.” Casta Diva Cape Town is part of the global Casta Diva network with a total of 11 offices around the world and an extensive directors roster. Recent work includes 42 i videos in a multi-language campaign for Chevrolet and an Ariel campaign featuring Rebecca Malope.

SIPHIWE MYEZA-MHLAMBI | 7FILMS

Mentored by veteran director Lourens van Rensburg, 23-yearold Siphiwe Myeza-Mhlambi – known as SJ – is part of the 7Films family. He won two Silver Loeries for The Castrol Vuvuliser and a Gold for Surf Shack’s Chasing the Dragon in partnership with Y&R. “Chasing the Dragon was the first spot I shot as an upcoming commercials director and I was completely sold on it from the get-go. I fell in love with the characters and their stories. The people involved

Standard Bank campaign by Kyle Lewis © Arcade Content

inspired me and I was honoured to give them a voice,” he said in October last year. Siphiwe is now one of the owners of 7Films.

DAN MACE | EGG FILMS

Renowned, young and ambitious all describe director Dan Mace. He’s in a new season – especially after being signed to Egg Films and going straight into a YouTube campaign with producer Vjorn du Toit. His first commercial, Tusker Here’s to Us with Net#work BBDO has already picked up an African Cristal Film Grand Prix, two One Show craft merits, a Creative Circle Ad of the Month, Ad of the Week from Marklives, and a number of other accolades. He’s recently worked with Capitec and Switch, and although is new to commercials, is no newbie in the film industry – having shot over 100 music videos, documentaries and short films across the world for the likes of Red Bull, CNN and Roxy.

UPDATE ON THE SUPERSTARS KARIEN CHERY | GIANT FILMS

Since we last mentioned Ms Cherry, she was shortlisted for the Cannes Young Director Award, and her work has been recognised at the Loeries, the Bookmarks, and the Creative Circle Awards. Most recently she’s worked with NBC Universal Channel on Nonhlanhla, Boitumelo and Roger, and work the King James Group on Pick n Pay’s Haggler.

Zandi Tisani © Arcade Content

KYLE LEWIS | ARCADE CONTENT

Commercials’ golden director, Kyle Lewis continues his home run in creating breath-taking visuals with innovative twists in both campaign and concept. His 15-minute film for local rapper Nasty C Veliswa was featured on Apple Music in France Germany, the UK and the US, and Cassper Nyovest’s Mr Madumane (Big $pendah) was the centre of Sanlam’s Conspicuous Saving campaign during National Savings Month. It was the only SA finalist in the Integrated Branding – Online category at The One Show. “I am extremely blessed that I am now hired for my edge and my boundary-pushing abilities, and that I have found so much collaboration between myself and creatives from early developmental stages,” he says.

GREG GRAY | VELOCITY FILMS Greg Gray’s work for Investec and Aqua – More Than Data – made

MarkLives Ad of the Week in February. The ad pushes the theme that in a world that increasingly uses big data and AI to reach consumers, Investec sets itself apart by focusing on human connections. Some of his recent clients include Nedbank, Savanna, Amstel, Dialdirect, Bells and Coca-Cola.

TERENCE NEALE | EGG FILMS

Terence Neale continues to make a name for himself in international circles, this time with another Adidas Originals short. Described by Oresti Patricios as a “rollercoaster ride of a dystopian flick that is at once fragmented, strange, beautiful, familiar and frequented by interesting people,” Original is Never Finished is as much a fashion statement as it is a cultural one. If this visually-rich electricity was what opened 2017, we can be certain of more directing genius from this man.

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AFS Productions’ recent work for an Old Spice campaign.

OUTSTANDING CREW AT YOUR SERVICE

Internationals have raved time and again at South Africa’s ability to produce high-end, complex work with local crews. We bring you a look at the many types of crew and talent available within our borders.

s a one of the top international service destinations in the world, South Africa naturally has incredible local crew that facilitate all manner of shoots in all shapes and sizes. Not only is this part of the industry integral in

ensuring the country’s position as a commercial service destination is secured, but it is also important for feeding into our ever-growing crew and talent pool. Many of today’s production companies employ interns or train people on set in various ways, and there

are a number of initiatives in place for those wishing to join South Africa’s outstanding crew. The sheer calibre of crew and their strong work ethic is usually one of the first things international agencies and producers speak of when they

shoot on location. And now, as South Africa comes into its own on the global stage, crew of the highest quality will soon be an accepted norm – and something that simply enhances the nation’s already stellar international reputation.

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F.I.L.M. provides primarily emerging black filmmakers, crew and management bridges between education and employment.

AFS Productions shooting Most Interesting Man for Dos Equis,

Not only are SA’s crews remarkable, but they also bend over backwards to please clients and keep them coming back for more. Dale Kushner is Executive Producer at AFS Productions, a service house celebrating 20 years in the industry. A recent project they did for Old Spice, which will be at Cannes Lions this year, beautifully illustrates the lengths to which local companies will go. “We had animatronic gorillas flown down from the UK and even constructed a shower in the dunes to make this one happen.” “We could help improve our own local industry by providing more training programmes and apprenticeships for technical and production crew. When season comes around, we always need new blood to bring a fresh perspective and a pool of

work ethic and intense application, focus and well-developed life and occupational skills playing out under extreme stress, over a very short period of time. Arguably it has a higher risk profile when it comes to the margin of error and is potentially less forgiving or accommodating in the severe heat-of-the-moment,” he explains. “F.I.L.M. has consequently been less successful in encouraging the commercial industry to take on trainees and interns on commercial productions, although we initiate and manage internships for a number of production houses and agencies such as OFYT (especially with their Khayelitsha-based Ikasi offshoot) and ola!films.” The programme regularly receives requests from international DoPs like Antonio

talents to our work,” he adds. One organisation doing just that is the Film Industry Learner Mentorship (F.I.L.M.) Programme. It provides primarily emerging black filmmakers, crew and management with a window of opportunity, and bridges between education and employment. Learners work as trainees and interns with mentors in a hands-on capacity where they gain experience on local and international productions and in production companies. According to Seton Bailey, who heads up the initiative, the programme has seen more success in long-form film productions, while they’ve had varying degrees of success in the commercial sector. “Commercials by definition involve a highly concentrated, extremely tough

Paladino who love working with their trainees. Companies like Farm Film and Gatehouse also request interns frequently, while some trainees are currently working on a feature with Egg Films Commercials Director Sunu Gonera. “SA’s commercial industry is thriving and extremely healthy – if the number of local and international productions taking place here are anything to go by – but it’s our respectful submission that more formalised `Learning-by-Doing’ training interventions on productions can only contribute to a more transformed, more diverse, representative crew and HOD resource base, sustaining a globally competitive local and international commercials industry,” Seton concludes.

talking to the animals since the year 2000 cape town, south africa clare@monkeyfilms.co.za

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SPECIAL HEADER + HEADING

The Oreo commercial by AFS Productions was recently shot at Island Studios by DOP Brendan Galvin ( Mirror Mirror, Behind Enemy Lines). The studios provided ample space to be able to build the independent sets and light around them.

SPECIALIST SERVICES TO SUIT EVERY NEED

From technical gear, lighting and cameras to prop making, stunts, set design, and costumes – South Africa has it all and more to boot.

e know of SA’s aﬃnity for replicating international locations, and we understand how the exchange rate works in our favour. This extends to the country’s technical and creati ve oﬀerings and services. “Currently there are number of strong

facilitation and independent companies who are keeping up with industry trends and are able to produce high-calibre services that maintain our global reputation,” Monica Rorvik, Wesgro’s Head of Film and Media Promotion said recently. A number of new studio

spaces have opened and been added to existing space in order to better serve the booming commercials industry. A great example of this is Island Studios, which built two new studios last year geared towards stills and small commercial shoots. Since opening, the space has

been fully booked. Some of the most recent productions shot here over the last 12 months included Magic Wanda by Juice Film, and Oreo by AFS Productions. Both Panalux and Panavision also have new and improved premises to suit industry demands.

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TRENDS IN THE GEAR SECTOR

Philip Doble is Client Liaison Manager at Panavision – although he has a list of credentials to his name, among which are Director, DOP, Producer and DIT. He says the most commonly used camera for commercials is the Alexa Mini. This trend is echoed across the sector, with Visual Impact’s Stefan Nel saying it is “hugely popular”. This is as a result of a trend towards more handheld work. “Cameras like the Sony A7SII and the Sony FS7 are being used for commercial acquisition,” he says. Other popular gear in the commercial space includes the ARRI Skypanel range, and Digital Sputnik DS6 lights. A recent development is the growing demand for anamorphic lenses and the trend towards large-format cinematography. To meet this need, Panavision has just released their Millennium DXL,

“a revolutionary breakthrough in image acquisition and workﬂow”. DXL was developed through an unprecedented combination of three companies’ bestin-class contributions: large format optics and modular accessories from Panavision, a brand new 8K sensor from RED Digital Cinema, and new colour science and optimised workﬂow from Light Iron.

INDUSTRY MOVEMENTS AND UPDATES

Because the industry has had a successful season, this has, in turn, spilled over into the specialist service sector. According to Doble, Panavision was involved in many car commercial projects this season, and in general saw lots of international brands through South Africa. Local gear giant Media Film Service has been involved in a number of high-proﬁle

Island Studio - Studio 5 floor space

commercial and online projects including The Foxy Five, Green Zebra Productions’ UNICEF 2017 campaign #CierraUnicef, Silver Bullet’s Red Bull King of the Air 2017, and Young Gun Films’ Opel Mokka X ad to name a few. Stefan Nel, Head of Digital Imaging/Rentals at Visual Impact says virtual reality is making

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its appearance in commercial client requests. “We have various VR/360 solutions for the adventurous ﬁlmmakers out there. We have found that the trends have shifted away from using just the traditional cameras, and young ﬁlmmakers in particular are always looking for the next thing,” he adds.

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The Western Cape winelands

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Sandton, Gauteng

SA LOCATIONS: REPLICATING THE WORLD

South Africa is renowned for being about to replicate over 80% of the world, all within its major film hubs of Cape Town, Johannesburg and Durban.

n the last few years, South Africa has doubled as the Middle East, the Caribbean, the Amazon, Europe and North America of yesteryear, suffice it to say this country has it all. It’s even replicated various regions in the continent of Africa like the Gambia and Somalia. The country has an extensive network of government agencies, industry bodies and support organisations assisting filmmakers with location scouting, management, and permit applications. “Wesgro has the benefit of marketing a region that is rated by FDI as one of the top ten film

production destinations in the world,” Monica Rorvik, Head of Film and Media Promotion said recently. “It has the lowest annual operating costs, world-class locations, light and crew. The studios, especially Cape Town Film Studios, are world class. We also have amazing services – Hotels, food, experiences, and these can be very attractive to both talent and crew.”

TRENDS AND MOVEMENTS

The local industry is very mindful of its location oﬀerings, with several government and industry bodies oﬀering assistance to local and international crews looking

to film in the country. Rudi Riek, who works in tandem with the Commercial Producers Association and the South African Association for Stills Producers, says that partnership is key in this sector. “The City of Cape Town Film tariffs for 2017/2018 are a great example of the partnership that exists between the City and our industry, we averted a massive potential crisis before the tariffs where approved by ensuring that all community Centres and Halls remain open for filming activity,” Riek says. They are currently anticipating the new Film Bylaw to be implemented

this year, which will make film a primary use activity in almost every planning zone with the provision that a permit is obtained from the City’s Film office. “This is a massive reduction in Red tape and a huge win for our industry whilst still taking cognisance of the community and ensuring that film crews act professionally and respectfully,” he says. The Stellenbosch Municipality in the Western Cape has reduced location fees by up to 50% upon request, and Wesgro, The City of Cape Town, The CPA and SAASP will again host a locations workshop in August this year.

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KwaZulu-Natal - all images © Film Afrika

LOCATION HUBS

The Western Cape remains a popular location for commercial producers thanks to its film friendly atmosphere, abundance of location options within an hour of Cape Town, and its ability to service the local and international community with the utmost care and quality. Some of the looks the Western Cape is known for include ragged, mountainous regions, breath-taking ocean views, internationally acclaimed beaches, scenic wine farms, and semi-desert areas – all within a two-hour radius of the City of Cape Town. It also has a very cosmopolitan culture, and can easily provide upmarket urban looks and European settings for filmmakers. “It is fair to say that Cape Town is unrivalled as a production destination,” says Terence Isaacs, Head of Film and Events Permitting at the City of Cape Town. “This is because we have been blessed with a number of assets that are not obtainable in one place as efficiently and economically as they are here.”

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Locations like the CTICC, Cape Town Train Station, the Artscape, the City Hall, and the V&A Waterfront are popular settings, while the cut-oﬀ highway in the city centre is the “biggest unintended boon” to the industry Despite being the smallest province in SA, Gauteng packs some serious punch. It oﬀers much in the way of urban, suburban and

TOP 10 WESTERN CAPE LOCATIONS BY PERMITS 1.

township settings as locations, and thanks to its extensive broadcast and production facilities in Johannesburg, is also a local commercial hub. Johannesburg CBD is a ought-after location, while Soweto offers township vitality and Pretoria iconic historical architecture. The most popular locations within the Johannesburg CBD are Mashalltown, Nelson Mandela Bridge, Hillbrow Yeoville, and the hip and happening Maboneng Precinct. Durban, located in KwaZuluNatal, is another film-friendly location, with a laid back beach atmosphere, plenty of jungle and coastal regions to explore, and some of the friendliest service you’ll find in South Africa. It has

TOP 5 LOCATIONS IN KWAZULU-NATAL 1. Sugar Cane Farms | Situated all along the coastal side of Durban 2. Beach Front | Warm water and weather is ideal for water scenes in winter 3. Durban CBD | An old look and feel and ideal for creating a ‘little India’ 4. Harbour | Known for its bustling and activity, as well as unique ocean set up 5. Mzamba Valley | Situated near the Wild Coast, with forest, rivers and jungles - Source: KZN Film Commission

a thriving creative community and saw close to 300 permits issued during the financial year of 2015/16. KwaZulu-Natal has much potential for growth in locations, and provides dynamic landscapes to choose from. According to Carol Coetzee, CEO of the KZN Film Commission, the uMgungundlovu District in Pietermaritzburg and Greytown is ideal for period shoots, while the North Coast boasts vegetation and Zulu heritage sites. The South Coast offers forests ad jungle adventures, while the Midlands offer year-round greenery and exquisite cattle farms.

TOP 10 GAUTENG LOCATIONS BY PERMITS 1. Johannesburg / Newtown / Hillbrow / Maboneng / Nelson Mandela Bridge | 99 2. Pretoria / Centurion | 8 3. Sandton / Bryanston / Houghton / Rosebank | 8 4. Soweto | 7 5. Randburg / Emmerentia / Greenside | 7 6. Braamfontein | 6 7. West Rand | 4 8. Tembisa / Kempton Park | 2 9. Alberton / Germiston | 2 10. Vaal | 2 - *Source: Gauteng Film Commission report, 2016/17. NB: These numbers reﬂect permits facilitated by the GFC and not all ﬁlm permits in Gauteng.

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AFRICAN ANIMATORS AND POST HOUSES ON THE RISE

In the last two years, African animators and post-production houses have grown in leaps and bounds. The international industry has turned an eye to South Africa’s hub for opportunities to collaborate, partner and tell authentic stories from the continent.

frica’s animation and post-production sector continues to forge ahead into new territories with a number of collaborations and partnerships being formed across borders. African animators are also becoming more recognised abroad with a number of shortand long-form projects taking flight. Triggerfish still heads up the continent in terms of longformat service work in the vein of Revolting Rhymes and through their Story Lab initiative they are pushing the local industry into a space where they not only service internationals, but create their own intellectual property.

TRENDS AND MOVEMENTS

Despite growth in television series and feature films, commercial service work in both post-production and animation continues to grow, with the likes of Sea Monster, BlackGinger,

Refinery, Upstairs Ludus and Lung Animation on the forefront of some ground-breaking commercials service work. A big trend of late, according to AFS’ Brin Kushner, is “the prevalence of CGI and how our own post houses are becoming more equipped to tackle these needs”. “We have had quite a few shoots in the last two years where the post supervisor from the client’s home country travels to South Africa and works with our local guys,” he explains, “The film industry is tech heavy in many ways and part of keeping up with international commercial trends is guaranteeing that we can provide the technology one would expect anywhere else in the world.” According to Refinery, which recently opened a dedicated Cape Town office, commercials still make up nearly 50% of their revenue. “Refinery manages all commercials that are going to cinema. We

Both images: Lung Animation’s art direction, animation, and character design for go2Africa; The Great Wildebeest.

complete work on many retail brands and do a fair amount of localisation on international brands. We have seen clients turning away from traditional broadcast,” says Managing Director Tracey Williams. “The woes of the SABC have really affected the commercial market – marketers are unsure as to where they should be placing their brands. Digital marketing is growing, and that is opening more doors in the commercial space for different content. There are good opportunities for branded content telling relevant stories in a ‘short-form’ way that isn’t necessarily a 30-second TV ad.” Animation South Africa is the organisation supporting the industry, and has done well in creating a platform for animators and others in the sectors to band together to make more of an impact both locally and internationally. The South

African Guild of Editors is also active in the sector, with their annual survey for 2017 currently making the rounds. “We’re aiming to launch a mentorship programme, fight for royalties for editors who contribute to the creative process, focus on transformation and develop a registered course for assistant editors,” Chairperson Marina du Toit said in a recent statement.

NOTABLE SERVICE PROJECTS

African animators continue to grow their repertoire, which has resulted in an ever-growing confidence from both local and international commercial industries. One such example is Tulips and Chimney’s partnership with the Cape Town International Animation Festival to create their brand identity for 2017. “We were asked to create the poster and promo video – but realised that we really wanted to take control of the entire brand identity for 2017. This way we could ensure that every touchpoint felt ‘of the world’ and we could create a much stronger user experience for consumers,” explains Dianne Makings. “Our favourite element was seeing the background plates and 2D characters being used in the children’s stop motion animation workshop. These were really incredible to watch after the event – the kids really made some beautiful stories with our characters.” The brand identity has an ethereal, dreamlike feel to it, and brings this style into

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the interpretation of natural elements found around the Cape – Table Mountain, Pincushion Proteas, and insect-like characters arriving in Table Bay Harbour. “Ultimately, we wanted to create something absolutely enchanting that would suggest we were entering a land full of stories and unexpected things.” Although previous years saw Lung Animation do international long-form work for Our Girl, it’s been more focused on commercial service work in 2017. Their work includes a short project called BragBot for ididtht; a fun character design and explainer video for Lufthansa’s new group booking app; and the animation, art direction and character design for go2Africa, called The Great Wildebeest Migration. Most notably, they worked on Woolworths’ Christmas campaign showing what happens when Santa loses his magic and embarks on a journey through Africa to ﬁnd it.

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Luma, an internationally acclaimed company specialising in creating characters, has worked with a host of designs for the likes of Cadbury, MBT Petroleum, Promasidor, Beacon, and Outsurance. Their CGI clients include Mercedes Benz, Guinness Alvaro, Nestle, and Ford. Masters & Savant have done well for themselves with animation projects from the likes of BMW, Atlas, Samsung, Kelloggs and Nestle, while Ministry of Illusion has worked on McCain’s Young and Tender Peas TVC, on Plascon’s Snails TVC, and MTN’s Nightshift. Most recently, their VFX work can be found in Absa Business Banking’s brand ﬁlm Tirhani’s Story. Another company doing remarkable animation work is BlackGinger, who worked on Cadbury’s Bubbly, and the intro sequence for Chibeasties 2 – a new slot game from Yggdrasil Gaming. Their work on the commercial for Mazda’s CX3 saw an intrinsically African story told in the

traditional manga style, proving this company, who celebrated their 12th anniversary in April, still has much to oﬀer in terms of storytelling and innovation. Sea Monster continues to widen its repertoire by working across the board in projects ranging from augmented reality to animation to game development. One of their most recent projects was Pick n Pay’s South African Super Animals App and Stikeez 2 App, the Swipa Serious game, Bar Blitz on IMVU, as well as

the Mediclinic Inpatient Survey Animated Explainer and Dedat Internet Champions educational animation series. Sea Monster’s Glenn Gillis and Wynand Groenewald were selected as ﬁnalists at the FNB Business Innovation Awards for 2017. Other notable companies doing quality commercial service work include BFX, Aces Up and Conduit – the latter of which now oﬀers their award-winning studio, called Best Full, as a standalone supplier to the production industry.

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THE DELECTABLE WORLD OF

TABLETOP PRODUCTIONS We speak to some of Africa’s foremost foodie filmmakers to find out what the latest trends, movements and projects are from this bubbling sector.

n ever-growing niche in the advertising world, sustained by the global FMCG industry, tabletop productions are evolving to include television content, branded films and long-term sponsorship deals. One company that’s managed to succeed in creating engaging original content in this field is Cooked in Africa Films whose show, Ultimate Braai Master has just completed its fi ft h season. The show’s

long list of sponsors includes Suzuki, Pioneer Foods, Shell South Africa and Robertsons. Production on the shortformat front is still booming, with companies like Grinder Films continuously producing high-quality foodie content for clients. Director/DOP Simon Barnes has completed four recent shoots for Diageo’s Tusker campaign, working with Network#BBDO. “The campaign saw Simon really pushing the visual boundaries of what can

be achieved in-camera without using CGI,” says David Rowley, Executi ve Producer at Grinder. “We have just completed the post production on a global cross-media Dove Men+Care Campaign for Unilever that we shot in October 2016. For this production we built a unique camera rotation-rig that rotates a Phantom 4K camera in a circle at around 108km/hr given totally unique camera perspecti ves.” Newly formed food and

fashion company Yum-Yum.tv has been well-received by the local and international market – reinforcing their belief that niche market companies can flourish. Past work by their directors for SA Breweries (now ABInBev) elicited “this is some of the best beer footage we’ve ever seen” from client and agency. Simply Asia restaurant group was delighted with a substantially increased turnover after the flight of their first ever TV commercial.

TABLETOP TRENDS • In terms of aesthetics, Grant reports coppers and pastel tomes mixed with tan textures as a look that works well at the moment. • Viewers no longer want fully instructional cooking but prefer to be brought into the life of the cook, and follow up on the recipes themselves. • Producers have to deliver more tangible and meaningful ROI to brand partners as generic airtime from broadcasters becomes increasingly competitive for clients. • SA agencies are starting to identify the value of have product-focused advertising instead of liveaction stories with badly shot product pack-shots. Grinder Films’ Director/DOP Simon Barnes has completed four recent shoots for Diageo’s Tusker campaign.

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TRISTAN HOLMES

ON DIRECTING THE CORONATION – BECAUSE IT’S YOUR MONEY COMMERCIAL Behind the scenes with the director of the Callsheet’s favourite commercial of 2016. Please take us through the process of conceptualising the brief. Conceptualising the coronation brief happened very organically. I knew I wanted a lot of movement in the commercial and worked hard to ﬁnd ways that movements could work together to create a tapestry of activity. This was central to our thinking throughout.

Did you know from the outset that you’d be using dozens of characters to highlight a single theme? We always knew there would be a lot of people used to highlight the idea. What we didn’t quite know was just how many. We began with only a handful at ﬁrst but once we embarked on a discovery of diﬀerent jobs,

I KNEW I WANTED A LOT OF MOVEMENT IN THE COMMERCIAL AND WORKED HARD TO FIND WAYS THAT MOVEMENTS COULD WORK TOGETHER TO CREATE A TAPESTRY OF ACTIVITY. THIS WAS CENTRAL TO OUR THINKING THROUGHOUT.

How did you select the stories? The stories were selected very organically and based more on feeling and sentiment rather than ticking boxes.

Did you select the song? The song was involved early in the mix thanks to the wonderful Marc Algranti. We had several tracks we considered right up until the very last moment. The right song and message was crucial to the communication and so we really interrogated the various options right until the end.

What was the client’s reaction to the ﬁ nished product? The initial response from client was apprehensive. They didn’t know what to make of it. It was so diﬀerent from the mould that they were concerned about it hitting home. But like all great clients, they trusted #Network and Star enough to get it to market and once it hit the ground the response was overwhelming.

At any point did you doubt that the ﬁ nal result would be as good as it is? You always doubt things are a director. You always know it could have been better here, better there. And it takes a little longer to look past the faults. But we always knew it was a special job, we felt it on set and saw it in the edit. But the response from the public was the real validation.

more and more crept into the cut. This resulted in the pace shift and ultimately the great feel the commercial has today.

2018

BE SEEN IN THE

PREMIER

AFRICAN FILM MARKETING TOOL

Distributed at the biggest ﬁlm festivals and ﬁlm markets in the world.

The Filmmaker’s Guide to Africa 2018. CONTACT COLEEN TAPSON: coleen@ﬁlmeventmedia.co.za / Tel. 021 674 0646

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WHAT THE WORLD SAYS Who best to confirm South Africa’s position as a world-class commercial service destination than the clients and agencies themselves?

CHARLOTTE JIMENEZ, SENIOR PRODUCER, HAVAS HELIA, UK Local Service Provider: Grinder Films

“David and the team at Grinder Films were attentive and enthusiastic from pre-production, right through to final delivery of our host of campaign films. Always keen to deliver to the upmost quality with precision. We were so pleased with the results from the Dove Men Elements shoot that we also requested some short form web and social media content from them too. It was too beautiful not to maximise the opportunity!”

EXECUTIVE PRODUCER: 1STAVEMACHINE, USA Local Service Provider: Moonlighting (8-day shoot for IZZE Fusions soft drink launch)

“So much hard work was put into these and we are super grateful for that. We are all SO PROUD of the work that we did with you. I cannot wait to come and shoot with you again!”

MIKEY LEVELLE, PRODUCER, ANOTHER FILM COMPANY (MAGIC WANDA)

SAM KELLY, LET IT RAIN FILMS

Local Service Provider: Visual Impact

“I would not hesitate to recommend Visual Impact, they not only supply our equipment, but often assist us in the pitching phase with realising the client’s vision. They are always willing to do tests in the pre-production phase if need be. Their engineering department always has our back and we love the bookings staff. They are affordable, they make a plan for us when we need it and are always happy to recommend appropriate crew if needed.”

NET#WORK BBDO (TUSKER)

Local Service Provider: Egg Films, Dan Mace as Director

“He’s only 26 years old and had never shot a commercial before this. His films… have until now been made as content videos for YouTube, which gives this work a super fresh look and feel. Very un-ad-like, which we like very much.”

TINA DIEP, SENIOR PRODUCER, JOHANNES LEONARDO Local Service Provider: Egg Films

Local Service Provider: Juice Film

“I wanted to express my absolute and total, colossal thanks. You’re all absolutely amazing and there’s no way in a million years Mark and I could have achieved what we did without you all. You’re an exceptional team; a true pleasure to work with and I can’t wait to come back out again.”

“It was an amazing collaboration all around and every single partner/person involved in this campaign worked beyond their limits and pushed the work even further. It’s the only way great work is made. This one was EPIC; all the stars perfectly aligned.”

HENRY LU, DIRECTOR, SOFT CITIZEN/MOXIE Local Service Provider: AFS Productions

KAT FRIIS, VP EXECUTIVE PRODUCER, BBDO SAN FRANCISCO Local Service Provider: AFS Productions

“There is no one else in S. Africa that can compare to AFS Production. [it] is hassle-free and you are never a number, you are always family. I won’t work with anyone else. If I could clone them for every other country I shoot in – I would!”

“I’ve been fortunate to work with various production service companies around the world and my experience with AFS ranks the very best. Our production could only work if we had everyone dedicated to our cause and I genuinely believe the only reason that we came home with footage that exceeded our imagination was because everyone involved from Dale and Brin down to the set PA’s wanted to help us make our film something special.”

AFRICAâ&#x20AC;&#x2122;S LEADING FILMMAKING EVENT TODAY WRITE

/ JCA 2269 A.3

Make connections and share knowledge with leading industry professionals

DIRECT

14-17

JULY 2017

8th

FFind ind o out ut m more ore o on www.durbanfilmmart.com

FOUR DAYS

ONE VENUE

UNLIMITED OPPORTUNITIES

34 / DURBAN FILMMART

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AFRICA’S LEADING CO-PRODUCTION

AND FINANCE MARKET IS OPEN FOR REGISTRATION!

A joint programme of the Durban Film Office and the Durban International Film Festival, the DFM provides filmmakers from across Africa with a valuable opportunity to pitch projects to financiers, distributors, sales agents and potential co-producers, and to participate in meetings, project presentations and a series of master classes and workshops on the latest industry trends. Check out this year’s programme at www.durbanfilmmart.com

LEADING SPEAKERS

Tilane Jones - Executive Director, Array

Charles Hopkins - Manager, Production and Development at Shoreline Entertainment

DURBAN FILMMART / 35

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LEADING SPEAKERS

DFM 2017 PROJECT SELECTION FICTION An African Tale (Kenya) Producer: Shirleen Wangar Director: Gilbert Lukalia Border (Benin) Producer: Arouna Sacca Mora Kpai Director: Idrissou Mora Kpai

Shmerah Passchier - AFDA Pro Knowledge Curator

Karen Harley - Critically acclaimed Filmmaker and Editor

Borderlines (South Africa) Producers: Kim Williams and Paul Egan Director: Meg Rickards Dabulaphu (Short Cut) (South Africa) Producers: Kethiwe Ngcobo and David Max Brown Director: Norman Maake

Moikgantsi Kgama Founder of the Imagenation Cinema Foundation / Audience Development Specialist

Ingrid Kopp - Co-Founder of Electric South/ Senior Consultant Tribeca Film Institute (Interactive Department)

Matigari (Congo) Producers: Luzuko Dilima, Balufu Bakupa Kanyinda, Fidelis Duker and Cathy Muigai Director: Balufu Bakupa Kanyinda Miles from Nowhere (South Africa) Producer: Bongiwe Selane Director: Samantha Nel Rainbows Don’t Last Long (Egypt) Producer: Halina Dyrschka Director: Mayye Zayed

Mila Aung-Thwin Co-Founder of Eyesteelfilm/ Critically acclaimed Documentary Producer

Busisiwe Ntintili - Multiple award winning Scriptwriter, Lecturer, Filmmaker and Producer/ cofounder of Sidewalk Productions

Richard was Here (South Africa) Producers: Akona Matyila and Jack Chiang Director: Akona Matyila The Girl from Wereldend (Namibia) Producer: Dylan Voogt Director: Jana Brückner

Nicole Brooks - Vice President of Caribbeantales Worldwide Distribution

Stefano Tealdi - Pitching Consultant/ Head of Development at Stefilm

and Elias Ribeiro Director: Wim Steytler The Woods (South Africa) Producer: Kofi Zwane Director: Kofi Zwane

DOCUMENTARIES As I Want (Zay Mana Aiyza) (Egypt) Producer: Karim El Hakim Director: Samaher Alqadi Behind Closed Doors (Morocco) Producers: Karoline Henkel Directors: Yakhout Elhabibi Better Sundays (Kenya) Producer: Kelvin Kimathi Director: Lydia Matata Desterrados (Mozambique) Producer: Fabio Ribeiro Director: Yara Costa Encore (working title) (South Africa) Producers: Liesel Priem and Jolynn Minnaar Directors: Jessie Zinn and Jethro Westraad Lobola, A Bride’s True Price (South Africa) Producer: Sarah Basyouny Director: Sihle Hlophe Rajada Dalka (Nation’s Hope) (Somalia) Producers: Andreas Rocksén and Cynthia Kane Directors: Hana Mire Uasi (working title) (Kenya) Producers: Matrid Nyagah and Linda Ogeda Director: Sam Soko

The Lotus (South Africa) Producer: Bonita Sithebe Director: Philani Sithebe

Womxn: Working (South Africa) Producer: Tiny Mungwe Director: Shanelle Jewnarain

The Sovereign (South Africa) Producers: Gary King, Cait Pansegrouw

Y Revolution (South Africa) Producer: Suzanne du Toit Director: Suzanne du Toit

THE BEST PRODUCTION MUSIC CATALOG

T S E B E TH SEARCH C I S U M NGINE RD DRIVE E AND ON HA WEB E H T N O

THE BEST SERVICE AND SUPPORT Contact Louise Bulley Office number: 011 462 8094 Mobile: 083 538 3894 Email: louise@synchromusic.biz www.synchromusic.co.za

BROADCAST - TV & RADIO

PRO AUDIO - LIGHTING - STAGING

FILM & VIDEO PRODUCTION

AUDIO VISUAL INTEGRATION

DIGITAL MEDIA

STUDIO - RECORDING - DJ

TICKETPRO DOME

19-21 JULY 2017 www.mediatech.co.za

SUN CIRCLE e x h i b i t i o n s

38 / LOCATION SPOTLIGHT

www.thecallsheet.co.za

Annabelle Wallis in © The Mummy

NAMIBIA

A top film and television service destination in Africa, Namibia offers the full package – including an abundance of wildlife and desertscapes to delight location scouts.

nation with exquisite deserts and striking coastal regions, Namibia is a beautiful and unforgettable location. It attracts all sorts of shoots, from commercial and photography to films the likes of Mad Max: Fury Road. In recent years the government has provided more support to local production companies, resulting in more large-scale productions coming to the region. Another advantage is the fact that it is easily accessible – just a few hours’ flight from Johannesburg. Filmmakers are enamoured

by the dramatic Kalahari, the Fish River Canyon and the Skeleton Coast, while Sossusvlei sand dunes, Etosha National Park wildlife, and Cape Cross fur seal colonies always attract attention. Also of note is the striking Kolmanskop ghost town in the haunting Namib Desert.

FILMS SHOT IN THE COUNTRY

Some of the most recent films to have been shot on location is the Oscar award-winning Mad Max: Fury Road, and the latest instalment of The Mummy, which was filmed in

Swakopmund and is set for release in 2017. Its incredible landscapes and abundant wildlife bring many television documentaries and magazine programmes to Namibia, such as BBC’s Wonders of the Universe, and Discovery Channel’s Vanishing World. Top International Productions Shot in Namibia • 10 000 BC • Flight of the Phoenix • Mad Max: Fury Road • Samsara • The Mummy (2017) • The Prisoner • Wonders of the Universe

FILMING ON LOCATION

Because Namibia has an average of 300 days of sunshine a year, shoots are more depended on their content than best times to film. Hot rainy months are from October to April with heavy thunderstorms bringing flowers into full bloom, while dry winter months are best for filming wildlife as the weather forces animals to congregate at watering holes. Namibia has a pool of local directors, videographers, location scouts and production service companies. The Namibian Dollar is on par with the South African Rand, offering a favourable

LOCATION SPOTLIGHT / 39

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CLIMATE Namibia has an average of 300 sunshine days a year, with an arid climate and low humidity. Average Annual Temperatures in Windhoek, Namibia 400C 30 0C 20 0C 10 0C 0 0C

Jan Feb Mar Apr May Jun Max temp

Jul

Aug Sep Oct

Nov Dec

Min temp

Sossusvlei © Eric Bauer

www.weather-and-climate.com

Average Monthly Sunlight Hours in Windhoek, Namibia 400 hrs 300 hrs 200 hrs 100 hrs 0 hrs

Jan

Feb

Mar Apr May Jun

Jul

Aug Sep

Oct Nov Dec

www.weather-and-climate.com

ACCESS

Windhoek Hosea Kutako International Airport is the main air access point for Namibia. Walvis Bay International Airport is also popular. Airlines flying into Namibia include: • KLM • Qatar Airways • South African Airways

• British Airways • Ethiopian Airlines • TAAG Angola Airlines

POPULATION 2 436 469 (CIA World Factbook, July 2016 est.)

CONTACT © Shutterstock

exchange rate on the international market. Day rates are very reasonable, and Namibia also has a diverse ethnic talent group. All commercial filming or photography in Namibia needs to direct a request to the Namibia Film Commission three weeks before arrival through an application form to the

Commission. All foreign crews working in Namibia must have a valid temporary work permit, and applications can be lodged with the Ministry of Home Affairs and Immigration at least 15 working days prior to arrival. Western passport holders travelling as tourists can enter visa-free for stays of up to 90 days.

Namibia Film Commission (NFC) Postal Address: P.O. Box 40715, Ausspannplatz, Windhoek Tel: +264 (0) 61 381 900 Email: info@nfc.na Web: www.nfc.na Namibia Tourism Board Head Office: Corner of Haddy and Sam Nujoma Drive, Windhoek Tel: +264 (0) 61 290 6000 Email: info@namibiatourism.com.na Web: www.namibiatourism.com.na

FIXERS Lemon Reel Film Services: Bernd Curschmann Tel: +264 81 122 7717 Email: bernd@lemonreel.com

DAY RATES ARE VERY REASONABLE, AND NAMIBIA ALSO HAS A DIVERSE ETHNIC TALENT GROUP.

Namib Film: Guy Nockels Tel: +264 64 46 3371 Email: guy@namibfilms.com / info@namibfilms.com

40 / EVENTS TO DIARISE

www.thecallsheet.co.za

JUNE

MZANSI WOMEN’S FILM FESTIVAL 3–6 Johannesburg, South Africa

SUNDANCE FILM FESTIVAL: LONDON 1–4 London, USA

RHODE ISLAND INTERNATIONAL FILM FESTIVAL 8 – 13 Rhode Island, USA

ENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL 1 – 11 Cape Town and Johannesburg, South Africa BROOKLYN FILM FESTIVAL 2 – 11 New York, USA

SAN FRANCISCO INTERNATIONAL LGBTQ FILM FESTIVAL 15 – 25 San Francisco, USA INTERNATIONAL FESTIVAL OF CREATIVITY (CANNES LIONS) 17 – 24 Cannes, France

SYDNEY FILM FESTIVAL 7 – 18 Sydney, Australia

SHANGHAI INTERNATIONAL FILM FESTIVAL 17 – 26 Shanghai, China

SHEFFIELD DOC/FEST 9 – 14 Sheﬃeld, United Kingdom

SUNNY SIDE OF THE DOC 19 – 22 La Rochelle, France

THE BANFF WORLD MEDIA FESTIVAL 11 – 14 Banﬀ, Canada

EDINBURGH INTERNATIONAL FILM FESTIVAL 2 – 2 July Edinburgh, Scotland

ANNECY INTERNATIONAL FILM FESTIVAL AND MARKET 12 – 17 Annecy, France

BERLIN SHORT FILM FESTIVAL 29 – 3 July Berlin, Germany

LOS ANGELES FILM FESTIVAL 14 – 22 Los Angeles, USA

NATIONAL ARTS FESTIVAL 29 – 9 July Grahamstown, South Africa

JULY ZANZIBAR INTERNATIONAL FILM FESTIVAL 8 – 16 Zanzibar City, Tanzania PLETT FOOD FILM FESTIVAL 11 – 13 Plettenberg Bay, South Africa DURBAN INTERNATIONAL FILM FESTIVAL 14 – 18 Durban, South Africa DURBAN FILMMART 14 – 17 Durban, South Africa

CHICESTER INTERNATIONAL FILM FESTIVAL 10 – 27 Chichester, United Kingdom THE ADVENTURE TRAVEL FILM FESTIVAL LONDON 11 – 13 London, United Kingdom LOERIES CREATIVE WEEK 14 – 21 Durban, South Africa UBUNTU YOUTH FILM FESTIVAL 18 Cape Town, South Africa SILWERSKERMFEES 23 – 26 Cape Town, South Africa

MEDIATECH AFRICA 19 – 21 Johannesburg, South Africa

SOUND ON SCREEN FILM FESTIVAL 25 – 27 Cape Town, South Africa

KLEINKAAP SHORT FILM FESTIVAL 28 – 30 Pretoria, South Africa

VENICE INTERNATIONAL FILM FESTIVAL 30 – 9 Sept Venice, Italy

AUGUST

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judge Movember

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you is Mary

and your name

just your just your

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42 / ASSOCIATIONS NEWS

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IPO ON THE STATE OF SABC FINANCES

NFVF APPOINTS NEW COUNCIL MEMBERS

The Independent Producers Organisation, which represents 100 producers in South Africa, is alarmed to hear that many production companies have not been paid in the month of March. These payments are generally for work that has already been delivered or is in the process of being made. These payments go towards paying suppliers including actors, directors, technical crew, caterers, equipment suppliers, car hire companies and fuel. These are the people who work twelve-hour days to bring some of the country’s favourite programmes to life. The failure of the SABC to pay not only places the industry in crisis but also puts thousands of livelihoods, bond and loan repayments, school fees and living expenses at risk. The impact on the many thousands of lives is dire. We call on the SABC to urgently convene a meeting of independent producers to explain to them when and how this failure to meet their contractual obligations will be rectiﬁed. In addition the IPO urges the Minister of Communications Ms. Ayanda Dlodlo to convene a meeting with the new interim board as a matter of urgency to address pertinent issues at the SABC, issues that affect the daily running of producers’ businesses. Currently the general industry, including actors and crew is negatively affected, and an amicable decision on how the producers’ concerns are going to be resolved will be highly appreciated.

The Minister of Arts and Culture, Mr Nathi Mthethwa, has announced the new council for the National Film and Video Foundation, effective from 1 May 2017 to 30 April 2020. Below are the ten new council members selected to serve, including three re-elected names by the outgoing council for the purposes of continuity. • Phillip Thabo Molefe – Chairperson of the Council • Zimkhitha Papama Zatu – Deputy Chair • Shadrack Bokaba – Member • Zanele Mthembu – Member • Dr Siphelo Unathi Ngwangu – Member • Lebogang Job Seperepere – Member • Advocate Dimakatso Susan Qocha – Member • Mfundo Amon Ntsibane – Member • Fikile Andiswa Masiko – Member • Jeremiah Mofokeng – Member • Delon David Bakker – Member • Pam Mashiane – Member • Thabiso Masudubele – Member Queries regarding the council may be directed to Lindeka Moeng on +27 (0) 21 441 34 78 or lindekam@dac.gov.za.

FILM INDUSTRY FUND DONATES LIBRARY TO OCEAN VIEW At the end of March 2017, the Film Industry Fund handed over a complete library building stocked with 3 000 new books to the value of R270 000 to Kleinberg Primary School in Ocean View in Cape Town. Through the active support of literacy promotion organisations like help2read and Breadline Africa, with generous support from the Film Industry Fund, learners at Kleinberg Primary now have access to an abundance of literacy resources, a great reading space and reading helpers to give them one-on-one attention. Breadline Africa’s library development programme creates a bright, roomy and engaging space, fully equipped with age and stage appropriate reading resources to engage learners by developing a love for reading. Learners are aided by Volunteer Reading Helpers recruited, trained and supported by help2read, who commit to at least a year long programme of meeting one-on-one with learners for at least 30 minutes twice a week. The Film Industry Fund seeks to be a vehicle of change for the South African Film industry by supporting underprivileged communities and projects through local production companies’ contributions.

ASSOCIATIONS NEWS / 43

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SASC LAUNCHES VISIBLE SPECTRUM AWARDS 2017

Calling for an inclusive dialogue on the role of women, the eThekwini Municipality’s film industry arm – the Durban Film Office, the Durban International Film Festival, the National Film and Video Foundation (NFVF), the lobby and advocacy organization Sisters Working in Film and Television (SWIFT), and international partner CaribbeanTales Media Group, are all providing input into the Women Led Film – Disrupting the Status Quo programme within this year’s DFM from 14-17 July in Durban. “As the women’s struggle in film begins to finally garner the attention it needs around the world, we need to look to achieving some concrete results,” said Sara Blecher, local filmmaker and co-founder of SWIFT. “We have to really start looking at the local film landscape and our status within this. The focus on women at DFM will help shine the spotlight both on the representation of women on the screen, but also more importantly on the women behind the screen.” The programme will present a number of workshops, roundtables and panel discussions with leading women in film. For more information or to register, go to www.durbanfilmmart.com.

The South African Society of Cinematographers recently opened entries to the annual Visible Spectrum Awards, taking place on 30 September 2017 in Johannesburg. The awards celebrate and acknowledge the very best work produced by South African Cinematographers. The competition is open to all cinematographers including non-SASC members, and both production companies and agencies are invited to enter the work of their best cinematographers. The SASC committee will select judges consisting of recognised specialists within the ﬁlm and television industry, and may include marketing specialists, creative directors and others. The deadline for entries is 1 September 2017. For more information or to submit your work, contact Skip Scheepers on +27 (0) 01 482 1155 or skip@postmasters.co.za.

SAGA HOLDS AGM IN MAY The South African Guild of Actors held their Annual General meeting on 8 May 2017 in Johannesburg. The organisation hosted keynote speaker Justice Zak Yacoob, an anti-apartheid activist and former Justice of the Constitutional Court of South Africa. He was appointed to the bench in 1988 by Nelson Mandela. He brieﬂy served as Acting Deputy Chief Justice during the long-term leave of Dikgang Moseneke. Although Justice Yacoob retired in 2012, he is highly respected as a man who contributed enormously to the justice system of this country. SAGA also held their Regional General Meeting in Cape Town on 6 May 2017, with actor, writer and director Mandisi Sindo. For information on the outcomes of these meetings, contact admin@saguildofactors.co.za.

SWIFT TO TALK WOMEN IN FILM AT DFM

Print in a hurry. Callsheets, contact cards, booklets, posters, signage, banners and a whole lot more.

25 YEARS

IN DIGITAL PRINT

Gardens +27 21 461 9334 sales@wizardz.co.za

V&A Waterfront +27 21 419 7153 wft@wizardz.co.za

Constantia +27 21 794 1394 hellocv@wizardz.co.za

Stellenbosch +27 21 883 8515 hellosb@wizardz.co.za

44 / DIRECTORY

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DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

WEBSITE

PAGE

AFS Productions

+27 21 424 9999

info@afsproductions.com

afsproductions.com

Aquila Private Game Reserve & Spa

+27 21 430 7260

res@aquilasafari.com

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Cannes Lions

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Cape Town International Convention Centre

+27 21 410 5000

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Durban Film Mart

+27 31 311 4243

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33, 34, 35

Durban International Film Festival

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Inside Front Cover

First Pencil

+27 82 923 5762

brenda@ﬁrstpencil.tv

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Food Art International

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Loeries

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Media Film Service

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Mediatech Africa

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MIPCOM

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Monkey Films

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North South Productions

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Outlandish

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Panalux

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Panavision

+27 21 555 1780

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Pro Events

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Sandton Convention Centre

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10, 11

South Coast Tourism

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marketing@tourismsouthcoast.co.za

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Synchro Music Management

+27 83 538 3894

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Value Logistics

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Good luck to all those who have entered this yearâ&#x20AC;&#x2122;s Cannes Lions Festival

from all at

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