The Callsheet Issue 8 by Film & Event Media

ISSUE 08 | 2015

+ DURBAN FILMMART 2015 Exclusive Coverage from SA's Premier Market

+ TRANSPORT IN THE FILM INDUSTRY Moving by Land, Sea and Air

+ LOERIES: BATTLE OF THE CREATIVES Advertising Gurus Compete for Ultimate Honour

CONTENTS | 01

www.filmmakerafrica.co.za

02. SteaDOP: The Ultimate Weapon in Your Filmmaking Arsenal

04. Unpacking Beats of the Antonov 05. DFM Masterclass Roundup: A Gem of Advice for Everyone

06. Triggerfish Launches the Story Lab

08. Loeries: Battle of the Creatives 16. Talent in South Africa 20. Durban FilmMart 2015 Highlights 24. Moving the Film Industry by

LOERIES 2015

DURBAN FILMMART 2015

SA’s top creative battle for the ultimate prize – the coveted Loerie.

The Callsheet was there to witness it all. See our exclusive content on page 20.

Land, Sea and Air

31. Spotlight on Groundbreaking Tech at Mediatech Africa

32. Callsheet Cocktail Highlights at Durban FilmMart

34. Cannes Lions 2015 Review 35. Ayanda: Authentic African Girl Power Embodied

36. Tanzania: Diverse Locations and Talent Pool

38. IBC 2015: The World’s Leading Electronic Media Event

TRANSPORT IN FILMMAKING

CALLSHEET COCKTAIL PARTY 40. Associations AT DFM 42. Events to Diarise

Imogen Campbell unpacks this highly complex business on page 24.

Turn to page 32; you’re probably on it!

44. Directory of Advertisers

02 | NEWS

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SteaDOP: The Ultimate Weapon in Your Film-Making Arsenal

by Karen Taylor-Vermaak

smooth Steadicam shot can add value to a production like little else, as it truly mimics the way humans look at life. It’s hard to imagine The Shining having the same impact without the creepy, low-mode shots following five-year old Danny Torrence on a squeaky tricycle down a deserted hotel passage. How else could Emmanuel Lubezki create the illusion of one continual, transition-free shot in the 119 minute long Birdman? In the hands of the right operator, Steadicam can be a time-saving tool that allows for any combination of camera moves to interact and produce a seamless storytelling visual, breathing life into any narrative. But lighting for Steadicam can also be the one of the biggest challenges for even the most experienced DP. Luke Rous, Executive Producer at Rous House Productions, had a tall order when crewing up for the 26 part drama series Roer Jou Voete. Set in a small Karoo town, the story centers around an old-school dance club under threat of closure. “With classical dance as the central theme of the series, and an ambitious shooting schedule of 14 pages a day, we needed Steadicam and a good DP that can light fast, but were unsure how to afford both. I knew Chris Vermaak as a steadicam operator, and was impressed by his recent DP work on the short film Welcome to Hawaii. So I offered him the challenge. Thankfully he accepted. Shooting a local drama series almost entirely on Steadicam is unheard of and a gigantic shift away from what local broadcasters have on offer. Finding a top-notch Steadicam operator that thinks and lights like a DP and can lead a camera team was a real feat, and the resulting product will definitely raise the bar in terms of local content.” The Director-DOP-Steadicam Operator relationship requires clear communication and

Chris Vermaak on set of Roer Jou Voete.

synergy on and off set, and a common goal to achieve the director’s vision. This can be particularly difficult when there are multiple directors, as is commonplace when shooting drama. By combining the role of DP and Steadicam Operator on RJV, this ‘SteaDOP’ saved both time and added production value, while maintaining a clear flow of communication. The Callsheet caught up with ‘SteaDOP’ Chris Vermaak on set of RJV, to chat about the pros and cons of Steadicam as a production tool. “Visual, human-centric storytelling requires performance to be paramount. Actors need freedom to deliver their best performance, and this is often restricted by static shots. Traditional master and reverse shots (‘ticktocks’) limit coverage and actors’ movement, and are time consuming. Steadicam has the potential to put the camera in the right place at the right time and thus capture the best performance from actors. It also allows for longer takes, keeping the performance alive for longer and enabling actors to get into the rhythm of a scene, without having to cut. The price you pay for this though, is that you’re not lighting for one angle at a time, you’re lighting

for an entire scene in one go!” The dance sequences also demanded deft operating to navigate the lighting challenges. “The Karoo environment informed the lighting and we could thankfully rely on natural light to facilitate the camera movement” says Vermaak. “Filming on a camera with 14 stops of latitude also helped a lot!” Although tempting to use Steadicam for everything, Vermaak believes it’s imperative to know when NOT to use Steadicam. ‘You need to strike a balance between when to try and get everything in one long shot, and when to rather break it up into shorter set ups. The former can end up costing you more time than shooting a tick-tock on legs.” Another thing to bear in mind is that key departments on set are affected by the use of Steadicam and need to plan for each shot accordingly. For all the freedom it affords in terms of movement, the entire crew is burdened with the responsibility of prepping for a possible 360 degree view of the set. The eye-line that should not be crossed, often becomes a fluid entity when working with Steadicam and continuity in particular has to be continually aware of who is looking where and when, during each take.”

Mobile: 083 259 6288 | Email: steadipro@mweb.co.za www.chrisvermaak.com

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04 | PRO-SPECTIVE / FILM REVIEW

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BEATS OF THE ANTONOV Kim Muller unpacks one DIFF’s star films.

Hajooj Kuka: It’s Time We Talk About Identity When one thinks about Africa – even as an African, a very single-minded picture generally tends to come to mind. This, perhaps, is one of the most tragic things anyone can do. Enter Hajooj Kuka. A fascinating filmmaker with more than his fair share of experience both in Africa and outside of it, Hajooj is intrigued by identity and finding one’s place in world. His captivating documentary, Beats of the Antonov, was released in late 2014 in time for Toronto Film Festival (where it won an Audience Choice award) and has been traversing the festival circuit ever since. The questions he raises are profound – be it for a Sudanese national or a ‘born free’ from the Rainbow Nation – and really encourages one

to consider heritage as more than simply something to punt for tourism’s sake. Hajooj first began his journey towards Beats while covering the conflict in Darfur. Being Sudanese himself, but having spent a good chunk of his life in Lebanon, the UAE and the US, he also has an outsider’s perspective on what’s really happening on the ground. This ability to pass at ease amongst people and empathise with them whilst still maintaining a different viewpoint positioned him perfectly to build relationships that might not have been possible had he been a Westerner. This insight and the way in which he approached the making of Beats are perhaps part of the reason why it was such a success. The film’s development was incredibly organic. Hajooj went from creating something for himself based on indigenous music he’d collected on his trips to Sudan, to making a film for the people around him – the ones he was filming for the doccie. Sometime during the production process, a chance meeting with a TIFF scout put him in touch with Big World Cinema’s Steven Markovitz, who immediately loved the rough cuts he saw. Hajooj’s main goal was to explore the issues surrounding identity for the Sudanese people, but the underlying issue is that we’re all more or less going through some kind of crisis, he says. “That’s why you have things like Ferguson happening in the US right now,” he said. The most important thing he hopes to achieve through Beats of the Antonov is to start some kind of dialogue around the subject. We

as viewers should consider what we think our identity is and where we draw the lines between patriotism, lineage and heritage. “We need to realise that the situation is more complicated, it’s not black and white,” he says, “It’s actually a human question.” His next project is currently in development and this time it’s a fictitious rom-com, also with a strong local Sudanese flavour and made in much the same natural way as Beats.

Film Review: Music Holds a Fragile Culture Together I wasn’t sure what to write about this film, but as difficult words tend to work, time was all that was needed. I had to sort through the feelings I had about this film – the things the Sudanese people had said about Arabs versus indigenous peoples. Although I’m from South Africa, I had the privilege of living in Morocco, another pseudo-Arabian culture, for about ten years. Moroccans are also, I think, a people who do not know how to feel about their heritage. How to deal with the fact that the majority of the population are not true Arabs but rather the indigenous Berber peoples. These questions about a different side of colonisation are at the forefront of Beats of the Antonov, where people hide from aerial bombers by day and party like there’s literally no tomorrow by night. The film delves into the country’s crises and tries to understand why ordinary civilians have to fight for their existence against an enemy who has the same faith that they do. An enemy who’s supposed to be a friend. The Sudanese are going through an identity crisis, just as many countries with colonial pasts do. The only difference between South Africa and Sudan is that in the latter, people are still being oppressed, and their only real escape is music. The Sudanese-South African production is a beautiful exploration of heritage and culture. Director Hajooj Kuka has done extremely well in portraying the indigenous Nuba people’s plight through traditional music, vibrant personal stories and stunning imagery. Let’s just say they got that phrase right, whoever wrote it: music really does bring people together.

SPOTLIGHT | 05

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DFM MASTERCLASS Roundup: A Gem of Advice for Everyone

urban FilmMart is known for bringing the cream of the crop in international thought leaders to its events, and this year’s Masterclass line-up was no different. We saw the 2015 Masterclass programme begin with a two-hour session in Film Packaging and Finance, entitled New Filmmaking Strategies: From South Africa to Pan-Africa and towards the Global Market, led by creative industry expert and published writer Angus Finney. A wealth of information and wit, Finney shared the five main components central to creating successful content that travels and sells: a good script, a producer (or co-producers), a director who knows what he or she is doing, a comprehensive budget, and a solid, reliable cast. His focus on and interest in South Africa and the wider continent were apparent, and he’s picked up a number of challenges and ‘bugs’ in the system that need to be worked out. “I did an interview with Helen Kuun recently back in Joburg who runs Indigenous,” he said at one point, “and she felt that there was a disconnect between a lot of the films that South African filmmakers want to make and a lot of the films a South African audience wants to see.” The following day saw Stefano Tealdi present Pitching Your Way Into the International Film Business. Tealdi told seminar attendees that although pitching is thought to be a presentation, it is actually an encounter. The people you are pitching to want to know who is

behind the project, not the details of the project. He said that selling yourself is even more important than selling your project. Things to be included in successful pitches include telling folks who you are, what your project is about, what the viewer will see, unique selling points and, of course, a memorable title. Day three at Durban FilmMart (DFM) brought Sari Turgeman’s Masterclass to the fore. Her fascinating talk was centred on why we tell the stories we do, whether there’s a right or wrong way to pen a story, why we choose particular characters and what exactly the ‘unity of contradictions’ entails. The session, entitled Story Development: My Character and I, is based on a method of scriptwriting called The Journey Plan, which she’s been developing for a number of years through her script consulting company Scriptlight. Throughout her engaging and interactive talk, Turgeman returned to The Princess Bride’s ultimate fantasy character Wesley to give session-goers a tangible idea of what is expected when digging into the heart of a story. She stressed that it is so important to constantly create human connections with people – both within the story and in the real world, breaking the various considerations down into bite-sized pieces. Turgeman’s final words to the crowd were on the importance of sharing and collaboration, not only within the story you’re telling, but also with the people who join you in bringing your

Sarie Turgeman at DFM 2015

script to life. “When people read your script in the way you want, they connect to you; they are choosing you,” she told attendees. “And it’s a very good relationship in this way. They’re not choosing something they don’t know, they’re really choosing your project with your uniqueness, with your own voice. So it’s really nice relationship to have on this journey of making a film.” The final day of Durban FilmMart saw Triggerfish’s Head of Development, Anthony Silverston, share his thoughts on How to Write Characters that People Care About. He stressed how a story’s theme needs to be universal, a truth about the human experience, and of course emotionally significant to viewers. He also suggested rather than making this theme obvious, it should be about discovering the theme, subtly and engaging with emotion. He also unpacked the difference between a concept and a story, as well as its structuring life, that is, the thesis, the antithesis and the synthesis between the two.

06 | NEWS

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Triggerfish

Launches the Story Lab

Incredible opportunity for talented writers to create Africa’s next animated blockbuster.

riggerfish Animation Studios is establishing The Triggerfish Story Lab with the support of The Department of Trade and Industry (the dti) and The Walt Disney Company. Triggerfish will be investing up to R44-million over the next three years in The Story Lab, which aims to give Africa’s most talented storytellers and filmmakers the opportunity to develop their ideas alongside Triggerfish’s international network of mentors. Selected storytellers will potentially have their concepts developed into episodic TV content or an animated feature film for the global market. Triggerfish is conducting a continent-wide search for storytellers. The entries will be evaluated by a high-profile panel of both local and international experts, including British director and co-founder of Aardman Peter Lord (Chicken Run, The Pirates! In an Adventure with Scientists), Hollywood writer Jonathan Roberts (The Lion King), and a panel of development executives from The Walt Disney Company, as well as South African storyteller Gcina Mhlope, comedian David Kau and Triggerfish’s development team of Anthony Silverston, Wayne Thornley and Raffaella Delle Donne. Shortlisted storytellers will take part in two weeks of workshops with leading Hollywood script consultants Karl Iglesias, author of Writing for Emotional Impact, and Pilar Alessandra, author of The Coffee Break Screenwriter. The selected Story Lab participants will also receive two weeks of mentoring with key studio and television executives at Disney’s headquarters in Burbank, California. “We are ready to bring a fresh voice to the world,” says Anthony Silverston, head of development at Triggerfish. “We believe there is extraordinary talent in Africa and the Story Lab is the perfect way to partner with them.” “We are excited to be supporting Triggerfish on this innovative project,” says Christine Service, senior vice president and country manager of The Walt Disney Company Africa. “We believe the Story Lab provides a unique opportunity to discover this continent’s next generation of storytellers.” “The dti is committed to developing a pool of creative talent that can produce international

quality animation production scripts,” says Nelly Molokoane from the dti’s Film and TV Incentives Unit, adding that the department is honoured to support projects that will contribute to job creation. The development process can take a number of years. For each phase of development, Triggerfish will provide financial support, workspace, and expert guidance by internal and international consultants and mentors, as well as

a route to market through top-tier relationships with Hollywood agency William Morris Endeavor. Applications are welcome from all writing and creative disciplines, not just experienced film and TV screenwriters. Applicants must be over 21 and either African citizens or permanent residents. Entries must be in English. Full guidelines and an online application form are available at www.triggerfishstudios.com. Entries close 31 August 2015.

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08 | FEATURE

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LOERIES Battle of the Creatives

t’s that time of year again where the Loeries® Creative Week™ is back for seven days of pure celebration. More than just an award ceremony for ad agencies and brands, this festival of creativity’s main focus is creative inspiration – something they do incredibly well. This is also the first time the Loeries will be hosted in Durban, at a variety of venues at its famous Golden Mile beachfront. Adams and Adams Student Portfolio Day

The Loeries® Creative Week™ takes place from 10 to 16 August, where thousands of delegates will converge on the city from 13 August to take part in the stellar programme, including the DStv Seminar of Creativity, and of course the black-tie Awards Ceremonies with their much-anticipated after parties. This year sees a number of great speakers gracing the DStv Seminar of Creativity’s stage. These include Chuck Porter, Partner and Chairman of CP+B, Thimoteus Wagner, Executive Creative Director at Jung Von Matt/Alster Werbeagentur GMBH, Ji Lee, Creative Director at Facebook Creative Shop in New York, Chris Clarke, Chief Creative officer at Digitaslbi International, Ali Ali, acclaimed Film Director from Cairo, Stan Sthanunathan, Senior VP at CMI, Unilever, and Steve Vranakis, Executive Creative

“

The Loeries Red Carpet; Pre and Post Awards

It’s that time of year again where the Loeries® Creative Week™ is back for seven days of pure celebration. More than just an award ceremony for ad agencies and brands, this festival of creativity’s main focus is creative inspiration.

“

Katlego Maboe at the Unilever Brunch

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10 | FEATURE

their fullest. In 2015, entries to the Loeries increased by 20%, with an 80% increase in entries from outside South Africa, which Loeries CEO Andrew Human hopes is indicative of an overall increase in the buoyancy of the local economy. There has also been a growing interest in young creatives, with the Creative Future Scholarship awarded to one lucky grade-12 student from KZN this year, and with the annual Adams & Adams Young Creatives Award, open to entrants from the entire Africa and Middle East region. Nine students have already gone through the scholarship programme and three of which are currently studying. “What we’d like to do is certainly grow the scholarship,” Human told PowerFM recently, “because it’s a fantastic programme and the challenge is to get more kids in. We award one student a year and they get a fantastic scholarship and it would be much better if we could give this to ten students a year. So the more we can grow the scholarship, the better. If we can grow it, we can move beyond just one province and ideally, we can grow it internationally.”

Director at Google Creative Lab. Ji Lee, who has worked with the likes of Google, Droga5 and Saatchi & Saatchi in the past, will also head up the Communication Design judging panel as Chairman. The rest of the panel comprising nine big local names including Gaby de Abreu of Switch Design, Simone Rossum of Joe Public and Kabelo Moshapalo of TBWA. The judges for the Media Innovation category will be headed up by Virginia Hollis, Managing Director at Magnetic Connection. Other exciting items on the programme include the Unilever Brunch, Chairman’s Welcome, and the Channel O Party. For those who want a little bit more, the Fringe Festival offers Durban companies and individuals the opportunity to make their mark on the city with as much creativity as they can muster in any medium they wish. The MMA Smarties Awards are also part of the Loeries® Creative Week™, and recognise best-in-class mobile marketing campaigns from around the world. The Loeries Expo, from 13-14 August, puts creativity on display, allowing the Loeries partners to exhibit their capabilities to

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The Unilever Brunch

Stephen Doyle at the DStv Seminar

A Loeries Red Carpet moment

“

There has also been a growing interest in young creatives at the Loeries, with the Creative Future Scholarship awarded to one lucky grade-12 student from KZN this year, and with the annual Adams & Adams Young Creatives Award, open to entrants from the entire Africa and Middle East region.

12 | FEATURE

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ANDREW HUMAN,

CEO of the Loeries, on Creatives, Changes and Clout

The Callsheet: This is the first time the Loeries will be staged in Durban. How has the response been to the change in location? Andrew Human: There’s definitely a lot of excitement around the move to Durban. I think the big change is that Durban is a traditional beachfront city, with all the hotels along the beachfront. This allows us to create a close-knit community for Loeries® Creative Week™ with everything happening pretty much along the promenade.

The Callsheet: How has the quality of entries been in 2015? How many people entered this year’s awards? Human: We’ve had good growth in entries this year, with a 20% increase in entries in total and an 80% increase in entries from outside South Africa. I hope that this is indicative of an overall increase in the buoyancy of the local economy, as marketing spend is generally a good indicator of brand activity. The Callsheet: As always, the Loeries® Creative Week™ programme is chock full of exciting speakers and events. What are you most looking forward to? Human: The great thing about the seminar is that it’s a full day of incredible speakers – an opportunity that only comes this once

and definitely not something to be missed. The speakers represent a variety of skills and come from across the globe so I can’t pick a favourite – I’m sure they’ll all be awesome! The Callsheet: How has the Loeries maintained its clout as the foremost awards in Africa and the Middle East for brand Communication? Human: The Loeries evolves continuously, recognising the changes taking place across the media landscape. From this year, the whole region of Africa & the Middle East is integrated across all categories, so there is no longer a ‘South African’ section versus ‘the rest’. This allows us to truly showcase the best work across the region, and we expect representation outside South Africa to grow each year.

“

From this year, the whole region of Africa and the Middle East is integrated across all categories, so there is no longer a ‘South African’ section versus ‘the rest’. This allows us to truly showcase the best work across the region, and we expect representation outside South Africa to grow each year.

“

s the much-anticipated Loerie Award season rolls around, The Callsheet caught up with Chief Executive Officer Andrew Human to find out what’s new and what he’s most excited about.

FEATURE | 13

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LOERIES SPEAKERS Have Their Say

he Loeries always attract some incredible speakers, judges and, of course, creatives. This year is no different, with some muchanticipated names and faces on the cards. We caught up with a couple of speakers to find out what makes them tick, things they’re looking forward to, and why Africa is the place to be for brand communicators in August. Chris Clarke, Chief Creative Officer, DigitasLBi International “I’m passionate about the possibility that in the future, businesses will be more and more socially conscious, and measured by their social and environmental impact not just their profits. In fact, I have a hope that profit and positive social impact will be intrinsically

linked. Africa has huge social challenges and more potential than anywhere else on earth. Socially conscious African businesses may well be the future!” Stan Sthanunathan, Senior Vice President, Consumer & Market Insights, Unilever “I cut my teeth in the insights industry in India…a country that could not afford expensive, hi-tech solutions back in the 80s and 90s. This necessity became mother of a lot of innovations that were fit for purpose. Then I spent the next decade working in the Middle East and North Africa – a region that had its own uniqueness in terms of religious, political and social issues. This called for innovative thinking of a totally different kind. A stint in Asia followed by

extended experience in developed market with global corporations has made me appreciate one simple, human truth – you can create an insight generation approach from a developing country for the whole world and that does not mean you are going for the lowest common denominator. True win-win is possible – now today more than ever before. Africa is a rapidly growing continent. The continent has already witnessed leapfrogging in a lot of areas, for example, cellphones, mobile banking, etc. The pace of change is going to accelerate in the years to come. In this rapidly changing part of the world, the insights industry needs to evolve very rapidly in the years to cone and more importantly, lead the change for the world out of Africa with cost effective solutions.”

14 | CREATIVE PROFILES

DI ROSEN PRODUCTIONS Di Rosen is a dynamic, innovative director/ producer with over 30 yearâ&#x20AC;&#x2122;s experience in the television industry, winning many awards. As one of South Africaâ&#x20AC;&#x2122;s top multicam directors, Di travels internationally and locally producing programmes, concerts and multi-media events. She also has a reputation in the industry for training and mentoring many aspiring producers, directors, and production personnel. t: +27 82 449 9868 e: di@diprod.co.za skype: di.rosen www.diprod.co.za

PICTURE DI ROSENTREE Di Rosen of Di Rosen Productions is a Picture Tree turns 20 this year. Our focus creative director/producer of television for the past 20live years has She beenhas about the and shooting events. created diversity and calibre of several directors, and and directed/produced long building the brand. It still is. Ours, and running, award winning programmes for that ofAfrican the client. And in doing wehas South broadcasting. Sheso also done some goodfor work. Some ahave reputation in thereally industry training greatmentoring ads, content and long-form. Our and many aspiring producers, reel speaksand forproduction itself. directors, personnel and often lectures at AFDA the film school based in Cape Town. +27 82 11 449 787 7446 t: +27 9868 gary@picturetree.co.za e: di@diprod.co.za www.picturetree.co.za www.diprod.co.za

PLANK FILM PRODUCTIONS We love what we do. Recent commercials include Cell C Dog, Dairy Model and Hollard Mystic Marie. Directors: Peter Pohorsky Norman Maake t: +27 21 461 0887 e: info@plank.co.za www.plank.co.za

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CREATIVE PROFILES | 15

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SPITFIRE FILMS Akin Omotoso – Director With more ethnic diversity than a gallery in Paris, Akin Omotoso is art embodied. His leading role on South Africa’s most successful soapie – and starring with Leo in Blood Diamond – barely scratches the surface. Akin flexes the pen and calls the shots behind the camera, too, and it works well! There’s that Standard Bank Artist of the Year Award, a Best Director at the SAFTAs, and invitations to show at both Cannes and Toronto’s film festivals to prove it. t: +27 11 268 2247 / 86 / +27 82 539 1287 e: liesl@spitfirefilms.tv (Liesl Karpinski) www.spitfirefilms.tv

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SPITFIRE FILMS MARKSTRY - Director The year 2010 was massive for most, but while many cavorted themselves into Vuvuzela-delirium, MARKSTRY was busy winning “Best Film” at Durban’s Film Festival. Lucky, then, that this dapper lad is known as the complete-crew-component – a sourcer, shooter, splicer and synchronized swimmer (every fifth Sunday in February). MARKSTRY is motivated by making movies that do more than just meet the mandate – or its margins. t: +27 11 268 2247 / 86 / +27 82 539 1287 e: liesl@spitfirefilms.tv (Liesl Karpinski) www.spitfirefilms.tv

SPITFIRE FILMS Peter Heaney – Director Banana chutney is not a good idea. Touching someone on their studio? Also. Booking the right guy for the gig to get gold? A no brainer. That’s how we feel about Peter Heaney’s fit in the world of commercials. This multitalented, awarded director can translate the creative crux for stories in thirty seconds without losing any magic in the momentum. He brings a big-league grasp on the process of production which sweats the small stuff – so that you don’t have to. t: +27 11 268 2247 / 86 / +27 82 539 1287 e: liesl@spitfirefilms.tv (Liesl Karpinski) www.spitfirefilms.tv

16 | FEATURE

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TALENT IN SOUTH AFRICA Bouncing Back from Challenging Times by Kim Muller

t comes as no surprise that as one of the most ethnically diverse nations in the world, South Africa has some fantastically famous talent. Cape Town in particular has become an increasingly popular shoot destination for US-based television series and as a result, has seen thousands of local extras making the cut – and that’s just one example of the sector’s success. SA generally tends to have a high calibre of actors and models, and a comprehensive range of characters and children who are experienced on camera. Having said that, one of the biggest challenges the industry faces right now is an ever shrinking talent pool. Patrick Walton, Founder and Consultant of the Official South African Casting Association (OSCASA), which represents some 60 000 non-professional characters, kids and background artistes in and 30-odd agents nationally, says the sector is definitely in trouble. “The talent pool is shrinking yearly and the reasons for it are the same as they have been year on year. There is serious concern amongst agents who have already seen a decline in their ability to provide large numbers to features and television series,” he explains. A major reason for this decline is the ongoing support granted by some producers of ‘fly-by-night’ agencies, or using direct casting off the street, and, as a result,

bypassing the established industry suppliers. Wendy Venter, Agent and Founder of Wendy’s Talent Agency agrees. “The talent pool has definitely shrunk significantly over the last five to eight years. We knew this would happen with the tax implications of classifying artists as contract workers and the 25% compulsory tax deduction, however the increase in petrol and transport costs has also impacted on the number of people willing to go for auditions.” Derek Serra, Founder of Central Castings, a company that’s been in the business for 24 years, believes that this trend is slowly changing.

“I think that many talent agencies have upped their game in terms of how they represent background talent, and the talent themselves have become more wise to the importance of signing up with a reputable agency, which will actually pay them for the work they do,” he explains. “I think that the days of ‘fly-by-night’ agencies are numbered.” Another issue the talent industry faces is bouncing back, as it were, from the recent international recession. “It has been very difficult for agents to negotiate annual increases in the day rates paid to the non-professional extras who make up the bulk of the talent sector in South Africa,” Serra says. “With production companies under increasing pressure to

cut costs to compete with other location destinations worldwide, rates have not kept pace with inflation and the myriad of price increases…our talent have to contend with. So we are faced with a somewhat troubling phenomenon that there is definitely growth in demand for talent, but the talent pool has actually been shrinking rather than expanding.” Marius Meyer, Creative Director at Thespians, a Jobrug-based agency that’s been in operation for 21 years, says that commercial rates are alarmingly low. “It is fast becoming the norm to offer call rates that are ten years old,” he explains. “Professional actors are competing with the low standards enforced by non-professional artists. Our actors are compelled to accept work to make ends meet and at the same time, they seriously run the risk of becoming redundant and unavailable to competitive products.” He goes on to say that international rates for film and TV is also under pressure, with more local producers expecting out-of-town actors to compromise on travel and rehearsal fees. Although the rise in TV series production has dramatically increased opportunities for actors, it has forced producers to operate on small budgets and offers very little time for delivery on programming. “This has the unfortunate outcome of jeopardising the possibility of decent content, puts a strain on scheduling, and in turn, affects the availability of professional talent,” Meyer says.

Looking Towards the Future Although these are huge concerns to have to deal with, Meyer says that the industry is still excelling. “This suggests that we can build on skill, and it gives us the confidence to grow our own ideas. The remarkable increase in international productions challenges local talent to improve their on-camera skills and requires special attention to foreign accents, which still greatly lacks in confidence. Our own stories seem to fortunately borrow more from home-grown ideas and less from ‘Hollywood’ formulae.”

OSCASA TV COMMERCIAL GUIDELINES 2015/2017 / WWW.OSCASA.COM Changes agreed only in writing prior to booking. All fees/usage are subject to review annually. Producers are accountable for implementation of guidelines.

GENERAL DEFINITIONS

1.1

Performance Fee/Day Rate: Fee paid on the day(s) of shoot in hrs inclusive of 1/2hr meal break within 6hrs of call time.

1.2

Wardrobe Call: Included in fee, not exceeding 2 hrs. For categories 2 – 3, 5 – 6, after which a fee shall apply. Background Artistes receive a wardrobe fee.

1.3

Call Back: Included in fee, not exceeding 2 hrs where after overtime shall apply & for 2nd Callback. Wardrobe/Callback on non-confirmed artistes attracts fee. Background Artiste receives a Call Back fee.

1.4

Child Minder/s: Qualified person/s knowledgeable on Children in the Performing Arts Laws. Sole function is to supervise Children under 15yrs’s. Ratio of 1:10 or less if guardian/s not present.

1.5

Travel Day: 50% of the Std day rate for Std day length. After which overtime (4.1.2) applies.

1.6

Call time: Time required on location or at a specified collection point. For locations further than 40km ^, transport will be provided by production or an allowance paid. Working day is from pickup time at specified point till return to specified point, unless called or travelling directly to a location within 40km. Parking/security must be provided at specified collection point until return. ^ Wrap: means the end of a shooting session when technical wrap is called, release from set or return to collection point. (whichever is latest) ^ ; ^^

1.8

Standby/Hold Day: Attracts 50% of Day Rate if not released by 20h00 the night prior. Within 24hrs of the shoot, confirm/release needs to happen within 1hr of another booking confirmation (during office hrs 08:30 to 18:00).

1.9

Usage Tables: refers to the OSCA Packages and current Usage tables.

4.3

STD Night (BA/WO Only): Shoot continuing past 24:00hrs. Night length as per STD Day. Agents to be notified prior to shoot if night shoot or extended day.

4.4

Time Out/Split Shift unless agreed the day prior to shoot, attracts overtime st from 1 call to last wrap. No Half Day rate applies to TV Commercials.

4.5

Weather Day treated as a call. If artiste is on set/Std cancellation terms apply. PAYMENT

5.1

It is recommended that Producers include session fees within the budget to assist in the payment of performance fees within the specified payment terms of 30 days of invoices received from Agents.

5.2

It is unlawful to withhold payment for an artiste.

5.3

Ensure Dual Taxation documentation is supplied by the client as attachment to contract and that client understands that without they are not permitted to deduct foreign tax.

^ Set/Location deemed based within 40km radius of CPT Station or production offices in all other provinces. Travel beyond 40km from CPT station/ prod office attracts a Travel Time fee.

STD Day: 11 consecutive hrs. Agents to be notified by 12h00 the day prior to shoot if call time is before 06h00 for which a fee applies.

1.7

4.2

Artistes released at a time/location when public transport is not available will be transported to the nearest public transport; or home; or provided suitable overnight accommodation; or Paid until public transport is available.

ARTISTE CATEGORY DEFINITIONS 2.1 Category 2: Featured Extra (FE) Non-Professional Character Cast in a featured role in the story or established as a role on the day. (except in groups of 6 or more) If recognizable (not screen time dependant) in the role in which cast or established, usage applies. Non-professional may attract a lesser day rate except where a package applies.

CANCELLATION/POSTPONEMENT (Not apply where contracted)

6.1

Cancellation of calls by 15h00 on the day prior to the call attracting no cancellation fee, for less than 20 Artistes. 20 or more Artistes attract a 50% cancellation fee after 10h00 on the day prior to the call. These terms are pro-rate number of days booked, i.e. 2 day booking conditions apply 24hrs earlier.

6.2

Where cancellation is made after 15:00 on the day prior to the call, cancellation of artistes will be 100% for WO and 70% for BA. This will apply whether or not the Artiste is required to attend the call. FE cancellation as per IPA.

6.3

Cancellation after 20:00 on the day prior to the call is payable at 100% for BA.

6.4

Wardrobe/Cancellation: Artiste cancelled having been confirmed & wardrobed, receive a fee

2.2 Category 3: Walk-On (WO) – (WO’s DO NOT GET RENEWALS) Cast member who does not play or have specific role in the story who is, or likely to be recognized on screen in final edit. Attends castings/wardrobe 2.2.1 Walk-on Flat fee Artiste Must be booked prior to shoot. 2.2.2 Walk-on plus Usage of 100% of Day Fee Artiste can be booked prior to shoot or used as upgrade of a BA who is not deemed an FE. Usage applies if recognizable individually or in a group of 5 or less.

MEALS 7.1

Meal break forms part of working day if the Call Time is earlier than 07h30 on STD Day or later than 18h00 on STD Night. Std Day/Night includes 1/2hr meal break. 2nd Meal no later than 6hrs from call time or completion of 1st meal break.

7.2

If call time is earlier than 07:30 on STD Day breakfast must be supplied or 2nd meal provided if called before 18h00 on STD Night.

7.2

Craft to be available where breakfast not available within 1hr of call. Unless negotiated prior; catering & refreshments will be equivalent to that of crew. Packaged meals/specific arrangements pre-approved by artistes’ agency/s may be provided for >50 artistes.

Walk-On (Flat Fee or Plus usage) may be upgraded to a FE if established as a role on the day, plays a role, interacts with a lead/product or replaces a character on the casting brief. 2.3 Category 4: Background Artiste/s “Extra” (BA). Appears in picture. No individual characterization/ dialogue. Sets the atmosphere of the scene; including group (6 or more) &/or individual directed movement and reactions. Attracts Supplementary payments. May be upgraded to Walk-On Plus Usage or Featured Extra as per definition. If upgrade, unless specified, the day rate increases to equivalent FE or WO role on set.

2.4 Category 5: Children. Up to (under) 15yrs as per Sectoral Determination 10. Children over 2yrs get usage as per usage tables. Babies below 2yrs get 50% of Std usage up to R10,000 for worldwide usage, if playing a “lead”/”dual lead” role. Babies do not automatically get renewals unless negotiated with client. Standby babies can be negotiated at lower rates & attract full rate if called to set. Parents cannot give consent for overtime. Children do not do overtime. 2.5 Category 6: Doubles/Stand-In. Doubles a cast member on camera or Stand-in for rehearsing, lighting etc. 3.

PERFORMANCES & SERVICES RENDERED BY ARTISTE 3.1 Artistes called to perform in one Category. If Artiste performs another capacity, then prior to commencement or upon review of final edit, upgrade of status &/or fees will be confirmed. 3.2 Supplementary Performances/Services attract a fee including: those not listed/those considered to be beyond group work; Special Skills; Special Clothing; * Wetted by natural/artificial rain; ** Provision of Car/Driving; *** Firearms; Horse Riding; Haircuts; SFX & Make-up. Fee applicable. If not alerted/agreed before shoot, the fee will be charged. * Agents must be given notice at the time of bookings. ** Petrol consumption must be paid. *** Under supervision by a qualified person.

3.3 Demanding work/Change of physical appearance to be alerted to Agents /Artistes in advance If not the Artiste has right of refusal & will be paid their agreed fee in full. 4.

WORK HOURS

4.1

INSURANCE: The Artists must be covered by insurance by Client or Production House whilst on set &/or from/to collection point.

9. 9.1

9.2

Timesheets must be presented for signature by the Artiste at call & at wrap. If an artiste is signed in but not out, a valid reason must be given or the agency notified if they suspect the artiste left set. If no valid reason or notification is given, the artiste will be invoiced for.

9.3

Artistes arriving on set in a healthy condition & subsequently released for medical reasons, must be paid their day rate in full.

9.4

Artistes whose clothing/props/belongings are soiled/damaged during the engagement (other than through the fault of the Artiste) shall be compensated.

9.5

Production to ensure returns procedures for wardrobe/props are in place.

9.6

Discrepancy on usage: A review board shall be nominated consisting of 3 members from, OSCASA/CPA/ACA/NAMA or PMA. If escalated to this board, their decision must be accepted as final. Usage to be calculated on STD rates, not premium/package rates.

9.7

Contracts must be completed in full by the client prior to shoot & signed before delivery to the Talent Agency. Flight dates must be present on all contracts. Contracts cannot be signed by production house refer to IPA Terms and Conditions.

9.8

Bookings & Casting Briefs are to include full details of the client, details of the payee responsible for day rate & person responsible for payment of usage.

9.9

Association will facilitate through their Constitution disputes on repeat offences by its members submitted to them from OSCA SA in writing.

Overtime

4.1.1 An artiste is briefed by the Agencies to expect to work up to 3hrs overtime. 4.1.2 Overtime is 10% of day rate per hr or part thereof. 15min after wrap is free to complete a "take" or "set up". BA’s receive 20% from the 15th hr onwards. 2nd Day payable after 18hrs.

SPECIAL NOTES

Confirming a booking with an Agent by any means verbal or electronic is an acknowledgement of acceptance of that Agencies Terms & Conditions where they may deviate from the guidelines herein.

9.10 A copy of the finished product must be sent to the Agent within 45 days or as soon as edit copy is completed.

OSCASA TV COMMERCIAL GUIDELINES VERSION - Friday, June 19, 2015

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DOWNLOAD RATES AT: WWW.OSCASA.COM / info@oscasa.com

18 | FEATURE

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Photo By Penico

This year, the talent sector has seen an increased demand for natural looks, particularly in women of colour, according to Venter. “Dreadlocks or corn rows are no longer in demand,” she says, “Natural beauty and healthy-looking people are always in demand.” Monique Murray, Casting Director at Kayos Casting Directors, agrees that natural looks have taken off. “We have noticed a trend towards an organic look, fresh faces, people who are more relatable than traditionally aspirational. For example, slightly skew teeth, quirky hair, imperfections that add interest,” she explains. “Beards still feature prominently for men – as the trend grows, so do the beards – although we are already seeing directors reacting to this and requesting cleaner faces!” Murray goes on to say that they have been casting a lot of ‘real’ sports people, those who are fit, active and healthy, with edge and grit.

Industry Stalwart: Brümilda Van Rensburg

focus this year will be on sustainability in the industry. This will be achieved through two avenues: assisting and advising producers on cost-eﬀective talent budgets, and support and education of talent agents, especially those that are newer to the industry. Training, development and mentorship are also important for growing new talent. Brümilda Van Rensburg, actress extraordinaire and best known for her role on the long running soap opera Egoli, runs the Brümilda Acting Academy Agency. She says that her student intake is quite young and full of potential, although there is a need for artistes who are over 30 years of age, especially men. “Talent is raw – rhythm, instinct, timing and authenticity is a given if they have the ‘X factor’ that encompasses persona – but technique is essential; and knowledge of the self and the industry,” she explains. Not only do academies like these provide much-needed exposure and industry training, but they also help mentor youth in the various sectors they are interested in.

Trends in South African Talent

Fresh-faced talent: Scott George of Pursch Artists Courtesy of Kayos Casting Directors

gives our industry a bad name and it makes it difficult to attract new talent. OSCASA is, however, in the process of addressing this through some major changes to how it operates within the sector and will announce on this soon. An area we are looking at also is the background rates on commercials [that] have seen less than a 10% increase over the past five years.” Saunders adds that OSCASA’s

Pené Saunders, Chairperson of OSCASA, says that although every industry has its difficulties, not all is doom and gloom. “Favourable exchange rates make South Africa an attractive destination, so we have to accept that there are challenges and just get on with it in a positive and creative way. Over the past couple of years we have found that productions are trying hard to secure better rates and packages on featured talent whilst trying to stay competitive internationally, however we do have to address the rates on background extras, which is of great concern.” She adds that the Talent Guidelines are also a huge help, despite some folk criticising the association for perhaps not meeting with industry players often enough. “Apart from it being agreed to that it [regular meetings] would be bi-annual, it really hasn’t been all that necessary as the OSCASA guidelines have been in place for several years now and are working exceptionally well,” Saunders says. “In fact, they work so well that all character agencies seem to have adopted them, whether they are OSCASA members or not. An immense amount of time and energy was spent working with the other associations getting these guidelines in place.” Patrick Walton says that OSCASA is in the throes of addressing the number of ‘fly-bynight’ agencies disturbing the industry. “There needs to be a major campaign to address this as continuously these ‘rogue’ agents open shop and then close down at the end of season without paying the talent,” he explains. “This

A natural beauty: Laura van Wyk of Ice Genetics

“On quite a lot of the commercials, the tone has been ‘underground’, doccie-style, which requires interesting talent to match that vibe. And we continue to cast a lot of work requiring professional actors who bring nuanced performances,” she adds. Meyer says the extent of work in both Johannesburg and Cape Town has increased tremendously in the last two years. “To improve the speed of delivering talent to producers, casting directors have introduced the self-tape method. This way of auditioning has also given actors resident in only one city the opportunity to work in both cities.” There are some areas that are challenging, however, with a limited Pan-Asian talent pool. Other diﬃcult categories are specialised and extreme sports that need extensive experience and qualifications. Most authentic talent agencies adhere to the suggested rates and guidelines set out by local associations.

FEATURE | 19

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It’s always good to know who’s got your back, so to speak, and South Africa is lucky to have a number of active associations that offer support in the industry. Here are the ones involved with talent at various levels: PMA: The Personal Manager’s Association was formed in 1980 to assist members through the facilitation of opportunities and contracts for their clients. The organisation works closely with a number of other associations including SASFED. Visit www.thepma.co.za for more information. NAMA: The National Association of Model Agencies helps maintain the model industry’s standards and strengthen and expand relationships within the industry. For more info, visit www.nama.co.za. OSCASA: The Official South African Casting Association’s agents represent characters, kids, walk-ons, featured extras and background artistes. The association is committed to represent, promote and defend the common

021 439 0304 fusion@fusionmodels.co.za www.fusionmodels.co.za

Know Your Associations

interests of its members. More info can be found on www.oscasa.com. SASFED: The South African Screen Federation represents independent film, television and audiovisual content industry organisations across the county. Many talent associations are members of SASFED. For further information, visit www.sasfed.org. SAGA: The South African Guild of Actors, formed in 2009, represents actors in the film, television, stage, commercial and corporate sectors in SA. The Guild exists to enhance working conditions, compensation, benefits and artists’ rights. For more information, visit www. saguildofactors.co.za. CPASA: Although the Commercial Producers Association of South Africa is not directly affiliated with the talent sector, they are an important component in growing and maintaining a healthy talent pool. To find out more, visit www.cpasa.tv.

Wilko Risser (Ice Genetics) fits the active and healthy trend.

Association of Stills Producers is indirectly involved with the talent sector. The organisation promotes best practices, standards and qualifying criteria based on international norms. Visit www.saasp.co.za for details.

SAASP: As with the CPASA, the South African

IPO: The Independent Producers Association is a representative of the national film, television and video producer sectors of the industry. The organisation brushes shoulders with the talent industry and is one of the major members of SASFED. For more info, visit www.ipo.org.za.

Fusion Models has remained one of the most consistent agencies in South Africa over the last 15 years. The formula of boutique style, hands-on management from owner Fiona Craig has paid its dividends by delivering satisfied models and clients in all spheres of the industry from TV to editorial, runway and retail advertising for SA’s market leaders. Fusion is proud to list world-leading brand names among its clientele and we work very closely with top agencies around the globe to develop our models’ careers successfully.

Recently our model Maritza Veer shot Vogue Mexico and Spanish Glamour; Hilda Dias Pimentel shot Lancome with Mario Testino behind the camera; rising star Tricia Akello leaves for NY shortly for Fashion Week; Shana Mouton is the lead in the new Vita Riche and Seddiki watch campaigns and Matthew Steele has a Calvin Klein exclusive. These are just a few successes. The past summer season was one of the best ever and we are looking ahead to summer 2015/2016.

20 | DURBAN FILMMART 2015 HIGHLIGHTS

Zama Mkosi - NFVF CEO

Truck Mama Industry Meeting

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KZN Film-Induced Tourism Presentation

DURBAN FILMMART 2015 Highlights 2015 Durban FilmMart Award Winners After a packed four day programme of project pitching, industry masterclasses, seminars and workshops, and networking, the 6th Durban FilmMart (DFM) came to a close with the announcing of the market awards and grants at the awards and closing function sponsored by Videovision Entertainment. The DFM saw around 550 guests from 26 countries, 32 workshop and panel discussion sessions presented by various local and international industry experts and professionals. “It has been an extremely productive and pleasing market this year, with over 900 official business meetings documented in the Finance Forum.” says Toni Monty, Head of the Durban Film Office, which partners with the DIFF to present the DFM. “The Durban FilmMart is considered one of Africa’s most important film finance platforms: this is borne out of the fact that we have been able to track the progress of many of the projects which had their beginnings at the market which have successfully made it to the screen. This year the Durban International Film Festival was able to screen six DFM alumni films, a concrete indication that this model is working well.” The closing night awards dinner saw key local and international partners of the annual co-production market, award a number of projects with development support through cash grants, invitations to partner markets or business support, to take the projects through the next stages of development.

This year eight awards were made by an evaluation panel made up of local and international film industry experts. Recipients of the 2015 DFM awards are as follows: The Sundance Institute Documentary Film Program award for a documentary film project that demonstrates potential for strong storytelling craft, artistic use of visual language, originality, feasibility, and relevance went to The Other Half of The African Sky directed and produced by Tapiwa Chipfupa which receives a cash award of $7 000 for further development. Afridocs, the broadcast stream that sees African and other international documentaries screened across 49 countries of sub-Saharan Africa on a weekly basis, awarded a €3 000 grant for an outstanding documentary project to Truck Mama directed and produced by Zipporah Nyaruri and co-directed by Peggy Mbiyu. The CineMart Award, sponsored by the co-production market of the International Film Festival Rotterdam, awarded the fiction project Sunflowers Behind a Dirty Fence directed by Simon Mukali and produced by Nathan Magoola, with an opportunity to attend the Rotterdam Lab, a five-day training and networking event bringing together producers from all over the world. The International Documentary Film Festival of Amsterdam (IDFA) awarded the most promising documentary project at the DFM, Truck Mama directed and produced by Zipporah Nyaruri and co-directed by Peggy Mbiyu, with an opportunity to attend the IDFA

Forum, the largest and most influential meeting place for documentary filmmakers, producers, commissioning editors, funds, private financiers and other documentary stakeholders in Europe, from November 23 to 25. The New Cinema Network awarded Riot Waif directed by Zinaid Meeran and produced by Jean Meeran an opportunity to attend the 10th edition NCN in Rome, where the producer/ director will be able to present the project to film companies at an international level. Produire au Sud of Festival des 3 Continents (Nantes), awarded the fiction project “Inkabi The Hitman” directed by Norman Maake and produced by Peter Pohorsky with an opportunity to attend its developmental workshop program, PAS, where they will be given tools, expertise, and opportunities to develop European networks. The Restless Pitch awarded, a one-on-one consultation with Restless Talent Management co-founder Tendeka Matatu, to two projects: Brace Yourself by Thati Peele, and Lucky by Jacobus van Heerden. The company will provide development services such as imagebuilding and positioning, project packaging, PR, and advice on film sales, distribution and promotion. Restless Talent Management also made a special mention of Mark Waambui for Heterophobe for an edgy and challenging concept. Durban’s Videovision Entertainment, awarded the Best South African Film Project “Inkabi The Hit Man” directed by Norman Maake and produced by Peter Pohorsky a prize

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which guarantees the films release once it is completed. The prize includes marketing and distribution support from Videovision Entertainment and is valued at R75 000. Videovision Entertainment, which is acknowledged as the leading film entertainment company in South Africa, has had a strong relationship with the Durban International Film Festival for three decades, providing top local and international films to

DURBAN FILMMART 2015 HIGHLIGHTS | 21

be screened at the festival. “We are thrilled to be so much more involved with this year’s DFM,” says Anant Singh, CEO of Videovision Entertainment. “As a Durban-based company, we are committed to development of the South African film industry, especially in the KwaZulu Natal province. By supporting the DFM, we are able to contribute to the development of Durban as a film industry hub.”

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THE NFVF’S Audience Research Report The NFVF presented their research report to a rapt audience in the last session of the first day of DFM.

Tapiwa Chipfupa (The Other Half of the African Sky)

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Key findings and recommendations below: Content Preferences • SA audiences take film quality into consideration, these include factors such as professionalism, acting, language, plot, format, interest, accessibility, social class and location, among others. • Lack of attention to audience preferences – SA film does not always consider what the audience wants.

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Local audiences need for entertainment – local audiences need to experience a sense of satisfaction and have entertainment value. Desire for cultural reference – SA audience wants to feel a sense of belonging by seeing cultural iconography which appeal to their sense of self and place in society. International insight into SA – Local films should tell the world about SA stories, cultures and heritage. There are many stories to tell. Authentic local stories need to be showcased – SA film does not always represent a true reflection of SA life, and so, many people watch more international content than local.

General perception and attitude towards SA movies SA audiences prefer foreign film content above SA film content. Three factors drive this choice: SA audiences can watch local content for free, SA audiences perceive SA films as being of poorer quality, and the star quality aspect of foreign films.

22 | DURBAN FILMMART 2015 HIGHLIGHTS

ATFT Marche du Film and Cinemart press conference at DFM

The impact of foreign content and culture on SA audiences – SA audiences imitate other countries’ way of life and style of dress, especially the US and UK. Major Findings • Gender: Female 53% and Male 47% • Race: Black African 80% Coloured 10% White 6% Indian/Asian 4% • Relationship: Single 64% Married 24% Cohabiting 5% Widowed 4% Divorced 3% • Employment: Employed 44% Unemployed 20% Students 20% Employed & Studying 8% Studying and Seeking Employment 4% Pensioners 4% Typical SA film audience • Adult: Single economically active female, urban dweller, educated. • Child: 5 to 12 years, accompanied by a parent or guardian. • Youth: 13 to 16 years, mostly attend with their friends. SA or Foreign Film? • 55% No preference as long as the storyline is interesting • 19% Prefer SA films • 18% Prefer foreign films • 6% There aren’t enough SA films to watch • 2% Other

A SA Strategy To Harness Film-Induced Tourism in KZN Did you know that visitor numbers to Forks, Washington increased by 1 000% following the release of the Twilight films? Or that tourism increased in New Zealand by 400% after the Lord of the Rings premiered? Chinese road movie Lost in Thailand is explicitly cited as the main reason for the 44% increase in Chinese tourists visiting Thailand. These numbers are not to be brushed off, and the KZN Film

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KZN is focusing on film-induced tourism over the coming years.

Commission has developed a draft strategy to harness this incredible opportunity. Carol Coetzee, CEO of the KZN Film Commission, presented the draft Film-Induced Tourism Strategy for KwaZulu-Natal at Durban FilmMart 2015. She stated that there are four key factors, based on an extensive literature review, that influence film tourism. They are: • The tourists and their decision-making process • Success of filmed content • Strategic approach of destination marketing organisation • Government incentives - For tourism promotion companies - For establishing services and products, particularly for SMMEs - For attracting international films - For local production Carol Coetzee cited a number of international examples of best cases, for instance: • The Wallace Monument in Scotland saw a 100% tourism increase after Braveheart • The Crown Hotel in England is fully booked three years in advance since the release of Four Weddings and a Funeral • The National Park in Sydney saw a 200% increase in 2000 after Mission Impossible 2 • Lyme Park in England saw a tourism increase of 150% after Pride and Prejudice The strategic objectives of the Film-Induced Tourism Strategy are as follows: • Establish a clear port of call in the Province that will be the first point of contact for any parties interested in filming in the province, in order to stimulate film-induced tourism promotion and attraction • To provide tourism-related film destination support services that will promote tourism destinations and facilities as assets in the production value-chain • To provide extensive production support

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that will attract prospective filmmakers to the province, moreover to KZN’s key tourism destinations Ensure international standards of professionalism are adhered to by film and tourism role-players, and enhance local customer service training, tour guiding and story-telling capacity to increase the attractiveness of KZN as a film-tourism destination Partnering with relevant organisations and producers to encourage promotion of KZN as a film and tourism location Identify appropriate target markets that would find film-induced tourism appealing, and use appropriate marketing channels to promote KZN’s destinations, particularly film destinations Develop promotional packages and campaigns designed to boost film-induced business tourism Develop film-tourism and ancillary products for leisure tourists

We commend the KZN Film Commission on this comprehensive strategy, and we look forward to reporting on its progress.

The Marche Du Film – Festival De Cannes And Rotterdam Lab Sa Producer Development Programme The Marché du Film of Festival du Cannes, and CineMart, part of the International Film Festival Rotterdam, partners with the Association for Transformation in Film and Television (ATFT) to create a development programme for five South African black producers to attend the Rotterdam Lab and the Marché du Film’s Producers Network in 2016. The five producers and their projects will be selected by the ATFT in collaboration with the Marché du Film and the Rotterdam CineMart and preference will be given to producers who have completed a film

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theatrically released. The programme consists of three stages: producers partake in the Rotterdam Lab in January 2016, next the producers and their projects are work shopped in South Africa two months prior to the Marché du Film, and lastly, the producers go to Cannes and are enrolled into the Producers Network, where there is a spotlight on them and their projects at one of the Breakfast Meetings of the Producers Network. In Cannes, meetings with distributors and financiers will be arranged to support further development of the projects. The Rotterdam Lab is a five-day training workshop for young and emerging producers designed to build up their international network and their experience at an international festival and market. Participation in the Rotterdam Lab provides producers with the confidence and skills to navigate the festival circuit and meet professionals who can help finance their projects. Next to the panel discussions, participants take part in so-called ‘speed dating’ sessions in which they meet with industry delegates in person and receive advice about their own projects. In addition to the organised Lab programme producers can strengthen their network and participate in all other CineMart events, like networking lunches, cocktails and other panels. The workshop in South Africa will take place over three days with two experts bringing their expertise on international co-production and on international distribution. The two experts will follow-up with the five delegates after the workshop to help them prepare for their participation to the Producers Network at the Marché du Film in Cannes. The Producers Network hosts more than 500 producers from around the world for a series of meetings and unique events specifically designed to stimulate international

co-production and optimize networking. During a week, with a different programme each day, producers are given opportunities to meet the potential partners that will move their projects forward, namely co-producers, sales agents, distributors and financiers. The SA Producers selected will participate in this programme and a spotlight on them will be presented at one of the Breakfast Meetings. In addition the SA Producers will be introduced to a selection of international guests during a luncheon organized by the Marché du Film and ATFT. To apply to the programme, ATFT database members need to respond to the callout they will receive on email and apply to both the Rotterdam CineMart and Marché du Film delegations and submit their project via the online application form. To join the database sign up on the ATFT website at www.atft.info.

Britdoc and Docubox Join Forces to Launch Good Pitch 2 Kenya 2016 On day 3 of Durban Filmmart, part of the Durban International Film Festival, a new joint initiative has been announced between UKbased documentary organisation, BRITDOC and the East African documentary film funder, Docubox. The two organisations are collaborating to produce the pitching forum Good Pitch² Kenya, which will connect Africa’s best social justice documentaries with new partners and founders. Good Pitch is a project of BRITDOC in partnership with the Ford Foundation and Sundance Institute Documentary Film Program. Since 2009, Good Pitch has been bringing together documentary filmmakers with foundations, NGOs, campaigners, philanthropists, policymakers, brands and media around leading social and environmental issues – to forge coalitions and campaigns that are

CONTENT PRODUCTION

good for all these partners, good for the films and good for society. The Good Pitch 2 programme was developed in 2011 to enable regional organisations to host their own Good Pitch 2 events. In 2015 there are Good Pitch programmes operating in the US, Europe, Australia, South East Asia, Argentina and now Kenya. Good Pitch 2 Kenya will be taking place in Nairobi in October 2016. It will present up to seven film-making teams to pitch their feature documentary and its associated audience engagement campaign in front of a live audience of funders and changemakers. Once selected, these teams will receive sustained mentorship and professional development over the course of a year. This will include two campaign development workshops, taking place right after project selection and again on the eve of the live event. The organisers are looking for six independent film teams from across the African continent ready to join the 2015/16 programme: • Films that tackle a significant national or global issue or have something important to show us about the world and ourselves • Film teams who are looking for partnerships and funding to help their film create change around leading social and environmental issues • Films that are currently in production and will be 60+ minutes in length when finished • English-speaking filmmakers who are citizens of an African country The call for entries is now open and will close on November 2nd 2015. To find out more information and apply, click here or contact Judy Kibinge, Docubox: judykibinge@gmail.com or Elise McCave, Britdoc: elise@britdoc.org.

POST PRODUCTION

CAPE TOWN | JOHANNESBURG WWW.PRIEST.CO.ZA | +27 (0) 21 201 4777

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Helimedia’s Car commercial at Theewaterskloof Dam; waiting for the fog to clear.

MOVING THE FILM INDUSTRY

Insurance company commercial at Stellenbosch Airfield.

Exceptional Efficacy in a Challenging Sector by Imogen Campbell

ursed lips, clenched fists, heart palpitations and bowed heads. The stress levels are intense and action on the big screen unrelenting. Sometimes, it is heart-wrenching and teary. These are our responses to the art of movie making. We go to theatres to be entertained, to have our hearts stirred, to think, to feel. The seamless action or dialogue can suspend us in another world; such is the power of the movie. Yet, these self-same emotions can be felt on a production of a shoot. Before the proverbial wrap, there is phenomenal, but little vaunted, behind-the scenes work requiring the most skilled production and logistics to make the movie a success. Transporting the crew and equipment is a pivotal, but hardly extolled role. Filming on or from vehicles is a dangerous, creative and technical art, in and of itself.

Shooting in an aircraft Air Charter Services, established in 1990, are a bespoke charter service operating in North and South America, Europe, Africa, Middle East and Asia and actively work for the film industry. The client’s only limitation is their budget. Kirsty van der Walt, their South African representative, informed me that the requests recently received in South Africa were to use their craft to shoot on-board scenes and that they would willingly do take-off scenes from an airport. Doing some of these scenes at a commercial airport would necessitate much red-tape and is difficult to do.

Shooting with drones The relatively new technology for commercial purposes; unmanned aerial vehicles or drones, are also used now in the filming industry. Tony de Sousa of Drone Africa said that: “The

use of drones has been increasing with both local and international productions and also with commercials and film. The industry has however shrunk in the last year or so due to the South African Civil Aviation Authority’s (SACAA) lack of regulation and because of this; the industry has been wary in contracting drone companies to shoot their aerials.” “Drones are very versatile in that they can move around laterally and vertically where jibs and dollies are limited in height and range. Any aerial shot from the ground up to a few hundred feet, is easily achieved within a short period of time as opposed to using a full-size helicopter. Drones are also far easier to move around as there is no setup time needed to move from one location to another. With regard to equipment, there are many new safety items being added to drones to

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limit the amount of damage in the case of a failure. Ballistic parachutes are now being used to slow down the descent of a drone in emergencies. Other features include redundancies, where all components have backups, like dual batteries, dual GPS units and dual flight controllers.”

Aerial Filming - Helicopters Helimedia is a private company based in Cape Town, but are able to service the industry anywhere. They have done shoots for clients as far as Dubai, Las Vegas, Kenya, Madagascar and Namibia. They own two Cineflex Camera systems. They mainly use their systems on a helicopter. They have just completed a BBC documentary, where they’ve used the system on a boat. Their systems are capable of working from any moving platform, be it a tracking car, crane, boat, aircraft or helicopter. The helicopter platform seems to be the more popular for their system. Jonathan Genis from Helimedia said that the industry and the competition is growing in South Africa. There are things that a drone can do better than a helicopter, but there are things

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a helicopter can do better than drones. He said: “Unfortunately, I think there’s quite a big grey area in between, where to stop with the one, and where to start using the other. Drones are much cheaper that helicopters, but are limited in what they can do. We had to go and rescue production companies a number of times in the past year, where a drone was booked, but could not do the job in the end.” They are doing more commercials than feature films and documentaries at this stage. He continued: “Drones, I think once the legislation and rules regarding the use of drones on shoots are sorted out, they will definitely be a threat to us. I suppose some of the challenges we face, especially in Cape Town, is the weather. Strong winds around the mountains as well as rain, can play havoc on any aerial shoot. “ “Although the safety record of helicopters used as an aerial filming platform in South Africa, is excellent, the risk remains that something can go wrong, especially keeping in mind that you might have to fly sideways or backwards sometimes, in order to get the shot you want. About 70% of the time your flying

Helimedia’s QuickSilver Documentary in Walvis Bay, Namibia.

will be of a higher risk than normal flying would be.” He concluded, confirming that they had done some work for Fear Factor stunts (air to air), chasing a car up a mountain pass (car commercial), and all the aerial work on Chappie (feature film).

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Courtesy of Columbia Pictures © Chappie

Filming from cars Ugly Ducklings Filmset directory sources vehicles for and in the South African film industry. Situated in Cape Town, they have an extensive database of vehicles. Adriana du Toit said that they “normally supply cars for still

shoots, background vehicles for commercials as well as movies. We do work locally and internationally. Some action vehicles might need precision drivers depending on the specific need for the job. If there are any stunts involved we prefer to purchase the requested vehicles. Production company can then resell it afterwards. The requirements for film shoots and advertisements differ all the time. Ugly

Ducklings never allow any vehicle to go to set unattended and always send a car coordinator and/or the driver/owner who oversees the job. Owners of vehicles are sometimes hesitant to rent vehicles to the film industry because of damages that may occur to vehicles on set. However, we have overcome this problem by better camera mounting techniques. Our main aim is to have a happy car owner as well as a happy client at the end of the shoot.”

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Fleetstar provide the film and television industry with the finest mobile location facilities in South Africa.

Bloodhound Landspeed record attempt at Hakskeen Pan. © HeliMedia

Fleetstar’s Single Luxury Star Pop-Out Trailer interior.

Adaptable vehicles and truck rentals

Sandy Phin at Imperial Truck Rental (ITR) informed me that: “Vehicle requests range from one ton light delivery vehicles (LDVs), one ton panelvans, Sprinter/Crafter, dropsides, and four and eight ton vans. We can also supply refrigerated vehicles and dropsides with cranes. Vehicles are used for props, art department, wardrobe, lighting, unit, special eﬀects/stunts, DIT, catering, set dressing etc. We are able to supply vehicles suitable for all departments.” “ITR was one of the first truck-rental companies to service key production companies in this industry, providing vehicles for movies such as King Solomon’s Mines, Ali,

Beyond Borders etc. So we have fine-tuned our service oﬀering and developed skills and experience to best service this industry over the years. In more recent years we provided vehicles for Tsotsi, District 9, Black Sails, Long Walk to Freedom, Safe House, Invictus, Homeland 4 etc. “ Value Film Fleet, have at least 10 years’ experience in the supporting the needs of the film industry. They have a fleet that they have tailor-made to cater to the needs of the film industry. Margie Welch revealed an incident from the early years when on their maiden trip with a wardrobe truck; the driver had some problems at the famous Muizenberg Bridge. It resulted

Obviously, vehicles are also used for their primary purpose, to transport equipment like digital cameras, lenses, lighting equipment, sound equipment, safety equipment, make-up, special food, pyrotechnics, water and medical services. Crew, actors, animals/handlers and other specialised units are also transported. Adaptable vehicles are used to transport these individuals and house them in comfort. Fleetstar provides the film and television industry with the finest mobile location facilities in South Africa. Martin Oﬀersen, Marketing and Bookings Manager, said that the three trailers they use are single, double and triple units and that the choice generally depends on the requirement for luxury and that the single unit one would be suitable for an actress of the ilk of Charlize Theron. He said that generally the film industry professionals were satisfied with their trailer offering and that they were willing to make modifications where necessary. He mentioned that sometimes there could be teething problems in the beginning of a shoot but one week in, everything would run smoothly.

Moving the equipment itself

in costumes flying all around. The anecdote highlights the importance of having a back-up fleet. Since that first mishap they have grown: and have a back-up fleet and a national footprint for possible breakdown in South Africa. She also lamented that though they had built many trucks including wardrobe, specialised trucks for lighting and modified with shelves etc., they have not yet built make-up trucks, which she said is vital especially in the peak-season when there is a shortage of these specialised trucks. Commenting on the offpeak times, she confirmed that they repair and service their fleet for the next season, but where it was possible to remove shelving they would do so and use it for other truck rental customers. Mellindree Narayanasami of Tempest Car Hire explained that due to the nature of the film industry and the movement of expensive equipment, all their bakkies have rubberised bins in order to protect equipment and are fitted with tow bars and canopies. She also said that their most frequent request was for a Group B vehicle (Hyundai I20, Ford Figo). She concluded: “We offer anything from an economical run around to an eight-seater crew bus to a one ton panel van fitted with wardrobe rails, bakkies and luxury vehicles.”

Legislation There is a relatively vast body of legislation regulating the industry in the United States and Canada and carnet use is rife. Most respondents mentioned did not use carnets at all and cross border permits are the more common type of documentation used. Pioneer Freight was established in 1992. It is a freight forwarding and clearing agent. Ray Burgess there said that: “Carnets are the way to go for

goods being returned to original suppliers. It is much easier to obtain carnets here as with our relationship with SACCI we are able to obtain carnets on behalf of our clients even though they are not registered importers or exporters. Basically we require a gear list with individual items, serial numbers and values. A refundable deposit is lodged with SACCI which is refunded by SACCI on presentation of the carnet being stamped by customs along the way. However just a point of interest is that the carnet fee from some countries could be quite high, so it might be cheaper to do a cost exercise pay duty and vat whereupon we pre-clear the shipments to deliver on arrival.” Tony from Drone Africa said that legislation in South Africa was having an effect on their industry. “The biggest problems we face are regarding legislation and regulation. The SACAA govern full-size aircraft and up until recently, knew very little about drones. Imposing restrictions that make it impossible to do a commercial job because of a lack of understanding has a massive impact on the industry. We have in many respects been painted with the same brush as full-size aircraft even though we carry no passengers.”

Domestic conditions in South Africa affecting film Most respondents engaged with agreed that the film industry is doing well at the moment, especially in the hubs of Cape Town and Johannesburg. Sandy Phin and Marin Offersen specifically mentioned the role of the Cape Town Film Studios and its stimulus of the industry in the Cape. Sandy also said though, that the demand can change unexpectedly due to “fluctuations in Rand/Dollar exchange, visa requirements,

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Although the safety record of helicopters used as an aerial filming platform in South Africa, is excellent, the risk remains that something can go wrong, especially keeping in mind that you might have to fly sideways or backwards sometimes, in order to get the shot you want.

“

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and current economic and political conditions”. Adriana expressed her wish that they could have bigger budgets to work with, as the vehicles are a really essential part of movies and commercials. Jonathan of Helimedia said that “The Civil Aviation Authority and Local Authorities all have rules and regulations that govern any aerial activity in certain areas, like over national parks, built up areas and where a large group of people are gathered. We normally don’t have any problems with the authorities as long as we stay within the rules, but has found in the past that they can be difficult on some issues.”

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Martin said that the costs for the trailers were relatively low in comparison to the cost of repairs and maintenance of the trailers and varies from shoot to shoot. Tony de Sousa said: “As the industry is filled with everything from a DJI Phantom with a GoPro to an octacopter with a RED Epic, the rates are very diﬀerent. Rates vary from R2 000 per hour at the lower end to R30 000 per day at the other end.” Ray Burgess stated: “Our rates consist mainly of disbursements to our suppliers, being for example customs duty, VAT, freight charges, port and airline charges which we invoice at cost.” Sandy Phin mentioned: “We offer daily and weekly rental rates for both short termcommercials and long term features, which allows ‘unlimited’ kms provided the vehicles remains within SA borders. Down days, i.e. a day in the rental period that you may not use the vehicle and thus we do not charge. Due to customer budget constraints, rates have become very competitive in general in the truck rental industry. It is a highly competitive market.” Jonathan Genis informed me that: “We do have different rates, depending on the type of shoot we have to do. Our rates are very cheap, comparing to what the industry charges elsewhere in the world. We would structure our rates to try and suit the client’s needs, and of course what he can afford. We would normally charge a day rate for equipment, and then a per

Comment on Rates

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hour rate on the helicopter, if the shoot takes longer than three hours. We also do have an hourly rate on equipment, crew and helicopter, if the flying time is less than three hours for example.”

Excellent service Margie of Value Logistics said that being available 24/7 so that the client knows you have their interests at heart is imperative and building trust is paramount. Ray agreed that they pride themselves in providing a 24/7 personal service which they have maintained for 23 years. “Our motto “big enough to cope small enough to care” explains it all.” Sandy of Imperial said: “We offer a comprehensive transport film fleet service, and have a national footprint of 24 branches, with three film branches i.e. CapeTown, Gauteng and KZN. We have 24 hour workshop/ technical support, and our staff is quick to respond in event of vehicle breakdowns and attend to any queries promptly. We assist with cross border permits - which are essential when working in neighbouring countries; we can also provide a mechanic on site, if required. It’s important for us that our customers feel their transport requirements are taken care of, so they can focus on other aspects of their business. It’s all about aﬀordability, reliability and service delivery!” Martin at Fleetstar exclaimed that their key to excellent service is getting the trailers out to the customers in 5-star condition and working order.

Helimedia’s Fear Factor Malaysia, shot in Grabouw.

Insurance

Losses incurred as a result of damage to the vehicles are mostly carried by production companies. Martin informed me that Fleetstar uses Caledon Insurers for their trailers. Sandy at Imperial said that their customers insure through companies such as CGM, Andersons, AON and Zurich. Imperial Truck Rental also self-insures. Tony de Sousa from Drone Africa informed that there seems to be a bit of a catch 22 situation with regards to public liability insurance. “Insurers will not allow for public liability insurance unless you have a licence, and SACAA together with the Department of Transport will not issue you with a licence, unless you have this type of insurance… which came first, …the chicken or the egg? Most media companies will not work with drone operators unless they have public liability insurance, so this is a huge problem.” Adriana also mentioned that their cars are insured, always with a driver, one that they supply or mostly the owners themselves. Jonathan said the crew and equipment are always properly insured for every possibility, and this is non- negotiable. Mellindree of Tempest Car Hire said that customers have a choice of taking up Tempest’s self-insuring options or self-insuring rental vehicles. She said that, “Customers generally opt to insure directly through Tempest or ‘film industry friendly’ insurers.”

Conclusion: For the film industry to effectively deliver the heart-stopping action or to get that perfect shot, there are men and women; and some specialised equipment, dedicated to the craft of movie-making and are pulling out all the stops to bring that perfect moment to a screen near you.

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Spotlight on

GROUNDBREAKING TECH at Mediatech Africa 2015

fter hearing how well Mediatech Africa went this year, we spoke to a few exhibitors to find out what the highlights were for them…and what amazing tech they had on show, of course! 1. Paul Martin, Business Head – Channel Marketing & Sales, Sony Professional Solutions MEA Best Tech Showcased: HDC-4300 is the world’s first 4K system camera with three authentic 4K image sensors. It delivers 4K/HD capabilities for Sports and Event Broadcast; up to 8X Super-Slow Motion in HD Resolution. A very exciting product! It changes the whole workflow for broadcasters. VPL-GTZ1 is the world’s first 4K ultra short throw laser projector and was a show stopper. The clarity of images drew a lot of people to our stand. This product generated a lot of interest. 2. Roxanne Marnewick, Cine Photo Tools Best Tech Showcased: As newly appointed official RED Digital Cinema dealers, we really wanted to show off this amazing brand by providing a full workflow set up at the show from capturing footage on camera right through to the editing process on a monitor. RED Digital cameras are very sought after in both the local and international market, and can be found on sets of big blockbusters, TV, adverts, music videos, and even low-budget indie films. Our Eizo monitors are also receiving a lot

of attention as they are professional monitors geared towards filmmakers, photographers, editors, designers - basically anyone needing high-end grading and quality. The Eizo CG277 is a 1440p monitor which has basically double the resolution of other leading brands that only offer HD 1080p. 3. Jayson Chase Phosphor, EMEA Business Management, AJA Video Systems Inc Best Tech Showcased: AJA Video System’s highlight was to showcase the CION Production camera to the local and international market. CION is proving to be popular with indie filmmakers, documentary shooters and commercial shoots. Shooters, especially those who have had experience in the past with film cameras are loving CION for its cinematic picture quality, latitude, usability and comfort. AJA have recently introduced five new Mini-Converters. These were showcased at Mediatech. The HB-T-HDMI, and the HB-RHDMI, along with the ROI-DP, FiDO-4T and the FiDO-4R. ROI-DP provides real-time regionof-interest output to HD-SDI video from any DisplayPort enabled computer. FiDO-4T (transmit) and FiDO-4R (receive) conveniently deliver up to four channels of 3G-SDI over fiber on standard LC connectors. The FiDO converters are proving to be the most popular. The ability to deliver four channels of 3G-SDI over fiber will reduce cabling costs and increase flexibility.

4. Juanne Whyte, Pro Broadcast Slaes Manager, Orms Best Tech Showcased: We have the entire Canon EOS Cinema range of camera. Canon EOS C500, Canon EOS C300 MKii, Canon EOS C100 MKii, Canon EOS 1DC, and the the new Canon XC10 4K camcorder, Canon XF205 Broadcast fixed lens camcorder and Canon Flagship 5D MKiii. We also have the DJI Inspire 1 & Phantom 3 Drones for aerial cinematography and of coarse the Ronin and Ronin M 3 axis stabiliser gimbal systems. We had all the Manfrotto Video Tripod systems to support the Canon Cinema Range Zeiss lenses from the current CP.2 to the New Otus lenses. 7. Ryan Martyn, Sales and Marketing Director, Syntech Best Tech Showcased: This year Syntech decided to showcase a range of technology products that empower filmmakers to do more with their workstations and notebooks. We ran a live demonstration of Tigerbox, a collaborative shared storage solution for media professionals which allows multiple users to work concurrently on the same content using Windows, Mac or Linux. This was particularly interesting for visitors because the system offers all the benefits of a SAN at a fraction of the cost and is compatible with all major editing platforms including AVID, Adobe and Final Cut.

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CALLSHEET COCKTAIL Highlights at Durban Filmmart The Callsheet hosted a fabulous cocktail party at moyo uShaka as part of the Durban FilmMart programme on 18 July. The venue has a stunning view of the ocean and the city’s famous Golden Mile. What a great turnout, so thanks to all who made it – and a special thanks to our sponsors, Refinery and the Film and Publication Board.

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CANNES LIONS REVIEW : All images © Cannes Lions 2015

Festival Honoured Simplicity in Creativity

he 62th instalment of the Cannes Lions in the Riviera made a quite a splash, as is the norm. The beach parties and celebrities were ubiquitous and the awards handed to deserving winners. The event experienced tragedy with the demise of a Google executive and there were some rumours of redcarpet shenanigans. However, a theme emerging from the awards was that the concepts were relatively simple. It was also led by its biggest television contingent yet. This is because the quality of the television offering is now eclipsing film and their industry experts are sought-after while the television industry understands the opportunity to connect with the brands. Kim Kardashian impressed the tech crowd with her competent answers and Al Gore, winner of the Lionheart award, proved a popular speaker and received a standing ovation when he exited the stage. Major industry stalwarts like Samsung Electronics managed to leave with a number of prestigious honours. One of the most honoured projects was the Safety Truck, winning seven awards and aimed to improve road safety in Argentina. The Look At Me campaign for an app that helps children with autism to make eye contact has taken five awards. Back Up Memory an app for Alzheimer sufferers took gold, silver and bronze awards. South African agencies brought home some of the trophies this year. Ogilvy & Mather won a Gold Lion for Suntory’s Night before the Project in the radio category. Joe Public Johannesburg won a Bronze Lion for Dialdirect’s The Notebook in the Film category. It was one of only five SA finalists in this category and depicted the overwhelmed Mom in emotive advertisement. The King James Group Cape Town won the Bronze Lion for Sanlam’s One Rand Man in the Branded Content and Entertainment category. Ogilvy &Mather won another Bronze Lion in

the Cannes Lions Outdoor category and for Volkswagen South Africa’s Terminal Velocity. Joe Public Johannesburg won their second Bronze Lion in this category for Population Services International’s Fine Line. This category also featured a Bronze Lion award for Publicis Machine for Hasbro’s.

In the Cannes Lion Media category, a Bronze Lion was awarded to GLOO@ OGILVY Cape Town for the FNB’s ATM. The Cannes Lion Direct category netted a Bronze Lion for Ireland/Davenport Johannesburg’s National Museum of Military History’s The Cup of Life. Joe Public United Johannesburg’s last Bronze Lion was won in the Cannes Lions Promo and Activation category with Cinemark’s Experience App. Pepe Marais was part of the panel of this year’s Promo & Activation Judging. His agency was the only SA agency to win an award in this category. Speaking to Bizcommunity, he too, commented that he was inspired by the simplicity of ideas of the works submitted. The inaugural Glass Lion Grand Prix was won by an Indian agency BBDO for its Touch the Pickle entry for Whisper Sanitary Napkins. It also won a Glass Lion (like Gold). India had fared phenomenally well in 2014 with 27 metal awards, it ended 2015 with 12 metals and a Grand Prix. The Innovation Award Grand Prix was won by a global addressing system, What3Words. It is

importance lies in the simplicity of the system and possible reach. It assigns three words to any spot in the world; the entire globe is divided into 57 trillion m2 in which each square has been assigned an address combining three common words. It works in multiple languages, requires 10MB of memory and can be used offline on most devices. With 4 billion people not having reliable street addresses this could be the answer. A surprising talk at this year’s Cannes Lion was the one initially billed as “the worst talk ever”. Nicolas Pimentel, co-founder and innovations director at +Castro opened this segment by first boring the audience in order to surprise them later. The title was used to filter the audience. He wanted to communicate about jobs and experiments at +Castro, but instead used the talk as an experiment in itself to illustrate. “Curiosity,” he said “can lead to totally unexpected experiences and in order to show this in a tangible manner, I wanted to surprise everyone by inviting two speakers that many participants would have made long queues in order to see. At +Castro we believe that the basis for innovation is curiosity. In a fast-changing world, curiosity has become the best learning tool that anyone can have.” Cannes Lions 2015 produced simple, yet creative concepts, and was attended by big personalities and inspired the creatives to continue to create and innovate.

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Courtesy of DIFF

AYANDA: Authentic African Girl Power Embodied by Kim Muller Courtesy of DIFF

erry Pheto and Sara Blecher’s much-awaited Ayanda had its moment on the big screen when it opened the 36th Durban International Film Festival on 16 July. Although the film has had its fair share of publicity over the last few month, the wait and anticipation has most certainly been worth it. Without giving any major plot lines away (because you’ll want to see it for yourself ), Ayanda tells the story of a vibrant, passionate 21-year-old who has been struggling with the death of her father for the better part of eight years. Ayanda’s prize possession is his old mechanic shop, where all the magic happens. Here she finds inspiration for creating fascinating recycled furniture and other bric-a-brac, but when she finds her mother plans on selling it, her big dreams have to become reality in order to change a string of less than wise decisions. The film is adorable and compelling and even had me a slight bit teary at one point. Some of the shots were stunning – especially the close-ups. Although I wasn’t entirely sold with the storyline, the cast did an amazing job in bringing things to life. This is probably one of the most photogenic

Sara Blecher; director of Ayanda

group of actors I’ve ever seen coming out of South Africa, and neither gorgeous lead actress Fulu Mugovhani nor her husky, Nigerian counterpart OC Ukeje seem to have a bad side at all! That said, there are a few criticisms to be made. Despite its overwhelming cuteness factor, the film was way too long and could have been quite a bit shorter – and more exciting as a result. This was most apparent with picturesque lulls and pretty montages which really didn’t help move the story forward. Some of it also seemed a bit contrived, as though a happy medium or hidden agenda had to be met. But behind the lively animation and colourful string and butterflies and fabrics

Ayanda’s lead actress, Fulu Mugovhani

and hipsters and shiny cars and township stories (which, side note, also left me a bit confused about the storyline) is a truly authentic local film. I felt like I was in Yeoville when Ayanda drove through the streets. I felt like I was chatting with her mates, like I was at the market. It was something tangible, real, something that just cannot be recreated, but rather felt in the hearts of those performing and those pulling the strings behind the scenes. And that was Ayanda’s real triumph: an authentic African story we can relate to and that resonates with us.

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TANZANIA Diverse Locations and Talent Pool by Imogen Campbell

Introduction The Manta Resort, Pemba Island.

The giraﬀe is Tanzania’s national symbol. © Mike McHolm

This East African country is surrounded by a staggering nine countries and boasts a long coastline along the Indian Ocean. It’s a country of contrasts, having the highest peak in Africa, the sometimes snow-capped Mount Kilimanjaro in the northeast, and also the deepest freshwater lake in Africa, Lake Tanganyika. It boasts the world’s largest inactive caldera, the Ngorongoro Crater. Incorporated into Tanzania is the Archipelago of Zanzibar islands made up of Pemba, Unguja (known as Zanzibar) and Mafia. It offers the tourist and filmmaker fascinating views and activities to film. From the majestic pristine beaches offset by the cyan sky and crystal waters of Zanzibar. This sometimes cloyingly hot destination allows one to book an underwater hotel room (Pemba), enjoy the fresh seafood, swim, snorkel and stroll around the UNESCO heritage site, Stone Town. While there, you can marvel at the world-renowned doors, sought after by discerning shoppers, and engage with the locals as they go about their life with a “no worries” attitude and remind you to take it “polepole” (slowly slowly).

Mount Kilimanjaro – the highest peak in Africa. © japrea

Nungwi Beach, Zanzibar North

Climate and population

You can marvel at the world-renowned doors.

Owing to Tanzania’s size it has a variable climate. The best time to visit for sunny weather is in the dry season between June and October. It has a population of about 49 million, mostly communicating in Swahili, English is spoken by a scant 10% of the population. It is also the only African country to have changed its primary language policy to Swahili (this year), which will adversely affect English proficiency. This does have an effect on the industry as espoused further on.

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www.filmmakerafrica.co.za

Margie McMahon Specialises in Line Producing, Locations, Logistics and Equipment. Tel: +27 21 4221321 Email: mcmahon@icon.co.za

The Bucket List

Fixers in Tanzania

Richard and Janice Beatty Specialise in Locations, Accommodation, Talent, and Aerial Filming. Tel: +255 27 250 8625 Email: beatty@africanenvironments.co.ta, janiceb@africanenvironments.co.ta

based on 419 submissions worldwide, with Germany leading the pack. Seven were films presented from Tanzania and selected films for the Bongo Movies Competition will be announced at a later date. This year, the Academy Award winning film Selma opened the festival. Location permits are difficult and time consuming to obtain, therefore the process must be started well ahead of time. There are no tax incentives for filming. The visa and other entry/exit conditions often vary and it is best to contact the local Tanzanian embassy for information.

Airports

Film Its budding film industry can be likened to its national symbol, the giraffe, which is protected. The film industry, though blossoming, is charmingly sticking its head out, looking over the horizons, but needs nurturing and investment. A famous Hollywood production in Tanzania was made in 1962 called Hatari, featuring John Wayne and the 1950’s King Solomon’s Mines, which was jointly shot in several East African countries. The film industry in Tanzania has been

dubbed Tollyhood, Swahilihood or most people know it as the home of the “bongo movie.” These movies are shot on digital cameras with very limited budgets. They typically spend two weeks to produce a movie and then distribute directly to the locals. The “bongo movie” industry is aimed at television. Their film industry is not as prodigious as Nigeria and only produces a few films annually. It has become evident that many people engaged in the film industry are not formally trained. The Kilimanjaro Film Institute (KFI) works to empower and educate youth from challenging backgrounds from Arusha and the surrounds in audio-visual production and local fields. Their vision is to have students forge their own process in creating films and thereby having an opportunity to begin their career in the film industry. They have a good success rate in placing their students in the audio-visual industry and according to them they have worked with local and international clients who have appreciated the KFI production teams for TV programs and documentaries. The Tanzania Film Commission works under the Tanzania Board of Tourism. Their role is to assist filmmakers to obtain permits, locations and filming resources throughout Tanzania and generally to ensure that they have the best the country has to oﬀer. They have a world-renowned film festival, The Zanzibar International Film Festival, in Stone Town, with the 2015 instalment running between 18 – 26 July. Ironically, this celebration of film does not take place in a cinema, as its cinemas have declined and are no longer in use. The festival announced its official selection

There are two major airports, the Julius Nyerere International Airport in Dar es Salaam and Kilimanjaro International Airport in Kilimanjaro. International airlines flying into Tanzania include South African Airways, British Airways, KLM Royal Dutch Airlines, Emirates, Qatar Airways, Kenyan Airways and is locally serviced by Air Tanzania and Precision Air. One can take a plane or ferry to get to the Zanzibar islands.

Currency exchange rate The official currency is the Tanzanian shilling and the exchange rate against major currencies on 9 July 2015 is as follows: Major Currencies

Tanzanian Shilling

1 ZAR (Rand)

174.74

1 US dollar

2 185.91

1 GBP

3 366.61

1 Euro

2 410.40

Visas Tanzania High Commission in South Africa 822 George Ave, Arcadia, Pretoria, South Africa Tel: +27 12 342 4371 / 93 Fax: +27 12 430 4383

Contact Tanzania Film Commission Website: tanzaniafilmcommission.org Tanzania Tourist Board IPS Building, 3rd Floor, P.O.Box 2485, Dar es Salaam, Tanzania. Tel: 255 22 2111244/5 Email: info@tanzaniatourism.go.tz Website: www.tanzaniatouristboard.com/

38 | IBC 2015

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IBC 2015: The World's Leading Electronic Media Event

he International Broadcasting Convention (IBC) is the leading global tradeshow for professionals engaged in the creation, management and delivery of electronic media and entertainment. The event’s unparalleled exhibition and agenda setting conference encompass the very latest developments in traditional media, IPTV, telecoms, IT and R&D making it essential for everyone’s understanding of the industry and its future. IBC is a fixture on the calendar of the global media industry, attracting over 55 000 professionals and 1 700+ exhibitors from more than 170 countries. Among them are the industry’s most senior executives who choose IBC’s highly respected conference to set and challenge the media agenda. The event plays host to a wide array of free to attend sessions, product demonstrations, big-screen movie presentations and the IBC Awards Ceremony. Innovations such as the IBC Future Zone and IBC Content Everywhere Europe showcase technology at the cutting edge. With all this and more, IBC is the place to learn and lead. The IBC Conference sets the standard for thought-leadership and forensic analysis

in all areas of the electronic entertainment industry. Split into six dedicated streams – Advances in Technology, Business Operations, Content Innovation, Industry Insights, Strategic Insights, Keynotes and the IBC Big Screen Experience – it combines world-leading speakers with a rigorously peer-reviewed conference programme that dissects the current state of the industry and maps its future. Over 1 700 companies choose IBC because of its consistent track record in delivering their core business objectives. New initiatives, such as the IBC Content Everywhere Cloud Solutions, keep the show at the forefront of innovation and industry attention. More than 55 000 professionals including 1 000+ accredited press ensure key messages and breaking news are communicated globally. Whether you aim to generate sales leads, raise your profile, gather market knowledge or network with peers, there is no more effective venue than IBC. IBC Content Everywhere Europe takes places alongside IBC and provides a forum for discussing the latest developments and the future of digital content in Europe’s single market providing a focus on rich

media production, apps, digital marketing, social media, content personalisation, big data, cloud services, second screens and much more. IBC Content Everywhere Europe is part of global series of exciting new events that also takes place in MENA. IBC Content Everywhere Europe is designed to help visitors quickly and efficiently expand their knowledge and understanding of the latest trends, strategies and developments in online TV and video through a range of features and exhibitors across all fourteens halls of IBC.

IBC2015 RAI Amsterdam Conference: 10 - 14 September 2015 Exhibition: 11 - 15 September 2015 IBC Content Everywhere Europe RAI, Amsterdam 11 – 15 September 2015 www.ibc.org

40 | ASSOCIATIONS

Visa Update: Home Affairs Partnership with Commercial Producers Association Section 11 (2): Visitor’s visa provides for the foreigner to visit South Africa for a period not exceeding three months to perform work activities. This visa must be applied for at the South African Mission abroad. The visa is extendable provided such extension is submitted 60 days prior to the expiry of the visa, unless issued for a period less than 60 days; in this case, the extension must be submitted within 7 days from the date of expiry. In addition to normal visitor’s visa requirements, clients must submit: • Documentation detailing purpose of the visit (e.g. commercial producers,

www.filmmakerafrica.co.za

• •

association-film production, modelling, advertisement, etc) Valid return air ticket/proof of reservation Proof of sufficient funds

However, the above information is not required from the applicant in case the South African company has made an undertaking. Those who visit RSA to explore, observe or make prior arrangements but not work are not required to apply for this visa. They may come to South Africa as tourists. Section11 (1) (b) (iv): Visitor’s visa, provides for the foreigner to visit South Africa for a period of up to three years. This can be issued to person involved in the films and advertisements produced in South Africa, including but not limited to: actors /actress, cameramen, hairstylist, make-up artists, lighting and sound engineers. This visa must be applied for at the South African Mission abroad. In case the

applicant is involved in a film production in a country other than his/her own, such applicant must provide “Good Cause” why the application should be taken in a country other than the country of origin. The visa is extendable provided such extension is submitted 60 days prior to the expiry of the visa. In addition to normal visitor’s visa requirements, submit: • Documentation detailing purpose of the visit (commercial producers, association-film production, modelling, advertisement, etc) • Valid return air ticket/proof of reservation • Proof of sufficient funds • However, the above information is not required from the applicant in case the South African company has made an undertaking. • A police clearance certificate from country of origin is mandatory.

ASSOCIATIONS | 41

www.filmmakerafrica.co.za

A meeting was held on 29 June 2015 between the FPB and the PSCA, South African Editor’s Forum (SANEF) and the Interactive Advertising Bureau of South Africa (IAB SA). The discussion revolved about the proposed revisions to the structure of the PCSA and the Press Code. The PCSA is an independent body chaired by a retired judge. It consists of members of the public and the media and it historically handled complaints relating to traditional hard-copy newspapers and press. The PCSA has been working with the IAB to ensure that complaints relating to digital content are dealt with appropriately in response to the confusion surrounding the handling of complaints relating to the

burgeoning news content published online. The FPB’s draft plans for classification of online content were questioned and scrutinised following its publication in March. It requires pre-classification prior to publication of any “film, game or certain publication” according to their guidelines. Included in its scope is user-generated content distributed via social media platforms. The definitions of “film” and “certain publication” within this bill are very broad possibly encompassing video and content of any form including news and current affairs. In terms of the Draft policy’s current wording anyone who publishes or facilitates the publishing is required to submit content to the FPB for classification before uploading it to the Internet. The problem with this is that it includes stakeholders from Google to the average individual blogger. Commentators have stated three main objections about it in its current form: • It will not succeed in its aim to prevent children from accessing content of a sexual or violent nature • It will result in an unconstitutional limitation of freedom of expression • Lastly, it did not address many operational and enforcement challenges. Section 16 of the Film and Publications

Act (FPA) currently exempts publishers of newspapers and magazines recognised by the press Ombudsman (and subscribe to the Press Code) from the FPB requirements that apply generally to all other forms of publication. The proposed new “Code of Ethics for South African Print and Online Media” would then replace the current Press Code. This means that the press content is covered notwithstanding the medium of publication. This, therefore, includes print, online and social media content, as well as digitally-streamed audio and video content. It also extends to user-generated content posted to publisher websites, incorporating basic principles and guidelines as to its management and compliance from the publisher’s perspective. The FPB acknowledged the FPA exemption would extend to the websites and online properties of traditional newspapers as well as those only active on the web like Media24 provided that the PCSA comply with the Code.

Film and Publication Board (FPB) recognises the authority of Press Council to regulate press content

42 | EVENTS TO DIARISE

www.filmmakerafrica.co.za

AUGUST AFRICA DOCUMENTARY WORLD FESTIVAL 1-8 Bellville, South Africa RHODE ISLAND INTERNATIONAL FILM FESTIVAL 4–9 Rhode Island, USA THE SHORTLIST FILM FESTIVAL 4 – 18 Online LOCARNO INTERNATIONAL FILM FESTIVAL 2015 5 - 15 Locarno, Switzerland DOKUFEST INTERNATIONAL DOCUMENTARY AND SHORT FILM FESTIVAL 8 – 16 Prizren, Kosovo SCHOOL ARTS FESTIVAL 11 - 14 and 17 - 20 Cape Town, South Africa THE HOLLYSHORTS FILM FESTIVAL 13 – 22 Hollywood, USA

SARAJEVO FILM FESTIVAL 14 - 22 Sarajevo, Bosnia and Herzegovina CEBU INTERNATIONAL DOCUMENTARY FILM FESTIVAL 15 – 21 Cebu, Philippines BOLGATTY INTERNATIONAL FILM FESTIVAL 22 – 26 Kochi, India EBS INTERNATIONAL DOCUMENTARY FESTIVAL 24 - 30 South Korea FILMFESTIVAL KITZBÜHEL 25 – 30 Kitzbuehel, Austria New York, USA

EVENTS TO DIARISE | 43

www.filmmakerafrica.co.za

SEPTEMBER TORONTO INTERNATIONAL FILM FESTIVAL 10 – 20 Toronto, Canada

QUADRANGLE FILM FESTIVAL TBC Kent, UK

ENCOUNTERS 15 – 20 Bristol, UK

RAINDANCE FILM FESTIVAL 2015 23 - 4 October London, UK

PORTOBELLO FREE FILM FESTIVAL 3 – 20 London, UK

CAMDEN INTERNATIONAL FILM FESTIVAL 17 – 20 Camden, USA

7th ANNUAL LADY FILMMAKERS FESTIVAL 25 - 27 Beverly Hills, Los Angeles, USA

TELLURIDE FILM FESTIVAL 2015 4–7 Telluride, USA

FESTIVAL SAN SEBASTIAN 2015 18 – 26 San Sebastian, Spain

ASPEN FILMFEST 25 - 30 October Aspen, USA

2015 MARTHA’S VINEYARD INTERNATIONAL FILM FESTIVAL 8 – 13 Martha’s Vineyard, USA

BERWICK UPON TWEED FILM & MEDIA ARTS FESTIVAL 23 -27 Berwick-upon-Tweed, UK

BRITISH FILM FESTIVAL OF DINARD 2015 30 - 4 October Dinard, France

72nd VENICE INTERNATIONAL FILM FESTIVAL 2 – 12 Venice, Italy CAMBRIDGE FILM FESTIVAL 3 - 13 Cambridge, UK

PORTLAND FILM FESTIVAL 1–7 Portland, USA

44 | DIRECTORY LISTINGS

www.filmmakerafrica.co.za

ADVERTISERS COMPANY

TELEPHONE

WEBSITE

Aquila Private Game Reserve

+27 21 430 7260

res@aquilasafari.com

www.aquilasafari.com

Atlas Studios

+27 11 482 7111

info@atlasstudios.co.za

www.atlasstudios.co.za

Avis

+27 11 608 3327

avisfilmga@avis.co.za

www.avis.co.za

Blackmagic Design

+613 9682 4770

melissa@blackmagicdesign.com

www.blackmagicdesign.com

bouffant

+27 11 234 8820

info@bouffant.tv

www.bouffant.tv

Chris Vermaak

+27 86 649 8845

karentl@mweb.co.za

www.chrisvermaak.co.za

CTICC

+27 21 410 5000

sales@cticc.co.za

www.cticc.co.za

Direction Films

+27 83 235 6720

anco@directionfilms.tv

www.directionsfilms.tv

Di Rosen Productions

+27 82 449 9868

di@diprod.co.za

www.diprod.co.za

Durban FilmMart/Office

+27 31 569 5988

info@durbanfilmmart.com

www.durbanfilmmart.com

Fusion Models

+27 21 439 0309

fiona@fusionmodels.co.za

www.fusionmodels.co.za

IBC

+44 192 748 9229

jdmc@globalnet.co.uk

www.ibc.org

Imperial Truck Rental

+27 11 977 7329

Pasales@i-t-r.co.za

www.imperialtruckrental.co.za

KZN Film Commission

+27 31 325 0200

info@kwazulunatalfilm.co.za

www.kwazulunatalfilm.co.za

Media Film Service

+27 21 511 3300

info@mediafilmservice.com

www.mediafilmservice.com

Motion Bones

+294 61 247029

studio@motionbones.com

www.motionbones.com

OSCASA

+27 82 233 4436

info@oscasa.com

www.oscasa.com

Panalux

+27 21 529 4200

michele.starnaud@panalux.co.za

www.panalux.biz

Panavision

+27 21 555 1780

nicholas.doble@panavision.za.com

www.panavision.com

Picture Tree

+27 11 787 7446

gary@picturetree.co.za

www.picturetree.co.za

Pioneer Freight

+27 21 386 5946

info@pioneerfreight.co.za

www.pioneerfreight.co.za

Plank Film Productions

+27 21 461 0887

info@plank.co.za

www.plank.co.za

Priest

+27 87 742 2250

cal@priest.co.za

www.priest.co.za

Pro-Sales

+27 11 462 0000

info@pro-sales.co.za

www.pro-sales.co.za

Spitfire Films

+27 11 325 6227

liesl@spitfirefilms.tv

www.spitfirefilms.tv

Tempest Car Hire

+27 11 663 4000

film@tempestcarhire.co.za

www.tempestcarhire.co.za

Value Logistics

+27 86 010 0046

margiew@value.co.za

www.value.co.za

Velocity

+27 21 424 4971

karen@velocityfilms.com

www.velocityfilms.com

Videovision

+27 31 204 6000

info@videovision.co.za

www.videovision.co.za

Wizardz Print & Designs

+27 21 461 9334

sales@wizardz.co.za

www.wizardz.co.za

Cover Image: Ayanda: Opening Film at Durban FilmMart Courtesy of Indigenous Film Distribution. Publisher: Lance Gibbons lance@filmeventmedia.co.za Executive Editor: Katie Reynolds katie@filmeventmedia.co.za Head of Design: Sheree Steenkamp sheree@filmeventmedia.co.za Writer: Kim Muller kim@filmeventmedia.co.za Assistant Designer: Lauren Smith lauren@filmeventmedia.co.za Editorial Assistant: Imogen Campbell info@filmeventmedia.co.za

Account Executive: Jennifer Dianez jennifer@filmeventmedia.co.za

Join us

Account Executive: Theo Jacobs theo@filmeventmedia.co.za

www.filmmakerafrica.co.za www.filmeventmedia.co.za

Group Sales Manager: Lloyd Kirsten lloyd@filmeventmedia.co.za Production and Traffic Manager: Nazeera Hartley Roach nazeera@filmeventmedia.co.za Sales Co-ordinator: Tracey-Anne Arendse tracey-anne@filmeventmedia.co.za 57 2nd Avenue, Harfield Village, Claremont 7708, Cape Town, South Africa Tel: +27 21 674 0646

DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/ advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved. While every effort has been made to ensure the accuracy of the information contained in this publication, The Callsheet and/or its employees may not be held liable or responsible for any act or ommission committed by any person, including a juristic person, referred to in this publication. It and they furthermore accept(s) no responsibility for any liability arising out of any reliance that a reader of this publication places on the contents of this publication.