The Callsheet May 2012

R22.80 May 2012 Cannes Lions issue www.thecallsheet.co.za South African Party, Cannes Lions Friday 22 June, 10:30pm @ Plage royale, Cannes Contact Philippa Dresner for more information. philippa@bigbashtheory.com

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KEVIN SPACEY ON SPIRIT OF A DENTURE laboration i think.

GENERAL INDUSTRY

alan, what is the biggest thing you’re taking away from this experience?

As: THere’s a lot of lessons i learnt on this. One of the first questions Kevin asked me was what was the tone of the script, and its one of those things i’d never considered. i had to wing it on the spot. subsequently, i’ve realised how important that is to know. On the projects i’m working on now that understanding is vital - if you’ve got that pegged everything falls into place a little bit.

Ks: it’s true, because sometimes you can come into an experience and realise ‘Oh, that actor has a different view on what the tone of this is, and the director has a different view on it’. What you want, at least in most of the successful experiences i’ve had, is when everyone is together on what you’re trying to balance and on what the effect you have on the audience is. When everyone agrees on that, things fall into place.

Lance Gibbons interviewed Kevin Spacey, Trigger Street producer Dana Brunetti and Jameson First Shot winner alan Shelley ahead of the premiere of his short film Spirit of a Denture.

What made alan’s script the South african winner?

DB: Kevin’s idea is probably a little bit different from mine as a producer, mine was about the story initially and then what would be feasible for us to produce a good film based on the restrictions we had - like the amount of time, the locations and not being able to meet with Alan before the time and him not being able to select crew.

Once we got the stories that we thought were the best stories and the best scripts, we started to look at them that way. “Okay, these we can produce and these we can get done.” They didn’t require more than we could provide in that time.

Then those scripts were handed on to Kevin.

Ks: sometimes you’ll read scripts and think ‘wow this is a really interesting idea, but it’s 15 locations, it’s set in 1940’. They’ve in a sense done a wonderful job, but they’ve given us a lot of problems and ultimately we can’t solve those problems from a production point of view. Particularly when you’re trying to shoot this kind of film in two days.

What i was looking for on top of the production concerns was first of all who is the filmmaker I thought had a sensibility that i could immediately attune with. And what role

offered me something i could actually do where i would be putting myself in a position where this person could direct me and it wasn’t just a little cameo. so each of the three roles in the three films is very distinct and they’re all very different which i liked a lot. i just thought Alan’s script was hilarious, i thought it was a very clever idea and i thought it would be a lot of fun.

initially we didn’t know which role i would play, because Alan said i could play the pirate or the dentist. it was all of that and also because each person entering the contest had to submit a video presenting themselves and how they would shoot the movie and submit some of the things they had done. i also looked at some of the previous work he had done, his award-

winning PsA, and i just thought this was a good choice. alan, how was the experience of working with Kevin?

As: YOu can freak out about it beforehand, but then i got to a point where i accepted that i was going to do this. Kevin made it very easy.

He gave me a lot of suggestions and help and it was a great col-

KeVIn, what was it like being directed by fairly inexperienced directors? i have been directed by inexperienced directors before. i always try to put myself in a place where my job in a film is to serve the director.

I don’t believe film is the actor’s medium, i believe it’s the director’s medium. so i’ve always tried, in my experiences working with directors, to put myself in the director’s hands and to trust them entirely and completely. continued on page 8

SPEAK TO THE INDUSTRY WITH FILM & EVENT MEDIA Taryn Fowler, Robyn-Lee Malan, Nadia Samsodien and Jess Novotny

Donovan Winterburn and Makkie Slamong

LETTER FROM THE EDITOR EDITOR of The Callsheet Newspaper, Kate Hodges, on exciting changes at Film and Event Media and a reminder of our many great services.

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S one of several international issues we produce every year, this edition of The Callsheet Newspaper is going to Cannes Lions. Cannes Lions delegates from at home and abroad will be interested to read about the 2011-2012 service season on pages four and five. On page 11-12 we also have our (completely subjective and unscientific) Cannes contenders list. These are

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the ten ads from the past year that we think may have a shot at the festival of creativity in the south of France. Last year two of the winners were PSA’s - turn to page 11 to see if that’s influenced our picks this time around!

Film and Event Media is passionate about not only being the voice of the South African film and events industries, but also as being an invaluable resource for the film industry. To this end we introduced our directories on the inside back page of the paper in the February issue and they have been a hit.

So far we have featured technology, cameras; lights; studios; broadcast; associations; government; support and infrastructure. In this month’s issue you will find details for everyone you should know

about in the areas of funding; insurance; legal and accounting. By the end of the year, we will have provided regular readers with a comprehensive list of all the support and service companies for the film, commercials and television industries in South Africa.

Another innovation is the introduction of product showcases, a new way for our clients to introduce their products and services to readers of The Callsheet Newspaper. Each product showcase fits neatly into a column and features a brief company description, contact details, logo and a picture,.

This means you can use our traditional advertising space in a way that allows you to deliver a targeted message to The Callsheet Newspaper’s readers.

We hope these changes will complement our existing products and services , including our opportunities pages and the diarise section in the paper and on the website.

One of our most popular value adds allows our clients to upload their press releases to our websites, meaning this platform really is a place where the industry’s voice can be heard. Every month some of the best stories from the web wind up on the Online News Highlights pages of the paper. This month see page 18 for the highlights from the past month.

Another popular service Film and Event Media offers is our monthly networking functions for the South African film industry.

These events, which take place at a different hotel on the last Thurs-

Lance Gibbons

day every month, offers industry the chance to meet up with their peers face to face. In addition to all the business that gets done at our networking functions, many regulars have told us that sharing stories and networking with others in the industry has saved their sanity!

To find out more about advertising in The Callsheet Newspaper, on our website, or sponsoring one of our networking functions you can email Makkie on makkie@thecallsheet.co.za If you have any news to share, or just want to say hi, please email me on kate@filmeventmedia.co.za or visit our Facebook page.

Kate Hodges

The Callsheet | 03

AN OVERVIEW OF THE COMMERCIALS SERVICE SEASON © Juice Film

of the 2011-2012 commercials service season.

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© AFS Productions

COMMERCIALS SERVICE

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The arrival of Cannes Lions marks the end of summer in the Southern

hemishphere. The Callsheet approached several top producers to find out about their experiences

he producers were uniform in their agreement that there was more work brought to South Africa this season than in 2010-2011. executive producer at Velocity Films, Peter Carr said: “It was definitely a busier season compared to the previous year for us. I would say we shot double the amount of work in our service division and we’re up on our international work for directors. The local industry was on a par.”

Brin Kushner, the executive producer at AFS Productions agreed.

Martin Jacobsen from Juice Films revealed they had a great first season, saying: “I was very surprised as to how much interest there was in shooting in South Africa this season, and we had a very busy and successful year.”

Orange Films Producer Vivian esterhuyse warned that while there was more work than in 20102011, the amount of work was still down on seasons before. It would seem that the financial uncertain-

ty and cost-cutting in the US and the eurozone are still being felt at the southern tip of Africa. however, local production companies are positive about the season that was.

David elton, owner and executive producer at Cinergy Commercial Film Producers revealed that a big job at the beginning of the season had a knock-on effect.

David told us: “There was more work for Cinergy this year than in the previous season. A lucky start with a music video for Coldplay which led to another UK company working with us shortly afterwards; followed by new clients from Poland (plus returning Polish clients) and as in the past, we did a reasonable amount of work for Germany.”

The work coming into South Africa came from all over the world.

As usual there is a lot of work coming from the US and all over europe, including the UK, France, Spain, Germany, Switzerland, Italy and Sweden. Vivian revealed that Orange Films did one job out of South Korea. The trends revealed by these insights indicate that local production companies should consider marketing further afield.

South African commercial service companies are willing to make anything happen for their clients and in the process they are having lots of fun with the jobs they are doing.

Brin enthused about the work AFS did this season: “We had many noteworthy jobs this season with some great brands. We filmed elephants for Google, spent time on the golf course for Titleist, mixed sports and cereal for Kelloggs and raced boats through Table Bay filled with ninjas, models, disco balls, you name it, for Axe. This is just a sample of the fun we had this season.”

Martin was still buzzing from a major job Juice Film did for Nissan, saying: “It was a high action car shoot that saw a Nissan Juke being put together by parachutists in mid air, followed by Motorcross bikers while speeding down a dust track, and finally, by underwater divers.

The project had everything and included nine different forms of industrial cranes, flying rigs, stunts, special effects, huge rigging, underwater film teams, rehearsal days, and a typically incredible South African crew who put it all together seamlessly.”

David was blown away by the globalised nature of the industry, mentioning one commercial Cinergy did with a truly international team. he said: “There was a beauty cream commercial that we serviced, with a New York and Warsaw ad agency, a British client, a DOP from New York, and an Argentine director, plus

© AFS Productions

© Orange Films

two South Africans. Lest you think we’re hyping this as a veritable ‘United Nations’ of a shoot, in fact the strange thing about the job is that the commercial is for South African TV only.”

Government support Government support remains an issue, with mixed reviews from the various production companies we spoke to.

Peter, the former chairman of the Commercial Producers’ Association (CPA), felt that overall there has been an improvement.

He said: “Well it was improved, but all credit goes to the CPA and the CTFPO for working so closely together on locations this season.

The CPA members covered the cost to hiring Rudi Reik to facilitate the location process and interact with government line departments and he was absolutely marvellous not only in dealing with individual shoot issues but also in building a good working relationship with the government in appreciating the value our industry brings to town.”

Martin also had good things to say: “I was enthused by the support. The Film Office were under pressure with a new permitting system, but they seemed to sort out some of the glitches by the beginning of January. Although under pressure with a busy season, we were able to get great support from all relevant players within the city.”

David felt that the locations issues that have plagued past seasons were still present at the beginning of this season, and said although they were resolved by the end of the season, they were unnecessary.

The health of the industry as a whole remains good despite frustration with support and having to deal with the financial crisis which hit our international clients hard.

In the last CPA survey, which covered the period May 2010 to April 2011 it was revealed that there had been an improvement in turnover in the service sector. However the survey reported concerns around the competitiveness of the industry and raised questions around future sustainability.

The 29 participants in the CPA survey reported that they produced a total of 640 commercials in 1376 shoot days (an average of 2.15 shoot days per commercial) and that, of these, 219 commer-

cials were shot in high definition.

Is South Africa a competitive service destination?

When asked about South Africa’s competitiveness as a service destination, Peter was emphatic in his response, saying: “I think all territories go through their ups and downs and we are all affected by other markets and their marketing but it seems we are still a really popular choice if this season is anything to go by. Everyone seems to have done a lot better this year although I expect margins would have been tighter.”

Peter added: “We are very consistent and continue to offer some of the best service in the world. With our location issues starting to sort themselves out, things will improve further. Globally the budgets are tight and let’s face it they are not ever going back to the regular really big budgets of old so we as producers have to maintain the discipline of being able to work more economically if we want to remain competitive and sustain our growth.

Suppliers too need to assist the

producers and offer value to help us continue to compete against other territories.”

Brin feels we’re not as competitive as we used to be, saying: ”A lot of work is still lost to other countries based on talent costs, flight costs etc. Clients want to shoot in South Africa. They know it’s a destination that they can trust with their production but unfortunately in these economic climes, price can be the overriding factor irrespective of service level.”

The overwhelming feeling is that while we are certainly competitive in terms of quality, we are no longer the cheapest service destination.

Martin sums it up: “We are no longer seen as a cheap alternative – but in the Southern Hemisphere, we remain competitive financially.

We are logistically well placed relative to Europe compared to the other Southern Hemisphere competitors. And we are regarded as a highly skilled film option.

He continued: “Putting this all together we remain competitive, however, we cannot rest on our laurels, because as our prices rise, other destinations are being used ahead of us in many circumstanc-

es, and they manage to get the job done efficiently.”

David concurs, adding: “We are still competitive on a professional level. The jury is out (and has been for some time) on whether we’re financially competitive. I believe we are, since other territories have apparently increased their prices even if not their standards.”

He continued: “In the end, with large amounts of money and reputations at stake, professionalism will win. The problem most likely facing all local producers is the lack of flexibility of some artiste agents regarding buyouts (usage.) On the other hand, location costs seem to have become a bit more flexible.”

Vivian’s views reflected those of David and Martin. He said: “It is no longer competitive on a purely cost basis, but we will always be the country in the southern hemisphere which best suits the northern hemisphere for the bulk of the work during our summer, mainly because we can and continue to provide a very high standard of technical and creative crew, the latest equipment as is available internationally, great and varied

locations and a wide selection of models, actors and characters.

As a service industry destination, we are all very capable, with a very high standard of delivery and reliability.”

All five of these producers have a wealth of experience in the industry and current upto-date knowledge of the market. The take-away from these views is that South Africa is all about quality.

As service in South Africa matures and grows, it will be interesting to see how the local industry responds to the challenges of international belt-tightening. It may no longer be possible to always send out the cheapest quotes for jobs, but if we can get eyeballs on the work coming out of South Africa - the quality of our commercials work speaks for itself and the jobs are sure to keep coming.

Kate Hodges

The Callsheet | 05

DISNEY TO DISTRIBUTE MAD BUDDIES Alfred Ntombela

Kenneth Nkosi and Leon Schuster in Mad Buddies

Tanit Phoenix

LOCAL FILM The team behind the latest Leon Schuster movie has scored a first for South Africa by signing a coproduction and distribution deal with The Walt Disney Company.

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ad Buddies will open in 120 cinemas across South Africa on 22 June 2012, and will be distributed worldwide by Disney under its Touchstone Pictures banner in a marketing plan that will include releasing the film in all media, in cinemas, on television, as well as subscription based platforms and DVD. “It’s a first for South Africa,” said Helena Spring, who produced Mad Buddies. “Leon, Gray Hofmeyr, the director and I have worked together

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on three previous projects and we really wanted to differentiate this film and move it to the next level in terms of quality and international exposure, by having a financier and distributor on board that is a global player.”

“Schuster movies are targeted at broad spectrum family audiences. He is a phenomenon and defies all the standard audience definitions in that he works for young and old, for all races and genders and all economic groups.”

So far Schuster movies have played mainly to local audiences, although some of his narrative films have sold in territories such Germany, Portugal, India, Australia, Indonesia, and South America.

Helena, the producer on almost 30 titles, including feature

films and documentaries, added: “He has had some international sales but so far his work has not yet travelled at the level we believe it can and should. His humour is very physical and universal, it is classic slapstick.”

Helena revealed that the team was delighted when Disney showed interest in the Schuster brand. She said: “It was an arduous negotiation because South Africa is new territory for Disney when it comes to production. They had never been involved in a South African project and we were an unknown quantity to them.

But looking at Leon’s track record any distributor has to take note.

Having three of the top five films of all time in South Africa is an achievement that cannot be ignored.”

Disney agreed to support Mad Buddies after looking at all Leon’s previous movies, reading the screenplay, and considering the budget.

Helena revealed: “Disney has been a dream partner, very respectful of Leon’s brand, supportive of the production and enthusiastic about the film’s potential in other territories.”

Filming took place in Johannesburg and KwaZulu-Natal, as the script sees sworn enemies Boetie (Leon) and Beast (Kenneth Nkosi)

forced to do a road trip together on foot. Unbeknown to them their journey is being filmed for a new TV reality show by hardnosed, sexy TV producer, Kelsey (Tanit Phoenix). When they discover her plan, they team up to exact revenge.

Mad Buddies is classic Schuster fare and Disney was happy to leave the established team to get on with making the movie in their own inimitable style.

Helena says Disney will distribute the film in different ways in different countries to suit the various audiences. “Disney believes there are many territories that will respond well to Schuster’s brand of humour. In some territories it may go to cinemas, whilst others may respond better to the material on television or DVD. We believe the picture will do well in South Africa and that Leon’s fans are definitely not going to be disappointed. The film is strong enough to attract a big chunk of new audience as well. For now, our first priority is the South African release and after that Disney’s marketing team will evaluate where the film will do well and what strategy to adopt for each territory. We wanted to make a film that would please local audiences but that would also travel well, so the Disney association is hugely important to us.”

The eight-week shoot was tough going because there is so much action in the film - most of which rested on the shoulders of Leon and his co-star Kenneth. Alfred Ntombela, (who did all his own stunts), also has major a role in the movie.

The film was shot on a RED MYSTERIUM digital camera, using film lenses which enable one to shoot at high resolution as well as capturing a traditional cinematic look.

Helena said: “I’ve made quite a few films in digital format, and you choose your camera based on the needs of the project and the work flow required to achieve the end result you want. We have a lot of CGI in this production so we needed to shoot at a really high resolution.

The RED was the perfect choice for our needs.”

Some of the pranks include an ostrich that had to be created entirely with CGI because a real ostrich obviously couldn’t perform the stunts required of it. Many other stunts also required clean-up work, so the source footage had to be generated at a very high resolution, she said.

Helena hopes she and the Schuster team will collaborate with Disney again on future productions.

Lesley Stones

The Callsheet | 07

LOCAL COMPANIES WINNING

JAMESON WINNER then online on the Jameson site.

It will also be set up to be embedded where people can post it on other sites. Beyond that we’re not sure, it’s still up in the air whether we’ll do anything else with them.

They’re being distributed how we initially intended, which is online, but there are some potential ideas and we’re looking into festivals.

Leila

So Good

AWARDS South African companies have scored trophies at the Clio Awards, the one Show and at the D&AD awards in recent weeks.

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f our international success so far this year is anything to go by, it’s a safe bet that we won’t come home from Cannes Lions empty-handed.

With a drop off in the amount of international agency work coming to South Africa’s director-based companies last season – we have had to up our game and win awards to show potential clients we have the creativity required for this kind of work. The current batch of awardwinners in a variety of categories is confidence boosting for the industry as a whole.

South African commercials did well at the Clio Awards, with five awards, including a Gold, three Silvers and two Bronzes for film. Velocity’s Greg Gray won Gold for Cadbury Voice Over and Silver for M-Net Birth. Also from Velocity, Tristyn von Bergh won Silver and Bronze for Leila, a Public Service Announcement for the Organ Donor foundation. Sister company Bouffant also did well, with Dean Blumberg winning Silver for Santam Good and Proper and Erik Control for Spoek Mathambo

van Wyk winning Bronze for KfC Old Couple/So Good.

The Clio Awards, established in 1960, received over 11,000 submissions from all over the world this year.

The Clio Awards statue, which has been featured on the cult series Mad Men, is considered the most widely recognised advertising agency prize in the world.

At D&AD, South Africa won four yellow pencils and had 17 In-book (In-book means those ads will be included in the 50th D&AD Annual).

Two production companies, Velocity films and Orange films were inBook.

Velocity Films were awarded with Direction for film Advertising for their commercial Dog for first National Bank. Orange films were awarded for Cinematography for Music Videos for the Control music video for Spoek Mathambo. Several other local advertising agencies were in-Book at the prestigious awards and four yellow pencils were handed out to South African agencies. These went to Grey Advertising for Radio - Sound Design and Use of Music; Net#Work BBDO for Radio Writing; and two to Ogilvy JHB for TV Branding and TV Promotion.

D&AD stands for Design and Art Direction. It is a British educational charity which promotes excellence in advertising and design. D&AD was

Birth

founded in London in 1962. Two kinds of awards are given out - a Yellow Pencil and a Black Pencil (the highest honour). Outstanding work is also published in the D&AD annual.

At the 2012 One Show in New York, which, along with the Clio Awards, makes up part of Creative Week, South Africa won one Gold Pencil and two Silvers. The Gold was for TBWA\Hunt\Lascaris Johannesburg in the Public Service -Newspaper or Magazine Campaign category. The agency was also the winner of a Silver for the same campaign (Endangered Wildlife Trust - The Last Ones Left) in the Public Service - Outdoor and Posters campaign category. The other Silver winner was Grey South Africa in the Public Service Radio category for Nelson Mandela for the Nelson Mandela foundation.

The One Show forms part of The One Club (One Show, One Show Design and One Show Interactive).

It was founded in New York City and today the jury (made up of international art directors, creative directors and copywriters) considers over 18000 entries from almost 60 countries.

INTERVIEW The Callsheet Newspaper’s interview with Kevin Spacey, Dana Brunetti and Alan Shelley continues from page one.

Sometimes it’s worked to my advantage, if you have a director whose sensibility and tone is really good. Sometimes that works to your disadvantage - if you have a director who is overly-sentimental or only chooses work and takes that just don’t serve the story. With Alan we had a really nice time, he was very clear about what he wanted.

It’s a thing where you’re trying to make something funny, but not outrageously out of this world and keep it within a certain frame.

I think he did that quite successfully. You can tell when you see the movie cut together and completed that he really found the humour in the tall tale - the mandate that we had initially set up. He did a really wonderful job.

WhAt are the plans for the movie’s distribution, Dana?

DB: RIGHT now it’s the screenings in the cities of the filmmakers and

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Kevin and Dana, what are you hoping to achieve with this competition?

KS: for me I hope two things, that more people in the industry start thinking about their responsibility to giving opportunities to emerging filmmaking talents. That people stop being so insular and really broaden their view about where talent is, because it isn’t necessarily being represented at all the big agencies. You know there’s talent all over the world in a lot of places.

We love that we’ve been able to tap into that over this past decade with Triggerstreet.com. And for me it’s about where Alan goes, how this affects his life and his opportunities. And even others, even the people that entered the competition and didn’t win this year, maybe being in it, seeing what Alan did and what we did with the three films will inspire them to come and try again next year.

DB: A lot of the people that we’ve seen on Triggerstreet.com, which is a website we started 10 years ago for aspiring filmmakers and writers, had never read a screenplay or wrote a screenplay in their lives are now doing it quite often. I think that people will see this that may have entered will give it a shot of writing a screenplay or making a short.

Kevin and Dana, do you have any plans to work with any of the Jameson First Shot winners after this?

DB: Who knows, there’s no plans right now but we found while working on this, talking about Triggerstreet.com, that our editor was a winner from one of our earlier competitions and we didn’t know. We hired her and she was like ‘oh by the way...”

KS: for me I certainly hope that these three filmmakers will consider me if they have a script that they want me to look at down the line.

I would be happy to because now we have a relationship.

More than that I really hope that all of them get the opportunities that they deserve and I hope the premiere will be the launch of that.

To view Spirit of a Denture visit: http://www.youtube.com/jamesonwhiskey

Lance Gibbons

SA HAS STRONG RELATIONSHIP WITH TRIBECA members of SA delegation on Steiner Studios tour

TRIBECA After a South African delegation attended robert De Niro’s tribeca film festival in April 2012, it was announced that Cape town will host the festival for five years starting in 2013.

T registration with Sean Drummond (Be Phat Motel), Uga Carlini (towerkop Creations) and Brigid Olen (Do Productions)

he festival, which was founded by the award-winning actor following the World Trade Centre tragedy in 2001, attracts nearly three million people including celebrities from film, art and music. It is reported to generate more than 600 million dollars annually.

A mission organised by The Cape Film Commission, The South African Consulate, The Department of Trade and Industry, the Gauteng Film Commission and the Durban Film Office, saw 22 South African filmmakers attend the festival. They were joined by Gauteng MEC for Arts and Culture, Lebogang Maile, his head of department, the CEO of the Gauteng Film Commission and representatives of the DTI. After opening with a briefing session at the SA consulate, thereafter 16 pieces of work were screened.

These included two minute trailers of the work from the filmmakers who were in attendance. Work from local film schools: the Animation School, AFDA and Big Fish, were screened.

Work screened included trailers for Triggerfish’s upcoming feature length 3D animation film Adventures in Zambezia and Die Windpomp, by AFDA student etienne Fourie (The Callsheet February 2012).

Uga Carlini of Towerkop Creations, who was part of the South African delegation, was effusive in her praise, saying: “Tribeca New York did not disappoint and the filmmakers, government officials and film commissioners attending as part of the delegation did not only do our industry proud in their private capacities, but made sure a lasting positive impression was formed that benefits the entire industry back home.”

Uga added: “I can really recommend applying for this incredible opportunity when the next call comes out. From the incredible panels (Susan Sarandon in conversation with Michael Moore or Robert De Niro talking 100 years of Universal) to the plentiful networking opportunities and fine selection of films, business not only gets done but one gets to have a fantastic

film festival experience in true and unique New York style.”

This year’s festival, which ran from 18-29 April, saw more than 380 000 people attend screenings, panels discussions and community events. The festival hosted almost 400 screenings - a total of 89 features and 60 short films from 46 countries. executive director of the festival, Nancy Schafer, said: “Our 11th Festival was an extraordinary 12 days filled with amazing films, unique experiences and incredible reactions from audiences.”

Cape Film Commission (CFC) CeO Denis Lillie was enthusiastic about the quality of the work shown, saying: “The diversity of feature film, animation and documentary clearly demonstrates the work our industry is producing and I have no doubt that the work shown will be picked up for options or distribution.”

The CFC has signed an agreement with espAfrika, the organisers of the Cape Town International Jazz Festival, to bring the New York festival to South Africa every year for the next five years.

Regarding the hosting of the festival in Cape Town, it will be a franchise of the festival, much like the one in Doha. Rashid Lombard, CEO of esp Afrika, said in a statement: “We are pleased to announce that after discussions with Denis Lillie of the CFC, we have reached an agreement to work together to bring this project to reality for the benefit of the African film industry and South Africa.”

The presence of the festival came about after a visit by the directors of Tribeca to the Cape Town International Jazz Festival in March 2011, where esp Afrika was approached about bringing the Tribeca Films Festival to South Africa.

Billy Domingo the COO of esp Afrika attended the film festival in New York which was then followed by a subsequent meeting in New York by the executives of esp Afrika to sign a preliminary agreement to bring the Tribeca Film Festival to South Africa.

The CFC commissioner believes the festival’s presence in Cape Town will benefit the industry as a whole, saying: “The opportunity this creates for the local and African film industry is very important as the festival will create a much needed international platform for our local filmmakers and industry.”

Kate Hodges

The Callsheet | 09

OUR PICKS FOR CANNES LIONS

Last Dictator Standing

Who’s Driving You Home Tonight

Time Flies

Bedtime Stories

Perfect Fit

Last Dictator standing, Black River FC’s commercial for Nandos, was a huge hit for the agency and the client as it went viral, with 53 000 views on You-Tube in 24 hours (the views as of 10 May 2012 were well over a million).

Last Dictator standing tells the story of an African dictator, who bears a strong resemblance to Robert Mugabe. He throws a dinner party for fellow dictators, where he reminisces about better days with Muammar Gaddafi; Kim Jong-Il and PW Botha and others. The commercial has already won the Creative Circle Ad of the Year and been selected as a One Show finalist, indicating that the commercial’s satirical and topical subject matter translates well.

Client: Nandos Production company: Bouffant Director: Dean Blumberg Producer: Melina McDonald/ Agency: Black River FC Creative Director: Ahmed Tilly/ Suhana Grodhan Art Director: Monde Siphamla/ Mandie van der Merwe Copywriter: Nhlana Ngcobo/ Lufuno Mavhungu/ Avish Gordhan

FoxP2 conceptualised a powerful follow-up to their awardwinning Drive Dry campaign for Brandhouse.

The commercial is peopled by terrifying characters, from ominous tow-truck drivers to the occupants of the back of a police van. All of the characters appear to be waiting for someone to join them. The someone is a drunk driver. The background music - the Springbok Nude Girls’ Blue Eyes - sets the tone of the commercial. they’d Love to Meet You, the first advert this team did for Brandhouse, was a success on the international awards circuit. Who’s Driving you Home Tonight looks set to be just as much of a success.

Client: Brandhouse Production company: Giant Films Producer: Katherine Tripp Director: Robin Goode Editor: Anthony Lee Martin Agency: FoxP2 Creative Director: Justin Gomes Art Director: Ryan Barkhuizen Copywriter: Simon Lotze

KING James conceptualised this evocative advert for Allan Gray.

The commercial deals with the theme of the impatience of youth as we follow a young girl, who fastforwards through her life in order to reach her milestones (goals) more quickly. The narrative concludes with the protagonist preventing her daughter from following the same course.

The little tale illustrates the company’s ethos of taking time to create wealth. Time Flies was directed by multi-award winning director Keith Rose, who also directed the award-winning Beautiful and Legend for the company.

Time Flies looks set to be just as big a hit at all the awards shows.

Client: Allan Gray Production company: Velocity Films Producer: Grant Davies Director: Keith Rose Agency: King James Creative Director: Alistair King Art Director: Karin Barry-McCormack Copywriter: Paige Nick

DIRECTED by Kofi Zwana, this commercial for ToP TV show the Walking Dead, is one of a series of commercials that asks what would life be like if zombies were a part of our day-to-day existence.

The commercial, which was the Creative Circle Ad of the Month for January 2012, opens with a mother reading her daughter a bedtime story (aptly the gory fairy tale the three Little Pigs).

She is interrupted by a zombie in the lounge, but she deals with it with ruthless efficiency and a baseball bat.

The mother then rejoins her daughter and continues reading her bedtime story - unheeding of the blood and gore all over her clothing.

Client: Top TV/Fox Production company: 7Films Producer: Jason Plumbly Director: Kofi Zwana Agency: Ireland/Davenport Creative Director: John Davenport/Phil Ireland Art Director: Natalie Urban Copywriter: George Chen

ThIS commercial won the Creative Circle ad of the Month for November 2011.

The commercial, produced by 7Films, shows a series of slow motion shots of unhappy babies being dressed in ill-fitting clothing. There are slow-motion, close up shots of the babies’ uncomfortable faces as items of clothing are pulled over their heads and faces.

The advert apty demonstrates the brand’s message that babies are far happier when their attire fits well.

The commercial, directed by award-winning industry veteran Lourens Van Rensburg, was shot at Shine Studios in Johannesburg.

Client: Huggies Production company: 7Films Director: Lourens van Rensburg Editor: Jeff Larson Agency: ogilvy Johannesburg Creative Director: Fran Luckin Art Director: Peter Little Copywriter: Cath Conradie Editor: Jeff Larson Audio Engineer: Nkosinathi Luthango Voice Artist: Thandi Puren

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Breakfast

Leila

Dark Horse

It’s A Jungle Out There

Way Better

This public service announcement for The industry Association for Responsible Alcohol Use (ARA) won the Best Cinematography and the Viewer’s Choice awards for production company 7Films at the M-Net Television Awards for Good (TAG).

The commercial, directed by Kofi Zwane, shows a small boy making breakfast for himself and his younger sister. in another room their mother, who over-indulged in alcohol the night before, lies passed out on her bed. shot at a house in a Constantia, with 11 and five-year-old leads, the PsA sends a powerful message about the damage caused by alcohol abuse.

Client: Association for Responsible Alcohol Use (ARA) Production company: 7Films Producer: Benjamin Kaufman Director: Kofi Zwana Agency: Lowe Bull CT Creative Director: Kirk Gainsford Art Director: Romano Cardinal Copywriter: Natalie Rose Post Production: Popcorn Post Editor: David Scholfield Grade & Titles: Peter Louwe

A stirring PsA for the Organ Donor Foundation of south Africa shows shows a sickly young girl (in a hospital robe) lying down next to a deceased motorcyclist.

The messaging of the advert is that if you are not an organ donorwhen you die, you’re effectively taking another life with you. The commercial is made more powerful, by the stirring soundtrack, the scala & Kolacny Brothers cover of the Kings of Leon song Use Somebody.

The commercial, directed by Tristyn Von Berg, won the best advert award in the professional category at the TAG Awards last year. it was featured on Ads of the World and it was also a winner of a Bronze and a silver at the prestigious Clio awards earlier this month.

Client: Organ Donor Foundation Production company: Velocity Films Producer: Karen Kloppers Director: Tristyn Von Berg Agency: Lowe Bull CT Creative Director: Kirk Gainsford Art Director: Brendan hoffmann Copywriter: Natalie Rose

NeTWORK BBDO’s commercial for Mercedes Benz won second place in the Creative Circle Ad of the month for January 2012.

Dark horse show’s illustrates the benefits of the Mercedes Benz Night View Assist feature. The commercial, directed by Rob Malpage of Frieze Films, was the first 3D cinema advert in south Africa.

The commercial is shot from the point of view of a driver on a dark country road. A horse that appears out of nowhere demonstrates the danger of driving without Night View Assist.

The commercial was featured in numerous international advertising showcases, including in Agencyspy, Creative Criminals, i Believe in Adv, and WeLoveAd. Client: Mercedes Benz Production company: Frieze Films/ Visual impact/Left Post/Ministry of illusion/sterling sound Director: Rob Malpage editor Keno Naidoo Agency: Net#Work BBDO JhB executive Creative Director: Rob McLennan Art Director: Bruce Anderson Copywriter: Rob Rutherford

BiDORBUy made a strong statement with their first television commercial, entitled it’s a Jungle Out There. The advert humorously illustrates the frenzy of Christmas shopping. it features a young couple in a shopping mall, but instead of fellow shoppers the mall is populated with wild animals - including elephants, ostrich, hyenas and others.

The closing tagline is “it’s a jungle out there. Rather shop online.”

The commercial required several different technologies, including green screen, puppets, and animatronics - and of course live animals. it’s A Jungle Out There was conceptualised by Volcano Advertising and was brought to life by egg Films and sinister Productions.

Client: Bid or Buy Production company: egg Films/ sinister Films Producer: Colin howard / Nicci Cox Director: slim Agency: Volcano Advertising Creative Director: Francois Boshoff Art Director: Charlene ihmig Copywriter: Jade O’ Brien

Way Better, the ambitious live action and animated commercial for Clover, has been a hit with the public and looks set to storm the boards as we head into awards season.

The commercial has already won awards - a First Place Golden statuette at the 2011 Mobius Awards and the best animated television commercial (TVC) in the international category in the iNFOCOM eMe Awards 2011 (india).

The commercial saw animators build a fantastic version of the Milky Way. The campaign was a collaborative effort between shy the sun, Joe Public, Black Ginger and Gloo Design.

Client: Clover Production Company: shy The sun Animation Director: Jannes hendrikz Producer: Nina Pfeiffer Post-Production and Animation: BlackGinger VFX supervisor: hilton Treves Production Company: CAB Films Director - Bruce Paynter Producer - Charles Gallacher Agency - Joe Public executive Creative Director - Pepe Marais Art Director - Freda Raubenheimer Copy Writer - Jeanine Vermaak

You can view all of these videos and more on www.thecallsheet.co.za The Callsheet’s website features a new video of groundbreaking South African-related content every day, from commercials and music videos to feature film trailers and short films.

If you need inspiration, you’ll find it in our video library.

The Callsheet | 11

DFA MEMBERS ATTEND HOT DOCS 2012 From left to right: Neiloe Khunyeli-Whitehead, Pascal Schmitz, Ryley Grunenwald, Ole Gjerstad

HOT DOCS The Documentary Filmmakers’ Association (DFA) is proving to be worth much more than its members’ combined weight in gold. In 2012 the DFA, in collaboration with the National Film and Video Foundation (NFVF) and with the assistance of the Department of Trade and Industry (DTI), sent 14 of its members to attend the hot Docs Canadian International Documentary Festival.

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T took DFA member, Pascal Schmitz, two years of volunteer time to research the DTI’s various assistance programmes for South African marketers and exporters.

Pascal’s firm belief that the DFA should assist and support members to travel and market their films took him through a labyrinth of opportunities that led him to the Sector Specific Assistance Scheme (SSAS).

This Scheme assists groups to travel internationally to market their products and was perfect for documentary filmmakers as it covered travel, accommodation and a branded stand at the festival to the value of

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R771 001,35.

Apart from the 14 filmmakers travelling through the SSAS, the South African Delegation included Pascal,who co-ordinated the trip for the DFA, Neiloe Khunyeli-Whitehead of the NFVF, Monica Rorvik of the Durban International Film Festival (DIFF), Donald Mabusela of the DTI, and Nicole Schafer, the first South African recipient of the Hot DocsBlue Ice Group Documentary Fund Development Grant.

Hot Docs is the largest documentary festival in North America and is attended by funders, broadcasters and buyers from around the world, who want to find content that meets their criteria. Alongside the market are the festival screenings and the conference that includes workshops and micro meetings with broadcasters and experts, which are open to registered delegates. Hot Docs impressed the delegation with its friendly and supportive management team and tightly organised programme.

The South Africa delegation kicked off its stay with an orientation workshop. Pascal proved himself the consummate networker – drawing

on a longstanding relationship with Peter Wintonick, he roped in the filmmaker and his colleagues, Daniel Cross and Sean McAllister, to assist with the group’s orientation. This trio of seasoned filmmakers engaged the delegates with their no-nonsense advice and tales of festivals and filmmaking.

The week that followed was a whirlwind of meetings, panels, pitches, networking and movie watching.

The Co-production Day was first on the Conference programme and was an opportunity to meet the official country delegations and learn how to enter into co-productions and financing-funding agreements with their countries. The South African co-production panel comprised of Neiloe Khunyeli-Whitehead of the NFVF and Marc Schwinges, former DFA Treasurer and current SASFED Vice-chair. Their presentation was comprehensive and encouraged international delegates to engage with South Africans around the DTI’s Production Incentives. The day was rounded off with a successful cocktail event hosted by the NFVF. The prize event at Hot Docs is being admitted to pitch at The Forum.

Selected projects pitch to a panel of key industry executives, who respond with questions, suggestions and an indication of whether they would like to meet the filmmakers beyond The Forum to discuss collaboration.

Sands of the Skei Queen was the only South African project selected to pitch at The Forum this year. The pitching team consisted of Ryley Grunenwald and Pascal Schmitz who spent six jet lagged days orientating themselves to all things Hot Docs and preparing for their public presentation. The South African delegates turned out in full force to support their pitch, which was superb by all ac-

counts, with the panel of executives responding favourably. The BBC’s Storyville Commissioning Editor, Nick Fraser, who has developed a reputation as a hard-nosed panelist, suggested the team change the name of the project. The South African delegates were divided on this one, with some preferring the romance of the current title and others yearning for something punchy that gives potential audiences a better idea of what the story is about. It does seem that Team-Skei Queen is taking Nick Fraser’s advice and we look forward to the film with its new title.

The private Rendezvous meetings ran alongside this public pitching forum. The Hot Docs team co-ordinated meetings with international industry executives for all those registered for the Hot Docs Forum Pass and the Networking & Market Pass.

The structure of the Rendezvous allows delegates to select the top five executives they would like to meet with per project – for two projects per delegate. Projects are submitted anonymously to executives, who then decide whether or not they would like to discuss a project further.

It is a clever way to gauge initial interest in projects and a rare opportunity for South Africans to begin relationships with prospective funders.

Then of course there were the films! 2012 featured 189 documentaries from 51 countries. Screenings began at 11 o’ clock each day with the last film starting around eleven at night. With such a full programme and varying degrees of jet lag, however, movie watching was not always possible. The Doc Shop rooms with 40 viewing stations catered to festival programmers, buyers and the general jet lagged allowing you to watch documentary films from this year’s and previous years’ festivals on

demand. All it required was registering with the Doc Shop, which meant you could watch films according to your own schedule and body clock.

Proving to be a festival that continues to give beyond the festival dates, the Doc Shop registration is valid until the next edition of Hot Docs. This means that those who registered can still access the on demand catalogue and watch the films they missed once back in their offices.

Interesting to note is that Donald, the DTI representative, felt the trip brought him closer to documentarians. He has a newfound appreciation of the genre and said about his documentary watching expedition, “Documentaries, you feel them in the heart.” As documentary filmmakers are always looking for funding, I will sneak in an appeal that this understanding translates into further ZAR opportunities for documentarians.

The festival and conference are invaluable to South Africans who travelled across continents to network and plant the seeds of their projects in the minds of executives and funders. Most of the delegates were focused on meeting people who would help them take their projects forward through funding, commissions, networks, or distribution opportunities. Apart from gains made on an individual projects, one thing delegates thought critical to share with documentary filmmakers at home is the growing insistence from funders and international broadcasters on transmedia components to documentary films.

Tina-Louise Smith is Co-chair of the DFA and was one of the 14 delegates on the Hot Docs trip

The Callsheet | 13

CILECT 2012: A FIRST FOR AFRICAN FILM EDUCATION Pigalle delegate table

Cilect 2012

AFDA

CILECT “South Africa, and Africa as a whole, is a very important place for the 21st Century.” So says Stanislav Semerdjiev (executive director Cilect Global) at this year’s Cilect Congress held for the very first time on the African continent.

Cilect is “a network not a financing institution. We bring a feeling of community for the various schools around the world that are members of the group,” a group that has been around for 60 years and who now turn to Africa with plans to broaden the scope of film education on the continent.

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he annual Congress took place in Cape Town this year. It was supported by local film school AFDA, the Department of Arts and Culture, as well as Cape Town Tourism, the NFVF (National Film and Video Foundation) and the Cape Film Commission.

Over 150 delegates from more

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than 45 countries came together with a spirit of Ubuntu, the theme behind this year’s congress, which Stanislav says, “is moving forward with that spirit of togetherness, which we plan to implement in film education in Africa as well as the rest of the world.”

AFDA played a pivotal role in this year’s congress as the school, headed by Garth Holmes (AFDA Chairman), offered their assistance in the funding, organising and execution of the weeklong event as well as the CARA Conference (Cilect Africa Regional Association), for whom Garth is now the president. Delegates were treated to a showcase at the school for Motion Picture Arts, which Garth says, “offered them a look at the new campus and a chance to listen to input from AFDA alumni Danie Bester (Producer) and Shimmy Isaacs (Entertainer).”

The school has been a member of Cilect for eight years and has enjoyed benefits that include, “access to over 160 of the top institutions in the world.” A growing

figure attributed to Cilect promoting new schools to motivate their application for membership each year. “We already have ISMA from Benin who has joined as of this year as well as institutions from Morocco and South Africa. Some of the new members from South Africa are Tshwane Institute of Technology and Bigfish School of Digital Filmmaking,” says Stanislav, who foresees many more African film schools attaining Cilect membership in the coming years.

Professor Dafeng Zhang (Asia/ Pacific executive director Cilect) said in conversation, “in 10 years we have seen a growth from 5 – 10 schools represented in Africa, which is a good sign.” He went on to say that Cilect membership has proven successful in China where four of the biggest film schools, all Cilect members, have produced a plethora of successful talent such as film director Yimou Zhang (Hero). “We do have students from Africa in our school, the Beijing Film Academy. One student from Benin who attended our school has

now returned to Benin and is the head of a film institute there. We are developing relationships with other countries in Africa to further develop film education.”

This is a key focus for local government as well. Director for youth development at the Department for Arts and Culture Moleleki Ledimo said, “Our new strategy is a bigger focus on film development in South Africa. We feel that it is important to sell the country and the culture as film offers a great platform to explore that.” He continues by noting that locally film education has always gone by the wayside, except in the case of AFDA, and the Cilect congress has been an eye opener in terms of how seriously film education is taken overseas. “I am finding that those who are educating in film around the world are of doctorate level backgrounds, which tells me that film education is something to be taken seriously. AFDA was brave enough to open a school that focuses on film education, whilst other institutions

have always taken film studies as a subsidiary faculty. This needs to change.”

The Department of Arts and Culture where present at this year’s congress to support film development and, are currently working on an agreement with the Department of Trade and Industry, which they hope will further strengthen the importance of film education in South Africa. “When we look at what the film service industry brings to the GDP of the country, we begin to realise that it is of importance for us to invest more in the development of these fields.”

With Africa a keen focus and with a spirit of Ubuntu set in place, it seems clear that Cilect, as with the rest of the motion picture world, is keen on seeing African film not only grow but flourish into a worthy global competitor.

For more information visit: www.cilect.com

Jasyn Howes

EXCITING PROGRAMME FOR ENCOUNTERS Tiffany Shlain

Jon Blair

acters, powerful events and visual storytelling. There are many different approaches a director can take to a story and the weave of a narrative can sometimes be elusive until the end. In this master class the director of A Common Purpose, Mitzi Goldman, presents different styles of storytelling drawing on examples from her body of work. Goldman is the Executive Director of the Documentary Australia Foundation, an organisation which exists to attract philanthropic grants to documentaries that aim to make a social impact.

In her presentation she will address the challenges to secure funding from diverse sources.

Date: Friday 15 June Time: 10am – 1pm Venue: AFDA, 18 Lower Scott Road, Observatory, Cape Town Seminars The South African Guild of Editors presents the following panel discussion: Going solo: multi-skilling and the role of the producer/director/editor perience as a director and producer. A collaboration with UCT will ensure that this is a not-to-bemissed event.

Veteran Australian filmmaker Dr Mitzi Goldman will use her 20 years of experience to provide practical tips on storytelling and fundraising in her master class.

Eminent American director Tiffany Shlain joinsthe festival courtesy of the American Film Showcase, presenting an intriguing presentation on “cloud filmmaking”.

Executives from award-winning international news channel Al Jazeera will be hosting a presentation to the local industry.

Osama Saeed

ENCOUNTERS The programme for the encounters Documentary Film Festival 2012 (724 June) includes an engaging and enlightening industry programme: two master classes, a SAGe editing seminar, presentations by one of

the business’ most prominent innovators and one of the world’s premier broadcast networks, as well as two panel discussions.

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outh Africa’s first Oscar winner Jon Blair will host an informative master class based on his extensive ex-

Master classes two internationally renowned, award-winning veterans of the art present their own unique takes on documentary storytelling: Style and Storytelling in Documentary by Jon Blair Are you a genre bender or a trad stylist? How to match form, function and narrative when faced with that blank sheet which all films start with? What do you do before you go out on a shoot to minimize the risk of not getting your story while maximising your ability to tell it. And how do films change in the cutting room? Does the story telling drive the style or is it the other way round?

Using examples from his own work, Oscar, Emmy and BAFTA winning South African-born director Jon Blair leads a free-ranging session about documentary technique. Bring your own ideas, experience and professional issues for a full participatory discussion.

Date: Saturday 9 June Time: 10am – 1pm Venue: Zoology Lecture Theatre 2 (ZOO2), Upper Campus, UCT The Art of Storytelling and Raising Funds by Dr. Mitzi Goldman Framing the real world to tell dramatic stories on screen requires a balance of great char-

Panelists: • Thomas Barry, an independent filmmaker, is the editor and director of Healer, a film showing how hope is born from crisis when a remote hospital faces a staff shortage.

• Michael Cross is a Durban-based filmmaker specialisingin music documentary. He is the producer/ director/editor of Rockstardom.

The film tells the story of Brendon Shields, a singer-songwriter from Bethlehem in the Free State • Izette Mostert is an award-winning editor. She produced, directed and edited Saying Goodbye, the story of Sean Davison who stood trial for murder in New Zealand after assisting his 85 year old mother in dying.

• Khalid Shamis has won international awards as editor and director. He produced, directed and edited the acclaimed documentary Imam and I. The film deals with Khalid’s journey to learn more about the life and death of his grandfather, who died while imprisoned during the apartheid era.

Khalid will join the discussion via Skype.

Moderator: • Dr Liani Maasdorp is a lecturer at UCT’s Centre for Film and Media Studies and the vice-chair of the South African Guild of Editors.

Presentations the Cloud Filmmaking Manifesto: Tiffany Shlain, the founder of The Webby Awards (the “Oscars of the internet”) and director of Connected: An Autoblogography about Love, Death and Technology will speak about and show examples of what she calls “Cloud Filmmaking”, a new way of making films using modern tools and technologies, including social media platforms, to enable video sharing and unleash the vast potential of creative global collaboration in the 21st century – a radical example of “the participatory revolution” in action.

Mitzi Goldman

Al Jazeera Industry Presentation: In the last decade, Doha-based broadcaster Al Jazeera has established itself as a ground-breaking and credible source of global news and current affairs coverage, distinguishing itself by displaying a willingness to present dissenting views and challenging censorship.

Encounters is very excited to host a number of eminent guests from Al Jazeera at this year’s festival and feature a selection of compelling Al Jazeera English documentaries with a special focus on Africa.

Encounters and the Cape Film Commission invite documentary film lovers to an Al Jazeera presentation introduced by Al Jazeera Commissioning Editors and followed by a Q&A session and informal drinks.

Guests: • Osama Saeed is Head of International and Media Relations at Al Jazeera, where he manages the media network’s global communications and public affairs. In his native Scotland, Saeed was a former advisor to current First Minister Alex Salmond and was identified as one of the Top 100 thinkers and opinion formers by the Scotsman newspaper.

• Jon Blair is Al Jazeera English’s Acting Commissioning Editor for Major Series, Specials and Discussion Programmes.

Panel Discussions Can’t Just Fold Your Arms - Sonke Gender Justice Network’s quest to transform men in post-Apartheid South Africa.

Cape Town: Wednesday 13 June, 6.30pm, NuMetro V&A Panelists: • Vuyiseka Dubula is General Secretary of Treatment Action Campaign (TAC).

• Patrick Godana coordinates Sonke Gender Justice’s One Man Can Campaign.

• Kopano Ratele is Professor in the Institute for Social and Health Sciences at UNISA. • Yaliwe Clarke is a Lecturer in the Gender Studies Section of the School of African and Gender Studies, Anthropology and Linguistics at UCT. Johannesburg: Monday 18 June, 6.30pm, NuMetro Hyde Park Panelists: • Nonhlanhla Mokwena is executive director of People Opposing women Abuse.

• Bafana Khumalo is the co-founder of the Sonke Gender Justice Network.

• Mbuyiselo Botha is Sonke’s Media and Government Liaison and Secretary General of the South African Men’s Forum.

• Sisonke Msimang is the Executive Director of the Open Society Initiative for Southern Africa and chairperson of Sonke’s Board.

The Callsheet | 15

the postproduction page uncovering south africa’s best kept secrets

AJA SET TO SUPPORT THE ADOBE CREATIVE SUITE 6 SOFTWARE RELEASE

AJA Video Systems, a leading manufacturer of professional video interface and conversion solutions, recently announced their support for the release of Adobe Creative Suite 6 software with AJA’s Io Express, Io XT and KONA family of products for both Mac and Windows customers.

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THE upcoming Adobe Premiere Pro CS6 software is full of speed and performance enhancements for all aspects of video production,” said Al Mooney, product manager, professional video solutions at Adobe.

“Having support for AJA’s Kona, Io XT and Io Express products offers our customers very reliable, highquality and top performing video options.”

At NAB 2012, Adobe revealed the Creative Suite 6 video tools, which are expected to ship in May. Redesigned by and for editors, Adobe Premiere Pro CS6 combines faster performance with a sleek, customisable user interface and powerful trimming tools that let editors work the way they want to. The top new features in Premiere and the other video tools allow you to edit more fluidly with

a streamlined user interface. Freely iterate on your creative ideas with the new Content-Aware tools in Photoshop or by leveraging new 3D advancements in After Effects.® CS6 Production Premium also introduces new tools that solve common post-production challenges: Adobe Prelude, a logging and ingest tool, and Adobe SpeedGrade, a forward-looking

approach to color grading.

AJA’s new drivers will deliver added support for Adobe Creative Suite 6 applications and streamline performance of AJA’s video I/O solutions with Adobe’s new plug-in architecture dubbed Adobe Mercury Transmit. All of the new AJA drivers will support video out in Adobe Premiere Pro CS6 through the new Transmit plug-in.

“Many of our customers use some combination of the Adobe Creative Suite as part of their toolset,” said Nick Rashby, President, AJA Video Systems. “With the new Transmit plug-in architecture we anticipate significant performance boosts in video I/O for our KONA, Io XT and Io Express customers using Adobe Premiere Pro CS6 software.”

For more information about AJA’s Io Express, Io XT and KONA family of products, please visit www.aja.com AJA and Adobe Creative 6 are both sold and supported by Touchvision www.touchvision.co.za

TOON BOOM LAUNCHES STORYBOARD PRO 3D is a great testament to Toon Boom’s commitment to delivering leading-edge technology to the animation and digital content community at large,” stated Joan Vogelesang, president and chief executive officer, at Toon Boom Animation.

Product features: With Storyboard Pro 3D, users get the solid foundation of Storyboard Pro and the added functionality of being able to import and manipulate 3D objects, opening up vast new storyboarding possibilities. Features identified with are exclusive to Storyboard Pro 3D:

2D-3D Integration becomes a reality at the pre-production stage thanks to Toon Boom Storyboard Pro 3D. This new software is the only storyboarding application that combines 3D assets and vector art as efficiently and smoothly.

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oon Boom Animation Inc. have announced the release of Toon Boom Storyboard Pro 3D, a powerful software that propels storyboarding into a new

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dimension. Adding the ability to import 3D CGI objects lets users work artistically while streamlining their workflow.

Ideal for 3D animation, liveaction, games, mixed media as well as 2D animation, Storyboard Pro 3D enables users to set a complete integrated process between concept development, storyboarding and production.

“We are thrilled with the release of Storyboard Pro 3D, which

Working with 3D Objects SUPPORTS multiple formats (FBX, OBJ, OSB) Import with textures visible in OpenGL Manipulate imported objects in 3D Sub-select meshes in the 3D object to manipulate them based on the pivot points that were set up in the original 3D file Reposition pivot points in Storyboard Pro 3D after import Choose between Wireframe, Flat, or Shaded display for 3D objects

Working in a 3D Space WORK in the Top View, Side View, and Camera View to position elements in 3D space Manipulate 2D layers in depth Manipulate 3D objects in all three axes 2D layers and 3D objects can interact with each other based on their placement in the scene True Pencil DRAW with the new Pencil tool which supports pressure sensitivity Variable line thickness which can be edited with the Pencil Editor tool Edit the position of the pencil line with the Contour Editor tool Smart Sketching SUPERIOR textured brushes for a natural feel when sketching Rotating canvas and onion skin for comfortable drawing Save Brush Presets to reuse brush tool properties Built-in Animatics Independent motion per layer Impressive camera moves across panels Unlimited soundtracks

Importing SUPPORT of Final Draft 8 for script import Import of leading bitmap, vector and audio formats Import Building a Library IMPORTING 3D elements into a project file will automatically make them available in the library for reuse in that project Set up a 2D library to import and re-use 2D Exporting EXPORT to FBX to import into the 3D software of your choice Export to Toon Boom Export to QuickTime movie Export to PDF Export as still images or layered panels to Photoshop Export to Avid, Premiere, and Final Cut Pro via AAF, EDL, and XML Organised Storyboarding CUSTOMISABLE captions layout Reorder panels with automatic renaming Record audio comments Fast revision process Customizable workspaces

It’s MagIc wins best music video at samas

AWARDS First time music video director ryan Peimer of Flaming Frames productions, won the Best Music Video award at the south African Music Awards (sAMAs) for the Parlotones’ video It’s Magic.

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he music video, which was directed by Ryan and produced by Flaming Frames Productions producer Itumeleng Lobelo with concept and design by Clearwater Production, was animated by Aces Up. The video features the band performing in a fantasy desert landscape as giant rose petals fall all around them. The world is animated by giant origami creatures and objects, which the band then interacts with. At the end of the video the magical creatures disappear and the band exits an all white landscape.

Ryan revealed that they faced several challenges creating the music video, saying: “Considering I had never worked with 3D animation before this project, it was a huge learning curve for us; trying to understand the technical intricacies and production requirements that come with such challenging animation work. It was a huge challenge to shoot this all in one day considering the complexity and timing of all the shots.” he added: “It was also a challenge directing The Parlotones to react to objects that aren’t actually there is a challenge in itself.

The entire music video was shot against blue screen and all the

animation and creatures were obviously added in afterwards in post production. every shot was very carefully storyboarded to accommodate for the creatures.

Furthermore, I had to draft up a timing script that would cue The Parlotones to react to certain objects within their environment at specific points in the song using lyrics as their cue. We also created certain eye lines so that they knew where to look. I had a microphone headset so I was also communicating with them during the shoot cueing them on certain eye lines. hence nailing the timing was a huge challenge.“ Ryan says the idea behind the video “was to create a magical environment around the band while origami (paper) creatures started coming to life and interacting with the band. The video builds to its peak when this magical invisible Mnet force creates a powerful whirlwind as all the origami creatures come together and the entire world disintegrates leaving the band wondering whether this was all real or in their imagination. The original concept was presented to us by Clearwater Productions; thereafter we fleshed it out, converted it into a script format and had to devise a plan in order to bring this concept to life effectively.”

The music video was up against stiff competition for the best Music Video Award at the SAMAs. The other nominees in that category were: Mike Scott for We Come Together by Goldfish; Tristan holmes for Stars Above You by Locnville; Brian Mason for Mu-

sic Affair by The Graeme Watkins Project and Tim Argall for My Dad

by Toby.

Ryan says the SAMA win was great honour, explaining: “As a director, being so close to the music video from conception to completion, it’s in my nature to always improve or perfect so I’m always seeing the little flaws that would be invisible to your average viewer. I’m still not 100% happy with the video but I guess that’s what comes with being a director. however, I was consciously aware that we had a great product and that we stood a very good chance of winning the award but there were some other excellent videos that were up against so I didn’t want to get my hopes too high. The moment they called my name, it was a shock; slightly surreal but yet a euphoric and memorable moment. It was an absolute honour to receive this award considering that this is the first music video I have ever directed. It is always a very humbling experience when you invest time, energy. blood, sweat and tears into a project and it receives public recognition. With regard to our company Flaming Frames, I hope this award has put us on the map. It was always been our intention to break cinematic boundaries in South Africa with every production that we undertake.

We open our doors to new clients, new opportunities and new challenging projects.”

The video was shot at Q Studios, and all the post was done

by Gigh Zack and David Theron from Aces Up. The director says that collaborating with Clear-

water and Aces was a pleasure, “We were approached by Derek White from Clear Water productions with a general concept and outline for the video once it had been commissioned by Mnet for their “magic” campaign. It was our job to refine the creative and execute the project. Clearwater did all the chroma keying, rotascoping as well as the edit; however they had nothing to do with the animation or the pre-production and production of the actual shoot: that was our company, Flaming Frames. I would say it was some kind co-production collaboration between Flaming Frames and Clearwater. Ace Up were an absolute pleasure to work with; young, fresh extremely talented boys looking to making their mark on the industry.”

Ryan also revealed that it was a pleasure to work with the band, saying that they were friendly and professional. he elaborated: “Working with the Parlotones was an absolute pleasure. There may be a common assumption that many well-established bands carry a certain arrogance with them however this was not the case. The band members are such humble, down-to-earth guys who were ex-

tremely co-operative and patient throughout the process which helped us create a fun and enjoyable mood on set.”

Flying Frames Productions is in development with their first feature film H.O.S - an action thriller about ATM bombings in South Africa. They are set to start shooting the film later in 2012 and are hoping for an early 2013 release in cinemas. The cast and crew for the feature are still being finalised.

South Africa has begun to produce high quality music videos, and bands and record labels are now investing bigger budgets in these creative platforms. This can be seen quite clearly in the MK Music Video Project (reported on in the November issue of The Callsheet) late last year. Is it any wonder, as music videos have the potential to go viral online (see Dave Meinert’s video for Johnny Neon Hearts - The Callsheet March 2012) resulting in massive exposure for all the artists involved? It is now clear that this form of production is a growth area that’s worth keeping a close eye on in terms of creativity and also for discovering upand-coming production companies and post-production studios.

Kate Hodges

The Callsheet | 17

ONLINE NEWS HIGHLIGHTS Paul Mashatile

GENERAL NEWS GENERAL news from the South African film and commercials industry.

You can load your own stories to our website at www.thecallsheet.co.za SA to sign co-production treaty with Ireland at Cannes Film Festival On Sunday 20 May 2012 at 10:00 at the SA Pavilion South Africa will sign a co-production treaty with Ireland.

Minister of Arts and Culture Paul Mashatile will be signing the treaty; he will be accompanied by representatives from the Department of Arts and Culture and the national Film and Video Foundation (nFVF).

The treaty will enable productions from both territories to qualify for the different incentives associated with home-grown content and enable collaborations between producers. The first South African coproduction treaty was signed with Canada in 1997. Similar treaties with

Germany, Italy, United Kingdom, France, Australia and new Zealand have followed. Out of these treaties films such as Skin (SA/UK), The Bang Bang Club (SA/Canada), Death Race (SA/Germany), Skoonheid (SA/France) and A Million Colours (SA/Canada) were produced.

Current South African production incentives include a cash rebate of up to 35 percent of qualifying spend by local productions and 15 percent for foreign productions.

Companies from countries that have co-production treaties qualify for the higher rebates.

In his Budget vote speech in on 3 May 2012, the minister of Arts and Culture revealed that the government has recently signed a film co-production treaty with new Zealand. He also revealed that they are reviewing South Africa’s cultural agreements with the United Kingdom and the United States of America, with a view to further strengthening them.

Tony Granger to speak at the Loeries seminar THIS year The Loeries will host an exhibition ahead of the awards at Cape Town City Hall. The exhibition will take place from 20-22 September 2012. The judging migrates to Cape Town’s iconic City Hall too. It will becomes part of Creative Week CT (15 to 23 September). The week includes a seminar on Friday 21 September, which promises to inspire its audience with insights from a selection of top global brand leaders – including the Loeries four international jury chairmen.

The seminar is a fantastic opportunity for agencies and marketers to hear about the latest trends in brand communication from international leaders.

The full-day seminar is open to everyone and tickets can be purchased from the Loeries website (www.theloerieawards.co.za). Seminar tickets are exclusively for the seminar and do not include access to the award ceremonies nor other functions during Creative Week Cape Town.

South African-born Tony Granger, now the Global Chief Creative Officer of Young & Rubicam, believes in the magic of ideas and their power to transform brands and agencies. He started his career as an assistant art director at Grey, then left South Africa in 2000 and continued to work on breakthrough communication, such as the legendary ‘Got Milk?!’ campaign.

To date, Tony has won numerous industry awards including Y&R new York’s 2010 title for the most awarded agency in the US and the second most awarded agency worldwide.

The Young & Rubicam global network has also been named network of the Year by Dubai Lynx, Art Directors Club, London International Awards and EPICA. When asked about coming to Cape Town in September, Tony says, “I always look forward to coming home to South Africa. And every time I do, I am delighted by our industry’s people, culture and work.”

Tony has also served as president of several international advertising juries including Cannes Lions and CLIOs. Film Afrika launches US outpost, headed by David Wicht FILM Afrika Worldwide is launching a Los Angeles office under the helm of CEO David Wicht.

David said: “After years of working with all the major studios and independents, I’m looking forward to being closer at hand and being im-

mediately accessible to producers seeking to shoot or collaborate with South Africa. The presence of an LA office means I can engage directly with production partners and facilitate the workflow from South Africa, resulting in a faster turnaround and the ability to give a first-hand account of shooting in South Africa.”

David’s move to Hollywood builds on the success of recent projects like Chronicle, which topped the American box office earlier this year after shooting in Cape Town with Film Afrika.

“Chronicle was set in Seattle but shot in South Africa, beating out competitors such as Vancouver and Eastern Europe,” said David “The success and look of film, which utilised the state-of-the-art Cape Town Film Studios, has generated a lot of interest in filming in South Africa. Similarly, The Department of Trade and Industry’s decision to remove the cap on the rebate, and raise the rebate percentage for serviced films, has been a terrific boost to South Africa and has made the country extremely attractive as a partner and destination.”

He added that South Africa’s burgeoning postproduction and VFX facilities are another selling point he’ll be promoting.

“In addition to facilitating productions shooting in South Africa, we will be developing original material with US partners for filming in South Africa.”

Film Afrika’s South Africa headquarters, managed by an experienced team of line producers, accountants, financial and production managers, will provide all the production, budgeting and logistical support for films and series arising through the LA office.

The production company’s track record of producing major internaTake 2 Films receives their first Alexa M In early May Take 2 Films received their first Arri Alexa M. Together with the Alexa Plus 4:3, which arrives at the end of the month, they now offering the Full Range of Arri Alexa Cameras for rental: Alexa, Alexa Plus, Alexa M, Alexa Studio.

The Alexa M is a flexible solution consisting of a separate camera head and body; it is tailored for action and aerial photography, tight corner shots and 3D productions. Based on cutting edge Arri technologies, the M model features the same sensor, image processing, build quality, efficient workflows and exceptional image quality that have made Alexa such a worldwide success. The head and body of the M are connected with a fibre optic cable, which in a hybrid form can also be used for powering the head. Weighing well under three kilogrammes, the compact front end offers multiple mounting points and versatile manoeuvrability. Meanwhile, the body provides various options for recording images, sound and metadata, accommodating as many different workflows as the standard Alexa.

Brenn Marais of Take 2 Films stated, “The M is a 4:3 sensor, but you can also use it in 16:9 mode same as the Alexa Studio. We are waiting for the new Beta software to enable us to shoot 4:3 to the SxS cards so the Codex (Arri RAW Recorder) will not be needed unless going Green Screen/CGI or High End.” “We look forward to working together with our local production houses… now we wait to see who will be the first.”

Five Days, Three National Sports Teams, One Iconic Beer GIACO Angelini of TVC is no stranger to the Castle Lager brand, having shot many of their iconic TV and cinema commercials over the last two decades. So when Ogilvy Johannesburg was tasked with bringing their 2012 Castle SuperFans campaign to life, they didn’t

1 8 | The Cal l sh eet

David Wicht

tional film projects in Southern Africa includes the Emmy-winning productions Gettysburg and America: The Story of Us, the Emmy-nominated No. 1 Ladies Detective Agency and Endgame, and the upcoming miniseries Labyrinth, for Tandem Communications and Scott Free Films.

Film Afrika is currently in production on Videovision Entertainment’s much anticipated adaptation of nelson Mandela’s autobiography, Long Walk To Freedom, with Anant Singh as producer and Film Afrika’s Vlokkie Gordon returning to her roots as a line producer. “We were very honoured to be entrusted with the management of such a prestigious and iconic story,” said David.

have to look far.

As the only sponsor of all three national sports teams, this commercial sees the coming together of the Castle rugby, soccer and cricket SuperFans into one commercial.

Giaco translated Ogilvy’s vision of the ultimate Super Fan into a proudly South African joyride of a weekend, celebrating the best of our national teams, sports heroes and stadiums, not to mention the dedicated super fans who took centre stage in the commercial. Shot over five days in Cape Town, last year’s SuperFans winners met up with their Springbok, Protea and Bafana Bafana heroes and charmed us with their honest emotion, passion and patriotism, and simply did what they do best – cheered on their boys in green and gold as best they know how.

“Shooting with so many wellknown South Africans, including Graeme Smith, Bryan Habana, Schalk Burger, AB De Villiers and Gio Aplon, was an exciting prospect,” says Giaco Angelini, when asked about the best part of the shoot. “But getting them all to Cape Town, to shoot at the same time, was a miracle in itself!”

Giaco added. “It was a fantastic shoot that was a real team effort, and as always it was a pleasure working with Ogilvy.”

Carl Willoughby, creative director at Ogilvy could not have been happier with their choice in director or the outcome of the shoot. “Working with Giaco is always a great experience and I have the greatest respect for him. He goes the extra mile and always delivers 200 percent,” commented Carl

Staying tangibly Striking at Picture tree SUPPLIER PROFILE The last three months have been busy at Picture Tree, but you’d expect nothing less from a production house whose name has become synonymous with quality work that delivers for clients while tugging at the heartstrings or tickling the funny-bone of the public.

P

icture Tree, whose stable of directors includes two former agency creative directors, works with a wide variety of ad agencies worldwide including affiliated agencies such as DraftFCB, TBWA, BBDO, DDB and Ogilvy.

The Picture Tree team got even stronger in April 2012 when they welcomed director JanHendrik Beetge – or JH as they prefer (anything more is too much of a mouthful they’ll tell you) – to their ranks.

He joins an already impressive line-up of directors which includes Fausto Becatti, Alan Irvin, Mukunda, Gersh Kgamedi and Ian Difford.

Executive producer Gary King, excited about the addition of this true visual storyteller, says JH’s strengths lie in “precise and distinctive visuals combined with sincere and compelling characters that live within an emotional story”.

JH’s deep love for photography and his determined search for that one frame that encapsulates it all is evident in all his work and makes him a perfect fit within the Picture Tree team. It’s a team that expects the very best as illustrated by the work delivered by projects director Fausto just weeks before

JH officially joined them.

Fausto, who has been making all the right waves in the viral, content and commercial space, collaborated with the MD of Retroviral, Mike Sharman to produce a winning result for a self-promotion viral created to reflect how Retroviral had performed in its first year of existence.

Fausto said: “Mike approached me and asked for something striking, but simple, something that would convey the core values of Retroviral.

“Mike works in the world of the intangible, it’s hard to visualise the networks he plays in so it was interesting to try and translate that through the physical media we used.”

That they never hit pause is evident not just in their work, but in the fact that all of their producers have international experience and all their directors are available to work internationally – schedules permitting.

Most recently, Alan Irvin has been busy with work for Vodacom and McDonalds (his series of commercials for McDonald’s Kids Parties won a campaign Gold at the 2011 Loeries), while Ian has been kept busy by McDonalds and KFC. Gersh has some prospective international work in Africa.

Mukunda, the director of feature films Retribution and Vehicle 19, has just returned from a trip to Los Angeles and is raring to go on new projects.

From welcoming new talent to not batting an eyelid when taking on the challenge of making the intangible tangible, it’s not difficult to see why Picture Tree are known, trusted and loved. Always creative, ready with logistical solu-

Newborn for Brand SA, directed by Fausto Becatti

tions, they love making ads and are ego-free… well almost.

Awards are great and, if you like, they could show you theirs, but they tend to celebrate those wins quietly - focusing instead on beautifully executed campaigns that create successful communication because it’s this, they believe, that keeps clients coming back for more.

Collaboration, reputation and integrity – these are the things that matter to a production house which is, ultimately, a bunch of ad people who bring creative filmmaking solutions to scripts.

That’s all. That’s Picture Tree.

Daughter for Al Anon, directed by Jh Beetge

The Callsheet | 19

DIARISE JUNE

SEEN OUT AND ABOUT Troye Sivan with the cast of Spud at the Cape Town premiere

Mad Buddies 22 June cinemas Encounters South African International Documentary Film Festival 7 - 24 June 2012 Cape Town and Johannesburg, South Africa Cannes Lions International Festival of Creativity 17 - 23 June 2012 Cannes, France Annecy International Animated Film Festival 4-9 June 2012 Annecy, France CFC Worldwide Short Film Festival 5-10 June, 2012 Toronto, Canada BANFF World Media Festival 10-13 June, 2012 Alberta, Canada Sheffield Doc/Fest 13-17 June, 2012 Sheffield, UK Edinburgh International Film Festival 20 June - 1 July, 2012 Edinburgh, Scotland For more, visit www.thecallsheet.co.za/diarise

Muntu Ndebele, Peter Bishai, Masello Motana, Jason Hartman and Wandile Molebatsi

Andre Pieterse, Helena Pieterse and Peter Bishai

JOBS & OPPORTUNITIES Call for entries for the 2012 PRODUIRE AU SUD NANTES THE call for entries for the next NANTES PRODUIRE AU SUD Workshop is now open. The workshop will take place from the 19-25 November 2012 in Nantes, France within the framework of the Festival of the 3 Continents.

PRODUIRE AU SUD is a workshop focusing on the outline and structure of film co-production within the industry.

The workshop aims to familiarise young producers based in the south: Asia, Africa, Latin America with a variety of important tools. Call for entries is open until the 3rd of August 2012. For more information email: guillaume. mainguet@3continents.com Entries for Jozi Film Festival open THE Jozi Film Festival (JFF) is a new

annual film festival that will showcase the latest films made by Jozi and Gauteng filmmakers and/ or films made in Jozi or Gauteng.

The festival’s mission is to create a platform for Jozi’s growing film community to screen their films, while simultaneously making the films accessible to all members of the community by keeping admission tickets reasonably priced. Films accepted include features - fiction and documentary; short - fiction and documentary; animation; mobile phone films and student films. Closing date for entries is 16 November 2012. To find out more visit the Jozi Film Festival website : http://www.jozifilmfestival.co.za/ 2012 Sir Peter Ustinov Television Scriptwriting Award ENTRIES have opened for The Sir Peter Ustinov Television Scriptwrit-

ing Award. The competition is designed to motivate novice writers under the age of 30 outside of the United States and offer them the recognition and encouragement that might lead to a successful career in television scriptwriting.The winning scriptwriter will be flown to New York City and presented with a $2,500USD prize at the International Emmy® World Television Festival on November 17-18, 2012. The winning script will be read by actors in front of an audience at the Festival, and the winner will be invited to take part in the red carpet festivities at the 40th International Emmy® Awards on Monday, November 19.

The deadline for submissions is July 1, 2012. Additional information can be found on their website at: www.iemmys.tv/foundation.aspx

Focus Features Africa First Call for entries Focus Features’ Africa First Program will accept entries until 20 August 2012. The uniquely conceived initiative, with funds earmarked exclusively for emerging filmmakers of African nationality and residence, is for the fifth consecutive year offering eligible and participating filmmakers the chance to be awarded $10,000 in financing for pre-production, production, and/or post-production on their narrative short film made in continental Africa and tapping into the resources of the film industry there.

To apply visit: www.focusfeatures. com/africafirst Aluta Film Festival Call for Entries THE Aluta Film Festival is South Africa’s premier African and diaspora cinema event. Submissions must

JUNE ISSUE 2012

Booking deadline: 30 May 2012 Material deadline: 04 June 2012 Print deadline: 08 June 2012 • PUBLISHER: Film & Event Media • PHYSICAL ADDRESS: 57 2nd Ave, Harfield Village, Claremont, Cape Town • PHONE: +27 21 674 0646 • PRINTER: CTP • PUBLISHER: Lance Gibbons (lance@filmeventmedia.co.za) • ADVERTISING EXECUTIVE: Makkie Slamong (makkie@thecallsheet.co.za) • EDITOR: Kate Hodges (kate@thecallsheet.co.za) • COPY EDITOR: Sally Fink (sally@filmeventmedia.co.za) • HEAD OF DESIGN: Jess Novotná (jess@filmeventmedia.co.za) • HEAD OF PRODUCTION: Nadia Samsodien (nadia@filmeventmedia.co.za) • ONLINE CO-ORDINATOR: Fin Manjoo (manjoo@filmeventmedia.co.za) WWW.THECALLSHEET.CO.ZA 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.

www.thecallsheet.co.za 20 | The Cal l sh eet

DIARISE JULY Lucky 20 July cinemas

SAFTAs red carpet

East End Film Festival 3-8 July, 2012 London, UK Jerusalem Film Festival 5-14 July, 2012 Jerusalem, Israel

Loyiso Mdebuka and Danine Naidoo

be from filmmakers who have produced films that embrace black experiences worldwide and/or experiences of marginalised communities from across the globe.

The emphasis of submissions must be on world cinema - films that explore history, social issues and highlight marginalised communities within the developing world.

The festival accepts features, documentaries and short films in the genres/sub-genres of drama, action, thriller, comedy, animation and factual. Filmmakers must also guarantee that, should their film/ video be selected, that permission from the rights holder is secured for a minimum of four screenings at the festival.

The deadline for entries is Friday 31 August 2012. The ninth edition of the festival takes place from 24 - 27 October 2012 in Kim-

Zanzibar International Film Festival 7 - 15 July 2012 Zanzibar, Tanzania

The premiere of A Million Colours

berley, South Africa. For additional information contact the festival director at motheoseleke@yahoo. com or at motheoseleke@gmail. com.

NHU Africa Calls For Content from producers AS the Natural History genre widens its scope and becomes increasingly focused on entertainment-led programming, NHU Africa is calling South Africa producers to submit ideas for compelling stories. Whether it’s an idea for an epic adventure and exploration story, or a unique and interesting look at a human and animal interaction, we would like to receive your proposals. For more information regarding the submission process please refer to our commissioning brief: www.nhuafrica.com/commissioningbrief

Hasselblad//Masters 2014 Call For Entries PHOTOGRAPHERS are invited to submit their images to be considered for the prestigious Masters Awards.

The title of Master is awarded to one photographer in each of 12 categories in recognition of his or her contribution to the art of photography.

Judging is based on photographic ability in the areas of creativity, composition, conceptual strength and technical skill. “We’ve made some adjustments to the 2014 Masters Awards competition, which will allow more photographers to participate,” said Paul Waterworth, Hasselblad Global Photographer Relations Manager. “Since many photographers are using both medium format and 35mm-type DSLRs, image entries may be captured with either format – as well as film.”

Explained Waterworth, adding that

National Arts Festival 28 June - 08 July, 2012 Grahamstown, Eastern Cape, South Africa

DSLRs must have a minimum resolution of 16 megapixels.

Other modifications include the addition of an underwater category for images captured using a professional housing and the transition of the Up & Coming category to Project//21. The latter is open to amateurs, students, assistants and young professionals who are 21 years old or younger. Finalists will be announced in 2013, with winners revealed in January 2014. Masters Awards winners will be provided with Hasselblad equipment to work on their projects for the Masters Book Volume 4. The Masters Book will be launched at photokina 2014 in Cologne, Germany.

Submissions are being accepted from now until 31 August 2012. To submit your images, visit www.www. hasselblad.com/member/masters/ masters-registration

The Galway Film Fleadh 10-15 July, 2012 Galway, Ireland Anima Mundia Animation Festival 13-22 July, 2012 Rio de Janeiro, Brazil Durban International Film Festival 19-29 July, 2012 Durban, Kwa-Zulu Natal, South Africa Durban Film Mart 20 - 23 July, 2012 Durban, Kwa-Zulu Natal, South Africa For more, visit www.thecallsheet.co.za/diarise Compiled by Kate Hodges

The Callsheet | 21

WRAP PARTY AT LAGOON BEACH HOTEL INDUSTRY EVENTS Networkers from every sector of the industry attended the April Film and Event Media monthly wrap party at the picturesque Lagoon Beach Hotel in Milnerton on 26 April 2012.

HE gorgeous sunset, which was perfectly complemented by the chilled tunes of DJ Didier on the decks, provided a stunning backdrop for the gathering of Cape Town’s film industry Guests were spoiled for choice when it came to food and drink as the hotel laid on a spread that included sushi and a welcome drink of red and white wine. Desserts included cheesecake and ice-cream.

We would like to thank our sponsors Visual Impact for helping make this such a memorable event. Thank you to Mia from NV marketing for providing whiskey and delicious wok boxes. Thanks to DJ Didier for providing the music on the night. Thanks to Lagoon Beach Hotel for hosting us.

Guests won prizes throughout the evening, including: a stay for two at Lagoon Beach Hotel, with breakfast included; a dinner for two at The Brassiere at Lagoon Beach Hotel.

Bruce from African Story Wine Tours also provided some lovely prizes, including: A magnum of Villeira champagne; a wine tour for two people, including lunch and wine tastings and two sets of red wine (Croydon Cape Blend and Helderberg Cabernet Sauvignon) for two lucky guests.

The crowd was addressed by Lance Gibbons, Lagoon Beach general manager Andre Turnbull and Stefan Nel from Visual Impact.

Film and Event Media’s next monthly wrap party will take place at The Victoria Junction Hotel on 31 May 2012.

To see the full gallery of photos from this event visit our Facebook fan page. To view a video of the event visit: www.thecallsheet.co.za

T

Crecilda van der Merwe and Dee Terblanche

James McPherson and Rob Gray

Joyce Tonkin and Carl Melliors

Conny Toerpsch and Jason Ling

Rob McEvoy and Marcus Robb

Rene van Rooyen and Marius van der Westhuizen

Belia Oberholzer and David Schacht

Francesca Hanlon and Ray Burgess

Jan Verboom, Adrian Kraft and Jessica Garvie

Caitlin Leih, Shai Hirschson, Wayne Hirschson and Richard Vosgatter

Giovanni Freeman, Wilbert Mathews and DJ Didier

Zulpha Soeker, Adele Dante and Tusa James

22 | The Cal l sheet

The team from Okuhle Media

DIRECTORY LISTINGS FUNDING COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

Dectra

Nationwide

+27 21 939 7496

info@dectra.co.za

www.dectra.co.za

Department of Trade and Industry SA Durban Film Mart

Nationwide

Durban

+27 861 843 384

+27 31 311 4234

contactus@thedti.gov.za

www.dti.gov.za

durbanfilmmart@durban.gov.za

www.durbanfilmmart.com

Essex Consulting

Cape Town

+27 21 639 2095

sxconsulting@gmail.com

National Film and Video Foundation

Johannesburg

+27 11 483 0880

info@nfvf.co.za

www.nfvf.co.za

World Cinema Fund

International

+49 30 259 20 516

worldcinemafund@berlinale.de

www.berlinale.de

COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

A=O+L

Cape Town

+27 82 822 8239

tina@aequalsoplusl.co.za

www.aeequalsoplusl.co.za

Benson and Son Financial Services Services

Johannesburg

+2711 646 8079

nic@bensons.co.za

www.bensons.co.za

Deloitte Media and Entertainment

Nationwide

+27 11 209 6507

jprins@deloitte.co.za

www.deloitte.co.za

DT Film and TV Accounting Services

Johannesburg

+27 73 541 1872

steven@dtaccounts.co.za

www.dtaccounts.co.za

Galbraith Rushby

Cape Town

+27 21 447 3840

info@galbraithrushby.co.za

www.galbraithrushby.co.za

ACCOUNTING

Galloti

Cape Town

+27 21 712 0551

info@galloti.co.za

www.galloti.co.za

Grant Thornton

Cape Town

+27 21 481 9000

mail@gtct.co.za

www.gt.co.za

HRS Communication and Consulation

Johannesburg

+27 11 932 2052

hrsambo@yahoo.com

www.hrscommunication.co.za

Industrial Development Corporation

Nationwide

+27 11 269 3000

callcentre@idc.co.za

www.idc.co.za

Industry Payroll Services

Nationwide

+27 21 4473840

info@industrypayrollservices.co.za

Mazars

Nationwide

+27 21 818 5000

cpt@mazars.co.za

www.mazars.co.za

Money Penny

Nationwide

+27 21 843 2430

sphillips@moneypennyservices.co.za

www.moneypenny.com.au

Rivers Accounting

Cape Town

+27 21 521 1260

keith@riversaccounting.com

www.riversaccounting.com

INSURANCE COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

AON South Africa

Nationwide

+27 11 944 7000

steve_levitt@aon.co.za

www.aon.co.za

CGM Insurance Brokers

Johannesburg

+27 11 888 8060

hanlie@cgmbrokers.co.za

D&M Associates Risk Brokers

Johannesburg

+27 11 433 8881

bevd@dmsure.co.za

Econorisk

Johannesburg

+27 11 803 7446

info@econorisk.co.za

www.econorisk.co.za

Film and Entertainment Underwriters SA

Nationwide

+27 11 431 3694

clive@feusa.co.za

www.feusa.co.za

Keu Underwriting Managers

Nationwide

+27 860 100 0090

denise@keu.co.za

www.keu.co.za

Pinfold Insurance Brokers

Cape Town

+27 21 556 3620

pinfold@netpoint.co.za

REGION

TELEPHONE

EMAIL

WEBSITE

LEGAL COMPANY Fairbridges Attorneys

Nationwide

+27 21 405 7300

attorneys@fairbridges.co.za

www.fairbridges.co.za

Irish Inc

Cape Town

+27 21 4625151

info@irish-inc.co.za

www. info@irish-inc.co.za

McLoughlin Inc. Attorneys, Notaries

Cape Town

+27 21 421 5885

steven@mcloughlinclark.co.za

www.smclinc.com

Durban

+27 31 575 7000

info@wylie.co.za

www.wylie.co.za

and Conveyancers Shepstone and Wylie

DIRECTORY LISTINGS - ADVERTISERS COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

AFS Productions

Cape Town

+27 21 424 9999

brin@afsproductions.com

www.afsproductions.com

Atlas Studios

Gauteng

+27 11 482 7111

info@atlasstudios.co.za

www.atlasstudios.co.za

Aquila Private Game Avis

Western Cape

+27 21 430 87260

Nationwide

+27 21 4241661

Bang Bang Films

Cape Town

pa@aquilasafari.co.za

avisfilm@avis.co.za

www.aquilasafari.com

www.avis.co.za

+ 27 21 689 5878

info@bangbangfilms.com

Cannes Lions

International

+44 20 7728 4040

rays@canneslions.com

www.canneslions.com

Canon

Johannesburg

+27 11 265 4900

contact@canon.co.za

www.canon.co.za

Cape Direct

Cape Town

+27 21 4244495

dianne@capedirect.com

www.capedirect.com

Durban Film Mart

Gatehouse

Nationwide

Media Film Service

MovieMart Orange Films

Durban Nationwide

+27 21 511 3300

+27 79 982 7162

info@mediafilmservice.com

www.durbanfilmmart.com www.gatehouse.co.za

philip@moviemart.co.za

www.mediafilmservice.co.za www.moviemart.co.za

+27 21 465 41 88

mandy@orangefilms.co.za

Johannesburg

+27 11 787 7446

gary@picturetree.co.za

www.picturetree.co.za

Photohire

Cape Town

+27 21 462 6933

pieter@photohire.co.za

www.photohire.co.za

Media Gear

Cape Town

+27 21 8020709

info@pinnacleav.co.za

www.pinnacleav.co.za

Rocksolid Remotes

Nationwide

+27 82 685 3094

rocksolidremotes@gmail.com

Roodebloem Studios

Cape Town

+27 21 447 6326

info@roodebloemstudios.co.za

www.roodebloemstudios.co.za

knellr@rosco-europe.com

www.rosco.com

Sanfields and Forests

durbanfilmmart@durban.gov.za joel@gatehouse.co.za

Picture Tree

Rosco

Cape Town

+27 21 434 6088

Nationwide

+27 31 311 4234

www.bangbangfilms.com

UK

Johannesburg

+44 20 865 92300

+27 82 577 2312

www.orangefilms.co.za

sfrank@glynmarais.co.za

Scarab Industries

Cape Town

+27 21 683 2556

info@scarabindustries.co.za

www.scarabindustries.co.za

Shooting Gallery

Cape Town

+27 21 461 7600

claire@theshootinggallery.co.za

www.theshootinggallery.co.za

Sitewise

Cape Town

+27 21 447 3151

action@sitewise.co.za

www.sitewise.co.za

Studio 26

Western Cape

+27 83 368 6216

mail@studio26.co.za

www.studio26.co.za

Touchvision

Nationwide

+27 11 8868572

stacey@touchvision.co.za

www.touchvision.co.za

UVS

Cape Town

+27 21 686 2404

margeaux@uvsrent.co.za

www.uvsrent.co.za

Wizardz

Cape Town

+27 21 4619334

copy@wizardz.co.za

www.wizardz.co.za

List your company here and on www.thecallsheet.co.za at R350 excl. VAT

The Callsheet | 23