screen africa magazine may 14 2014

www.screenafrica.com VoL 26 – may 2014 r35.00BroaDcasT, fiLm, TV, commerciaLs, new meDia & TecHnoLoGy news

Cannes Film Festival

Post ProduCtion

SOUTH AFRICAAttracting New Markets and Investments

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NFVF at CaNNes

CaNNes aNd aFriCa: a shy relatioNshipCell C CampaigNs For the people

Special FeatureSpOSt-prODuctiONPost-production anywhere, everywhere!......................................... 32The unique demands of the reality edit .................................... 33Breaking new ground at Waterfront Film Studios................... 34Mushroom Media: full-service post-production under one roof .... 35Edit, edit, edit, edit…espresso. ........ 36A busy year for Upstairs Post ......... 37Tessa Ford offers complete post-production solution ................. 38SAFTA recognition for Deepend Films .................................... 39Aces Up creates powerful and illuminating animated spot for SADAG ................................. 39Refinery embraces changes in post-production ............................. 40

caNNeSNFVF at Cannes ................................. 12The KZN Film Commission forges ahead ........................................ 14

NewSGlobal Access moves ahead with new MD .........................................2SABC2: ‘citizen-focused programming’ .........................................3‘360-degree’ approach for SABC3 ....3Independent Mzansi Short Film Festival makes its debut in July ..........4

‘Beyond Love’ explores diversity of cinema at The European Film Festival .........................4Filmmakers document dedication to eradicate disease in Africa and beyond .............................................6SA romantic comedy Konfetti resonates with international audiences .................................................6Middlewick’s Security a studious minimalist ode to the French New Wave ..............................................7

aFricaAfrican Film Festival New York commemorates Nigerian unification ................................................8The AMAAs: a truly continental affair ....................................8New Zambian film tackles gender-based violence ..........................9Cannes and Africa: a shy relationship ............................... 10

aDceteraThe human factor in rhino poaching .................................... 15Playing politics ..................................... 16Joe Public whiz-kids win Cinemark Young Lions Competition ................ 17Taken over by tastiness .................... 17Cell C campaigns for the people ... 18

FilmSuave and modern romantic comedy beats to the heart of Jozi . 19‘Indigenous’ talent poached for Panama flick ................. 20

DOcumeNtarY1994: The Bloody Miracle .................... 22

televiSiONGritty soap set against the backdrop of taxi industry mesmerises viewers .......................... 23The Time Frame Family .................... 24Sasani’s Stage 8 launches with new e.tv game show ................ 24Dyvi signals a new era in video switchers ................................... 26Director Speak: Adze Ugah and Denny Miller ................................ 27

SaFtaSSAFTAs 2014 ............................28 – 31

SatelliteExpansion of DTH and DTT applications will continue to benefit African viewers ................ 42

iptv / OttBuilding IPTV architectures ............. 44The software-empowered video operator .................................... 46

trackiNg techNOlOgYBlackmagic Teranex Express ............ 48Avid Media Central............................ 48Eyeon Generation 4K ....................... 48AJA Hi5-plus........................................ 48

BOx OFFiceHeroes rule at local box office ....... 49

weB NewSSA co-production The Forgotten Kingdom in top spot at Lesotho box office ............................. 50Homeland Season Four to be shot in Cape Town ....................... 50Caribbean-themed film to shoot in West Africa .................... 50Egg Films and Net#work BBDO win Ad of the Year for Colleague ... 50Independent Mzansi Short Film Festival final call for entries ............. 50Jahmil X.T. Qubeka’s Of Good Report wins big at South African Film and Television Awards .............. 50Rumours of War wins three awards at the Colours of the Nile International Film Festival in Addis Ababa .................................... 51Renowned filmmakers Beverly and Dereck Joubert receive SAFTA Lifetime Achievement Award .......................... 51

regularS Production Updates ...............52 – 55Events .................................................... 55Social ..................................................... 56

| IN THIS ISSUE

post-produCtioN aNywhere, eVerywhere!saFtas 2014

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Global Access, the broadcasting and digital signage service provider, was long associated with the name of its previous managing director, the late Ronnie van Wijk. Despite the loss of this respected industry figure, the company is surging ahead under the guidance of Van Wijk’s successor, Brad Willson.

“I don’t think anyone could ever really fill Ronnie’s shoes. He was an incredible man with such passion and vision. But it’s a challenge that I am more than happy to take on and I will do my best to ensure that his legacy and all that he strived for will live on through all that we do here at Global Access. My vision is to make Global Access the number one media solutions provider in the country.”

Willson’s background is in the IT industry, and when he first joined Global Access he was tasked with setting up the company’s web streaming and video-to-mobile services.

“Once that was established,” he says, “I moved over to run the digital signage division. Prior to joining Global Access, I hadn’t had much involvement in the broadcast industry, but I have known Ronnie for more than 15 years and he was a great mentor to me. I learned a lot, not only from him, but from many other industry experts.

I thoroughly enjoy the industry and the fast pace at which it is evolving. I do feel that the divide between the IT and broadcast industries is getting smaller thanks to new technologies like IPTV (internet protocol television) and OTT (over-the-top) services.”

Global Access was built around two core business units, one offering digital signage

services and the other dedicated to broadcasting. It now also offers IPTV, OTT, queue management solutions and a creative agency, all of which can complement one another as well as catering to separate clients as the case may be.

Willson says: “The business is set up in such a way that each business unit can be driven independently and there will be no focus to drive one harder than the other. With Global Access taking on new technologies that complement our core broadcasting and digital signage business, I’m confident we will have growth in all areas.”

Over the past year Global Access became a MultiChoice-accredited IPTV system integrator and secured the rights for an international queue management solution – both of which, Willson says, have already enabled the company to sign a number of significant deals.

In the long term, Global Access is looking to offer its services to the rest of Africa. “Due to the demand for our services on the continent,” Willson says, “we are now carrying our broadcast work into Africa and have a number of IPTV installations taking place across the borders over the next few months. We have also recently invested in upgrading all our studio facilities, which are now all fully HD equipped.

“I try to keep the business fun and innovative.” Willson concludes, “and with that, there will be some big things coming from Global Access in the future.” – Warren Holden

Global Access moves ahead with new MD

The past few months have been good ones for South African films. A good number of fine, locally produced pictures have seen the light of day recently and this stands our industry in good stead to show its wares at the Cannes Film Festival this month. From Rehad Desai’s disturbing documentary Miners Shot Down to Donovan Marsh’s much talked-about heist thriller iNumber Number, the quality of films set to be

showcased at Cannes is very high. In this issue Zama Mkosi, CEO of the NFVF, outlines her organisation’s plans for the festival. No doubt, many of our readers are jetting off to the south of France this month and we wish you all the best in your quest for distributors and production partners.

This issue includes our post-production feature and it was very enlightening to talk to the various post houses in Johannesburg and Cape Town and determine the lay of the land. As Ian Dormer says in his overview, the latest developments have had a dual effect. On the one hand, budgets are tighter than ever and the traditional business model, with large, fully-kitted post-production houses, is becoming more difficult to sustain. On the other hand, technological advances make it easier for the freelancer to enter the market and offer services at reasonable rates, but with varying degrees of quality. What is always interesting, when we do these features focusing on any particular part of the industry, is that no matter what trends we may observe from a macro point of view, there will always be a good number of stalwarts who, from the outside at least, notwithstanding certain adaptations to technological change and shifting demand, appear to be carrying on with business as usual, and even expanding their operations, which is great to see.

On the whole, though, post-production follows the same trend as many other parts of the industry, in the sense that, as technology becomes more accessible, barriers to entry drop, and more and more ‘lone gunmen’ are able to enter the industry with limited equipment and experience. Whether or not this is a good thing for the industry at large is debatable: does it amount to a democratising expansion of human capital or a net reduction in skill and expertise, as a result of lower cost taking precedence over high quality? I’m sure that time will tell – and whatever the verdict may be, there is no denying that great work is still coming out of the industry, possibly more than ever.

Another major factor that is gradually shifting the industry paradigm, and which we cover briefly in this issue, is the ascendency of IPTV and OTT platforms. As I’ve mentioned before, I tend towards traditionalism, having grown up consuming most of my motion picture content in old-fashioned cinemas equipped with 35mm projectors, or spending hours exploring the shelves of the local video store. These are both things of the past now, whose charms are unlikely to be understood by the rising generation of digital consumers. I suppose that’s sad on one hand but time marches on, and I have to admit that, as the exciting possibilities of online platforms open up, my initial future shock is fading fast.

warren holden

Welcoming the future

From the editor

Publisher & Managing editor: Simon Robinson: [email protected]

editor: Warren Holden: [email protected]

senior Journalist: Martie Bester: [email protected]

Journalist: Carly Barnes: [email protected]

Contributors: Andy Stead, Ian Dormer, Anton Crone, Gethsemane Mwizabi, Sylvain Beletre, Claire Diao

sub-editor: Tina Heron

design:Trevor Ou Tim: [email protected]

Website & ProduCtion uPdates:Carly Barnes: [email protected]

subsCriPtions: Tina Tserere: [email protected] Delight Ngwenya: [email protected] advertiseMent sales: Marianne Schafer: [email protected] Lorna MacLeod: [email protected]

aCCounts: Natasha Glavovic: [email protected]

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SCREENAFRICA

w w w . s c r e e n a f r i c a . c o m

NEWS |

taKiNg a legaCy Forward: Global Access’s new managing director, Brad Willson

may 2014 | SCREENAFRICA | 3

| NEWS

Among several new appointments at the national broadcaster in the past month were new channel heads for each of the SABC’s three news, lifestyle and entertainment platforms. Taking over at the helm of SABC3, the predominantly English-language channel that broadcasts a mix of local and international content, is Aisha Mohamed.

Mohamed has been in the media industry for 13 years, predominantly in radio, but also with considerable television experience. Her previous position was as station manager at 5FM. Prior to that she was a marketing manager

at MTV Networks Africa. She was charged with overseeing the

roll-out of animation channel Nickelodeon in South Africa and managing marketing campaigns for MTV Base and MTV Europe across the continent.

Among her major objectives in her new role is the development and implementation of new strategies to increase viewership and revenue for the channel. With careful study of industry trends, she is to drive SABC3 into the

future, ensuring that the channel is in line with those trends. One of the major challenges she faces in this regard is the need to juggle the constant demand for new content with business directives and budgetary constraints.

Mohamed’s vision for the channel, she says, is: “… to provide a 360-degree approach to content and delivery and to re-position SABC3 as a true lifestyle and entertainment channel in the market and focus on increasing audience and revenue delivery.”

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Assuming leadership of SABC2, the national broadcaster’s news, lifestyle and entertainment channel for Sotho, Tswana, Tsonga, Venda and Afrikaans content (with some imported English-language material), is Gerhard Pretorius, a quarter-century veteran of the film and television industry.

“I started my career in television at Sonneblom Films in 1989, working on a number of feature films,” Pretorius says.

“I then freelanced on a number of natural history programmes and had the wonderful privilege to work with Disney, National Geographic and Discovery during that time. The following 20 or so years in the industry I worked in production, post-production and content creation, including scripting new material and reversioning existing content. I joined the SABC as a producer at Content Hub Reversioning and Repurposing in 2006.

Thereafter I became a commissioning editor and programme manager of local content at Content Hub. I acted as the GM: Content for almost two years before joining SABC2 in September 2013 (as acting Head). In my 25th year in television, I bring a broad range of skills within the production and broadcast environment.”

Of the tasks and requirements of his new position, Pretorius says: “The SABC is always driven by its public service objectives which are further supported by its commitment to the ICASA mandate. My position at SABC2 is to entrench it as the channel for the nation, reflecting our diverse society and its need to be entertained, educated and informed. SABC as a network continues to be the market leader in providing the majority of South Africans with their entertainment and information. I will support the network and continue to deliver a

compelling public broadcast service in this ever changing South African broadcast landscape.”

When it comes to programming, Pretorius is focusing on increasing both the quantity and quality of new local content on SABC2. “The channel hopes to provide more content that reflects the

common space that many South Africans find themselves in, whether in the home, work or play environment,” he says. “I want to ensure that the channel’s pillar programming evolves with the country and our viewers… Our menu is designed to feed the hunger of South Africans for exceptional programming – from comedy to lifestyle to health to drama.

“As the multi-channel environment evolves, we have to ensure that quality diverse local content dominates our screens. We are not only faced with revenue fragmentation, but audiences will require innovation to satisfy their ever-changing needs. SABC2 will strive to meet these needs by providing high quality, excellent and novel local and international content.

“To me, this is achievable if we stay firm in our belief that South Africans are a diverse family that can come together to share experiences. We must also not forget that as a public broadcasting service, we exist in a highly regulated environment and our strategies will evolve to meet those regulations.”

Pretorius concludes: “I am privileged to be supported by a team of committed, creative, passionate individuals at SABC2 and we plan to create partnerships with the independent content producing industry, our audience and various stakeholders to create compelling, cutting-edge, citizen-focused programming that will make us all proud of being South African. I can’t give much away, except to say… stay tuned to SABC2!”

a ChaNNel For the NatioN: Gerhard Pretorius, the new Head of Channel for SABC2

New strategies: Aisha Mohamed, the new Head of Channel for SABC3

‘360-degree’ approach for SABC3

SABC2: ‘citizen-focused programming’

4 | SCREENAFRICA | may 2014

NEWS |NEWS |

The European Film Festival (EUFF) screens from 9 to 18 May exclusively at Cinema Nouveau Theatres concurrently in Johannesburg, Pretoria, Cape Town and Durban.

With ‘Beyond Love’ as its theme, the festival is a partnership with 10 European cultural agencies and embassies based in South Africa.

As Head for Media and Film at the French Embassy in Johannesburg, Frédéric Chambon jumped at the opportunity of relaunching the EUFF and proposed that other European countries come on board.

“This event is really a perfect example of European dialogue and cooperation,” says Chambon. “The European Union delegation (main financial contributor), the British Council, the Camões Institute (Portugal), the French Institute of South Africa (IFAS), the Goethe-Institut, the Italian Cultural Institute, the Embassy of Belgium and Flemish delegation, as well as the Embassies of Austria, Denmark and Spain are involved with the festival.”

Based at IFAS in Johannesburg, Chambon assumed the role of festival director in order to organise the EUFF in a professional set-up to provide an exciting film selection and offer the audience the

best possible experience. Fitting the criteria as an independent

festival programmer, to ensure a high-quality and relevant film selection, Darryl Els, co-director and programmer of the Bioscope Independent Cinema in Johannesburg, was approached.

“All the films selected have either screened at major international film festivals, won international awards or have been submitted for the Oscars (in the case of The Great Beauty – which won the

2014 Oscar for Foreign Language film),” says Els. “This was really the only directive from Ster-Kinekor and IFAS, so there was an immense amount of freedom in approaching the curating of the programme.”

Els elaborates that the theme of ‘love’ is something very familiar to audiences and so once this was established as framework it became important to choose films that would challenge or subvert what is a very broad and overly

clichéd topic. “Similarly, I wanted to programme films

that offered a range of representations of the theme, in other words to not be rooted in simply films about romantic or courtly love,” continues Els. “So the programme explores ‘love’ in its broadest sense; maternal love, sex, friendship, desire, loneliness and so on.”

Els mentions that it was always important for the programme to have a link to Africa in some way. Two films allow for this, Miguel Gomes’ Tabu, a love story set in an unnamed Portuguese colony on the cusp of independence and Ulrich Seidl’s Paradise: Love, about an Austrian woman who goes to the beaches of Kenya on what is essentially a sex-tourism holiday.

Adds Els: “Both films are challenging, provocative representations of Africa and the fact that they are set in different eras adds an interesting layer to this connection.”

“We are very lucky to have secured Paolo Sorrentino’s The Great Beauty, which won’t be getting a cinema release in South Africa, so the Beyond Love programme will be one of the only chances to see it!” says Els.

“What we clearly see in most of the films selected for the European Film Festival is an ability to reflect each country and culture’s very own identity in a unique and powerful way,” Chambon concludes. – Martie Bester

‘Beyond Love’ explores diversity of cinema at The European Film Festival

According to Jacques Brand, Managing Director of Grey Cloud Productions and co-founder of the Independent Mzansi Short Film Festival (IMSFF), which takes place from 25 to 29 July at the Hatfield Plaza Maxi Cineplex in Pretoria, short filmmaking in South Africa is in the midst of a renaissance.

“We have recognised that apart from Afrinolly, there isn’t a dedicated short film festival on the African continent and it was our desire to rectify that. Short films are the truest and most pure artistic expression in the world of film, because short filmmakers are not working to any commercial imperatives. Shorts have and will continue to be an important part of cinema, storytelling and culture. Our mission is to present quality short films from around South Africa as well as

support, recognise and honour filmmakers creating films under 25 minutes,” says Brand who, along with co-founder and CEO of M4gic-J Entertainment Jarrod de Jong, believes the festival will quickly emerge as a prominent industry event in South Africa.

Over 70 film entries from South Africa and several other international territories

have applied to participate at IMSFF, and though Brand and De Jong aim to reach 100 submissions by the 6 June deadline, they believe audiences already have a selection of strong films to look forward to.

Aimed at connecting with and inspiring the filmmakers of tomorrow, the festival will screen a variety of films, including Florian Schott’s Everything Happens for a Reason, which won the 2013 MTN Afrinolly Short Film Competition and received the award for Best International Short Film at the 2014 Mediawave Gathering in Hungary. Shot in one action-packed take, the

Namibian film is a fast-paced comedy which tells the story of a man faced with unexpected enemies during a series of troubling events.

Other films which audiences can look forward to include Freedom Road, a film based on true events surrounding South Africa’s Truth and Reconciliation Commission; Six Ways To Die, which

features a group of work-shy performers whose agent suffers a nervous breakdown; and The Blanket, the festival’s opening film, which was written and directed by Brand and produced by De Jong.

A panel of independent jurors will award prizes in a number of categories and the overall winner will receive a cash prize of R50 000.

Brand says that education will be a central component of the festival, allowing emerging filmmakers the opportunity to network and gain valuable industry knowledge.

“We will feature interviews with working industry professionals; live Q and A sessions with directors and producers in attendance; as well as workshops and seminars for low-budget filmmakers. Product demonstrations will be conducted by Media Film Services that will show aspiring filmmakers what it is like to work with high-end film equipment,” adds Brand.

Screenings will be divided into two hour-long sessions of short films, with four sessions taking place each day, the times of which will appear on the IMSFF website. Tickets can be purchased directly from Maxi Cineplex at a cost of R25 per session or R65 for a day pass.

For more information visit: www.imsff.co.za. – Carly Barnes

Independent Mzansi Short Film Festival makes its debut in July

NO CLICHÉ: A still from Paradise Love

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NEWS |

A large proportion of the people on this planet suffer the diseases and conditions of poverty, and to a large extent these remain unseen by developed countries.

With this in mind, award-winning South African documentary filmmaker Cliff Bestall came up with the concept to tell the stories of inspiring people on the frontline of public health in remote and war-torn areas. With little assistance, these ‘miracle workers’ show extraordinary will to overcome the diseases that sustain and deepen poverty.

The idea, was taken forward by producer Steven Markowitz, Bestall and his medical doctor / epidemiologist wife Michele Youngleson, along with a second team consisting of director Brian Tilley and cameraman Tim Wege. They travelled to the Philippines, India, Pakistan, Uganda, Tanzania, Senegal, Cameroon, Ethiopia, Malawi and South Sudan and to the people on the frontline of public health.

In an eight-part documentary series for Al Jazeera English called Lifelines, the filmmakers captured the stories of dramatic breakthroughs against diseases

and conditions, such as rabies, polio, leprosy, malaria, schistosomiasis (bilharzia), guinea worm, river blindness, trachoma and maternal mortality.

The team found that polio and Guinea worm are close to being eradicated, while huge inroads are being made into eliminating rabies, river blindness and trachoma.

Maternal mortality is decreasing while malaria and schistosomiasis continue to challenge the enormous efforts made to bring them under control.

“We are confronted with something that can be changed, and that change has not been fully acknowledged,” says Bestall. “For example, 50% less children die of malaria than they did a decade ago, the number of people who suffer terrible Guinea worm infection has been brought down with 99.9% – from three and a half million a year to just 126 last year, polio is close to being eradicated like smallpox once was.

“The numbers are dropping and will continue to fall as long as funds are available and the energy to keep multiple campaigns going is maintained.”

Bestall continues: “It was really only

when Brian, Michele and I were in the various locations where we were shooting and meeting people that it became evident who these heroes were.”

They were the people in the engine room – the men and women, some paid, some on a volunteer basis – who did the hard work behind the scenes. “Some had come up with great yet simple innovations. Some were influencers who could inspire others that diseases can be controlled or even eliminated within communities,” says Bestall.

Although there are many others behind the push to reduce the burden of infectious diseases among neglected people, Bestall emphasises that: “our

focus was on the little guys this time.” Each film had an average of 18 days

shooting allocated with Bestall filming on a Canon C300 while cameraman Wege used a Sony PMW 220.

The filmmakers were at pains to ensure that they approached the issues journalistically and, as in the case of diseases or other conditions which afflict people, the story became more complex the deeper they were investigated.

“Our approach turned out to be far more rewarding and challenging as we hunted for stories that evidenced change, and struggle to achieve that change,” concludes Bestall. – Martie Bester

Filmmakers document dedication to eradicate disease in Africa and beyond

the mediCal FroNtliNe: Clive Bestall in Ethiopia with Nurse Dasash Hasen

Before its theatrical release in South Africa, new romantic comedy Konfetti had already attracted international attention, having been chosen to screen at the Beverly Hills Film Festival and the Julien Dubuque International Film Festival in the US.

Telling the tale of Jean Voster (Nico Panagio), an Afrikaans boy who is about to marry Sheila Lieberman (Casey B Dolan), a Jewish girl, Konfetti touches on deeper issues and ‘unwraps’ its characters methodically, without sentiment, laying bare the issues of ordinary people who try and find ways to escape the ‘boxes’ in which they had placed themselves.

“This film assumes the best of its

audience. It is witty, sophisticated and funny and doesn’t try and adhere to the perceived Afrikaner Zeitgeist or our local obsession with political correctness,” says Louw Venter, writer and co-star of the movie.

Venter first approached accomplished producer Zaheer Goodman-Bhyat of Cape Town-based Light and Dark Films (Jacob’s Cross, Confessions of a Gambler, Skeem, Jimmy in Pienk) with the idea to make a big-screen adaptation of The Best Man’s Speech, Venter’s one-man play, which he wrote and performed in 2006.

Playing the role of best man Lukas, who goes on a drinking spree, forgets to book the wedding orchestra, and then

unwittingly asks the bride’s nemesis to perform at the ceremony, Venter describes Konfetti: “as a high-stakes, energy-charged event that brings a huge variety of interrelated characters together in one location, which is the perfect breeding ground for chaos and drama.

“The play resonated very powerfully with audiences in the three or four years I performed it,” continues Venter. “Zaheer and I spent six years making sure that the final screenplay was something that entertained – even on paper. It presents the audience with a story that satisfies both dramatically and comedically.”

Konfetti is Goodman-Bhyat’s debut as a feature film director. “I resisted

directing a feature film until I was 40. Most people think directing a feature is the ‘Holy Grail’ and they rush into it, get burnt and then don’t do it again.”

Biding his time seems to have paid off, judging by audience reaction. “Above everything else, this is a film at a wedding, which required a certain glossy look,” the director says. “It’s shot on Blaauwklippen wine estate in Stellenbosch with the Helderberg mountains in the background and is infused with incredible golden light. The sets are gorgeous and everyone looks beautiful, because they have to.”

Being firm believers in comedy and comedic timing, and with Konfetti referencing films such as Death at a Funeral, The Hangover and The Wedding Singer, choosing the cast was vital for Goodman-Bhyat and Venter, who specifically wrote roles for Panagio and supporting actors Kim Engelbrecht and Casper de Vries because of their audience appeal and screen chemistry.

Says Panagio, who has established himself as a strong lead actor in local movies: “I believe South African audiences are hungry for some intelligent humour. Louw Venter has written a beautiful, sincere screenplay which Zaheer directed in a way that allows the organic journey of each cast member to weave itself into an honest and touching film.” – Martie Bester

SA romantic comedy Konfetti resonates with international audiences

witty, sophistiCated aNd FuNNy: Zaheer Goodman-Bhyat with Louw Venter and Nico Panagio on the set of Konfetti

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| NEWS

Writer and director Mark Middlewick’s Security, sponsored by international production company Focus Features through its Africa First programme, won Best Short Film at the 2014 Jozi Film Festival.

In the movie, Middlewick’s nameless lead, a lonely security guard, inhabits a world of contrasts. By day he listlessly rests in his modestly furnished room, isolating himself from the realities and hurts of everyday life and, at night, when the rest of the world sleeps, he works,

solitary, in a brightly illuminated shopping centre.

His loneliness is emphasised in a film with little dialogue but which is laden with atmosphere, silently illustrating the measures to which he goes to ward off his emotions as he strikes up a friendship with a mannequin in a high-end boutique store. In a world of stark neon lights his existence in the shadows is heightened.

After graduating with Honours in Dramatic Art at the University of the Witwatersrand in Johannesburg, Middlewick lectured Film Appreciation at City Varsity, concentrating on works by directors of the French New Wave.

Inspired by these masters’ techniques, which included ‘fragmented, discontinuous editing and long takes’,

Security also touches on the group’s ‘combination of objective realism, subjective realism and authorial commentary that creates a narrative ambiguity as questions arise in the film that are not answered in the end’.

“I am a minimalist at heart and sidestep into all genres of art when creating work. In a modern world where everything has become so hyper realistic, I want to boil things down and minimise everything,” Middlewick comments.

The team had to shoot at unusual hours at Sandton City Shopping Mall in Johannesburg, filming in what Middlewick refers to “as a tribute to capitalism” which took five days from 18h00 until 06h00 on the Arri Alexa.

He says, “The environment was so

sterile, I felt like I had walked into a sci-fi movie. We took out any advertising as the movie has an anti-capitalist tone to it. I took countless photos, which were used to storyboard the entire film so we concentrated purely on performance.”

Each shot had to earn its way, the director says. “I wanted to use the economy of shots to its full potential to convey emotion,” he adds.

“I am fascinated with spaces that carry history, but which are not inhabited by people. I am inspired by the late cinematographer Harris Savides – especially his work on Sofia Coppola’s Somewhere and Gus van Sant’s Elephant – who said that he never lit a character, but that he lit a room instead,” Middlewick continues. “The characters just happen to inhabit a room and that’s the bigger picture ideal that we tried to create.”

The filmmaker concludes: “I went in with the intention to create something that aspires to transcend the confines of commercial cinema, andwhich is layered and carries multiple messages.”

Security has screened at several international film festivals and has been selected to show at several others this year. With the support of the National Film and Video Foundation, Middlewick is currently developing a feature screenplay. – Martie Bester

Middlewick’s Security a studious minimalist ode to the French New Wave

miNimalist at heart: A still from Security


AFrICA | NIGErIA

The Film Society of the Lincoln Center (FSLC) and African Film Festival, Inc. (AFF) is presenting the 21st edition of the New York African Film Festival from 7 to 14 May at New York City’s Walter Reade Theatre and Elinor Bunin Munroe Film Centre.

The theme for this year’s festival is ‘Revolution and Liberation in the Digital Age’. AFF Executive Director says: “While American cinema started from popular films and progressed to art house, film in Africa went in reverse, garnering international interest through the art house genre before moving to popular cinema. Consequently, most of the films about Africa during its ‘art house’ phase cornered African cinema into a genre in itself, one that was perhaps not easily accessible.

“Today the golden era of technology not only allows the African public to see films made about their own realities but also exhorts each generation of filmmakers to raise the bar with the stories they tell about the continent and its diaspora, resulting in a digital revolution.”

Although the programme includes productions from all over Africa, the festival gives a special nod to the centenary of Nigerian unification.

Although it took place 46 years before Nigeria gained its independence, the unification of its northern and southern territories is a key date in the country’s history. On one hand it forged a nation that has become one of the continent’s powerhouses. On the other hand, it forced the peoples in the region into an uneasy union that has been the cause of much conflict ever since.

The opening feature of the festival is the Nigerian dark comedy Confusion Wa Na, directed by Kenneth Gyang. The film is set in an anonymous Nigerian city and tells the story of a group of strangers whose paths cross with devastating consequences. For one character, the events are indication of the impending collapse of Nigerian society.

The centerpiece of the festival is the Nigeria / UK co-production Half of a Yellow Sun, which looks at the history and nature of Nigerian unity in a far more direct manner. Starring Thandie Newton and Chiwetel Ejiofor, the film tells the story of four people whose lives are impacted in different ways by the Nigerian Civil War. The screening of this film precedes its official theatrical release.

In keeping with its theme, the festival will also feature three films about major political events and personalities in Africa.

From Zimbabwe comes Roy Agyemang’s documentary, Mugabe: Villain or Hero?, which offers an inside look into the aging leader’s government and probes the fight between African and Western leaders for Africa’s minerals and land. Ibrahim El Batout’s Winter of Discontent examines the Arab Spring protests in Egypt and the experimental short Kuhani contemplates Uganda’s Anti-Homosexual Act.

The African Film Festival New York offers Africa’s filmmakers a golden

opportunity to show their work on an international platform. FSLC Associate Director of Programming, Marian Masone, says: “There are long and proud cinematic traditions in countries all over the African continent and, at the same time, there are new voices and new means of expression. We are happy that the festival this year will be able to share the work of these artists, who are exploring both myth and modernity.”

At a gala evening held at Emperor’s Palace in Johannesburg, South Africa, the nominees for the 2014 African Movie Academy Awards (AMAA) were announced.

Aside from the high number of nominations garnered by productions from South Africa, such as Of Good Report (13 nominations) and The Forgotten Kingdom (nominated in nine categories), what was really notable was that the list of nominees represented all regions of the continent. The AMAAs, perhaps more so than some other film and television awards on the continent, are genuinely pan-African in scope.

Categories such as Best Film still show a strong presence by the ‘usual suspects’ – the continent’s two major film production centres, South Africa and Nigeria. From the former, Of Good Report and The Forgotten Kingdom (a co-production with Lesotho) are in the running for the big prize, while the West African filmmaking dynamo has Potomanto and Accident in the running. One surprising entry into this category is Children of Troumaron, the feature film debut of Mauritian duo Harrikrishna and Sharvan Anenden.

Other categories showed a truly remarkable diversity of nominees. Best

Short Film, for example, features films from Kenya (Haunted Soul), Tanzania (Siriya Mtungi), Gabon (Dialemi), Nigeria (New Horizon, Living Funeral), Mali (Nandy l’Orpheline) and South Africa (Phindile’s Heart), while Best Animation boasts entrants from Burkina Faso (The Hare and the Lion), Morocco (Thank God It’s Friday) and Mozambique (The Brats and the Toy Thief), in addition to Khumba from South Africa and Leila from Nigeria.

Comments by Tony Anih, Director of Administration for the AMAAs, on the eve of the nominee announcements in April, affirmed the continental emphasis of the awards and also, from a South African point of view, demonstrated the country’s increasing role in the making and consumption of films on the continent. “AMAA is a continental brand and reward system for motion picture practitioners. It is our way of promoting the Africanness of the award and also celebrating our culture and diversity. This year we decided to come to South Africa because of the level of growing popularity and acceptability of African films, most especially Nollywood and Gollywood movies in the country.”

The award ceremony is set to take place in Bayelsa state, Nigeria. The date has yet to be confirmed.

African Film Festival New York commemorates Nigerian unification

The AMAAs: a truly continental affair

rEVOLutION AND LIBErAtION: Kenneth Gyang’s Confusion Na Wa will open the festival

the highly-anticipated Half of a Yellow Sun is one of the main attractions of the festival


ZAMBIA | AFrICA

A new Zambian movie focusing on the ills of gender-based violence (GBV) premiered recently, adding to the country’s growing film industry.

LSK Heroes, produced by a leading local private station Muvi Television, premiered in Fresh View Cinema in Lusaka, Zambia’s capital city, on 14 March. The levels of violence against women are escalating in Zambia, prompting various stakeholders to team up and tackle this resident evil.

The movie is about an abused woman who is trapped in the house by her abusive husband and her only hope for survival depends on a group of opinionated individuals on a bus who also have their own struggles to fight.

The film was written, directed and produced by Zambian producer and actor Henry Joe Sakala. The director of

photography was Frank Sibbuku and the executive producer was Steve Nyirenda, Muvi TV proprietor who has a passion for local production. LSK Heroes forms part of Nyirenda and Muvi TV’s ongoing efforts to increase the number of local productions on Zambian TV and cinema screens.

Featuring a cast of stars old and new, LSK Heroes centres on Patience, an abused wife, who decides to leave her abusive husband. Her only way out is a group of colourful, opinionated

individuals on a bus. The big question is: will they turn back and save her?

The inspiration for the story came from the many cases of gender based violence (GBV) being reported in the media.

Sakala knows that there are many more cases of GBV that are not being reported in communities and what saddens him the most is the fact that society does not want to help the abused woman in a relationship, opting instead to let the couple deal with the problem. This is the attitude that LSK Heroes seeks to change.

The message is that we are all involved and we all must lend a helping hand to abused women.

The film premiered at Zambian cinema chain Freshview recently and is enjoying good public response. “The response that we received for this film clearly shows that the Zambian people are ready for Zambian cinema and they are ready and willing to watch, in their numbers, Zambian stories. – stories that depict our way of life, stories that highlight the issues that are affecting us,” said Sakala.

There is no doubt the Zambian film industry is growing. This multi-million Kwacha industry has the potential to help reduce the high levels of unemployment. The film industry can provide jobs to many people who are skilled in other fields apart from filmmaking and acting. It is steadily proving to be vital in enhancing economic growth through job creation.

“We need film schools, acting schools and other schools where all this raw talent that we have can go to and sharpen their skills. Funding for these movies is also very cardinal. The private sector is doing its bit in supporting the film industry – although they can do more – but the government really needs to come in and do even more to get this industry off the ground,” Sakala says. – Gethsemane Mwizabi

New Zambian film tackles gender-based violence

A SMASH HIt: Bibah Ndamba as Patience in LSK Heroes

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AFrICA |

Confined to an exclusive and limited Africa-loving audience, these movies are generally screened at a small number of film festivals

dedicated to African cinema, without being able to break through to the world distribution market.

Before the independence and decolonisation drives of the 1960s and 1970s, France, the United Kingdom, Portugal and Belgium were still sharing control of the African continent. Egypt was an exception, having gained its independence and recognition as a sovereign state in 1936, and declared a republic in 1953.

This political situation had a direct effect on the Cannes Film Festival selections. In 1946, the feature film Dunia, from Egyptian director Mohamed Karim, was screened at the festival in competition, as if to show the blossoming of Egyptian cinema (the country produced 55 movies between 1939 and 1945).

Up until 1970, Tunisia, Algeria and Morocco were represented at Cannes through 22 films, which were the work of French directors; Niger, Gabon, Congo and Senegal had a minor presence with

four films. In 1952, Morocco even received the Grand Prix for Othello, a film directed by a famous American director, Orson Welles.

It was necessary to wait until 1959 to see another African director, the Tunisian Khaled Abdul Wahab, enter the competition with the short-film Le seigneur Julius.

During 66 years of the festival, 47 African movies were selected to be screened, including short films and features. Through the 54 African states, only 10 have had the good fortune to be admitted into competition. Among these, South Africa has had the most entries (10), followed by Egypt (nine) and Tunisia (four).

South Africa, which first entered in competition in 1952 with Errol Hind’s short film Glimpses of South Africa n°5, has not yet introduced a black filmmaker into the Croisette. This is a situation that may change soon, considering the international recognition now received by the likes of Khalo Matabane or Jahmil X.T. Qubeka.

Among African nations Egypt was the first to compete at Cannes, in 1946. South Africa followed in 1952. Seven years later, Tunisia followed. Then in 1962, Morocco came onto the scene, represented by Abdelaziz Ramdani‘s short film Souls and Rhythms. In 1964, sub-Saharan Africa increased its representation when Senegal’s Paulin Soumanou Vieyra entered his short Lamb. The Algerian director Mohamed Lakhdar-Hamina’s feature, The Winds of the Aures, was accepted in 1967.

Twenty years later, Mali was in the running with Souleymane Cissé’s feature film Yeelen. Then Burkina Faso made an appearance with Idrissa Ouedraogo’s Tilaï in 1990. Lusophone Africa was not forgotten, as Guinea-Bissau, represented by Flora Gomes’ Po di sangui came onto the scene in 1996. Fourteen years later, Mahamat-Saleh Haroun and his feature film A Screaming Man put Chad into Cannes competition in 2010, and again in 2013 with Grisgris.

These selections make up a total of 32 filmmakers. Egypt’s Youssef Chahine has had the most selections (five times), followed by South African Jamie Uys and Algerian Mohamed Lakhdar-Hamina (four times each). No African women have been selected in the main competition but South Africa’s Elaine Proctor presented her feature film Friends in the 1993 Un certain regard selection.

The same year, Jane Campion from New Zealand became the only female to win a Palme d’Or with her feature The Piano. This year, she is the President of the Jury. To date, few African filmmakers have been given the chance to serve on

the jury; out of the 10 countries selected for the official competition over the years, only six have been represented on the jury. South Africa, Guinea-Bissau and Algeria have not yet had this opportunity.

Moreover, among the 47 African movies selected in the official competition, only five have won awards. The Wind of the Aurès by Mohamed Lakhdar-Hamina (Algeria) won the prize for Best First Feature in 1967. Chronicle of The Year of Fire, also directed by Hamina, won the only Palme d’Or in African

History in 1975. In 1987, Malian director Souleymane

Cisse won a Jury Prize with Yeelen. Then in 1990, Idrissa Ouédraogo’s Tilaï (Burkina Faso) received the Grand Prix. Twenty years later, Chadian Mahamat-Saleh Haroun won the Jury Prize for A Screaming Man.

Unfortunately, Egypt and South Africa, the two countries with the longest histories in the competition, have yet to earn their Cannes’ recognition. – Claire Diao

Cannes and Africa: a shy relationshipCreated in 1939, the Cannes Film Festival is, like its closest competitors Venice and Berlin, a major cultural event that Africa has barely been able to infiltrate: on the one hand because of the huge deficit of national, regional or continental African film industries; on the other hand because of the lack of public interest in and the absence of African stories from world screens.

CaNNes reCogNitioN: A scene from A Screaming Man, by Chadian director Mahamat-Saleh Haroun

A still from the Algerian production, Chronicle of the Year of Fire, the only African film so far to receive the Palme d’Or

Idrissa Ouédraogo’s Tilaï (Burkina Faso), winner of the 1990 Grand Prix


CANNES |

The NFVF’s plans for this year’s festival revolve around the country’s celebrations of 20 years of democracy, says CEO Zama Mkosi.

“We will be looking at our past achievements, as well as celebrating the 20-year milestone. Our schedule also includes co-production forums with Brazil, UK and Canada. One of the key messages we are sending is for countries

to work with us in telling South African stories through collaborations, utilising our resources as well as recognising those stories as having international appeal. Co-productions play a key role in ensuring that our stories continue to be told, that our filmmakers are exposed to the global community or international markets and also offer opportunities to create global networks beyond our

borders.” The NFVF’s focus is not only on nurturing the co-production treaties that are already in place, but also on the development of new ones.

20 years of democracy

The ’20 years of democracy theme’, Mkosi says, will be reflected throughout the NFVF’s Cannes programme. The plan is

to showcase films that either speak directly to the theme or demonstrate what 20 years of democracy has meant to South African filmmakers. Among the films selected for exhibition are Rehad Desai’s searing documentary on the Marikana massacre, Miners Shot Down; Khalo Matabane’s Nelson Mandela: the Myth and Me, which asks the question, “How do people interpret Nelson Mandela’s message of freedom, forgiveness and reconciliation in the world of today?”; and Donovan Marsh’s heist thriller iNumber Number. “We hope that these films will resonate with our liberation,” Mkosi says. “We will also host a South Africa Day, which will offer pavilion visitors more about South Africa as a filmmaking destination.

the significance of Cannes

The importance of the Cannes Film Festival in the context of the world film industry cannot be denied, but how important is it really as a platform for the NFVF’s operations and how effective is it in this regard? “The Cannes successes have been phenomenal over the past few years,” says Mkosi, “and it therefore remains very relevant to our mandate. “Our focus this year is on filmmakers that are looking at securing co-production deals and films that speak to the ‘20 years of freedom’ theme. Last year we had market screenings of three films: Blitz Patrollie, Black South Easter and Khumba to various sales agents, distributors and financiers and co-production treaty partners. At the end of the festival, Blitz Patrollie had signed an international distribution deal with German sales and production company Picture Tree. Khumba also concluded a distribution deal with Metropolitan Filmexport, a major French distributor. To top it all, the NFVF is also proud that Zulu, another co-production – this time, with France – was honoured as a closing film at the 2013 Cannes Film Festival.”

Measures of success

How then does the NFVF measure the success of its work at Cannes? “As our participation at Cannes is to promote the country’s projects and to ensure that our filmmakers are exposed to the international arena, our success is determined by their achievement at the festival,” says Mkosi. “For example, last year the country was well represented through films such as Khumba. The signing of the distribution deal for Khumba by one of France’s biggest distribution companies was a major coup for the production company Triggerfish, and that is the kind of deal we aim to achieve at Cannes.”The NFVF’s delegation to Cannes is at the festival from 15 to 20 May. – Warren Holden

NFVF at Cannes

SHOT DOWNSHOT DOWN

SHOT DOWN

SHOT DOWN

SHOT DOWN A fi lm byRehad Desai

MINERSSHOT DOWN

SOUTH AFRICA WILL NEVER BE THE SAME AGAIN

DIRECTOR: REHAD DESAI | PHOTOGRAPHY: NIC HOFMEYR SHADLEY LOMBARD JONATHAN KOVEL | SOUND RECORDIST: PRESIDENT KAPA EDITORS: MENNO BOEREMA RUBEN VAN DER HAMMEN KERRYN ASSAIZKY MEGAN GILL STEEN JOHANNESSEN

ORIGINAL MUSIC: PHILIP MILLER | CONSULTING PRODUCERS: BRIAN TILLEY BHEKI PETERSON HELLE FABER | PRODUCERS AND SCRIPT: ANITA KHANNA & REHAD DESAI

w w w . m i n e r s s h o t d o w n . c o . z a

FOR JUST FILMS AND FORD FOUNDATION SOUTHERN AFRICA Orlando Bagwell, Cara Mertes, Sharon La Cruise, Nikki Naylor FOR THE BERTHA FOUNDATION Rebecca Lichtenfeld and Tony Tabatznik FOR THE NATIONAL FILM AND VIDEO FOUNDATION Neiloe Khunyeli and Clarence HamiltonFOR WORLDVIEW Marion Simpson and Amy Richardson FOR MULTI AGENCY GRANT INITIATIVE Mkhululi Mazula and Jon Campbell

Broadcast Commissioning Editors DRTV Mette Hoffmann Meyer IKON Margje De Koning NHK Tomoko Okutsu NRK Tore Tomter SVT Arno Axel YLE Likka Vehkalahti RTS Gaspard Luminiere

Major funding provided by the Ford Foundation JustFilms

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Jacana [email protected] International TV Distributor

rESONAtING LIBErAtION: Nelson Mandela: The Myth and Me, to be screened at Cannes.

Donovan Marsh’s film iNumber Number is among the South African films selected for exhibition at Cannes this year.

rehad Desai’s Miners Shot Down, which interrogates the success or failure of 20 years of South African democracy, will also be showcased.

With the 2014 edition of the world’s biggest film festival taking place from 14 to 25 May, the National Film and Video Foundation (NFVF) will be sending a delegation to the southern French city to showcase the latest South African films, foster co-production arrangements and demonstrate South Africa’s prowess as a film producing nation.

KZN Film Commission Ad Final 03.pdf 1 2014/04/17 11:30 AM

www.kwazulunatalfilm.co.za.

KZN Film Commission(FP)_SCAF-May14.indd 1 2014/04/29 9:37 AM


CANNES |

For most production companies, when it comes to filming locations in South Africa, only two provinces are ever really in the running: Gauteng

and the Western Cape – with the latter often winning out over the former. As the competition between the two rages, the country’s second most populous province often gets ignored. This is rather inexplicable since the province has a wealth of locations to offer.

From the ports of Durban to the grassy hills and valleys of the Midlands, from the Zulu heartland to the upmarket holiday homes along the beaches on the North Coast, there are few landscapes required by film crews that KZN cannot provide.

As a centre of film production, KZN is minuscule in comparison to its two rivals.

Production does take place there but not on a scale large enough to sustain the livelihoods of those citizens of the province pursuing careers in the industry, many of which make their way to Johannesburg or Cape Town.

It is the mission of the KZN Film Commission to change this state of affairs. A provincial act, the KwaZulu-Natal Film Commission Act 3 of 2010, gave the go-ahead for the establishment of the commission, which would operate under the aegis of the province’s Department of Economic Development and Tourism.

However it was only in February 2013 that a board was appointed. Eight months later, after the office was set up and equipped with basic infrastructure, the CEO, Carol Coetzee was appointed, allowing the Commission, to begin its operations in earnest.

Mandate

According to the terms of the act, the Commission is mandated to promote and market the province as a global destination for film production; to develop, promote and market – locally, nationally and internationally – the film industry in the province; to facilitate investment in the film industry in the province; to provide and encourage the provision of opportunities for persons, especially from disadvantaged communities, to enter and participate in the film industry in the province; to address historical imbalances in the infrastructure and in the distribution of

skills and resources in the film industry and the province; and to contribute to an enabling environment for job creation in the film industry in the province.

Objectives

In fulfilling its mandate, the Commission has set itself the following objectives: to promote and market KZN as a choice film destination; to secure strategic investment through facilitation and promotion of the film industry in KZN; to develop and maintain an efficient regulatory and governance framework for sustained economic development; to implement interventions that drive transformation, diversification and service excellence in the film industry; to create opportunities in film production and distribution for PDIs; to operate an effective administrative business process inculcating governance, risk and compliance; and to develop in-house capabilities and skills in order to provide world class quality service to clients.

Projects and services

Among the projects that the Commission will initiate in meeting its objectives are skills development programmes such as internships, women and youth incubation programmes and bursaries. It will also foster the development of small, medium and micro enterprises (SMMEs) by mentoring and incubating emerging companies. As is standard practice in Gauteng and Western Cape, the Commission will undertake familiarisation

tours to promote the province to investors and production companies. It also plans to set up a film fund, which will provide support throughout the value chain, and to launch promotion campaigns on local and international platforms.

Within and around these far-reaching plans, the Commission will offer advice and guidance to companies wishing to shoot in the province, providing a one-stop shop for all film related queries, including locations support. It will also act as a bridging organisation between film producers and incentives and funding schemes offered on a national level and will be able to assist navigation through the bureaucratic process. The Commission can be approached directly for project funding as well.

The Comission’s Jackie Motsepe says: “We are positioned to be the next big film destination. Our mandate is to stimulate the economy in the area of film and thereby contribute to the GDP of the country. We plan to put KwaZulu-Natal on the map when it comes to the film industry. Over and above being a destination for film, we plan to grow the film industry from a skills and facilities point of view.

“We will also be a content generator through our film fund, funding films by local filmmakers, as well as those from elsewhere who are planning to shoot their films in KwaZulu-Natal. With the anticipated growth in the film industry we will provide the necessary opportunities and platforms for transformation of the film industry in KZN.” – Warren Holden

The KZN Film Commission forges ahead

Established in accordance with a provincial law first passed in 2010, the KwaZulu-Natal (KZN) Film Commission is all set to begin fulfilling its mandate to make the province a film production centre.

OpINION | ADCETErA


“We don’t earn so much. And those people who are just sitting and just doing the talking; they

earn much,” says an impoverished man interviewed in the new film Horn directed by Dr Riena-Marie Loader. The man’s statement applies to the debate on rhino poaching. Last year 1 004 rhino were killed in South Africa, their horns smuggled to the East where their value is measured in myth, medicine and prestige.

Much of the killing is being done by impoverished men. The talking is being done by conservationists, rhino farmers and government, the key discussion being whether to legalise the horn trade and supposedly save rhino through farming and the use of the profit to tackle poaching. The counter argument is that farmers and government are just out to make money. Money talks. Wealthy people talk. There is a lot of talking, but no priority put on poverty, one of the most aggravating factors in poaching.

Office bound animal lovers troll reports of rhino slaughter on the web, perhaps believing their statements are revelatory; that they will make a difference. A picture of a Thai man posing with a rhino shot in a legal hunting operation prompts:

“He needs shooting, the bastard,” and, “I fucking hate people.” The more reasonable statements go like this: “Killing rhinos for something utterly unnecessary and useless is murder,” and, “I truly believe that exploiting animals for profit is morally low and amounts to the same as the exploitation of humans in the slave industry,” an ironic statement considering it is the exploitation of humans, not animals, that drives poaching. Asians are duped into thinking the horn is of significant value and the poor who live near wildlife areas are compelled to kill rhino for as little as R10 000.

”It is quite literally a human problem from start to finish with people killing the animals on one end of the chain and consuming the ‘product’ on the other,” says Loader. “However, the minimalism of this binary always sat uncomfortably with me, since I sensed that reality must be much more complex. It cannot just be about stopping the poaching in Africa and the consuming in Asia.

“While driving through the Leseding Township in the Limpopo province, this dimension presented itself to me in all its authentic reality. We were there to interview an employee of the Waterberg Welfare Society, July Letsebe, who lives

with HIV/AIDS and actively works to prevent the disease from spreading in his community. Upon arriving, we walked down one of the streets to film some cutaways. Dozens of toddlers came running towards us, curious why we were there. I looked around, taking in the scene. On one end of the street there were the first of hundreds of makeshift shacks. Everywhere there were barefoot children playing in the dust. No adult in sight, except for two women entering the small HIV clinic we came to film.

“Though I did not include this moment in the film, it significantly informed my thinking about it. I felt overwhelmed by the scale of poverty, unemployment, HIV / AIDS and abandonment in an area with a high rhino population. From the start I intended to highlight the social dimension of rhino poaching in South Africa, yet the extent of what it actually involves vividly dawned on me at this point. It presented itself in its human form – in the face of a teenager who had never seen a rhino, in the eyes of a child sitting in the street instead of being at school and in the belly of a girl heavily pregnant at the age of 15. The cinematographer, David Cawley, felt similarly overwhelmed, saying how hard it is to see the rhino ever standing a chance in the light of such

socio-economic desperation.”Besides interviewing politicians and

conservationists about their views on the matter, Loader focuses on specific anti-poaching units in South Africa’s Waterberg region. In a unique take on documentary filmmaking, she follows a created character who is placed in a very real training programme for an anti-poaching unit. The intention is to determine how effective anti-poaching as a solution-driven method is to combat the surge in poaching. A key dimension is the assessment of rhino monitor training as a forward-looking strategy that serves the protection of not only rhinos, but also the betterment of the wider community.

“Most of them do the training, not out of a desire to save a species, but as a way out of unemployment,” says Loader. “Protecting rhino becomes a way out of abject poverty. I realised that this dimension presents an opportunity to see the rhino as a living asset, not for individual profit but for the social empowerment of whole communities. The experience of making the film therefore engendered a hopeful note of understanding the dilemma that many underprivileged communities face daily.

“As one of the trainees explained during filming: People doing this job live in fear, because they are often offered lucrative cash for information useful to poachers. If they accept, they kill the rhino; if they refuse, they get killed themselves.”

The human factor in rhino poaching anton Crone discusses the new documentary Horn, which considers the human factor in Africa’s rhino poaching crisis.

A tHOrNy ISSuE: riena-Marie Loader’s film Horn explores how the human factor, often ignored in anti-poaching efforts, is one of the most important elements behind this lucrative criminal industry


ADCETErA | report on the South African commercials industry

A media firestorm

In the build up to 7 May, when the public voted in the national elections, The African National Congress (ANC) and opposition party, the Democratic Alliance (DA) decorated newspapers with some explosive headlines surrounding the Nkandla saga, South Africa’s climbing unemployment statistics and frustrations over poor service delivery. However, another media war was waged between the two parties over the approach to advertising their election campaigns.

An SMS saying Zuma had stolen the public’s money to build his R246m home was sent to potential voters by the DA, which resulted in a court battle between the two parties, with the ANC claiming

the campaign was an infringement of the electoral act. The South African Broadcasting Corporation (SABC) had refused to flight a DA television advert and subsequently blocked all of the party’s radio and television commercials. Though the SABC eventually broadcast the ads, it begs the question as to whether the phrase “free and fair” is as applicable to pre-electoral advertising campaigns as it is to the elections themselves.

Subjective spin

Conceptualised by M&C Saatchi Abel, the creative agency appointed by the DA as its communication partner for the 2014 elections, and produced by Frieze Films, the DA commercials told the personal

stories of ordinary South Africans and party leaders seeking change. Faheem Chaudhry, Account Director at M&C Saatchi Abel, says: “The adverts step away from the political rhetoric we are so used to now as a people. It allows the voice of the DA supporter to guide the campaign and the narrative. This was delivered in the most authentic and real way – by letting people tell their unscripted stories.”

Shooting over seven days in February and March at a number of locations in Gauteng and the Western Cape, Frieze Films captured footage for the adverts in a documentary style using two camera units, each armed with an Arri Alexa, in order to convey both the politicians’ and voters’ testimonials.

The ANC’s approach was themed around 2014 being the 20th anniversary of democracy in South Africa, and their advert tells the story of the country’s advances and improvements since coming into power in 1994.

Star Productions produced the ANC advert, which was developed by advertising agency, Ogilvy & Mather, and due to the nature of it being a vignette montage, six shoot days were broken up according to when the crew had access to specific locations within Gauteng, Mpumalanga and KwaZulu-Natal. The advert was shot in February using the Arri Alexa High Speed Camera and Cooke S4 Lenses and was produced by Adam Thal.

taking the moral high ground

Aside from the political battle which has played out in the public domain, South African citizens using social media find it hard to spend five minutes on any online platform without being exposed to a string of conflicting opinions related to

the opposing parties in this year’s elections. It seems that everyone had a strong view, which more often than not was presented in a very emotional way. Taking this into consideration, some might have thought that participating in the promotion of either political party campaign might have stirred angst or caused conflict between those taking part in their creation.

However, the respective participating agencies and production companies maintained that their focus was directed towards delivering a high quality product, which they could be proud to put their name on.

“At our core we are focused on our craft. Regardless of whether a client is popular or not, our passion is to find the core message, the part of the product we really identify with, and tell that story. Of course politics brings a certain emotionality to the way people might perceive the commercial, but what makes us proud is that we were able to utilise our skills and respective passions to tell a story that it is close to our hearts,” remarks Thal.

Chaudhry echoes this notion and says, “We saw this as a communication job, just like many other campaigns we work on. As with our other clients, we are used to working on brands that operate in highly competitive environments.”

Thal concludes, “In advertising there are morality plays across the board. From burger ads to denims, from cleaning products to alcohol, intersecting moralities will always have an influence in the way the brand is perceived. Making peace with that is an important step towards embracing the passion, intensity and craft required to make a successful and fulfilling career in this industry.” – Carly Barnes

playing politics

ANNIVErSAry OF DEMOCrACy: Behind the scenes on the set of ANC tV advert

Let’s face it, there’s no such thing as a political election without a little controversy, but with South Africa’s national elections being somewhat of a game-changer, campaign competition reached an all new high in 2014.

PErSONAL APPrOACH: the DA’s Mmusi Maimane in one of the party’s election adverts


| ADCETErA

Art Director Marina Andreoli and Designer Sonia Dearling from Johannesburg-based creative agency, Joe Public, are the winners of the 2014 Cinemark Young Lions Competition, a massively prestigious challenge which affords media creatives the opportunity to represent South Africa at the 61st Cannes Lions Festival in France.

An overwhelming 117 talented creatives were given 48 hours to come up with a 60-second television commercial with a powerful message to motivate and inspire South African audiences to vote in the 2014 national elections. Bearing in mind that the winning entry would be screened across the Ster-Kinekor cinema network, Andreoli and Dearling began to carefully construct an impactful cinematic experience suited to the campaign.

Andreoli and Dearling say: “We knew it would be a challenge to make an ad that

people actually wanted to see. By its very nature, the brief required that we reach and affect an audience who are apathetic and jaded. It is an important time for South Africans right now and we are excited to contribute and make a difference.”

Aiming to create an activation that went beyond just talking about voting, the dynamic duo focused on encouraging audiences to consider how it might be to live with the consequences of not voting.

Their interactive campaign involved inviting cinema goers to download an app which would allow them to vote for their preferred movie experience, knowing that the majority of people would ignore the offering. Once inside the cinema and faced with the possibility to watch a film in another language and in a less than comfortable environment, this became a tangible and brilliant parallel of how audiences’ passive attitude could negatively affect their experience.

“The emotional impact on the audience is what makes it so effective. When the audience is forced to deal with other people’s choices they are aware of what voting means and the consequences of not voting become very real,” explain Andreoli and Dearling, who hope that the advert will spark an emotive chain reaction in audiences.

“To be honest, we are hoping for a reaction of confusion then frustration then anger then injustice then relief then guilt and then clarity, which will hopefully drive the audience to vote,” they explain.

The two young creatives will be flying to Cannes for the festival, which takes place from 15 to 21 June, and though excited and grateful to be going, they are also nervous to be competing against talented creatives from around the world.

Yvonne Diogo, Marketing Manager for Cinemark, the local representative for the Cannes Lions International Festival of Creativity, comments that the company is thrilled for the winning team and that their submission really depicted creative execution. “There is no doubt that they will be South African representatives of a very high calibre at Cannes this year and will do us all proud,” says Diogo.

“We are really excited to go to Cannes. It’s going to be amazing. Visiting the south of France is unreal. Meeting creatives from around the world and seeing great work is going to be really inspiring,” Andreoli and Dearling conclude. – Carly Barnes

Bonkers and utterly brilliant, the new Nando’s ‘Give Your Body What it Wants’ spots, conceptualised by creative advertising agency Metropolitan Republic and brought to life by Cape Town-based Plank Film Productions, they are a fun breakaway from the controversial commercials, which South African audiences have come to expect from the brand.

Make no mistake, the typical Nando’s humour, which is infamously clever and culturally relevant, is still very much a part of the campaign, which features flying fast food, a quirky voiceover and a bunch of typical South Africans whose bodies seem to be possessed by a craving for all things – peri-peri.

The two adverts, ‘Burger Meal’ and ‘Festive Meal’, were shot over two days in Johannesburg during March at a number of different locations including Nasrec train station, Nasrec Expo centre and Ndofaya Mall.

Anco Henning, Executive Producer at Plank Films, who worked on the spots with Director Peter Pohorsky and DOP Werner Maritz, says their biggest challenge was managing a very quick turnaround time on a production, which

required many set builds. “We had eight work days from official

sign-off to do prep, castings and call-backs, find locations, get all the PPMs and approvals done and then we had three days to build an entire food court,” explains Henning. “At one stage we were composing music in one room of the building, doing final mix in another, doing voiceovers in another, animating the end titles downstairs and starting the grade on the second ad, all at once… and we had a ball doing it.”

Without the luxury of time, the production team had to be innovative in their approach to filming, so that a high quality final product could be achieved.

To achieve the effect of the actors losing control of their own bodies, Jenni Robinson and David Mahlangu from 4FX and Stunts rigged the actors with green poles and set them against a green screen, puppeteering their arms to create the erratic movement in their performance. These shots were then combined with a background plate in post-production, which was performed by Blade Post, and refined using VFX and a rotoscoping technique.

Though the lead cast were all carefully

selected and the extras handpicked, as the concept called for creative interpretation and an ability to deliver physical performance, Henning’s casting philosophy remained just as it would be for any project.

“The important thing is to not limit the brief by being too specific about race, age or gender. You never know what

someone might bring that you could never have scripted. Whoever brings the best interpretation of the role, even if it’s completely different to the script, gets shortlisted and we might change things according to what they bring to the party with their unique stamp on things,” says Henning. – Carly Barnes

Joe public whiz-kids win Cinemark Young Lions Competition

Taken over by tastiness

EFFECtIVE EMOtIONAL IMPACt: Marina Andreoli and Sonia Dearling

FuN BrEAKAWAy: Behind the scenes on the Nando’s Give Your Body What It Wants Festive Meal advert


All cellular networks are not created equal, according to a new Cell C advert which follows a string of cheeky jabs, mostly aimed at rival mobile operator, MTN.

The dispute between the cellphone networks involves cuts in call termination rates set by the Independent Communications Authority of South Africa (ICASA), and has played out in double-page newspaper spreads, courtrooms and on radio since February. By reducing the rates which operators charge each other to transfer calls between their networks, ICASA has opened up the potential for smaller operators, like Cell C, to lower retail prices and gain a bigger share of the industry. MTN is one of the major players that are fighting against the new rates regulation.

Benjamin Kaufman of 7Films produced the commercial and says the ad conveys the message that Cell C fights for South Africans by offering fair and easy-to-understand products – including the lowest guaranteed flat call rate in the country. His brief from Johannesburg-based creative agency, FCB 1886, was to create a commercial highlighting the fight that Cell C is undertaking for the South African consumer and the result is powerful and uplifting.

In the commercial, a voiceover plays over a montage of inspirational footage featuring South Africans who express their independence through raised fists, loudspeakers and protests. These scenes are intercut with shots conveying the everyday lives in which they live, ranging from children playing in a suburban garden to an elderly tribesman looking at the horizon. Kaufman comments: “We wanted as much of a cross-section of South Africans as possible.”

Kaufman says that, although the production team had to stick to key points taken from the voiceover, they did have creative freedom over some of the scenes as it was a vignette style commercial. “It was important that the commercial was cinematic and had large scale to it,” he adds.

Executive producer, Jason Plumbly produced the advert along with Kaufman; and the DOPs, Trevor Brown, Kim Hinrichs and Lourens van Rensburg, who also directed the advert, shot the spot using two Arri Alexas, a Steadicam rig and an aerial drone. The Steadicam was operated by Richard Rolf, while Kobus Swart was responsible for art direction and Philip Stapelberg for wardrobe. – Carly Barnes

Cell C campaigns for the people

Behind the scenes of Cell C’s ‘reasons to Believe’ commercial

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| FILM

From the producer of the award-winning Material and the director of hard-hitting Man on Ground, comes a new film that challenges old-

fashioned notions about black movie audiences in South Africa and explores one of the most exciting aspects of life: falling in love.

Three years in the making with Omotoso as lead writer and director and Thorpe as co-writer and producer, filming on Tell Me Sweet Something began on 5 May in the heart of Johannesburg.

The modern romantic comedy tells the story of Moratiwa (Nomzamo Mbatha), an aspiring writer who runs a bookstore in the heart of Johannesburg, whose life changes when she meets and falls in love with Cole (Maps Maponyane), a male model who has never read a book in his life.

Moratiwa and Cole become romantically involved but complications are set in motion when Sashi, Cole’s now pregnant ex-girlfriend, shows up.

Catering to black South African audiences’ needs

After doing a lot of research to disprove the notion that movies made for black audiences don’t do well at the box office, Thorpe and Omotoso set out to make a film that would appeal to young, urban and hip black audiences whose cinema needs are not being catered for in South Africa.

Says Thorpe: “Black movies and stories are often very gritty, which is totally legitimate and important, but there is no commercial, feel-good cinema outside of something like White Wedding. After that there was nothing, which in itself is strange as the film was such a hit.”

Thorpe continues that they wanted to do a rom com that utilises the environment, Johannesburg in this case, and doesn’t ignore it but rather incorporates it as part of the film with the

Maboneng Precinct and Braamfontein as primary locations.

“Akin has a notion that Johannesburg as a city and black South Africans in particular aren’t portrayed as loving and in love and having those moments,” says Thorpe. “For him that is an important aspect of what is missing on our screens.”

Because of the content of the film, Thorpe and Omotoso are going for a cinematic look that is warm and welcoming. “The idea is to reimagine Johannesburg as a romantic city and in that way we are going to choose to show the city slightly differently and to try and give people something else,” adds Thorpe.

Mirroring a beautiful African city

The film needs to mirror the idea about people in Johannesburg falling in love and having great times and as a result the filmmakers are focused on showing the beauty of the city, which is often under-represented in most movies set in the metropolis.

“We’ve chosen Maboneng because we think it represents some kind of new Johannesburg, which refers to a stylish modern city which indicates a progressiveness,” emphasises Thorpe.

Thorpe and Omotoso have tried to inject as much intelligence into the characters in the film as possible and despite being written by men (both married to strong feminists), Tell Me Sweet Something is a women’s movie, Thorpe says.

“We have spent a lot of time talking to young and independent women, asking advice and getting constant feedback about attitudes,” continues Thorpe. “We have been careful not to portray the female lead as in any way subservient, and therefore collaborated with women. We want the film to model the idea that it is okay for a woman to be independent

and not wait for a man to come and save her.”

Another difference to traditional romantic comedies is that Moratiwa has commitment issues, which is something usually associated with men. “So we decided to give her that instead,” Thorpe remarks.

A shared humanity

“Making films is the reminder of our shared humanity in a very divided world in which we spend so much time involving ourselves inadvertently in working out how we are different and how we like to do things as opposed to other people,” says Thorpe.

He stresses that the idea of shared

humanity is an important reminder that we all laugh and cry and love our children and all struggle with our personal relationships.”

Thorpe concludes: “Romantic comedy exploits the notion that two completely opposite individuals can fall in love and gives audiences a safe space in which to watch something that warms their hearts. And why not?”

Tell Me Sweet Something releases nationwide through United International Pictures in the first quarter of 2015 and also stars Kagiso Lediga (Blitz Patrollie), Thomas Gumede (Otelo Burning) and Thembi Seete (of Boom Shaka). Matthew Moodley and Cecil Barry of Red Pepper Pictures are executive producers on the film. – Martie Bester

Suave and modern romantic comedy beats to the heart of Jozi

LOVING AND BEING IN LOVE: the stars of Tell Me Sweet Something, Nomzamo Mbatha and Maps Maponyane

Tell Me Sweet Something by producer Robbie Thorpe and director Akin Omotoso is a new romantic comedy about love, life, laughter and a shared humanity in downtown Johannesburg.


FILM |

Over four weeks in January 2013, Alistair Orr and a small production crew contended with the perils of Panama while shooting

Indigenous, a horror film about five friends who are hunted by a blood thirsty jungle monster, the Chupacabra.

It’s a jungle out there

Orr is no stranger to slaughter, having shot two low budget horror movies, The Unforgiving and Rancid, in South Africa before making his international directorial debut. The films barely blipped on the local radar, which, according to Orr is in part due to a lack of marketing and promotional support from South African distributors, but managed to make a lot of money through DVD sales overseas. It was then that Orr set his sights on Tinseltown.

“I banged out two very cheap films out of my own pocket, sent them to whoever would watch them overseas and didn’t focus on the South African market. Lionsgate Entertainment wanted to remake The Unforgiving, a very low budget movie that some industry friends and I shot over eight weekends, and that didn’t end up happening… but this film did,” says Orr, whose initial contact with Lionsgate led to him being asked to write and direct Indigenous. He was required to write the script in only a few months, before heading to South America to shoot.

Only in Hollywood

While Orr was able to bring South African make-up artist Kate Blackman and DOP Brendan Barnes along for the shoot, he and co-producer James Samson had to hustle the streets of Hollywood in search of the remaining talent needed to make the monster movie come to life.“We were just two very naïve young guys cruising around Hollywood, begging for favours and sending out emails,” says Orr, who managed to secure the services of David LeRoy Anderson, a winner of two Best Make-up Academy Awards for Men in Black and The Nutty Professor, as well as go-to Zombie impersonator, Mark Steger, who featured in a number of blockbusters including I Am Legend.

“Only in LA would you find someone who does monsters for a living,” he jokes.

real sweat

Set up in abandoned military barracks along the Panama Canal and aided only by a local line producer who helped source crew and a jungle guide, Orr and his team were faced with challenges that went far beyond language barriers and lighting.

“It’s easy to sit in LA and write a script, but to actually find the locations in real life was a different story. Luckily Panama is tiny with only five million people in it, so if you need something or if you are looking for a certain location, somebody knows somebody who can help you,” says Orr.

He continues: “That environment is alive. There are snakes – coral snakes – which, if they bite you, leave you with three hours to live, and they have no vaccine for it. There’s nothing you can do. Mosquitoes were a big thing. To get the gear to where we wanted to shoot we had to take canoes, cable canopy tours and trek the jungle. Even though we were shooting handheld, it was still a big thing to cart cameras and generators through thick jungle.”

Though faced with a number of obstacles set by Mother Nature, Orr maintains that it was well worth it for the electrifying moments he was able to capture on film, and adds: “When you are making a film and you see it unfold in front of you, you can’t help but get excited. It’s not fake sweat on you, it’s real sweat.”

Post monstrosity

Before returning to Johannesburg as co-founder of post-production house, The Dark Side, Orr spent eight months editing the movie unassisted, and made several further trips to Panama for pick-up shots. Orr was also able to enlist assistance from Prime Focus, the VFX team who worked on films, Machete Kills and Gravity, to up the scare-factor by adding some terrifying tweaks to the movie’s imaginary creature.

“We shot a lot of the Chupacabra creature in daylight, which was not the best idea because there is nowhere to hide any flaws. The Lionsgate producers pulled a deal with the guy doing VFX for Machete Kills to work on the monster, distorting it a bit, extending its mouth and making it a bit more scary,” says Orr.

“I thought I was going to be there for three months, and I ended up being there for about a year and a month,” remarks Orr, who concludes, “Everyone underestimated this film.”

The film’s producers submitted it to the 2014 Tribeca Film Festival, which took place from 16 to 27 April in New York, where it was one of seven movies chosen worldwide to premiere in the midnight section of the event. Indigenous will also receive a theatrical release in the US and other territories around the world. – Carly Barnes

‘Indigenous’ talent poached for panama flick

FILMMAKING… A SCAry BuSINESS: A still from Indigenous

Alistair Orr, the South African-based director recruited to direct Indigenous

South African director Alistair Orr was an emerging filmmaker battling to break into the local industry, until he got the call that everyone dreams about; a heavy-weight Hollywood exec asking: ‘How soon can you get here?’

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18-21July2014

Truth

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g‘Indigenous’ talent poached for panama flick


DOCUMENTArY |

“The true miracle of the 1994 elections,” John Kani says in his narration of 1994: The Bloody Miracle, “is that they

happened at all. If this was a miracle, it was a truly bloody one.”

Three years in the making, 1994: The Bloody Miracle arose from Rickards’ and Haitsma’s belief that people in South Africa take freedom and democracy for granted. “We wanted our film to confront the viewer with the levels of anger and fear that existed in the lead-up to the first democratic elections,” says Rickards, “lest we forget how close our country came to the brink of civil war. Despite all our complexities and hang-ups, we don’t always acknowledge the extent to which we are impacted by the trauma of our recent history. This often manifests in deep-seated, even unconscious prejudice. We wanted our protagonists, who represent extreme positions – or have done in the past – to throw into sharp relief the kinds of fear, anger and bigotry that still divide our deeply unequal society.”

the radical fringes

So, unlike other documentaries on the subject, Rickards and Haitsma’s exploration of the 1994 transition focuses not on the major players – the negotiators in the dialogues between the National Party (NP) government and the African National Congress (ANC) – but rather the extremists on the fringes. These were the people who were not satisfied with the terms of the negotiations and chose, or felt compelled, to press their case violently. Among the interviewees are former South African Defence Force generals Constand Viljoen and Tienie Groenewald, who tried to mobilise their followers in a bid for an Afrikaner volkstaat; Inkatha hit squad leader, Daluxolo Luthuli; Nico Prinsloo, a general in the Afrikaner Weerstandsbeweging (AWB), who planned a series of bombings before the first election; Azanian People’s Liberation Army (APLA) leader Letlapa Mphahlele; and the notorious commander of the C1 counter-insurgency unit, Eugene de Kock. The film does also include the opinions of many ‘mainstream’ leaders, such as former President FW De Klerk, current President Jacob Zuma and ANC stalwart Mac Maharaj, as well as judges Richard Goldstone and Johann Kriegler. But, just as important, if not more so, it also tells of ordinary people whose lives were impacted, often irreparably, by the events.

revelations

While the film covers many aspects of the build-up to the 1994 elections that are well-known, such as the right-wing coup attempt in the former homeland of Bophuthatswana and the so-called ‘hostel wars’ between supporters of the

ANC and the Inkatha Freedom Party (IFP), it also contains a number of surprising revelations, as well as new insights into some well-reported events. While making the film, Rickards says, the crew constantly learned things they had not expected to find.

“Firstly,” says Rickards, “how many people are still living with the scars – emotional and physical – of that time. We interviewed a lot of people on the East Rand, in KwaZulu-Natal and in the North West, many of whom had lost loved ones, or are disabled because of the horrific violence in the lead-up to elections. Secondly, we had had a vague notion of the so-called Third Force involvement in stirring violence, but had no idea of the extent of meddling on the part of the state’s security apparatus – the fact that Military Intelligence supported, not only Inkatha but also, at times, ANC members, in an effort to keep the fire burning.”

Rickards, Haitsma and producer Paul Egan decided at the outset that they would not seek the opinions of academics, historians or political analysts. The stories are told through interviews with people who were actively involved in the plans and events.

“We got them all on board through sheer persistence,” says Rickards. “We must have written hundreds of letters and made thousands of phone calls to get the interviews. The application process to film De Kock took nearly two years and I also visited him in prison. We spent a lot of time getting to know some of the interviewees – you can’t just turn up on the day and expect people to open up. Something I learned on a personal level, is that however much one disagrees with someone’s beliefs and actions, there is always some level on which you can connect – some humanity within.”

A story of people and land

In addition to the interviews, the film includes an impressive array of archive footage that many people may remember from the news reports of the day. Haitsma frames the interviews closely and intimately and this is offset by a series of strategically placed aerial shots of the South African landscape taken from so high up that, at first glance the images could be seen as both extreme long shots of the land or extremely close-up, microscopic views of some unnamed organism. For Haitsma this had two purposes: to contrast the extreme intimacy of the interviews and to remind the viewer that, at its heart, the film’s story – and South Africa’s as a whole – is about the land itself and the people who live on it, live off it and die for it. “I realised, making this film, how little I knew about a huge segment of South African society,” says Haitsma. “It made me understand this society better – the unequal division of wealth and how easy it is to ignore these people and these places. They seem forgotten – be it Kumalo Street or Mahehle. I was also impressed by the openness, honesty and eagerness of the people to tell us their stories. I think that what makes 1994 really special is that a great part of the story is told from the perspective of those characters. And let’s be honest – it’s about time. Their story has been denied and ignored for too long.”

1994: The Bloody Miracle is a Boondogle Films production, produced by Paul Egon, with Chris Nicklin of Sabido Productions as executive producer. – Warren Holden

1994: The Bloody Miracle

VIOLENt BIrtH OF FrEEDOM: A scene from 1994: The Bloody Miracle

Co-directed by Capetonian filmmaker Meg Rickards and Botswana-based cinematographer Bert Haitsma, the recently released documentary, 1994: The Bloody Miracle goes back 20 years to examine a country in the throes of violent birth pangs, struggling to bring forth a democracy that came dangerously close to being stillborn.


| TELEVISION

The inspiration for Isibaya arose in the late 1980s when Angus Gibson had visited Msinga in the Thukela Valley to do interviews with hostel dwellers

at their homes. At the time he was captivated by both the landscape and the very strong sense of Zulu tradition in the area and stayed in a polygamous household while he was there.

Contemporary and traditional tensions

“In the contemporary world, among the black middle class, the huge difference in the life experience of the ‘born frees’ and

their parents, as well as the tensions between traditional, rural values and contemporary urban values were of real interest to us,” says Gibson. “And Isibaya brought these elements together.”

Gibson adds that enough research had been done to pitch the broad idea of a polygamous taxi owner, living a schizophrenic urban / rural life, who is captured by his rival and turned into an mkhovu (zombie) assassin.

“When the go-ahead was given by Mzansi, we spent six weeks doing more research in the taxi world and the Thukela Valley and simultaneously fleshing out and developing the characters and narratives,” continues Gibson.

real-world inspiration

With the main themes being ‘taxi violence, greed, conflict, peace and reconciliation versus war and conflict, money and corruption’, the writers always turn to the real world for inspiration. “We feel like we have only scraped the surface of the taxi world,” adds Gibson. “Also, the more time that we spend filming in the Thukela Valley, the more narrative possibilities reveal themselves.”

The daily process of writing a soap of this magnitude with complicated, multi-faceted characters demand that the editing process is vital in maintaining consistency as different writers

sometimes have different takes on the characters.

Gibson says: “We have a team of story-liners responding to research and sitting together each week debating character and generating story. We are, at the moment, refining our character bible with new ideas as the actors inhabit their roles and give them their own idiosyncrasies.”

Isibaya demands of Gibson and his fellow producers to be hands-on. “We are infamous for going back at the last moment and changing narratives that we don’t feel are working. We have a crew, actors and editors that also feel very invested in the show and express their opinions, and also have a vocal audience that we listen to,” he says.

The first year of Isibaya was planned from beginning to end in broad strokes but now that it seems likely to go forward indefinitely. Gibson mentions that story ideas are probably four to six months ahead of what is broadcast.

According to him, Isibaya’s audience has an appetite for high drama and action on a regular basis. He adds: “Authenticity is also something that we take very seriously.”

Maintaining the DNA of a strong cultural tradition

The head writer comments that going

into the second year, it is difficult not to feel the terrors of a novelist following up on a first success. “We have to find fresh stories that deliver the same DNA as the original. Due to the first year’s narrative we have had to lose characters and bring in new ones. We hope that they will prove as popular.”

Gibson continues: “We will try to on the one hand to maintain the DNA of a strong cultural tradition, a vigorous taxi world, upstairs / downstairs rural / urban conflicts and comedies of manners, inter-generational conflict and a supernatural element. On the other hand we want to challenge ourselves to constantly explore new terrain.”

The writing team, who won in the Best Soap Writing Team category at the recent South African Film and Television Awards, also comprises Mpumelelo Paul Grootboom, Jacob Ntshangase, Gillian Breslin, Libby Dogherty, Harriet Perlman, Paul S Rowlston and Christian Blomkamp.

Concludes Gibson: “We have great respect for the teams who have been creating daily narratives for many years already so we feel humbled to be recognised like this. We will be very pleased with ourselves if in 10 years’ time we still win some awards.”

Isibaya screens on Msanzi Magic on DStv Channel 161 from Mondays to Fridays at 20h30. – Martie Bester

Gritty soap set against the backdrop of taxi industry mesmerises viewers

DIFFErENCES OF urBAN VALuES: On the set of Isibaya

Wildly popular Mzansi Magic soap Isibaya, meaning ‘The Kraal’ – the name for an enclosure where livestock is kept – originally began as a 208-episode drama telenovela show, created by writers Angus Gibson, Catherine Stewart, Benedict Carton, Theboho Mahlatsi and Desiree Maarkgraaf and produced by Bomb Shelter. On 17 March the show started airing as a daily soap, focusing on the bitter rivalry between the Zungus and the Ndlovus, two taxi-owning rival families in the Thukela Valley in KwaZulu-Natal.


TELEVISION |

Based in Johannesburg, Time Frame Broadcast Rentals and Services is roughly positioned in the gear rentals area of the industry but in reality, its business philosophy is more complex than that. Owned by Michael and Vanessa Yelseth, Time Frame offers a full, turnkey solution that covers gear hire, crew, facilitation and logistics. “When a client approaches us,” says Michael, “we get involved in their production from beginning to end. We get our crew involved as well as advising on the best gear for the job, renting that out from our inventory if we have it or sourcing it from elsewhere if we don’t, and we assist the production in whatever way we can.”

A seasoned cinematographer who began his career as an ENG cameraman, Michael Yelseth usually comes on board these productions as director of photography and / or director, while Vanessa handles the facilitation and logistics aspects.

One of Time Frame’s major jobs recently was when they were contracted by Endemol to work on Survivor Champions. Yelseth, Rian Englen and key crew brought with them the experience

gained from having worked on many seasons of the hit American format since it first launched. A 19-camera set-up, complete with infrared lighting for the night scenes, wireless video system, underwater equipment and a totally wireless audio set-up, was flown into Malaysia for the shoot, mostly from Los Angeles, where Time Frame has now set up a branch under the management of long-time collaborator Rian Englen.

Another recent project is a feature-length documentary on former Springbok hero Joost van der Westhuizen. Working with director / producer Odette Schwegler of Blink Pictures, the team has followed the former sportsman around the world, documenting his struggle with ALS / motor neuron disease. Currently Time Frame is working for Rapid Blue on

their SA Tourism campaign. “It’s now in it’s fifth season and we are very proud to have been involved in this project,” says Vanessa.

Time Frame recently acquired a large supply of new gear to add to their multicam reality platform, which they have recently tested on productions such as Quizzical Pictures’ Tropika Island of Treasure and Lucky Bean’s Twende Kazi project. This set-up features six Sony PMW-400 XDCAM cameras, various Canon HJ lenses and Sachtler tripods. The company has also added a number of new Lectrosonic SR Dual radio mic systems to their inventory.

A trend that Michael has seen developing both in traditional broadcasting and on IPTV / OTT platforms is the resurgence of advertiser-

funded programming (AFP). “You’re finding a lot more companies choosing to develop a concept for a show and then using it as a platform to drive their brand. And it works. The clients expect a high-end product because of what they’re spending, it doesn’t cost broadcasters anything – in fact they get paid for flighting the shows – and the viewers get a good product at the end of the day. It’s a win-win.”

Another example of AFP work that Time Frame have been involved in developing, together with their client, One Lady and a Tribe, is the Centrum Guardian Project, which recently won them a South African Film and Television Award (SAFTA). Sponsored by Centrum, the multivitamin manufacturer, the show focuses on everyday heroes in South Africa’s emergency and rescue services. At this year’s SAFTAs, the series took the award for Best Factual / Educational Programme.

One key to Time Frame’s success is their commitment to mentoring upcoming professionals in the industry. Many of the crew members that Time Frame call upon for their various assignments started at the bottom and worked through unofficial apprenticeships with the company to become fully fledged professionals and are highly sought after here and abroad. They thus form part of Time Frame’s extended network, which provides a two-way platform for the exchange of equipment and skills. “We’ve found some real diamonds,” Michael says, “and we’ve all become like one big family.”

Positioned in the tree-lined north-east suburbs of Johannesburg, Sasani Studios already hosts the lion’s share of production on some of South Africa’s most popular television shows. Soap operas such as Isidingo, Rhythm City and Scandal are all resident on the Sasani lot.

With these long-term clients and continuing demand for studio space, Sasani found themselves in a rare position of having the need and the capacity to build new studio space. Over the past few months, construction has been ongoing on Stage 8, the newest jewel in the Sasani crown.

After many a month of building work and numerous administrative hurdles for CEO Eileen Sandrock and her team, Stage 8 finally became ready for use just last month and its first client took up residence in the space.

The show in question is a South African take on an international game show format called I Love My Country. The format was launched in the Netherlands in 2008 and has since been licensed to 25 other countries.

The South African version, simply titled I Love South Africa, debuted on Saturday

3 May at 18h05. Monde Twala, e.tv’s Head of Channels, says of the show: “I Love South Africa is fresh, comedic and insightful. We live in a vibrant country with positive and fun-loving people. It’s a fantastic game show format that celebrates our democracy in a fun and

light way that is truly South African.” The show consists of two teams, led by

captains who are comedians by trade. The game revolves around trivia that is South Africa-specific, and tests the contestants’ knowledge of their home country.

In addition to I Love South Africa, Sasani Stage 8 is also booked for the Survivor Champions finale. The stage offers the latest HD technology and provides ample space, in the adjacent building, for offices, wardrobe, hair and make-up.

The Time Frame Family

Sasani’s Stage 8 launches with new e.tv game show

ALL SEt FOr SURVIVOR: Cameras being prepared for shipment to Malaysia on Survivor Champions

NEWESt JEWEL: South Africa’s newest game show, I Love South Africa in production on Sasani Studios’ Stage 8


TELEVISION |

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With the flexibility of combining studio space up to 800m2, the facilities are best suited for sitcoms, drama’s, commecials,

corporate training videos and fully equipped or multi/single cam shoots or dry hire.

• Sound proof studios• Mobile Studio

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• 12m x 3m green screen cyc• Full lighting grid with dimmers and lights• Green room, make-up room, crew rooms,

drawback areas and production offices available• Safe parking available

Deyasha Sukdeo +27 11 350 2084 [email protected] van Reenen +27 11 350 2035 [email protected]

Creative Agency

Dyvi is a new video switcher that signals the end of the traditional approach to live broadcasts. The product is marketed as a solution that ensures no more technical limitations and no more complicated and expensive hardware upgrades.

Taking advantage of the latest IT technologies, Dyvi puts the broadcaster in control – and makes collaborative remote production a reality. It enables producers and production directors to access and manage all feeds remotely, in real time, from anywhere in the world.

Dyvi brings the benefits of the latest IT-based technology to outside broadcast and studio-based live broadcast facility companies and broadcast networks.

It gives the production director complete control of all key switcher

functionality, finally making true, collaborative remote production a reality. It can also process any source material in real time, and all in stunning uncompressed quality.

Fully modular, Dyvi is scalable for any size or type of production – from a small studio to a major live broadcasting event.

Dyvi’s product and solutions were well received when they were demonstrated

at the NAB Show in Las Vegas in April. The Belgian-based company promises the broadcasting industry that its switcher heralds a new era in video switcher technology.

Dyvi signals a new era in video switchers

GOODByE tO COMPLICAtIONS: Dyvi 40-button control panel


| TELEVISION

why did you deCide to beCome a direCtor? ugah: I prefer to think of myself as a filmmaker. As far back as I can remember, I have always been fascinated by movies, to the extent that I always got into trouble with teachers in school because of the noise I made while recounting the films I saw the day before to my classmates. miller: Default. Shit happens…

how would you desCribe your direCtiNg style? ugah: I like to always keep things simple and as such I always search for the shortest and quickest path towards having the audience engage and empathise with what’s happening on screen. So in a sense I prefer to let the story influence the style instead of the other way round. miller: Intimate, unrelenting, naturalistic, simplistic.

what does the saFta wiN meaN to you as proFessioNals? ugah: It’s always nice to be acknowledged for the work one does but for us it merely means people know we are out there and are aware of the quality of our work. miller: Opportunity. “Next gig please.”

whiCh uNique produCtioN Values do you thiNK IsIBaya oFFer audieNCes? ugah: First of all Isibaya is uniquely and proudly South African. It’s a hybrid of so many genres, such as romance, suspense, thriller, melodrama and even the supernatural. And all of these are communicated in the photography and do come across visually not just thematically. This is usually rare for this format, where volume is normally favoured over quality. I think with Isibaya we have succeeded in ensuring that the quantity is as consistent as the quality.

what do you eNjoy most about direCtiNg IsIBaya? miller: The privilege and opportunity granted to be surrounded by passionate and very talented individuals. It is been humbling as a white South African director to be given the task of interpreting and realising one of our great cultures (Zulu) through film.

what are the most ChalleNgiNg aspeCts oF direCtiNg IsIBaya? ugah: The most challenging thing about Isibaya is shooting the same amounts of page counts that other soapies would normally shoot in studio on live and semi-live locations. The upside is that we are able to come up with far better, prettier pictures to the credit of our DOPs.

what iNspires you, both iN terms oF direCtiNg aNd persoNally? ugah: I am usually inspired by the sea of humanity around me; I am fascinated with how things can be separate yet connected and vice versa, I love how the small things of the past can be the big things of our future (and vice versa). I am inspired by the degree of layers a seemingly ordinary issue or person can possess and how, in unraveling those same layers, they can be quite an adventure and learning experience. miller: Capturing, nurturing, giving life…

who are your FaVourite direCtors loCally? ugah: Angus Gibson, Teboho Matlatsi, Donovan Marsh, Thabang Moleya , Ralph Ziman, Tebogo Malope, Akin Omotoso, etc. These guys know how to filter through the chaff and go straight to the visceral issues that make us, as a society, stand up and take notice.

whiCh loCal teleVisioN shows iNspire you? ugah: Jacob’s Cross was on another level as far as local South African television shows are concerned and I say that with all objectivity. It was a brave endeavor, very bold and packed with so much cinematic and social value.

what ChaNges haVe you seeN iN the iNdustry siNCe you started? miller: We’ve become penny wise and pound foolish.

what adViCe CaN you oFFer aspiriNg direCtors? ugah: Be a sponge for knowledge and never stop learning. Read till your eyes get sore for it is that understanding of the sea of humanity that empowers you to be able to connect with audiences through your stories. miller: Drop the ego, dude. It doesn’t work.

how do you Chill out? ugah: I watch movies.miller: I “keep walking” (laughs).

what would surprise people about you? ugah: I can’t say “executive decision” without stuttering, don’t know why.

iF you had a wish, what would it be? miller: To get a great performance out of Joan Collins… – Compiled by Martie Bester

DirectorSpeak

FOrMIDABLE tEAM: Adze ugah on set

Denny Miller

ADZE UGAH AND

DENNY MILLEr

adze Ugah and Denny Miller, 2014 recipients of the South African Film and Television Award (SAFTA) for Best Director of a Television Soap for Mzansi Magic’s Isibaya, have directed varied series such as the likes of Swartwater, Jacob’s Cross, Zone 14, Room 9, Skiwas, Tshisa III and Mfolozi Street, their paths often crossing behind the lens through the years.

Ugah also directed the successful documentary The Burning Man and the feature film Gog’ Helen, which he refers to “as a squatter camp noir comedy”.

Now a formidable team behind one of the most popular soaps in South Africa’s television history, Ugah and Miller share some of their views on directing, life, keeping egos in check and Joan Collins…

4 – 5 A p r i l 2 0 1 4

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Best Costume Designers for a Feature Film (Long Walk to Freedom): Diana Cilliers and ruy Felipe

Best Editor Feature Film: Jahmil X.t. Qubeka, writer and director of Of Good Report with Cobus rossouw, one of the film’s editors

Best Production Designer, Feature Film (Long Walk to Freedom): Johnny Breedt

Best Supporting Actor in a tV Drama (Tempy Pushas): Akhumzi Jezile

Best Director of a tV Soap (Isibaya): Denny Miller, co-winner with Adze ugah

Best Editors on a tV Drama (Room 9): Lindi Goosen and Jack Esterhuizen

Best Supporting Actor in a tV Drama (Tempy Pushas): Akhumzi Jezile

Best Writing team of a Drama Series (Room 9): thuso Sibisi and Athos Kyriakides

Best Directors of a tV Drama Series (Tempy Pushas): Libby Dougherty and tebogo Malope

Best Feature Film (Of Good Report): Firdoze Bulbulia and Mike Auret

Best Supporting Actress in a Feature Film (Of Good Report) and Best Actress in a tV Drama Series (Intersexions): tina Jaxa

Lifetime Achievement Award: Abigail Kubeka

Best DOP Cinematographer Feature Film (Sleeper’s Wake): Willie Nel

Best Make-up Hair Stylist on a Feature Film (Long Walk to Freedom): Meg tanner

Best Supporting Actress in a tV Drama Series (Skeem Saam): Harriet Manamela

Lifetime Achievement Award: Beverly and Dereck Joubert

Best DOP Cinematographer on a tV Soap (The Wild): Leon Kriel

Best Production Design of a tV Drama (Rockville): Anneri Gericke

Best Actor in a Drama Series (Intersexions Season 2) and Best Actor in a tV Soap (Isibaya): Siyabonga thwala

Best tV Drama (Intersexions): Mariki van der Walt of Quizzical Pictures

8th annual SOUTH AFRICAN

Film & Television

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Film & Television

Awards

Best Director and Best Writing team in a tV Comedy Series, as well as Best Comedy Series overall: Cast and crew of ZA News

Best Ensemble in a tV Comedy: the cast of Late Nite News

tina Jaxa (right) talks to tango Ncetezo after winning two Golden Horns

Best youth and Children Programme (Big Up): thabo Pitso, thokozani Nkosi and Wright Ngubeni

Best Actress in a tV Comedy (Skwizas): tsholofelo Monedi

Best Editor of a Wildlife Programme (Speed Kills – Savannah): Keith Fraser

Best Magazine Programme (Bravo): Producer Paul Venter of Homebrew Films

Best Composition for a Feature Film (Khumba): Bruce retief

Best reality Show (Around Iceland on Inspiration): Peter Gird on behalf of Cooked in Africa Films

Best Editing of a tV Soap: Members of the edit team of The Wild

Best Ensemble in a tV Soap (Scandal): Brighton Ngoma, Masasa Mbangeni and Kagiso Modupe

Best tV Soap: Cast and crew of 7de Laan

Best Cinematographer of a Wildlife Programme: the DOP team of Speed Kills – Savannah

Best Actor in a Feature Film (Of Good Report): Mothusi Magano

Best Actor in a tV Comedy series (Ga re Dumele): Obed Baloyi

Best Variety Show (Bitten): Sarah Graham and Minke Alves of Okuhle Media

Best Actress in a Feature Film (Die Laaste Tango): Antoinette Louw

Best Animated Film: Anthony Silverston, director and co-writer of Khumba

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the stage is set

Joe Mafela and Abigail Kubeka

Elana Afrika, Jen Su and Katlego Maboe

the Mahotella Queens

Pre-awards socialising in the bar area

Guests gather before the event

7de Laan’s Mimi Mahlasela talks to the press

Isibaya cast members

Chefs Benny Masekwameng and Pete Goffe-Wood

tumisho and Zozibini Masha

4 – 5 A p r i l 2 0 1 4


Film & Television

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Film & Television

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Anele Mdoda

Elana Afrika

Atandwa Kani and tango Ncetezo

thembi Nyandeni

Awards co-host tumi Morake

Guest presenter Zakeeya Patel

Mimi Mahlasela

Loyiso Gola

terry Pheto

Henk Pretorius and partner

rapper and tV presenter ProVerb with his wife Onalerona

Zama and tando Mkosi Carmel Fisher

Khanyi Mbau

Bubu Mazibuko

Screen Africa senior journalist Martie Bester and SAFtA-winning writer and director, Jahmil X.t. Qubeka

4 – 5 A p r i l 2 0 1 4


pOST-prODUCTION |

Nowadays, anyone with a recent model Mac tower, a copy of Final Cut Pro and a diploma from a film school can offer their editing

services. Without networks of business

relationships or established brands behind them, newbies in the market will use low pricing to get jobs. Mostly, this results in a trade-off in terms of quality, but in areas like corporate video production and event specific videos for example, it seems like there are an increasing number of clients who are willing to make that trade-off. Some of these low cost providers will be successful, some won’t, but there is a steady stream of replacements that will step in and take their place.

Collaborative, mobile workflow

At the international level, our ever shrinking world makes it increasingly easy and cost effective to move work overseas. Currently, this is more evident in areas of the industry that are labour intensive like animation and VFX. The introduction of compact and portable editing systems is one product segment that is contributing to a larger trend – a trend of collaborative editing. Collaborative editing tools like Adobe Anywhere and Avid Everywhere, among others, have made the possibility of outsourcing editing of major productions overseas, a reality, facilitating remote collaboration, both over short and long distances.

Products such as CineSync have led to a lot of changes in the visual effects industry over the past few years, allowing

direct collaboration between artists around the world and supervisors in other locations.

Super-users like Marvel Studios, 20th Century Fox, HBO and Warner Brothers, to name a few, have all embraced collaborative workflows. It is very common today to create visual effects for large projects in Los Angeles, Vancouver, London, New Zealand and India simultaneously, sometimes even working on the same shots in multiple locations. Broadband connectivity has made this possible, but it’s the clever software that has led the wide adoption of those techniques.

On the audio front, this movement has been going on for a few years, with a number of television productions opting to have a sound editor / mixer employed directly by the production, working in a Pro Tools equipped room within the editorial department. AT NAB 2014 Avid launched plans to add cloud-based collaboration workflows to Pro Tools to allow musicians, producers, mixers and other contributors to be able to work together on the same music session or soundtrack, in real-time or offline, no matter where they are.

Post-production, of course, also means finishing. Conventionally, finishing has been done in purpose built facilities, large and small, for both features and television work. These facilities not only have the infrastructure, but also the talent and connectivity to facilitate an efficient finish of very high quality and for this reason they will continue to succeed for some time yet. Having said that, the same technical changes and economics that have pressured the front end of post-production, are influencing many in

the industry to explore alternative models for finishing as well. Economical finishing tools, such as DaVinci Resolve and a lower priced Avid Symphony, for example, allow the creation of ‘in-house finishing’ as an addition to basic editorial.

These all taken into account, it is obvious that there is a clear trend towards a mixed model, in which location based front- and back-end post-production is a reality on many productions, while others will stay in a streamlined facility model.

For feature films, a proper environment for digital intermediate work is still a necessity, but preliminary work can conceivably be done in a temporary environment set up specifically for the production, anywhere it’s needed.

The movement towards a general decentralisation of the post process is obvious, with many steps in the process being done in various physical places depending on the production’s particular logistics and the needs of the creative talent involved.

Declining revenues

According to IBISWorld, a global business intelligence leader specialising in industry market research, revenue in the post production services industry is expected to decline by 3% in 2014, and remain relatively stagnant through to 2017/18.

While it is always wise to take these sorts of five-year projections with a pinch of salt, it’s not hard to imagine that globally there will be relatively low growth in spending on film and television production and that this will trickle down to spending on post. The advertising industry, which is the other major driver of spending on post production, is

unsettled to say the least, with traditionally huge TV advertising budgets diverted to different forms of online advertising

Unfortunately, for existing players in the post-production industry, this is probably the area that is most impacted by a glut of low-cost providers competing on the basis of price. Based on circumstantial evidence, many people who are new to web video are more willing than television advertisers to compromise on quality in order to keep costs low as they experiment with new ways of advertising. The bottom line is that growth in spending on post-production services isn’t going to be enough to offset the pricing pressures that will be driven by new service providers.

The outlook certainly looks a little gloomy; people will have to contend with shrinking budgets across all segments of the industry. In the television world, splintering audiences are forcing broadcasters, cable networks and studios to manage their spending more tightly, meaning that new shows have very little runway to prove themselves before they are cancelled, and that big budget hit shows face pressure to keep costs under control and maximise profits. It also means that relatively low cost lifestyle and reality programming will probably dominate the airways until we reach some kind of saturation point.

Against the backdrop of shrinking budgets, production and post companies are going to face pressure to do everything faster. The moral of the story is that 2014 will more than likely be a year of being asked to do more with less. – Ian Dormer

post-production anywhere, everywhere!

Globally, post production

has seen some major

changes of late. The

combination of low

barriers to entry,

shrinking budgets,

tight timelines and

the relentless pace of

technology change,

means that it has become

quite difficult to make a

living in this industry. As

the cost of technology

has fallen, so too has the

major barrier to entry

into the post-production

business.


| pOST-prODUCTION

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The massive phenomenon of reality TV shows no sign of slowing down and South Africa is no exception.

Whether it’s major international formats such as Come Dine With Me South Africa, MasterChef and Survivor or local hits such as Ultimate Braai Master and Rize Mzansi, reality remains popular with South African and global audiences.

While the number of reality shows being produced in SA increases, very few production companies seem to be able to successfully manage the post-production process.

A major factor is the sheer volume of footage that characterises reality formats. Generally reality shows will have multiple cameras and shoot over multiple days. On the recent series of Survivor the cameramen were shooting anywhere from 2 000 to 2 800 minutes of content a day.

Given the current card or disc-based workflows, this makes media management a serious challenge on any production. Post workflow planning is key, as is an excellent post-production supervisor. “A good DIT person and excellent assistants are also very important to the post process,” says Andrew Dixon who has worked on both MasterChef and Survivor. “They can mean the difference between being able to quickly locate the right clip and losing crucial footage because it was incorrectly ingested or categorised.

Another principle is the basic rule that

the editor must view all the footage in order to do their job properly.

“You have to do justice to the cameraman,” says Andrew Dixon. “Sometimes a small comment or shot that may have been missed by the content director turns out to be crucial to your storyline.” A good assistant who can synch the audio, carefully categorise footage and do some basic assemblies for the editor can cut down on the time needed, but it is still an extremely time-consuming process.

However, by far the most important part of the reality post-production

process is the editor. Great reality editors possess a rare skill set. They are master storytellers who are able to piece together compelling viewing largely unsupervised, from vast quantities of footage and under enormous pressure.

These amazing professionals are completely underappreciated – a point that is illustrated vividly by the fact that there is no SAFTA award for best reality editor despite the popularity of the genre. Reality editing pioneers like Craig Bleksley rarely get the recognition they so richly deserve, yet without their particular skill set the programmes would not be nearly as compelling.

While there are a lot of editors who could assemble a reality episode, there are very few who have the staying power to consistently produce excellent work for the five to six months of post-production on a series like Survivor, working 14 to 16 hours a day, seven days a week.

The standard of South Africa’s reality programming is surprisingly high – a fact confirmed by the number of international reality formats increasingly being produced in SA.

However the downward trend of budgets and the lack of appreciation for the unique skill sets of all reality crew threaten our capacity to continue producing excellent work. – Kirsty Galliard, General Post

The unique demands of the reality edit

tHE rEAL CHALLENGE: Editor Andrew Dixon


pOST-prODUCTION |

Hilton Treves, long time VFX expert and co-creator of BlackGinger, which he sold in April last year, says: “I needed a change from

commercials, was suffering from burn-out and wanted something with more soul.” Feature work was the main attraction for him and in August last year he formed FuseFX.

“The intention was to come in right at the start of a project, not only at the post-production stage,” he says.

“The idea was the fusion of digital effect supervision, which is my area of expertise, and to ensure that things are shot and processed correctly before it gets to the VFX and post-production house, so FuseFX was to be focused on the technology of virtual sets and virtual environments.”

The technology catering for this did not yet exist in South Africa. The process is called Lidar scanning. As is often the case with innovations in the field, Lidar was not originally designed for the film industry. It was first created for military, engineering, surveying, mining and crime scene investigation purposes. It offers high technology 3D views of the world in which it is operating.

Treves explains: “Lidar is a remote sensing technology that measures distance by illuminating a target with a laser and analysing the reflected light. The term Lidar was actually created as a portmanteau of light and radar. It is basically a laser scanner which fires out a beam. Where it hits it bounces back, registers how long it takes to get there and generates a point in 3D space.”

Hollywood professionals soon realised that it had an application in VFX – for instance, scanning a set for future use should the original be destroyed. In fact it would be true to say that the Lidar has been used in every feature film that you care to imagine in the past 10 years. From The Incredible Hulk, The Avengers and Superman to creature movies using virtual characters. Lidar and cyber scanning are very much cornerstone technologies into today’s feature films.

The applications are mind boggling. Entire sets can be captured and created as virtual sets. When plugged into matchmoving software the virtual set can be matched perfectly to the photography. “If a creature needs to be placed in a specific area, I don’t care what the lens is as I know my performances are

going to be based on what my virtual build is,” adds Treves.

“We have used Lidar for several applications on the movie Dominion, such as scanning streets in Cape Town to double for Las Vegas. We have also used it for pre-visualisation. In one instance we scanned Rhodes memorial for overseas directors and gave them the data which they could take to the virtual planner and see what they would physically see from any angle, therefore planning their shot before they came to South Africa,” continues Treves.

“We turned Long Street into a virtual environment so that it could double as Las Vegas and we could have the exact proportions of where a vehicle was going to be in the street,” he says.

“We also scanned multiple sets for the Jeff Bridges / Meryl Streep movie The Giver. All the virtual sets will be used for set extensions, matchmoving and matte paintings for the film.

“Another area of the business is what we call cyber scanning. It’s the process where we take a human subject, scan and digitise their form and turn them into a virtual digital double. So I can scan you and have an exact digital likeness of you.

Treves says: “We did some remarkable cyber scanning for Dominion and The Giver. Actress Meryl Streep was unavailable for one of the days of shooting and production wanted to have her as a holographic projection. For this we use a white light scanner. We used this on her; she got onto our rotating stage, the device fired a whole series of patterns, shapes and grids onto her which then registered back as thousands of photographs, which the system transformed into a three-dimensional model based on the grid pattern. We created a full digital double and the virtual performances were then matched to the real. The whole process is completely portable and includes a turntable which is linked into the computer,” Treves reveals.

He adds: “This is a market that I had hoped for. It’s an industry that I know inside out so it is a great place in which to start to become comfortable with what the technology is capable of. The only limit is your imagination. It’s unique to South Africa and another unique offering from Waterfront Film Studios.” – andy stead

Breaking new ground at Waterfront Film Studios

DOuBLE tAKE: Meryl Streep at Waterfront Studios being cyber scanned for the creation of her digital double, and (right) the result of the process

Waterfront Film Studios was launched recently on the promise of offering specialised expertise. With the combined talents of Steve Harris, Ivan Bridgens, Hilton Treves and Alun Richards it was inevitable that creative chemistry would occur. Sure enough, it has; among recent highlights at the new company is the work of Treves and his team in the VFX department.


| pOST-prODUCTION

Johannesburg-based post-production house, Mushroom Media recently completed its second feature film project, providing Dark Matter Studios a full service post-production solution, including editing, grading and online of Leading Lady, the latest romantic comedy by director Henk Pretorius.

The film, which stars Irish actress Katie McGrath and South African musician Bok van Blerk, involves a British drama teacher who comes to South Africa to prepare for a role as an Afrikaans war heroine. She enlists the help of an Afrikaans farmer, and a romance develops.

Mushroom Media, which is well established as a post-production facility for commercials and other long-form work, completed their work on Leading Lady in April, in preparation for the film’s release later in the year.

Warwick Allan, founder of Mushroom, says of the project: “Its been a great pleasure to work on this film and especially being able to offer a one-stop post solution to the guys at Dark Matter Studios has been great. We were able to

give the film a lot of personal attention and be intimately involved in every aspect of its development through the post chain from offline to grade and finally online.

“We understand that a film is often many years in the making before it even gets to us in post and, as a filmmaker, you need someone to help you take it to completion with a renewed sense of energy and make sure the absolute best results are achieved from the shoot’s rushes.

“We are passionate about post-production and love the complex mixture of creativity and technical aspects that makes post so interesting and places it in such a pivotal role in the creation of a feature film. We see ourselves as real partners to the director and producers of the film in that we can be leaned on at the end of the long journey to get it done the best possible way.”

Mushroom Media will celebrate its 10th year of being in business at the end of 2014 and the company has moved through different areas of focus in the

advertising, entertainment and television industries of South Africa over the period but has always had its roots in post-production.

In the past two years Mushroom has developed its full service offering to include high-end grading (DaVinci Resolve – working with up to 5K footage) and online editing capability (Smoke & After Effects) in addition to its offline edit based services. Their model is to keep it small and work with highly skilled freelancers specifically chosen for the job at hand.

This keeps the company agile and responsive to the changing needs of the industry and technology and pairs the right talent to the job. With large scale projects such as the 2.5-hour SAMA

award winning concert film for Lira, full post on a locally produced feature film for Monarchy Group called Thina Sobaili (entered for selection at Cannes 2014), iBhokwe – a short film by John Trengove (official section at the Berlin Film Festival) and an ever growing number of commercials under its belt. Mushroom Media has firmly positioned itself as one of the key players in the post-production sector of South Africa and is set to continue to solidify this position with its personal and friendly boutique style of digital post services, all under one roof – with the one goal of doing top notch creative post work for the South African film and commercials industries well into the future.

Mushroom Media: full-service post-production under one roof

PErSONAL SErVICE: Mushroom Media’s Smoke online edit suite


pOST-prODUCTION |

editeditediteditedit

espresso.Priest is coming to Joburg.A full service edit suite plus a dash of caffeine on the side.142 Jan Smuts Avenue, Rosebank+27 87 754 4032www.priest.co.za

Priest, a Cape Town-based post-production house, is opening a new satellite office in Johannesburg. From 1 June 2014, Jo’burgers can add another working space cum coffee shop to their check list.

Priest’s current headquarters are in Woodstock, Cape Town but the team has felt that the need to set up shop in Johannesburg as a decent amount of their clients are based there.

Priest Espressobar will serve as one part edit suite, one part espresso bar. The new space will be the latest addition to the popular art gallery strip along Jan Smuts Avenue in Rosebank. Priest’s neighbours include Lizamore & Associates, David Krut Projects,

Maker Studio and Res Gallery. “The idea behind opening in Jo’burg is

that we wanted a satellite space that our editors and clients can work from. It works mainly as a film service space, but it runs 24/7 as an espresso bar,” said Cal Kingwill, owner of Priest.

Sharday Swanepoel, wife of Priest’s senior editor Matthew, designed and conceptualised the layout and interiors of the office. It will include a small café space, a full edit suite, a production office and a courtyard.

Kingwill also wanted to work with the neighbouring galleries and incorporate their work into the design of the Priest office. After some research, she came across the incredible work of upcoming local artist, Peter Mammes, who is fortunately represented by Teresa Lizamore. Mammes has been commissioned to paint a full interior mural that will best fit the space.

The espresso bar will be open from Monday – Friday from 07h00 to 17h00, and on Saturdays from 07h00 to 13h00.

For more information, visit www.priest.co.za or facebook.com/priestpostproduction.

Edit, edit, edit, edit…espresso.

HELLO JO’BURG: Priest’s new satellite office in Johannesburg is currently under construction


| pOST-prODUCTION

Upstairs Post Production has made some massive changes this year with the addition of their full Resolve grading and Flame online suites.

Resident colourists include Donovan Bush and Chris Greybe as well as well-known online artist Charmaine Greyling. The post house has also welcomed the talented offline editor James Hosking to the team.

Donovan Bush recently graded Windhoek’s ‘Drogba’ spot for international director Matt Bieler. The commercial was produced by Moonlighting Films and starred Didier Drogba. Donovan also just completed work on the new Discovery ‘Insure’ TVCs for Egg Films’ Jason Fialkov, as well as the new eNCA promos for Plank Films’ Splinter division for Pete Pohorsky and

Mark Fisher’s Brandlab.Greybe joined Upstairs Post at the

beginning of the year after spending the past 11 years in the UK working for the BBC. He started working with colour on set at 4k London where he was involved in some major motion pictures including Maleficent starring Angelina Jolie, Skyfall and World War Z. Since returning to Cape Town Greybe has graded a number of commercials including Jason Fialkov’s News 24 spots for Ogilvy Cape Town, Outsurance for Wink Films and director Bryan Cawood and the very well received Careers24 for Bouffant’s Chloe Coetsee.

Driving the new Flame suite is Greyling who joined the company in their busiest season to date. Greyling was the lead artist and compositor on Ian Gabriel’s feature film Four Corners, which was

selected as South Africa’s entrant for Best Foreign Language Film at the 2014 Oscars.

She has just finished work on Kim Geldenhuys’ first production for his newly established company. Since joining Upstairs she has onlined the new Outsurance campaign; all of the News 24 spots; Johnson and Johnson ‘Soft and Silky’ for Ola! Films’ Amy Allais; Fialkov’s Discovery ‘Insure’ and Giaco Angelini’s Mutzig Beer advert among others. Greyling offers treatment consultation, on-set supervision and creative direction, as well as the final stages of a project with clients in an online editing environment.

Hosking has come on board as a full-time FCP editor based at the Upstairs Post offices in Johannesburg and working in Cape Town when needed. His most

recent work includes KFC France for Velocity’s Anton Visser and the Mutzig Beer advert, graded and onlined by TVC’s Giaco Angelini and agency JWT.

Editor Kobus Loots has been busy as usual, editing Dean Blumberg of Bouffant’s latest spot and Kim Geldenhuys’ KFC ‘Taste of Home’ commercial for Ogilvy & Mather JHB.

The annual Valentines Day High Tea was a huge success with agency and production house producers from around the country in attendance. Executive Producer Ashleigh Lambson continues to steer the ship as port of call for both offline and online production quotes and queries.

A busy year for Upstairs post

MASSIVE CHANGES: resolve Suite 1 at upstairs Post Production


pOST-prODUCTION |

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PHONE: (+27) 21 469 2820

www.tessafordpost.co.za

0000 TessaFordPost_ScreenafricaQuaterpage.indd 1 2014/04/16 20:52

PHONE: (+27) 11 100 0877 | (+27) 11 100 0858

www.tessafordpost.co.za

JOHANNESBURGCAPE TOWNLONDON

www.deependpost.com

LUAAN HONG+27 (0)11 100 1809+27 (0)84 409 [email protected]

PAULENE ABREY+27 (0)11 100 1807+27 (0)76 487 [email protected]

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Tessa Ford Post offers production companies a full range of post-production services.

The post-production house was launched in August 2010 by Ford, a Johannesburg-based editor, and features three cinema-style edit suites that offer offline editing (Final Cut Pro, Lightworks and Avid), compositing (After Effects), grading (DaVinci Resolve) and online editing (Smoke).

It therefore offers a complete post-production service as well as on-set editing and full post supervision. At its centre of operations in Bryanston, Johannesburg, Tessa Ford Post also shares premises with sound design and audio mix facility Earworm, as well as with animation studio Sphere, which means that clients can get access to audio post-production services and animation work as needed, on the same site.

This post-production one-stop shop has now expanded its business to the Mother City. Run by experienced producer and editor Matt Stead, the brand new Cape Town branch of Tessa

Ford is situated above Searle Street Post, a well-known name in the industry. The new facility offers all the services that the Johannesburg flagship provides. The two branches are fully networked with each other and provide access to current projects in process on either side and offer easy and seamless workflow. All editors who work at the Johannesburg branch are also represented in Cape Town.

Although it has worked on some longer projects in the past, particularly documentaries, Tessa Ford Post’s forte is really in commercials. The editors are well-versed in the demands of commercials and promos, with their need for fast, effective delivery of the message in the most engaging manner possible. It has been involved with several of the most memorable ad campaigns of the past four years. In keeping with the tight budgets that are characteristic of the current economic climate, Tessa Ford Post prides itself on offering creative solutions to suit the financial resources of any production budget.

Tessa Ford offers complete post-production solution


| pOST-prODUCTION

Deepend Films and its sister companies Deep End Post-Production and Splash FX have earned considerable acclaim lately with the production of a number of documentaries, two of which took home major awards at the South African Film and Television Awards (SAFTAs), held at the beginning of April.

The completed documentaries form part of an ongoing series exploring the lives and work of some of South Africa’s leading visual artists. Chickens Can Fly, which took the awards for Best Director of a Documentary Feature (for Deepend founder and executive producer Paulene Abrey) and Best Cinematography in a Documentary Feature (for Paul Kruger) and was also nominated in the Best Documentary Feature Category, focuses on Pieter van der Westhuizen. Light and Dark, which was nominated for Best Editor, Best Cinematographer, Best Director and Best Documentary Feature, looks at Norman Catherine. Norman Catherine Curriculum Vitae continues the exploration of this artist’s work, and Outsider, which is due for release this month, examines the work of Beezy Bailey.

Deepend Films was founded by Abrey,

together with Luaan Hong, in order to create original content under the Deepend banner, in addition to the services it already offers in the area of post-production. The three companies closely complement and add value to one another, with Deepend Films creating

content, and Deepend Post and Splash finishing the products from offline to online and effects. Of course, the two post and finishing facilities also offer their services independently.

Deepend Films is currently working on several features, including three more on

the lives of South African artists. Outsider, their most recently finished feature, will premiere at the Labia in Cape Town on 14 May, followed by a screening at Cine Centre Killarney, Johannesburg on 19 May.

Johannesburg-based post-production company Aces Up, with its strong focus on animation, had another winning card up its sleeve with the creation of its fully animated, inspirational public service announcement for the South African Depression and Anxiety Group (SADAG).

Under the guidance of producer and co-owner Liesl Karpinski in collaboration with her business partner, creative director and animator, David Theron, the team portrays a girl’s journey through depression in a city made of words.

These characterise her suffering, as do the dark colours through which she journeys as buildings made of letters collapse until she realises, as she flees out of the darkness, and the endless reams of thoughts in her head stop, that ‘the first step out of an overwhelming world is talking’.

Of this labour of love, which took more than a year to complete, Karpinski says: “The biggest investment came from us, we spent our money making it. We were obviously invested in it, not only from a

professional perspective, but also on an emotional level.”

Comments Theron, acknowledging that creatives often suffer from depression and who saw the campaign as giving back for a good cause: “It was an opportunity to do some really nice character work, which you don’t see a lot of in animation for advertising in this country.

“It was a hard project as it was so emotionally draining and the commitment to get it done took us a long time,”

he continues. A first for South Africa, the campaign,

Karpinski adds, “was a great investment for us into our showreel and displaying our capabilities. This is also a good opportunity for us, as a new and small animation company, to get recognised.”

Theron emphasises that “I spent a really long time to get the look of the city itself right and to have it completely built of typography. We flirted with full typography and then went back to architectural typography. There is a lovely balance where the world is made up of those words.”

With the city as a backdrop, words illuminating the character’s painful process and colours evolving as the animated figure journeys from dark into light, all playing out to a piano rendition of Where Is My Mind? by The Pixies, Aces Up, in partnership with FCB Johannesburg, has created a piece of art which the team hopes to enter in the 2014 Loeries and Cannes competitions.

Aces Up has an offering that ranges from design, digital production and illustration to 2D and 3D animation. When creating animated works of wonder, Aces Up uses After Effects, Maya, Flash, Final Cut Pro, Avid and 2D and 3D Studio Max.

View the saDaG spot here: https://vimeo.com/85705741.

SAFTA recognition for Deepend Films

Aces Up creates powerful and illuminating animated spot for SADAG

AN ARTIST AT WORK: Pieter van der Westhuizen in Deepend Films’ SAFTA-winning documentary, Chickens Can Fly

THE POWER OF WORDS: A screenshot from the SADAG public service announcement


pOST-prODUCTION |

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Refienry_Print_HalfPage.pdf 1 2014/04/17 01:10:14 PM

At one stage last year, Refinery was working with 20th Century Fox and FilmAfrika on Seal Team 8: Behind Enemy Lines, with Touchstone Pictures and André Scholtz Productions on Schucks! Your Country Needs You, on Kite for The Weinstein Company and Videovision Entertainment, and on iNumber Number for Quizzical Pictures and Fortissimo.

“We’re working on great productions with some of the biggest companies in the world,” says Tracey Williams, managing director of the Johannesburg post-production facility. “There’s been an improvement in the scale of projects we’re seeing.”

For example, Refinery managed all post-production and deliveries around the world on SAF3, an American TV series from Baywatch creator Gregory J Bonann. “It was a first for South Africa to have an American show post-produced and

delivered to 23 countries internationally from here,” says Williams.

“With TV series like Black Sails and Homeland shooting here, the rebate helps us make a strong case to keep the post in South Africa,” Williams says. “We’re expecting to attract a lot more international post-production work going forward.”

While Refinery has had a great year, it’s also been one of major changes. “Globally post facilities have had to reinvent themselves,” says Williams. “Just look at the number of facilities that closed around the world last year.”

Refinery have made a conscious shift away from the large ‘own everything, employ everyone‘ model. They’ve streamlined to a core team of versatile, experienced talent who can work across multiple platforms, while collaborating with other studios, edit houses and specialists as necessary. “Customisation is the new approach,” says Williams, “which means that post producers need to be creative in assembling the right creative team suited to the project’s individual needs and budget.”

For SAF3, Refinery set up a satellite post facility at Cotton Mill Studios in Epping, Cape Town. “We’re becoming very comfortable taking things to the client, whether it’s dailies solutions or edit solutions or an entire facility like SAF3. We understand our client’s time is expensive, so we’re focusing on how to get solutions

to them.”She says the next major shift will be in

deliveries. “Sony is no longer making SP-Betacam, which will have a significant impact on the SABC,” says Williams. “This is going to be the year that digital file deliveries replace tapes at broadcasters.”

The experience delivering SAF3 to 23 countries internationally gave Refinery exposure into a number of new territories they hadn’t previously engaged with. “Most countries took file deliveries, but not the same codecs or with the same audio configuration,” says Williams. “There’s a huge variation in the specs that different broadcasters accept, so we’re glad we have a proven pipeline and management process in place.”

She says that while Refinery can deliver files via the internet, cost efficiency is still best on couriered drives.

Williams also predicts a more defined role for DITs and data wranglers this year. “The DIT has replaced the role of ‘clearing rushes’. This needs to be done in a controlled environment, with a

broadcast monitor, a keen eye and the experience to know what to look for, from dead pixels and waterfalling to banding, lens and filter issues. This role has become a lot more than data back-up and responsible verification methods. It is critical that the right checks and balances are adhered to,” says Williams.

“From the view point of the DOP, this person is seen as key in making sure the look of the film and his / her vision translates. This means ensuring continuity whether it be the dailies files the executives are viewing or the editorial files used for the offline.

“An in-depth understanding of colourimetry throughout the post-production process is essential to this role. On certain foreign productions this role is still fulfilled by the post facility, especially where high volumes of data are recorded and where workflows have been tried and tested,” Williams concluded.

For more information visit: www.refinery.co.za.

refinery embraces changes in post-production

BIG PrODuCtIONS: Major international production, Kite

Reaching the right audience comes down to a simple equation. Intelsat has always

been forward thinking when it comes to media. When we launched IntelsatOneSM, we

built the satellite industry’s largest IP/MPLS fi ber network to create fl exible, hybrid

content delivery options for our customers. And now, we’re introducing Intelsat EpicNG,

our next generation satellite platform, which combines high-throughput spot beams, for

content regionalization and targeting, with wide beams, for total continent coverage.

That’s intelligent design. Good for your operations and your bottom line.

Learn how Intelsat can help you reach more viewers.

Visit www.intelsat.com/Forward-Thinking for details.

Designed for 2030. Launching in 2015.

7034-Screen-Africa_Media.indd 1 4/17/2014 7:34:35 PM


SATELLITE |

The number of satellite TV households is set to increase in sub-Saharan Africa within the next six years, according to Digital TV

Research Report, 2013. Consequently, broadcast will remain an important market for satellite operators going forward, particularly those who are able to provide both satellite and terrestrial services and develop the hybrid delivery systems that serve a range of broadcasters. As a result, we expect continued demand for African content, as well as Direct-to-Home (DTH) and Digital Terrestrial Television (DTT) services.

As the number one satellite operator for DTH in Africa, Intelsat works closely with multiple operators, including MultiChoice, to deliver programming to the highest number of viewers on the continent. DTH operators have a significant advantage in distributing video services to all of the population with the lowest distribution cost per subscriber, and as economies throughout the continent grow, there is opportunity for future growth.

Satellite capacity also enables growing media distribution applications such as DTT. MultiChoice recently expanded its use of C-band capacity from Intelsat to extend the reach of its DTT television offering in sub-Saharan Africa, delivering more affordable and differentiated programming to viewers throughout the region.

Satellite remains a crucial part of the content delivery chain for DTT in Africa, carrying the signals from the multiplexing facilities that bundle together packages of television channels to the digital transmission towers that send the signals into homes. An added advantage is that satellite signals can be beamed directly to private residences, reaching people who live in more remote – ideal for many parts of the African continent.

Satellite delivery of broadcast content can also help fast track e-learning initiatives. Taking advantage of satellites’ reliability and reach will see an increase in the adoption of e-learning applications across the continent, such as Intelsat’s work with Mindset Network delivering video content for teachers and learners, health care workers and patients, out-of-school youth, and the general public.

With our fleet of more than 50 satellites and expansive IntelsatOneSM fibre network, Intelsat provides proven DTT solutions in Africa. Supported by advanced technologies that facilitate efficient use of bandwidth and improved reception quality, Intelsat enables African audiences to enjoy the benefits of digital television while also hosting premium video distribution neighbourhoods serving all of the populated continents, offering excellent viewer penetration for popular content within and outside the continent.

As the demand for a wider range of programming and content localisation grows, new solutions will be required to meet these demands. With this in mind, Intelsat has announced plans to deploy the next-generation Intelsat EpicNG satellite platform. Using wide beams, spot beams and frequency-re-use technology for increased throughput and performance, channels can be customised for a specific region or beam. Spot beams and frequency re-use provide greater throughput and drive lower cost per Mbpit/s, changing the economic model for delivering localised content. Intelsat 33e, which is scheduled for launch in 2016, will serve the Africa region. – Grant Marais, Intelsat africa MD

Expansion of DTH and DTT applications will continue to benefit African viewers

DELIVEry FrOM SPACE: A satellite orbiting Earth

The role of satellites on the African continent has evolved significantly since Intelsat began providing capacity in 1965. Reliable satellite capacity today facilitates the continued transformation of broadcasting, the spread of entertainment and education options, and the distribution of locally produced content within Africa.

Reaching the right audience comes down to a simple equation. Intelsat has always

been forward thinking when it comes to media. When we launched IntelsatOneSM, we

built the satellite industry’s largest IP/MPLS fi ber network to create fl exible, hybrid

content delivery options for our customers. And now, we’re introducing Intelsat EpicNG,

our next generation satellite platform, which combines high-throughput spot beams, for

content regionalization and targeting, with wide beams, for total continent coverage.

That’s intelligent design. Good for your operations and your bottom line.

Learn how Intelsat can help you reach more viewers.

Visit www.intelsat.com/Forward-Thinking for details.

Designed for 2030. Launching in 2015.

7034-Screen-Africa_Media.indd 1 4/17/2014 7:34:35 PM


IpTV / OTT |

Video distribution has come a long way since the days of analogue distribution. With the advances of MPEG-2, H.264 and now High-

Efficiency Video Coding (HEVC) compression, it has become possible to fit more services at higher quality into traditional distribution mediums such as satellite, terrestrial and cable. At the same time, significant improvement in available internet bandwidth to the end user has led to the potential for thousands of live services to be made available at anytime to a connected home.

The combination of shrinking the needed bandwidth per service with compression and the rise in available internet bandwidth to the end user is leading to significant growth in streaming

media, thus enabling providers to reach their customers easily with content.

While hardware compression solutions have been the core of linear delivery networks, software compression solutions have historically been the core of streaming media delivery networks. As linear and streaming services converge, it makes sense to look at architectures that leverage the benefits of each solution and reduce the potential drawbacks.

Hardware solutions work well for single linear feeds, and they can often be adapted for streaming services if the design of the Application-Specific Integrated Circuits (ASIC) or Field-Programmable Gate Arrays (FPGA) allow encoding based on the number of encoded blocks rather than on a single video. This design also overcomes any concerns with synchronisation between encoders as they are all managed out of the same hardware architecture. However, if there is a need for more than eight high-resolution profiles, it might be necessary to span beyond a single encoder design, thereby adding complexity in order to maintain synchronisation across encoders to support ABR alignment.

Software compression solutions have been historically utilised almost exclusively for streaming or on-demand services. To encode a service, a server would have a video capture card and the software encoding for the various output formats required. Such a solution provides a significant amount of flexibility as any component of the software architecture can be upgraded and modified based on the application needs.

However, software compression solutions have not typically been used for linear services due to performance and reliability concerns in a server-based solution.

A method to have the best of both worlds is a software architecture married with purpose-built hardware. Such a solution provides the flexibility of a software solution for generalised tasks such as transport stream (TS) processing and table manipulation, while offloading the computational complexity of video encoding to attached hardware. By riding the commoditisation of server hardware and the ever-increasing processing capabilities, this architecture is able to provide the critical advantage of scale and channel density for OTT networks.

Mixing of software and hardware for compression solutions can provide significant density improvements, while also providing the flexibility of software upgrades and easier development of new features. The addition of GPU-assisted encoding can provide a two-and-a-half to three times improvement in encoding density for H.264 encoding, depending on the efficiency of the software. This is a considerable jump in performance and allows for significant flexibility in how the codec is used for compression.

While GPUs provide additional capacity for encoding, they are still designed for general-purpose computation, albeit for a specific instruction set that can be useful for assisting H.264 and HEVC compression. An alternate proposal is to utilise ASICs dedicated for compression on dedicated PCIe boards in a server. The advantage of an ASIC solution is that it has purpose-

built compression hardware with low power utilisation, and high performance for encoding only. In this model, you are able to use software to perform all of the TS processing and rate control and ancillary features such as audio transcoding, while the ASICs handle the heavy lifting of the video encoding.

Both a GPU and an ASIC-based architecture will increase the cost and power utilisation on a per-device level. While they both will provide a reduction on a per-service basis, with the ASIC solution having almost 10 times the density, the savings are considerably more.

Streaming media viewership has undergone tremendous growth over the last few years. With this growth, video quality and quality of service have increased due, in large part, to improving internet access and advances in streaming technologies such as ABR. These improvements have led to ever-increasing encoding complexity over traditional linear services. The increase in encoding complexity will only accelerate with the addition of HEVC and further need to simulcast different resolutions and codecs to handle client compatibility.

While software encoding was key to the launch of streaming media, providers need to look at architectures that scale with the additional complexity requirements of their customers. Hybrid software and hardware architectures are currently the best options to provide the lower cost and greater flexibility and scalability needed to adapt to this changing market landscape. – Mark senecal, Imagine Communications

Building IpTV architectures

SCALABLE SOLutIONS: Imagine Communications’ SelenioNext™ is a highly scalable solution for online video applications — from providing a handful of IPtV streams to thousands of multiscreen transcodes

Internet Protocol Television (IPTV) is growing rapidly as a means for the delivery of video content. Both hardware and software technologies are developing to meet this demand, with a number of scalable solutions now hitting the market.


IpTV / OTT |

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Magazine • Website • Directory • neWsletter

It is clear that the video services industry is in a state of transition. The past several months have witnessed a shift towards IP technologies, with networks and other infrastructures’ components moving away from a hardware defined value proposition to one that is more software-centric and adaptable. This shift opens up a realm of possibilities for more dynamic presentation, discovery and realtime usage feedback

As a result, service providers adopting a software empowered model are able better to contain network costs while increasing security, operational efficiencies, and enabling flexible business models that can address the expanding range of consumer viewing experiences anytime, anywhere. Simply put, operators are able to create significant differentiation from their competitors to achieve market longevity.

Inala Broadcast has a complete workflow solution from Zappware / Verimatrix / Harmonic / Broadpeak, which completes the CMS / DRM / CDM – Ingest / Preparation and Delivery of Multiscreen / over-the-top (OTT) solutions. The term ‘multiscreen’ refers to the delivery of the same live or video-on-demand content to multiple devices, such as television sets, PCs, tablets, mobile phones and gaming devices. OTT refers to the ability of a content owner to deliver

content directly to the end user over the internet, going ‘over the top’ of traditional operators such as cable or direct-to-home television (DTH).

Verimatrix, an industry leader in software-based security solutions for content owners and service providers, whose solutions are included in Inala’s IPTV / OTT workflow solution, has recently released an e-book, The Rise of the Software-empowered Video Operator, which outlines the company’s updated vision of how IP trends are affecting content owners. The book details how current trends, such as software defined networks (SDNs), IP-based head-ends and cardless security, are fueling the IP transition; how past technological shifts to software have restructured the communications industries; important implications and operator advantages for software-empowered video operators; and the company’s updated vision of revenue security, including key elements that address virtualisation and UHD / 4K requirements – plus how this new model impacts an operator’s vendor ecosystem.

Those interested in obtaining a copy of this e-book can contact Colin Wainer at Inala Broadcast on [email protected] or 011 206 8341

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TrACKING TECHNOLOGY |

The Teranex Express is the world’s first real-time SD, HD and Ultra HD broadcast up and down converter, offering visually transparent quality conversions. It can be used for live events, post-production and broadcast purposes. The converter offers:

• 178 conversions in real time, retaining timecode, perfect audio sync and closed caption data

• Advanced connections, including 12G-SDI, which is compatible with all existing SDI equipment; a gunlock input enabling synchronisation between equipment and the option to install a fibre optic module

• Patented PixelMotion technology, enabling high quality deinterlace• The capacity to adjust colour, aspect ratio and other video qualities

At NAB in April, visual effects and post-production solutions developer Eyeon demonstrated their Generation 4K playback and production solution for 4K high frame rate, up to 120fps stereoscopic.

This software incorporates 7.1 high definition audio and the ability to drive cinema projectors, such as the Christie Cinema and Mirage series. Among the features of the package, which has just started shipping, are:

• High frame rate playback• Image format support for DPX, EXR, QuickTime, JPG, RED, Canon

C500 and more• CDL and LUT colour support• Per clip and overall colour tuning• Stereo adjustments via inter-ocular alignment and edge cropping• Editing and trimming• EDL import, linking directly to the production workflow• Version control and the ability to compare many different versions

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The MediaCentral Platform provides the following shared services:Media services – Enables customers to access and interact with media stored and / or

managed by products connected to the platform in a variety of ways. With centralised media playback services, users can stream audio and video content housed on Avid ISIS® or third-party storage from within their applications.

Connectivity toolkit – Customers can customise workflows by adding the tools and services they need to the MediaCentral Platform. API and SDK resources are currently available for Pro Tools®, Media Composer®, Interplay® | Production, and iNEWS®, enabling our community of more than 600 technology partners to integrate their tools and services into these product workflows. The platform will expand to include more third-party technology partners, providing a wealth of product and service choices that all work and communicate with each other seamlessly.

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Captain America: The Winter SoldierWith a devoted following and a cast comprising favourites such as Chris Evans (Steve Rogers / Captain America), Samuel L. Jackson (Nick Fury), Scarlett Johansson (Natasha Romanoff / Black Widow), Robert Redford (Alexander Pierce), Sebastian Stan Stan (Bucky Barnes / Winter Soldier), Captain America: The Winter Soldier was always going to be a global success.

After four weeks on circuit, Ster-Kinekor’s release has earned R12 910 202 during a sluggish time for movies at the South African box office.

Internationally, Captain America and his fellow Avengers also dominate with figures now reaching US$400m. It seems the movie’s tagline, ‘In Heroes We Trust’ has paid off handsomely for Marvel Studios.

rio 2 Times Media Films’ Rio 2 (including 3D) continues to delight audiences after two weeks of nationwide release and the cast’s feathery antics have raked in R9 656 775 locally, leading to winged amounts of pleasure for Twentieth Century Fox Animation with international takings of US$250m.

NoahDarren Aronofsky’s Noah, with its big-star pulling power and with the tagline ‘rediscover the epic story of one man and the most remarkable event in our history,’ have local audiences flocking to see Russell Crowe play the hero again.

After three weeks Times Media Films’ release has taken R9 656 775 while internationally Aronofsky’s film has earned US$93 274 000, which is below budget, but performing better than critics had predicted.

Need for SpeedIt seems that fast cars and the need for speed is a

winning formula. Although DreamWorks SKG and Reliance Entertainment’s Need for Speed has not-so-subtle references to the international hit franchise Fast & Furious, actors Aaron Paul and Dominic Cooper are holding their own in the driver’s seat as they race to spectacular local earnings of R12 367 991 after five weeks and 40 prints at the local box office, but did not perform as well as expected internationally.

Heroes rule at local box office

The Legend of HerculesThe Legend of Hercules, released by Crystal Brook Entertainment fared relatively well during its opening weekend with 52 prints and taking R1 016 627 nationwide, but Kellan Lutz’s Greek hero did not hold as strong worldwide as his mortal counterparts.

Non-StopAfter decades of being the hero in various guises in countless productions such as Taken, Taken 2, Rob Roy, Schindler’s List, Star Wars and many more, Liam Neeson remains one of the most bankable actors in the history of film and shows no sign of slowing down.

In Times Media Films’ release Non-Stop he teams up with equally strong star power Julianne Moore and with supporting roles from Scoot McNairy, Michelle Dockery and Lupita Nyong’o the movie took R3 149 941 nationwide after two weeks with 70 prints. It remains a firm crowd favourite for audiences who prefer their heroes made of flesh and blood.

Konfetti Locally made, romantic comedy Konfetti, produced and directed by Zaheer Goodman-Bhyat and written by Louw Venter, took R818 521 with a print run of 34 nationwide during its opening weekend. It seems love is in the air…

The Forgotten KingdomWith only 10 prints and two weeks in circulation, The Forgotten Kingdom, a truly heroic film, released by Indigenous Film Distribution, fought bravely for its R164 463 in earnings.

– Compiled by Martie Bester

Figures supplied by saFaCT

From 18 to 20 April, the biggest earners at the local box office are the usual suspects… heroes fighting evil, courageous

warriors battling the elements and dark forces, wild boys in fast cars and an action hero that only seems to get better with

time. Audiences also had time to squeeze in a bit of love, as escapism is the flavour of the month at the movies.


WEB NEWS | WWW.SCrEENAFrICA.COM

The Forgotten Kingdom, the first movie filmed in Lesotho and in the Sesotho-language, was released on 4 April and shot to the number one spot on circuit in its opening weekend in Maseru, the country’s capital. The film has been nominated in nine African Movie Academy Awards (AMAA) categories, including Best Feature Film, Best Director of a Feature Film (Andrew Mudge), Best First Feature Film by a Director, Best Actor (Zenzo Ngqobe) and Best Cinematography. Lebohang Ntsane has also received a nomination for Best Child Actor. In the movie, Atang Mokoenya (Zenzo Ngqobe) lives in Johannesburg and travels to his birth country Lesotho, the

land he has forgotten, to bury his estranged father. During his journey he gets drawn in by the mystical beauty of Lesotho and connects with his childhood friend, Dineo, with whom he falls in love. But winning her father’s approval proves to be a very difficult task…Comments Mudge: “I wanted the story to be told through the colours of the land and the faces of the Basotho people. My own experience of discovering this country was like finding something exquisite and unique.” The Forgotten Kingdom was co-produced by South African production companies Binary Film Works and ZenHQ Films, and New York-based Black Kettle films and Stringman.

The US political thriller television series, Homeland, has opted to shoot its fourth season in Cape Town in South Africa from mid-June to November 2014.

Homeland stars Claire Danes in the role of Carrie Mathison, a Central Intelligence Agency officer who suspects that a United States Marine Corps Scout Sniper has been converted by the enemy and poses a threat to the US.

Produced by Fox 21, a division of the Fox Entertainment Group, and broadcast on US cable channel, Showtime, Season Four is set to take place in the Middle East where Mathison is posted as chief

of station. Alex Gansa, showrunner and executive

producer said: “We knew going into Season Four that we would need to move the production overseas to tell the story of Carrie returning to the Middle East as chief of station. We are thrilled to have found a new home in Cape Town and look forward to getting Season Four’s production off the ground.”

Hero, a feature docudrama on the life of war hero, judge and diplomat Ulric Cross, will commence filming in Ghana in May 2014, as the UK leg of production has recently been completed.

The scenes that will be shot in Ghana will depict the 15 years which Cross spent in Africa as Crown Council in Ghana, as Attorney General and Member of the Cabinet of Tribal Chiefs in Cameroon, as High Court Judge in Tanzania and Dean of the Faculty of Law at the University of Dar es Salaam in Tanzania.

The film is directed and produced by Frances-Anne Solomon, and features singer and visual artist Nickolai Salcedo as well as actors Fraser James, Joseph Marcell, Jimmy Akingbola, and Rudolph Walker.

Solomon said: “Hero explores not just the life, but also the dynamic and transformative times that Ulric Cross was born into. Ultimately, the film is about us, who we are as Caribbean people and as citizens of the world.”

She co-produced the film with CaribbeanTales Worldwide Distribution, Timmy Mora’s Visual Art and Production and Christopher Laird’s Banyan Productions.

“I could not be more thrilled with the inspiring story and production that has been Hero in London. The acting, camerawork, and design, are all fresh and impressive,” Solomon concluded.

The Fiction Categories night of the South African Film and Television Awards (SAFTAs) took place at a glamorous gala event at Gallagher Estate in Midrand on Saturday 5 April and was broadcast live on SABC3.

Jahmil X.T. Qubeka’s Of Good Report dominated the film category, winning six of the seven categories in which it was nominated, including Best Film, Best Director and Best Writing Team.

Additionally it scooped the awards for Best Actor, which went to Mothusi Magano in the role of Parker Sithole; Tshamano Sebe who won Best Supporting Actor for his portrayal of Vuyani; and Tina Jaxa who won the Best Supporting Actress award as the head

mistress in Qubeka’s thriller. Antoinette Louw bagged the Best Actress award for her role as Elle Winter in Die Laaste Tango.

Cape Town-based Triggerfish Animation Studios’ feature Khumba won the award for Best Animated Film.

Singer, songwriter, musical arranger and actress, Abigail Kubeka, was the recipient of the Lifetime Achievement Award.

At Creative Circle Ad of the Year on 3 April the Mercedes-Benz’s commercial Colleague won the film category. Bruno Bossi of Egg Films directed, while Brent Singer and Jenny Glover were the executive creative directors.

The hilarious consequences of letting your mind wander while driving, especially when you have a colleague with you, are demonstrated in the spot. (Who knew what could happen when

listening to ‘The Girl from Ipanema’ behind the steering wheel?)

Paul Gilpin shot the commercial, which was edited by Matthew Swanepoel at Priest.

This win follows on Egg Films success at The Loerie Awards, where they were the most awarded production company in 2013.

Watch and embed Colleague at https://www.youtube.com/watch?v=vS8Bje2nt1Y.

The Independent Mzansi Short Film Festival (IMSFF), which takes place from 25 to 29 June at the Maxi Cineplex at the Hatfield Plaza in Pretoria, is calling for South African short film entries. The submission deadline is 16 May and any late submissions will not be accepted after 6 June.

Not only does showcasing the film at a festival provide filmmakers with an opportunity to promote their talent and gain valuable industry exposure, the entry which garners the most awards will be awarded a R50 000 cash prize.

Competition categories include: Best Short Film, Best Director of a Short Film, Best Original Screenplay of a Short Film, Best Actor in a Short Film, Best Actress in a Short Film, Best Supporting Actor in a

Short Film, Best Supporting Actress in a Short Film, Best Original Score in a Short Film, Best Cinematography in a Short Film, Best Editing in a Short Film, Best Sound Editing and Mixing in a Short Film, Best Visual Effects in a Short Film, Best Production Design in a Short Film, Best Makeup

and Hairstyling in a Short Film and Best Costume Design in a Short Film.

Nominations, which will be selected by a respected jury, will be announced two weeks prior to the festival on the IMSFF website, while the awards ceremony will take place on 29 June.

Visit the IMSFF website for more information.

Mercedes-Benz Colleague commercial

Nickolai Salcedo, Joseph Marcell and Fraser James

A scene from Of Good Report

Independent Mzansi Short Film Festival final call for entries

Homeland Season Four to be shot in Cape Town

Caribbean-themed film to shoot in West Africa

Jahmil x.T. Qubeka’s Of Good report wins big at South African Film and Television Awards

SA co-production The Forgotten Kingdom in top spot at Lesotho box office

Egg Films and Net#work BBDO win Ad of the Year for Colleague


| WEB NEWS

Noted filmmakers and conservationists Beverly and Dereck Joubert received the Lifetime Achievement Award at the recent South African Film and Television Awards held at Gallagher Estate in Midrand on 4 and 5 April.

Pioneers in African conservation, the world-renowned couple were honoured for the contribution to and development of South Africa’s flourishing film industry.

“We thank you for this award, it gives us a platform to talk about the things we care about,” said Dereck in his acceptance speech. “Beverly and I are truly ‘children of Africa’, Bana Ba Naga, children of the bush.”

He continued, “We have this amazing

common currency in Africa that is invaluable because it is a currency of the heart and soul. So it hurts us to see this being plundered from the East, for rhino horn and ivory and used as a playground by colonial hunters from the West.”

The Jouberts have produced films in Southern Africa for the 30 years, many of which have raised awareness of the plight of the Big Cats and other iconic species that are under severe threat. One of the Jouberts’ early films, Eternal Enemies, has been seen by more than one billion people globally.

The Jouberts, as National Geographic Explorers-in-Residence, have also founded the Big Cats Initiative with National Geographic to further protect all of the big cats worldwide through on-the-ground projects, research, education and ongoing awareness campaigns. Visit www.wildlifefilms.co for more information on the films and photography of Dereck and Beverly Joubert.

For further information, visit www.greatplainsconservation.com.

Beverly and Dereck Joubert

renowned filmmakers Beverly and Dereck Joubert receive SAFTA Lifetime Achievement Award

Rumours of War (Ngunu Ngunu Kan) from Mali, directed by Soussaba Cisse, was chosen as the Best Feature Film at the 2nd Colours of the Nile International Film Festival which ran in Addis Ababa, Ethiopia from 24 to 31 March. The movie also scooped the awards for Best Cinematography and Original Soundtrack.

The jury praised Rumours of War for ‘capturing in a very personal way a complex story applying a very unique cinematographic style and narrative structure’ and added that the film ‘reflected a situation that is very prevalent on the continent with great passion and urgency’.

Members of the jury were impressed with the cinematography which was lauded for capturing the ambiance of the film, which ‘was at times beautiful and verging on the surreal’. The soundtrack captivated the jury as it ‘used organic music which echoed beyond the present to the history of the Malian people as a call for promoting peace and unity’.

The following productions were also awarded:

• Best Documentary: President Dia by Ousmane William Mbaye (Senegal)

• Best Short Film: Adamt by Zelalem Woldemariam (Ethiopia)

• Best Actor: Mugambi Nitenga in Nairobi Half Life (Kenya)

• Best Actress: Bertukan Befkadu – Nishan (Ethiopia)

• Best Sound: All is Well by Pocas Pascoal (Angola)

• Best Screenplay: Virgin Margarida by Licinio Azevedo (Mozambique)

• Special mentions went to uche Nwadili for her performance in B for Boy, and the Tanzanian film Zamora for its captivating camera work.

A scene from Rumours of War

rumours of War wins three awards at the Colours of the Nile International Film Festival in Addis Ababa

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the SaLeS LaBtime Frame tvProd: vanessa Yelseth, Jasmyn asvatseries

the SCoreS are iNCurrent affairs FilmsProd: Jane thandi lipmanGame show

tieNerWereLdGrey Cloud Productionsdir: Jacques Brand Prod: Jarrod de Jongvariety

turN the taBLeSFootprint media tvProd: Cheryl delportmagazine

Way tWo roLLWay to roll Picturesdir: Freddie straussFeature

WeLCome to artmichics Global Communications exec Prod: mishack motshwenitv series

WeStgate ShoPPiNg maLL attaCk (Working title)media village ProductionsProd: diane vermootendocumentary

WhiPLaSh Get the Picture Prod/dir: Jacky lourens / meg rickards Feature

Zakoumatwo oceans ProductionsProd: Giselher venzke/ Bertha spiekerFeature

ZeN fiLm CreW maNagemeNtZen Film Crew managementProd / dir: laura tarlingCommercial

IN PRE-PRODUCTION

aBLaNd ProPerty deVeLoPerSFC Hamman Filmsdir: FC Hammanmarketing video

aLex oN 7thXcut studiosdir: engelbert Phiridocumentary

aNdoLexXcut studiosProd: Guy Braggetv commercial

attaChmeNt PareNtiNgBlue marble entertainmentdir: eugene Bothainsert




rootSukhamba CommunicationsProd: alfred mpofumusic

SaiNt aNd freedom fighter Blue marble entertainmentdir: eugene Bothadocumentary

Sa toP modeL for a daymichics Global Communications exec Prod: mishack motshwenitv series

ShredS aNd dreamSPenguin FilmsProd: roberta durranttv series

South afriCaN touriSmrapid BlueProd: Kee-leen irvineGlobal tv Commercial

Sa’S got taLeNtrapid BlueProd/dir: Kee-leen irvinetalent show

SCaNdaLochre moving PicturesProd: romano Gorleisoapie

SChoemaN Boerdery – mooSriVierKhaki ProductionsProd/dir: Christelle Parrott / Wynand dreyerdocumentary

SeLimathuNZisikhoyana ProductionsProd: Baby Joe Correiravariety

ShiZ NiZred Pepper PicturesProd: allen makhubelevariety

Shifturban Brewtalk show

SiSterhoodred Pepper PicturesProd: andy lezevariety

SiyakhoLWa – We BeLieVeX Con Filmsdir: munier Parkeredutainment

SLeNder WoNder doCtorS CoNfereNCeGrey Cloud Productionsdir: Jacques Brand Prod: slender WonderCorporate video

SLeNder WoNder PatieNt teStimoNiaL VideoSGrey Cloud Productionsdir: Jacques Brand Corporate videos

SoCCer ZoNesaBC sports Head: sizwe nzimandemagazine

Study mateeducational improvement and study Help (eisH)exec Prod: lisa Blakewayeducational

the Chat roomeclipseProd: thokozani nkositalk show

the Code BreakernHu africaProd: vyv simson / donfrey meyerdocumentary

iNkaBaurban Brew studiosProd: John Kanitelenovela

iSidiNgoendemol south africaProd: Pumla Hoppa, leo Phirisoap

Jou ShoWHomebrew FilmsProd: Jaco loubsertalkshow comedy

kokkedoor 2Homebrew filmsProd: Jaco loubser and Paul venterCooking reality series

koLLigHomebrew FilmsProd: Jaco loubsermagazine

koNa the directors team (Pty) ltd Prod/dir: laurence lurie / Cathy sykes series

kooLCoN CorPorate VideoFiX Post Production/ marketing avmarketing video

kWeLaPieter Cilliers ProductionsProd/dir: Pieter Cilliersmagazine

Late Nite NeWS oN e.tVdiprente ProductionsProd: tamsin anderssonseries

Light girLS South afriCaN uNitWhite Heron PicturesProd: themba sibekodocumentary

LiVeurban Brewmusic

LiVe Lotto ShoWurban BrewGame show

maNdeLa’S guNdv8 filmsdir: John irvinFeature

maraNg eState: mixed uSed deVeLoPmeNt NoV/ deCour time Productionsdir: Jaun de meillondocumentary

maSheLeNg1lmol Productiondir: lizzy molotoFeature

maSheLeNg 2lmol Productiondir: Jonny mutebaFeature

maSSmart CSi rePortsummertime ProductionsProd/dir: roxanne rolando / sean GardinerCorporate video

matriCS uPLoadededucational improvement and study Help (eisH)Prod: lisa Blakewayeducational

mi CaSa “turN you oN”star Productionsdir: mzi Kumalo music video

miLLioNaireStwo oceans ProductionProd: Giselher venzke & Bertha spiekerFeature

motSWakoCarol Bouwer ProductionsProd: Grant Paul roytalk show

muVhaNgoWord of mouthProd: Pieter GrobbelaarFeature

my Name iS fuNekasabido Productionsdir/Prod: Catherine ricedocumentary

mZaNSi iNSiderBonngoe ProductionsProd: Pepsi Pokanemagazine

Net1 – SaSSaBetta Beta CommunicationsProd: tommy doigCorporate

NeWS NightenewsProd: nikiwe BikitshaCurrent affairs

oSCar PiStoriuS doCumeNtary iNSertStia Productionsdir/ Prod: tarryn Crossmandocumentary

PaSeLLatswelopele Productionsdir: liani maasdorp / Werner Hefermagazine

PaWN StarS South afriCarapid BlueProd: Kee-leen irvine, ed Worster, Johan naude and Kat Weatherallreality

PBS exteNded NeWS ProgrammiNgCurrent affairs FilmsProd: Jane thandi lipmanFeature

PhoeNix riSiNg... the BuSiNeSS of StyLePhoenix entertainment and ProductionProd/dir: Koketso sefanyetsoreality

PoWer ComBat ZoNemixed motion entertainmentdir: dieter Gottertsport

ProJeCt mVZen CrewProd: laura tarlingmusic

raNdS With SeNSe 2 Blonds and a redhead FilmingProd: anne myerseducation

rhythm CityQuizzical PicturesProd: Yula Quinnsoapie

rhythm City iNteraCtiVeQuizzical Pictures / e.tvProd: viva liles-Wilkininteractive Platform media

riVoNiNgoasi-B FilmsProd: asivhanzi ‘asi’ mathabaChildren’s show

roCkiNg futuresummertime ProductionsProd: sean Gardiner / tanya vandenbergeducational video

roLLiNg With keLLy khumaLored PepperProd: Cecil Barryreality

CuttiNg edgesaBC newsCurrent affairs

deBra deeLKhaki ProductionsProd/dir: Christelle Parrott, Wynand dreyerseries

diNNer diVaS2 Blonds and a redhead FilmingProd: anne myersseries

ditokeLo tSa meduPilmol Productiondir: lizzy molotoFeature

diy met riaaNProd: riaan venter-Garforthmagazine

eaSterN moSaiCred Carpet ProductionsProd: saira essa / mark Corlettmagazine

eNd gameFireworx media/ tunc ProductionsProd: Bridget Pickering dir: akin omotoso/ thandie Brewer/ thabang moleyaFeature

exPreSSo (SeaSoN 2)CardovaProd: Paul van deventerseries

faCe of gemiNi Footprint media tvProd: Cheryl delportseries

faCiLity maNagemeNt LeCtureS (a4fm)Panache video Productionsdir/ Prod: liesel eiseleneducational

faith todayimpact Christian mediaProd: Carl schultztv series

fox NeWS ChaNNeL Betta Beta Communications Prod/dir: tommy doig news

free State tourSim iNdaBaour time Productionsdir: Jaun de meillonCorporate

freNZyred Pepper PicturesProd: morena sefatsavariety

geNeratioNSmorula PicturesProd: mfundi vundlaseries

good morNiNg afriCa Planet image Productions sa Prod/dir: Wale akinlabi magazine

goSPeL goLdengage entertainmentProd: sthembile mhlongumusic

groeNHomebrew FilmsProd: Jaco loubserWildlife

had Better daySuniquely novel Productions Prod/dir: deon vd merweFeature Film

heCtiC 99okuhle mediaProd: Wilna van schalkwykmagazine

hitaChi PoWer afriCa meduPi aNd kuSiLe Betta Beta Communications Prod/dir: tommy doig documentary

hoPenHu africaProd: vyv simson / donfrey meyerdocumentary

houSe CaLLizwe multimedia / urban BrewProd: annalie Potgietertalk show

igNiteFootprint media tvProd: Cheryl delportreality

ihaWu Le SiSWeProvoke entertainmentdir: sechaba morojeletv series

imiZWiLiLiukhamba ProductionsProd: alfred mpofumusic


Unit 3, Harbour Place, 1061 Schooner Road,

Laser Park, Honeydew


may

6 – 7 Cloud world Forum aFriCa 2014 The Maslow, Johannesburg www.cloudwf.com

15 sCreeN aFriCa golF day 2014 CMR Golf Club, Johannesburg [email protected].

14 – 25 CaNNes Film FestiVal Cannes, France www.festival-cannes.com

20 – 21 the broadCast show aFriCa Sandton Convention Center, Johannesburg www.terrapinn.com

20 – 21 satCom aFriCa Sandton Convention Center, Johannesburg www.terrapinn.com

21 Net prophet Artscape Opera House, Cape Town www.netprophet.org.za

juNe

3 teCh demo aFriCa Hyatt Regency Hotel, Johannesburg www.itnewsafrica.com

25 – 29 iNdepeNdeNt mzaNsi short Film FestiVal Hatfield Plaza, Pretoria www.imsff.co.za

4 – 5 broadCast, Film & musiC aFriCa 2014 Nairobi, Kenya www.aitecafrica.com

5 aFriCa media busiNess exChaNge Nairobi, Kenya www. aitecafrica.com

6 – 15 ediNburgh short Film FestiVal Edinburgh, Scotland www.edinburghshortfilmfestival.com

11 Next tV summit London www.nexttvsummitlondon.com

14 – 22 the zaNzibar iNterNatioNal Film FestiVal Zanzibar, Tanzania www.ziff.or.tz

15 – 21 CaNNes lioNs Cannes, France www.canneslions.com

18 – 29 ediNburgh iNterNatioNal Film FestiVal Edinburgh, Scotland www.edfilmfest.org.uk

the CommuNiSt rePuBLiC of South afriCaJam tv, Creative south africa, nkhanyeti ProductionProd: Barthelemy ngwessamdocumentary

the JuStiCe faCtorenewsProd: debbie meyerCurrent affairs

the LaSt great tuSkerSnHu africaProd: vyv simson / donfrey meyerdocumentary

the reaL goBoZa 7urban Brewentertainment

the reVoLutioN Betrayedshadow FilmsProd/dir: david Forbesdocumentary

the rudimeNtaLSPeriphery FilmsProd: simon taylorFeature

the teCh rePortHomebrew FilmsProd: Jaco loubsertechnology magazine

toP BiLLiNgtswelopele ProductionsProd: Patience stevensmagazine

toP traVeL (SeaSoN 3)CardovaProd: Bradley van den Bergseries

trooPShiP tragedy (Working title)sabido ProductionsProd/dir: marion edmundsdocumentary

tShiPe BorWa maNgaNeSe miNe Betta Beta Communications Prod / dir: tommy doigdocumentary

VaSeLiNe exPerieNCeXcut studiosdir: lee anne theron4d av production

ViLLa roSaspectro Productionsdir: luhann Jansen / andries van der merwe/ leroux Botha/ isabel smitseries

VoLkSPeLe South afriCaGrey Cloud Productionsdir:Jacques Brand Prod: Bertie Brinkdocumentary

Ward 22tia ProductionsProd/dir: tarryn Crossmandocumentary

WeekeNd am LiVesaBC newsCurrent affairs

yiLeNgeLo LakhoProd: nndanganeni mudauCurrent affairs

Zoom iN Footprint media tvProd: Cheryl delporttalk show

IN POST-PRODUCTION

a BuShmaN odySSeyonetime FilmsProd: richard Wicksteeddocumentary

a differeNt CouNtrysabido Productionsdir: lisa Henrydocumentary series

a LoVe Letter to Luxorshadow FilmsProd/dir: david Forbesshort Film

afrox Co2 PLaNtFC Hamman FilmsProd: odette van JaarsveldCorporate video

afrox fiNaNCiaL reSuLtSFC Hamman FilmsProd: odette van JaarsveldCorporate video

afrox rau iNSightFC Hamman FilmsProd: odette van JaarsveldCorporate video

afrox SheQ iNduCtioNFC Hamman FilmsProd: odette van JaarsveldCommercial

ChaLLeNge SoS 2 Blonds and a redhead FilmingProd: anne myersreality

CoLLidemedia village ProductionsProd: ardeen munnik tv series

formidaBeLe Vroue: CiSSy gooLKhaki ProductionsProd/dir: Christelle Parrott/ Wynand dreyerdocumentary

hear me moVe Coal stove Pictures / FiX Post Production dir: scottnes l.smithFeature

iQiLiimpucuzekoProd: sharon KakoraFeature

the fLaWed geNiuS of JaN SmutS tekweni tv productionProd/dir: sandra Herrington / neville Herringtondocumentary

JoyouS 18 rm recording Prod: lindelani mkhize other

JuLiuS haS a dreamCreative south africa, nkanyethi Productions,Jam tvProd: Bathelemy ngwessamdocumentary

kereLS Wat kookPenguin FilmsProd: roberta durrantreality tv series

NeW LaNdPlexus Films/ Four Corners mediadir: Kyle o’ donoghuetv series

NorthmeNtwo oceans ProductionsProd: Giselher venzke & Bertha spiekerFeature

NyaoPe gaNgSterSlmol Productiondir: lizzy molotoFeature

PerfeCt ShiSheBoQuizzical PicturesProd: nthabiseng mokoenaseries

PLay more goLfFC Hamman FilmsProd: odette van JaarsveldCommercials

PuShi- PaSSioNlmol Productiondir: lizzy molotoseries

roCkViLLe SeaSoN 2 Ferguson FilmsProd: shona & Connie Ferguson, Bobby Heaneytv series

Safe Betsukuma mediaProducer: nokuthula sakhile mguni / Bonginhlanhla ncubeFeature Film

SaNofiXcut studiosProd: Guy Braggeav production

SiyayaFrancois odendaal ProductionsProd/dir: Francois odendaalseries

SLeNder WoNderFC Hamman FilmsProd: odette van JaarsveldCorporate video

SLeNder WoNder mJ LaBSFC Hamman FilmsProd: odette van JaarsveldCorporate video

SoLo fLighttwo oceans ProductionProd: Giselher venzke/ Bertha spiekerFeature

SPud 3: LearNiNg to fLy rogue star Filmsdir: John BarkerFeature

SWartWaterQuizzical PicturesProd: Bianca isaacdir: John trengove/ Jozua malherbe/ denny Y millerseries

SurViVorendemol south africaProd: anton Burggraaf, Josh Feldmanreality

the Cheetah diarieS SerieS 4nHu africaProd: vyv simson / donfrey meyerdocumentary

the CaLLiNglmol Productiondir: lizzy molotoFeature

the LighthouSe ruNsummertime Productionsdir: tanya vandenbergdocumentary

the meSSagereel edge studiosdir: david Goldentv drama series

the Shore Breakmarie -verite Films and Frank FilmsProd: ryley Grunenwald, odette Geldenhuysdocumentary

the Story of LittLe footPaul myburgh FilmProd: Paul myburghdocumentary

the traNSPorterSsukuma media/ reality motion Picturesdir: Bonginhlanhla ncubedocumentary

traffiCPenguin FilmsProd: roberta durranttv series

uNder the mouNtaiNPlexus FilmsProd: miki redelinghuys,/ lauren Groenewaldshort film

uNfrieNdtwo oceans ProductionProd: Giselher venzke & Bertha spiekerFeature

VkB LaNdBou BePerkFC Hamman FilmsProd: odette van JaarsveldCorporate video

WheN i WaS Watershadow Filmsdir: david Forbesdocumentary

xJ-1eternal Film ProductionsProd: marius swanepoel/ dana PretoriusFeature

you deSerVe itPenguin FilmsProd: roberta durranttv Game show

UpCOMING EVENTS |

screen africa relies on the

accuracy of information

received and cannot be held

responsible for any errors or

omissions which may occur.

E-mail production updates to:

[email protected]

P R O D U C T I O N U P D A T E SP R O D U C T I O N U P D A T E S

imaginecommunications.com

gatesair.comHARRISBROADCASTDELIVERED THIS MOMENT

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Solomon Cupido and partner

Paul Loots and Izél Bezuidenhout

Lindiwe Matshikiza and director Ian Gabriel

Director and writer Donovan Marsh

Israel Makoe

S’dumo Mtshali, who plays the role of Chili

Nico Panagio, Louw Venter, rayelle Goodman, Keegan Williams, director and producer Zaheer Goodman-Bhyat, Casey B Dolan and Lionel Bastos

Jezzriel Skei and Brendon Daniels

Lead actors Casey B Dolan and Nico Panagio

Irshaad Ally and Abduragman Adams

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gatesair.comHARRISBROADCASTDELIVERED THIS MOMENT

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screen africa magazine may 14 2014

Business