Festival 2016 lm Fi l a n io t a n er Durban Int Durban FilmMart 2016 BROADCAST, FILM, TV, COMMERCIALS, NEW MEDIA & TECHNOLOGY NEWS
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About the Gauteng Film Commission (GFC) The Gauteng Film Commission (GFC) is an agency of the Gauteng provincial government Gauteng, home to Africa’s under the Department of Sport, Arts, Culture and Recreation tasked with the development and promotion of the audiovisual industries in Gauteng, with more focus on the Film & TV industry.
economic powerhouse,
GFC’s core business is to facilitate and enhance the contribution of the Film & TV industry to the economic growth of the Gauteng province.
Johannesburg, boasts an
The GFC continues to give the much needed support to the local Film & TV industry while at the same time promoting Gauteng with its world-class infrastructure, recognised expertise and wide range of locations, as a destination of choice for filming.
exciting mix of urban lifestyle,
The organisation also work with industry, government agencies & departments and other key stakeholders on the development and growth of sustainable audiovisual industry through various support initiatives that prioritise production and project support, marketing & distribution, market development & training.
diverse cultural and natural attractions, as well as
The GFC’s overall objective is to support, develop and contribute to the growth of the Gauteng Film & TV industry through the following key focus areas:
Production & Project Funding - The GFC funds all genres of Gauteng made productions and productions made by Gauteng based filmmakers Distribution & Marketing Support - provide marketing support and explore alternative distribution channels for local content. Skills Development - address scarce skills in the sector; Advancement of personnel currently working within the industry to increase their capacity; Relevant training and development of emerging talent and contribution to the decreasing of the skills gap as identified in the research conducted by the GFC. Audience Development - develop audiences for the appreciation of local content through the support of film festivals; screenings in townships and support the release of films. Permit Facilitation & Locations - assist with locations enquiries and facilitate issuance of filming permits and ensuring that all filming activities happen smoothly without any hindrances. The GFC has a good working relationship with three major broadcasters i.e. SABC, e.tv, and M-Net through one of its channels, Mzansi Magic as well as independent distributors. This has enabled the GFC to increase its support for Gauteng made productions.
advanced infrastructure. Call us and we’ll show you why Gauteng in South Africa is the perfect location to bring your big idea to vibrant, colourful life.
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| IN THIS ISSUE
22 The ancient art of existing as one
24
18
Describing The Silent Form
Usain Bolt speeds up ‘next generation of fast’ campaign
19
36
Is KFCB an impediment to creativity in Kenya?
SPECIAL FEATURES DIFF – DUrban International Film Festival 2016
Documentaries at DIFF 2016................ 28 Selected features at DIFF 2016............. 29
DFM – DUrban Filmmart 2016
Programme experts ................................ 32 Durban FilmMart 2016 selected projects....................................... 33
News WGSA seeks out international flair for SA screenwriting........................... 4 Codec Confusion......................................... 4 NFVF announces Q4 funding and plans for 2016....................................... 6 TB tackled in edutaining feature film...... 6 John Vlismas announced as new host of Comedy Central’s Roast Battle............. 8 E! announces E! VIP featuring celebrity greats from the African continent............ 8 New video streaming service launched in South Africa............................. 8 DStv Compact customers across Africa will now get FOX............................ 8
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No lights – no camera – and action!
SA Actor Jesse Suntele wins BET Top Actor Africa.................................. 8 ShowMax expands to 36 countries across sub-Saharan Africa.......................... 8 Hartiwood Films and Deepend Films to co-produce Reeva/Oscar documentary special.......... 9 SABC and CWU reach an agreement regarding salary increment........................ 9 Pedro Pimenta announces the launch of Joburg Film Festival................... 9 Hot Docs and Blue Ice partner with NY Times Op-Docs to support African documentary filmmakers............. 9
ADCETERA
Technology News
The ancient art of existing as one........ 22 Describing The Silent Form.................... 24 An ordinary man, an extraordinary life................................. 26
Ross Video Acid Cam Camera for use in virtual sets............................... 10 Sony CLEDIS visual display technology..................................... 10 LAWO R LAY virtual radio mixer....... 12 TSL MPA audio monitors........................ 12 Jasco delivers Avid’s NEXIS software defined storage platform for media to the African market.................. 13 Sony Professional Solutions races ahead with its plans for South Africa... 13
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Following a zest for adventure.............. 16 Get Active given the go-ahead to get SA off its ass.................................. 17 Usain Bolt speeds up ‘next generation of fast’ campaign........ 18 Is KFCB an impediment to creativity in Kenya?.............................. 19
FILM Children of the Mountain – an emotive ‘Afro-indie’ gem................... 20 Director Speak: Mandla W. Dube.......... 21
Documentary
Television
Scripting the human condition............... 34
FESTIVALS & MARKETS
CAMERAS & ACCESSORIES
No lights – no camera – and action!... 36 Visual Impact acquires SA agency for Digital Sputnik................ 38 Puma Video bolsters lens and lighting inventory...................... 38 Pro-Sales stocks up on new Panasonic AVC-Ultra cameras............... 40 Sony PXW-Z150 now available for rental at The Magic Lightbox Company............... 41 Sony unveils world’s first 4K XDCAM shoulder camcorder with 2/3-type image sensor.................... 42 Panasonic introduces high-power UX Zoom Lens series............................. 43
Broadcast Technology
Very specific AIMS..................................... 44
Regulars
Production Updates.................... 45 – 47 Events.......................................................... 47 Social........................................................... 48
Insights from the world’s film festival circuit..................................... 35
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From the editor For what it’s worth… The Durban International Film Festival (DIFF) is upon us once again, bringing to my attention both the passage of time and the current (persistent) state of the industry. So here comes one of my rambling tirades if you care to read it (there has to be at least one every few months). In the years that have passed since I first took on the role of editor at Screen Africa (admittedly this has not been a particularly long time), very little has changed in terms of the challenges and complaints that the film and television industries face. As we go into another DIFF/DFM, I have little doubt that the same problems will be discussed yet again: lack of development, lack of funds, lack of transformation, lack of audiences, political interference/ apathy/ corruption. The DTT saga took yet another turn back on itself into all-too-familiar territory this month, and the cost to the industry and the public at large continues to pile up as a result. That particular snake has eaten so much of its own tail, there’s nothing left of it but head. I’m not really an optimist when it comes to human nature. We seem to have a limitless capacity to seek out reasons to wallow in the mud, even when presented with every possible, more beneficial alternative. So I can’t say I’m surprised by the persistent stalemate. I’m also not someone with a great tolerance for boredom and the truth is that the current discourse is utterly tiresome, repetitive and clearly without any resolution. May I suggest, for what my opinion is worth, that we just stop it already? Then again, filmmakers are often activists by nature and every activist needs a windmill to tilt at. Not that I’m belittling the importance of activism, just saying that it can serve better elsewhere – like in our films, documentaries and TV shows, rather than in constant debate about whether they can, should or will get made – or how. Having said that, one of the joys of our work is that we constantly meet those individuals – and there are very many of them (pretty much anybody who continues to work in this crazy profession) – who put their love for their work, their medium, their expression, ahead of the disheartening barrage of negativity that our creatives and technicians are faced with on a daily basis. And so, we continue to celebrate these people and their work, happily and with the respect and (at times) even awe that should rightfully be reserved for those who continue to work towards a mastery of the creative process and technical knowledge. This requires a shift in focus from the usual impediments we fixate upon, to the extraordinary feats of expansion and enablement that everyone in this industry performs every day. These are the foundations upon which fully functional industries are built. – Warren Holden
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CONTRIBUTORS
Warren Holden is a writer and journalist whose lifelong love of film and television prompted him to study for his BA in Motion Picture Medium at AFDA Johannesburg, specialising in writing and directing. After graduating, he worked for three years in the television industry before following his aptitude for writing into the world of publishing. He then worked for five years as assistant editor on the arts and culture publication Classicfeel, before taking the helm of Screen Africa, where his experiences in the separate streams of motion picture and publishing have finally come together. In addition to his work on Screen Africa, he is also hard at work developing stories for film and television and studying for a second degree in economics and African politics.
JOURNALISTS Cera-Jane Catton is a writer and journalist with years of experience in community newspapers, blogging and freelance journalism. She has migrated to Jozi from Durban to join the team at Screen Africa in the hope of sampling lots of free popcorn. Cera has worked in a cache of capacities, often finding herself behind or in front of the cameras, intentionally and less so. She has been a stunt double in two Bollywood movies, has worked in various capacities on a number of natural history documentaries, and other international productions shot in South Africa. She studied journalism and photography and is always eager to learn something new. She speaks up for the voiceless, is a dedicated movie lover and a wannabe doccie maker.
Chanelle Ellaya is a writer and a journalist. She completed her BA Journalism degree at the University of Johannesburg in 2011. While writing is her passion, she has a keen interest in the media in various capacities: In 2012 she co-presented the entertainment and lifestyle show Top Entertainment on TopTV and later that year she was handpicked as part of a panel of five dynamic young Africans to interview Winnie MadikizelaMandela on a youth focused television show called MTV Meets. Chanelle is an avid social networker and a firm believer in the power of social and online networking. Between writing and tweeting, she finds time to feed her love for live music.
Sam Charo is an independent writer, producer and filmmaker based in Nairobi, Kenya. His passion is sharing great stories about the continent with rest of the world. David Davies is a journalist who has been covering professional AV and broadcast technology for 14 years. He is freelance managing editor of Sports Video Group (SVG) Europe and continues to contribute to a host of trade publications, including PSNEurope, PSNLive and Installation. He has also been a part of the team for The AES Daily, The IBC Daily and, since 2005, The ISE Daily, for which he served as an executive editor in 2013 and 2014. In addition, he is active as a copywriter and sub-editor. Ian Dormer – Born in Zimbabwe, Ian has been in the TV business since the 1980s, having served in various positions at the SABC, M-Net and SuperSport. Ian currently works and resides in New Zealand. Jakkie Groenewald is an actor/journalist/ translator/sub-editor and proofreader. He graduated in Drama at the University of Stellenbosch and has acted on stage, TV and feature films – more than 100 productions to date – and also works as a voice artist. In his career as a journalist he was, was arts editor of the newspapers Die Vaderland and Transvaler. He has also translated five novels from English to Afrikaans. For the past 12 years he was a classifier at the South African Film and Publication Board – classifying films for age restriction purposes and is a judge of the National eisteddfod Academy as well as for Beyond 2000 (the national talent competition.
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SABC becoming 90 per cent local The decision to introduce a 90 per cent local content quota at the South African Broadcasting Corporation (SABC) is here to stay, and to be rolled out across all its broadcasting platforms. In the beginning of May, the SABC’s 18 radio stations began implementing a 90 per cent quotient in their respective music programming. Has this local quota thrown light on a number of grey areas in the industry? This was a welcome decision, increasing regulations on radio for public broadcasting from 40 per cent and commercial broadcasting from 25 per cent. Arts and culture minister, Nathi Mthethwa expressed his support of the increase, “Local content develops, protects and promotes our national identity, culture and character. Local content broadcasting is an important element in the economy, as it determines market share. The more local content is used by broadcasters and other users the more the owners of the content receive financial benefit.” The SABC stated that as a public service broadcaster it has a mandate to reflect the country’s heritage and culture to the South African public. Another key mandate for the broadcaster is to ensure that it develops and nurtures South African talent, through the broadcasting of local content. “The SABC took this conscious decision to raise local music content up to 90 per cent of its airplay, as the public service broadcaster believes it has a responsibility to contribute to South Africans who take pride in their music and stories,” says SABC spokesperson Kaizer Kganyago. “The corporation is not apologetic about this stance, as for many years artists in these respective industries have complained about being marginalised,” he adds. Kganyago says that the SABC has not faced any challenges in implementing this decision and that they had received positive responses from government, music and television industry stakeholders and the public at large around the decision. “We are further
EXPRESSING SUPPORT: SABC spokesperson Kaizer Kganyago
encouraged by the positive response from some of our investors,” he confirms. The SABC agreed that through focussing 90 per cent of airwaves on local music content, artists in both television and radio would reap the benefits of royalties more than ever before. “The SABC takes the restoration of human dignity very seriously as it is one of the organisation’s core values and we believe that this move will contribute to achieving that,” said Kganyago. “This decision will also assist in the creation of job opportunities.” At the end of May SABC COO Hlaudi Motsoeneng, addressing content producers at the corporation’s offices in Johannesburg, confirmed that its 90 per cent local content quota will be adopted by the broadcaster’s TV channels. As of July 2016 there will be an increase in local content offering on television aiming at 90 per cent. Motsoeneng said that the broadcaster’s commercial television channel, SABC3, would have an 80 per cent local content policy and other channels would increase to 90 per cent. Previous local content on SABC1 was at 75 per cent, SABC2 was at 65 per cent and SABC3 at 40 per cent. Motsoeneng
did not state how this increase would happen. “We have given instructions, the how is not my business. From 1 July we should see a different SABC. I think it’s achievable, we are going to get rid of content that is no longer working for SABC,” he adds. At the announcement Motsoeneng spoke of plans to revamp its television channels and to source more local content. He says, “This is the opportunity for South Africans. If we don’t have good quality content and good music, this is the time for people to grab this opportunity to produce that quality that we’re talking about.” The SABC awarded more than 60 content producers and new talent contracts. The new talent is expected to produce content for the corporations’ television channels. Motsoeneng says this move will help empower young people and create jobs. The SABC says it has put aside R600 million to boost its 90 per cent quota increase. This figure is based on the public broadcaster’s decision to go into business with local producers and celebrities including Khanyi Mbau, Somizi Mhlongo, and Arthur Mafokate, to assist
in the success of this local content rise. A large part of this plan hinges on entertainment personalities. The SABC has vowed to continue to unleash new talent and broadcast more local content. Motsoeneng adds that this local content facelift further ensures that billions of Rands won’t escape the country. “I can tell you, the bulk of money goes outside instead of staying here and we have created that opportunity within the SABC.” As for its announcement of new language based channels, the SABC will launch Nguni, Afrikaans, English and Sesotho channels when DTT is launched. The SABC is planning on bringing in over 32 producers and 27 up-and-coming producers who will be the force behind the revamp. Motsoeneng reaffirms: “You need to give us quality content, you need to give us the content that will be able to attract the audience and if you don’t attract the audience there is no reason why the SABC will keep such content in our platform.” He adds that it is also important for Venda and other language soapies to be created. The SABC does include Africa in its local content. “As South Africans we cannot isolate ourselves from our fellow African countries. Many of our artists have collaborations with other African artists and for us that is local,” confirms Kganyago. So, from now onwards, the SABC is nearly 90 per cent local. This could mean positive growth for the industry, an opportunity for digital platforms to increase traffic, and an opportunity to creatively promote international acts performing in SA. Will it, however, see SABC viewership increase or decline as viewers switch to other channels that are focussed on giving viewers what they want, irrespective of who produces it? Only time will tell as we see how the SABC implements this increase. – Cera-Jane Catton
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WGSA seeks out international flair for SA screenwriting In 2015 the Writers’ Guild of South Africa (WGSA) declared it was the first and only guild in the world to send its delegation to an international film market. They went to Natpe, Miami in January 2015. In June the WGSA took a delegation of writers to Natpe, Prague and Story Expo in Los Angeles in September. There were 110 speakers at Story Expo, including Linda Seger, John Vogler, Steve Kaplan and Peter Russell. Returning from Story Expo delegates were asked to pick the top ten speakers they would like to be brought to SA. From those 10, they voted for the ideal one. Peter Russell was that person. He presented a workshop on the Secret Patterns of Writing for Different Genres in May 2016. A topic that was most relevant to the members of the WGSA. Delegates from the WGSA will be attending the London Screenwriters Festival in September 2016 and the WGSA intends to follow the same process to choose its 2017 speaker. Russell spoke to a full house in Johannesburg, Cape Town and Durban, where he engaged with the audience on what they would most like to learn from him, Hollywood’s story doctor who has read more than 7 000 screenplays. Sharing his secrets and tips he
emphasised that Africa is hot around the world, and: “When you get real you get interesting.” Before the talk the WGSA handed out certificates for its skills laboratory. Initiated with the Soweto Workshop where 20 graduates had completed phases one and two and were now attending Russell’s workshop. These 20 attendees were given their completion certificates. The WGSA designed its skills lab in 2011 and ran a pilot in Johannesburg that year without any funding. “It was a great success, however, we found that most of the writers who actually needed to attend, could not afford it, so we needed funding,” says Thea Aboud from the WGSA. Since then the WGSA has been trying to raise funding for this project, and in 2016 the Gauteng Film Commission was the first to fund its skills lab. “We do hope that other organisations in the film industry will follow suit,” adds Aboud. The Skills Laboratory has three phases: Phase one is an intensive workshop for beginner writers, who cannot afford to enrol at a formal film school or are not yet ready to be accepted by certain programmes. Writers can work on scripts in peer groups or one-on-one with a story
PHASE ONE AND TWO COMPLETED: Soweto Project attendee Kelebogile Serathi (left) receives her certificates from WGSA chairperson, Theoline Maphutha editor. Scripts can be read out loud as a live pitch to producers. Phase two focuses on skills enhancement for the professional writer and industry professionals. It offers courses ranging from script evaluation to introducing writers to fresh opportunities within new media, from writing blogs to the creation of online stories and games and courses, with international trainers and experts.
Phase three introduces the WGSA’s Short Film Course. This course will include participants in the greater Gauteng area and will be conducted in each of the five Gauteng regions. “If we can secure funding this will be a new group to the ones certified for completing phase one and two,” says Aboud. The WGSA is currently looking for funding for this phase. – Cera-Jane Catton
requirements, which is estimated at up to four times that of its predecessor H.264/ AVC. Therefore the development of real-time H.265/HEVC encoders for UHDTV, particularly the software implementations that can run on general purpose hardware is an ongoing challenge. It is interesting to note that Microsoft’s Windows 10 has H.265 playback, without the need for third party plugins, embedded in its system. Hardware-decode support will become more prevalent, and it’s likely that Intel will add some hardware support as a feature in sixth-generation Core processor. This will entirely solve the potential performance issues facing high-quality, UltraHD and HEVC video. From a broadcast perspective, the International Telecommunications Union (ITU) has approved the H.265 video standard and the European Broadcasting Union (EBU) has decided to test HEVC encoders and decoders for live content
transmission throughout the 2016 motor sports season. Open source developer and UK based start-up video compression firm V-Nova, have finalised the development of their Perseus encoding technology, considered by many as the current gold standard of HEVC. They recently formed an Open Innovation consortium of over 20 global major industry players including Broadcom, the European Broadcasting Union, Hitachi Data Systems, Intel and Sky Italia. The firm claims to have at least halved the required bitrate for high video quality compared with HEVC and have achieved the same gain in encoding efficiency over its predecessor MPEG4/H.264. But the difference is that while HEVC belongs to the same technology family as H.264/MPEG4 and indeed MPEG2 before that, Perseus is based on radically new methods designed to avoid some of the previous limitations as well as improve performance. But these are early days and the proof of the pudding will be in the eating. Many broadcasters and operators will want to see further evidence of performance and wait for proof that the technology is robust in the field and really does integrate with existing workflows. – Ian Dormer
Codec Confusion High Efficiency Video Coding (HEVC) aka H.265 has had a tumultuous journey over the past year or two. Back in January 2015 HEVC looked like a sure thing as industries seemed willing to adopt the codec as a standard replacement for H.264 codecs under a coalition of licensors. Later in July, it was in trouble with differing ideas regarding royalties and the development of the codec was put on hold. In December it was happily resuscitated, but during the in-between months, open source codecs were developed creating industry confusion and it seemed everyone was chaotically moving in different directions. Then, in the rarest of occurrences, most of the original groups involved, reversed course and converged toward a single standard, which almost certainly helped shove HEVC back on its intended path… or did it? H.264 is an incredibly popular codec that forms the basis of most online video shown today. It was released way back in 2003 and, despite taking a few years to catch on, became the workhorse codec. This leads to an inevitable question: If it’s been working for so long, and is 4 | SCREENAFRICA | June 2016
compatible with virtually every device consumers’ own today, why replace it? Simply put HEVC is just more efficient. The less data a codec can use to display an image without degrading its quality, the more efficient it is. If codec X and codec Y both display the same image quality, but the size of X’s file is 20 percent smaller than that of Y, then X is more efficient. With the rapidly growing interest and demand for Ultra High Definition Television (UHDTV) services both in broadcasting and live streaming, the developments in video compression technologies have key challenges to face. The H.265/HEVC standard is considered as the coding technology of choice due to its enhanced compression efficiency, to help cope with the significantly increased data rates in UHDTV signals. However, this superior compression performance of HEVC has come at the expense of increased computational
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NFVF announces Q4 funding and plans for 2016 This is a year of historically significant landmarks in South Africa, according to the National Film and Video Foundation (NFVF). In light of these, the NFVF plans to “promote social cohesion and correct imbalances of the past,” says Zama Mkosi, CEO of the NFVF. Plans include audience development and a study to assess the economic impact of the film industry in South Africa. Speaking at the NFVF head offices in Johannesburg, on 4 May 2016, Mkosi gave feedback on the funding approvals from the last year and shared the annual performance plan as had been presented to the portfolio committee in Parliament the week before. As of April 2016, the NFVF changed its funding cycle from a four-month to a three-month annual cycle. “In this financial year the NFVF will fund the development and production of films of historical significance: two documentaries featuring the 40th
FOCUS OF HISTORY: Zama Mkosi CEO at the NFVF
Peter Kwele head of marketing and communications at the NFVF
anniversary of the Soweto Uprising. And two documentaries featuring the 60th anniversary of the women’s march to the Union Building in protest of the Pass Laws in 1956.” She said a call had been issued to fund these documentary films. “To address the issue of transformation within the film sector the NFVF has reallocated its budget to ensure increased funding for emerging black filmmakers in partnership with the IDC,” says Mkosi. More resources will be directed towards new entrants into the industry. “This intervention is geared towards first time filmmakers to give them a calling card into the film industry,” she adds. Mkosi explained that the NFVF will embark on a nationwide public screening campaign during the months of June (Youth month), August (Women’s month) and December.
In the last quarter, three production companies received funding for three years and during this financial year the NFVF will support four black-owned production companies over a three-year period as part of the Enterprise Development Programme. This programme saw the NFVF enabling the making of the hit films Ayanda, Happiness, Hard to Get and Mrs Right Guy. The NFVF hopes that the film industry will move beyond project-to-project funding and position South Africa as the premier film producer of the continent. The foundation is pursuing new partnerships with BRICS countries and co-production opportunities to expand the industry. “In the 2016/17 financial year, we will continue to play a leading role in the growth of our industry, addressing the
needs of the stakeholders and broader film community. The NFVF has committed itself to enabling the industry, doing so through production and development, policy and research, funding and governance. We would like to assure the industry that we will continue to implement our strategic priorities with integrity, and are working towards improving the quality of life for ordinary South Africans,” says Mkosi. She confirmed that the NFVF will continue its support of women and youth filmmakers, a project which, during the past two years, has seen the production of 20 films by young filmmakers and 20 films by female filmmakers. The NFVF has also concluded a deal with the SABC to screen these films during youth and women’s months. Peter Kwele, head of marketing and communications at the NFVF, explained how their national internship programme worked and introduced 15 interns from the Johannesburg office. Partnering with the Department of Arts and Culture in regard to school programmes, the annual bursary exceeded 100 students and they have more than 80 interns nationally. “The NFVF will continue its partnership with the MICT Seta,” he says. These interns have been placed at various broadcasters, film commissions and production houses across the country. – Cera-Jane Catton
TB tackled in edutaining feature film The Lucky Specials is a feature film that blends fiction and non-fiction to educate audiences about tuberculosis (TB). Opening in the dark, dusty and dangerous work environment of the mine, the film introduces the protagonist, Mandla. Played by South African actor Oros Mampofu, Mandla is a gold miner by day, and musician by night. The Lucky Specials are a small mining-town cover band, fronted by Mandla, who contracts a drug resistant strain of the disease from his mentor. Caring more about his music than his health, he fails to get the help he needs. Using advanced 3D animation, the film dispels misconceptions about TB. It interposes action with animation to show what’s going on inside Mandla’s body. Produced by Discovery Learning Alliance and Quizzical Pictures, the film aims to help audiences across the African continent understand and respond to TB. “While South Africans are more aware about TB than 30 years ago, knowing about it, and taking the appropriate measures towards guarding yourself against it are two different things, and this is what we attempt to challenge in this film,” says the film’s director, Rea Rangaka, a South African born into a family of doctors. “TB is one of the biggest killers in southern Africa but it doesn’t have to be. 6 | SCREENAFRICA | June 2016
FICTION AND REALITY BLENDED: Still from The Lucky Specials It is curable. It is important for us to tell people this. It has a very simple message: get tested, finish your treatment and you will be okay,” says the film’s producer Harriet Gavshon. The film is aimed at a broad southern African audience, with citizens in all of the region’s states being vulnerable to TB. “We are all at risk, and it is important for all southern Africans to learn about the symptoms and what TB is,” confirms Gavshon. The film employs an unusual mix of storytelling styles to get its message
across. Gavshon says: “If you are trying to change the world, the work has to be extremely compelling and entertaining and have very high production values.” A serious subject matter is lightened with music. “The non-fiction takes the form of extremely sophisticated computer generated graphics as we journey into the protagonist’s body and literally witness a life and death struggle as he deals with TB.” There were a number of different locations involved in this production. “We filmed in Maputo, Mamelodi, Kliptown
and KZN,” says Gavshon. “The biggest challenge was to mount a huge concert on the Salt Rock beach. We were also very lucky to film in TB hospitals and TB labs to ensure that the film is authentic and resonant at all times,” he adds. Rangeka had always wanted to shoot on the Arri Alexa, and The Lucky Specials’ budget enabled him to do so. The film will be distributed around Africa on free-to-air television, cinemas as well as on mines and in schools and community groups. “I hope people are talking about The Lucky Specials five to 10 years from now as a film that made an impact on them and their lives, however large or small,” said Rangaka. “We are privileged to play a role in the battle to contain TB,” said Gavshon. All cast and crew got behind the cause. “Even the art department got PhDs in microbiology. They were so focussed on telling the story in as authentic a way as possible and insisted on educating themselves about the absolute minute details of TB,” said Gavshon. The animation is currently being built and they are working with Masters and Savant, “who have the herculean task of understanding the exact details of how to visualise TB and how to communicate it to a broad audience,” says Gavshon. – Cera-Jane Catton
| ADVERTORIAL I want the perfect music to enhance the storyline of my film and I have heard music is difficult to use – How do I get started? Now that we have seen an increase in local content on our local radio stations, will we see a similar change on our local television channels surrounding local programming and films?
A Filmmakers guide into Music in Film As a Filmmaker, production house or producer, navigating though the intricate and complex world of music rights can be very challenging especially if you don’t have any past experience in the matter. It’s absolutely essential that the licensing of music be done correctly in accordance to industry standards, to avoid disappointment and very compromising challenges in the 11th hour. The challenges faced by a filmmaker when sourcing music for a film are dependent on which
Currently it is uncertain as to whether there will be a content shift on TV such as there has been on our local radio stations. However, in recent weeks major broadcaster SABC suggested that in the
stance is taken by them, namely the use of original music vs. pre-existing music. The clearance’s required for pre-existing music are faced with challenges such as budget
months to follow, they intend to increase their local content offering on television. One would only
constraints, as some music is more expensive than others. When licensing or clearing music for a Film,
imagine that an increase in local television content would surely see an equal increase in local
two set’s of rights have to be considered depending on how the music is used in the film, namely the
production library music being used within these programs and films. This assumption appears to
Publishing Rights and the Master Rights. Time is a very big factor in this regard as the Rights may be
be a valid one considering that ICASA recently outlined that their increased local content quota
spread across several rights holders, and consent is require from all interested parties prior to the
regulations, stating that commercial radio and TV will have to source 35% of music they play from
music’s use in the film.
local artists (an increase from what was 25%), further to this, the public and community TV and
The cost implication of any music used in a film differs from song to song, which is why its very
Radio Stations mandate requires them to source 60% of all music and content to be sourced locally
important to secure or rather initiate the conversation at the very early stages of the film’s production,
(an increase from 40%). It would be in every TV producer’s best interest to be prepared for such a
as unforeseen factors such as approval, budget constraints and schedules could bring the film’s
shift if (or when) it happens.
progression to halt.
When creating new content, it is imperative to ascertain whether the usage is covered under the
Should you to be interested in licensing pre-existing music, the follow needs be considered and
blanket license. It is helpful to know that any TV program/film and the music usage thereof will be
subsequently carried out: Identifying which piece/s of music you would like to license, ascertaining
covered under the blanket license provided that the program/film is solely intended for flight on
who all the rights holders are (publishing and master), negotiating the terms of usage accompanied
local broadcasters MNET, SABC or ETV. Productions such as advertising, cinema productions and
with a license fee, and lastly the procurement of all the necessary license documents to be signed off
promo’s are not covered under the blanket license. The music usage on productions of this nature
by both the filmmakers and the rights holders. Depending on the use of the music, there are
are subject to broadcast mechanical rates set out by CAPASSO, which are attainable on their rate
instances where only the publishing rights need to cleared/licensed e.g. parodies, adaptations,
card. Should you find yourself within budget constraints, it is useful to know that Library/Production
sound-alikes and other like uses. With that said, a filmmaker needs to be prepared to bare the cost of
music is a very cost effective alternative to licensing a popular commercial piece of music. Not only
a re-record uplift fee, which depending on the magnitude of the song, may be about 50% of the
is it a cost effect alternative, in our modern day and age, Production Library Music is of very high
license fee paid to secure the Publishing rights, as well as the fee’s involved in re-recording of the
quality with top composers and film scorers building up a large catalogue of their own production
Master if need be. In instances such as these, Internationally charting music may come at slightly
music libraries.
higher licensing cost vs. South African music, reason being international songs are subject to fees
Once you have ascertained whether your production will or will not in fact be covered under the
charged in US dollar’s, as opposed to South Africa song’s which are subject to fee’s in rand’s. Thus
blanket license, you may ask yourself ‘where would I source this music from and if applicable, who
considering the current economic climate of the dollar vs. the rand, it makes more financial sense to
will assist me in acquiring the broadcast mechanical rights and CAPASSO Rates?’
source and license South Africa Music.
The answer lies within the creative team at Sheer Publishing, who bolster the vibrant, exciting
There’s something to be said about the feel and mood of music in a film when relating it to the
and diverse music library Skumba
film’s storyline. Some films are more conceptually driven than others, so for this very reason, very
Music. Director of Skumba Music,
specific commercial or/and commissioned music is very important. A filmmaker needs to be aware of
Mandrew Mnguni, believes that
this when initiating a music search for music in a film. In some instances, not too much focus will be
each and every picture has it’s own
placed on how popular a piece of music is, but rather how effective it is in conveying the pictures
suitable music, to create, set and
message to an audience. To achieve the perfect synergy between a motion picture and it’s
sustain a mood within a scene. For
accompanying music, a filmmaker needs to be very aware of the films sonic nature e.g. Philip Miller’s
this very reason they are
musical score in the The Book of Negro’s. Philip Miller is known to be an exceptional film scorer, more
committed and determined to
so in the ethnic realm of music needs. This is a great example of how music can be used to enhance a
supply you with the highest quality
motion picture for heightening an emotional connection with an audience. However, films are
music you specifically require, as
different in their nature, a film like “Hear me move” (a dance film) will not have the same musical
well as assisting you through the
requirement as The Book of Negro’s, which is why it is imperative for a filmmaker to deduce their
process of ascertaining whether
musical direction based on the films ethos and message.
the music usage you require, is blanket license related or subject to a broadcast mechanical fee in
Sheer Pub. Creative Team: Brett Vorster, Mandrew Mnguni, Kyla Julies and Zwelibansi Sisilana
accordance with the CAPASSO Rates. “Skumba Music boasts an impressive catalogue of well over 300 000 pieces of high quality
Original pieces of music are less prone to these challenges due to the nature of their conception. Original music is also generally less expensive and problematic as this allows the filmmaker a far more hands on approach with regards to the creative concept, the budget, and all the licensing aspects of the music by pre-clearing the above with said composer to avoid any pull out’s at a later stage. “Sheer Publishing is a very useful resource in the sense that services such as Music Supervisory are
music from a variety of genre’s and themes, including: Film Scores, Orchestral Tension Builders,
offered to help Filmmakers throughout the process of licensing music, by ascertaining all the
Drones, Kwaito, House, Traditional African Drums, Afro-Jazz, Hip Hop, Urban Themes, Ambient
necessary rights holders information, supplying the necessary documentation, assisting in the
and Ethereal Soundscapes, Action Sequences, Trailer Toolpacks and a unique catalogue of orginal
sourcing of music and composers depending on the filmmakers needs, and most of all negotiating on
Traditional South African recordings dating back to the 1960’s as well as many more!” Says Skumba
a Filmmakers behalf” as said by Brett Vorster a member of Sheer Publishing’s creative team.
Music Director, Mandrew Mnguni.
Mandrew Mnguni, the Director of Skumba Music further added to Brett’s statement: “This saves
Each and every album is neatly packaged into genre and theme specific albums under
Filmmakers a world of time and stress as a Publisher such as ours, would know who to talk too, what
renowned composers & film scorers such as Philip Miller, who composed the score for emmy award
questions to ask, which agreements to prepare, and last but not least, to actually conduct the music
winning documentary ‘Miners Shot Down’ as well as multi Canadian Screen Award winning series
searches on behalf of the Filmmaker.”
‘Book of Negroes’, Brendan Jury, who has scored music for South African films iNumber Number,
In order for a Music supervisor to assist a Filmmaker in this regard, a filmmaker needs to consider
‘Nothing for Mahala’ and ‘Love Is A Four Letter Word’ as well as having composed music for a wide
the follow: The song(s) to be licensed, the film’s music budget, a synopsis of the film, the type of
variety of commercials and advertisments for top brands such as Audi, Vodacom and South African
usage, duration and term’s of use (e.g. Title sequence, end credits, background music etc.), the
Airways and Peter Ngobese who composed all of the logo’s and stings for the SABC News and has
territory of use, and the films distribution medium and plan.
music placements on a host of top South African TV series. The Skumba Music Library is also easy to search and navigate through, according to Zwelibansi Sisilana, Senior Creative Liaison at Sheer Publishing… “The library is easy to use via our specifically
So as a filmmaker, when posed with the question, ‘what are the necessary steps I need to take regarding the music in my film?’ The simple answer would be contact Sheer Publishing for a hassle free solution to all your music needs!
designed search engine, which allows users to search via Genre, Track Name, Mood, Composer,
All the best for your film!!!!
Track Description, Publisher and Artist. This function ultimately saves a great deal of time
– Zwelibanzi Sisilana
when conducting music searches, which we all know is a huge factor within our time constrained industry.” The team at Sheer Publishing believe that when working on very time constrained productions, it is of every TV Producer/filmmakers best interest to work with a team of music creatives that are commited to delivering your musical needs at an impeccable turnaround time. – Brett Vorster
NEWS
|
John Vlismas announced as new host of Comedy Central’s Roast Battle Outspoken comic, comedy producer and roast veteran John Vlismas is warming up for his new gig as the host of Comedy Central’s Roast Battle – the new comedy format in which comics battle to the death in a series of quick-fire comedic combats. Vlismas will be keeping his cool as he presides over the new series of live shows. The first episode of the new series was taped in front of a live audience at Parker’s in Montecasino, Johannesburg, towards the end of May, and will air
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across the continent on Comedy Central in June 2016. Pioneered at the Comedy Central International Comedy Festival in December 2015, the Roast Battle finds Vlismas John Vlismas keeping the peace between the six local stand-ups as they aim to ‘burn’ and out-do their opponents armed only with an arsenal of five jokes in the form of original one-liners. The Roast Battle host and guest judges then decide who will proceed through to the next round. Six monthly heats will be followed by a grand final event at the end of the year at which Comedy Central will crown the Roast Battle champion. Roast Battle episode one premieres on Comedy Central on 13 June 2016.
E! announces E! VIP featuring celebrity greats from the African continent E! Entertainment Television (E!) announced that it will be bringing more local content to the channel with the launch of the brand new show E! VIP. E! VIP is set to give viewers an exclusive insight into the life of Africa’s most notable and loved celebrities. The first episode will feature Nigerian-born Tiwa Savage and the series will continue with celebrities such as Rita Dominic, Diamond, Mafikizolo, D’Banj and Cassper Nyovest. With in-depth interviews hosted by Dolapo or MzzAbby, viewers can look forward to uncover the stories of these stars. “After the great success of the E! News
New video streaming service launched in South Africa MyBroadband reports that a new subscription video-on-demand service called JustFlicks has launched in South Africa, with its services priced at just R1.00 a day. MyBroadband said that according to WHOIS records, JustFlicks is operated by STS – a wireless application service provider (WASP). STS is the company that took over the Vidi website when Times Media Group closed down its streaming service. 8 | SCREENAFRICA | June 2016
Special, we are delighted to debut E! VIP on E! Entertainment Television in Africa,” said Colin McLeod, managing director, UK and emerging markets, NBC Universal International Networks. “E! is committed to bringing audiences across the continent more original, local content and we are proud to showcase some of Africa’s biggest names in music and entertainment in this new series.” The first six episodes of E! VIP will air from 12 June on E! (DStv channel 124). The Joburg Film Festival hub will be around the Maboneng and Braamfontein areas in Johannesburg’s CBD.
To sign up for JustFlicks, users are required to provide their cellphone number and set up a password. Users will then have to go through their mobile operator’s double opt-in process for WASPs, and the R1.00 will be deducted on their cellular bill or from their airtime balance. JustFlicks said the minimum connection speed required for viewers to watch content on its service is 1Mbps, and the higher the speed the better the experience will be. Over 1 000 hours of movies and series are currently available on the platform. JustFlicks states that about 100 new titles will be added each month.
DStv Compact customers across Africa will now get FOX FOX Networks Group and MultiChoice recently announced that DStv Compact customers are able to enjoy the global entertainment channel, FOX (DStv channel 125), from 1 June 2016. FOX channel is a premier entertainment channel that offers award winning, ground-breaking and critically acclaimed programming. The move to DStv Compact will significantly increase FOX’s reach to a wider audience, creating new fans of its riveting entertainment in the African market. DStv Compact customers will get to experience the exclusive premieres of the best shows on FOX within hours of the United States broadcast. Aletta Alberts, GM for Content for
MultiChoice comments: “During the FOX two-week open window special earlier this year, we received an overwhelming response from our Compact customers who enjoyed the FOX channel line-up. We believe that the fulltime addition of FOX with its excellent programming will enhance the entertainment experience of our Compact customers.”
SA Actor Jesse Suntele wins BET Top Actor Africa BET announced that Jesse Suntele has been voted Top Actor Africa in the grand final of the channel’s reality contest. Suntele, 23, beat fellow contestants Shamilla Miller (SA) and Alex Khayo (Kenya) in the final episode of the series which aired on BET (DStv channel 129) on 24 May 2016. The overwhelmed actor was awarded a cheque for US$10 000, a 12-month contract with international talent agency J. Pervis Talent Agency, and access to Hollywood auditions. To win the final prize, Suntele had to
dominate challenges and leave a strong impression on judges Zikhona Sodlaka, Brandon Auret, stunt expert Ciprian Florian and the BET viewers at home who voted online for their favourite contestant. Martial arts and stunt work were among the skills Suntele had to master while delivering a convincing performance in the Action Movie challenge. Formally trained as a sound engineer, Suntele has previously appeared in numerous commercials and has appeared in the South African drama series Ashes to Ashes.
ShowMax expands to 36 countries across sub-Saharan Africa ShowMax has officially launched its internet TV services to 36 countries across sub-Saharan Africa. The company originally launched in August 2015 with the largest subscription video-on-demand (VOD) catalogue on the continent. The sub-Saharan service costs US$7.99 per month for unlimited viewing. The catalogue includes approximately 15 000 TV show episodes and movies, totalling almost 10 000 hours of viewing. The service includes a Kiswahili language section and a Nollywood section, as well as an African film section that pulls together classic movies from across the continent. Barron Ernst, chief product officer for ShowMax comments: “The speed and cost of connectivity are significant hurdles for any internet-based service in Africa.
Getting it right means you’ve got to do much more than just flick a switch.” “We’ve been busy testing the service in key locations across the continent and optimising our delivery network. Perhaps more importantly, we’ve adapted our apps to address the needs of consumers in Africa, introducing features like downloads for viewing TV shows and movies when not connected.” According to the GSMA, around 160 million connected smartphones were in use in sub-Saharan Africa in 2015, set to rise to more than 500 million by 2020. This explosive growth – combined with the increasing availability of WiFi services, the rollout of FTTH in urban centres and the rollout of other high speed fixed mobile options – is driving the take-up of VOD services.
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Hartiwood Films and Deepend Films to co-produce Reeva/Oscar documentary special Paul Kruger of Hartiwood Films and Deepend Films’ Paulene Abrey have commenced pre-production on Beyond Reasonable Fact, a possible three-part documentary series exploring the events leading to the Valentine’s Day killing of Reeva Steenkamp by paralympian Oscar Pistorius. Hartiwood and Deepend have acquired the film and documentary rights from Pan Macmillan South Africa to Mandy Wiener and Barry Bateman’s book Behind the Door, on which the documentary will be based. Wiener and Bateman will also collaborate with the filmmakers on the documentary, providing their unique insight into the tragedy. The producers have secured exclusive interviews for the content, but will reach out to all parties in an effort to humanise all of those involved. “Our objective is not
Reeva Steenkamp and Oscar Pistorius to re-examine the facts presented at trial, but rather to work backwards and examine the last seven months of their lives and the choices they made during that time,” said Abrey. “The more we delve into this period, the greater the number of irregularities we find in the choices that both of them made.” Shooting on the documentary will commence in the second half of 2016.
Pedro Pimenta announces the launch of Joburg Film Festival Pedro Pimenta, programme director of the 2015 Durban International Film Festival, announced at Cannes the launch of the brand new Joburg Film Festival. Scheduled to take place from 28 October to 5 November 2016, the Pedro Pimenta week-long industry event will be run by the annual TV market, DISCOP Africa, along with Enabled Media. According to the Financial Mail website, festival director Pimenta, who attended the Cannes Film Festival to promote the event, says the time is right
for an addition to the African film festival circuit. “We’ve had stories of many film festivals in SA,” he says. “Some still exist, some have disappeared, but at the end of the day, in Johannesburg, we’ve never had a relevant international film festival. And a lot of the SA film industry is happening in Johannesburg, particularly when we are dealing with SA content.” Pimenta says the idea was initially to create a small film market through DISCOP Africa’s annual event, but it evolved to encompass a new vision for a film festival, with an association to DISCOP and taking place at the same time.
| NEWS
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SABC and CWU reach an agreement regarding salary increment The South African Broadcasting Corporation (SABC) and Communications Workers Union (CWU) have concluded the salary increment and substantive negotiations for this financial year. Both parties have reached an
agreement of a 7 per cent salary increment and the ex gratia payment that will be paid out at the end of this quarter, however, this payment is subject to the good performance of the organisation. The parties have also agreed to moratorium on retrenchments. The agreement is applicable to all CWU members and non-unionised employees and was implemented at the end of May 2016, backdated from April 2016.
Hot Docs and Blue Ice partner with NY Times Op-Docs to support African documentary filmmakers Hot Docs Festival, Hot Docs and Blue Ice Group recently announced a new collaboration with The New York Times’ Op-Docs to commission short documentary films from African filmmakers that will be showcased on The Times’s Emmy Award-winning online forum. Over the next 12 months, five to eight projects will be selected for the initiative from hundreds of past submissions received by the Hot Docs-Blue Ice Group Documentary Fund, Fund Alumni and from those that will be received in the 2017 round of disbursements. Filmmakers of selected projects will be commissioned to craft new short documentary works inspired by the stories and themes of their feature
film, which will then be published first on The New York Times Op-Docs webpage. Launched in the fall of 2011, Op-Docs is The New York Times’ editorial department’s forum for short, opinionated documentaries, produced with wide creative latitude and a range of artistic styles, covering current affairs, contemporary life and historical subjects.
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Ross Video Acid Cam Camera for use in virtual sets
Few cameras address the fundamental quality problems that arise when combining live action capture within virtual environments. Standard HD video has bandwidth limited chroma content. When processing chroma keys for virtual environments, band limited chroma contains insufficient information to create a true high-resolution key signal from original content. As a result, chroma key edge quality is always band limited, as you simply cannot create edges with half the information ideally required. ACID Cameras have been designed for
maximum HD performance in any studio production environment. They offer best-in-class resolution, sensitivity and signal to noise ratio, plus unique UltrachromeHR outputs for chroma key applications. The solution from Ross consists of a proprietary full bandwidth color signal that is out-put from Ross ACID UCHR cameras. ACID Cameras provide standard SMPTE 4:2:2 video outputs as well as adding a new, unique output called UltraChromeHR. This output signal contains full bandwidth color information
in a patent pending 0:4:4 coding format from the camera image sensors. This signal contains full bandwidth color information. The standard 4:2:2 and UltraChromeHR outputs are received by the Carbonite UltraChromeHR chroma keying system and internally combined to create beautiful keys from the resultant 4:4:4 signals, and so offer unprecedented performance when used as Chroma Key sources for virtual productions. The ACID H200 is a full HD 1080P, 3 imager camera that utilises the very latest 2/3” UAIT CMOS sensors that provide
unrivaled performance of the very highest quality. Sensitivity, Signal to Noise and overall picture resolution are unmatched by any competitor with its three 2.6 Mega Pixel image sensors and standard 2/3” B4 lens mount. This camera is the perfect fit with Ross Robotics Furio and CamBot systems. Ross Video products are distributed in South Africa by Concilium Technologies.
LEDs mounted on the display surface, with each pixel emitting light independently. Each pixel is only 0.003sqmm in size, allowing the remaining surface area to be more than 99 per cent black. This high black-to-surface ratio contributes to the technology’s high contrast ratio in light and dark viewing environments. The technology has a viewing angle of
nearly 180 degrees with corner-tocorner image uniformity in terms of brightness and colour, even on a large screen. It has a brightness of 1000cd/ m2 and will support high dynamic range (HDR). The scalable system is made up of multiple display units, each measuring 18 x16 inches, that can be joined together with no bezels to create a limitless and seamless large-screen display.
Sony CLEDIS visual display technology
Sony recently launched its new CLEDIS display technology, a large-scale canvas solution that builds on Sony’s selfemitting display capabilities, but with ultrafine LEDs as the light source, to deliver a single high-resolution image at an extraordinary scale. Peter Kyriakos, head of marketing at Sony Professional Solutions MEA calls CLEDIS a “new type of canvas for limitless flexibility and creativity in public spaces
10 | SCREENAFRICA | June 2016
and high-end visual entertainment.” The technology is designed for commercial applications and immersive experiences, from industrial product design to theme parks, museums and high-traffic lobbies to corporate boardrooms and broadcast studios – any environment requiring realistic simulation on a large scale and detailed video displays. The technology uses RGB ultrafine
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LAWO R LAY virtual radio mixer Lawo’s virtual radio mixer is the equivalent of an entire radio studio on a laptop that covers, not only mixing, but also voice processing, codecs, phone systems and much more, all running in a virtualised PC environment with an easy-to-use, intuitive, multi-touchenabled GUI. R LAY has been designed to do everything a traditional radio console can do, and more. It is a fully-featured portable studio, complete with analog and digital I/O and a 4- or 8-fader Virtual Mixer. A variety of plug-in apps will be available from R LAY partners, so it can also take care of broadcast chores that a traditional console would require extra rack-mount hardware to perform. With built-in IT technology and audio-over-IP interface capability, the R LAY Virtual Radio Mixer has been designed to provide a highly portable and space-efficient solution suitable for a number of different on-air tasks and reduces the price of obtaining all these tools to a fraction of that of their hardware counterparts. R LAY Virtual
TSL MPA-1 MADI Solo Radio Mixer bundles include the R LAY VRX4 and VRX8 (4- and 8-fader mixer) software, a compact Lawo On-Air 4 audio interface equipped with mic, line, AES3 and RAVENNA/AES67 I/O, and a heavy-duty R LAY backpack with space
for a laptop and other on-air accessories like mics and headphones. The R LAY Virtual Radio Mixer is scheduled to begin shipping July 2016. Lawo products are distributed in South Africa by Inala Broadcast.
TSL MPA audio monitors
From mixing to simple monitoring, the MPA range offers users a highly configurable, yet easy-to-use solution. The range is available in a variety of input formats such as Madi, DANTE, Hydra2. All of these I/O formats are available in two front panel configurations – the Solo
and Mix. The former is intended purely for monitoring, while the latter allows for mixing as well. The units aid the transitions from analogue to MADI or from MADI to Audio over IP with eight analogue inputs. The DANTE, RAVENNA and HYDRA2
units also boast a MADI input. The units feature a shallow form design, rugged build and built-in mains power supply that make them perfect for us in OB trucks. A built-in web server enables engineers to remotely configure and monitor units
over the network while using any standard web browser. TSL products are distributed in South Africa by Inala Broadcast.
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Jasco delivers Avid’s NEXIS software defined storage platform for media to the African market Jasco recently announced the launch of Avid’s NEXIS software defined storage platform to the local market including sub-Saharan countries. Avid NEXIS is the first software-defined storage platform for media, delivering dynamic virtualisation, adaptive protection and media-savvy collaboration so media organisations of all sizes can accelerate production and increase efficiency. The solution is the industry’s first and only software-defined storage platform specifically designed for storing and managing media. Avid NEXIS enables fully virtualised storage so media organisations can adjust storage capacity mid-project, without disrupting workflows. Powered by the Avid MediaCentral Platform, Avid NEXIS delivers unrivalled media storage flexibility, scalability and control for both Avid-based and third-party workflows. It has been designed to serve the smallest production teams as powerfully as the largest media enterprises and is the only storage platform built with the flexibility to grow with customers at every stage of their business – fulfilling a key tenet of Avid Everywhere. Says Paul Divall, Managing Director of Broadcast Solutions at the Jasco Group: “We are excited to deliver this groundbreaking new software-defined storage platform to the local market which was
launched at the NAB event held in Las Vegas earlier this year. At the event, it was honoured with TV Technology’s Best of Show Award and is resolving a number of challenges for broadcasters.” “The software-defined storage architecture of Avid NEXIS is what allows customers to select components that meet their current needs, and easily expand storage capacity and bandwidth as their business grows. Avid NEXIS is also the only scale-out storage solution that enables customers to dynamically tune the system to ensure that highpriority workflows always have the capacity, performance and data protection levels they require. Customers can give critical projects maximum performance, while throttling back on less critical workflows. This ability lets teams react quickly to changes, adjusting performance and protection levels to match the needs of a project at any stage in the workflow.” The unique modularity of Avid NEXIS enables teams to mix and match storage engines and elastically scale capacity from as little as 20TB to over 1.4PB in a single system, without any interruption in service or down time. All Avid NEXIS systems are powered by the Avid NEXIS | FS file system, so customers experience consistent performance, reliability and protection, regardless of configuration size. “Avid created the category of real-time
Technology
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and the technology to take media production to the next level.” Thanks to the openness of Avid MediaCentral Platform, Avid NEXIS works with all top media creation applications, including Media Composer, Pro Tools, Apple Final Cut Pro, Adobe Premiere Pro, Grass Valley EDIUS, and many more. Production teams can quickly access a shared pool of virtualised storage resources, which dramatically increases their efficiency. The Avid NEXIS family includes several new storage engine options, designed to meet any scalability and density requirement. As the newest Avid shared storage solution, Avid NEXIS provides an easy transition path for existing users of Avid ISIS and Avid Unity shared storage solutions.
TAKING IT TO THE NEXIS LEVEL: Paul Divall
collaborative shared storage and media networking with Avid ISIS and Unity, and now with Avid NEXIS, we have reimagined the possibilities of shared storage for media production,” says Avid Chairman, President and CEO, Louis Hernandez Jr. “Avid NEXIS provides dynamic virtualisation, adaptive protection, and media-savvy collaboration so media professionals and creative teams can share and access media assets reliably from anywhere without overinvesting in infrastructure. Leveraging the power of the Avid MediaCentral Platform, Avid NEXIS provides customers the reliability they need today, the scalability for tomorrow,
INFO BOX: Avid Nexis range • Avid NEXIS | E4 – High-density integrated storage engine • Avid NEXIS | E2 – Small-footprint integrated storage engine • System director appliance – Increases Avid NEXIS scale and redundancy • Media pack – Pack of 10 drives with 20 TB or 60 TB of storage • Redundant controller – High-availability option for Avid NEXIS systems • Avid NEXIS | PRO – Professionalclass integrated storage engine (successor to ISIS | 1000, providing an easy upgrade path for ISIS | 1000 customers)
Sony Professional Solutions races ahead with its plans for South Africa At Screen Africa’s annual industry golf day, held on 12 May, Sony Professional Solutions MEA had a very clear message for Africa’s broadcast industry. Head of Marketing Peter Kyriakos, who travelled from Dubai to attend the golf day, said: “South Africa is an exciting and important market for us and we are very keen to further develop relationships with our partners and customers” PSMEA’s involvement in the golf day for the second consecutive year was part of the company’s drive to spread this message as well as to network and meet industry peers. Ever since Sony’s consumer products division withdrew from South Africa some years ago, PSMEA has faced a challenge in making the local market understand that although a part of Sony is no longer here, the professional division is very much active and involved within the South African market. Sony’s advantage is that it is a solutions provider with a 70 year heritage in technology and innovation; a provider of scalable, far-ranging solutions. “Kyriakos says. “While other manufacturers might
A CLEAR MESSAGE TO THE INDUSTRY: Peter Kyriakos, Head of Marketing at Sony Professional Solutions MEA
provide a camera or a mixer, what Sony has is a vast range of equipment that all interlinks together: from cameras, mixers, displays to archiving solutions and everything in between. So when people look at Sony, they need to understand that it is an end-to-end solution provider. We consult with customers and then create a solution that is tailored specifically to their requirements.” Kyriakos says that Sony’s primary marketing drive, in terms of specific solutions for the region in the wake of NAB 2016, is its pioneering storage system, Optical Disc Archive (ODA). Together with its partners, Sony has been hosting a roadshow across South Africa to educate the industry about the benefits of the system, which is set to replace tape-based LTO (Linear Tape-Open) technology. Making use of Blu-ray optical discs, the system offers considerably expanded storage space, as well as ease of access to information and a high level of interoperability between past, current and future generations of the technology. June 2016 | SCREENAFRICA | 13
4-Ball
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G OLF DAY
5 M ay 2 016, C MR GOLF CLUB, MARAIS BURG
Jonathan Coetzee (Media Film Service), Colin Benade (Movie Mart), Simon Robinson (Screen Africa), Peter Kyriakos (Sony), Jaycee Milner (Sony) and Ryan Brown (Jasco)
Casper Klopper (Zimele Broadcast Services), Marius Janse van Rensburg (SABC), Gareth Havard (Zimele Broadcast Sevices) and Roeden Kok (SABC)
SABC: Andre Dreyer, Lebogang Madingoane, Stephen Kheleli and Buti Seipei
SABC: Henry Manake, Julian Govender, Heinrich Betrus and Greg Mallett
Stephan Mulder (Golfers Club), Craig Morton (Blade Works), Siraj Cassiem (Blade Works) and Dave Harris (Frequency Audio)
GlobeCast: Neal Watson, Eugene Weimers and Kyle Suthie
SABC: Eben Jansen, Nkhensani Phaweni, Cartell Monamethi and David Teke
SABC: Clive Mtshali, Andre Rossouw and Gideon Rautenbach
Richard Fulton (Tru-Fi), Ewald Nienaber (Telly Track), Wesley Hoyd (Telly Track) and Mark Boyle (SuperSport)
Protea Electronics: Gerard Meiriing, Peter Booyzen, Richard Finniss and Allen Seager
Ernest van Niekerk (Brand Connection), James Garden (Eclipse), Chad Aitken (Eclipse) and Gary Laidler (Brand Connection)
Protea Electronics: Nic Bonthuys, Freddy Bredenkamp, Robert Oosthuizen and Clive Humphries
Rudie Booysen (Lansurf), Steve Harris (Blade Works), Alan Otto (LaserNet) and Andrew Bergh (Toga Pathology)
Eject Media: Riaan Booysen, Francois Uys, Marina Jacobs and Tiaan Neethling
Dennis Herold (SABC), Jimi Matthews (SABC), Shaun Kerr (Protea Electronics) and Gary Johnston (Protea Electronics)
Johan Gous (SuperSport), King Matshaba (SABC), Leon Labuschagne (Zimele Broadcast Services) and Mick Lyons (TMW)
Brent Waller (GlobeCast), Wendall Pietersen (Siyaya TV), Raymond Harris (GlobeCast) and Jerome Benting (JMR)
Hans Belz (Ericsson), Stephen Caupher (Blade Works), Warren Bleksley (Blade Works) and Ralph Hohls (Nuvu Ericsson)
Atlas Studios: Robbie Thorpe, Stanley Tlhoaele, Jonathan Gimpel and Theo Antoniou
The Fort: Craig February, Greg Swanson, Shukri Toefy and TC Countee
Rod van der Werken (Ericsson), Dominic Mitchell (Gallo), Rob Cowling (Gallo) and Jarrod Aston (FM Entertainment)
Carl Naude (SABC), Lannon Bussi (MultiChoice), Paul Divall (Jasco) and Divan Wienkus (Red Pepper Pictures)
Peter Esterhuizen (Westel), Willie Botha (SuperSport), Ted Heron (BB Events) and Colin Kay (Laser Alignment)
Concilium Technologies: Andrew Cole, Yousuf Mohamed, Alan Mendes and Findley Manzini
Donovan Swart (Concilium Technologies), Lester Reetley (SABC), Alan Visser (SABC) and Claude Stephen (Concilium Technologies)
Jacques van Wyk, Riaan van der Westhuizen (Quizzical Pictures), Jonathan Palmer (Power Man) and Gerard Savenije (Quizzical Pictures)
Patrick Thumiger (Sony Mobile), Jacques Mulder (Green Connect), Gareth Davies (Sony Mobile) and Christian Haghofer (Sony Mobile)
SuperSport: Mark Wernberg, Louis Hattingh, Werner Bauer and Alan Wilson
David van Zyl (DVZ Productions), Jose Da Silva (Visual Impact), Jimmy Headbush (Endaweni Media) and Thando Shabangi (Once-a-head)
Prize Winners
1st Prize: Robert Oosthuizen and Freddy Bredenkamp
14 T H
G OLF DAY
2nd Prize: Ernest van Niekerk and Gary Laidler
3rd Prize: Neal Sarlie and Kyle Suttie
4th Prize: Jarrod Aston and Rob Cowling
5th Prize: Gary Johnston and Jimmi Matthews
6th Prize: Wendall Pietersen and Jerome Benting
7th Prize: Rod van de Werken and Dom Mitchell
8th Prize: James Garden and Chad Aitken
9th Prize: Lannon Bussi and Paul Divall
10th Prize: Eben Jansen and Nkhensani Phaweni
Hole 8 – Closest to the pin: Mark Wernberg (left) receives his prize from Doris Mthombeni of Atlas Studios
Hole 9 – Forever Resorts Lucky Draw: Gary Johnston receives his prize from Ellen Oosthuizen
Hole 10 – Closest to the hole in two shots: Mark Wernberg receives his prize from Peter Kyriakos
Hole 10 – Sony Charity Lucky Draw: Jacques Mulder gets his prize from Sony’s Peter Kyriakos
Hole 14 – Closest to the pin: Jose da Silva receives his award from Gary Johnston
Hole 14 – Lucky Draw: Gary Johnston (Protea Electronics) (left) presents the prize to Heinrich Petrus
Hole 15 – Longest Drive: Paul Divall (Jasco) (right) presents the prize to Ernest van Niekerk
Hole Sponsors
Concilium Technologies: Steve Schafer and Desiree Heffer
Sony: Gerhard Strydom (Sony PSMEA) and Professor Mthombeni (Sony Mobile) SACIA: Tim Jones and Lilly Green
GlobeCast: Gugu Mhlongo, Neal Watson, Keneilwe Molifinyana, Kyle Suttie and Eugene Weimers
Jasco: Colin Stoltz, Eric Lawrenson, Jonathan Smith, Liza Cornelissen and Thabo Letwaba
Protea Technology Group: Robert Ridder, Ronel Fortune and Kagiso Mabe
Atlas Studios: Doris Mthombeni and Nthabiseng Teffo SABC: Cornelious Mahlang and Noxolo Dlungana
The Fort: Jessica Harrison, Nicole Clementi, Jade Mallett and Kimberly Mallet
Realtime Pictures: Greg Licence, Eric Tehuba, Ofanuel Matshaya and Quentin Haffern
Forever Resorts: Christianna Bolhuis
ADCETERA | Music Video
Following a
zest for adventure
Behind the scenes with Run Jump Fly Creations filming the December Streets music video
The chart-topping single ‘Addy (Never Growing Up)’, by the South African indie rock band The December Streets, was brought to life in this music video. The concept was born in the brainstorming process between the band and the creatives, Run Jump Fly Creations. The song is about never losing touch with your young mind that had no limitations and a hunger for adventure.
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t was written by Tristan Coetzee in one evening. Addy is the name of his late childhood friend, and ‘Never Growing Up’ is a reference to living with the passion you had when you were a kid. The story follows a young boy who begins drawing on a sticky note, the character he draws comes to life, jumping off the note and goes on adventures around the room. Ending with an old man looking back on his life, still drawing and doing what he loves. “As most creatives dream of for
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projects, we were given pretty much free reign regarding the brief,” said director Lourens Smit at Run Jump Fly. The constant movement in the video, filled with life’s trials and tribulations, essentially relates back to the idea of growing up. “This tied into the overarching concept, pictured in the stop motion character on the sticky notes,” explained Smit. Tristan Coetzee and Zayn Opperman co-directed the video. Planning began by finding a suitable space; they chose the home of a friend of theirs in Rietondale,
Pretoria. “He could tolerate his home being filled with sticky notes and loads of coffee for three days,” added Smit. They didn’t want the narrative to be limited by technical animation ability. “We decided to create a stop motion which interacts with the real world,” he said. They decided on sticky notes so that they could essentially have a deconstructed flip-book animation react in a real space. Every single frame of the video was hand drawn on a sticky note by Zayn Opperman. “In pre-production we drew out each note according to the scene, then stuck them up chronologically on a wall to make sure we did not miss a single frame, and then filled in the blanks, often adjusting and improvising on site,” said Smit. The character moulds and interacts with his surroundings. “This gave us freedom to play around creatively in the space,” said Smit. They ended up using 3000 sticky notes, shooting the entire video chronologically. “This made the editing much easier as we could essentially import all the images in timelapse fashion and adjust the frames to fit with the music,” explained Smit. “In saying that, we did improvise and illustrate a few scenes that presented themselves while shooting on site.”
Shooting on a Sony a7s with a Zeiss 50mm lens, they stuck down each sticky note and meticulously took a still. This process was repeated 3000 times. “We used guides on the a7s to line up the sticky notes within the frame so that less re-framing would need to be done after the fact, which really helped,” added Smit. “This is the kind of project that lives or dies in the planning process and by doing these little things, it saved us lots of headaches in post.” Opperman spent around three days creating these illustrations which took more than 14 hours to place around the room. Once these images were compiled, animation and colour was added by Run Jump Fly before everything synced up. Smit says that, while the video required painstaking attention to detail, it was a lot of fun to make. The only difficulty they faced was trying to control lighting. “With the time it took to photograph each sticky note and the fact that they moved, getting a consistent level of light became quite difficult and a hassle in post.” The song is driven by the band’s fresh sound, and the video embodies the message that passion never dies. – Cera-Jane Catton
| ADCETERA
Get Active given the go-ahead to get SA off its ass
Still from the Virgin Active get active commercial
At the start of the New Year, Virgin Active kicked off its ‘Get off your ass’ campaign to tie in with the banal resolutions that come with January. The commercial conveys the message to South Africans to get up and get active in a series of scenes contrasting the lazy against the fit. In the background is a swing song with lyrics that highlight a tendency to let procrastination and lethargy ruin those annual resolutions. The song however, did not sit well with some viewers who claimed that it contained an expletive.
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ines from the jingle that was composed by Ogilvy & Mather for this TVC include, “If you’re feeling kind of bummed that you’re not having all the fun, get off your ass,” and “If you think the world’s against ya, cos your nice pants they don’t fit ya, get off your ass.” The South African Advertising Standards Authority (ASA) handed down its ruling on the case in May 2016. Representing Virgin Active on the matter was ENSafrica, their head of intellectual property, director Gaelyn Scott talks us
through the judgement. “The ASA ruling deals with two separate provisions of the ASA Code,” explains Scott. “The first of these is clause 14 of section II, which deals with advertising and children. This clause says, among other things, that an advertisement should not cause children mental, physical, emotional or moral harm, nor should it leave children with the impression that undesirable behaviour is acceptable. “The second provision, clause 1 of section II, deals with offensive
advertising,” Scott continues. According to the ASA Code, “no advertising may offend against good taste or decency or be offensive to public or sectoral values and sensitivities, unless the advertising is reasonable and justifiable in an open and democratic society based on human dignity, equality and freedom.” Virgin Active responded to the complaint with a number of arguments. It said that the advertisement is motivational, in that it exhorts people to exercise. It said that the expression “Get off your ass” is colloquial, and isn’t out of line with society’s values. It argued that the expression was appropriate, given the light-hearted and fun tone of the advertisement and that there was no visual connection with any body part. It further said that it is generally adults who go to gyms, so the advertisement wasn’t aimed at children. It added that most children know the word ass anyway, because it is often heard on TV. Scott also referred to earlier ASA decisions that have dealt with the word. In particular, a case involving Renault, in which the ASA held that the phrase “I came, I saw, I kicked ass” was not offensive. The ASA directorate on this occasion made the point that the word ‘ass’ is less offensive than the word ‘arse’. Then a case involving Art Lab, in which the ASA held that the term “kick-ass digital printing” was in line with society’s values. Lastly the Groet die Grotman (Defending the Caveman) case, in which
the ASA held that the Afrikaans word for ‘arseholes’ (‘poepholle’) would not harm children, and would not encourage them to use it indiscriminately. Dealing with the issue of advertising and children, the ASA directorate first referred to the earlier decisions and said, “As is evident from the above, the directorate accepts that the word ass, while not necessarily preferable to parents, would not likely cause mental, emotional or moral harm to children.” It then discussed the advert’s flighting schedule, and noted that it generally appeared with shows aimed at adults. Finally, explains Scott, it dealt with the argument that the word ass was used excessively, five times in a 42-second commercial. The directorate had no problem with this, saying that it was contextualised and was used to encourage a healthy lifestyle. Moving on to the offensiveness objection, Scott says the directorate noted that it needed to consider the matter from the viewpoint of the “hypothetical reasonable person.” It added that “this approach adopts neither an oversensitive nor a hypercritical perspective, and takes into consideration relevant factors such as the context and likely audience for the commercial.” Therefore the directorate concluded that it was satisfied that in the context of a humorous and blithe commercial, the word ‘ass’ would not cause offence. – Cera-Jane Catton June 2016 | SCREENAFRICA | 17
ADCETERA
|
Usain Bolt speeds up
‘next generation of fast’ campaign When Telkom launched its Boltspeed fibre network across South Africa at the start of February 2016, they claimed it was the fastest fibre optic internet available. Therefore, Telkom wanted an icon of speed to embody the connection. Who better to personify the brand than Usain Bolt, the fastest man ever timed? True to his form, Bolt’s role was shot in three hours. Due to the athlete’s Olympic training schedule, filming was structured around it, taking place on Bolt’s home turf in Kingston, Jamaica.
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Still from the commercial
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olt’s management worked closely with Telkom and their advertising agency, DDB Johannesburg, to develop the concept. The ad features Bolt training a real talent, a toddler track prodigy in the making. “A TVC on this level would usually take up to four months to produce, with an entire week set aside for filming,” says Matthew Berge, executive creative director at DDB. “We had to trust our director, Robin Goode, and time our shoot to the second, with very little room for error.” It took a total of five days shooting with just half a day for stills and the CG shoot. Goode, who founded Figment Films in October 2015 with executive producer Di du Toit embraced the three hour challenge for Figment’s first TVC. The Jamaican leg of the shoot was shot over two days in November 2015. “We took two crew with us to Jamaica, the DOP Tim Pike and the AD, Dale Butler,” says Du Toit. The rest of the crew were from Walters Productions in Kingston. “We had to use them as they do all Usain’s work and, despite concerns, it worked out superbly, they delivered 100 per cent. It was just like working at home,” says Du Toit. The Kingston shoot was done at the National Stadium. “We started with Bolt’s interview sequence and then used a quad
bike and steady cam to get the running footage,” explains Du Toit. “We also had to capture a lot of stadium background plates to comp our running baby in.” With only three hours of Bolt they had to use a body double to get some of the shots. Bolt’s tight schedule meant they had to meticulously plan their time. A sprinter in a fat-suit was filmed against a green screen at Panalux Cape Island Studio in Milnerton, Cape Town. Children have proportionately bigger heads, feet, hands and knees compared to adults, and so fat-suit technology was used to allow an adult athlete to be filmed in the sporting sequences. This allowed seamless filming while maintaining the correct proportions of a two-year-old boy. “Goode used this technique to get the right proportions for a toddler and recreate the lifelike action for the running baby,” says Du Toit. Lastly they filmed the toddler, newcomer Michee Kabongo from SA, this was his first shoot, and it was also against the green screen to capture his face. Filming was done using the Red Dragon in both Jamaica and SA. “Once all the live action was shot we went to Black Ginger for the photogrammetry shoot,” explains Du Toit. Kabongo and the man in the fat-suit stood in one place and 50 cameras took 360 degree stills in an arc around them.
These images were used to create a CG model of them to place in to the wide shots of the stadium. “This is a very common technique used in feature films today and it creates a very lifelike 3D object that can perform and do things you wouldn’t think they could normally do,” says Du Toit. Goode used these various techniques for producing the commercial to ensure the shots appeared authentic. “He needed to have total control of the action he was getting and it is always better to see the images in camera than to try and recreate them in post. This way the emotion and performance is real and there is only a small part that had to be enhanced in CG,” Du Toit confirms. The capturing of Kabongo was supported by Tracy Lund, the Baby Wrangler. “She not only cast him but managed and worked with him throughout,” says Du Toit. Edited by Ricky Boyd at Deliverance: “he did an amazing job offline so that everyone had a very clear idea from early on as to how the commercial was going to turn out when the post was created,” adds Du Toit. The music was created by Markus Wormstorm, South African musician and composer, the song has since turned into a talking point of the commercial. – Cera-Jane Catton
KENYA | POLICY AND LEGISLATION
| ADCETERA
Is KFCB an impediment to creativity in Kenya? While the Kenya Film and Classification Board is mandated to regulate film content in Kenya, there have been a few issues that have surfaced in the recent past that haven’t augured well for media firms and content producers.
Kenyan gay gospel artist, Joji Baro, and rapper Noti Flow, in the controversial music video, Same Love, which was banned by the Kenya Film Classification Board (KFCB)
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he regulatory board is charged with ensuring Kenyan filmmakers and content providers are able to feed from their creative resource. It has insisted on 40/60 viewership across the national media platform, where 60 per cent of the content that’s viewed on television is local and 40 per cent is foreign. But even so, many creatives across the board feel like KFCB still runs on outdated practices that stifle production and creativity. “They are not open minded; they run on this religious, moralistic view, which to me impedes the ability for creatives to go the whole nine yards,” says filmmaker James Ogola. ‘If I have a story that I want to tell and the story is based on these two gay people who in this day and age are living in Kenya, the KFCB will not allow
that to run, simply because it involves gay characters.” KFCB has in the recent past banned adverts during watershed period, a Coca-Cola ad was forced to be cut due to a kissing scene. It is such unrealistic approaches to creativity that make many view the board as a medium for muzzling creative freedom. “You cannot play regulator and muse on the same vein,” Steve Njuguna quips. “We have come a long way, look at us and compare this country to the rest of Africa, we have to work with a body that is cut out to play its mandate of regulating what’s not needed and not inducing to creative people what is supposed to be created.” “Look at what happened to Netflix,” Agnes Pendo, a Mombasa-based filmmaker laments. “They came to Kenya,
then KFCB said they are supposed to do 60 per cent of local content, how’s that going to work? I think some things have to be thought through first, like they could allow Netflix to work with local producers to create films that are quality but local, but dismissing them discourages investors from this country and scares off other interested parties.” The most affected people are gay filmmakers who are not allowed to show their ‘inappropriate’ content to the public. Rapper Noti Flow and her bisexual lover, Soila Cole did a video which has been flagged on YouTube for being against Kenyan moral standards. “We are happy that the music video has been pulled down following a request we made to Google. This is part of making sure that content is healthy for all,” Ezekiel Mutua, the KFCB CEO later said at the World Press Freedom Day at the Intercontinental hotel in Nairobi. “What is considered immoral?” Janet Waweru, a 30-year-old scriptwriter asks. “We have different definitions of immoral. I might be gay for instance; that’s not immoral to me. A lawyer who fights for abortion – should he be banned for fighting for these rights? So where do you
draw the line between creative morality and social morality because one thing might be creatively necessary for a story while it might be considered morally offensive to the Kenyan market, but where do you draw that line?” With the rise of internet and digital media access, most Kenyans believe there’s a necessity for a regulatory body but it has to live up to its mandate and keep up with the times. “KFCB is run by a bunch of aged guys, a bishop and a collective of hallelujah guys, so their view on things is through the lens of sin and demons,” Njuguna adds. “If this goes on it will surely affect the creativity of filmmakers because we will be doing Christian films all the while and I don’t think that is what creativity is all about.” “I think we should have independent creatives who understand film art,” Pendo concludes. “KFCB should look at film as it is, and not turn its regulatory mandate into an impediment of creativity because that will be dangerous for us as filmmakers and also for people who are interested in investing in media in Kenya in the long run.” – Sam Charo June 2016 | SCREENAFRICA | 19
FILM
| Ghana
Children of the Mountain –
an emotive ‘Afro-indie’ gem
IN A POSITIVE LIGHT: A scene from Children of the Mountain
Premiered at the 2016 Tribeca Film Festival, Children of the Mountain is a poignant and visually transcendent debut feature by Ghanaian native Priscilla Anany.
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nany, who moved to the United States in 2003 and has lived there since, started out writing poems and short stories at a very early age. Inspired by Michael Jackson’s early music videos, Anany became eager to see her stories come to life on screen. In Children of the Mountain, she has combined her love for filmmaking with her intrinsic interest in women’s issues and unique African stories. “My overall goal is to make films that portray people of African descent in a positive light, and to tell stories that explore the unique and undiscovered rich cultures of Africa and Africans,” says Anany. Following an affair with her neighbour’s spouse, Essuman (Rukiyat Masud) falls pregnant and gives birth to baby Nuku (Jessica Dablo) who is born with a cleft lip, cerebral palsy, and Down syndrome. Essuman is led to believe that Nuku was born this way because she has a ‘dirty womb’ – as is widely believed in rural West Africa when one bears a child with such birth defects. Her future as a wife
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and mother unravels as her lover disowns her and Nuku, and the community, fashioned by old wives’ tales and superstition, turns its back on her. This lead’s Essuman on a desperate search for a cure to her son’s illness, where she encounters futility at hospitals and is conned by religious leaders, shamans and medicine men. In these trying times, Essuman’s faith wavers at times causing her to shift between having the utmost dedication to her son and controversial attempts at selfpreservation that involve getting rid of her child. Set against the breathtaking backdrop that is Ghana, Children of the Mountain is a story about a mother embracing her warrior spirit when faced with extreme adversity. Anany says that she was inspired to make this film due to an aunt she had who died when she was very young. Her mother told her stories about how her grandparents struggled to find a cure for her young aunt, going from hospital to hospital, one medicine man to another, to pastors and shamans, and just about
anybody who claimed they could cure her. “That was my first inspiration, to write a story about a mother who will do anything for her child’s health,” she comments. Further inspired by a prose a friend of hers had written which expressed her rationale regarding why her daughter was born with Down syndrome – as she felt that it may have been her fault – Anany set about the making of Children of the Mountain in 2014. “My goal is to let mothers all over the world know it isn’t their fault their babies are sometimes born with health issues or with deformities. There’s no such thing as a perfect child or human, all children are a great gift, and they should be loved and accepted no matter how they come,” Anany states. “In many African cultures, women are often blamed for various things, some of which they have no control over. As a women’s empowerment advocate, I like to tell female stories that encourage, change and challenge cultural norms. I like stories that exonerate women from blame. Children of the Mountain is one such story.” To establish the desired realism of the film, Anany wanted to cast a child with the real life conditions projected in the story to play the part of Nuku. “Besides, this was a low budget indie and I knew I wouldn’t be able to afford CGI,” she
offers earnestly. During the casting process, Anany and her team, made up of crew from her own Ghanaian and New York-based production company i60 Productions, visited a few hospitals in search of a fit for the character of Nuku, but faced some upheaval as the families of these children were uncomfortable with featuring them in a film. “Many were ashamed of the condition,” Anany explains. That’s when she came into contact with the Graft Foundation, a Ghanaian-based and funded non-governmental, non-profit making organisation which seeks to help deformed children in Ghana and in neighboring West African countries by providing free reconstructive plastic surgery. “Once they read the script, they were willing to assist. They had a list of kids who were awaiting surgeries but then the next challenge was to find a family that would agree to have us work with their child…Fortunately, Jessica’s parents were willing to allow me to work with her.” Made on location in Ghana, Children of the Mountain took just 19 days to shoot, but the development, funding and post-production took another two years. Filmed by cinematographer Eli Wallace Johansson using a RED Epic, in a style that distinctly emphasises the realism of the story and highlights the beauty of West Africa, Children of the Mountain is cinematically as emotive as its narrative. Anany says that she chose to shoot on the RED Epic as she wanted to use a camera that could shoot beyond 4K. “Both for the quality and the ability to have more freedom in post-production should we need to make an adjustment to the images. The RED enabled us to shoot in 5K,” she explains. A total of 101 minutes in length, Children of the Mountain, written, directed and produced by Anany, was funded in part by her company i60 Productions. That, combined with some money from her family and friends, and a grant from the Jerome Foundation as well as the Women in Film Finishing Fund, comprised the budget on which this ‘Afro-indie’ gem was made. Children of the Mountain deals with questions of culture and tradition, stigma and superstitions, in a delicate and yet direct manner. Anany hopes that the film will not only be seen by audiences far and wide, but also used as an educational piece. “I’d like for them to know there’s hope and there’s help out there,” she says. “This message is extremely important in African countries where the stigma against such conditions is very high. I absolutely think the story will resonate with Africans and international audiences.” – Chanelle Ellaya
Talking to us from Cannes, South African director Mandla Dube has a broad and international foundation. From an American alma mater to teaching camera technique at Wits University, camera technician to cinematographer. Dube is a father, film maker and flag-waver, who recently honoured the heroism of Solomon Mahlangu in the feature film, Kalushi.
a Mandl Dube
W.
Director Speak
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to me saying we are running out of time. Once time is gone you can’t scoop it up from the floor and voila it’s back. Where do you find inspiration? I walk a lot and I talk to my sons about everything. I read and watch documentaries, the stories of people passed that have not yet been told inspire me. Obviously the universe conspires with me when those ideas come. I learned from Stanley Kubrick to write every idea that comes to mind, no matter how insignificant you think it might be.
How would you describe yourself as a director? Dedicated, meticulous and ready to learn. While hard working, I love the creative and collaborative process with actors and crew. Describe the moment you decided you wanted to be a director? I had no choice, no one wanted to direct my script and project. So a friend of mine, Teddy Mattera, a director himself said: “When it’s your turn you better step up and direct.” So I did. Now I enjoy it and wish I had overcome the fear sooner. However it’s never too late. I did direct my cinematography thesis film Imagine That while at the American Film Institute (AFI), where a directing fellow encouraged me to direct as opposed to getting someone else to convey my vision. What is your background and how has IT shaped you as a director? I am a cinematographer first and foremost. I’ve loved cinema for many moons, since I was seven years old or so. When I did my undergraduate studies at Clark Atlanta University (CAU) I was hungry to tell stories, so I minored in African history. That opened a whole universe of African stories in the diaspora which I was willing to learn and embrace. At that time Spike Lee was my inspiration. When I left home after the new democracy for graduate school I went to AFI in Hollywood, I already knew the African voice was part of my responsibility as a filmmaker. In Los Angeles my visual storytelling style was sharpened as a cinematographer working for some of the great studio cinematographers. How has your camera experience supported you As a director? I started working in camera as a prep technician at an equipment facility in Atlanta, Georgia in 1992, while studying at CAU. So lenses, cameras and light equipment were part of my vocabulary and tools at a very early stage. I know what a 75mm lens will do emotionally at a given distance on a particular format as well as an aspect ratio used. And continue to discover more and more by immersing myself in the new technology as it comes out. It also helps to surround yourself with great assistants that know the gear. But I must give credit to my instructors and classmates as well at AFI who shared their knowledge. I was fortunate to work and be mentored by Bill Dill, Henry Adebonojo, Wally Pfister, Bob Richardson, Allen Daviau, Janusz Kaminski, Greg Gardiner, Bob Elswit, Amy Vincent and recently on Money Monster directed by Jodie Foster where I did second camera for Matthew Labatique. WHat is your favourite position to be in on a film set? Cinematographer and director, and to be ahead of schedule. Nothing pisses me off like the AD coming
Do you have any mentors? I would spiritually die if I didn’t. My late parents, my wife, my brothers and sisters. My co-producer Walter Ayres and Paul Raleigh at Hollard. My directing coach Adrienne Weiss who teaches at Columbia University. And actors on set are such great mentors when they know who their characters are. What has been your proudest moment as a director? Overcoming the fear of directing and sitting in the cinema witnessing audience members go through an emotional ride with my work. That is just fantastic. Which projects are you currently involved in? Right now I am doing a documentary series on Mapungubwe while developing a dark comedy and a heist film. It is 5.30am at the Cannes Film Festival, while I answer these questions I have been sending notes to my co-writer Leon Otto on some scripts we are developing. I am mentoring a few filmmakers on their projects. I’m also heavily involved in KZN to make a presence felt. Then of course my kids, and I am a farmer too. What are your personal career milestones? Making Sobukwe – A Great Soul with Mickey Dube as my cinematographer. Fulfilling the promise to Martha Mahlangu to tell her son’s story, Kalushi. Meeting the late director Djibril Diop Mabety at Cannes in 1997 – he taught me Zen. Being directed by the great Haile Gerrima and Jodie Foster. Working on huge studio films observing directors command their craft and looking back on where I come from, Mabopane outside of Pretoria, I feel really blessed. What is your favourite oneliner from a film? “I’m walkin’ here.” If you could shoot a film anywhere in the world, where would it be? Peru. Machu Picchu. Egypt. If you could produce an African version of a Hollywood classic, what would it be? Cleopatra. Which five film characters would you invite to a dinner party? Tituba from The Crucible, Nino Brown from New Jack City, Brenda from Kalushi, Mandingo from Mandingo, Django from Django Unchained, Miss Cilly from the Color Purple and Catherine Trumell from Basic Instinct. Compiled by Cera-Jane Catton June 2016 | SCREENAFRICA | 21
Documentary
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The ancient of existing as
art one Taking a group of San people from their home in the desert to the bustling city centre of Frankfurt was just a small fragment of the course in the making of Ghostland. The German documentary is about the earth’s oldest existing culture, who have existed sans clothes for 20 000 years – the Ju/’Hoansi of the Namibian Kalahari.
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he production team decided to juxtapose the Ju/’Hoansi culture with their own in order to better understand the two. “We show the reality and values of the Ju/’Hoansi and how these are reflected in their view of foreign ways of living,” says co-director Catenia Lermer. “It is not sufficient to simply examine our own culture if we are to develop universally valid statements on human behaviour. It is only possible to see and understand human behaviour if it is observed in the contrast of many different cultures.” It was on a chance accompanying trip to support the traditional tribes of Namibia that Ghostland was born. “We had an idea of what the story could be, but we knew that results would depend on the characters and the culture of our protagonists,” says Lermer. Joined by unit manager, Sven Methling, and director Simon Stadler, who was also cinematographer. Both Methling and Stadler conceptualised Ghostland. It is one thing to want to film an ancient and remote culture, quite another to make such an idea conceivable. It involved long periods spent in the village prior to the filming that made it possible for this European trio to establish an empathetic, respectful and gregarious relationship with the Ju/’Hoansi. “We were integrated into the day-to-day life of the village with and
without the camera,” says Lermer, speaking of the bond that still remains after the film’s completion. Documenting without influencing, the journey began in 2010. Ghostland follows a group of San people from the Kalahari to civilised Namibia and Europe. “A journey to the world of the ghosts with the tables turned. The Ju/’Hoansi are no longer the research specimen but the researcher, not the beggar but the teacher,” explains Lermer. The film explores an ancient existence, and then allows it to view the modern world. The rich reality and values of the Ju/’Hoansi is reflected in their perception of our world. This context of the film came about after a German foundation invited four members of the Ju/’Hoansi to go to a workshop in Europe. “That was an unexpected chance for our project to get deeper in the view of them,” says Lermer. “It allowed us to look at ourselves through the eyes of the Ju/’Hoansi.” Released in March 2016 the film premiered at the Thessaloniki Film Festival in Greece, and is having its South African premiere at DIFF. In April this year the filmmakers presented it to the Jo/’Hoansi. “It was a technical challenge, but we managed to show it with a bed sheet, our laptop and a video projector. The school supported us with electricity from their solar panels.” This was the final step in the process of making the feature.
“We were excited how our protagonists would react and very happy that they laughed a lot, were impressed and entertained.” While travelling with the Ju/’Hoansi to Himba Village the filmmakers realised that it was the first time that these tribes had ever met or interacted with each other. “It was an impressive moment to share this first contact,” says Lermer. She explains that the biggest challenge was to get close enough to capture their emotions and sentiments without intervening in their lives. It was in 1990 that the law changed for the Ju/’Hoansi; these nomads were forbidden from hunting and forced to stay in one place. This meant they were unable to support themselves. While supported sporadically by the government, they were forced to sell devil’s claw at the side of the street or to leave the group to make money. “The Ju/’Hoansi of Grashoek, our protagonist, got the idea from a Namibian NGO of a self-dependent Living Museum, which is now working passably successfully after a couple of years.” Implementing the same concept, they are able to exhibit their traditions without fear of losing their knowledge the way it happened with the traditional knowledge of many other San groups. Despite these challenges their life remains fixed between two worlds. “The fact is that the circumstances destroyed their traditional society, which was unprecedented, tolerant, peaceful and formed by equality,” adds Lermer. Ghostland shows that much can still be learned from Ju/’Hoansi knowledge and behaviour. The film exemplifies that life in the Kalahari, and life as it once was, is only possible by sharing everything. “There are no individual possessions, and no individual destiny, simply the destiny of the group,” she says. The unity is characterised by equality and respect.
Filmed in Namibia, Germany (Frankfurt, Main, Göttingen, Hamburg), Italy (Rimini), and Denmark (Lejre). Using 720/25PN recording technology with Panasonic HVX 201, as Lermer explains that without electricity, this allowed them to limit the data volume on hard disks, which was then colour corrected and scaled up to 1080p. “We decided not to use clip-on or radio microphones as it did not seem appropriate for us to cable the Bushmen,” says Lermer. The sound was recorded entirely using boom mikes. The film was edited in Final Cut Pro Studio. World Distribution was done by the Austrian agency Autlook Filmsale. Electricity was a major challenge as every week or so the crew had to travel 120km to charge equipment. Ghostland was made to show a neutral and observational perspective, so to come that close without disturbing the atmosphere they kept a small, flexible team. “That was the advantage,” says Lermer. “But at the same time it made a lot of work for only three people.” – Cera-Jane Catton
Key crew list: Production and equipment: Cameleon Film / Simon Stadler Director, camera and idea: Simon Stadler Co-director and sound: Catenia Lermer Idea and unit manager: Sven Methling Editing: Simon Stadler and Andre Broecher Colour correction and technical post-production support: Magna Mana Production GmbH / Frankfurt am Main / Music composing, sound engineering and mixing: Matthias Raue / Tanit Studio GmbH / Frankfurt am Main
June 2016 | SCREENAFRICA | 23
Documentary
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Describing
The Silent Form
SCULPTED MASTERPEICE: Dylan Lewis sculpting in studio
South African director Simon Wood’s latest work, The Silent Form, had its world premiere at Hot Docs Canadian International Documentary Film Festival 2016. The film was also the only South African documentary to be selected to compete at the festival.
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his is the second year running that Wood’s film was selected for Hot Docs following his 2015 film Orbis, which still features on the international film festival circuit. The Silent Form – by Cape Town based SaltPeter Productions – is an artistic collaboration between Wood and one of South Africa’s most renowned artists – sculptor Dylan Lewis. “After decades of sculpting alone in his studio, I was honoured to be the first filmmaker to be allowed to document Lewis working,” says Wood. Lewis is an internationally acclaimed sculptor of the human and animal form. Over the past 15 years the sculptor has exhibited extensively, both in South Africa
and abroad. “Lewis sculpts deconstructed figures that navigate the continuum between male and female, human and animal, sculpture and landscape. Recently he began to create his largest work to date, I was keen to document the process,” comments Wood regarding the origins of the 21-minute documentary. After months of filming Lewis in studio, Wood noticed his reluctance to offer an explanation for the work he was creating. The filmmaker and the sculptor would often film for hours on end without exchanging a single word, causing Wood to ponder on the limitation of words to describe art. “I felt he was basically forcing me to
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interpret his work,” he explains. In a quest to find this meaning and further explore the notion of “the limitation of words to describe art,” Wood embarked on a two-week road trip up the west coast of Africa, filming the abandoned towns and dilapidated shipwrecks of the Namibian Coast: “This sent me to deserted diamond mining towns, the vast Namibian desert and South Africa’s treacherous western shoreline littered with colonial shipwrecks. The film kind of feels like a tussle between Dylan the sculptor and myself, the filmmaker, with our competing visual grammars.” Drifting between Lewis’s physical practice and the organic and abstract material which he draws from, The Silent
Form through its unusual yet beautiful and emotive cinematography and soundscape, “grapples with the essence of the artist and his work.” “The film forges the artist and the filmmaker together, occupying a space between art and documentary, it plays into the world of interpretations and reinterpretation,” comments Wood. “We witness myself the filmmaker visualising the sculptors work and in turn giving birth to a new creation: the film as a new form. Here begins the endless world of interpretation and creation so that is probably why the film ends where it begins.” Wood, who directed and shot the documentary, captured the visuals using
a Canon C100 and an external recorder, as well as Canon Cinema Lenses, which he says were all chosen due to his love for the Canon film look and colour science. Commenting on the film’s look and feel, Wood says: “The Silent Form documents an artist fiercely immersed in the process of creation and interprets his work in a visceral unexpected way. I wanted there to be a clear divide between the sculptor’s world and mine, creating two independent spaces within the film. I present a deeply visceral experience but it is important to remember that this is only an interpretation and has little to do with the truth.” Staying close to the film’s tagline: ‘Art is
a language without words’, The Silent Form presents – in an unexpected artistic method – the social pressure that is placed on an artist to justify their work and questions the possibility of interpretation. “It forced me to think carefully about how people interpret my own work and overall to realise that most artistic ventures are mirrors which the viewer must observe. I think interpretation says far more about the viewer than the artist… Dylan Lewis once told me that art is a mirror and has much more to do with the person consuming the art than the person making it.” – Chanelle Ellaya June 2016 | SCREENAFRICA | 25
Documentary
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An ordinary man, an extraordinary life Enver Samuel, the producer and director of the documentary, Indians Can’t Fly, had a long walk with the production before it achieved two SAFTA awards.
TELLING AN INTRIGUING STORY: Enver Samuel and Denford Dzingire on location in Freedom Square, Kliptown
Samuel interviews Essop Pahad
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he 48-minute film celebrates the life of Ahmed Timol, the anti-apartheid activist who died on 27 October 1971 after being thrown from the 10th floor of John Vorster Square by the security police. Indians Can’t Fly was nominated for three awards, namely for Best Director, Best Documentary and Best Editor in the category Documentary Short and won in the Best Director and Best Documentary Short. 26 | SCREENAFRICA | June 2016
Samuel started with the project as early as 1996 when he found an article on the death of Ahmed Timol in the Sunday Times Magazine. “I recognised it as being an intriguing story and cut it out and left it in my study where it promptly gathered dust and was forgotten as I began a prolific career producing and directing content for the SABC and MNet. When the SABC put out briefs in 2011 looking for autobiography documentaries, I thought it was high time
to tell the tale of Ahmed Timol. The inspiration to tell the story came about when I discovered in 2012 that Ahmed Timol’s nephew Imtiaz Cajee had written a book on his uncle. I contacted him and got the family’s buy in to the project.” The film was commissioned in 2012, shooting took place in 2013 and 2014 and post-production was completed in 2015. Producing the doccie was not an easy task, especially due to finances. Samuel recalls, “It was a small production hampered by a small budget. In fact, towards the end I had to take money out of my home loan to complete it. For example, the SABC gave me a measly budget of R5 000 for archive. I spent more than R30 000 for archive.” To top it all Samuel also had to hunt for information on the incident because all the relevant records have been destroyed. However Samuel’s team managed to get the coroner’s docket from a lawyer which conclusively proved that Timol had been tortured prior to his death. “What fascinated me about the story was that here was an ordinary man, a school teacher from Roodepoort High who made the decision to fight for the liberation of South Africa, joined Umkhonto we Sizwe, went for underground training in Russia, met a woman in London and fell in love with her but still decided to return to South Africa despite the danger. “The question of his death which also intrigued me was: was he tortured to death, did he fall from the 10th floor of
John Vorster Square while being hung out of the window during interrogation or did he commit suicide? Hence the title of the film, Indians Can’t Fly, a term the security police coined shortly after Timol’s death. Samuel is also of the opinion that more can be done with the story. “It has the potential to be a full length film. I believe that the Ahmed Timol Trust is looking at possibilities.” Not resting on his laurels, Samuel is already contemplating similar projects. I am currently in the development stage with the assistance of the National Film & Video Foundation on my next feature length documentary called The Battlefield of Love, which focuses on a unique love story that rises out of the ashes of a tragic event in December 1989.” Although Indians Can’t Fly was a taxing project for Samuel, he confesses that his greatest challenge as a director to date was working 18-hour days as content director for Survivor South Africa. Samuel has the following to say about the defining characteristics of the South African creative industry today: “Wherever you go in the world, South African crew are known for their hard work and creativity. We are slowly but surely making inroads on the world’s stage; witness Miners Shot Down winning an Emmy award recently. The Afrikaans film market seems to have developed the right model, so we should learn from that.” – Jakkie Groenewald
Durban International Film Festival South Africa’s longest-running film festival (DIFF) will return for its 37th anniversary to celebrate the beauty and diversity of global cinema. DIFF runs across 11 days from the 16 to the 26 June, presenting nearly 200 films from around the world, with a strong focus on South African and African cinema. Screenings take place throughout Durban, including township areas where cinemas are non-existent.
The festival also runs extensive seminar and workshop programmes to stimulate industry development. This includes the participation of numerous filmmakers from Africa in Talents Durban, in cooperation with the Berlinale Film Festival, and the Durban FilmMart, a film financing initiative in partnership with the Durban Film Office. DIFF is organised by the Centre for Creative Arts (CCA), University of KwaZulu-Natal (UKZN). For more information please visit www.durbanfilmfest.co.za
DOCUMENTARIES AT DIFF 2016 OPENING NIGHT The Journeymen
Timelines film Paris is Burning, Kiki profiles several young LGBT people of colour participating in contemporary African American ball culture
Lost Tongue
South Africa, 2016 Director: Sean Metelerkamp The Journeymen chronicles the journey of three young South African photographers, Wikus de Wet, Sipho Mpongo and Sean Metelerkamp, as they travel 24 000km across South Africa, with GoPro cameras strapped to their chests, to explore the mood and feel of contemporary South Africa. From urban sprawls to dusty rural roads, the trio was driven by the question: “Has Mandela’s vision of equality in a rainbow nation been achieved?”
Ghostland Namibia/ Germany 2016 Director: Simon Stadler One of the most ancient cultures on our planet is undergoing a major change. The Ju/Hoansi in Namibia are not allowed to hunt anymore and need to converge with our so called ‘civilised’ lifestyle. This film takes the Ju/Hoansi into the heart of Europe. What starts as a look at their fascinating culture becomes an even more fascinating look at our Western lifestyle.
I Shot Bi Kidude
To Skin A Cat South Africa 2016 Director: Davison Mudzingwa Helena Steenkamp, a Khomani-San woman from the Kalahari, South Africa joins one of the last elders of her people to revive their endangered N!uu language.
The Redfern Story South Africa 2016 Directors: Colwyn Thomas and Greg Lomas To Skin A Cat is a documentary about one man’s mission to halt the alarming decline in southern Africa’s leopard populations due to a widespread skin trade. Leopard skins are in increasing demand and this is taking a massive toll on leopard populations. But researcher Tristan Dickerson believes he has found the solution. Australia 2014 Director: Darlene Johnson The National Black Theatre movement in Redfern, Sydney formed at a very crucial time in Australian political history, culminating in the establishment of a political movement and the setting up of a number of significant Aboriginal organisations. The National Black Theatre has left a lasting legacy on national politics, social welfare and the Australian arts scene.
Soweto, Times of Wrath
Tanzania/United Kingdom 2015 Director: Andy Jones In 2012, Bi Kidude, the fast-talking, chain-smoking, rebel-rocker – and the oldest performer on the world music stage – was kidnapped at a reported age of 102. Andy Jones, director of the award winning Kidude biopic, As Old as My Tongue, returned to Zanzibar to get to the bottom of the mystery. This deeply personal journey reflects on her life and death, and sees the director embroiled in the mystery of her last days on earth.
Kiki
USA/ Sweden 2016 Director: Sara Jordeño Considered an unofficial sequel to the influential 1990
South Africa 2016 Director: Tarryn Crossman Three girls die before they turn 21. They all become overnight internet sensations. In spirit they are changing the world, but what is happening to the people they left behind? How do you say goodbye when death goes viral?
Walls Spain 2015 Directors: Pablo Iraburu and Migueltxo Molina The fall of the Berlin Wall in 1989 raised hopes of a world with no more concrete borders dividing populations. But today we see the exact opposite, and walls have been erected all over the world to set the boundaries between poverty and prosperity. The film visits those parts of the world where walls continue to separate people: the Mexico/US border, the South Africa/ Zimbabwe border, and others.
We Have Never Been Kids South Africa 2016 Directors: Siphamandla Bongwana, Jerry Obakeng Gaegane, Stanford Gibson, Nduduzo Shandu, Asanda Kupa & Gontse More Here is a film that demands that we, the sleeping, wake up and attend to the restless, those excluded from the so-called South African Dream. “What am I in South Africa? I have voted!” shouts an illegal miner as police fire warning shots. Captured by a sextet of young Sowetans, these snapshots present a country whose people are angry, wearied by corruption so endemic they are blind to it.
UAE/Egypt/Qatar, Lebanon 2015 An Egyptian woman is trying to look after her four children, especially in the lead-up to and aftermath of her divorce from their father. However, over time, the circumstances around her gradually change on all levels.
SELECTED FEATURES AT DIFF 2016 The Endless River
Much Loved
Radio Dreams
South Africa 2015 Director: Oliver Hermanus A young waitress welcomes her husband home to the small South African town of Riviersonderend (Endless River) after his four-year jail sentence. At first, it appears their plans for new life together are finally being realised. But when the family of a foreigner living on a nearby farm are brutally murdered, the young woman and the grieving widower begin gravitating towards each other. Trapped in a cycle of violence and bloodshed, the two form an unlikely bond seeking to transcend their mutual anger, pain and loneliness.
France/Morocco 2015 Director: Nabil Ayouch A group of women in Morocco make a living as sex workers, navigating the challenges of a culture that is very unforgiving to women in their profession. The film tackles head-on the sexual hypocrisy of this patriarchal society.
USA/Iran 2016 Director: Babak Jalali At a San Francisco radio station for the local Iranian community, a brilliant and misunderstood Iranian writer struggles to pursue his ambitious goal of bringing together Metallica and Kabul Dreams, Afghanistan’s first rock band.
Nakom
Wonder Boy For President
USA/Ghana 2016 Director: Kelly Daniella Norris and T.W. Pittman Upon his father’s sudden death, Iddrisu, a talented medical student, must return to his home village to fight for his family’s survival. When he learns of the massive debts the family has accumulated since his departure for university, Iddrisu is faced with the choice between returning to the life he has made for himself in the city, and taking on the burdens of his family.
South Africa (2016) Director: John Barker Another retro-scripted comedy by the director of Bunny Chow, Wonder Boy For President is a political satire brought together by the Dog Pack collective, featuring Saki Bergh, Kagiso Lediga, Dave Kibuuka, Leanne Kumalo, Joey Rasdien and Zeno Petersen.
John of God
Democratic Republic of the Congo 2015 Director: Sele M’Poko The subject of this mockumentary comedy is Congolese singer John of God – the world’s greatest musician...in his own mind. When an American film maker is sent to Kinshasa to do a ‘tell all’ story about him, his talent is put to the test.
Tess
Prince
Kalushi
South Africa 2014 Director: Mandla Dube This biopic tells the story of struggle icon Solomon Mahlangu. A Mamelodi township schoolboy-hawker, Mahlangu joined Mkhonto we Sizwe after the events of 16 June 1976. He went on to become a hero of the struggle after his arrest in 1977.
The Netherlands 2015 Director: Sam de Jong Seventeen-year-old Ayoub (Ayoub Elasri) has a lot on his plate: his father (Chaib Massaoudi) is a junkie, his mother (Elsie de Brauw) is a lonely divorcé, and his sister (Olivia Lonsdale) is falling in with the wrong crowd. Ayoub can’t get the attention of Laura (Sigrid ten Napel), the most beautiful girl in the neighborhood. He does, however, gain the attention of Kalpa (Freddy Tratlehner), an eccentric, psychotically violent local criminal. Falling in with Kalpa, Ayoub tries to enlarge his status (and wallet) enough to win Laura over, but soon finds that his new life is far more than he bargained for.
South Africa 2016 Director: Meg Rickards Based on the award-winning book, Whiplash, Tess follows the story of a sassy twenty-year-old prostitute on the streets of Cape Town. Hooked on painkillers to dull the pain of her grim existence, her life is turned upside down when she falls pregnant. Despite her wry sense of humour, she is tormented by her past and starts to question her sanity. Fragile as she is at times, her fighting spirit kicks in, as she attempts to confront her demons and seek her truth.
www.durbanfilmmart.com
DurbaN iNtErNatioNal film fEstival 16-26 JuNE 2016 DurbaN filmmart 17-20 JuNE 2016 7th
durban Filmmart at the Durban Internation
al Film Festival 2016
2016 Industry Programme
Networking functions
Networking functions
Networking functions
www.durbanfilmmart.com
09h00-13h00 Talents Durban Mentorship (closed) 09h00-13h00 Jumpstart (closed to selected projects)
12h00-13h00 Case Study: South Africa and France Treaty presented by NFVF Suite 5
09h00 – 13h00 Jumpstart (Closed to Selected Projects)
10h00-11h00 Film and Publications Board: Online content distribution Suite 4
09h00 – 13h00 Business Model Canvas Producers’ Workshop
10h00-12h00 The Restless Pitch: Public Pitch Session Suite 5
14h00 – 17h00 Finance Forum Meetings (closed to official projects)
16h00-17h00 SAGE - Building Relationships, Building Stories: What to expect and what you get in the editor/director collaboration Suite 5
14h00 – 16h00 Jumpstart (closed to selected projects)
15h00-16h00 Talking through completion bonds with Film Finances SA Suite 5
09h00-10h00 Department of Trade and Industry Workshop Suite 4
lunch 14h00 – 17h00 Finance Forum Meetings (closed to official projects)
14h00-15h00 Immerse Yourself - Virtual Reality - Where it’s at? Ingrid Kopp Suite 5
09h00-10h00 Panel Discussion: Presales Agreements: Creating value for your investors Suite 5
09h00 – 13h00 Finance Forum Meetings (closed to official projects)
09h00 – 13h00 Talents Durban Mentorship (closed)
09h00 – 13h00 Jumpstart (Closed to Selected Projects)
09h00-13h00 Finance Forum Meetings (closed to official projects)
Registration: 10h00-17h00
lunch
14h00 – 16h00 Africa Doc Pitch
16h00-17h00 Panel Discussion: VOD – Where do you sign up Suite 5
10h00-12h00 A good story to tell! Junaid Ahmed and Akin Omotoso Suite 5
12h00-13h00 Animation Sector discussion by NFVF Suite 5
14h00 – 17h00 Project Packaging: DFM Official Projects (closed)
14h00-15h00 SONOfind Online Search Made Easy - Barbara Hintermeier, Sonoton Suite 5 15h00-16h00 15h00-16h00 Panel Understanding Discussion: Where Social Micro Budget Filmmaking Media and @ Durban marketing Filmmakers meet Lounge Suite 5
09h00-10h00 09h00-10h00 Panel Window to Discussion: the World: ‘The Dynamics Roundtables of Curating with Intl a Festival Festivals and Programme’ Markets Suite 5 Suite 4
10h00-13h00 Business Model Canvas Producers’ Workshop
10h00 – 13h00 Africa Doc Pitch
09h00 – 13h00 Talents Durban Mentorship (closed)
09h00 – 13h00 Project Packaging: DFM Official Projects (closed)
12h00-13h00 Co-Production with Netherlands presented by NFVF Suite 5
14h00 – 17h00 Business Model Canvas Trainers’ Bootcamp Congella Room, Maharani
16h00-17h00 16h00-17h00 KwaZuluFinding the Natal Film Right Partner: Commission A Round Table Transformation with Industry Policy Professionals Presentation North Ilanga Suite 5
14h00 – 17h00 Project Packaging: DFM Official Projects (closed)
14h00-16h00 Talents Durban on Story: What’s yours and how can you tell it?” Selina Ukwuoma Suite 5
10h00-12h00 Packaging Independent Commercial films for the US Market, Jeff Byrd, Featherfilms Suite 5
moNDaY, 20 JuNE
Registration: 10h00-17h00
lunch
14h00 – 16h00 Documentary Pitch Rehearsals (closed)
lunch
09h00-10h00 Using Short Films To Build Brand and Audience – Todd Brown, Head of International Acquisitions, XYZ Films Suite 5
10h00 – 13h00 Business Model Canvas Trainers’ Bootcamp (closed)
09h00 – 13h00 Talents Durban Mentorship (closed)
09h00 – 13h00 Documentary Pitch Rehearsals
10h00-11h00 10h00-11h00 Storytelling NFVF Skills and Story Development Selling with Research the Business Presentation Model Canvas Suite 4 Suite 5 11h00-12h00 Restless Talent: “How to Pitch and Not Fall Flat on Your Face” Suite 5 12h00-13h00 Financing Your Film through Distribution and Marketing presented by NFVF Suite 5
09h00 – 13h00 Project Packaging: DFM Official Projects (closed)
09h00-10h00 Welcome to DFM Suite 5
suNDaY, 19 JuNE
Registration: 10h00-17h00
14h00 – 16h00 Business Model Canvas Producers’ Workshop Congella Room, Maharani
saturDaY, 18 JuNE
Registration: 09h00-17h00
14h00 – 16h00 Business Model Canvas Producers’ Workshop Congella Room, Maharani
friDaY, 17 JuNE
14h00-16h00 Authenticity is Key - Building Credibility with Audiences with GG Alcock Suite 4
15h00-17h00 Talents Durban Story Junction Suite 5
Networking functions
7TH
Durban FilmMart at the Durban Interna
tional Film Festival
Programme experts Junaid Ahmed Durban-based Junaid Ahmed is an international award-winning writer/director/ producer whose works includes producing productions for South African broadcasters, Channel 4 and the Discovery Channel. His accolades include Best Sports Documentary at the Milan FICTS Festival for Iqakamba – Hard Ball and Best Short Film Lucky, which was nominated for a BAFTA and also nominated/winner at over 40 international film festivals including the Oscar eligible festivals of Clermont Ferrand, Cinequest San Jose and Aspen Shortsfest. Junaid’s latest projects include More Than Just a Game, a feature he directed, which was acquired by Sony Pictures International (SPI) for international distribution. Junaid also produced the critically acclaimed films Hard to Get and Happiness is a Four- Letter Word which was a phenomenal box office success. Junaid is presently developing a slate of National Film and Video Foundation (NFVF)-supported films with producing partner Helena Spring.
GG Alcock GG grew up in rural KwaZulu-Natal and only encountered formal schooling once he reached high school. This unusual upbringing gave him the privilege of a lifetime immersion into Zulu culture. At times a shebeen owner, political activist, community worker and African adventurer, GG is fluent in Zulu and conversant in most South African ethnic languages. He is the CEO, creative and strategy guru as well as founder of Minanawe Marketing. Minanawe Marketing develops and runs marketing campaigns built on strong consumer insights and understanding. Minanawe Marketing’s portfolio of work includes the unique Soweto Beach Party,
the award-winning Perfect Sishebo reality TV show, and a wide range of experiential marketing campaigns for clients such as Unilever, Parmalat and Vodacom. GG’s first book Third World Child, White Born, Zulu Bred is a literary journey of a Third World tribal society learning to embrace the 21st century first world. GG’s second book, Kasinomics, casts light on the invisible matrix at the heart of South Africa’s informal economies and the people who live in them. Living and doing business in African marketplaces requires an ethos uniquely suited to the informal, to the invisible, to the intangible.
Todd Brown Todd Brown is the founder of the international film website TwitchFilm. com. An experienced film festival programmer now in his tenth year as director of international programming at Fantastic Fest, 2009 he joined the fledgling production and sales company XYZ Films, where he currently wears the official title of Head of International Acquisitions. At XYZ, Brown’s focus is on finding and developing the best and brightest in genre-oriented talents from around the world, and he helps to bring those talents to the broadest possible audience. Sadly, he rates as only the number four Todd Brown on the IMDB, where he boasts credits on Nacho Vigalondo’s Timecrimes (Spain), Gareth Evans’ The Raid (Indonesia), Aaron Moorhead and Justin Benson’s Spring (USA), Can Evrenol’s Baskin (Turkey), Jamie Dagg’s River (Canada) and upcoming all-female horror anthology XX among others.
Jeff Byrd New Yorker Jeff Byrd started his film career under renowned film director Spike Lee. Over the past 15 years he has directed hundreds of music videos, commercials, episodic television and feature films.
Jeff first got his theatrical break when he wrote and directed his award winning short film Breakdown. Several full-length features followed, including Book of Love...The Definitive Reason Men Are Dogs, Truth Be Told, and Jasper, Texas, about a Texas town that is plunged into turmoil after the 1998 lynching of a black man, and King’s Ransom for New Line Cinema. His television work includes Seventeen Again; episodes of the series Soul Food; a basketball reality series called The Shot; the hit series Single Ladies; and an episode in the Peabody Award-winning ABC series Switched at Birth. His most recent feature is A Beautiful Soul. Jeff currently has several projects in development, such as Safe Deposit, a psychological drama, Deliberate, an action film in the vein of Die Hard, and a thriller entitled Lights Out to be directed by master filmmaker Brian De Palma. Jeff is currently on the Director’s Guild of America’s African American steering committee (AASC), and he was voted onto the prestigious board of The Western Directors Council (WDC) of the DGA.
Ingrid Kopp Ingrid Kopp is a co-founder of Electric South, an initiative to develop virtual reality and mobile storytelling projects across Africa. She is a Senior Consultant in the Interactive Department at the Tribeca Film Institute where she works at the intersection of storytelling, technology, design and social change. Through the TFI New Media Fund she has supported groundbreaking projects like Hollow, Priya’s Shaktiand Do Not Track. Ingrid created the Institute’s other digital and interactive programs, including the TFI Interactive conference, the TAA Interactive Prototype Fund and Tribeca Hacks, bringing storytellers, technologists and designers together to explore new collaborations. She curates the Tribeca Storyscapes program for interactive and immersive work at the Tribeca Film Festival. Ingrid is a frequent mentor, juror and speaker at festivals and conferences around the world. She started her career at Channel 4 Television in London before moving to NYC in 2004 and has been based in Cape Town since 2015. You can always find her on Twitter: @fromthehip
Akin Omotoso Akin Omotoso studied drama at The University of Cape Town. He won the Standard Bank Young Artist of The Year in 2007. Television work includes directing credits on A Place Called Home (for which he won Best Director at The South African Film and Television Awards). Akin has produced and directed four feature films: God Is African and the award-winning Man On Ground (official selection to Toronto and Berlin and AMVCA Best Director). His new film is the box-office-hit romantic comedy Tell Me Sweet Something. He is currently in post-production on his next film, Vaya.
Selina Ukwuoma Selina Ukwuoma is a script consultant who works with filmmakers and playwrights through all the stages of their careers. A former development executive, she worked for EON and Curtis Brown before becoming a freelancer. Her projects include the 2008 BAFTA-winning Boy A to the more recent Teddy and FIPRESCI Prize-winning Hoje Eu Quero Voltar Sozinho. Selina also regularly leads workshops at film schools and festivals. In the last year, she has worked with exciting new talent in Bosnia, France, Germany and the Netherlands, as well as back home in the UK at the National Film & Television School and beyond. Prior to her career in film development, Selina travelled, taught English, and completed degrees in screenwriting, professional writing and social anthropology. She has various interests, but is always keen to learn something new.
www.durbanfilmmart.com
Durban FilmMart 2016 Selected Projects DOCUMENTARIES Dungeon Keepers Producer/ Director: James Walsh Country: South Africa In Hout Bay, Western Cape, several eclectic and disparate characters are impacted in different ways by the winter storms that batter their town. Through each of their eyes, we look at the coastline that is their backyard –how it is owned and managed, who gets access and who has the right to exploit it.
For You Precious Love Producers: Stevan Buxt and David Heitner Director: Keith Jones Countries: RSA/ Czech Republic/ USA Local band The Flames very nearly found international fame in the ‘60s after fleeing apartheid South Africa. But a series of misfortunes ensured that their moment never came. Forty years later, the three surviving members tell the story of the most famous band you have never heard of.
In a farming village in Jinja, Uganda, 13-year-old Hatim dreams of putting his talent with electronics into practice by studying to become an engineer. However, the odds are stacked against him: he is poor and his health is not good. With the help of his mentor, Hatim sets out to find a way to realise his dream.
Lift Like a Girl (working title) Producer: Mayye Zayed Directors: Amrosh Badr and Mayye Zayed Country: Egypt/Germany Three Egyptian girls set out to become Olympic weightlifting champions, going against the grain of the male-dominated society in which they live. The yard in which they train as they push for their dreams is a microcosm of Egyptian society, with its various social, political and economic issues.
Spirits of the Karoo
Producer: Nathan Magoola Directors: Matthew Bishanga and Nathan Magoola Country: Uganda
Producer: Zinzi Nkenene Directors: Engelbert Phiri and Zinzi Nkenene Country: South Africa This blend of cinema verite and experimental experimental film tells the story of a forgotten people in the Karoo town of Colesberg. The story is told through the eyes of three teenagers at a rudimentary culinary school. As they fight to stay in school, they discover that their education extends beyond the classroom.
FICTION
Down And Dirty
Hatim’s Dream
Abnormal Loads Producers: Elias Ribeiro and Cait Pansegrouw Director: Neil Coppen Country: South Africa A blend of ghost story, black comedy and ‘Southern African Gothic’, Abnormal Loads is set in a small northern KwaZuluNatal town where a young mixed-race man is forced to come to terms with both of his historically divergent backgrounds amid a series of battle re-enactments, ghostly visitations and startling revelations.
Disco Afrika Producers: Razanajaona Ambinitsoa Luck, Hreizo Rabary, Randriamanantsoa Ludovic Director: Razanajaona Ambinitsoa Luck Country: Madagascar Twenty-five-year-old Kwame contracts a serious lung infection while working on a sapphire mine in southern Madagascar. Returning home, he discovers a collection of his father’s old records, introducing him to an unfamiliar world of 1970s West African Afro-beat and, by extension, his father’s hopes and dreams.
Producers: Angie Mills and Damir Radonic Director: Angie Mills Country: South Africa Down and Dirty will be shot in the Hangberg township in Hout Bay, posing a the finctional ‘Goed Baai’. It takes its central story from the original Brutti, Sporchi e Cattivi, Ettore Scola’s 1976 classic. The story brings out the daily struggle of a family as it attempts to survive poverty.
Headland Producer: David Horler Directors: Elan Gamaker Countries: South Africa/United Kingdom This dystopian science-fiction love story takes place in the ethnically segregated Platteland and Overberg regions of the Cape in 2034. Two teenagers from opposite sides of the divide are forced to live in one another’s houses after their families are forcibly relocated. Picking up one another’s journals, they soon fall in love without ever knowing if they will meet.
Imprisoned Producer: Suda Sing Directors: Jayan Moodley Country: South Africa
Testament Producer: Meena Nanji Directors: Meena Nanji and Zippy Kimundu Country: Kenya Testament tells the story of Kenya’s war for independence through the eyes of those who were at the forefront of the liberation campaign. Countering Britain’s ‘official’ histories of the conflict, these powerful characters give a detailed portrait of a society living under oppressive colonial rule. Largely sidelined after independence, they are finally given the chance to tell their stories.
The Letter Producer: Maia von Lekow and Chris King Directors: Maia von Lekow and Chris King Country: Kenya The Letter follows Kaladze, a rapper from the streets of Mombasa, as he uncovers the truth about the origins of violence against elderly people in the region, surrounding accusations of witchcraft. Against a backdrop of growing aggression towards his grandmother, how will Kaladze come of age and reunite the divided family members that threaten to tear the family apart?
Voetsak!* Us, Brothers? Producer: Trish Urquhart Co-Producer: Sean Moloi Director: Andy Spitz Country: South Africa
Imprisoned is a moving story about a young girl’s dreams shattered because of fate and Zulu custom. She is forced by her father to marry her late sister’s husband. She is then falsely imprisoned when that husband is killed. The story exposes tradition’s brutality towards individuals’ dreams of freedom and economic improvement.
Inga, Inge Producer: Véronique Doumbe Directors: Tsitsi Dangarembga Country: Zimbabwe Zimbabwean mother and daughter Zama and Inga are separated after Zama leaves home to live in Germany with her new husband, abandoning the toddler. Another daughter – Inge – soon comes along. Inga is soon adopted and also takes up residence in Germany, where the two are set on a course towards a dramatic reunion.
People You May Know Producer: Laurence Hamburger Directors: Zandile Tisani Country: South Africa This is a character-driven ensemble drama set in contemporary Johannesburg. Weaving itself deftly through a compelling multi-strand narrative, the film reflects an intimate
The film examines the spate of xenophobic attacks that shook KwaZulu-Natal in 2015, looking at the role that the authorities play in unwittingly fanning the flames of violence. Two refugees and two South Africans, driven to conflict by a dire lack of resources, present their stories – stories that explore the causes and effects of xenophobic violence.
Where We Belong Producer: Osei Owusu Banahene Director: Ben Johnson Jr. Country: Ghana/ South Africa Where We Belong tells the story of the culture and unique way of life of the people of the Nzulezu Stilt Village on the Amusuri wetlands of Ghana.
Wizard of Zim Producer/ Director: Samora Sekhukhune associate Producers: Carolyn Carew and Lesedi Moche Country: South Africa/Zimbabwe A daughter, desperate to win her father’s approval, takes him on a road trip to make his wish come true: to meet his hero, President Robert Mugabe. The old farmer believes that the meeting will impact positively on his waning energy and fortunes.
group portrait of one of Africa’s most exciting modern-day cities.
The Mango Tree that Danced with Sea Breeze Producer: Lunghi Zondi and Philippa Ndisi-Herrmann Director: Philippa Ndisi-Herrmann Countries: South Africa and Kenya The story of the house at the end of this lane. You know it? The one sheltered by that large mango tree that creaks in the wind. This is the story of two families that lived there – one African, one Indian. One family the masters, the other the servants. Which of the two were the masters and which the servants, is arguable.
Un Fils Producer: Habib Attia Directors: Mehdi Barsaoui Country: Tunisia Fares, 40, Meriem and their son Aziz are a modern Tunisian family from a privileged background, cut off from the reality of a Tunisia still flickering six months after the fall of the Ben Ali regime. Seriously wounded by an armed group while the family are on holiday, Aziz needs a transplant. To what lengths will Fares go to save his son?
human condition
Television
|
South AFrica
Scripting the
Multiple award winning Deon Opperman is today one of South Africa’s foremost TV and stage producers, dramatists and writers, who also finds and shapes talented young people in the entertainment industry.
O
pperman is especially known for TV series that could be described as productions of epic proportions – Donkerland, Hartland, Kruispad and recently Bloedbroers. His purpose, he explains, is to offer an intepretation of the socio-evolutionary process of the period from 1838 to the modern day, which brought the Afrikaner peoples to where they find themselves today. “By definition a story that sets out to do something like that will be epic in nature, simply because it arcs over more than a century and a half of history. So I do not have a preference for epic/ historical dramas per se. The subject matter of those narratives called for an epic treatment. My most recent 13-hour drama series for kykNET, Fluiters, is anything but epic. The entire story plays out over a period of about three weeks.” Opperman is regularly criticised for the way he portrays the Afrikaner in his works. A letter by a reader recently appeared in an Afrikaans newspaper stating that he “rips the guts out of the Afrikaner.” He responds with: “I have frequently been criticised by a segment of Afrikaners for ‘showing the Afrikaner in a bad light. But this is nonsense. In these narratives I depicted actions by various characters that actually happened historically. Also, as much as I portrayed the evil misdeeds of the Afrikaner in some characters, in others I portrayed the goodness and courage that also characterises the history of the Afrikaner, for which, ironically, I was labelled an ‘Afrikaner apologist’ by neo-Liberals. Once again, these good and courageous deeds were also historically accurate. So it’s a ‘damned if you do and damned if you don’t’ situation. Personally I don’t pay attention to any of that. I try to tell the stories as truthfully as possible and with respect for the recorded history.” A drama series, Getroud met Rugby, had TV viewers riveted to their screens. Now the series has been revived, but this time as a soapie. In the entertainment
34 | SCREENAFRICA | June 2016
industry there are views that soapies are inferior to series or feature films, but Opperman disagrees. “I am on record as a writer who disdains the false dichotomy embedded in the ‘art vs. commercial’ debate. For me the issue is about how accessible or inaccessible your treatment is of the problems with which the characters grapple. This is what determines the size of your audience. I could take the same narrative premise and write it in such a way that a smaller audience would find it accessible, or I could write it so that a very large audience ‘gets it’. So when you are writing a soapie you have to deal with problems of the human condition in such a way that a large audience gets what you’re on about.” Throughout his career, Opperman has had a deep involvement in training and education, having co-founded the South African School of Motion Picture Medium and Live Performance (AFDA). “I have always believed in training and education. I wouldn’t have been a founding director of AFDA if I didn’t. So I always try to find opportunities for training the next generation of writers, directors and producers wherever I can. Sterlopers is a case in point; I created it with a group of young writers, producers and actors specifically as a vehicle for them to acquire the skills required for manufacturing a drama series. That project is now completely in the hands of the people who trained on the show. Mission accomplished.” Although he makes cameo appearances in some of his productions he has never been inclined to dabble in directing.
EPIC TREATMENT: Deon Opperman “As a producer I am not a micromanager. My philosophy is: appoint a director that you trust and believe has the skills to bring the narrative to screen, and then support that director with all your resources and influence. My director of choice is Jozua Malherbe. Recently I also worked with Renee van Rooyen who did outstanding work for me. I look forward to working with her more often in the future.” When probed to find out what he would perceive to be the highlight of his illustrious career, he says, “Each of my projects over the last 30 years has its own highlights. But if I had to choose something that gave me great pleasure, it
would be the fact that Donkerland, which was first staged as a five hour stage play in 1996, subsequently found reexpression as a 13-hour television drama series, and finally as a novel, which was also published in Dutch in the Netherlands. “I am also very proud to have been a founding director of AFDA. It has achieved and surpassed all the dreams we had for it when we began, and has become an integral part of the fabric of the South African film, television and theatre industries.” Opperman has to date not produced a feature film, but that is about to change. “Many years ago, after completing my Masters in Film at Northwestern University in Chicago, I told myself that I would turn my attention to features after I had turned 50. Well, I turned 54 this year and am now planning a feature film. I have co-written a few feature films with Sean Else, but never produced one.” He is very clear on what he still wants to achieve – “I’m going to take a shot at winning an Oscar for Best Foreign Film with an Afrikaans film. You never know!” – Jakkie Groenewald
w
Insights from the world’s
festival circuit
| FESTIVALS & MARKETS
film
After the completion of the Cannes Film Festival and prior to the start of the Durban International Film Festival, Screen Africa caught up with AB Moosa, the managing director of the Avalon Group, to talk about what it takes to make an impact at film festivals.
I
t was Moosa’s twelfth trip to Cannes, which is considered the most important film festival in the world. Each year at the festival and Marché du Film more than 30 000 professionals are accredited. This year marked its 69th anniversary, and the event continues to strengthen its role as a pioneering platform in world cinema. “This includes the unearthing and promotion of films and artists to the implementation of new activities to support film creativity and growth,” says Moosa. Cannes includes a series of cultural and artistic activities such as masterclasses, workshops, panel discussions, symposia, and a prestigious competition, the highpoint of which is the Palme d’Or Award. According to Moosa: “It is therefore crucial for South Africa to make its presence felt at this incredible market and festival to showcase its film offerings and talent to the international film fraternity.” Moosa observed at the festival that, despite the rapid rate at which technology continues to revolutionise and reinvigorate the film industry with streaming becoming more relevant, cinema-going and the big screen experience continues to be an integral part of filmmaking. “For me personally Cannes is always exciting because I get to meet key international industry players in one place and the conversations we have around film are sometimes the most enriching
AFRICAN PRESENCE: AB Moosa in Cannes
part of the experience,” adds Moosa. He attends the festival to service relationships with studio executives and to negotiate new content for South Africa. “Attending keeps me up to date with international filmic trends.” The thriving South African cinema industry certainly stood out at Cannes this year. Moosa says that the SA film Happiness is a Four-Letter Word was a great local film to showcase to a global audience. “Other strong films included Kalushi, Free State and Mrs. Right Guy.” Unable to view any of the films in Cannes, Moosa views any home grown offerings in SA. “From what I hear, the viewings of these films were very well received by international buyers,” he says. Advising filmmakers, Moosa says that Cannes is a very competitive market with global industry talent convening in the French Riviera to network and showcase their films. He says: “It can be overwhelming for many first time players and my advice is to persevere even at times when it may seem impossible to break into such a competitive space and to aspire to make films that are proudly South African with a global appeal.” Back on home ground, Avalon, South Africa’s largest and oldest independent
cinema exhibition and entertainment company, were co-founders of DIFF and have been co-sponsors since its inception in 1979. The group have also supported the Durban FilmMart since it commenced seven years ago. “DIFF has and continues to be an important and invaluable platform of both showcasing and supporting new talent,” says Moosa. “New talent gets recognition and with this comes further benefits, allowing the filmmaker to leap to the next level. Many filmmakers have also told me that both DIFF and DFM are the best platforms for film networking in Africa. It has led to many mutually beneficial relationships and other collaborative possibilities. For me one of the greatest benefits of DIFF is the educational opportunities it presents; both to filmmakers and the general audience.” DIFF is a part of the Avalon legacy, says Moosa. “The festival started at a time in our country when we were the only cinema group willing to screen festival films, many were politically sensitive as they were critical of apartheid or had scenes of black and white interactions which were not acceptable to the apartheid government.” Thirty-seven years later it has certainly
grown in stature and is among the most significant film festivals on the continent, which Moosa says the group is humbly proud to have been a part of for all these decades. DIFF certainly has the potential to grow and become more internationally respected and regarded, like Cannes and other international film festivals. Moosa says: “This however would require a revised and refreshed approach for it to be revitalised and developed.” He says that DIFF has the potential to show the world that there is infinite skill, ability and talent both in South Africa and Africa and it is an important platform to showcase this. A pioneer and entrepreneur himself, Moosa says that DIFF has reached a stage where a new approach needs to be considered and adopted. “As with many things in this dynamic and fast-paced industry and world, in order to stay relevant reinventing oneself is required,” he says. Each year Moosa attends film festivals in Berlin, Cannes, Toronto and Dubai, and others sporadically. “Each one has something unique to offer and sometimes it depends on the timing, completion and release of different films that helps make a particular festival more relevant than others in a given year.” While the famed film festivals such as Cannes, Sundance, Berlin, Venice, Rotterdam, Toronto, all have at least some element of subjectivity, Moosa says not to forget the niche and genre festivals that may be best suited to screen your film. Considering the possibility that it is the films that make a festival Moosa says the two co-exist and are equally important. “Festivals create opportunities for the film to be seen by a wider and international audience and promote the talent of the film to aspire to possibly better works in the future,” he adds. Moosa says that if the film is well received by audiences then it gains a life of its own. “Plus the bonus of having the international press and respected trade mags to promote the film is invaluable.” He says that positive word of mouth is most often what helps to create the impact. After DIFF Moosa is off to CineEurope in Spain, which is an annual cine exhibitor’s conference and trade show. “There I will meet with studio execs and then up-to-date insights, trends and technological developments in cinema are showcased and discussed.” – Cera-Jane Catton June 2016 | SCREENAFRICA | 35
CAMERAS & ACCESSORIES
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No lights – no camera – and action!
A NEW ERA: Lytro camera in a studio
The technology used in modern day cameras is a far cry from that of the early tube cameras from years gone by. Every year we get more pixels and bits, higher frame rates, less noise, lower light and camera bodies get smaller…well usually. So far this year we have seen some amazing technical developments but some of the cameras that aren’t really cameras are getting bigger and bigger!
T
echnology is great! Previously when a manufacturer like Sony developed new designs for cameras, a new model was released rendering the previous one obsolete. Nowdays a simple firmware upgrade transforms your already great piece of kit into an even better one at the press of a button. So far 2016 has seen the birth of some incredible, almost science fiction type, development on the camera front. We have, for the first time ever, also seen collaborative system integration between manufacturers and third party vendors 36 | SCREENAFRICA | June 2016
allowing camera owners to use non-priority products, such as external recorders, using priority formats and codecs. This year, new camera releases have left many a DOP salivating. Sony’s new HDC-4800, a Super 35mm camera that can shoot up to 480fps in 4K is one of those. New sensor development on Sony’s UMC-S3C now offer users extreme low light capabilities of 409600 ISO – in 4K and Sony have also released the all new PXW-Z150, a UHD camcorder that can shoot 4K and HD up to 120fps. The
company also announced firmware updates for the Sony FS5 and FS7 offering RAW outputs (to record RAW files on external recorders) automated spot focus and a true 24fps frame rate. Panasonic, not to be outdone, introduced two new midrange 4K UX camcorders. The AG-UX180 and the AG-UX90 are the first successors to the old HD AVCCAM line. They boast a 1-inch (effective size) MOS sensor, optical 20x zoom and UHD 60p recording capability. Fancy shooting in the dark? Canon’s new cube-like ME20F-SH Multi-Purpose
Camera features a newly designed high sensitivity CMOS sensor helping users shoot crisp, clean high definition full-colour video in extreme low light conditions. The camera’s versatile, rugged, modular design, combined with a 35mm full frame CMOS sensor with an equivalent sensitivity in excess of 4 000 000 ISO, make it ideal for a wide variety of markets. A remarkable example of Canon’s innovative engineering and although limited to HD only, the camera is an incredible tool, although probably out of most people’s price range. You
| CAMERAS & ACCESSORIES
Sony HDC 4800
Canon ME20F-SH Panasonic Varicam LT 4K
gotta pay for technology sometimes! Panasonic’s new VariCam LT 4K cine camcorder, capable of handling 4K, UHD, 2K and HD, as well as high dynamic range (HDR) is already selling like hotcakes particularly in the Indie film market. Speaking of Indies, popular manufacturer RED is titillating many with the
RED Weapon 8K .The sensor’s 40.96 x 21.60mm size actually measures wider than Full Frame while also being tall, a combination allowing for beautiful imagery capture on its 8,192 x 4,320 pixel (8K) sensor. As if the 8K format isn’t big enough, 2016 has seen the introduction of exciting new BIG technology that is
difficult to comprehend. Enter the revolutionary new Cinema Camera by the name of LYTRO. This 755 mega pixel (40K, yes 40K) camera ushers in an era of ‘computational cinematography’ where the camera captures information, not pictures. In fact, the Lytro isn’t a camera the way
most people understand the word. It’s a light field device (LFD), which means it doesn’t capture images, it captures a holographic digital model of the scene, at a sample rate of 300 times per second. Simply put it captures light ‘rays’ instead of 2D pixels. These light rays have millions of ‘data points’ and each data point has a colour, position and direction. In post, the director and DP can choose a plethora of settings to ‘film’ the scene with, such as frame rate, aperture, and lens. Because the ‘lens’ is virtual it can have properties of lenses that would be impossible to manufacture in real life. This gives the director or DOP some powerful new tools, including some previously reserved for computer animation. The position of the camera can be changed, as can focus and depth of field. Because the data includes the depth of everything in the scene, creatives can choose to simply ignore everything past a certain distance from the camera – in effect, doing greenscreen without greenscreens. Moreover, since the digital model it creates is akin to the three-dimensional digital data created by visual effects and animation studios, it’s actually easier to combine effects and photography. Currently, the biggest limitation is that the Lytro Cinema Camera and capture system are the size of a small truck. However, Lytro has already said that it is working hard to miniaturise the technology and say it will happen ‘sooner than you think.’ Roll on Lytro! – Ian Dormer June 2016 | SCREENAFRICA | 37
CAMERAS & Accessories
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ADVERTORIAL
Visual Impact acquires SA agency for Digital Sputnik Visual Impact now represents Digital Sputnik (DS) in southern Africa. Digital Sputnik’s modular RGB LED lamps are one of the most innovative developments in lighting technology in the last 10 years. With this modular system one can combine individual lighting units to create a larger lamp or break down to create smaller units. A key feature of these flicker-free lamps is complete RGB colour control via a WiFi app. The lamps have a very wide range of colour temperatures from 1500 Kelvin to 10 000 Kelvin. These features create flexibility, modularity and mobility, enabling smaller teams, reduced power consumption and faster setup without compromising on the light quality or output. Digital Sputnik provided the main lighting fixture for Star
Wars: Rogue One. Other recent films using DS were Ghost in the Shell, The Neon Demon and Jason Bourne. “The content creation industry is going through a fundamental change. Visual Impact is proud to be part of this change starting with the adoption of digital imaging and its fusion of camera, post-production and lighting disciplines,” says Visual Impact’s Marius van Straaten. For more information contact goran@visuals.tv or marius@visuals.tv. Also look at: www.digitalsputnik.com and https://vimeo.com/91540584.
Puma Video bolsters lens and lighting inventory Randburg-based equipment hire facility Puma Video recently took delivery of the Cabrio range of Fujinon Premiere Lenses, supplied by Tink Minster of Camera Platform. The Fujinon T2.9 19-90mm PL 4K Zoom lens features LDS and i-Technology lens data through lens contacts (no cables required with the Sony F5 or F55). The lens features macro focus and 9-Blade Iris – for beautiful Bokeh and a removable Servo unit for cinema style operation. At only 2.8kg with Servo, this lens is fantastic for Steadicam work, handheld, ENG, documentary and particularly suited for drama and features. The Fujinon T2.9 85-300mm PL 4K Zoom lens (Cabrio) also features LDS and i-Technology lens data, macro focus and 38 | SCREENAFRICA | June 2016
SHARPENING UP EVEN MORE: Fujinon T2.9 19-90mm and 85-300mm lenses matching 9-Blade Iris like the 19-90. It also has the same detachable Servo unit and weighs in at only 3.1kg with Servo – brilliant for features and natural history/documentary applications. Expanding on Puma’s lighting inventory, a Film Gear 400w Boxer HMI “pocket par” has also been added, along with a 4k/2.5k HMI Cine Par, and power Gems EB-180P high-speed ballast with output options for 575w, 800w, 1.2kw and 1.8kw and output frequencies of 1000Hz, 300Hz, 100Hz and Silent Mode. A dimmer completes the package. Visit www.pumavideo.co.za or call 011 886 1122 for more information.
SPUTNIK HAS LANDED: Digital Sputnik’ DS1
Scene: EXT – a military base, dotted with tanks, jets and helicopters – our hero strides into focus as the sun sets in an orange blaze behind him – two fighter jets low on the horizon zoom overhead – Credits roll Give your film project an authenticity that keep audiences on the edge of their seats.
Thrilling military locations, props and equipment, stunt pilots and aerial cinematography that can give your film project an authenticity that will keep audiences on the edge of their seats.
• Access to the most thrilling military locations in South Africa including a previously state-owned military base • Outstanding aerial cinematography • Decommissioned and active military props and equipment such as attack helicopters and fighter jets • Daring stunt pilots, drivers and base jumpers
South Africa boasts a solid film production landscape that has taken quantum leaps, with local and international co-productions becoming a regular offering. The attractive funding incentives and low exchange rates make it cheaper to make a movie in South Africa than in Europe or the U.S.A. Combined with a sunny climate, a diverse and colourful kaleidoscope of culture, people and spectacular locations that can double for anywhere in the world, South Africa gives you some of best film locations in Africa.
Access locations used by awardwinning films and blockbusters, like The Avengers: Age of Ultron, District 9 and Chappie.
Through Creative Space Media, you can have access to the best military locations South Africa has to offer, including a previously state-owned military base, decommissioned and active military equipment such as attack helicopters and fighter jets. We also have established relationships with daring stunt pilots, drivers and base jumpers and we specialise in outstanding aerial cinematography.
For your shooting requirements contact Sizwe Zim: Tel: +27 11 467 3341 • Cell: +27 82 762 2010 • Email: sizwe@creativespacemedia.co.za
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Digital Broadcast & AV Systems Tel: +27 (11) 463-3167/8 Fax: +27 (11) 463-2534 Unit 5 Bryanston Gate, 170 Curzon Rd, Bryanston, South Africa
CAMERAS & ACCESSORIES
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ADVERTORIAL
Pro-Sales stocks up on new Panasonic AVC-Ultra cameras Johannesburg-based production gear dealer, Pro-Sales now stocks the latest models in Panasonic’s AVC-Ultra range. The AJ-PX230PJ is a handheld camcorder and an advance on the popular AJ-PX270. The AJ-PX380 is a shoulder-mount model that is perfect for ENG operations.
AJ-PX230PJ
The PX230PJ offers 10-bit, 1080p AVC-Intra and AVC-LongG codecs, extensive video control, a 22x zoom and lens and OLED Viewfinder. The versatile handycam can be used in a variety of applications, including broadcasting, documentary, education, house of worship and live event work. The camcorder provides the same video recording quality and body design as the PX270, minus network functionality (wired/wireless and FTP/Streaming), dual codec recording (proxy) and Genlock/TC interface, delivering a significantly lower-cost version for shooters who need A-0516 ad fin* 5/23/16 12:14 PM Page 1
a higher quality image, but who don’t require these features. Key features: • High-sensitivity, low-noise 1/3” 3-MOS imagers ideal for lowlight conditions • A wide range of recording modes: 100Mbps AVC-Intra100, 200 Mbps AVC-Intra200, a choice of AVCLongG quality levels, including AVC-LongG50, AVC-LongG25 and AVC-LongG12. • The camcorder also offers legacy recording in DVCPRO HD, DVCPRO50, DVCPRO and DV. • The camcorder’s compact, 22X zoom lens offers a wide 28 mm to tele 616 mm (35mm equivalent) zoom range. • Equipped with Panasonic’s Emmy® Award-winning Chromatic Aberration Compensation (CAC) technology to maximise lens performance • Dynamic Range Stretch (DRS)
ULTRA VERSATILITY: Panasonic AJ-PX230PJ
function to optimise scene image contrast at the pixel level, reducing overexposure and crushed shadow content and dramatically improving human skin rendition • Highly accurate flash band detection and compensation algorithm that minimises partial image exposure due to strobe lighting. • Seven-mode (HD/SD/FILMLIKE 1/ FILMLIKE 2/FILMLIKE 3/FILM-REC/ VIDEO-REC) gamma selection and extensive digital image settings, including 12 + 3 Axis Matrix Control C
40 | SCREENAFRICA | June 2016
M
Y
CM
MY
CY CMY
K
to fine tune skin tone. • Two microP2 card slots enable cost-effective operation. In addition to 1080/60i, the PX230 supports 1080/24p, 30p, 60p (AVC-Intra100, LongG25, LongG12 only), 720p multi HD format and SD recording. Also, 50i, 50p, and 25p are supported by 59.94 Hz/50 Hz switching. Variable frame rates in 1080-59.94p in 25 steps from 1fps to 60 fps, including 24 fps, 25 fps and 30 fps, are standard.
ADVERTORIAL
| CAMERAS AND ACCESSORIES
AJ-PX380 The AJ-PX380 1/3-inch AVC-ULTRA shoulder-mount camcorder with comprehensive networking capabilities and dual-codec recording, making it an ideal tool for fast-moving ENG operations. Features: • Panasonic’s multi-codec AVC-ULTRA offers master-quality and/or low-bit-rate 10-bit, 4:2:2 recording in full raster HD to meet a variety of user needs from mastering to transmission. • The PX380 will record in AVC-LongG to provide on-air content direct from the shooting location and for workflows using content transferred over the internet. • Built-in network functions support
Panasonic AJ-PX380
Sony PXW-Z150 now available for rental at The Magic Lightbox Company
wired LAN, wireless LAN and 4G/ LTE connections • “Rec during Uploading” function to allow automatic transfer of previously recorded content to an FTP server, which means that recording is possible even while video content is being uploaded. • High-sensitivity, low-noise 1/3” 3-MOS imagers, ideal for low light conditions. • Can be used with 1/3” to 2/3” lens adapters for use with existing 2/3”
zoom and prime lenses. • A wide range of recording modes, including the full range of 100 Mbps AVC-Intra formats, up to 1080/60p,50p. • Professional interfaces include HDMI out, HD/SD-SDI in/out, 3G-SDI out to support 1080 60p video output, genlock in/video out for multicamera operation, timecode in/out, USB2.0 (host), and USB 2.0 (device). For more info visit www.pro-sales. co.za or call 011 462 0000.
MAGICAL PERFORMANCE: Sony PXW-Z150
The Magic Lightbox Company is excited to announce the arrival of the Sony PXW-Z150 4K XDCAM Camera in South Africa. Designed for any shooting scenario, the Z150 delivers stunning 4K image quality, 120fps HFR Full-HD slow-motion and built-in advanced networking for live streaming and wireless workflow.
Flexible 4K and Full HD recordings Stunning 4K picture performance is supported with 4K QFHD (3840x2160) XAVC Long GOP at 100Mbps, while integration with established broadcast workflows is simplified with Full HD recording in XAVC Long GOP (4:2:2/10bit 50Mbps) and MPEG-2 HD (50Mbps/35Mbps).
Sony G 24x Zoom Lens To maximise the quality of your images, the Z150 has a stunning optical 12x zoom lens that offers high resolution and contrast across the entirety of the image.
Wireless – Networked for High Mobility The Z150 has advanced networking capabilities that give you more mobility in your work – FTP files directly from the camcorder or live stream from any event using built-in Wi-Fi features with no accessories required. Speak to any of the team members at The Magic Lightbox Company about renting this unique camera, and to find out how this camera can benefit your next production! June 2016 | SCREENAFRICA | 41
CAMERAS & ACCESSORIES
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ADVERTORIAL
Sony unveils world’s first 4K XDCAM shoulder camcorder with 2/3-type image sensor
BEYOND TRADITIONALLY POSSIBLE: Sony PXW-Z450
At NAB, Sony introduced its latest XDCAM shoulder-mount camcorder, PXW-Z450. Capable of capturing superb 4K (3840 x 2160) picture quality from new 2/3-type Exmor R™ CMOS sensor, the camcorder possesses exceptional weight balance and low power consumption alongside excellent networking features. According to a statement issued by Sony during the show, the new model is the first 4K shoulder-mount in the world, equipped with a 2/3-type 4K image sensor and “goes beyond what has been traditionally possible with a camcorder, making it the ideal choice for broadcasters producing various TV programmes in 4K.” The PXW-Z450 allows standard B4-mount lenses to be attached directly onto the body without the need for an adapter, providing the flexibility to interchange between different lenses with ease. With high zoom ratio and deep depth of field (DOF), users are assured of stunning picture quality. The camcorder also supports multi-format recording for a variety of applications, allowing users to shoot at robust 1080p HD and switch over to 4K 59.94p when needed. The PXW-Z450 supports both XAVC Intra and XAVC Long for 4K recording as
well as MPEG HD422. Further, the PXW-Z450 can support pool feed functions (HD/SDSDI), allowing broadcasters to record an external signal on SxS card, from another camera on-site without a portable deck. Suitable for field production, the PXW-Z450 inherits a lot of features from the PXW-X400. These include the “ONLINE button” which simply allows users to transmit the proxy clips or direct streaming AV signals to other equipment connected on network, low power consumption equivalent, and the well-balanced lens and body resolve any front-heavy issues for all-day shooting comfort. For current PXW-X400 users, Sony will also introduce a 4K upgrade kit, CBK-Z450UK. The new kit offers the users the same functionalities of PXW-Z450. The PXW-Z450 is body-only with no lens or viewfinder but it can be paired with the optional HDVF-series full HD OLED viewfinder (HDVF-EL20/EL30) for excellent focusing performance, making it a perfect fit for today’s demanding content creation requirements. The PXW-Z450 is set to ship in the last quarter of 2016.
䘀䤀䰀䴀䤀一䜀 䈀䔀䰀伀圀 娀䔀刀伀 ᰠ䘀椀氀洀椀渀最 椀渀 猀甀戀稀攀爀漀 琀攀洀瀀攀爀愀琀甀爀攀猀 椀渀 琀栀攀 䘀爀攀渀挀栀 䄀氀瀀猀 椀猀 挀栀愀氀氀攀渀最椀渀最Ⰰᴠ 猀愀礀猀 刀礀愀渀 䐀漀眀渀椀渀最Ⰰ 䐀椀爀攀挀琀漀爀 愀琀 伀爀愀渀最攀 伀爀戀椀琀 倀爀漀搀甀挀琀椀漀渀猀⸀ ᰠ伀甀爀 瀀爀攀ⴀ瀀爀漀搀甀挀琀椀漀渀 瀀氀愀渀渀椀渀最 愀渀搀 猀挀栀攀搀甀氀攀 昀漀爀 琀栀攀 䌀氀甀戀 䴀攀搀 吀嘀 䌀漀洀洀攀爀挀椀愀氀 氀攀昀琀 渀漀 爀漀漀洀 昀漀爀 攀爀爀漀爀⸀ 䌀氀甀戀 䴀攀搀 嘀愀氀 吀栀漀爀攀渀猀 匀攀渀猀愀琀椀漀渀猀 栀愀猀 琀漀 戀攀 琀栀攀 洀漀猀琀 戀攀愀甀琀椀昀甀氀 愀渀搀 戀爀攀愀琀栀琀愀欀椀渀最 爀攀猀漀爀琀 䤀ᤠ瘀攀 攀瘀攀爀 氀洀攀搀 愀渀搀 䤀 爀攀愀氀氀礀 眀愀渀琀攀搀 琀栀攀 挀椀渀攀洀愀琀漀最爀愀瀀栀礀 琀漀 挀愀瀀琀甀爀攀 琀栀攀 戀攀愀甀琀椀昀甀氀 瘀椀猀琀愀Ⰰ 戀甀琀 愀琀 㠀㔀 昀攀攀琀Ⰰ 琀栀椀猀 瀀爀漀瘀攀搀 琀漀 戀攀 洀漀爀攀 搀椀ϻ挀甀氀琀 琀栀愀渀 愀渀琀椀挀椀瀀愀琀攀搀ᴠ⸀ 吀栀攀 戀爀椀攀昀 眀愀猀 琀漀 挀愀瀀琀甀爀攀 挀氀攀愀爀 戀氀甀攀 猀欀椀攀猀 眀椀琀栀 搀爀愀洀愀琀椀挀 猀欀椀 猀栀漀琀猀Ⰰ 栀攀渀挀攀 琀栀攀 搀攀挀椀猀椀漀渀 琀漀 氀洀 搀甀爀椀渀最 琀栀攀 䔀甀爀漀瀀攀愀渀 匀瀀爀椀渀最⸀ ᰠ䔀瘀攀渀 眀椀琀栀 琀栀攀 琀椀洀椀渀最Ⰰ 眀攀 猀琀椀氀氀 栀愀搀 琀漀 昀愀挀琀漀爀 椀渀 甀渀瀀爀攀搀椀挀琀愀戀氀攀 眀攀愀琀栀攀爀 挀漀渀搀椀琀椀漀渀猀 愀渀搀 漀渀氀礀 栀愀搀 漀渀攀 搀愀礀 漀昀 挀氀攀愀爀 猀欀椀攀猀Ⰰᴠ 攀砀瀀氀愀椀渀猀 䐀漀眀渀椀渀最⸀ ᰠ䄀渀搀 琀栀攀渀 眀攀 愀氀猀漀 栀愀搀 琀漀 愀氀氀漀眀 昀漀爀 愀 搀愀礀 眀椀琀栀 愀 猀欀椀 椀渀猀琀爀甀挀琀漀爀 眀栀漀 栀愀搀 琀漀 最椀瘀攀 漀甀爀 挀攀氀攀戀爀椀琀礀 挀漀甀瀀氀攀 猀漀洀攀 琀爀愀椀渀椀渀最 椀渀 漀爀搀攀爀 琀漀 挀爀攀愀琀攀 愀洀愀稀椀渀最 瀀爀漀昀攀猀猀椀漀渀愀氀 猀栀漀琀猀ᴠ⸀
刀 礀愀渀 䐀漀眀渀椀渀最
吀爀愀瘀攀氀氀椀渀最 眀椀琀栀 攀焀甀椀瀀洀攀渀琀 愀搀搀猀 琀漀 琀栀攀 洀攀琀椀挀甀氀漀甀猀 瀀氀愀渀渀椀渀最 爀攀焀甀椀爀攀搀㬀 愀 洀椀猀猀椀渀最 挀漀洀瀀漀渀攀渀琀 挀漀甀氀搀 爀甀椀渀 琀栀攀 眀栀漀氀攀 猀栀漀漀琀⸀ ᰠ䰀漀漀欀椀渀最 昀漀爀 渀攀眀 攀焀甀椀瀀洀攀渀琀 椀渀 䔀甀爀漀猀 椀猀 渀漀琀 愀渀 漀瀀琀椀漀渀Ⰰ 猀漀 椀琀ᤠ猀 戀攀琀琀攀爀 琀漀 搀攀愀氀 眀椀琀栀 琀栀攀 愀搀搀椀琀椀漀渀愀氀 愀椀爀氀椀渀攀 挀漀猀琀猀⸀ 䤀琀 眀漀甀氀搀 戀攀 渀椀挀攀 琀漀 猀攀攀 愀椀爀氀椀渀攀猀 眀椀琀栀 猀瀀攀挀椀愀氀 爀愀琀攀猀 昀漀爀 氀洀 挀爀攀眀猀Ⰰᴠ 猀愀礀猀 䐀漀眀渀椀渀最 眀椀琀栀 愀 氀愀甀最栀⸀
ᰠ吀栀攀 猀渀漀眀Ⰰ 眀栀椀挀栀 挀爀攀愀琀攀猀 攀渀搀氀攀猀猀 琀爀漀甀戀氀攀 眀椀琀栀 戀氀漀眀渀 漀甀琀 栀椀最栀氀椀最栀琀猀Ⰰ 攀渀猀甀爀攀搀 琀栀愀琀 眀攀 最愀瘀攀 挀愀爀攀昀甀氀 挀漀渀猀椀搀攀爀愀琀椀漀渀 琀漀 琀栀攀 最攀愀爀 眀攀 眀攀爀攀 琀愀欀椀渀最⸀ 圀攀 眀愀渀琀攀搀 琀漀 愀瘀漀椀搀 氀攀渀最琀栀礀 爀椀最最椀渀最 琀椀洀攀猀 愀渀搀 漀瀀琀攀搀 昀漀爀 挀愀洀攀爀愀 最攀愀爀 眀椀琀栀 戀甀椀氀琀 椀渀 一䐀 氀琀攀爀猀 眀椀琀栀 愀琀 氀攀愀猀琀 猀椀砀 猀琀漀瀀猀ᴠⰀ 挀漀渀琀椀渀甀攀猀 䐀漀眀渀椀渀最⸀ 吀栀攀 洀漀戀椀氀椀琀礀 漀昀 最攀愀爀 琀漀 愀挀挀漀洀洀漀搀愀琀攀 琀栀攀 氀椀洀椀琀攀搀 琀椀洀攀 瀀攀爀椀漀搀 愀渀搀 愀 焀甀椀挀欀 愀挀挀攀猀猀 最椀洀戀愀氀 猀礀猀琀攀洀 昀漀爀 猀琀攀愀搀礀 愀挀琀椀漀渀 猀栀漀琀猀 眀攀爀攀 漀琀栀攀爀 欀攀礀 椀洀瀀攀爀愀琀椀瘀攀猀 昀漀爀 挀漀渀猀椀搀攀爀愀琀椀漀渀⸀ ᰠ䈀攀椀渀最 琀栀攀 䐀倀Ⰰ 䤀 眀愀猀 愀氀猀漀 欀攀攀渀 漀渀 氀洀椀渀最 洀愀渀礀 猀栀漀琀猀 戀攀琀眀攀攀渀 ㈀ 昀瀀猀 愀渀搀 㐀 昀瀀猀 琀漀 挀爀攀愀琀攀 洀漀爀攀 搀爀愀洀愀琀椀挀 愀挀琀椀漀渀 猀栀漀琀猀 猀栀漀眀挀愀猀椀渀最 琀栀攀 猀渀漀眀 椀渀 猀氀漀眀 洀漀琀椀漀渀Ⰰᤠᤠ 挀漀渀挀氀甀搀攀猀 䐀漀眀渀椀渀最⸀ 䄀氀氀 椀渀 愀氀氀Ⰰ 琀栀攀 挀爀攀眀 愀挀挀氀椀洀愀琀椀猀攀搀 琀漀 琀栀攀 挀栀椀氀氀礀 挀漀渀搀椀琀椀漀渀猀 眀椀琀栀 爀攀氀愀琀椀瘀攀 攀愀猀攀 愀渀搀 琀栀攀 猀栀漀漀琀 眀愀猀 愀 爀攀猀漀甀渀搀椀渀最 猀甀挀挀攀猀猀⸀ 䐀漀眀渀椀渀最ᤠ猀 甀渀椀焀甀攀 愀渀搀 攀砀琀爀愀漀爀搀椀渀愀爀礀 愀戀椀氀椀琀椀攀猀 椀渀 琀栀攀 栀椀最栀氀礀 挀漀洀瀀攀琀椀琀椀瘀攀 攀氀搀 漀昀 挀椀渀攀洀愀琀漀最爀愀瀀栀礀 栀愀瘀攀 洀愀搀攀 栀椀洀 栀椀最栀氀礀 猀漀甀最栀琀 愀昀琀攀爀 椀渀 琀栀攀 椀渀搀甀猀琀爀礀⸀ 吀栀攀 挀漀洀洀攀爀挀椀愀氀 愀椀爀猀 漀渀 䐀匀吀嘀 昀爀漀洀 䨀甀氀礀 ㈀ 㘀⸀
42 | SCREENAFRICA | June 2016
ADVERTORIAL
| CAMERAS & ACCESSORIES
Panasonic introduces high-power UX Zoom Lens series Panasonic recently announced a new UX series of professional 4K camcorders, successor to the company’s AVCCAM series of professional AVCHD camcorders. Two models are currently under development and scheduled for release in late 2016: the UX Premium Model AG-UX180, with a 1-inch (effective size) MOS sensor, optical 20x zoom and UHD 60p recording capability; and the UX Standard Model AG-UX90, featuring a 1-inch (effective size) MOS sensor, optical 15x zoom and UHD 30p recording. Camera releases in the past year have all been geared towards making 4K acquisition easier and more mobile. As a result, 4K camcorders are the latest trend, offering 4K and UHD shooting at high mobility. The Panasonic UX series fits this mould. The integrated-lens handhelds support recording up to 4K (4096x2160, 24p only) and UHD (3840x2160). Camcorders use the SD Memory Card as recording media. The UX Premium Model AG-UX180 supports, in addition to 4K and UHD, dual codec recording (UHD/ FHD), IR recording in low light, and 3G SDI/HDMI2.0 output. The UX camcorders’ 1-inch (effective size) MOS sensor ensures sensitivity equivalent to that of conventional handheld cameras.
PREMIUM 4K: Panasonic AG-UX180
Variable frame rate (VFR) recording functionality (2-60 fps) is planned in FHD mode. The suggested list price (SLP) of the AG-UX180 is expected to be under
$4000, and the SLP of the AG-UX90 under $3000. The availability of these new UX models later this year will bring the company’s line-up of professional 4K cameras to six, including the flagship
VariCam 35 and VariCam LT cinema cameras for HDR production in 4K resolution, the AG-DVX200 4K, 4/3” large-sensor camcorder and AK-UC3000 4K camera system.
June 2016 | SCREENAFRICA | 43
Broadcast Technology | IP
Very specific
AIMS
The momentum behind the AIMS Alliance for IP Media Solutions continues to grow rapidly six months on from the group’s formation. David Davies assesses its objectives and talks to some of its supporters.
Michael Cronk
PROVIDING IP UNIFORMITY: Martin Dyster
I
f you have attended any broadcast trade show over the past few years you will have found it impossible to avoid the surfeit of new solutions designed to facilitate the transition from SDI to IP-based workflows. Flexibility of distribution, increased cost-efficiency and a more straightforward set-up and operation are among the factors informing a change that is undoubtedly one of the most significant in modern broadcasting history. But while the technological impetus isn’t hard to divine, clarity in the market – and in the messaging to potential customers – hasn’t been quite so easy to identify. Established in Q4 2015, the AIMS Alliance for IP Media Solutions has been created in part to try and provide some of this much-needed uniformity, particularly when it comes to the commercial messaging surrounding IP. Simply put, the AIMS Alliance promotes the adoption and implementation of a number of existing IP
44 | SCREENAFRICA | June 2016
standards, including the Video Services’ Forum TR-03 (Transportation of Uncompressed Elementary Stream Media over IP) and TR-04, SMPTE 2022-6 (enabling SDI signals to be transported over IP using the Real-Time Transport Protocol) and the AES67 (audio over IP interoperability). Indicating that the initiative is timely indeed given the current growth of IP-based workflows, the AIMS website currently cites 21 full members – ranging from leading vendors such as Grass Valley, Evertz, Lawo and Sony, to content producers including 21st Century Fox – as well as 11 associate members. “I would say that our primary purpose as an organisation is really to sit beneath other groups that are developing or promoting IP standards, and help to encourage their adoption throughout the broadcast industry,” says AIMS chairman Michael Cronk, who is also vice-president core technology at Grass Valley.
Providing clarity
Education and adoption
Certainly, the impression given by the companies to have joined the alliance is that they hope the new organisation will provide some welcome clarity to the IP debate. No one underestimates the amount of work that lies ahead, so encouraging vendors, broadcasters and service providers to collaborate on workflow optimisation can only be seen as a positive development. “We are very much looking forward to our membership at AIMS and to supporting the standardisation process in the shift from SDI to IP,” says Broadcast Solutions GmbH CEO Stefan Breder. “The development and acceptance of open standards in the IP realm is paramount to us, since it ensures the easy interoperability of different equipment in broadcast environments. To integrate all different kinds of equipment in projects is our daily business and we are pleased to contribute to the aim of AIMS.” Another member of the Alliance to have commented extensively on its reasons for joining is EMG, a leading European provider of broadcast facilities and services. “Having an open standard is crucial to enable our industry to make the right and necessary investments and, via AIMS, we are able to have a strong voice in the future of the standards,” said EMG CTO Ronald Meyvisch. “EMG is excited about the new possibilities and workflows we will be able to offer to our customers thanks to an IP-based virtualised infrastructure. To achieve this, broadcasters, manufacturers and service providers need to work together towards open standards and guaranteed interoperability between all vendors.”
With the core standards that the group wishes to see adopted, it follows that much of the work to be undertaken by Alliance members will revolve around education of broadcast technicians and other end-users. As Breder observes: “A major part of the AIMS roadmap is to facilitate the education and adoption of open standard; this includes tests in real-world environments. In a way we are much closer to the customers than manufacturers and can provide an additional perspective to what the customer needs, when it comes to IP-based broadcast workflows. With as many as possible companies joining the AIMS, I am sure the association will play an important role as one of the prominent educational counterparts.” These sentiments are echoed by Martin Dyster, business development, TV, vice-president at Linear Acoustic, part of AIMS member the Telos Alliance. “It is essential that organisations like AIMS continue to reinforce the message that media over IP is the logical roadmap for broadcast moving forward and that interoperability via standards based protocols is essential to its success. Trade bodies, manufacturers, educators, the press and broadcasters alike must continue to take their responsibility seriously and recognise the importance of training the industry in IT skills while equating what is learnt directly to new and efficient broadcast workflows,” he says. It is very early days, of course, but in terms of numbers and influence alone, it appears that the AIMS Alliance is set to play a critical role in smoothing that transition. – David Davies
P R O D U CP TR OI DOU N PD C T IU O N U PAD T A TEE S S FOR FURTHER DETAILS VISIT www.screenafrica.com
Those productions in red are newly listed this month Production Updates Order of Information 1. Title 2. Production Company 3. Director 4. Genre
IN PRODUCTION 20 and Free X CON Films Dir: Munier Parker Documentary 50/50 Clive Morris Productions Current Affairs 53 EXTRA M-Net Inhouse Productions Dir: Navan Chetty Magazine A BROTHER’S LOVE 1300 Pictures (Pty) Ltd Dir: Elvis Nkosi Feature A CALENDAR OF EVENTS – MEDUPI & KUSILE Betta Beta Communications Prod: Tommy Doig Documentary A MAN OF HIS OWN PRINCIPALS Sekgopha Productions Prod: Buhle Mofulatsi / Thapelo Hlagala TV movie AQUELLE’ MIDMAR MILE 2015 Media Ventures Prod/Dir: Chris Moolman Documentary AFRICA 360 eNews News Head: Patrick Conroy Current affairs AFRO CAFÉ SEASON 7 Bonngoe Productions Prod: Pepsi Pokane Music ArtsCulturex Talent 1000 Championships Michics Global Communications Exec Prod: Mishack Motshweni Series Auditor General Global Access Creative Agency Dir: Brad Montgomery/Natalie Varoy Corporate BACKBONE PROJECT Global Access Creative Agency Prod: GA Creative Agency Documentary BIG BROTHER MZANSI Endemol South Africa Prod: Terja Beney, Liza Kleitman Reality BINNELAND Stark Films Prod/Dir: Friedrich / Elsje Stark Series BLOODLINE: NOW OR NEVER Dual Films Prod/Dir: Darrell Roodt Feature Film BONISANANI Grounded Media Talk Show BRAVO Homebrew Films Prod/Dir: Paul Venter TV Magazine Bugatti Together Lucky Fish Productions Dir: Raphaël Crombez Commercial CAINE’S LEGACY Media Navigation Prod/Dir: Dan Akinlolu Short Film CARTE BLANCHE (inserts) Modern Times Prod: Sophia Phirippides News Carte Blanche shorts TIA productions Prod / Dir: Tarryn Lee Crossman News CLAASENS DESIGNS MARKETING VIDEOS Panache Video Productions Prod/Dir: Liesel Eiselen Marketing videos CLASH OF THE CHOIRS Endemol South Africa Prod: Josh Feldman Talent / Reality COOL CATS Red Pepper Pictures Prod: Cecil Berry Children’s Show CORTEX MINING FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video
COME DINE WITH ME SOUTH AFRICA Rapid Blue Prod: Kee-Leen Irvine Reality CUTTING EDGE SABC News Current Affairs Debra Deel Khaki Productions Prod/Dir: Christelle Parrott, Wynand Dreyer Series DIAMOND BROKER OF CONGO Bendimir Productions PTY LTD Prod: Dede Tshibangu Documentary DIMENSION DATA Global Access Creative Agency Dir: Natalie Varoy Corporate DINNER DIVAS 2 Blonds and a Redhead Filming Prod: Anne Myers Series DISHONEST Inhlakanipho Films Dir: Vusi Nhlapo Feature Film Ditokelo tsa Medupi LMOL ProductionDir: Lizzy Moloto Feature DIY MET RIAAN Prod: Riaan Venter-Garforth Magazine EARTH BEAT Tekweni TV Productions Prod: Sandra Herrington Series EASTERN MOSAIC Red Carpet Productions Prod: Saira Essa / Mark Corlett Magazine END GAME Fireworx Media/ Tunc Productions Prod: Bridget Pickering Dir: Akin Omotoso/ Thandie Brewer/ Thabang Moleya Feature EXPRESSO (Season 2) Cardova Prod: Paul van Deventer Series FACE OF GEMINI Footprint Media TV Prod: Cheryl Delport Series Facility Management Lectures (A4FM) Panache Video Productions Dir/ Prod: Liesel Eiselen Educational Faith Today Impact Christian Media Prod: Carl Schultz TV Series FOX NEWS CHANNEL Betta Beta Communications Prod/Dir: Tommy Doig News Free State Toursim Indaba Our Time Productions Dir: Jaun de Meillon Corporate FRENZY Red Pepper Pictures Prod: Morena Sefatsa Variety FRIENDS LIKE THESE Urban Brew Studios Prod: Trishana Singh Game show GENERATIONS Morula Pictures Prod: Mfundi Vundla Series GOOD MORNING AFRICA Planet Image Productions SA Prod/Dir: Wale Akinlabi Magazine GOSPEL GOLD Engage Entertainment Prod: Sthembile Mhlongu Music Got It Global Access Creative Agency Dir: Guy Sclanders Corporate THE GREATEST THING Noble Pictures Prod: Claudia Noble Feature Film THEY, THEM, HERE Left Hand Films Prod/Dir: Lisa Henry Documentary TOWNSHIP YOGI GreenShoot Films Dir: Peter Matthews Documentary GROEN Homebrew Films Prod: Jaco Loubser Wildlife HEAT WAVE Ruby Rocket Media Dir: Eddie Edwards TV Series
HECTIC 99 Okuhle Media Prod: Wilna van Schalkwyk Magazine HITACHI POWER AFRICA MEDUPI AND KUSILE Betta Beta Communications Prod/Dir: Tommy Doig Documentary HOUSE CALL Urban Brew Studios Prod: Lawrence Molepo Talk Show IGNITE Footprint Media TV Prod: Cheryl Delport Reality IHAWU LE SISWE Provoke Entertainment Dir: Sechaba Morojele TV Series iParent training clips Global Access Creative Agency Dir: Guy Sclanders Corporate IMIZWILILI Ukhamba Productions Prod: Alfred Mpofu Music INKABA Urban Brew Studios Prod: John Kani Telenovela In search of our own Open Window school of film arts Prod: Adriaan De la Rey Documentary ISIDINGO Endemol South Africa Prod: Pumla Hoppa, Leo Phiri Soap JOBURG TAXI Xcut Studios Prod: Dave Kaminer Documentary JOU SHOW Homebrew Films Prod: Jaco Loubser Talkshow comedy KHUMBUL’EKHAYA Urban Brew Studios Prod: Khulile Nxumalo Factual Entertainment KOKKEDOOR 2 Homebrew films Prod: Jaco Loubser and Paul Venter Cooking reality series KOLLIG Homebrew Films Prod: Jaco Loubser Magazine KONA The Directors Team (Pty) Ltd Prod/Dir: Laurence Lurie / Cathy Sykes Series KOOLCON CORPORATE VIDEO FiX Post Production/ Marketing AV Marketing Video LATE NITE NEWS ON E.TV Diprente Productions Prod: Tamsin Andersson Series Light Girls South African Unit White Heron Pictures Prod: Themba Sibeko Documentary LIVE Urban Brew Music LIVE AMP Urban Brew Studios Prod: Sjula Dlamini Music Show LIVE LOTTO SHOW Urban Brew Game Show MAHADI SEASON 2 Urban Brew Studios Prod: Khulile Nxumalo Reality Show Mandela’s Gun DV8 films Dir: John Irvin Feature Marang Estate: Mixed Used Development Nov/ Dec Our Time Productions Dir: Jaun de Meillon Documentary MASHELENG1 LMOL Production Dir: Lizzy Moloto Feature MASHELENG 2 LMOL Production Dir: Jonny Muteba Feature MassTalk Global Access Creative Agency Prod: Brad Montgomery Corporate MATRICS UPLOADED Educational Improvement and Study Help (EISH) Prod: Lisa Blakeway Educational
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UP DAT E S
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MOTSWAKO Carol Bouwer Productions Prod: Grant Paul Roy Talk Show MCA Training Global Access Creative Agency Dir: Guy Sclanders Corporate M-NET SHORT FILMS Current Affairs Films Prod/ Dir: Jane Thandi Lipman Film MURDER OF A FORMER FIRST LADY Sabido Productions Dir/Prod: Catherine Rice Documentary MUVHANGO Word of Mouth Prod: Pieter Grobbelaar Feature MY GENERATION Current Affairs Films Dir: Jane Lipman TV Series My name is Funeka Sabido Productions Dir/Prod: Catherine Rice Documentary MZANSI INSIDER Bonngoe Productions Prod: Pepsi Pokane Magazine NEILL ANTHONY – THE PRIVATE CHEF Okuhle Media Prod: Grant Flynn Cooking Show NET1 – SASSA Betta Beta Communications Prod: Tommy Doig Corporate NEWS NIGHT eNews Prod: Nikiwe Bikitsha Current Affairs Oscar Pistorius Documentary Inserts TIA Productions Dir/ Prod: Tarryn Crossman Documentary PASELLA Tswelopele Productions Dir: Liani Maasdorp / Werner Hefer Magazine PAWN STARS SOUTH AFRICA Rapid Blue Prod: Kee-Leen Irvine, Ed Worster, Johan Naude and Kat Weatherall Reality PHUNDEKA READING PROGRAMME SummerTime Productions Exec Prod: Phundeka (NGO) Documentary POWER COMBAT ZONE Mixed Motion Entertainment Dir: Dieter Gottert Sport PROJECT MV Zen Crew Prod: Laura Tarling Music Rands with Sense 2 Blonds and a Redhead Filming Prod: Anne Myersin Education RHYTHM CITY Quizzical Pictures Prod: Yula Quinn Soapie RIVONINGO Asi-B Films Prod: Asivhanzi ‘Asi’ Mathaba Children’s Show ROLLING WITH KELLY KHUMALO Red Pepper Prod: Cecil Barry Reality
ROOTS Ukhamba Communications Prod: Alfred Mpofu Music SAINT AND FREEDOM FIGHTER Blue Marble Entertainment Dir: Eugene Botha Documentary SAKEGESPREK MET THEO VORSTER SEASON 5 Dirk Mostert Camera Production Prod/ Dir: Dirk Mostert Series SAUBA IMAGOFILM Prod: Tam de Vries Reality TV Series Shreds and Dreams Penguin Films Prod: Roberta Durrant TV Series SOUTH AFRICAN TOURISM Rapid Blue Prod: Kee-Leen Irvine Global TV Commercial SCANDAL Ochre Moving Pictures Prod: Romano Gorlei Soapie SCHOEMAN BOERDERY – MOOSRIVIER Khaki Productions Prod/Dir: Christelle Parrott / Wynand Dreyer Documentary SELIMATHUNZI Sikhoyana Productions Prod: Baby Joe Correira Variety SHIZ NIZ Red Pepper Pictures Prod: Allen Makhubele Variety SHIFT Urban Brew Studios Prod: Bongani Maphumulo Talk show SISTERHOOD Red Pepper Pictures Prod: Andy Leze Variety SIYAKHOLWA – WE BELIEVE X CON Films Dir: Munier Parker Edutainment Slender Wonder Doctors Conference Grey Cloud Productions Dir: Jacques Brand Prod: Slender Wonder Corporate Video Slender Wonder Patient Testimonial Videos Grey Cloud Productions Dir: Jacques Brand Corporate Videos SOCCER ZONE SABC Sports Head: Sizwe Nzimande Magazine SODA AND Mayoral Awards Global Access Creative Agency Guy Sclanders Corporate SPRINGBOK STORIES Angel Music Studio Productions Dir: Chrissie Rossouw TV Series STUDY MATE Educational Improvement and Study Help (EISH) Exec Prod: Lisa Blakeway Educational SUIDOOSTER Suidooster Films Prod: Colin Howard Soap SUPERSWIMMER Media Ventures Prod/Dir: Chris Moolman TV Series
THE CHAT ROOM Eclipse Prod: Thokozani Nkosi Talk Show THE COMMUNIST REPUBLIC OF SOUTH AFRICA Jam TV, Creative South Africa, Nkhanyeti Production Prod: Barthelemy Ngwessam Documentary THE JUSTICE FACTOR eNews Prod: Debbie Meyer Current Affairs THE REAL GOBOZA 10 Urban Brew Studios Prod: Sydney Mekgwe Magazine show The Revolution Betrayed Shadow Films Prod/Dir: David Forbes Documentary THE RUDIMENTALS Periphery Films Prod: Simon Taylor Feature THE TECH REPORT Homebrew Films Prod: Jaco Loubser Technology Magazine TOP BILLING Tswelopele Productions Prod: Patience Stevens Magazine TOP TRAVEL (Season 3) Cardova Prod: Bradley van den Berg Series Troopship Tragedy (Working Title) Sabido Productions Prod/Dir: Marion Edmunds Documentary TSHIPE BORWA MANGANESE MINE Betta Beta Communications Prod / Dir: Tommy Doig Documentary Vaseline Experience Xcut Studios Dir: Lee Anne Theron 4D AV production VELDKINDERS Kilroy Was Here! Productions Prod: Gideon Breytenbach Documentary Series VILLA ROSA Spectro Productions Dir: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit Series Volkspele South Africa Grey Cloud Productions Dir:Jacques Brand Prod: Bertie Brink Documentary WARD 22 TIA Productions Prod/Dir: Tarryn Crossman Documentary WEEKEND AM LIVE SABC News Current Affairs WIZARD OF ZIM Away From Keyboard Dir: Samora Sekhukhune Documentary WOMB-MAN Bolobathaba Multimedia Prod: Molatelo Mainetje Documentary YILENGELO LAKHO Prod: Nndanganeni Mudau Current Affairs YOTV Urban Brew Studios Prod: Adelaide Joshua Youth show ZOOM IN Footprint Media TV Prod: Cheryl Delport Talk show
IN POST-PRODUCTION A BUSHMAN ODYSSEY Onetime Films Prod: Richard Wicksteed Documentary A DIFFERENT COUNTRY Sabido Productions Dir: Lisa Henry Documentary series A FATAL ENCOUNTER – THE MARLEEN KONINGS STORY Sabido Productions Prod/Dir: Johann Abrahams Documentary A Love Letter to Luxor Shadow Films Prod/Dir: David Forbes Short Film A MOTHER’S MADNESS Sabido Productions Prod/Dir: Ayesha Ismail Documentary A STOLEN LIFE – THE SASHA LEIGH CROOK STORY Sabido Productions Prod/Dir: Catherine Rice Documentary AFROX CO2 PLANT FC Hamman Films Prod: Odette van Jaarsveld Corporate Video
P R O D U CP TR OI DOU N PD C T IU O N U PAD T A TEE S S AFROX FINANCIAL RESULTS FC Hamman Films Prod: Odette van Jaarsveld Corporate Video AFROX RAU INSIGHT FC Hamman Films Prod: Odette van Jaarsveld Corporate Video ALL FOR NOTHING – THE LIFE AND DEATH OF BRUNO BRONN Sabido Productions Prod/Dir: Barbara Friedman Documentary BA SEKWI Vu Prod. Prod/Dir: Jeanne Vu Van Documentary BEAUTY CONTEST Phoenix TV Productions Prod/Dir: Koketso Sefanyetso Short Film CAESAREAN COMPLICATIONS SummerTime Productions Exec Prod: Professor Eckhart Buchmann Documentary Challenge SOS 2 Blonds and a Redhead Filming Prod: Anne Myers Reality Collide Media Village Productions Prod: Ardeen Munnik TV Series CROSSBOW KILLER Sabido Productions Prod/Dir: Barbara Friedman Documentary DEBRA DEEL Khaki Productions Prod: Christelle Parrott TV Series DIE WASGOEDLYN Kilroy Was Here! Productions Prod: Gideon Breytenbach TV Series FASHION GURU SA Pro Media & Spider – Co Productions Prod/Dir: Dee Vanzyl Reality FORMIDABELE VROUE: CISSY GOOL Khaki Productions Prod/Dir: Christelle Parrott/ Wynand Dreyer Documentary HAD BETTER DAYS Uniquely Novel Productions Prod/Dir: Deon VD Merwe Feature Film HISTORICAL DOCUMENTARIES: KIMBERLEY: SOUTH AFRICA Spike Productions Prod/Dir: Steve Muller Documentary THE HOCKEY STICK KILLER Sabido Productions Prod/Dir: Melanie Rice Documentary HOPE NHU Africa Prod: Vyv Simson / Donfrey Meyer Documentary HOUSE OF ENCOURAGEMENT Panache Video Productions Dir/Prod: Liesel Eiselen Corporate I AM…CRAIG Away From Keyboard Dir: Samora Sekhukhune Documentary IQILI Impucuzeko Prod: Sharon Kakora Feature Joyous 18 RM Recording Prod: Lindelani Mkhize Other JULIUS HAS A DREAM Creative South Africa, Nkanyethi Productions,Jam TV Prod: Bathelemy Ngwessam Documentary KADARA Media Navigation Prod: Dan Akinlolu/ Biola Karonwi TV Drama Kerels wat Kook Penguin Films Prod: Roberta Durrant Reality TV Series KNYSNA West Five Films Prod/ Dir: Maynard Kraak; Andre Velts Feature Film LINCOLN CLAN Total Recall Media Ltd Dir: Adebanjo Oluseyi TV Series MARIAH’S WORLD ZenHQ Films, SA Production Services Prod/Dir: Jeff Jenkins TV Series THE MIME ARTIST Phoenix TV Productions Prod: Koketso Sefanyetso Short Film MURDER ON MILLIONAIRE’S MILE Sabido Productions Prod/Dir: Barbara Friedman Documentary MY SIGHT FOR SORE EYES Enigma Ace Films Prod/Dir: Ryan Kruger Feature Film NEW LAND Plexus Films/ Four Corners Media Dir: Kyle O’ Donoghue TV Series
NIGHT OF THE MASSACRE Tshepo Lesedi Projects, Mathope & Izibuko Films Dir: Charles Khuele Documentary NIGHTCLUB KILLER Sabido Productions Prod/Dir: Nobathembu Stefane Documentary NOEM MY SKOLLIE Maxi-D Productions Prod: David Max Brown Feature Film NORTH WEST KILLER Sabido Productions Prod/Dir: Ayesha Ismail Documentary Nyaope Gangsters LMOL Production Dir: Lizzy Moloto Feature PERFECT SHISHEBO Quizzical Pictures Prod: Nthabiseng Mokoena Series PLAY MORE GOLF FC Hamman Films Prod: Odette van Jaarsveld Commercials Pushi- Passion LMOL ProductionDir: Lizzy Moloto Series THE QUIET BOY Sabido Productions Prod/Dir: Charlene Stanley Corporate ROSA 3 Two Oceans Productions Prod: Giselher Venzke & Bertha Spieker TV Feature SAFE BET Sukuma Media Producer: Nokuthula Sakhile Mguni / Bonginhlanhla Ncube Feature Film SAMURAI KILLER Sabido Productions Dir: Catherine Rice Corporate SECRET PAIN #1 Makoya Entertainment Prod/Dir: Prayer Ndlovu TV Drama SHALLOW GRAVE Sabido Productions Prod/Dir: Meggan Raubenheimer Documentary SLENDER WONDER FC Hamman Films Prod: Odette van Jaarsveld Corporate Video SLENDER WONDER MJ LABS FC Hamman Films Prod: Odette van Jaarsveld Corporate Video SWARTWATER Quizzical Pictures Prod: Bianca Isaac Dir: John Trengove/ Jozua Malherbe/ Denny Y Miller Series SUPERDAD Two Oceans Productions Prod: Giselher Venzke & Bertha Spieker TV Feature SURVIVOR Endemol South Africa Prod: Anton Burggraaf, Josh Feldman Reality TELKOM: BUSINESS INSIGHTS WEBSERIES UZI Films Prod/Dir: Steven Hall Corporate TESSA BEETGE – A Life Interrupted Sabido Productions Prod/Dir: Meggan Raubenheimer Documentary
The calling LMOL Production Dir: Lizzy Moloto Feature THE CODE BREAKER NHU Africa Prod: Vyv Simson / Donfrey Meyer Documentary THE FAMILY PUZZLE Site et Sons media productions Prod/Dir : Zamo Missie Feature THE LAST GREAT TUSKERS NHU Africa Prod: Vyv Simson / Donfrey Meyer Documentary The Message Reel Edge Studios Dir: David Golden TV Drama Series THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary TOWNSHIP TERROR Sabido Productions Prod/Dir: Melanie Rice Documentary TROOPSHIP TRAGEDY Sabido Productions Prod/Dir: Marion Edmunds Documentary Traffic Penguin Films Prod: Roberta Durrant TV Series TWEE GRADE VAN MOORD Inverse Films (Pty) Ltd Prod: Barry Strick Feature Film UNDER THE MOUNTAIN Plexus Films Prod: Miki Redelinghuys / Lauren Groenewald Short film UNSOLVED – THE STORY OF THE CAPE RIPPER Sabido Productions Prod/Dir: Johann Abrahams Documentary VKB LANDBOU BEPERK FC Hamman Films Prod: Odette van Jaarsveld Corporate Video When I Was Water Shadow Films Dir: David Forbes Documentary XJ-1 Eternal Film Productions Prod: Marius Swanepoel/ Dana Pretorius Feature XTREME OUTDOORS AFRICA Africa InSight Prod: Esah Panyako TV Magazine You Deserve ItPenguin FilmsProd: Roberta Durrant TV Game Show
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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: online@screenafrica.com
UPCOMING EVENTS
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JUNE 2 – 14 Encounters South African Documentary Film Festival
Cape Town www.encounters.co.za
13 – 18 Annecy International Animated Film Festival
France www.annecy.org
16 – 26 Durban International Film Festival
17 – 20
Durban www.durbanfilmfest.co.za 7th Durban FilmMart
Durban www.durbanfilmmart.co.za
JULY 9 – 17 Unit C5 RobeRtville Mini FaCtoRies 255 nadine stReet RobeRtville RoodepooRt 1709
Zanzibar International Film Festival
Zanzibar www.ziff.or.tz
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Peter Russell shares his Hollywood secrets in Johannesburg
PHOTOS BY CERA-JANE CATTON
Hollywood’s story doctor Peter Russell was in South Africa to present the seminar, Secret Patterns of Writing for Different Genres, on behalf of the Writers Guild of South Africa. Workshops were held in Johannesburg, Cape Town and Durban between 12 and 22 May 2016. There was a full house at the Johannesburg City Library where seasoned writers and students converged, seen at the event were…
Siphiwe Mbata and Kanne Puso
Thandiwe Gaobepe and Melian Dott
Sandile Khwela and Clementine Malepa
Nompi Vilakazi, Tracy Stucki and Theoline Maphutha
Tracey-Lee Rainers and ‘Mamokuena Makhema
Veronica Stewart, Julie Hall and Bongi Ndaba
Motshidisi Tale and Ntando Mhlongo from the SABC
Marianne de Klerk and Tshedza Mabogo from the SABC
Clinton Motshe and Lani Lombard
48 | SCREENAFRICA | June 2016
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