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| IN THIS ISSUE
4 SenseVirtual offers VR solutions for African needs
34
10
The rise of the flying machines: How drones are transforming broadcast and media production
29
12 Another day in the Banana Republic
SPECIAL FEATURES Cameras & Accessories
Camera illusion........................................... 30 Sony FS7: The operator’s camera........... 32 The rise of the flying machines: How drones are transforming broadcast and media production........... 34
Mediatech 2017 Preview Imagine Communications at Mediatech 2017..................................... 36 INALA Broadcast at Mediatech Africa 2017.............................. 38 Jasco debuts Avid’s latest tech innovations to Southern Africa – think cloud, think free software ............ 40 Movievision showcases the latest in lighting................................... 42 Cine Photo Tools spotlights the Bright Tangerine Revolvr and the Chrosziel MagNum.................... 44 Glensound Paradiso comes to Mediatech.................................. 46 Jasco introduces the Leyard LED MultiTouch video wall............................... 46 Ross Video brings Trackless Studio software application to Mediatech........ 48 AJA RovoCam, RovoRX-SDI and RovoRx-HDMI.................................... 49
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The road to inner peace runs from Cairo to Jozi
Let’s talk cameras
Macro Video to showcase the Datavideo SE-500HD mixer/switcher and HDR-1 recorder................................ 50 Grass Valley introduces the new GV Korona K-Frame V-series systems......... 51 Visual Impact spotlights its LED offerings at Mediatech..................... 52 Sony focusses on archive solutions and live production.................. 54 Zimele showcases the Cinedeck ZX.... 55 A radically simple storage solution with axle....................... 56
News JoburgTodayTV is the first independent City OCC in Africa.............. 3 Realness African Screenwriter’s Residency 2017 selection announced at Cannes.................................. 4 SenseVirtual offers VR solutions for African needs.................. 5 DEOD brings new freedom of choice to viewers..................................... 6
TECHNOLOGY News Quicklink products integrate NewTek NDI™ IP Technology.................. 7 FUJIFILM announces the FUJINON MK50-135mm T2.9 telephoto zoom cinema lens......................................... 7
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FILM
Canon introduces 4K compact Cinema EOS camera................... 7 Broadcast Solutions AB405TM.................. 7 Alcons three-way Cinemarray™ CRA24WX......................... 8 EVS introduces new XStore Storage....... 8 Magewell 12G-SDI 4K capture card......... 8 Leader announces the new LV5490SER10........................................ 8
INDUSTRY REPORT
ADCETERA
Do your commercial drone insurance policies have adequate cover?................. 21
The importance of agency culture for creativity.................................... 9 The road to inner peace runs from Cairo to Jozi ........................... 10 Another day in the Banana Republic..... 12
From the producer’s mouth: Jac Williams.................................................. 19
Closing the industry circle: East Africa.................................................... 20
BUSINESS LEGISLATION
FESTIVALS & MARKETS CANNES 2017: An African perspective............................. 24 ZIFF at 20.................................................... 25
COMMERCIALS
New Media LiveTree: From little acorns…................ 57
FILM
SCreen AFrica Golf Day 2017 Action from the Screen Africa Golf Day…................58 – 59
Director Speak: Rob Smith...................... 13
Africa’s first medical thriller – Bypass... 14 Roberta Durrant on the making of her new feature Krotoa........ 16
DOCUMENTARY Tales of truth from the women of Marikana................................... 18
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REGULARS Marketplace................................................. 60 Upcoming Events....................................... 60
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From the editor
The Team
June and July is always a busy time for the film, TV and broadcast industries. In July, we have the Durban International Film Festival (DIFF) and Durban FilmMart (DFM) which sees film fanatics, practitioners and scholars from Africa and across the globe, flock to Durban annually to catch up on the latest in African cinema. The Zanzibar International Film Festival (ZIFF) is also scheduled to take place this July. Then there’s the Encounters South African International Documentary Festival which is about to commence as I write this. And to add to the excitement, this year we have the biennial technology show Mediatech Africa, taking place at the Ticketpro Dome in Johannesburg from 19 to 21 July. On that note, this issue carries pre-show coverage of DFM and ZIFF – on pages 26 to 28 readers can peruse the official DFM 2017 project selection, and on page 25, Lara Preston lets us in on what new developments we can expect to see at this year’s ZIFF. Most noteworthy, we have put together a lengthy Mediatech product preview, which highlights some of the brands, products and solutions that will be on display at this year’s show. Be sure to check it out on pages 35 to 56. This issue also holds our Cameras and Accessories feature. Our favourite techy Ian Dormer gives us a comprehensive camera comparison titled ‘Camera illusion’ on pages 30 to 31. The section also carries an honest (and witty) review of the Sony FS7 by Paul Nel, SASC. Other notable contributions include a Q&A by David Cornwell with Krotoa director Roberta Durrant, a review on the east African filmmaking landscape by Lara Preston, and an African perspective on Cannes 2017 by Claire Diao. If you attended the Screen Africa golf day this year, check out our social pages at the back of the magazine to see if you can spot yourself. Until next time! Chanelle Ellaya
Editor 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. 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.
JOURNALISTS Gezzy S Sibisi is a journalist and photographer with experience in print, broadcast and digital media. Her portfolio of work includes working as a lifestyle reporter as well as contributing business and education articles to The Times, Sowetan and Daily Despatch publications. As a freelancer she has worked on content development for corporate newsletters, community newspapers, blogs and educational websites.
Louise Marsland is an editor, journalist and columnist in the media and marketing communications industry in South Africa, who has been writing about the industry for over two decades as a former editor of publications: AdVantage, Marketing Mix and Bizcommunity.com. She currently writes extensively about industry trends and consumer insight.
Lara Preston is a passionately committed marketer and strategist with a focus in promoting African content and events. Two decades of working across Africa have provided her with insights and experience that she puts to work for the projects she manages. In 2006, Lara founded, and still personally manages, Red Flag Content Relations, a full service below-the-line agency that also focuses on African entertainment and lifestyle brand marketing, strategy, and publicity.
David Cornwell lives in Cape Town, where he writes fiction, films and features for a variety of publications. His debut novel, Like It Matters (Umuzi, 2016), has been long-listed for the 2017 Sunday Times Fiction Award.
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.
SCREENAFRICA Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com Editor: Chanelle Ellaya: editor@screenafrica.com Journalists: Gezzy S Sibisi: news@screenafrica.com
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Editorial Disclaimer The views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Screen Africa or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use. Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher.
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| News
JoburgTodayTV is the first independent City OCC in Africa
Adolf Spangenberg
Story is everything. Stories found in cities across the globe are no longer just important to its citizens but to the global conversation on humanity.
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very city is a brand. And like any brand, a city needs to present its proposition consistently and continuously to its brand community. It needs to stimulate, inspire and drive the potential of its human capital to realise a future made possible through its evolution as a habitat shaped by the people who live, work, play and invest themselves in it. The story of a city is ever evolving, JoburgTodayTV covers the good the bad and the ugly as factual content relevant to the conversation within the context of a hyper-local online channel, with a global attitude. Today content consumers seek relevant, authentic and quality content delivered directly to them, in their hands, when they want it. The device and duration is no longer relevant, it is the story that matters. Fifteen years ago CEO and founder of JoburgTodayTV, Adolf Spangenberg, made the conscious decision to build the first City Channel in Johannesburg. As a working title at the time it was called Joburg 1, largely shaped by New York 1, where he had the unique opportunity to be involved as part of the
video journalism team working on local stories. What was unique about the concept at the time was employing a news gathering team made up of VJ’s (video-journalists) to shoot and package reports and features. Although New York 1 was based on a linear output in traditional broadcast format, Spangenberg was completely absorbed and in awe of the developments of video access online. From the onset JoburgToday was developed with the notion that it would need to be an online channel and the access to content was to be free. The current JoburgToday output is five days with a daily show designed to fit very specific niche interest groups and conversations. JoburgTodayTV is a benchmark development, created to kick start a roll-out of City OCC’s (Online Content Channels) across the African continent. The initiative is aimed at generating a city-based CCE (Continental Content Engine), to serve and supply the growing demand for well-curated content in the hyper-local context, with a global appeal. The channel produces just over 2 000 minutes of originally produced and curated content per month. This is set to grow by an additional 150 minutes per month by the fourth quarter of 2017. This content is available to any formal media entity wanting to partner with BrandTV Media Network. The content
is available at no cost within its current curated format. Newspapers and radio stations who all have great footprints and who are all involved in the big drive to provide relevant hyper-local content are the ideal partners in this initiative. The daily show and City News Output is currently being distributed via the Caxton Newspaper Group on their digital versions of the knock and drop papers. Unique opportunities for event coverage, brand products and services, focus content as well as AFP (Advertiser Funded Programming) options are all income-generating streams. No direct advertising is offered on the channel content output or any of its programming options. The channel is dedicated to assisting brands and organisations to develop content and present their stories on the most shareable and consumable medium today. The content produced is completed in a 4-9 hour turn around time and is immediately shared with the client for application and further distribution of the content asset in their own information communication and/or marketing strategy. This helps assist every brand/organisation who seeks a solution to enter the new media eco-system, with the ability to become the broadcaster of their story consistently and continuously. Spangenberg worked for the SABC for 13 years and upon leaving the broadcaster in 2008 to offer his ENG expertise to international news broadcasters and agencies, he was presented with new and exciting prospects, that would include the
establishment of the first independent Video News Services and Logistics business in Southern Africa called VNS247. Today this company provides turnkey ENG Services, research, logistics and studio facilities to various international broadcasters and agencies, but increasingly supports and provides a solid quick turn-around content solutions foundation for the surge in the online content demand from its commercial partner companies Corpcinema and BrandTV Media Network. “Today, in business, the focus is Africa, its people, its potential and most importantly its growing relationship with the rest of the world. To this end, the group of companies developed since 2004 is actively realising this vision. By bringing sought-after international television news gathering experience, expertise and innovative video-content solutions; we promote insightful and relevant storytelling,” says Spangenberg. “The key medium for story telling today requires that the capture, storage, forwarding and live video content demands of this ever evolving modern society, are efficiently presented and distributed globally. Our next generation projects are focused on hyper-local OCC Solutions as catalyst for growth.”
June 2017 | SCREENAFRICA | 3
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Realness African Screenwriter’s Residency 2017 selection announced at Cannes At an event hosted by La Fabrique Cinéma de l’Institut Français, one of the first supporters of the programme, the selection of this year’s Realness Screenwriter’s Residency was announced at the Cannes Film Festival by Realness co-founder Cait Pansegrouw. Realness, which was established in 2016, aims to provide scriptwriting talent on the continent with the space, time and support needed to create and develop their vision. This year, over a hundred applications were received from twentyone African countries. The international panel of industry experts with a stake in African Cinema, evaluated the submissions over three months, arriving at the five chosen residents in early May. Marie Dubas, French producer of The Wound by John Trengove and one of the team that founded Realness said; “Selecting projects for Realness is a blessing and a huge responsibility. The projects are of a high quality, proving how rich the multiple African cultures are in nurturing unique stories. We know that for the scriptwriters behind these stories, Realness could be a life
changing experience. We try to listen to the desires of these stories, and to allow the ones whose hearts beat the loudest to lead our choices.” The selected residents for 2017 are Lemohang Mosese from Lesotho, Mario Fradique Bastos from Angola, Rama Thiaw from Senegal, Samantha Nell from South Africa and writer-director team Gloria Huwiler from Zambia and Jahmil XT Quebeka from South Africa. Mario Fradique is an emerging voice in Angolan Cinema. His short films travelled to several festivals, winning awards along the way, while his first feature documentary, Independence, won Angola’s National Culture Prize in 2015. He joins Realness with his debut fiction feature, The Kingdom of Casuarinas, based on the novel by Jose Luis Mendonça. Gloria Huwiler is an actress and writer seeking to give a cinematic voice to her unique experience as a first generation mixed-race Zambian through Victoria Falls. Huwiler has teamed up with acclaimed South African writer/director Jahmil Quebka, best known for his
The selection of this year’s Realness Screenwriter’s Residency was announced at the Cannes Film Festival by Realness co-founder Cait Pansegrouw (second from right) second feature film, Of Good Report. Lemohang Moses hails from Lesotho, a country which has not produced many films. He is a self-taught, awardwinning filmmaker and artist, with short film work that has travelled to over 100 festivals, winning top honours in Moscow and Milan last year. His debut feature This Is Not A Burial It’s A Resurrection is the selected project. Rama Thiaw is a strong voice from Senegal that we have heard from before. Her two feature length documentaries have garnered much success and awards, most notably the FIRPRESCI Prize at the Berlinale in 2016 for The Revolution Will Not Be Televised. She joins the residency with Life In A Spiral, her fiction debut. South African Samantha Nell, whose short film The Beast premiered in Cannes last year, brings her debut feature, Miles
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From Nowhere. Set in Johannesburg, the film is an absurdist dark comedy that takes place in an old age home following four of its residents. The project is also supported by the NFVF for development. Realness is an initiative founded and curated by Urucu Media, under the mentorship of Berlinale Talents and in partnership with the Nirox Foundation, Durban FilmMart, The Durban International Film Festival, Durban Talents, The French Institute of South Africa and Institute Français, Torino Film Lab, EAVE Producer’s Workshop, Midpoint Feature Launch, Locarno Filmmaker’s Academy, Produire Au Sud, Fairbridges Wertheim Becker, the Goethe Institute and Le Centre National du Cinéma et de L’image Animée (CNC).
For all your music licensing, library and commercial synch requirements contact michaelec@gallo.co.za. All other contact details remain the same.
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News
SenseVirtual offers VR solutions for African needs From physical human interaction to virtual reality (VR), the evolution of communication has gone full circle.
A scholar enjoying being immersed in a VR educational experience
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arketing today requires as much personal attention as it did centuries ago, however with the advancement of new technologies, being able to create immersive experiences like riding on a spacecraft or house-hunting from your office is just a VR headset away. Tyrone Rubin is a filmmaker and the founder of SenseVirtual; a company that offers VR solutions for South Africa’s educational and marketing needs.“VR is a completely new medium that allows a person to be placed into any experience imaginable. The user is able to interact with this world, walk around and perform any action they dream of,” explains Rubin. The use of VR technologies has through the years helped marketers better reach their consumers. A recent example of this is SenseVirtual’s work with the Adidas brand to promote football to scholars. The concept involved filming Orlando Pirates soccer players during their training schedules and football games. This footage was then converted to a VR 360 degree format and then shown to schoolkids on a bus using VR headsets. “The kids felt completely immersed with their favourite footballers and the game,” shares Rubin. In another school focussed project, the team used VR experiences to teach children the basics of business, maths and economics. Through the use of VR devices, they saw the huge impact and
interest that VR technology creates for the advancement of learning. “When a student is completely immersed in a VR experience the retention rate of the student is extremely high,” Rubin adds. Rubin says that he has always been a fan of VR, however it was in 2014 when he tried the first Oculus prototype that he truly believed that there would be a market for the technology in South Africa: “I started seeing that there were actual real world problems that I could solve using this technology. I also noted that various industries found the need to create VR experiences either to enhance their products or to be used in an entertaining manner.” This prompted him to start his own VR company, SenseVirtual and later team up with Richard Ramsbottom, who had already been developing VR experiences, and is now the company’s CTO and co-founder. The team has since then developed content and VR experiences for a number of brands in sports, education, real estate and retail. Their VR equipment includes the HTC Vive, an Oculus Rift, along with a powerful PC to run the VR experience, however for mobile phone experiences, they use the Samsung Gear VR. One of the company’s most notable VR applications is a property viewing app for local real estate companies. The app allows property agents to relieve themselves of the stress of
A view of the VR property app developed by SenseVirtual
driving to various locations to view different properties with clients. The use of mobile VR headsets will allow agents to immerse clients inside more properties than ever before with a 360-degree VR view of any property. SenseVirtual is also currently working on an in-store VR retail experience that will give stores the opportunity to offer their shoppers immersive experiences with their products. Internationally, VR retail experiences are a huge trend, especially in the fashion world. The Tommy Hilfiger brand recently launched a VR experience in their stores for shoppers to witness the designer’s autumn collection debut from the runway. Talking about SenseVirtual’s VR retail experience, Rubin says: “These deeply engaging VR booths will draw customers into stores to experience first of its kind technology. Customers will be able to explore an infinite amount of products and product information; they will be able to learn about the brand and products in an entertaining and engaging manner, and will be able to interact with products in a magnificent dream-like environment.” VR technology has also been welcomed in bringing far-fetched dreams closer to reality for the user, while also helping users share their experience with a group. For Universal Healthcare, SenseVirtual created an activation whereby they had six people at a time entering into a spaceship and all simultaneously experiencing an entertaining space adventure. In the UK, a similar experience is used by medical institutions to train surgeons from all over the world as if they are in the same room. “The aim for any VR experience is something called presence. Presence is the feeling in VR where the person completely believes they are in the virtual world in every possible sense.” While the South African public have shown great enthusiasm in the future of VR technology, Africa still has to gain more knowledge and produce more VR developers for the industry to grow. “In 2014 there were only a handful of us in South Africa building VR solutions and experiences. Since then the number of developers in the VR space locally continues to grow. These VR developers and VR storytellers are continually creating experiences
in so many varied industries. The highlights have been witnessing and playing a part of this continual day to day growth,” confirms Rubin. Rubin is also the founder of Virtual Reality South Africa (VRSA) which aims to seek more awareness for VR industries in order to grow the local skill set of VR developers and VR filmmakers. Rubin and his team have hosted workshops in specialised learning institutions for filmmakers and developers interested in exploring the VR field. “There are two types of content one can create with VR: a 360-degree video and CG (Computer Graphics). With AFDA we created workshops to teach students and industry professionals how to create 360-degree video content from start to finish. We also worked together with Friends of Design to teach students how to transfer their game concepts into VR,” shares Rubin. Some of these students have ended up collaborating or working on SenseVirtual’s events division, EventsVirtual. “More recently we have created VR experiences at events for Sanlam, Google, Barclays, MiWay and Dell,” says Rubin. In May 2017, SenseVirtual hosted an eLearning conference where Rubin led a discussion on why VR is playing a major role in the sphere of education and training. “The talk highlighted the key values that VR adds in the world of education and training such as immersion, engagement, presence, interactivity, safety, affordability and more,” he shares. The SenseVirtual team is now planning South Africa’s first Virtual Reality Hackathon, which will make it the second VR hackathon in Africa after last year’s event hosted in Lagos, Nigeria by Imisi 3D. “We feel that SA is leading the way forward in Africa when it comes to using VR in the widest arrays of industries. The key difference between Africa and the rest of the world is that in places like America, Europe and Asia, the VR market is currently a lot larger industry. I am confident we will get there in time,” Rubin concluded. – Gezzy S Sibisi
June 2017 | SCREENAFRICA | 5
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DEOD brings new freedom of choice to viewers
Discover Digital managing director Stephen Watson
Last month, Digital Entertainment on Demand (DEOD) held its official launch in Johannesburg, South Africa. The service offers a selection of rental and subscription video entertainment on-demand services, including news and sports internet TV channels, direct to viewers’ phones, tablets, and laptops. A range of Smart TV applications, plus Chromecast and Airplay support will also be offered in the coming weeks.
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ith DEOD consumers can enjoy internet TV channel programming, subscribe to bouquets of content to watch as they choose, or they can simply opt to rent individual movies on a pay-perview basis – anywhere, any time. DEOD is being launched in South Africa and markets across Africa by video-on-demand (VOD) solutions provider, Discover Digital, in partnership with regional telcos and businesses. “Viewers today want freedom of choice. They want customisable, affordable access to movies, news, sports, music and TV series wherever they are,” says Discover Digital managing director, Stephen Watson. “Our disruptive new model breaks the traditional broadcast and pay-TV mould by letting viewers choose the channel
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category packages they want and what subscription models they prefer.” Prices range from R49 for the News Service and R99 for the Sports Service, to R189 for the Premium Package which includes all news and sports channels, DEOD Sports Network (DSN) and a selection of series, music videos and movies on- demand. DEOD offers premium on-demand content subscriptions at a price viewers can afford. The DEOD Rental Service also offers viewers the option to rent a selection of movies from the latest cinema releases to classics on a pay-per-view basis. “Discover Digital’s highly flexible platforms mean we can constantly repackage content and bouquets to meet viewer demands,” says Watson. “For example, we offer a sports pack
of five world sports channels including the Motorvision motorsports channel, Sportskool, Channel Edge HD extreme sports, Fightbox HD, and the Nautical Sailing and Boating Channel. We have a news pack of leading global news channels including Al Jazeera, Africanews, Euronews, Bloomberg, Russia Today, and France24, with more channels being added soon including BBC World News. We also offer short-term Premium subscriptions that give viewers access just for a weekend at R49 or just a week at R69, as well as special interest channels and VOD bouquets for kids and music lovers as well as faith and inspiration-related programming.” DEOD Sports Network (DSN) is offered in all packages and delivers world sports news, covering major sports championships and leagues, including the Olympics, Football, Rugby, Golf, Cricket, Tennis and more. Viewers can catch up on daily short news stories, player and coach interviews on-demand. Advertisers and broadcast sponsors can also partner with DEOD to activate this content to engage with consumers. Watson says DEOD also breaks new ground for mobile viewers, delivering a premium viewing experience with little to no latency, even on mobile phones. “To really experience the benefits of VOD, which is about consuming what you want, where you want and when you want, it has to be suitable for mobile too,”
says Watson. “We put in-country CDNs, caching and networks in place, and we use adaptive bitrate technology to ensure that viewers in every country enjoy the best possible viewing experience. We have also added the ability for viewers to schedule the download of selected content for off-line playback. Very soon consumers will also be able to download immediately or schedule the download for off-peak data periods, to take advantage of the off-peak data rates that most ISP and telcos offer.” Adding to the convenience of this innovative new on-demand service, DEOD payment systems will include credit cards, debit orders and voucher payment/redemption options through our DEOD Partnerships, plus future mobile money and charge to bill options in partnerships with telcos and mobile wallet operators. “As a full-service, video on demand business, we want to use the increased connectivity consumers now have access to, to deliver more entertainment in a number of ways. The opportunity in Africa is to deliver to mobile phones a broad range of digital entertainment – from video and TV to music, magazines and radio,” says Watson. “We believe everybody deserves to have access to quality, affordable content and we will continue to challenge the status quo of competitive offerings and expand our DEOD services to merge lifestyle and entertainment to take it to consumers when and how they want it.”
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| TECHNOLOGY NEWS
Canon introduces 4K compact Cinema EOS camera Canon Europe has announced the launch of the EOS C200, the latest addition to the esteemed Cinema EOS range. Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals. As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0™ card. Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking.
EOS C200 key features:
Quicklink products integrate NewTek NDI™ IP Technology
• Internal 4K recording with Cinema RAW Light and MP4 format • Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD • Up to 15-stops dynamic range (Cinema RAW Light) • Professional High Quality image and audio • Dual Pixel CMOS AF with touch control and extensive shooting functions • Easy operation and flexible configuration
Quicklink has announced that their complete product range now has integrated support for NewTek’s innovative NDI™ technology, enabling live IP production workflows over ethernet networks. The integrated NDI technology allows Quicklink solutions to support input and output over IP. With NDI, any device can connect to every other device, and every source is also a destination, giving live productions limitless possibilities. NDI gives you complete access, control and creativity over IP. With NewTek’s widely adopted NDI standard, Quicklink products will now allow you to route inputs and outputs to/from any compatible NDI receiving device that is connected to the internet. NDI support is included on the Quicklink TX Multi and TX Quad, Quicklink Remote Communicator, Quicklink Mobile Encoder, Quicklink Standard and Enterprise Playout Servers and the Desktop to Studio solution.
Broadcast Solutions AB405TM With a new AB405TM system, ABonAir now offers a budget solution for wireless microwave transmission to the broadcasting industry. With this new system Broadcast Products makes the best wireless microwave transmission technology now affordable to all, offering professional quality and robustness at an affordable budget for distances up to 750 metres. ABonAir’s AB405™ wireless video system enables camera teams to wirelessly transmit video directly from cameras to media centres or OB Vans. Designed for ENG teams, and for video assist where link stability cannot be compromised and picture quality must be high. The AB405™ system is also optimized for basic sport coverage in universities and high school. Built on a bi-directional radio channel between transmitter and receiver, ABonAir’s systems acknowledge the correct acceptance of each group of pixels, thus providing exceptionally robust and reliable transmission. The AB405™ enables video transmission of up to 750 metres while utilising full MIMO radio employing two antennas at the transmitter and receiver to enhance performance and ensure coverage even in extreme radio signal environments.
FUJIFILM announces the FUJINON MK50-135mm T2.9 telephoto zoom cinema lens Releasing in July 2017, the MK50-135mm has a focal length of 50-135mm and can be combined with the FUJINON MK18-55mm T2.9 (MK18-55mm) standard zoom lens that was released in March 2017, to form a kit that covers the most frequently-used focal lengths of 18mm to 135mm, accommodating a broader variety of conditions. The new MK50-135mm is a telephoto zoom lens that covers the focal length from 50mm to 135mm. It has the maximum T-stop value of 2.9 across the entire zoom range, enabling to shoot with a shallow depth-of-field with beautiful bokeh. The lens is compatible with E-mount cameras with the Super 35mm*3 / APS-C sensor. It incorporates the benefits of short flange focal distance*4 into optical design to the maximum extent to achieve advanced optical performance while maintaining a compact and lightweight design. The lens design is optimised for shooting movies, minimising focal and optical axis shift while zooming and lens breathing (change of angle of view during focusing). The lens also features three rings to enable manual and independent adjustment of focus, zoom and iris (aperture), all with the gear pitch of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise one-handed focusing. These features make the lenses comfortable to operate. June 2017 | SCREENAFRICA | 7
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Leader announces the new LV5490SER10 Leader Instruments announces a new addition to the range of options available for the LV5490 4K/ HD/SD waveform monitor. The new LV5490SER10 software module is believed to be the world’s first direct-digital 4K noise measurement processor. It allows measurement of noise in luminance or RGB component chroma channels. This can be performed in all formats that can be interfaced to the LV5490: IP/12G/3G/UHD/HD/SD. Data obtained from the input SDI signal is converted directly without intermediate analog processing, allowing highly accurate and highly stable measurement. “This new option makes the LV5490 essential for any serious multi-camera production, whether in a studio, on location or for live outside broadcasting,” says Leader’s European regional development manager, Kevin Salvidge. “It will be particularly useful for checking the noise level of cameras sourcing content for viewing on high dynamic range television receivers.” Occupying a half-rack-width by 4U high housing, the Leader LV5490 offers 4K, UHD, 3G, HD and SD test and measurement features in a compact portable unit. Waveform, vector, five-bar and picture display can all be viewed at the same time on the instrument’s 9 inch LCD monitor. The monitor is full 1920 x 1080 HD resolution with a wide viewing angle and high colour reproduction. A 1920 x 1080 HD DVI and HD-SDI output is also provided to feed a larger monitor. Simultaneous viewing of up to four 3 gigabit/s SDI inputs is possible, including overlays. The size and location of individual channels can be adjusted on the display using a USB pointer so the user is not limited to fixed-size quadrants.
Alcons three-way Cinemarray™ CRA24WX Aimed at medium-to-larger sized premium cinemas, the Alcons three-way Cinemarray™ CRA24WX is designed for Digital Cinema applications where maximum quality sound reproduction and perfect coverage are required. Featuring two patented RBN401 pro-ribbon drivers, the CRA24 delivers remarkable clarity, intelligibility and delivers an uncompressed linear response at any SPL. With up to 90 per cent less distortion and very high (1600W) peak power handling, the HF section allows maximum screen compensation without any audible stress on the driver. The patented horizontal dispersion also extends the stereo imaging to a larger number of seats in the auditorium. Along with the twin RBN401 HF drivers, the CRA24WX features a pair of vented 6.5” mid-range drivers and a pair of vented 12” woofers, with 3” voice-coil design for LF reproduction. With a usable frequency response of 39Hz – 20kHz and a system efficiency of 105 dB, the CRA24WX delivers sound of exceptional quality and impact for any content. Two different horizontal dispersion models are available, the CRA24WX/90 (90º) and CRA24WX/120 (120º), both offering vertical coverage of 30º. The enclosure design enables the assembly of wide vertical coverage arrays (multiple CRA24WX only), or as under-fill in mixed arrays (CRA24WX under CRA24N array).
Magewell 12G-SDI 4K capture card Magewell has announced a powerful new model in its popular Pro Capture family of PCIe video capture cards. Capturing 4K video at 60 frames per second over a single-link 12G-SDI, dual-link 6G-SDI or quad-link 3G-SDI connection, the Pro Capture SDI 4K Plus gives users and systems integrators exceptional flexibility in interface standards for 4K signal ingest. While 4K video workflows continue to proliferate, users are faced with multiple interface standards for getting 4K content into their systems. Single-link, 12Gb/s SDI provides an elegant solution for professional 4K transport, but a very high proportion of existing equipment still requires quad-link or dual-link connectivity. With support for all three methods, the single-channel Pro Capture SDI 4K Plus card offers compatibility with both the latest and earlier 4K architectures and systems. The sixth 4K-capable member of the Pro Capture family, the new card supports resolutions up to 4096x2160 4K digital cinema specifications, including the 3840x2160 Ultra HD (UHD) television standard. Input video – along with SDI-embedded audio – can be fed to multiple software applications simultaneously, with independent control of the resolution, frame rate and video processing settings for each. 10-bit, FPGA-based video processing provides high-quality up/down/cross-conversion, image adjustments, graphic overlay and more without tasking the host system CPU.
EVS introduces new XStore Storage In a product announcement that centralises the technological core of its storage offering, EVS, has partnered with Harmonic, the worldwide leader in video delivery infrastructure, to deliver the new XStore high-performance nearline storage solution. Designed to be as flexible as possible, XStore is optimised for use in studios, broadcast centers and major host broadcasting facilities. Leveraging Harmonic’s MediaGrid shared storage system, EVS has unified its three XStore products into a single, highly flexible storage platform. Following the formation of an OEM partnership with Harmonic at the 2017 NAB Show, EVS is immediately releasing the new XStore system which unifies EVS’ current XStore range of three products into a single flexible storage solution. The nearline platform benefits from a fully-redundant technical architecture and comes in various form factors, starting at six RU with redundant and highly available metadata servers and 28TB (or 500 hours of HD content) of capacity. When higher capacities are needed, XStore can scale up to petabytes using four or five RU chassis of up to 500TB. The platform’s high-density form factor maximizes capacity and minimises rack space, providing valuable space-saving benefits. 8 | SCREENAFRICA | June 2017
The importance of agency culture for creativity
| ADCETERA
Written by Louise Marsland
What role does agency culture play on creativity and the quality of work for clients? This is the question that Halo agency has interrogated over the past two years in its goal to build the best agency in South Africa to work at.
Dean Oelschig, managing director of Halo
Halo brand identity
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ean Oelschig, managing director of Halo, this past month unveiled the agency’s new brand vision and brand design with a video showcasing the new agency branding and new website design. Oelschig believes it takes about seven years for an agency to “find itself” and the clients it wants to work with and to attract the right talent in building the right culture to do great work. Trust and creativity are at the heart of building the right agency culture. They have even written a book on the Halo employee culture. “We did a lot of research and got feedback from everyone in trying to define what our culture is,” says Oelschig, a founder of Halo, who took over as MD in 2015. “Since then, everything I’ve tried to do is around people. I changed the hiring policy to something quite simple: ‘don’t hire anyone you wouldn’t want to have a beer with’.” That was a start in defining the culture to creating “the best agency to work at” in South Africa, explains Oelschig. “The job is not complete yet, we are in the process of trying to define an employee experience manager to appoint.” They have got rid of the human resources position as a result and seeded the administrative tasks that usually fall in the domain of HR, to the finance department. “We are now trying to find the right person to create a great working environment for employees and clients and drive culture on a daily basis.” Oelschig is adamant that getting agency culture right is the key in creating the kind of agency that does great work, for great clients and attracts the best talent in the industry – that stays. “We have turned down three pieces of business in the past six months because they didn’t fit our culture and
we wouldn’t have the opportunity to do great creative work for those clients.” The Halo current client portfolio consists of Elliots International, Jacaranda FM, Viva Gym and the largest independent bank in Kenya, CBA (the Commercial Bank of Africa). There are tangible benefits for the agency, Oelschig explains, by getting the culture fit right: 1. People don’t leave, they stay. “You get to keep great people. Creativity is a team sport. It very seldom happens in isolation that one person traps an amazing idea and executes it on its own. Collaboration is from within the agency and outside. If you have that cool group of people that get it, perform, get on, and understand the roles in the organisation, they are working for each other, buying into it. Culture is most important within an agency.” 2. People are more open to say what they think. “I want people to be honest. Too often we worry about people’s feelings. We tiptoe around the stronger personalities in the room and the weaker shut up and get on with it. A fully-formed adult culture is about candour: we are hard on the work, but not the person. That has allowed people who don’t normally speak up, to feel that they can. We’ve seen that ideas can come from anywhere. We ultimately end up with better work.” 3. Millennials thrive. “Culture is moving target, the job is on going, benefit is long term. People enjoy spending time with each other outside of normal office hours here at Halo. They spend time with each other, instead of being siloed in different
departments. Only one staff member has left us in 18 months (for a sabbatical overseas).” 4. Value of culture. “The reason I started Halo in 2010, was out of hate. And my hate was this (and I fight it every day): I didn’t like the dismissal of the value of creativity. I saw creativity being downgraded – and the value of how it can change things – into something you can buy off the shelf. Nothing breaks through clutter like great ideas. In previous agencies I worked in, creatives were stuck in a room the same as the finance department and the heroes were sales people. I hated that. I wanted to create an agency where I loved going to work and growing the organisation with a whole bunch of people who really like each other and wanted to work with one another. If people like each other and want to do great work, it benefits client experience too. Our view is that if we create amazing culture with a great group of people, showcase all our personalities and ensure our clients know who we are, we will hopefully attract the right kind of clients.” Halo’s culture journey wasn’t a shotgun approach. They were methodical and worked with culture-led consultant, Strive CBA (Companies Behaving Awesomely) to map “the temperature” of the agency at all levels. “Everyone bought into it. I think people are really happy to be at the agency. We do culture days where we run a cooking class and so on. I think it’s working. There’s still a lot to be
done. We want to become a lot more about knowledge sharing, about training and development, where people do well,” Oelschig says.
“We are a cool agency with great people with amazing talent. I think the work we’ve done in the last 12 months is better than anything we’ve done previously.” To this end, they have set medium term goals – something they term “three knocks on the door”: 1. Halo wants amazing talent to be knocking on the door to come work there. 2. Halo wants to get the right clients who love what they do and want to work with them, knocking on the door of the agency. “We’re not aiming to grow for growth’s sake. We want to get better with the right client base.” 3. Halo wants to be sellable. “We’re not for sale, but I like the idea that people may want to buy us, because it means we are doing things right,” adds Oelschig. – Louise Marsland
June 2017 | SCREENAFRICA | 9
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The road to inner peace runs from Cairo to Jozi
Stills from the new Chicken Licken spot
With the business of everyday life, we all need some timeout to reconnect with our inner peace. While others can afford a little getaway to unwind, sometimes all you need is a good soulful meal to get you there. Chicken Licken’s new advert takes viewers on an expedition from Cairo to Jozi, in a quest to find inner peace.
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o e Public is an advertising agency that has proven that the sky is the limit; their previous ad set out to space with the young afronaut, Tshabalala, who was taken by the then Chicken Licken tagline, ‘When the craving has got you, It’s got you’ as he eats his colleague’s Feed My Craving meals. This was Joe Public’s first project for the Chicken Licken brand and it won over the late CEO and founder of Chicken Licken, George Sombonos. This time around, the agency’s new spot for the famous chicken brand takes viewers on an Egyptian/African tour, with the ad expanding to a digital game format and a movie collaboration. “We have admired the work of Chicken Licken for many years as it is one of South Africa’s brands that truly do stand out commercials. We are very grateful that we have the opportunity to do high calibre brand communication for such a legendary and trusting client. Since getting them as a client, we have a ‘restless’ hunger to keep doing great work,” says Roanna Williams, the executive creative director of Joe Public. Their brief was to create a campaign for Chicken Licken’s, Rock My Soul product that’s packed with ‘soul fire.’
The agency had their entire creative department involved in the brainstorming and conceptual process. “The process included many late nights of brainstorming over Rock My Soul meals; a number of lengthy reviews; a shortlist of three (concepts) and then the winner,” explains Williams. The winning concept video earned over 1 000 views on YouTube in 2.5 days of being online. The storyline begins near the Great Pyramid of Giza with archaeologist, Archie. His excavations near the pyramids accidently lead to him falling into a pyramid. A curious Archie opens a tomb and wakens an ancient Egyptian pharaoh, the great Hor-Aha, who has been sleeping peacefully for thousands of years. A frantic Hor-Aha threatens to curse him, but Archie pleads with him and assures the pharaoh that he knows where he can find his inner peace again. The two then set off on a sightseeing journey that takes them into Africa until they reach Johannesburg. Here, Archie takes the great Hor-Aha into a Chicken Licken store and offers him the new Rock My Soul 3 Straight meal. The pharaoh takes his first bite, we then see him returning to his tomb, and taking the rest of his meal with him. His restless soul is finally satisfied.
Dean Blumberg of production company Bouffant directed the ad: “It was bold, epic and a little crazy. The agencies had a strong vision for the commercial but were incredibly collaborative in allowing us to bring ideas and our own stamp to the film,” he comments. The main characters – Archie, a 30-something South African archeologist and Hor-Aha, the 6 000 year old Egyptian pharaoh – were both cast in South Africa while the commercial was shot in Egypt as well as South Africa. “We worked hard to create a very filmic feel that was a hybrid of 80’s style adventure films and some classic 50’s technicolour nostalgia,” tells Blumberg. Wardrobe designer, Moira Meyer worked on the styling of the characters, which Blumberg describes as “authentic costumes with the most incredible textures to film,” which he says made his job as a director much easier. Archie is described as the quirky cool and smart dude (a Licken guy) – an explorer type – so Meyer decided to style him like Harrison Ford from the Raiders of the Lost Ark, while the pharaoh’s costume took
| ADCETERA “We worked hard to create a very filmic feel that was a hybrid of 80’s style adventure films and some classic 50’s Technicolour nostalgia.” – Dean Blumberg
TECH CHECK EQUIPMENT • Camera: The Arri Alexa Mini • Lens: Panavision G-series Anamorphic Lenses
“The Alexa is a great nimble camera with incredible colour space…” – Blumberg
“The lenses are some of the best in the world and the anamorphic expression has been my preference since I began directing.” – Blumberg
inspiration from the film Tutankhamun. In the spot, the journey to find inner peace starts in the desert and then heads to the busy marketplace of Cairo where the pharaoh feels unsettled by the people there and turns a vendor into a frog. In Sudan they purchase a car from a shocked dealer who sees the pharaoh protruding from the roof top in an attempt to ride the car as one would a horse. The pair then set off on a dusty trail where they pass Kenya, catching a glimpse of the Kenyan tribal men. A stop in Tanzania sees the two enjoying themselves on a beach where a much happier Hor-Aha asks Archie if they have found inner peace yet, to which Archie responds that they have not. They finally land in Johannesburg where Hor-Aha is uncomfortable with an airport search. Archie then takes the pharaoh to a Chicken Licken eatery. The pharaoh is seen taking great delight in the taste of his meal, but then suddenly he disappears, leaving bystanders and Archie amazed at the dust left behind. As Archie tries to grab the Pharaoh’s meal that is also left behind, it disappears into thin air, only to be seen with Hor-Aha in the next scene, back in his tomb in Egypt. “Balancing humour and adventure;
it’s a strange tone and as the filming advanced, the story just grew. We could have made a ten minute short film; however you always have to keep your eye on what the original intention of the story is and not get lost in what the potential exotic locations can offer,” Blumberg says. Blumberg had the challenge of working with two production companies. In Egypt, he worked with a team from Egypt Productions and was lucky to find an African fixer named Durand Le Sueur to get them to all the sights needed in the brief. “We shot pyramids, the ancient streets of Cairo, the desert and the Egyptian souks in Egypt. Tanzania and the Sudan were shot near Langebaan, Kilimanjaro was shot in the Cradle of Humankind, and the tomb was shot on set in Johannesburg.” An array of equipment was used to shoot the spot which included the Arri Alexa Mini and the Panavision G-series Anamorphic Lenses. “The Alexa is a great nimble camera with incredible colour space. The lenses are some of the best in the world and the anamorphic expression has been my preference since I began directing. They carry a real film weight and show facial expression
beautifully,” shares Blumberg. The ad was completed with final touches done by Fresh VFX, Stuart Botha and Bradley Glossop. “They helped me bring some of the locations which we could not travel to, to us. Their work on Kilimanjaro and Dar es Salaam was fantastic,” Blumberg remarks. Once the big project was out of the way, the Joe Public Connect team stepped in to create a digital online experience. In the game the pharaoh’s rest will be disturbed yet again but this time by people visiting his tomb on the Rock My Soul website (www.rockmysoul.co.za). On the website, the player is tasked with returning the pharaoh back to his eternal slumber by matching hieroglyphic symbols to play out various scenes which may or may not help the pharaoh in his quest to find true inner peace in the form of the Rock My Soul 3 meal once again. The online game goes live on 9 June 2017, together with a twominute cinema commercial which will capitalise on the local release of the movie, The Mummy. – Gezzy S Sibisi
KEY CREW Director: Dean Blumberg Producer: Chanelle Critchfield DOP: Adam Bentel DIT: Owen Bruce Art Director: Christopher Bass Wardrobe Designer/ Stylist: Moira Meyer Make-up: Debra Nicoll Focus: John Papas (JHB/Cairo) / Justin McGillivray (CPT) AD: Sheila van Zyl (JHB) / Coenie van Dyk (CPT/Cairo) Key Grip: WD du Plessis (Jhb/ Cairo) / Elrick Davids (CPT) Gaffer: Andre Beumer (JHB) / Grant Forbes (CPT)
June 2017 | SCREENAFRICA | 11
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The great legacy of the ANC that was hugely responsible for the liberation of this country is now being overshadowed by corruption and instability – these are the makings of a banana republic and the notion behind Freshlyground’s new song and music video titled, Banana Republic.
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he controversial video has enjoyed over 150 000 views across various platforms since its release on Freedom Day on 27 April 2017. “We thought that Freedom Day is rich with symbolism and appropriate to help make a statement and provoke the question: Look from where we’ve come and look where we are now,” proclaims Freshlyground’s band member and director, Josh Hawks. It’s hard to imagine that the video took just three hours to shoot, with Hawks as the director by default, when he suggested a music video after the song was enthusiastically received by audiences at a Joburg Day event. “We are also in the process of releasing an album and want to start generating some curiosity,” Hawks added. The band had unanimously decided on the Sunday evening to make the video the very next day at their usual rehearsal space, which happens to be the garage of one of the band memebers. Hawks confirms that he had no brief but a simple concept in his mind triggered by the topical subjects projected from the song’s lyrics: Emergency, Insecurity, No opportunity It’s just another day in the Banana Republic These are lyrics sung by lead vocalist, Zolani Mohale. “The idea, because we were shooting in a small room and not a great space, was to keep it simple.
Another day in the Banana Republic
Still from the Banana Republic music video
We shot in black and white and used a strobe light for drama and a sense of emergency. A combination of the strobe and the two kinos was all we used; we also did a few performances with some of the students who came to help also being pulled in to some of the scenes.” Hawks emphasises that the video was shot on a shoestring budget with friends and a few students helping out. “I literally called Jean Marc Rolando the night before, an experienced camera operator and friend, and asked if he had the time to pop over and shoot a quick video. He arrived with another camera operator, Ricardo Koopman who brought the equipment and a few students from CPUT (Cape Peninsula University of Technology),” says Hawks. As part of the scene set up the team printed pictures of luminaries from books that Hawks had and pasted them on the wall. They also sourced images of the Guptas, the VOC and The Dutch East India Company. “These images swim on the walls with the luminaries, an acknowledgement that corruption began in 1652 but that now the struggle has been sold with the party being captured by greed and money,” Hawks explains. There are also flashes of historical images in the video which Hawks says were meant to be an acknowledgement that all South Africans are shareholders in the burden of our history, more especially the white people who
benefited from the apartheid system. Ubuntu Films was kind enough to give them permission to use footage from their documentary film, The Giant is Falling – directed by Rehad Desai. “The film is current and has seminal footage of flashpoints of the political discourse we have been experiencing including Khwezi and the rape allegations ten years ago; Marikana; Fees Must Fall as well as images of inequality which of course is systematic and structural because of our history and a legacy of white domination. We wanted footage that would add authenticity to the question we were posing.” According to Hawks the term Banana Republic or more specifically ‘banana republic politics’ is essentially about elites with access using public money as a source of private monopoly capital. “It is not only in South Africa where this kleptocracy and corruption happens thus Trump, Putin and Erdogan and the US dollar make it into the video too. There are flashes too of dictators with the question being; are we sleepwalking to less freedoms and a dictatorship?“ The cameras and equipment used for the shoot included the Sony PMW 300, Red Heads and 4’ Kino Flo’s. After the shoot, the band footage was converted to Apple ProRes 422 LT for cutting. “The video was cut using a combination of band footage and sourced political footage. Colour grading was kept
“If you are a filmmaker you will find a way to make a piece of content, movie or music video and work with whatever you’ve got and just do it.” – Josh Hawks 12 | SCREENAFRICA | June 2017
predominantly black and white, but a subtle red tint was applied to the political footage for contrast,” says Hawks. While keeping to the rhythm of the song, Hawks says that the cuts were made to alternate between quarter note, eighth note, sixteenth note and triplet patterns. “The cuts were generally made quite fast for dramatic effect; however cuts slow down on the verses in order to leave space for climatic build-up towards choruses and the ending.” The film was edited by Vega student, Guillame De Villiers through his small company Madam Speaker, with the final edit being exported as HD720ph.264 for easy online upload. The video can be viewed on the Freshlyground website and on Youtube. “The point I think for young creatives is that if you have an idea don’t wait for money or better gear, if you are a filmmaker you will find a way to make a piece of content, movie or music video and work with whatever you’ve got and just do it. Work within your limitations and let your creativity push you,” advises Hawks. – Gezzy S Sibisi
KEY CREW Director: Josh Hawks DOP: Jean Marc Rolando 2nd Camera: Ricardo Koopman from CPUT Film School Editor: Guillame De Villiers from Madamspeaker.tv
Director Speak
Rob Smith
| COMMERCIALS
A destined filmmaker, director Rob Smith says he began making short films at the age of 14. A Cannes Lions winner and co-founder of Big Bird Films, Smith chatted to Screen Africa about where he finds inspiration, his highlights and challenges and what next…
What is your background and how has this shaped you as a director? I have been making short films since I was 14 years old and have always been enchanted by the entire process of visual storytelling. After school I studied directing and scriptwriting at AFDA for three years. The course taught me a lot about the fundamentals of film and filmmaking, and I will always value the teamwork that AFDA facilitates. After studying I moved to Velocity Films, where I worked under Keith Rose as his creative researcher for two years. This experience was tough but it really helped develop my sense of craft. In the last three years, I have been represented by both Arcade Content and then Velocity Films, directing commercials and documentaries. I am now freelancing and considering all my options. In addition to this, I started my own company with Jonathan Searle called Big Bird Films, which offers high-end aerial videography. We’re one of the few legal operators in SA. . Describe the moment, if there is one, when you knew you wanted to become a director? When I was 14 years old, I managed to save up enough to buy my first cheap Panasonic camcorder. After putting together short videos of my band, school events and English projects, I soon fell in love with the process of making a film and the rewarding feeling of creating something from scratch that entertained people. Where do you find inspiration? I find inspiration not only in other great films and filmmakers, but also in the drive to be the best. I love competition and feeling challenged to do and be better at my craft. I find inspiration in all forms of art, not just film. Do you have any local mentors? Keith Rose undoubtedly has been a huge mentor to me over the years, even after I no longer worked for him. His astute eye and highly critical yet honest feedback has always encouraged me to push myself. TOP THREE FAVOURITE DIRECTORS? why them? TAIKA WAITITI – His films such Boy and What We Do in The Shadows embrace a more nuanced take on comedy and telling stories as a whole. I love the way he’s created his own genre instead of copying others. Wes Anderson – His incredible control in every facet of his films, from art direction to witty dialogue, has also been a huge influence to me, as I appreciate the way he’s broken boundaries and also created his own distinct style. Christopher Nolan – I love the way he creates such captivating and epic narrative worlds, but the films still have a sense of rawness and humanity throughout. Which projects are you currently involved in? I’m currently finishing off a short film called Sea Bones. It’s a passion project I’ve been working on over the last few months with a few other local filmmakers. It’s basically a dark comedy involving a mermaid and conchology (the study and collection of shells). I’m really excited for people to see it.
Rob Smith
WHAT KIND OF CONTENT DO YOU ENJOY CREATING? I believe there is great artistry in telling a story intelligently and subtly, without reverting to cheap dramatics, sentimentality and clichés. I love telling stories that are unexpected and have a sense of quirk, subtlety and magic. What has been your biggest career challenge to date? What I love about filmmaking is that every project has its challenges, but my biggest challenge I would say has been writing a feature length script (which I’m still working on after eight years). I’m definitely not a natural writer, but I do enjoy pushing myself to become better at it. Hopefully it will come together one day What has been the highlight of your career thus far? Working with Mika Häkkinen on Johnnie Walker Walker Wager was an amazing experience for me, as I was big fan of his when I was a kid. Other highlights include winning a Cannes Lion for One Rand Man in 2015.
If you could produce an African version of a Hollywood classic, what would it be? Spiderman (Rabobi). TOP THREE FAVOURITE FILMS OF ALL TIME? (I always struggle to answer this) Everything is Illuminated What We Do In the Shadows The Darjeeling Limited WHAT IS YOUR DREAM SHOOT LOCATION? Svalbard – Norway. WHO WOULD PLAY YOU IN A BIOPIC? Elijah Wood? IF YOU WEREN’T A FILMMAKER, YOU WOULD BE…? An architect, as I believe that it’s a very similar mindset to filmmaking – coming up with something out of nothing, designing, planning and seeing it ultimately come to life for people to enjoy. June 2017 | SCREENAFRICA | 13
FILM
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Africa’s first medical thriller –
Bypass
A healthy human body has the capacity to save up to seven lives. According to the Organ Donor Foundation (ODF) the heart, liver and pancreas can save three lives, while the kidneys and lungs can help up to four people.
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owever in a country like South Africa where sadly less than 2 per cent of the population are organ donors; the long waiting period for a possible donor – who must also be a perfect match – can be a helpless race against time left for one’s survival. So as a parent would you bypass the system to save your child’s life? The movie, Bypass brings awareness to the underworld of organ trafficking, which preys on the desperation of the wealthy whilst also taking advantage of the vulnerable and poor. The film prides itself on being the first African medical thriller. Bypass draws inspiration from international films like Panic Room and Disturbia, as well as from Participant Media who are known for creating films with social impact. “I have always been inspired by Participant Media and their approach to using films as a medium for social change and in Bypass you see how desperation drives a mother to turn to the illegal organ trade in order to save the life of her son,” explains director Shane Vermooten.
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The storyline follows the plight of cardiac surgeon, Dr. Lisa Cooper, who works at St. Lukes hospital operating and saving the lives of her patients. However when her only son is in need of a liver transplant, the chances of him receiving a donor seem to be stacked against him. An opportunity to save her son then presents itself but the doctor has to bypass ethical medical codes that she has held onto throughout her career. “A decision that leads her right into the heart of conspiracy, danger and an international organ trafficking syndicate,” shares Vermooten. The movie takes place in two distinctive worlds; the first place being at St. Lukes, which was shot in the abandoned building which once used to house Woodstock Hospital. Veermooten confirms that while Woodstock was perfect for most hospital scenes, the theatre scenes were impractical and the team was stuck until they found an Intercare Day Hospital which was willing to let them shoot at their theatres. Lieschen Koch of Lieko Studios was the
film’s make-up and prosthetics artist who did incredibly realistic and genuine work in showing the bloody and gory images of a real-life medical situation. “She did an incredible job with bringing the medical scenes to life which allowed us to shoot beautiful close-ups of the operation as opposed to having to hide what we were seeing and fake it with camera angles,” Vermooten remarks. At the hospital scene we meet the top cardiac surgeon, Dr. Cooper played by actress Natalie Becker, who happens to be the only female surgeon and a proud mother. “In the world of Bypass, our main protagonist needed to be the top cardiac surgeon in the country and so we saw this as a great opportunity to challenge the stereotypes of what a top surgeon in South Africa can look like in 2017. So we were very intentional when we made the decision to cast that role as a woman of colour,” Vermooten says. Dr. Cooper is accompanied by a leading cast of male doctors and wellknown actors including Haken Ke-Kazim (Dr. Chris Moanda), Dean Lotz (Dr.
Wright), and Greg Kriek (Martin Fisher) as well as a young boy who appears to be a new face to the big screen, nine-yearold Joel Brown (Sam Cooper). “When working with Joel I was very intentional to never give him the full story, so every day on set we would create the story together, and that helped him give an authentic performance,” Vermooten says. Joel plays the sickly son to Dr. Cooper, his mother then confides in one of her colleagues, Dr. Moanda, who offers her hope in the illegal organ trade market of East Africa. Dr. Cooper heads to East Africa and leads us to the second part of the film, in a dingy and dark part of Jalloh, where the doctor finds herself out of her depth. “I wanted it to look more like a dungeon and less like a standard prison, we filmed at the old Rhodes Memorial Zoo which is on the side of Table Mountain and so it was a big challenge to bring in everything we needed but the team pulled it off beautifully and it takes the film to another level,” he said. Vermooten expands: “Each of these
| FILM
“We chose the FS7 because it allowed us to shoot internal 4K and its light-weight and versatility allowed us to move fast often having to shoot 35 to 40 set ups per day.” – Shane Vermooten
“As we were looking into the issue of organ trafficking we realised that part of the solution was having more legal organs available because with a sufficient supply people would not be forced to turn to the black market.”
worlds came with their own very specific stylistic choices. The first act was shot on heads and legs, to enhance the stability and control Lisa (Dr. Cooper) has. From the start of act two we ditched the legs and spent the rest of the film with the easy rig and steadicam to show the instability and insecurity Lisa felt in the unfamiliar world she entered. Our colour palette was also filled with a lot of medical blues and greens which we pulled through both worlds in the wardrobe, production design and grade. The only time red was used was when blood was in the scene.” The film was shot in just 24 days using the Sony FS7. “We choose the FS7 because it allowed us to shoot internal 4K and its light-weight and versatility allowed us to move fast often having to shoot 35 to 40 set ups per day,” says Vermooten. As with any thriller movie, the use of sound design was quite selective and instrumental in giving the viewer the cold chill down their spine. “Sound design plays a huge role in any thriller
and one of my favourite parts of postproduction is sound design. In Bypass we were meticulous with the sound design and it definitely heightens the tension and is one of the most impactful elements in the movie,” he says. Other work on post-production was handled by Chris van der Burgh who did the offline edit at Media Village Productions, while Matthys Pretorius did the grading at Refinery Cape Town. The final mix was done by Nic Turton at Triplane. Bypass had its international break at the Cannes Film Festival last year as part of the NFVF’s film catalogue where Vemooten also got to sign with an international sales agent. The film was also screened at the Marche Du Film at the 2017 Cannes Film Festival. The film then had a local release in early May with sold out screenings across the country. While Vermooten hopes that more viewers get to watch and enjoy his movie, he also intends on imparting knowledge and creating change, which
is why he decided to partner with ODF. “As we were looking into the issue of organ trafficking we realised that part of the solution was having more legal organs available because with a sufficient supply people would not be forced to turn to the black market. With this in mind we always knew that we wanted to add an action step so that people could respond to the movie,” he says. Outside the screenings Vermooten had volunteers from ODF talking about the process of being a legal organ donor and encouraging South Africans to sign up and become donors, alternatively people could also log on to the film’s website and sign up there. The initiative has already seen a remarkable 40 per cent spike in organ donations. “We are very excited about this,” says Vermooten, adding that he hopes that the awareness campaign could reach not only the people watching his movie but also their families and friends. – Gezzy S Sibisi
KEY CREW KEY CREW Executive Producer: Graham Vermooten Producer/Writer: Diane Vermooten Director / Writer: Shane Vermooten Producer/Writer: Bianca Schmitz Line Producer: Cherise Vermeulen Production Assistant: Louise Schoemann Director of Photography: Jorrie vd Walt 1st Assistant Director: Jacobus Kriel Editor: Chris van der Burgh Sound Designer: Nic Turton Online Editor: Dani Nel
June 2017 | SCREENAFRICA | 15
FILM
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Roberta Durrant on the making of her new feature
Photos by Uwe Jansch
Krotoa
Director Roberta Durrant and Armand Aucamp as Jan van Riebeeck
Roberta Durrant is a celebrated director and producer, and the founder of Penguin Films. Following the success of 2013’s Felix – a heart-warming story about a young saxophonist who dreams of making it as a jazz musician – her latest feature, Krotoa, is a rich historical epic that depicts prominent figures from South Africa’s early colonial history. Centred around the story of Krotoa – a young Khoi woman who worked as a translator for Jan Van Riebeeck – the film promises to be a stylish and significant contribution to South African cinema, collecting no fewer than eight international film awards in the lead-up to its local release. Screen Africa caught up with Roberta to chat about researching Krotoa’s story, the challenges of recreating a late-1600s aesthetic and what audiences should expect from her sweeping new feature… 16 | SCREENAFRICA | June 2017
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Roberta Durrant and Krotoa played by Crystal Donna Roberts
Where did the idea for a film about Krotoa come from? We pitched to the SABC several years back for a documentary series called Hidden Histories, and one of the stories that we pitched to them was the story of Krotoa – because she is very much part of the hidden history of this country. Kaye Ann Williams, who wrote the script for the feature together with Margaret Goldsmid, made the documentary – and from this process, it was quite clear that there was a strong narrative quality to Krotoa’s life story. So, basically, we created a narrative drama inspired by the facts. So, although we stayed as true to the facts and the timeline of her life as possible, we also took dramatic licence – and this dramatic licence was more around deductions made by various historians. Because even at the time people believed different things and drew different conclusions about her life. So from all of that information, a feature film script was developed. And what is it about the character that you found so special? I think her story is quite relevant now, because it has to do with identity. First of all, she was a visionary: she believed there was a middle way between the two cultures, the Dutch – a culture which she was assimilated into at the age of 11 – and the Khoi San, with whom she never lost her ties. And so she spent her life between these two cultures, and she believed that a middle way was possible – though, of course, we know that it took another 300 years to materialise. And her experience was unique, because at a very young age she was taken
into Van Riebeeck’s fort and then at 16 became one of his interpreters, and she played an important role in negotiating between the Dutch and the Khoi. And then, finally, her marriage to Pieter Van Meerhof – who was the fort doctor at the time – was the first mixed-race marriage in the new colony, at least the first that was written down and recorded as such. So she’s a very interesting, unique kind of figure – and there haven’t been many stories that focus on women like Krotoa, even though they were such significant figures of their time. The film was produced by Penguin Films, your own company. How did you manage to finance the project, and what were the biggest challenges you encountered? We made it with the support from the National Film and Video Foundation, the Department of Trade and Industry and Kyk Net. In terms of challenges, we had to be very careful how we made it because we didn’t have a lot of money and obviously we were doing a ‘period’ piece. We had to keep it quite contained, so – first of all – we had to find an area where there was nothing around. We shot out near Agulhas, partly in the Reserve and partly on private farms, areas where you can still find untouched and undeveloped fynbos – like it might have looked in 1652. And then we had to recreate Van Riebeeck’s original fort, which was built from wood and turf and mud – all quite primitive. With these constraints and the fact we didn’t have a huge budget, we had to confine the story and personalise it, really tell it from Krotoa’s point of view.
Any other cinematographic features viewers should keep an eye out for? Because the area we shot it in was so beautiful, the team (Greg Heimann, SASC/DOP; Edward Liebenberg, art director; Emma Moss, wardrobe) tried to incorporate a sense of the place with sweeping vistas and attention to the natural elements of each shot. We also took great pains in terms of art direction to differentiate between the palette of the Khoi settlement and the Dutch fort, which had its own contrasting colour palette to the natural surroundings. You must be delighted by the international response to the film? Yes, it’s been picked up for distribution as well as featuring strongly at many competitions. We tested the waters quite carefully at the beginning, we went to smaller festivals like INDIEfest – and then we won Best Show there, and that gave us encouragement to go further. Because our team is so female-driven – from the director to the writers to the lead character, of course – we’ve selected our festivals accordingly. We’ve just been selected for the Female Eye Film Festival in June. And of course we were very pleased to win Best Film at the Harlem International Film Festival. From here, we’ll see how it goes. But the film has had a great response internationally so far: other than at Nashville, wherever it’s been seen, it’s won.
Do you think South African audiences will be as receptive? I think it will be an interesting film for South Africans to go to. It’s not short! It’s two hours long. When you go, you must go expecting to be taken on a journey – to give two hours to having an experience. It’s always a challenge when making a film about someone’s life, trying to stick to the facts and the chronology of it, and Krotoa’s life had such a natural rise and fall that we needed to include all of it. We couldn’t just focus on her relationship with Van Riebeeck or Van Meerhof, or just her relationship with the Khoi San – it all had to be in there, to paint the picture as accurately as possible. Finally, now that Krotoa is gearing up for its local release and you’ve gained a bit of distance from the project, what in your opinion is the film’s most enduring quality? I think what carries the film very strongly are the extraordinary performances. I have to say that Crystal Donna Roberts was excellent as Krotoa – she threw herself into that part and she lived it, and she’s extraordinary in the film. And once you’re grabbed by her, you go on that journey with her because she’s so powerful and compelling. And I think, for me, that is the driving force of the film: once you’ve grasped onto Krotoa’s story – it takes hold of you – it’s an emotional experience, and I think that is the strength of the film. – Compiled by David Cornwell
June 2017 | SCREENAFRICA | 17
DOCUMENTARY
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Tales of truth from the women of Marikana The Marikana aftermath gave birth to numerous narratives that seek to capture the events which took place on 16 August 2012, resulting in the deaths of 34 striking mineworkers. The scarred community still cries until this day as those who are left behind, including women and children, continue to voice their concerns as seen in the documentary, Strike a Rock.
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trike a Rock filmmaker and feminist, Aliki Saragas was moved by the plight of these women and their sheer determination to tell the world their version of events through their own pain, struggles and unwavering search for justice. “I have always been inspired by the intersection of ‘reality’, gender and cinema, and making the mundane extraordinary and the personal political,” said Saragas. The Waverly-based storyteller found her roots in the film industry as a BA Dramatic Arts Honours student at the University of Witwatersrand when she and other film students from Finland, Ghana and South Africa participated in the North South Exchange programme and created several documentaries – it is here that Saragas’ love for the documentary genre was born. She later decided to do her Masters in Documentary Arts at the University of Cape Town, which resulted in her first account on the Marikana saga titled Mama Marikana. This later became the basis of her current work and first documentary film, Strike a Rock. “The film has been a three year journey, as it started as my MA thesis film in 2014. During my MA I interned for acclaimed documentary director Simon Wood. He shared with me an article by Camalita Naicker that described this women’s group in Marikana, Sikhala Sonke and how they had developed a play during the first year commemoration of the massacre, to tell their version of the event; a narrative that was either not known or/and had been forgotten.” Saragas went to meet these women and as a filmmaker she wanted to add to their discourse. Initially she was just interested in capturing the play by the women’s group, however after meeting with them, she found out that there was more depth to their stories and it was up to her to unearth and expand on what the women portrayed. “I made a very clear choice that I
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wanted to create a very intimate film that highlighted and focused on telling the story through their voices from the inside, rather than through external voices that have already shaped the discourse of the space,” she said. As Saragas began to spend more time with the women and their families, she noticed that the film ended up growing and expanding as the political landscape of Marikana (and the country) kept changing and as a result the lives of the women she was filming were also evolving. ‘We want houses, we want electricity, we want running water, a living wage, a government that listens to us’ – These are some of the chants of the women in the film, leading these striking voices are Primrose Sonti and Thumeka Magwangqana. These ladies are the stalwarts of their community in Nkaneng, an informal settlement that sprung up around the mine operated by Lonmin Plc. “These two inspiring women formed a women’s organisation, Sikhala Sonke (We Cry Together), after their friend Paulina Masuhlo was killed by police. Over time we see them grow into different leaders in the search for social and economic justice,” explains Saragas. The film was shot over three years with a variety of cameras being used. Saragas confirms that the film was however predominantly shot using a Canon 5D. “(This camera was) not an easy choice for documentary, due to the shallow depth of field, but I made the choice that I wanted that style in the film. It was the most cost effective way to capture that texture, intimacy and closeness that I wanted.” With this being her first documentary, Saragas pays tribute to having an amazing team that supported and helped her through the journey. The film’s funders and supporters which include the National Film and Video Foundation, the Bertha Foundation, IDFA Bertha Fund, Afridocs, Good Pitch and Women Make Movies
Thumeka Magwangqana facing Lonmin in Marikana
gave her the right support and necessary funding to make the film possible. Saragas’ producers on Strike a Rock are Dr Liani Maasdorp and Anita Khanna of Uhuru Productions. Coincidentally, Uhuru Productions is known for its award-winning documentary, Miners Shot Down, which follows the tragic Marikana events from the commencement of the strike up until the miners were fatally wounded. Saragas affirms that the story of the Marikana massacre has been widely publicised and reviewed globally, however she believes that there are still voices that have not yet been heard, “voices from the strong women leaders and the community that surrounds the mine which had seemingly been erased from the narrative.” Saragas says as a filmmaker, she intends on elevating these narratives, and this has led to the founding of her own production company, Elafos Productions. “I started Elafos in 2015 as I began to make my film into a feature length documentary...I wanted to create a production company that focuses on women’s stories. Recognising the need to emphasise complex and strong roles for women in the South African industry, as I grow the company, I want Elafos to champion these narratives in front and behind the lens,” she asserted. Strike a Rock made its world premiere as the opening film of the 19th Encounters South African International Documentary Film Festival which will runs from 1 to 11 June 2017. This year the festival will showcase 70 films, with 32 of these shortlisted stories coming from South Africa. ”I’m so excited that the world premiere of Strike a Rock will be on home soil at Encounters Film Festival, a festival that I have attended for years and years. It was very important to all of us to premier in South Africa, and to be featured as the opening night film to launch the festival will provide us with the platform to spotlight the injustice
the women continue fighting against.” After the Encounters festival, the film will be making its international debut in Britain at the Sheffield International Documentary Film Festival where it has been selected in the Documentary/Expose strand. Apart from the limelight that the film is hoping to attain through these festivals, Saragas also plans to run a local campaign that will see the film being aired in schools and mining communities. “In partnership with Sikhala Sonke, we will facilitate community screenings using a mobile cinema with workshops detailing communities’ rights and possible recourse. Starting from Marikana, we aim to reach mining communities across all major mining areas in South Africa.” Saragas is a filmmaker and an activist at heart, shining a spotlight on the antagonist while also seeking visible solutions to her protagonist’s problem. “This is a very current story that highlights how there has been no accountability for the significant legal obligations owed to the community surrounding the mine. It was very important for me to show these incredible female leaders exercising their agency in the face of great injustice, not only for the massacre itself but for everything that preceded and followed it. They force us to recognise that the story of Marikana is not yet over,” she concludes. – Gezzy S Sibisi
KEY CREW Director: Aliki Saragas Producer: Dr. Liani Maasdorp Producer: Anita Khanna Offline Editor: Khalid Shamis – Online and Grade: Yoav Dagan (TiNt Post Production) Sound Design: Guy Sheer (Rechord Post)
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From the producer’s mouth:
Jac Williams Jac Williams
Jac Williams, founder of production company Man Makes A Picture, recently wrapped his first feature film as producer of The Recce. Williams chats to Screen Africa about his makings in the industry and what next for Man Makes A Picture… How did you come to find yourself working in film? I travelled to England in 2000 and work there until end 2003. It was during my time in England that I realised that I want to work in the film industry. I want to tell stories and be a filmmaker. After four years in England I came back to SA and enrolled myself into a film school in Cape Town… I finished my studies and I couldn’t wait to start freelancing and work on big film sets… I soon enough realised that if I really want to produce my own projects I’ll have to start my own production company. During this time, I also found out that there is a job called chaperoning. This is where you look after the international clients, agencies, directors, actors, models etc. Seeing that I also had a kombi at that stage and got paid for it, it was lucrative to start doing it. This really gave me the opportunity to learn all aspects of how the industry worked, because I was working in production and saw how companies run their day to day business. What does the job of a producer entail? …The most important job of a movie producer is to find a good story, believe in it enough to lay yourself on the line and commit yourself for years to realise
the film, because at the end of the day you dedicate years of your life to a single project and it’s got to be worth it. As one of the founding members of Man Makes a Picture, tell us what led to the making of the company? During my chaperone years, I started Man Makes a Picture. So, while I was chaperoning I could also do emails etc. and I had a business partner as well. Being able to freelance while I was building the company helped me financially and I also learned the ins and outs of the industry, plus got to know all the crew. We started getting small jobs, from music videos to corporate videos and started doing small TV jobs etc. In 2012, I signed a big contract to direct and produce an international series for CNBC Africa… To make movies was obviously the dream; I’ve worked on movies, but the early movies a produced were short films… The Recce is my first feature. We found a private investor and we made the film independently. What has been the biggest challenge in your career to date? The biggest challenge in my career to
date was the struggling years in the beginning. There wasn’t always work and there were one or two winters where I thought I must get myself a corporate job. But just as you think things can’t go worse it turns around and something positive happens again. Stay passionate and committed, because this is an industry based on rejection.
our history, it draws strong parallels to the mythical American Wild West. Who are your mentors? Why them? My mentors, mmm, well from a young age and my school years probably my parents. My father was a lector and my mother a teacher. I learned a lot from them during those years and still do.
What have been your career highlight(s) to date? When I directed and produced a TV show called It’s Africa’s Time. I directed 13 episodes, travelled to 14 countries in Africa, did 150 interviews and took over 100 flights. But the biggest highlight now to date is The Recce. We are very excited about it and audiences will see something not made by locals yet.
What advice do you have for young people wanting to follow in your career footsteps? My advice is to follow your dreams and don’t give up. Everything is possible if you believe in yourself. Don’t expect things to always just happen the way you want it to happen. Be committed and don’t be entitled. Be tenacious.
What are you currently working on? Currently I’m busy with new television games shows for a very interesting brand and there are a few movies in the pipeline.
Three people, dead or alive, that you would love to invite to dinner? I would love to interview Quentin Tarantino, Cleopatra and Hendrik Verwoerd.
What is your dream shoot location? My dream shoot location is India. I’m fascinated by that country and would love to do a travel documentary through India.
What next for Jac Williams and MMAP? Well our plan is to get the movie released in South Africa, which will be on 8 September. Get into international film festivals and make more movies.
If you could remake any Hollywood classic with an African twist, which would it be and why? Well that’s a tricky question. I would like to reimagine something like John Ford’s The Searchers (arguably the best American Western) in a South African context. Westerns are about the spirit of the frontier; therefore, if one considers
If you weren’t working in film what would you be doing? If I didn’t work in film I would probably be working on my parent’s farm outside of Jeffrey’s Bay where we shot part of The Recce…
June 2017 | SCREENAFRICA | 19
INDUSTRY REPORT
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Closing the industry circle:
East Africa
Written by Lara Preston,
After spending more and more time in East Africa, and meeting some of the amazing people driving the regional film industry there, it is heartening to see the rapid developments that are taking place to close the industry circle from production to consumption.
Owner, Red Flag Content Relations
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Image credit: T-Junction Facebook page
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his production cycle starts young in East Africa with a host of programmes operating in Kenya to teach school children as young eight or nine to make films; there is vibrant and dynamic culture of production and learning. Professor Simon Peter of the University of Nairobi, with support from various governmental departments, runs an extensive programme in literally dozens of schools across the country where young people are encouraged to write and produce their own films. His programme also focuses on teachingthe-teachers and he is a pro-active champion for filmmaking in the region. This year, over 30 of these young filmmakers will travel to Zanzibar to take part in the Zanzibar International Film Festival’s first annual film school programme that will see the screening of a dozen student films and a full schedule of workshops for these young filmmakers. This dynamic environment also sees players like the Riverwood Ensemble Filmmakers Association, an organisation that unites over 300 local filmmakers to market and sell their works collectively. Headed by Mwaniki Mageria, the organisation recently hosted the Riverwood Academy Awards, an annual event that celebrates Kenyan film. He has plans to expand the awards into a screening festival, and to create a small-scale cinema circuit so that these films can enjoy wider audiences. The Award Ceremony received a boost this year from the Kenya Film Classification Board that sponsored the event to the tune of approximately USD25 000. East Africa’s answers to Nollywood, Swahilihood and Bongo Movies, have also seen a massive increase in commercial interest. These rapidly and cheaply produced movies have gained audiences across Africa. Many of the early practitioners of this style are now moving on in their careers and producing more traditional feature films, and the Tanzanian film industry is also seeing a spike in the quality of productions. Well known Tanzanian filmmaker
The cast and crew of Amil Shivji’s T-Junction
Amil Shivji is currently finishing his latest feature film, T-Junction that will, in fact, be the Opening Night Film at this year’s Zanzibar International Film Festival. Another recent Bongo Movie production (that will also be screened at ZIFF) directed by Nicholas Marwa and produced by Going Bongo’s Ernest Napoleon, Kiumeni is representative of the new breed of Bongo Movies. It has been screening at cinemas around Tanzania and is an action drama that has been hailed for its authentic storyline and high production value. With Kiswahili spoken by over 200 million people, the Bongo Movie industry claims its place as the second largest on the continent, with over 500 productions annually. The increased focus on production quality and storytelling is now starting to see these films screened at cinemas and being picked up by commercial broadcasters. The Rwandan film industry has also been making waves recently, with Fespaco recently awarding Rwandan director Marie-Clémentine Dusabejambo for her short film A Place for Myself. Last year Dusabejambo’s A Place for Myself also won three
awards at ZIFF, The Sembene Ousmane Award, The Signis Prize, and the Golden Dhow for Best Short Film. Rwanda has also seen the resurgence of film festivals including the Mashariki Film Festival, a steadily growing platform for both local and continental film projects. Its second edition which took place in March attracted over 44 short, feature and documentary films, and last year also saw the return of the Rwanda Film Festival. ZIFF is also picking up the mantle in terms of bridging the gap between filmmakers and commercial prospects with its first annual film and TV content market, SOKO FILAM, that will take place during this year’s festival. This 3-day event will see a host of East African broadcasters and content distributers and aggregators meeting and doing business with filmmakers and content producers. ZIFF’s acknowledgement that the behind-the-scenes business side of the industry is as important as the screenings and awards is an important development within the East African film industry space. The market will see many of the East African industry stakeholders in one place and will
hopefully spin-off into further commercial developments for the industry. With the advent of more and more digital revenue opportunities, filmmakers will be less reliant on the power of cinema chains and more able to monetise and fund their content via alternative means. This year will see the launch of such platform, mahala.tv, a new digital content community and platform that will be launched later this year. mahala.tv will be the sponsor of ZIFF’s film market and sees East Africa as a critical test market for success. As with the developing film industries across Africa, cooperation will be critical to any real commercial developments and success, and some of the recent developments coming out of East Africa are promising for the industry. From technological and production advancements, to more funding and commercial opportunities, to the various platforms and partnerships being created, the East African film community is steadily taking its place amongst the best and brightest on the continent. – Lara Preston
| BUSINESS LEGISLATION
Do your commercial drone insurance policies have adequate cover? Written by Berné Burger,
Webber Wentzel & Lisa Swaine, Webber Wentzel
Incidents involving drones can when grounding a plane, beyond obvious massive property damage, the insured be minor, slightly humorous, could also face personal injury claims from or have extremely dire the passengers (if they survive) or loss consequences. From a kissof support claims from their families (if they don’t survive), as discussed below. cam drone cutting off a piece of a person’s nose or a drone Personal injury: The pilot could potentially be held liable spying through the president’s for any physical or mental injuries which bedroom window, to extreme a person may suffer as a result of a drone cases such as an engineering incident. Resulting from such injuries could be claims under various heads of drone flying into a crane damages such as loss of income or earning operator who knocks down a capacity, general damages, and past portion of an under-construction and future hospital and other medical expenses. Depending on the type of building, or a drone dropping injury, the quantum of such claims could weapons or bombs into a prison be crippling. If a drone incident causes death, there may be loss of support or flying into the propeller of claims from the deceased’s dependents a 500-passenger airliner. In that must be taken into consideration. addition, automated drones Invasion of privacy: which have entered the market Data protection in South Africa is currently regulated by the common law, the bring in a new type of risk. Automated drones are currently Constitution of the Republic of South Africa, the Protection of Personal Information typically used to follow and Act (the POPI Act) and the Electronic Communications and Transactions Act. record action sports, such as In terms of the common law and windsurfing or mountain biking, the Constitution, the right to privacy is a fundamental right that is protected without the control of the both generally in terms of South Africa’s sportsperson. common law as well as by section 14
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he new drone regulations, which came into effect on 1 July 2015 and form part of the Civil Aviation Regulations, place an obligation on those with commercial drone licences to obtain third party liability insurance. The risks associated with drones are significant and can lead to far-reaching monetary claims beyond the anticipation of both pilot and insurers. Accordingly, pilots need to insure, and insurers need to underwrite and provide adequate exclusions to limit their exposure. Does the insurance policy provided aim to merely cover the pilot for physical damage caused to third parties and their property, or does the policy also aim to cover any consequential damages? Depending on the wording of the policy, protection can be much wider than intended (in relation to the insurer) or much narrower than intended (in relation to the pilot). There are numerous types of risks that will need to be taken into consideration when underwriting or taking out insurance for a drone.
Third party liability Damage to property: The pilot could be liable across the spectrum from an event such as colliding with a vehicle’s windscreen and having to replace it, to grounding a plane by flying into its propeller. For example,
of the Constitution. Section 14 of the Constitution provides individuals with the right to have their private or personal information protected against disclosure by other persons. This protection to privacy will be extended further when the POPI Act has come into force, which strictly regulates how information is to be collected, processed, stored and shared. Currently the POPI Act has no effective date announced yet, but it is expected to be announced soon now that the office bearers of the “Information Regulator”, the regulator created by the POPI Act, have been appointed, with effect from 1 December 2016. It is possible for drones to be flown into areas that allow them to take pictures or videos of private events and occurrences. An obvious example is flying a drone to the window of the president’s bedroom and producing a video recording. Celebrities or people of stature also have image rights, which may be violated depending on how the recordings, photographs or information are used. There are numerous ways in which a drone could potentially invade the privacy rights of individuals (both in terms of common law and the POPI Act, when it comes into force) which could lead to civil claims against the pilot.
Criminal sanctions:
Civil Aviation Act:
There are numerous unforeseen criminal sanctions which pilots may face, depending on how their drones are used. When looking at the numerous criminal charges which can be brought against a pilot, it will become vital for the pilot to consider whether the insurance policy covers the pilot’s defence costs and the possible fine; and similar to many third party liability insurance policies, whether the insurer retains the right to determine the way forward in criminal proceedings.
Non-compliance with the licensing and other requirements in the Civil Aviation Act and the Civil Aviation Regulations, specifically the new drone regulations (part 101), may also occur. Depending on the type of offence and the number of transgressions, pilots who commit an offence can face a fine of between ZAR 5 000 and ZAR 32 000 and organisations can face a fine of between ZAR 10 000 to ZAR 160 000. Offences range from failing to have a first aid kit or fire-extinguisher nearby, flying in weather conditions obstructing other air users’ view of the drone, to something as severe as failing to give a manned aircraft right of way.
National Key Points or Critical Infrastructure: The Apartheid-era National Key Points Act (the NKP Act) provides that any person who “furnishes in any manner whatsoever” information regarding security measures at a “National Key Point” without being legally obliged to do so, is guilty of an offence. This could lead to a fine up of up to ZAR 10 000 or imprisonment of no more than three years, or both. One should further consider the draft Critical Infrastructure Bill (the CI Bill), which will repeal the NKP Act. The CI Bill has the same prohibition as discussed above, as well as numerous other prohibitions such as the prohibition on photographs and videos of “Critical Infrastructure”. The penalty for such offences is imprisonment of up to 20 years, or a fine, or both. There is currently no maximum amount determined for the fine. As the CI Bill is currently drafted, all current National Key Points will be deemed to have been declared as Critical Infrastructure. The reality of the NKP Act and the CI Bill is that one can take a photo with a drone of President Jacob Zuma’s residence, and have to pay a fine of ZAR 10 000 in terms of the NKP Act, or a higher fine in terms of the CI Bill. On the other hand, these restrictions are justified if one considers, for example, the possibility of a drone dropping weapons or bombs into a prison.
The POPI Act: Further to third party liability in terms of the POPI Act, there are administrative fines which the “Information Regulator” may implement if a responsible party commits an offence in terms of the POPI Act. A fine in terms of the POPI Act may go up to an exorbitant ZAR 10 million, in addition to the possibility of imprisonment for certain offences.
In conclusion Importantly, there are two issues that must be considered: • Has the pilot taken sufficient steps to insure all of the risks to which he may be exposed? • Has the insurer considered the far-reaching risks and limited its liability accordingly? When the pilot and insurer agree on a policy, there needs to be a clear understanding on the manner in which the pilot intends to use the drone so that relevant restrictions regarding use and location can be agreed upon. This will ensure that the pilot is not underinsured and that the intended use is not restricted (unless deemed necessary in the eyes of the insurer, depending on the nature and extent of the risk). With the above approach in mind, pilots can ensure that they are adequately covered for all the risks that could possibly occur within the ambit of their intended commercial use of their drone. Insurers should take sufficient, proactive steps to understand the business of the pilots and the intended use of their drone. This will ensure that insurers provide adequate cover and do not leave themselves open to endless liability due to a lack of foresight of the possible risks, for both minor (kisscam drone) and exorbitant (plane crash) incidents.
June 2017 | SCREENAFRICA | 21
The Centre for Creative Arts [University of Kwazulu Natal] Natal] The Centre for Creative Arts [University of Kwazulu
FESTIVALS & MARKETS
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CANNES 2017: An African perspective
This year, the Cannes Film Festival (17 to 28 May) celebrates its 70th Anniversary. Almost as usual, there were no African films in the Official Selection but few in the parallel sections, at the Film Market and at the development stage. Screen Africa reports…
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his year, two African films were competing in the Un Certain Regard section: Karim Moussaoui’s Until the Birds Return (Algeria) and Kaouther Ben Hania’s Beauty and the Dogs (Tunisia). Another one, Rungano Nyoni’s I Am Not a Witch (Zambia) was also premiered at the Director’s Fortnight. At the Critic’s Week, a French documentary set in DRC, Makala by Emmanuel Gras, won the 2017 Grand Prix. Until the Birds Return, a FrenchAlgerian-German co-production set in Algiers, the Aurès, Biskra, Chelghoum El Aïd, and I Am Not a Witch, a UKFrench-Zambian-German co-production set in Zambia, were competing for the Camera d’Or. The acclaimed Egyptian director Mohamed Diab, (Clash, Cannes 2016) also took part in the 2017 Un Certain Regard Jury.
On screen In his slow-tempo first feature, Karim Moussaoui – known for his brilliant Cesar nominated middle-length film Les jours d’avant – depicts three characters (Mohamed Djouhri, Hania Ammar, Hassan Khachach) that seek to reach happiness in Algeria. Each character crosses the path of the previous one and leads the audience into another life. In her graphic first feature, Rungano Nyoni – BAFTA winner with The List in 2009 – recounts the life of a witch child inside a Zambian witch camp. Inspired by the absurd tone of Djibril Diop Mamberty’s Hyenas and Ghanaian funeral processions (well depicted by Akosua Adoma Owusu in her short Kwaku 24 | SCREENAFRICA | June 2017
Ananse), the depiction of the fight for freedom of a silent child made by Nyoni is supported by stunning cinematography from David Gallego and a powerful lead character (Maggie Mulubwa): “My husband took a picture of a child and I thought ‘Yes, she is the one’. When we came back to Lusaka with funds, we started the casting again. Then I thought about this child. With just a picture sent to the chiefs, they found her uncle in one week,” explains Rungano Nyoni. Kaouther Ben Hania’s second feature, Beauty and the Dogs is a TunisianFrench-Swedish-Norwegian-LebaneseQatari-Swiss co-production, adapted from Meriem Ben Mohamed’s testimony, Guilty to Have Been Raped (Michel Lafon ed., 2013) and set in Tunis. In this one-night story cut in chapters, a young lady (Mariam Al Ferjani) is raped and has to fight with the diktat of the institutions, from the hospital employees to the police station officers. “For them, it’s just another day at work. They see victims like Mariam every night. The difference between those two attitudes, that of personal tragedy and the insensitivity of institutions, define the tone of the film,” states Ben Hania.
In the market Even if attending Cannes has a huge cost, this is the greatest opportunity to deal contracts and find foreign partners for a film professional. As usual, South Africa welcomed worldwide film professionals in its Pavilion set on the Riviera, amongst four other countries (Algeria, Morocco,
Still from Rungano Nyoni’s I Am Not a Witch (Zambia), premiered at the Director’s Fortnight
Nigeria and Tunisia). On 24 May, Nico Dekker presented the internationally esteemed Cape Town Film Studios. The NFVF Council chairman Philip Molefe, reminded guests: “We must tell our stories otherwise people will tell them for us”. To a round of applause, the Deputy Minister of the Presidency Buti Manamela announced: “We believe in the future of film and the economy of Arts and Culture in South Africa”. South African fictions and non-fictions were also presented at Cannes Film Market, some of them having screenings including She is King by Gersh Kgamedi, Asinamali by Gordon Lindsay and Zulu Wedding by Lineo Sekeleoane.
In development In addition to the official selections and the film market is the possibility to pitch a project to various worldwide film professionals. L’Atelier – run by the Cannes Film Festival’s Cinéfondation and La Fabrique Les Cinémas du Monde – organised by the French Institute, offers this opportunity every year. At the Cinéfondation’s L’Atelier (where Algerian filmmaker Amin Sidi-Boumediene was selected last year), South African Jamil XT Qubeka was one of the 15 lucky directors to be selected. His second feature film project, a 90-minute fiction to be shot in the Eastern Cape in early September 2017, Sew the Winter to My Skin, is coproduced by Yellow Burn Entertainment (a joint venture between Spier Films, Layla Swart and Jamil XT Qubeka) and Arizona Productions (France). This “poetic chronicling of the escapades, arrest and trial of the Robin Hood-esque man of the mountain who managed to steal from farmers and elude capture for years during the 1950’s in South Africa” is looking for E600 000 and a sales
agent with MD. “It was well organized, really nice meetings, quite a few sales agent, distributors and producers”, testifies producer Michael Auffret. At La Fabrique Les Cinémas du Monde (where South African John Trengove was selected in 2014 with The Wound), four African projects were in the spotlight: Wim Steytler’s The Sovereign (South Africa), Hala Lofty’s The Bridge (Egypt), Andrey S. Diarra’s Renaissance (Mali) and Amirah Tadjin’s Hawa Hawaii. Three of the four projects came from Africabased Labs: Renaissance was presented at the Ouaga Film Lab organised by Generation Films (Burkina Faso), The Sovereign and Hawa Hawaii were written through the Realness Residency launched by Urucu Media (South Africa) in 2016. “We got the La Fabrique Award at the Realness Residency”, recounts Wim Steytler who is looking for E740 000, co-producers but also sales agents, TV broadcasters and distributors for his first feature about an ostracised South African and a mesmerising French couple – based on a true story. “We were also chosen for the EAVE workshop. You go to Europe four times and your project is packaged for the market. You got a mentor from the best of the business so it is a great place to make your film ready”. Awarded Best Director at the 2015 Silwerskerm Film Festival in Cape Town for his first narrative short Skewe Reënboog, Wim Steytler has been selected for the 2017 Durban FilmMart. Let’s see in few years if Jamil XT Qubeka and Wim Steytler will have the opportunity to walk the red carpet and represent the South Africa at Cannes… – Claire Diao
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ZIFF at SOKO FILAM Film and TV Content Market
Creative Documentary Film Production
For the first time, ZIFF will be hosting a Film and TV Content Market as part of the festival schedule, SOKO FILAM, this East African Film and TV Market will be a three-day business focused gathering taking place from 12 to 14 July at the Hyatt Hotel in Stone Town. Industry stakeholders will come together to buy and sell film and TV content, exchange new ideas, identify alternative channels for distribution, and discover the latest technology and innovative business models that are driving the expectations and usage of a rapidly growing consumer base in East Africa. SOKO FILM is being made possible by the support of the newest and most innovative film distribution and funding platform and community scheduled to launch later this year, mahala.tv. mahala.tv will revolutionise the way that content producers can create, share, monetise, and ultimately, fund their productions, from films and TV shows, to short content and music videos. The platform will create a community for filmmakers across Africa to cooperatively and effectively create a viable industry. To find out more or register: http://www.ziff.or.tz/soko-filam/
Judd Ehrlich, an Emmy Award winning documentary filmmaker will facilitate a Documentary Workshop that will include leading one day of discussions with 15 Tanzanian and East African documentary filmmakers.
US Embassy Tanzania Supported Workshops ZIFF also recently signed an agreement with the US Embassy in Tanzania who will be supporting the SOKO FILAM sidebar programme through a host of workshops run by top American filmmakers and talent.
Women Make Movies Workshop/Documentary Workshop This year, ZIFF has announced a new award for women documentary filmmakers, led by Aylin Basaran, Priscilla Mlay, and Debra Zimmerman. Basaran is an M.A., a filmmaker and scholar, currently working on her PhD and a documentary on film production in Tanzania after Independence. Mlay is a filmmaker who has been working in the Tanzania film/TV industry since 2012, and Zimmerman is the executive director of Women Make Movies, a NY-based film organisation that supports women filmmakers.
Marketing and Distribution Workshop and Pitching Debra Zimmerman will facilitate one day of a two-day workshop on Marketing and Distribution of films, in collaboration with Dexter Davis CEO/founder of D Street Media Group. This workshop will culminate in a day of Pitching for Funds at the SOKO FILAM MARKET.
Film Student Programme ZIFF at 20 also sees the inclusion of a comprehensive Film Student Competition and programme. This
| FESTIVALS & MARKETS The Zanzibar International Film Festival (ZIFF) is entering its 20th year with a host of new additions to the programme and some key partnerships.
new category received a massive response, with film students as young as nine submitting their works. A host of students from Kenya and beyond will also be attending ZIFF to attend a full day of Student Film Screenings and specifically designed workshops.
Trace Mziki East Africa Video Music Award In partnership with Trace Mziki, ZIFF also will be hosting the first annual East African Video Music Award that recognises that a well-produced music video is, in fact, a short film. The award will honour the video producers as well as the East African artists who support local producers.
ZIFF 2017 Official Selection The ZIFF 2017 Official Selection has also been announced after a gruelling decision-making process that saw the team have to select films from over 600 submissions. Filmmakers from over 70 countries submitted films and amongst those countries represented in the final selection are Kenya, Canada, Spain, France, South Africa, Tanzania, India, Australia, the United States, Nigeria, Rwanda, Brasil, Ghana, Chad, Uganda, Mozambique, Hungary, the UK, and Ethiopia amongst others. Films will compete across various categories including the official ZIFF awards of the Golden Dhow, the Sembene Ousmane Award, Best African Film, The Adiaha Award for Best African Female Documentary Filmmaker, Best International Film, Best Film from the Dhow Countries, the Emerson of Zanzibar award and the Trace East African Music
Award amongst a host of others. The honour of the ZIFF opening night this year will see the World Premiere of the Tanzanian comedic feature film T-Junction directed by Amil Shivji. The film includes some new acting faces and is an honest and amusing look at modern urban life in Tanzania. The film stars Magdalena Christopher and Hawa Ally as the two girls at the centre of the story. Other highlights in the selection include Mbithi Masya’s poetic feature film Kati Kati, a Kenyan film that won the Prize of the International Film Critics at the Toronto Film Festival, Florian Schott’s Katutura, one of the few feature films to come out of Namibia, and Klumeni, a new style of bongo movies from director Ernest Napoleon. ZIFF is also excited to include Winnie, the newest documentary on Winnie Mandela to come out of South Africa, directed by Pascale Lamche. Another exciting inclusion in the schedule sees the return of well-known and respected documentary filmmaker Nick Broomfield to ZIFF with his latest documentary on Whitney Houston, Whitney: Can I Be Me. The Ivory Game is another Netflix documentary from executive producer Leonardo DiCaprio, and directors Kief Davidson and Richard Ladkani, and will also be screened at this year’s festival. For a full list of films, competition categories and more information visit the ZIFF website: www. ziff.or.tz – Lara Preston
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get ready for Dfm 2017 Africa’s leading co-production and finance market is open for registration! A joint programme of the Durban Film Office and the Durban International Film Festival, the DFM provides filmmakers from across Africa with a valuable opportunity to pitch projects to financiers, distributors, sales agents and potential co-producers, and to participate in meetings, project presentations and a series of master classes and workshops on the latest industry trends. Check out this year’s programme at www.durbanfilmmart.com
LEADING SPEAKERS BUSISIWE NTINTILI
CHARLES HOPKINS
Charles Hopkins currently lives in Los Angeles and is an executive at Shoreline Entertainment, an independent film sales and production company. Before moving to the United States, Charles studied at the University of Melbourne. While completing his post-graduate law degree, Charles engaged in a variety of experiences in the Australian entertainment industry including entertainment law, script development and live comedy production. After re-locating to LA, he gained experience in production and talent man-
agement before landing at Shoreline. Since working at Shoreline as its Manager of Production & Development, Charles has overseen acquisitions of projects in development for the sales division, attended various film festivals and markets in an acquisitions and/or sales capacity, and negotiated a variety of deals with producers, talent, and distributors. He’s also initiated the development of several independent film projects, coordinated the production of independent features, and worked with CEO Morris Ruskin on a variety of pitch documents for investors.
INGRID KOPP
Ingrid Kopp is a co-founder of Electric South, a non-profit initiative to develop virtual reality and mobile storytelling projects across Africa. She is also 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. Along with MIT’s Open DocLab, she leads the Interactive Media Impact Working Group, exploring how emerging media engages audiences, and recently launched Immerse, a new publication for Medium, as an extension of this work. She curates the Tribeca Storyscapes program for interactive and immersive work at the Tribeca Film Festival. 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.
MILA AUNG-THWIN
Co-founder of Montreal’s EyeSteelFilm, Mila Aung-Thwin revels in the diverse documentary joys of writing, directing, producing, editing, selling and mentoring. He has produced more than 25 feature documentaries, including Up the Yangtze, Forest of the Dancing Spirits, and the Emmy award winning Last Train Home. His most recent film as a director is LET THERE BE LIGHT (SXSW 2017), about the century-long quest for nuclear fusion. He served as president for 5 years of RIDM, Montreal’s International doc festival, as well as juror for the International Emmy Awards, AFI DOCS, the New Zealand Film Awards, and the Sundance Film Festival. He has also taught documentary film programs to students in places such as Inukjuak, Nunavik, and Yangon, Myanmar.
MOIKGANTSI KGAMA
Moikgantsi Kgama is an audience development specialist with a reputation for excellence in her field. Her credits include: I WILL FOLLOW, Academy Award nominated TROUBLE THE WATER, KILLER SHEEP and LU-
NICOLE BROOKS
Nicole Brooks is the Vice President of CaribbeanTales WorldWide Distribution and is also the Facilitator/ Manager of the CaribbeanTales Market Incubator Program. Within her vast career as a content creator, Brooks has spent over 15 years envisioning narratives that illuminate the peoples of the African Diaspora. Her extensive accomplishments include filmmaker, director, performer, singer, playwright, composer, curator, teacher and ‘art-ivist’. In addition to her duties at CaribbeanTales, Brooks simultaneously creates, develops and produces content for multiple platforms including film, television and the performing arts. Through her company Asah Productions Inc., founded in 2005, Brooks has generated a body of work for television and film. Highlights include ECHO (Sun TV/As One Inc.), How She Move –Featurettes (Sienna Films), and Aferee (B. Lindsay creation), an African dance documentary shot in Senegal. Brooks also produced three consecutive seasons of Divine Restoration (Vision TV), segment produced Living in Toronto (CBC), and acted as story editor for Lord Have Mercy (Vision TV/Leda Serene) – Canada’s first multicultural sitcom. Expanding her storytelling beyond the small and big screens, most recently Brooks latest work Obeah Opera, a theatrical work, premiered in PANAMANIA, presented by CIBC, an arts and culture festival celebrating the TORONTO 2015 Pan American/Parapan American Games.
Shmerah has a Master’s degree in film from AFDA & a Master’s degree from Wits in Anthropology. She is currently reading for a PhD in Cyborg Filmmaking & Virtual Reality at Wits.
STEFANO TEALDI
Originally born in Johannesburg, South Africa in 1955, Stefano Tealdi initially studied Architecture in Torino - Italy, before commencing work infilm and TV as the Head of Production at the Politecnico di Torino. Later founding Stefilm, Tealdi continued to work as a director and producer ofdocumentaries and documentary series. Since 2008, he has directed A World of Pasta, Doctor Ice (Science Film Festival - Milano 2009), Coffee Please and Tea for All and the series Food Markets - In the Belly of the City. Recent works produced:Mostar United (IDFA 2009), Vinylmania (IFF Rotterdam 2012), Char, no man’s island (Berlinale Forum 2013). Stefano has directed all 17 editions of the annual Italian workshop Documentary in Europe, has chaired EDN (European Documentary Network) and is national co-ordinator for INPUT, Television in the Public Interest. Tealdi tutors film development and production at universities and master courses, and film pitching for organisations, such as Biennale Cinema College, Cannes Film Market, Films de 3 Continents – Produire au Sud, Media Business School, Med Film Factory, Scuola Holden, TFL-Torino Film Lab, ZELIG Film School.
TILANE JONES
Tilane Jones is the Executive Director of ARRAY, a film distribution collaborative focused on filmmakers of color and women. ARRAY has acquired sixteen feature films since 2011 including Ava DuVernay’s award winning MIDDLE OF NOWHERE, Andrew Dosunmu’s RESTLESS CITY, Storm Saulter’s BETTER MUS’ COME, Neil Drummings’ BIG WORDS, and Haile Gerima’s ASHES AND EMBERS. Jones is also Manager of Production for Forward Movement, serving as a producer on all of the company’s visual products. Her film credits include: Ava DuVernay’s MIDDLE OF NOWHERE, THIS IS THE LIFE, I WILL FOLLOW, AUGUST 28TH:THE DAY IN THE LIFE OF A PEOPLE, SELMA and the Oscar nominated Netflix documentary the 13TH. Acclaimed fashion and beauty films for Prada and Fashion Fair with THE DOOR and SAY YES, respectively. Her television credits include: BET’s Black Girls Rock, My Mic Sounds Nice, along with John Legend Interludes Live, Essence Music Festival 2010, and ESPN Films’ Venus Vs.
FICTION
Busisiwe Ntintili is an award-winning scriptwriter, lecturer, filmmaker and producer. Her most recent achievement has been screenwriting the box office hit 2016 feature film “Happiness is a 4 Letter Word”. She has been working with the written word for more than twenty years. She produced her first professional play at the tender age of 13 under the New Jersey Young Playwrights Programme. She holds a Bachelor of Arts (Honours) Degree in English Literature and French from Rutgers University, New Jersey, USA. Since her return from the USA in 1999, where she spent twenty years of her life, and received all of her formal education, Busisiwe has been consistently working as a creative in South Africa. Her talents have been employed in various media and entertainment companies from the advertising agency Leo Burnett, to the radio station 94.7 Highveld Stereo, to museums, all three major television broadcaster, and educational institutions like Monash University and Big Fish School of Film. She has written for the past 15 years for South African television and film, ranging from soapies to comedies, feature films to mini-series and drama series. The writing teams she has been a part of have regularly been recognised by SAFTA awards, and her latest award was Best Drama Writing Team for the 2013 SAFTAs. Her creative experience spans Head Writing for top rated soapies, telenovelas, drama series and sitcoms, Scriptwriting for award winning and critically acclaimed drama series ; and Directing drama series, corporate videos and documentaries, including directing a Parliamentary documentary about the 1956 Women’s March; and directing a series of 25 short films for the launch exhibition of the national Freedom Park Museum. Busisiwe has been interviewed at length about writing and the state of the arts on radio programmes, magazines, newspapers and television. Her lifelong vision is for her work to contribute to restoring the pride of the South African child, to highlighting the beauty, originality, perseverance and humanity of the South African people, and to giving South Africans creative tools to transform their lives.
MUMBA to name a few. She is also the founder of the ImageNation Cinema Foundation. A Harlem-based nonprofit media arts organization, ImageNation presents progressive media by and about people of color, with the goal of establishing a chain of art-house cinemas dedicated to these works. Through a variety of public exhibitions and programs, ImageNation fosters media equity, media literacy, solidarity, cross-cultural exchange and highlights the humanity of Pan-African people worldwide. ImageNation is currently developing its existing RAW SPACE Culture Gallery into a 60-seat, boutique cinema-café dedicated to Black and Latino film, music and culture. This social enterprise will be located in Harlem along the historic Adam Clayton Powell Blvd. Moikgantsi’s accolades include being named one of 25 Women Who Are Shaping the World by Essence Magazine, received the Trailblazer Award from Reel Sisters Film Festival and a proclamation from the City of New York for her work with ImageNation. Moikgantsi earned a BS in Newspaper Journalism from Syracuse University’s Newhouse School of Public Communications. She serves as the Director of Communications at Harlem Congregations for Community Improvement, Inc. Moikgantsi resides in New York City’s Harlem community with her husband and partner Gregory Gates, and their son.
SHMERAH PASSCHIER
AFDA Pro Knowledge Curator
Shmerah Passchier has worked in the film & television industry writing, directing & producing where she travelled to 10 African countries directing Magazine TV & Reality TV shows & documentaries for SABC 1, 2 & 3, and several channels on DSTV.
Find out more on www.durbanfilmmart.com
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FOUR DAYS
ONE VENUE
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DURBAN FILMMART 2017 Official project selection BETTER SUNDAYS
DOCUMENTARIES AS I WANT (ZAY MANA AIYZA)
Producer: Karim El Hakim Director : Samaher Alqadi Country : Egypt Her camera is her weapon against the constant sexual harassment on the streets of Cairo. Here, Samaher Alqadi discovers a movement of women who are fighting back and shouting out for the first time. Their chorus is demanding to be heard. Women’s rights, rape, sexual harassment, and early marriage are taboo subjects. Women are breaking these taboos. As I Want, is the story of women taking a stand. Samaher takes this story even deeper in order to find answers to the gender inequality that plagues Arab societies. Inspired by the strong women she meets in Cairo, she sets off to examine her roots and confront painful childhood memories in her homeland, Palestine. There, she discovers what she managed to escape from. Her sisters sit at home, uneducated and unemployed, almost slaves to their families and many children. As the different narrative streams evolve, they become intertwined and enmeshed into a living, breathing work of poetry that illustrates and connects the paradoxes, struggles and cultural traditions that the women must overcome as they demand their basic human rights.
BEHIND CLOSED DOORS Producer: Karoline Henkel Director : Yakhout Elhabibi Country : Morocco Mor L’bab, which means Behind Closed Doors, is the name of the village where the story takes place. Only one thing grows in this brutal climate: Cannabis. Facing inescapable illegality and constant fear, parents struggle to provide role-models for their children, who are learning gestures of hashish production before their own mother tongue and following the same cannabis agricultural calendar with their games. There are three main protagonists, with two of them opposing each other, Ahmed, the village chief, a land-owning patriarch and failed artist, who clings to the status quo, and his nephew, Mehdi, who recently returns home with the influence of the modern world, and tries to create legal alternatives for the trade of cannabis. Rahma, Ahmed’s second wife, who runs the daily management of the cultivation, is torn between her allegiance to her husband and hope for the future that the newcomer brings. Mor L’bab is a film about transmission, about bridging the gap between tradition and modernity. In contrast to the characters’ burden of the past, Mehdi could bring a brighter future for the children of Mor L’bab, which would allow them to break free from the ambiguity into which they have grown for many generations.
UNLIMITED OPPORTUNITIES
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Producer: Kelvin Kimathi Director: Lydia Matata Country : Kenya Better Sundays is set in a small, religious community in Kasese, Uganda.The film focuses on Robert Bwambale, a Humanist who does not believe in any God. Robert attempts to transform the beliefs of children and adults in his community, through secular teachings. Kasese is a poor part of Uganda, where quality education is difficult to come by. Having grown up as an orphan dependent on relatives, Robert knows the struggle of accessing quality education, all too well. This is part of his motivation for starting a school in his community. However, it is also through education that Robert began to question the existence of a supernatural being. He believes that showing members of his community that there is an alternative to religion, and helping them embrace science, will improve their lives. The film looks at how Humanism is taught at the school. This includes lessons and debates on religion, as well as activities like sports, instead of going to church on Sunday called, “Better Sunday activities.” The film also looks at the impact of Humanism on Robert and the lives of other characters, particularly in terms of the stigma and isolation they face in their strongly religious community.
DESTERRADOS Producer: Fabio Ribeiro Director: Yara Costa Country : Mozambique Once upon a time, European powers carved Africa into their own territories. A time when one of the most powerful Kings of Europe, kidnapped the King of the second largest African empire and banished him to an island in the middle of the Atlantic Ocean. Today their descendants, who were born in exile, are looking for their “Other” identities in the land of one another: Mozambique and Portugal. Buffalo, the great and wild hunter, is the crown-less Portuguese King, born in the African Savannah. Manuela, the modern lioness, is the African Princess living an anonymous life, as a seamstress, in the European capital of Lisbon. They carry the burden of a historically oppressive past and struggle with the fact that they have the wrong color in the wrong place. Both of them are anxiously waiting to finally be recognized and accepted as the heirs to their ancestor’s thrones and perhaps, come to terms with their swapped identities. Desterrados tells the tale of these descendants as they journey on a quest for their true origins, hidden in a common, colonial past. Through this journey, they attempt to resolve their “unfinished business of identity”.
ENCORE (WORKING TITLE)
Producers: Liesel Priem and Jolynn Minnaar Directors: Jessie Zinn and Jethro Westraad Country : South Africa 6pm. A dressing room, backstage. An aging drag queen stands in front of a mirror, sticking in his false teeth. A woman quietly fidgets with her wig. A man clears his throat. It is the opening night of yet another sold-out production that commemorates the past. Growing up during apartheid, as coloured musical performers, the show’s cast is a self-proclaimed theatre family. But in a theatre industry driven by nostalgia, and with the increasing risk of illness, exhaustion, injury – or worse, retirement – performance is beginning to take its
toll on the group. Encore is an original musical documentary that explores questions of history and memory, as we follow a group of aging performers whose onstage glamour starkly contrasts to the socioeconomic inequalities they still face twenty years into democracy. Original musical numbers structure the film, providing each cast member with a solo – a soliloquy in which they turn directly to the camera to provide insight into their hardships, inner desires and dreams. By contrasting the onstage stardom with the sobering realities offstage, Encore begins to peel away at the group’s romanticized portrayals, revealing residues of an apartheid system that still permeates their everyday lives.
LOBOLA, A BRIDE’S TRUE PRICE
Producer: Sarah Basyouny Director: Sihle Hlophe Country : South Africa Three days before the death of Sihle’s father, her long-term boyfriend Pule, gets down on bended knee and proposes marriage. Although she finds the notion of marriage somewhat outdated and largely patriarchal, she accepts the proposal because she believes that she and Pule can make and break their own rules about marriage. Her plans of having a traditional African wedding are thrown by the wayside as she grapples with her father’s untimely death and her new identity as an adult orphan. This leads her to question the notion of lobola/ bride price. Lobola (bride price) can be loosely described as an age-old tradition where the family of the groom-to-be, gives the family of the bride-to-be, cattle or money. Sihle the feminist, believes that Lobola / bride price is rooted in an oppressive, hetero-normative system but Sihle the Pan Africanist, finds certain aspects of Lobola / bride price very strategic and admirable. The importance of cattle as an invaluable social currency also plays a pivotal role in Sihle’s final decision to accept or not accept the tradition of Lobola/ bride price for her marriage. With the weight of the dominant culture of modernity, Sihle will find her identity through her traditional culture.
RAJADA DALKA (NATION’S HOPE)
Producers: Andreas Rocksén and Rufin Mbou Mikima Director: Hana Mire Country : Somalia Rajada Dalka (Nation’s Hope) follows the rise of Somalia’s National Women’s Basketball team through a turbulent season, on and off the court, as they strive to qualify for the prestigious Pan Arab Games in Cairo, Egypt. The story illuminates the power of a beloved sport to reunite and inspire a fractured nation, where women playing sport are a threat to authority.Rajada Dalka is an inter-generational, character-driven portrait of the courageous team led by Suad Galow, a former national star-turned-activist and coach, seen through the eyes of Suad and three passionate players from Mogadishu; Ilhan, Ubax and their friend Suwayes.
UASI Producers: Matrid Nyagah and Linda Ogeda Director: Sam Soko Country : Kenya Since his initial fame as a photojournalist exposing the atrocities of the 2007 post-election violence, Boniface Mwangi has risen to become the leading human rights activist in Kenya. For almost 5 years now, Njeri, his wife, has kept a packed bag ready for her and her family
to leave at a moment’s notice. Her fear comes from her husband being a pariah to the establishment. Boniface has been arrested numerous times, with several court cases levelled against him. In the world’s third most corrupt country, the Deputy President (a man accused of crimes against humanity at the International Criminal Court) just called him an “enemy to development”. Boniface is running for political office and Njeri is not comfortable with the uncertainty this brings to their life. This is a story of fear and courage in Kenya’s past, present and future. This is the story of Boniface Mwangi.
WOMXN : WORKING
Producer: Tiny Mungwe Director: Shanelle Jewnarain Country : South Africa Womxn: Working follows three sex workers as they fight for sex worker rights and lobby for the release of the South African Law Reform Commission report on sex work. The report will unravel nation-wide debate on the decriminalization of sex work in South Africa, in the fight to push through the South African legal system and reform the laws surrounding sex work. As a worldwide movement for the rights of sex workers gains momentum, the womxn in this film are at the forefront of the battle against the criminalization of sex work. Across the country, they organize to provide peer education and support to sex workers who face violence and abuse under an oppressive legal system while working at the Sex Workers Education and Advocacy Task force (SWEAT), and with Sisonke, a movement organized and run by sex workers. These womxn defy the dangers of being “out” as sex workers for their cause, and, together with a nationwide network of sex workers, human rights activists and advocacy groups, called The Asijiki Coalition, they are engaged in a paradigm-shifting, ideological and political battle to be heard and to be protected by the law.
Y REVOLUTION Producer: Suzanne du Toit Director: Suzanne du Toit Country : South Africa Set against the birth of a new democracy, this is the inspiring tale of a group of young, ambitious South Africans who come together despite incredible odds and intense media scepticism, to launch the country’s first independent black youth radio station. The ultimate symbol of freedom of speech, YFM, became much more than just a radio station. It gave a voice to the youth of Jozi when nobody else would. It gave artists, DJs, producers and entrepreneurs, the confidence to reach for their dreams. It also gave Kwaito, a recent music genre, a home, a face and an audience. The vanguard of South African youth culture, YFM, harnessed the raw energy of Jozi’s streets and turned it into something honest and beautiful, a feat no other has been able to achieve since. Proving that no matter who you are, no matter where you come from, whether born at an advantage or disadvantage, greatness is within reach for us all, but only if we are willing to reach for it.
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fiction AN AFRICAN TALE
Producer: Shirleen Wangar Director: Gilbert Lukalia Country : Kenya This is a saga of a young man named Sajim. Despite his lack of dowry, Sajim goes to great lengths to try and secure his marriage to the love of his life, Mila. The story is set in the 1800’s. The plot revolves around Sajim and his best friend, Njano, who try to procure enough money for the dowry and beat the Chief in paying for Mila’s hand in marriage. In the process of raiding, he meets a beau tiful girl named Nana, from another village. True to his vow to pay the dowry for Mila, he goes back home just before her wedding. Mila is forbidden to marry Sajim by her mother, despite him bringing the dowry, due to the secrets kept by Mama Mila, Mama Sajim and a medicine woman. The two love-stricken young adults find themselves in the arms of others but fate tries one more time to pull them back together.
BORDER
Producer: Arouna Sacca Mora Kpai Director: Idrissou Mora Kpai Country : Benin After ten years of absence, Abe, a Beninese-Canadian professional returns to his home country to visit the grandfather that raised him, who now lies on his deathbed. Abe is riddled with guilt and regret for having neglected his grandfather for the last decade, during which he turned his back on his country and family. He now seeks pardon from his grandfather. He has boarded a plane to Lagos, from where he undertakes the one-hour drive to Cotonou, Benin’s capital. Safurat, an up-andcoming Afro-Soul singer, is also traveling from Lagos to Cotonou. She is invited to perform at a concert in Cotonou. Despite her success, dynamism and strength of character, Safurat finds it hard to stand up to her overbearing mother, who wants her to stay in a difficult marriage. Abe and Safurat find themselves stuck together in the Nigerian-Beninese border town of Seme, as they do not have the requisite travel documents. Their 48-hour delay turns into an unexpected journey, an exploration of a unique location, and a profoundly transformative experience in which they each learn to overcome their inner demons. It is an adventure that ends with the beginning of a romance.
BORDERLINES
Producers: Kim Williams and Paul Egan Director: Meg Rickards Country : South Africa British lawyer, Paula Shackleton, is grieving the loss of her great love when the charismatic Winston Peabody accosts her in a Boston hotel. Peabody represents the small African country of North Darrar, embroiled in a border arbitration case with its giant neighbour. He convinces her that by becoming his assistant, she’ll be doing a great service to humanity. Determined to lose herself in her new work, Paula flies to North Darrar’s capital. Taking testimony in remote refugee camps, delving into North Darrar’s colonial past, and fending off approaches from the CIA man in town, she becomes increasingly uneasy about her role as attack dog for a deeply oppressive regime. Meanwhile, the arbitration case in The Hague, escalates, with unpredictable witnesses and game-changing cross examinations, into a deadly warring between two sides. There are secrets beyond the courtroom too, in covert meetings involving representatives of western governments. Paula’s burgeoning friendships with Dawit, a scarred former guerrilla, and with George, an idealistic young doctor, erode her show of cynical indifference. Soon, she finds herself taking measures no decent lawyer should even contemplate, and in deeper trouble than she could have imagined.
MATIGARI
Producers: Luzuko Dilima, Balufu Bakupa Kanyinda, Fidelis Duker and Cathy Muigai Director: Balufu Bakupa Kanyinda Country : Congo Rumour spreads that a man with superhuman powers has risen to reignite the freedom struggle. Matigari is on a quest for truth and justice as he finds the people still dispossessed and the land he loves, ruled by corruption, fear and misery. His old enemies, Settler Williams and servant, John Boy, have been defeated, but he finds that the old ways have not changed and that the sons of his enemies are in control. Lyrical and hilarious in turn, Matigari is a memorable satire about the betrayal of human ideals and the bitter experience of post-independence African society. Matigari is conceived with the double approach of African oral literature and the Western novel. It is a powerful and moving attack against neo-colonialism and the economic relationship between rich and poor countries, which still leaves countries bleeding long after independence.
MILES FROM NOWHERE
Producer: Bongiwe Selane Director: Samantha Nel Country : South Africa Miles From Nowhere is an absurdist dark comedy set in an old-age home on the outskirts of Johannesburg. The film follows four residents in their seventies: Ben, a recently widowed elderly Jewish man, Mandla, a frustrated ex-MK freedom fighter, Lebo, an unyielding Jehovah’s witness, and Tanisha, an alienated Indian grandmother. All four residents are confined by their age, economic and familial situations to Lily Parks Government Home for the Aged. Due to financial constraints, the facility announces that it will begin requiring residents to share rooms. This, coupled with their individual crises, causes Ben, Mandla, Lebo and Tanisha to depart the old age home. They quickly discover that they must rely on each other to get to where they’re going, despite neither knowing nor liking one another. Their journey is waylaid and they end up having to trek on foot inside the home in the hopes of reaching Ben’s car and setting out. However, given their age and frailty, even the short distance to the parking lot becomes an arduous journey. Through the course of this distance, they confront one another’s prejudices and attempt to connect across the divides between them.
RAINBOWS DON’T LAST LONG Producer: Halina Dyrschka Director: Mayye Zayed Country : Egypt A separated young couple who grew out of love, Ghada (32) and Khaled (33), discover that their only daughter, Salma (6) is diagnosed with a rare genetic disease, that will cause her to lose her eyesight in a short period of time. Khaled decides to make his daughter’s wish of swimming with the colourful fish in the Red Sea, come true before her world gets darker and darker. Despite her initial disapproval, Ghada decides to join them on this jaunt. The trip eventually turns into a journey across Egypt, and allows them to take another look into their failed
marriage. The shocking news of their daughter’s disease, which will soon be her reality, causes them to question their marital commitment, parental beliefs and life in general. Despite their differences, arguments and unresolved conflicts, Ghada and Khaled want to be a part of Salma’s last visual memories. Travelling across Egypt, sharing happy and sad moments together, they are undeniably, chasing rainbows that don’t last long.
RICHARD WAS HERE Producers: Akona Matyila and Jack Chiang Director: Akona Matyila Country : South Africa A random encounter connects a mysterious looking man with a 16-year-old boy on an isolated bus stop. One waits for the bus to arrive, while the other waits for his luck to change in what becomes a coming of age story, about an unlikely friendship that will have a profound impact on both lives .Hayden misses his bus from school and meets Richard at the bus stop, a mid-30s man who seems keen to share his life story with Hayden. As they wait for the next bus to arrive, Richard regales young Hayden about stories from his youth and talks about the beautiful Frances, a woman from his past who was Richard’s redemption and salvation. Hayden reveals to Richard the real reason for missing the bus, because of the beautiful Mishqah, and their complex relationship in a society that is unkind and cruel to those who are different. Richard was Here is a celebration of the idea that the stories we tell do not belong to us, but to those who listen to them. It is also about finding a sense of belonging in a complex and challenging world.
THE GIRL FROM WERELDEND
Producer: Dylan Voogt Director: Jana Brückner Country : Namibia Set in 1909, Beatrice, a wealthy young German amateur photographer, gets lost in the desert depths of colonial Southwest Africa. She has fled her marriage in Hamburg to seek a new life on the frontier, where she can photograph the gender-neutral lives of the indigenous San people and seek Bushman’s Paradise, an oasis where diamonds are strewn on the sand, and everyone is free. Adriaan, a dashing Afrikaner ox-wagon trader, transports Beatrice to safety at his isolated farm, Wereldend. His air of true freedom attracts Beatrice, and they become lovers. The romance quickly grows troubled as the reality of farm life forces Beatrice to conform to staunch tradition. Beatrice finds solace in befriending the ethereal teenager, Anna Lina, from the neighbouring farm, who has grown up as a shaman, dancing in San rituals. Anna Lina’s eternal innocent wonder and fusion with nature, seem the epitome of freedom, until Beatrice learns that Ana Lina’s parents have betrothed her to Adriaan in exchange for water, and the wedding is looming. Beatrice decides to stop this union, unleashing events that cascade beyond her control, until she, and everyone realizes that the only path to true freedom is surrendering to destiny.
sake of Amahle’s well-being, she should marry Msali. This request shatters Nosipho, who would do anything to please her adoptive family, except marry Msali because she is in love with his sister. Nosipho and Nomahlubi’s relationship is put under intense pressure to dissolve.
THE SOVEREIGN
Producers: Gary King, Elias Ribeiro and Cait Pansegrouw Director: Wim Steytler Country : South Africa The Sovereign, is inspired by the true events that shook the small Karoo town of Sutherland in 2011. It charts the story of an ostracized and troubled South African sheep farmer who forms a codependent friendship with a mesmerizing French couple. They share his interests in nature, philosophy and astronomy and he is drawn to their exoticism and meditative practices. Eventually, he allows them to move onto his farm after reaching a verbal agreement that they would help monitor the farm against livestock theft. He remains unaware of their poisonous influence, while they encourage him to isolate himself more radically from society, which is, in their view, inferior. As time passes, the French couple start displaying more extreme, hyper-paranoid behaviour. He later discovers that they are manipulative narcissists belonging to a Doomsday cult. When the farmer confronts them, he is thrown into a violent killing spree and manhunt. An arsenal of weapons, homemade bullets, and survival equipment is found in the French couple’s home. The farmer leads the police in their search and he must protect his estranged community from their global-terror plot. The French couple are eventually cornered, culminating in a violent and tragic climax.
THE WOODS Producer: Kofi Zwane Director: Kofi Zwane Country : South Africa Noma, the child of our protagonist, Sindi, disappears without a trace. What begins as a missing child case unravels a whole community. Suspicions arise as more and more children go missing. The villagers begin to turn on each other. Their true colours are shown as fear begins to tear the community apart. All the while, a supernatural force begins to move in the woods around them and slowly creeps towards the village. Strange sounds are heard. Animals die. Houses and fields are vandalized. Sindi investigates the strange force and tries to warn the villagers of the danger, to no avail. There is a slew of horrific murders that send the community into a spiral. The monster moves closer and closer. The villagers realize that something evil is behind everything, but it’s too late. The monster and the missing children return to destroy everything. In this final battle for survival, true human nature is revealed as people sacrifice others to save themselves. Sindi is forced to make the choice between saving herself and saving her child.
THE LOTUS
Producer: Bonita Sithebe Director: Philani Sithebe Country : South Africa Nosipho Ndlela (18) And Nomahlubi (Hlubi) Radebe (24), are like any other young women their age, they are hard-working young women with enormous potential for a bright, fruitful future. Hlubi owns a child care centre, the only one in the area. Nosipho, a tertiary student, assists Hlubi in the crèche, part time. They have been in a secret lesbian relationship for almost seven months now. The film opens with an unveiling ceremony at the Radebes’. Hlubi and Nosipho are nearly caught kissing by Hlubi’s mother, who comes to ask Nosipho to quieten a hysterical Amahle. Amahle stops crying as soon as Nosipho takes her away from her father, Msali. The elders decide there and then that the two (Msali and Nosipho) are for each other. Nosipho is told that for the
FICTION
DFM Screen Africa Editorial Revert 4.indd 3
DABULAPHU (SHORT CUT)
Producers: Zekethiwe Ngcobo and David Max Brown Director: Norman Maake Country : South Africa Dabulaphu is a narrative feature film about a man who, wounded by the death of his wife, becomes driven to succeed as a sugar farmer. He sends his young son across the border to take the “short cut” into South Africa to live a “better life”. He then has to give up the farm to rescue his son, who he discovers, has been enslaved to work on an illegal gold mine. This gut-wrenching story is also a heart-lifting tale based on true events. It is a story of courage and bravery in which a father finds his son. In the process, the father discovers what is truly important to him, and to them both.
5/31/2017 7:02:17 PM
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Cameras & Accessories
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Camera illusion Choosing a camera for production these days is bound to leave many scratching heads for answers to the age-old question, “What is the best camera available?”.
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ealistically there is no objectively right or wrong answer here. There is only what’s “right” or “wrong” for you and what you plan to achieve with your camera – all of which have their pros and cons; therefore, there is no such thing as “the best camera.” The most expensive cameras don’t necessarily offer the best images so it’s probably best to look at a camera and a host of accessories that will give you the best look for your application rather than getting lost in the spec sheets.
The camera is capable of up to 200fps 2K ProRes and 30fps 2.8K ArriRAW recording to internal CFast 2.0 cards (60fps at 4:3 and 120fps at 16:9 if you go to a Codex recorder). It can record 4K by upscaling but the quality of the sensor is such that ARRI can get away with it. The coolest thing about the Mini is that nearly everything is controllable from WiFi, including the ND filters, so you can operate the entire device remotely.
CAMERAS
ARRI and RED continue to lead the digital revolution in high end videography. Whilst ARRI’s Alexa lineup remains out of reach for many filmmakers, RED lowered the bar to entry with its introduction of a sub-$10K camera, the Red Raven; a 4K camera with a wide dynamic range and impressive frame rates of up to 120fps. With the ability to record in REDCODE RAW (R3D) and Apple ProRes or Avid DNxHD, simultaneously, RED RAVEN supports a wide range of trusted workflow options and has become a favourite with film maker’s world over. As one of the smallest and most lightweight RED cameras yet, RED RAVEN is uniquely suited for hand-held shooting, as well as gimbal and drone applications.
Canon and Panasonic have put out a few good offerings, particularly this year, but have generally been outpaced by Sony’s and Blackmagic Design’s rapid rate of innovation. Released back in 2015 but with a major firmware upgrade boosting it to new heights, the new SONY PXW-FS5 is a great small package that packs a lot of punch. Its Super 35 Exmor CMOS image sensor (the same size as the PXW-FS7) delivers 14 stops of dynamic range and can shoot up to 960 fps in burst mode. It also offers 240 and 480 fps and gives you the ability for 40x slowmo – it’s a really impressive beast.
With a new 4.6K sensor, CinemaDNG raw recording capability, and optional PL mount, it’s hard to imagine a better-value camcorder with more professional features than Blackmagic Design’s Ursa Mini Pro 4.6K. To produce cinematic images, the URSA Mini can record uncompressed raw sensor data in the CinemaDNG format onto CFast 2.0 memory cards. The URSA Mini also records UHD (3840 x 2160) and 1080p video using readyto-edit ProRes files in many different flavours depending on your workflow and is my pick as camera of the year.
Not content to let RED have all the drone and gimbal fun, ARRI introduced the ALEXA Mini recently, which takes the image quality of the original ALEXA and shoves it all into a much smaller Carbon Fibre package. 30 | SCREENAFRICA | June 2017
Canon’s EOS C100 Mark II Cinema EOS Camera is so popular in the USA that it’s been sold out of stock twice in the past year. The EOS C100 Mark II uses the same Super 35mm Canon CMOS sensor as its big brother, the C300. With an EF lens mount, the camera is compatible with the full range of Canon EF, EF-S, and EF Cinema lenses. This is particularly useful for DSLR shooters who have already invested in Canon lenses.
Demonstrating why it is a leader in the industry, Sony has released its latest full-frame Alpha a9 Mirrorless Digital Camera. The new sensor and processor system provide an ISO range of 100 – 51200 (expandable to 50 – 204800), ensuring optimal image quality with minimal noise in low light, and at fast speeds. The new camera also supports uncompressed 14-bit RAW. 4K (3840x2160p) video recording across the full width of the full-frame image sensor is supported and, when shooting in this format, the camera uses full pixel readout without pixel binning to produce high-quality 4K footage with exceptional detail and depth. Incidentally, most DSLRs have a 30-minute video recording limit which is actually the result of an EU spec that defines a video camera as opposed to a still camera. There are higher tariffs in the EU for video cameras so the still camera manufacturers have implemented this time limit in their firmware to hold down costs to the consumer.
LENSES
ON CAMERA MONITORS
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BATTERIES Lens manufacturers Tokina have added new 18mm and 25mm cine prime additions to their exciting Vista prime lens line-up as well as a new revamped Cinema 16-28mm T3.0 Mark II wide angle zoom. The new Tokina 16-28mm has been re-engineered to use the optical formula of the award winning still lenses and is also is par focal. The new Tokina 16-28mm T3 II is available in PL, Canon EF, MFT, Sony E, Nikon F mounts.
Professional video creators and filmmakers have been eagerly anticipating the release of a wide-angle G Master lens. The Sony 16-35mm F/2.8 GM promises sharpness across the zoom range and throughout apertures, with Sony promoting the extreme aspherical (XA) element to achieve the greatest resolution and lowest image distortion. Weighing in at only 680g, the lens is lighter than the Canon equivalent, but a little more expensive.
There’s a wide range of decent on-camera monitors to choose from, and now there’s one more candidate: the new Marshall V-LCD70W-SH. It’s a 7”{ HDMI and SDI LCD monitor with a detachable sun hood that’s also foldable, HDMI and SDI inputs and a resolution of 1920 x 1200 pixels but for great value for money and technical innovation you just can’t beat Blackmagic Designs Video Assist which works with everything from DSLR’s to SDI camcorders.
There are two models available – the 5” Video Assist features a 1920 x 1080 screen and an HD recorder. The other model is the Blackmagic Design Video Assist 4K featuring a 7” high resolution screen, two high speed recorders for non-stop Ultra HD recording, XLR mic inputs, a built-in speaker and more!
MUST HAVE ACCESSORIES
Though our cameras and production accessories continue to get smaller and more portable, battery manufacturers have been working to develop better and longer lasting batteries, which in a strange way is a problem. Recently the International Air Transport Association (IATA) tightened its regulations for battery transport. The regulations that state that Li-ion batteries transported as cargo must be charged to no more than 30 % of their rated capacity. Those with Anton/Bauer batteries will be pleased with the Anton/Bauer LPD Discharger that can discharge up to four Li-ion batteries simultaneously and works with either Gold Mount or V-Mount batteries. As a dedicated battery discharge unit, the LPD requires no external power; rather, it uses energy from the batteries it is discharging. This allows for travel-friendly operation and ensures that the discharging process does not damage the batteries.
IT’S A WRAP Realistically, at the end of the day we all know that a great looking image isn’t judged by its dynamic range, resolution, f-stop or anything else technical. Specs do matter, but what matters most is the person behind the camera and the ability to utilise the resources you have at your disposal.
New from Canon is the COMPACT-SERVO 70200mm Telephoto Zoom Lens, a cinema-style lens that includes a servo drive unit as a standard feature. Additionally, the lens incorporates Image Stabilization, Autofocus, and Auto Iris functionality – three extremely useful features not commonly found in cinema lenses, but popular in EF lenses. The lens also provides high image quality that supports 4K image productions and was designed to be utilised in a variety of shooting styles including, hand-held, shoulder mounted, and tripod mounted and is compatible with EF-mount Super 35mm large-format cameras.
This is a great device and those who own it wonder how they ever managed without it. The NEXTO DI NCB-20 Card Batcher allows you to copy up to eight memory cards at once to either one or two external drives connected via USB 3.0, all without the need for a computer. It has a single-button operation design, and a simple 2,4” LCD display to monitor the copying process. The device is capable of carrying out automatic labelling, a feature that will sort the files on the HDD according to slots and create organised folders. It is also possible to assign a camera to a certain card slot on the device, which will copy all the files into a folder according to shooting date, slot number and a text field, such as the camera operator’s name, for example. There are 7 variants for SD/SDHC/SDXC/MicroSD (UHS1) cards, CFast cards, XQD cards, SXS cards, P2 and Express P2 cards and RED MINIMAG cards
– Ian Dormer
June 2017 | SCREENAFRICA | 31
Cameras & Accessories | OPINION
Sony FS7: The operator’s camera
Photos by: Claudia Gaddi-Nel
Written by Paul Nel, SASC
I was sitting alone in a pensive state some time ago, dealing with the fact that our make-up artist appeared to be spending an inordinate amount of time trying to affect miracles with a troublesome client’s face. Admittedly, my thoughts were less about her and markedly more focussed on my early days in the local television industry; more particularly, my close association with that gracious old video camera workhorse – the Sony DXC6000.
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or those of you imagining that you’d never even heard of a camera sporting that combination of letters and numerals; let me assure you that during the eighties, when many of you were still floating about with intent in the great ether – many of us were shooting at a dizzying pace – using three tube cathode-ray cameras tethered to HighBand U-Matic recorders, via a thick black six-foot umbilical cord that displayed the uncanny ability for entanglement. Chuckle at the antiquity of it all if you must but I am among early operators who consider themselves fortunate enough to have endured myriad rigors of video production work way back then. That’s because every day offered new learning experiences. I am less grateful for the legacy of persistent shoulder pain with which I now have to contend. My association with Sony cameras has quite contentedly endured for over three decades – longer than some marriages. I later happily segued unannounced
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into the Betacam era and accepted the probability that all future cameras would weigh the equivalent of a small child. That was until the advent of the new millennium, a time filled with angst at the distinct possibility that humankind would experience unprecedented computer mayhem – that the world would be plunged into anarchy and unimaginable horror. The Japanese – who quite thankfully really had more of a grasp of keypads, motherboards and flashy lights than almost anyone else on the planet – opted to ignore the hype and boldly went where no man had been before. Their ultimate solution; lightweight, formidable and affordable video cameras. Canon boldly introduced us to their XL1 range of digital video cameras and personally speaking – there was no turning back! The halcyon age of video camera practicality was inevitably shortlived. Some overworked technician somewhere experienced an epiphany one evening and imagined a time where
cameras would all be reduced in size and functional ability. Very rapidly, the virus spread – and soon the dreaded ‘Prosumer’ cameras were born. Brick-sized, plastic hand-held breadbins with tiny, completely useless (in my view) rear-mounted eyepieces – inconveniently located at the back of the camera. This ill-considered design rendered controlled panning and tilting almost impossible, unless you were prepared to elicit stares every time you shot outdoors in polite society. People watched operators intentionally collapsing one leg – almost ballet-like, bending sideways at alarming angles to the camera, desperately trying to exercise some control over the shot while tilting. Panning offered other distractions and mirth. Some hapless camera operator would perform a sideways crab-like stepping motion to avoid the tripod’s legs, whenever a car or some-such subject moved across the field of view. Consequently, there
would be a tell-tale bump or lag in the footage. We’ve all seen examples. Cameras universally sported small flip-out screens with pictures no-one could really see in broad daylight, requiring the camera to be wielded in an assortment of prone positions – quite similar to what an orang-utan would do whilst inspecting the underside of a bunch of bananas. Evidently, very few operators would confidently shoot a subject unless the camera was angled upwards towards an unsuspecting subject’s nostrils or looming ominously overhead like an inquisitive fly. This was all accomplished hand held – naturally. The ubiquitous, unsteadily floating, out-of-focus, wobbly-shot series of camera movements were born – and quite liberally employed during the shooting of music videos. I realise I’m ranting of course, but I firmly believe the average person would quite happily avoid watching material that looks as though it was shot by an operator sitting crouched
OPINION
inside an operational tumble-dryer. Just in case you thought Sony were in any danger of escaping this diatribe, they’re not. Unless one was intent on disposing of inordinately large amounts of hard-earned cash, there were few choices available to shooters who were intent on finding anything resembling an ergonomically professional camera at a fair price to work with. That, in the most roundabout of ways is what eventually brings me to the Sony FS7. What a marvel. I can confidently reveal that I charged headlong towards using the FS7 soon after it was released locally. I had been trawling the net following the camera’s development and launch date for months – hanging on every word uttered by Sony’s product manager, Juan Martinez. Finally, a camera that hearkened back to the good old days of the shoulder-mount was to be unveiled. A camera that sported a side-mounted eyepiece and looked as though it had been conceived and designed with operators in mind. After an eighteen month period of using the camera, I have learned to overlook and sometimes ignore some of its inherent quirks. Primary amongst these is the dreadfully cheap and nasty plastic eyepiece. Why, oh why must Sony insist on utilising eyepieces that look like they had been designed as an afterthought by a committee of accountants? This is also not a singular achievement folks. No, these indiscretions go way, way back. The good ol’ DXC 6000 I alluded to at the beginning of this piece sported a similar eyepiece to the FS7. That version featured a kind of small plastic cabinet containing a tiny screen that would slide up and down like a trap door. The whole nasty contraption swung around on a single rod sticking out at a perpendicular angle from the camera body – with the connector cable winding around the rod – ultimately until it pulled out. It was additionally, (theoretically at least) held fast by a nut that would never screw tight no matter the degree of force applied to it. Overlooking numerous other ergonomic indiscretions, vis-a-vis the slow menu function, it is truly the dream
instrument camera operators have been waiting for. The FS7 has naturally been upgraded in the interim – and the new Mk2 is still a highly cost-effective 4K and HD capture platform, offering a plethora of professional options that have rendered its big brother, the F55, almost obsolete. Primarily, it is the Sony XAVC-I codec that really stands out here. Recording 4K RAW still requires an off-board recorder like the Atomos Shogun, but for true REC709 colour – you get awesome results from the sensor at 10 bit depth, 4:2:2. Arguably, one of the cameras most attractive features is the ability for one to under – or over-crank at will rather easily using the S&Q button, ideally located at the operator’s side of the camera. This is accomplished using a preselected frame rate of as little as one frame, to a gorgeous 180 fps in HD mode. Now, for those of you intent on shooting 4K internally, you’ll still get a commendable 60fps should you make the decision to do so, but you are likely to end up wading through 64GB XQD cards like gambling chips. Should you elect to use an off-board recorder however, you’ll find loads of additional room on-board the FS7 to attach assorted magic arms and spigots. The camera we have been working with has a cheese-plate which surrounds the front of the camera (around the lens), as well as a padded shoulder mount with rails to support a 4” swing-away matte box. Hand-held work is simplified using an old-school ARRI shoulder mount, as the FS7 tends to be somewhat front heavy. My favourite feature is the dial-able selector switch, which allows the operator to choose between a standard range of ND filters. Other programmable selectors such as the ISO settings and white balance can be found where they have always been. It proved to be what was promised by Sony. An ergonomic masterpiece that would etch an indelible mark in the annals of history. Since then, the camera has been used on corporates, television work for broadcasters here and abroad, as well as for long form work. We use the native 28mm to 135mm zoom lens as a standard for ENG shoots, with a Polaroid filter that
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also protects the glass. This is not, in my opinion, the finest lens available for ENG work as it lacks the wider end other lenses offer at around 18mm to 20mm. We frequently use Sony primes (35mm, 50mm, 85mm), employing a PL to e-mount adapter with a lens support. The lens mount has been strengthened on the Mk2. Using the primes on the super-35 sensor provides glorious Bokeh – the kind we film-types search for with vigour and intent on every shoot we do. Naturally, the Sony primes are rated at T2, which is some way off the f4 rating of the native zoom lens, although the camera’s low-light capacity is commendable. I have not had to shoot at an ISO beyond the native 800 default setting – and the pictures are really awesome. When shooting in S-Log 3 the camera is capable of 14 stops of dynamic range and that folks, edges towards Arri Alexa capability. For a camera that costs substantially less than the Arri or RED products – this is a really remarkable achievement on Sony’s part. With LUTS and camera-matching software widely available, content delivery standards have shot skywards in recent times, which is really heartening when considering the fact that this was neigh impossible in the past. More filmmakers have the ability to create highly professional content at a fraction of costs historically. This enhances creative expansion and freedom – and that grows the industry. Interestingly, I sometimes get to use a vintage Angenieux 25mm to 250mm lens when shooting. Weighing substantially more than a small Bovine, it is rated at T4.5, but the tobacco-coloured flares one gets within the late afternoon ‘golden hour’ are the stuff of legend. I absolutely adore using it. When South African-born cinematographer Dan Mindel SASC, ASC, BSC visited us last year as part of his Silwerskermfees duties in Cape Town; I was fortunate enough to accompany him on a leisure trip to
a local game reserve for a few days. Fellow SASC cinematographer Charles Bengis and I were his hosts on the safari – but seeing as though both of us had witnessed more antelope and zebra in our time than possibly even David Attenborough – we were more intent on picking his brain about the art of cinematography. Dan Mindel worked as D.O.P. with JJ Abrams on Star Trek Into Darkness and also shot Star Wars: The Force Awakens, The Amazing Spiderman 2 and Pacific Rim 2 amongst others! Dan mentioned casually that given the choice, he would stick to good old 1920X1080 as a digital standard for capture. You could have felled me with a pan handle. These words proffered by a man who has worked on the kinds of films many of us could only dream of shooting, was possibly the last thing I imagined hearing from him. How could I ever argue such sage advice? I guess it all relates to those of us who have grown up as it were, with 35mm film. I felt a warm glow envelope me as I began to imagine the possibilities. Perhaps it was just the campfire. With the advent of 8K, VR and heaven knows what else awaits us as filmmakers and shooters. We are faced with myriad options when it comes to the art of capturing moving images. All considered, it percolates down to bang-for-buck, methinks. How best to get the job done across various platforms at a price advantage that allows for creative freedom. Whatever your decision, the Sony FS7 offers us the operator’s camera package. A shoulder mount, side mounted viewfinder, solid magnesium body with all of the requisite bits to get the job done efficiently, professionally and in good time – and with an altogether sexy look that says; ‘The pro has arrived’! – Paul Nel
June 2017 | SCREENAFRICA | 33
Cameras & Accessories | OPINION
The rise of the flying machines: How drones are transforming broadcast and media production
If you have watched Planet Earth II (2016), a follow-up to the nature series aired in 2006 on BBC – the intimate close-ups, chases and kills, and the sweeping vistas might have left you spellbound. While the voice of Sir David Attenborough still gave us goose bumps, the sights added on to the experience – made us feel right in the middle of the action.
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inematographers have used the latest in camera technology to create the experience. Drones! To capture those stunning panoramas and actions, drones created the magic that you witness sitting in your living room. If you watch television with a trained eye, you’ll notice that many series, documentaries, and movies are shot using drones to provide a real-life experience to the viewers. Movies like The Expendables 3, Transformers: Age of Extinction, The Wolf of Wall Street, and Captain America are shot using drones. Drones are becoming popular among production companies for filming shots that require adrenalinfilled action sequences, literal birds’ eye views, dramatic panoramas or 360-degree views of subjects. In fact, 2015 witnessed the birth of the New York City Drone Film Festival, the world’s first drone film festival to recognise the remarkable usage of drones in cinematography where at least 50 per cent of the footage is shot using a drone.
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Written by Anshul Gupta, head of Marketing, MediaGuru
Ben Sheppard, managing director of Spider Aerial Filming, sums up the advantages of drones over static cranes and expensive helicopters. “No other filming method can start a sequence inside a building and end up at 400 feet altitude in one uncut shot,” says Sheppard. Not only do drones allow the reader to build a better mental picture of the layout of the land, but they can also get down to ground level, with smaller shadows and less air disturbance, unlike helicopters. The media and broadcast industry, particularly journalism and documentaries witnessed a revolution in 2016 as a result of the increasing capabilities of drones. After the popularity of the New York Times story on the impact of the Syrian Civil War on Aleppo that was captured using drone footage, the newspaper published a list of top stories it covered through drone footage. CNN uses drones to augment its traditional television coverage and provide improved vantage point. The news network has also launched a team to fly and operate drones as part of expanded news coverage to provide the benefits of planes and helicopters for a fraction of the cost. “A news story about immigration comes alive to the viewer’s when sweeping shots are taken of the presenter over the white cliffs of Dover. Or a drone flying above a car racing down a mountain road adds to the excitement when the surrounding terrain is visible,” says Sandra Hossack, director at SkyPower – a supplier of aerial filming platforms. As the technology matures, using drones has its set of challenges. As the US formulates the framework for legitimising usage of drones, regulatory
barriers still prevent drone adoption. Companies need permission from the Civil Aviation Authority to work with them. For example, in August 2014, during the civil unrest Ferguson, Missouri, police requested the airspace to be closed to prevent media from gathering footage. The authorities also instituted no-fly zones at Standing Rock, North Dakota in 2016 to prevent coverage of the protests and the acts of police. Using drones is already transforming the media. It will only increase as drones become more technically able and widespread. Drone manufacturers are developing technologies like collision avoidance and geo-fencing to make flying drones safer. A BI Intelligence report predicts drone sales to go up to $12 billion in 2021, from just over $8 billion in 2016. As authorities create regulations to permit more widespread use of drones, this trend will only increase moving forward. Drones are not just toys, but a part of the new media wave. – Anshul Gupta
AK-UB300GJ 4K Multi Purpose Camera
Compact and light 4K Multi Purpose Camera
This 4K multipurpose camera shows its potential in a wide range of situations, from live sports and other event broadcasting to studio recording and aerial shooting. Two sensitivity modes (high sensitivity and normal) can be selected according to the shooting environment. The usability has also greatly improved with the newly developed haze reduction technology and transmission with a single cable operation is possible when the 12G Output Board is replaced with 3G TICO Output Board. The camera is also equipped with the focus assist function as well as the HD cropping function from 4K video. Moreover, it can perform HD-IP streaming output and IP control so the system can be centrally managed with Panasonic AW series system cameras, enabling flexible and expandable utilisation.
www.pansolutions.co.za See us at Mediatech: Stand B21 Contact: Sean Loeve Cell: 083 677 4917 Tel: 011 313 1622
| PRODUCT PREVIEW
Imagine Communications at Mediatech 2017
Selenio One XC
Imagine Communications EPIC Multiviewer
Imagine Communications will be on the Concilium Technologies stand (E17) at Mediatech Africa 2017. Advanced solutions on display will include: • Selenio One XC Selenio™ One XC is a software-based addition to the next-generation Selenio™ One compression platform, which offers media companies a single solution for performing a range of encoding, transcoding and related processing operations. Powered by Zenium™, Imagine’s pure microservices-based technology, the Selenio One platform can be deployed in different physical implementations to enable media companies to optimise for density, quality and cost, with all Selenio One elements controlled by a common user interface for operational efficiency. Selenio One XC, introduced this year, is optimised for both primary and secondary distribution, enabling content owners and video service providers to improve operational efficiencies by delivering more channels over existing distribution infrastructures. The softwareonly, cloud-native nature of Selenio One XC, with its ability to run on Linux-based virtual machines, also enables media companies to support both premisesand cloud-based deployment models. Initially targeted at providing video service providers with highvideo-quality, highly efficient linear transcoding capabilities, Selenio One XC supports any-to-any H.264/MPEG2 IP-based transcoding, as well as an 36 | SCREENAFRICA | June 2017
optional multiplexer to provide bandwidth-conserving statistical multiplexing of expensive or bandwidthconstrained distribution channels.
• EPIC MV EPIC™ MV is a software-based, UHD-ready multiviewer that provides broadcasters with a single canvas for all signal types and a seamless transition path to an all-IP future. Powered by Zenium™, Imagine Communications’ open and extensible pure microservices technology, EPIC MV is scalable to thousands of PIPs and hundreds of displays, providing a high-quality, low-TCO monitoring solution for today’s hybrid environments — and a simple, evolutionary path to any future monitoring requirement. The EPIC MV is a complete multiviewer solution that offers the full features of a class-leading multi-image display system. Featuring exceptional video quality, rich graphics, tally, UMD, timers, clocks and interfaces to a variety of third-party systems, EPIC MV delivers all the capabilities expected for monitoring and monetising content in high-value production environments. Designed to simplify monitoring environments as broadcasters migrate to IP, EPIC MV is a true hybrid solution that natively supports low-bandwidth compressed streaming formats, including
Versio
MPEG‑2 and H.264/AVC essence. Option boards provide high-capacity SDI over IP, ST 20226-6/7 reception. A high-capacity baseband 3G/HD/SD/ASI option brings even greater breadth to the portfolio of input formats supported. The open and extensible nature of the EPIC MV better positions media companies to integrate the latest technologies into their operations and quickly pivot to address new business and deployment models, including the cloud, as market conditions dictate. EPIC MV has been deployed in multiple live production environments, including all-IP configurations, in multiple continents.
• Versio Versio™ is a powerful modular playout solution used worldwide by media companies from small, single-channel to very large, multichannel environments and master control operations. It encompasses the best of the world’s automation, branding, graphics, file server, storage and master control capabilities in an entirely softwarebased environment. Versio was recently fortified with next-gen automation and redundancy enhancements that improve operational efficiency and expand the solution’s ability to fully exploit geo-dispersed and virtualised playout environments A 100 per cent software-based and fully IP-enabled solution, Versio
provides a disruption-free transition to agile channel launch capabilities by enabling the widest variety of playout applications across flexible deployment models. Versio is deployable on customer premises, providing traditional, onsite channel-in-a-box deployments with baseband/SDI connectivity. It is also Cloud-Native, making it suitable for private datacenters or public cloud deployments, supporting all media types including baseband, SMPTE 2022 and compressed. The hybrid SDI/IP nature of Versio enables media companies to transition operations to IP at their own pace. Versio, which powers the playout and master control operations of some of the world’s most iconic brands, simplifies the creation and management of channels and enables media companies to extend their brands and content with more freedom, visibility and control than ever before. With Versio at the heart of channel-enablement, broadcasters and media companies are able to accelerate new services and improved operations that include specialty and popup channels, hyper-localised content and advertising, business continuity and disaster recovery and virtualised and streamlined master control. Visit Imagine Communications at Mediatech Africa 2017 on the Concilium Technologies stand (E17).
Broadcast Services • Video & IP Connectivity • Studios • SNG • Fibre Services • Data Centres
See us at Stand D13 at WITH THREE DECADES OF EXPERIENCE PROVIDING SOLUTIONS FOR THE RADIO AND TELEVISION BROADCAST INDUSTRY
PO Box 1853, Rivonia, 2128, South Africa | Tel: +27 (0)11 803-3353/4 | Fax: +27 (0)11 803-2534 | E-mail: sales@telemedia.co.za | www.telemedia.co.za
| PRODUCT PREVIEW
INALA Broadcast at Mediatech Africa 2017
• DSP-2312 Desktop SmartPanel
INALA Broadcast’s stand (C23) at Mediatech Africa will showcase the latest technology from its principals, introducing these new innovations to the African market for the first time. Products and solutions on display will include: AVIWEST Riedel Communications
• State-of-the-art 4K and multi-HD video encoding and distribution
• Bolero Bolero, a gamechanging new wireless intercom solution, is an expandable, full-roaming, DECTbased intercom system in the license-free 1.9GHz frequency range. Fully integrated into Riedel’s Artist digital matrix intercom platform, Bolero offers a rich set of features and connectivity that can be applied three ways: as an exceptional wireless beltpack, as a wireless keypanel, and as a walkie-talkie radio.
The newest member of the SmartPanel family of intelligent user interfaces is the DSP-2312 Desktop SmartPanel. The world’s first keypanel designed as a powerful multifunctional user interface, the app-driven SmartPanel is designed to enrich the user experience and change the way users communicate. The all-new desktop edition offers all the power and flexibility of the SmartPanel in a small, elegant, ergonomic, and low-profile device.
Tektronix AVIWEST’s HE4000 4K Ultra HD HEVC live encoder is ideal for real-time delivery of UHD or HD content over unmanaged IP networks. The compact, half 1-RU encoder combines 10-bit and 4:2:2 HEVC encoding with the latest generation of SafeStreams® technology for delivery of live video content over IP at low latencies and bitrates.
• PRISM
• New uplink system revolutionises live video remote production
• MediorNet MultiViewer
MediorNet MultiViewer is a virtual multiviewer app based on MediorNet MicroN high-density media distribution hardware and designed to work within the MediorNet network. Each single MediorNet MultiViewer engine can access any MediorNet input signal and process up to 18 signals. These signals can be placed flexibly onto four physical screens or routed to any destination within the MediorNet system and output at alternative locations. The MultiViewer device provides local signal inputs and outputs to offer further connectivity options, such as playing out the virtual MultiViewer screens locally on the device.
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The AIR320 is a high-end, powerful, and ultralightweight video uplink system that integrates best-in-class H.265/HEVC and H.264/AVC hardware encoders to enable flawless HD and SD encoding and exceptional video quality delivery. Featuring up to four cellular connections, an internal Wi-Fi modem, internal battery, and AVIWEST’s SafeStreams technology, it allows broadcasters to seamlessly stream live interviews and store and forward recorded content even during unpredictable and unmanaged network conditions.
PRISM, a real time monitoring and analysis platform capable of IP and SDI measurements, is designed to meet the high standards of broadcast engineers and IT network engineers alike. Available in 3RU half-rack with built-in display or 1RU form factor, its softwarebased architecture enables easy upgrade in the field when new standards are rolled out during the IP transition, or when your application needs change.
• WFM8300
• Advanced cloud-based live video contribution AVIWEST’s live IP contribution system is mainly composed of the StreamHub transceiver and the Manager. The system operates in virtualised mode to deliver all the economic benefits of the cloud without compromising the performance required by today’s media environments. The extended capabilities of AVIWEST’s cloud solution will be showcased at Mediatech 2017. By supporting both point-to-point and point-tomultipoint distribution scenarios, the platform offers broadcasters the flexibility they need to stream live video content to any CDN and streaming platform such as Facebook Live or YouTube.
The go-to tool for mobile and studio production, post-production, and facility operations, the 8000 Series waveform monitor and rasterizer is ideal for camera setup, color grading and correction and quality control of content, from HD to 4K/UHD with HDR. Available in 3RU half-rack with built-in display or 1RU rasterizer, it helps optimise quality and ensure signal integrity and regulatory compliance.
PRODUCT PREVIEW • WVR5200
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will convert the signal to SDI or HDMI. Also, using the same form factor, the emFUSION series does it the other way around by taking base band signals (SDI or HDMI) and encapsulating them into IP, so they can be incorporated into your media network.
• IP Gateway…The Embrionix way The industry standard for monitoring content quality at an affordable price, WFM/WVR5000 models are ideal for production and post with basic video and audio monitoring needs. The 5000 series offers uncompromised quality, HD/SD support, a range of software options, and the capability to handle 3G-SDI (WFM/WVR5200) and HDMI (WFM/WVR5250).
Embrionix • emVIEW series
Embrionix leads in the industry when it comes to IP Gateway. Bringing SDI signals (2) into an Embrionix SFP that fits directly into a Top Of Rack (TOR) COTS IP switch is not only clever but it is also unique. All other gateway solutions must go to a dedicated proprietary frame. The Embrionix way reduces footprint, cabling, power, weight and cost of ownership. It is an exceptionally efficient way to bridge the SDI world into an IT infrastructure.
Harmonic Harmonic will showcase its latest innovations for video delivery — including cloud playout on VOS Cloud and VOS 360 offerings.
• Speeding up the launch of services with cloud-native technology
Embrionix families of conversion products allow signals to be monitored on standard displays with SDI or HDMI inputs. The emVIEW series is a small converter that can be mounted at the back of your monitor with connection via HDMI. Receiving over fibre ST-2022-6/7 and ST-2110 IP signals the small standalone emVIEW
As operators in the region continue transitioning to all-IP workflows, they need a simple and reliable migration path. Harmonic’s Spectrum™ X advanced media server and Spectrum XE playout solutions ease the transition to an all-IP infrastructure, supporting SD and HD channels for increased monetisation.
FileCatalyst
• SPG8000A
The SPG8000A is a precision multi-format master sync and master clock generator and is suitable for hybrid sync generator and PTP (IEEE 1588) grandmaster clock reference generator applications. It addresses the emerging needs of customers who plan to migrate, in stages, from SDI-based to IP-based video infrastructure (including live production).
• Easing the transition to all-IP workflows through trusted media server and playout solutions
FileCatalyst Direct is a suite of client and server applications that enable point to point accelerated file transfers at speeds of up to 10 Gbps. Utilising the FileCatalyst UDP-based file transfer technology, FileCatalyst Direct is immune to the effects of packet loss and latency on a network. It can quickly deliver files of any size or format between cities, countries, and even continents. FileCatalyst Workflow is a web portal that combines three powerful web-based managed file transfer workflows: submission, distribution, and online folders for file sharing. It simplifies file exchange and boosts productivity by integrating directly into your corporate infrastructure. FileCatalyst Workflow makes receiving files easy by acting as an online file submission inbox for anyone outside of your network submitting files into your organisational workflows. FileCatalyst Central is a web application used to monitor and manage an organisation’s entire FileCatalyst deployment. Central allows administrators to view ongoing transfers in real time, dig into transaction histories, manage or monitor alarms, manage nodes and initiate node-to-server transfers. Visit INALA Broadcast at Mediatech Africa 2017 on stand (C23).
Migrating to the cloud is an important trend occurring in the industry today, as it provides increased infrastructure flexibility, elasticity and agility to launch services in a matter of hours, not months. Harmonic’s award-winning VOS™ Cloud media processing and VOS 360 software-as-aservice (SaaS) solutions enable operators to manage video processing and delivery, all the way from ingest to delivery, over public or private clouds.
Put money in. Get magic out. Simple! For friendly & affordable gear rentals call Magic Lightbox Co. on 011 463 7584 or email us on info@magiclightbox.co
June 2017 | SCREENAFRICA | 39
| PRODUCT PREVIEW
Jasco debuts Avid’s latest tech innovations to Southern Africa – think cloud, think free software NAB 2017 has just played out with global media technology provider Avid® announcing some ground-breaking advances. It has extended its MediaCentral® Platform into the cloud, is showcasing end-to-end 4K IP workflows, and has launched Media Composer® | First, a free version of the industry-standard video editing system. The good news is that Jasco is bringing Avid’s comprehensive tools and workflow solutions to create, distribute and optimise media to Southern Africa.
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ur team is fresh from NAB and excited about what these changes mean for Avid and the local media and broadcasting sector,” says Paul Divall of Jasco Broadcast. “Jasco is now in its 20th year of partnership with Avid, and what we are seeing this year is exactly what our clients need and have been asking for.” “We are in the midst of great change in the local industry – digital technologies bring changes in demand, as well as new ways to create, produce and distribute media. However, margins are no bigger, compelling studios and production houses have to do more with less. That means working differently by leveraging
the advantages digital brings. It enables the use of digital processes and delivers capabilities to innovate, differentiate offerings and access new business models. Avid’s advances are tailored to help users leverage the best of digital and our Jasco Broadcast team is geared to support users as they explore and adopt these newly released features.” What are the key changes?
Avid’s MediaCentral Platform goes into the cloud Four years into its Avid Everywhere strategy, Avid has achieved what it set out to do by extending its
MediaCentral Platform – the industry’s most open, tightly integrated and efficient platform designed for media – into the cloud. That’s full-scale media production in the cloud! With this strategy, openness triumphs – with remote collaboration, individuals, creative teams, and media enterprises can work smarter, faster and more easily, contributing to any production from anywhere, while workflows are bridged and integrated. Avid has selected Microsoft Azure as its preferred cloud-hosting platform for the openness, global scale, highlevel services and unique hybrid cloud strategy the platform offers, as well as its focus on security, privacy, compliance and transparency. Avid is making the shift easy with a flexible approach to licensing, deployment and commercial options. It also leaves the door open for companies to select their own cloud host. Says Divall: “With rapid technological advancements making it feasible to pass professional audio and video signals over
standard IP networks, in 2017 we expect to see more exploration and transition to a unified environment for file-based and live media workflows based on IP. “South Africa needs to keep pace with global advances. IP workflows give media companies greater flexibility and agility, while lowering costs and paving the way for the adoption of new formats like UHD. However, we know the transition to cloud will be a journey, which is why Avid is making it possible for media organisations to transition to the cloud at their own pace with the MediaCentral Platform serving as an onramp.”
The core components of Avid MediaCentral in the cloud include: • Hosted Applications—With cloudenabled Avid client applications, software can be licensed to run on premises, in a private cloud data center, and in the public cloud for deployment flexibility and increased utilisation. • Avid MediaCentral | Cloud UX— This
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ctsales@visuals.tv T: +27 (0)21 468 6000 1 Glynville Terrace, Gardens, Cape Town, 8001
PRODUCT PREVIEW new web-based application offers a completely redesigned and highly responsive user experience for the MediaCentral Platform, making it superfast and intuitive for anyone to search, browse, access, edit, collaborate, and publish content from any workstation, laptop, or mobile device. • Cloud-enabled Media Suite—Avid Media Suite applications, including Interplay® | Production, Interplay | MAM, iNEWS®, and Social Media Hub, as well as Maestro™ and 4Designer, are being cloud-enabled with license options to run on-premises, in a private data center, and in the public cloud. • Cloud Media Services—To give MediaCentral Platform users even greater efficiency, Avid is introducing new media services, including: • Unified Avid Dialogue Search™ service uses exclusive phonetic indexing technology to enable keyword searches that span diverse libraries of content • Avid Illuminate™ automatically verifies captions, video description, and languages in content for fast and accurate broadcast compliance and quality assurance • Infrastructure on Demand—The new MediaCentral Infrastructure Management Layer enables organisations to scale resources, add new capabilities, and optimise their storage, computing power, and
bandwidth across their entire enterprise. • Cloud-enabled Connectivity Toolkit—With its open architecture and Connectivity Toolkit APIs, MediaCentral makes it easy to connect third-party Alliance Partner tools, technologies, and services to the platform to streamline workflows. • Flexible Licensing Options—For greater business agility, Avid is now offering Enterprise Agreements with flexible Enterprise Licensing, enabling media organisations to enjoy economies of scale by aggregating spend across departments and sites.
Media Composer | First – it’s free! Media Composer | First is a free version of Avid’s video editing toolset. It’s comprehensive and simple to use, has many of the same features and functionality that Media Composer editors rely on, in a new powerful, streamlined interface. It offers four video tracks, eight audio tracks and a host of built-in visual effects, transitions, colour correction pre-sets and titling templates, enabling users to quickly cut layers of video, dialog, music and sound effects and merge them to produce professional-quality video content. Media Composer | First also allows easy sharing with one-click publishing to
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popular social media channels, including YouTube, Vimeo and Facebook. Says Divall: “Access to this free version of its toolset is a big boost for Avid in terms of onboarding new users, especially new entrants to the industry and learners. By introducing a new generation of media professionals to the market-leading features of its toolset from day one, Avid will broaden its reach and market share.”
Avid NEXIS® – media storage in real-time Avid NEXIS is Avid’s storage platform for media. With the latest software release, Avid NEXIS and Avid NEXIS | PRO systems provide faster, more efficient and reliable workflows and enhance performance and bandwidth capacity for real-time media production, including highly intensive professional postproduction and broadcast environments, as well as independent editors, audio post pros, and smaller post-production houses. It also introduces new collaborative shared storage workflows for professional audio production as well as end-to-end 4K process and solution support. Furthermore, the suite supports a variety of additional editing solutions.
What the Southern African market can look forward to? • The cloud-enabled version of Avid’s MediaCentral Platform is available immediately with licensing to accommodate phased migration of capabilities and features to the cloud. • The free Media Composer | First software can be downloaded online with specific features being release in June. To be notified when it’s available for download, visit the Avid website. • The Avid NEXIS storage platform advances are available via software updates. Says Divall: “We know our clients across South Africa and the continent are seriously reconsidering their business models and strategies at present and the release of these new features are very likely to act as a catalyst for transformation. The Jasco Broadcast team is committed to staying on top of these new features and advances as they become available, assisting our clients to capitalise on the rapid changes occurring in this sector.” Visit Jasco Broadcast Solutions at Mediatech Africa 2017 at stand (G27).
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| PRODUCT PREVIEW
Movievision showcases the latest in lighting
At Mediatech Africa 2017, Movievision will be showcasing the latest in cutting edge lighting solutions and technologies from its suppliers, Filmgear, ChamSys, Spotlight, Rosco and Kupo. Products and solutions on display will include:
Filmgear’s Soft Panels light the way in the LED field
Some of the latest high-intensity fixtures from Spotlight’s Green Line are the FresneLED 450 fixtures
Filmgear’s LED Bi Colour 100w and 200w Soft Panels are an industry leading LED fixture perfect for film and television use. These incredible fixtures were recently chosen for the innovative SkyRink Studios and for good reason. The fixtures are DMX controllable have 0 – 100% dimming and adjustable colour temperature of 2700 to 6500K. They also have an AC/DC option, which is great for all ENG and small studio applications. Accessories include a 4-leaf barndoor and filter frame, as well as a yoke or grip mount option.
The MQ500 is the best in its class
Don’t miss your opportunity to see the award-winning MQ500 Stadium Console by ChamSys in action. Winner of the PIPA award for Best Product of the Year at Prolight + Sound 2017 in Frankfurt, Germany, this innovative console supports up to 200 universes directly from the console without the need for external processing. The console runs the ChamSys’ MagicHD media server onboard. This allows for pixel-mapping to all 200 universes. It also features dual multitouch display in full high definition, adjustable viewing angles, and gesture support. As well as an intensity wheel and 100mm split crossfaders for theatre control. The MQ500 also has MagicVis 3D visualiser built in with beam and gobo rendering.
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– 6500K. The units feature a non-glare diffuser providing a uniform, single source light. Optional barn doors are available for beam control. The fixtures come with a 100 – 240 AC power supply, which enables worldwide use and are compatible with V-lock batteries.
Key features: • High-volume light output — 1758 lux @ 1m @ 5600K • Colour-correct, attractive and soft light • Smooth and precise on-board dimming and colour correction controls • Three modes of DMX – including wireless control via LumenRadio3 • 16-Bit DMX with four unique dimming curves available • Non-glare diffuser provides uniform, single source light • Power via: AC, Anton/Bauer, V-Mount, 4-Pin XLR • Accessories for beam shaping: egg crate louvers, barn doors and soft box
Kupo Grip sets the industry standard
You will be sure to find the perfect fixture for your needs as there are three variations – warm white, cool white and natural white. The fixtures perform like a 2000w or 2500w halogen lamp, using only 450w of energy and have a life span that is 30 times longer than the halogen fixture. The range has smooth and continuous dimming from 0 to 100 per cent without changing the colour temperature. The housing is made from strong, die-cast aluminum with excellent ventilation for the best heat dissipation. Adjustable refresh frequency for use without flickering if used with TV cameras, as well as having an adjustable fan for silent mode. It is low in cost to install and maintain. It has smaller power boards and reduced size on the main lines. The fixture is directly dimmable through local control panels or DMX. With this fixture, you will enjoy a smaller energy bill and longer life of colour filters. The FresneLED 450 range will be right at home in all professional settings from theatre and concerts to TV and film applications.
Rosco Silks – Pure, soft white light
Rosco’s Silk series is a LED lighting system that has been specifically developed for film and video applications. Perfect for situations that demand colour-accurate, high-quality light, the new range of Silks utilise stateof-the-art tungsten and daylight balanced LEDs. Silk 205 and 305 are capable of producing 2400 lux and colour temperatures from 2800K
As one of the leaders in grip equipment for the photography, film and television industries, you are guaranteed superior quality when you invest in the Kupo Grip. All Kupo Grip products have been painstakingly machined. You can count on their incredible strength and durability in harsh production environments. Made with the user in mind, Kupo crafts innovative tools sought after and shaped by industry professionals worldwide. To meet these same professionals’ needs, Kupo offers numerous patented products including: • Quick release and locking C-stand • Multi direction, easy to store click stand • The auto self-locking wind up stand, the lever lock • Release device for Kupole, anti-slip rosettes friction discs for the Max arms, and Quick action, telescopic Hanger amongst many others. All Kupo products are so durable; they create a history of their own through many years of service. The name says it all – Kupo Grip: Never let go. Visit Movievision is at Mediatech Africa 2017 at stand (A5).
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Cine Photo Tools spotlights the Bright Tangerine Revolvr and the Chrosziel MagNum Cine Photo Tools is always innovating to bring you the best in video, film, broadcast, media, and post production. The company will have top products from some of the industry heavyweights they represent in South Africa including RED Digital Cinema, Kino Flo, Chrosziel, and Bright Tangerine to name a few. Two exciting new innovations that Cine Photo Tools will showcase at Mediatech Africa 2017 are: Bright Tangerine Revolvr
The Revolvr is a high-performance, manual follow focus unit with a lot of great features. With brilliant drive efficiency and direct transmission, the Revolvr gives complete control with zero play or backlash when you connect a whip and
durability. If you’re in a tight spot, both the whip and speed crank can attach without the handle, simply plug them directly into the core bridge for direct drive.
Chrosziel MagNum Wireless Follow Focus Kits:
speed crank. Its modularity makes the Revolvr highly adaptive and customisable for any shooting situation, and also boasts the ability to work with stills lenses. The Revolvr’s slim, integrated design allows more options of placement and space for other accessories. It features a dual mountable arm that can be used on either side, dual sided gears, and the ability to pare down its physical profile for tight areas. The removable hard stops move independently, and can be used together or independently. Designed with comfort in mind, the conical handle matches your hand’s contours, allowing you to operate the unit while wearing gloves, without a hindrance. The Revolvr is not only portable, but offers the perfect balance of features, flexibility and
The Chrosziel MagNum is a focus puller’s dream realised, with professional operators contributing in optimising its ergonomics and functionality. Without a doubt, the MagNum is a truly convenient and intuitive wireless lens control system, with the kit containing everything you need right out the box. Despite its robust design, the system is lightweight, responsive and
precise, as well as easy to operate. The MagNum kits feature a transmitter and receiver, as well as one or more digital motors. The MagNum has an intuitive interface with OLED screen, a fluid-drag control knob, 2.4 GHz antennas with spectrum analysis for interference free transmission, camera record start/stop function, four freely assignable hotkeys so you can assign things like zoom positions, focus ranges and directional buttons etc. There are a lot of custom options for pulling, setting stops and limits. Calibration is automatic with lenses with hard stops. The unit is symmetrically designed, and works just as well for southpaw operation. The built-in power booster ensures the lowest motor delay and fastest motor response. All settings are adjustable from the hand unit. The electronic “Hold” captures your settings and keeps them, so your motor position and end stop information is saved during battery change for example .The 1/4”-20 mounting holes on the hand unit allow you to mount it to tripod stands or attach a monitor. The MagNum is available in a one channel focus-only model, a two-channel focus and iris control model, and a one-channel model that’s expandable and upgradable to two channels. It is a portable unit that comes in a small, hardy case. Visit Cine Photo Tools at Mediatech Africa 2017 at stand (J15).
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Rentals: sasales@visuals.tv After hours: +27 (0)76 644 2685
Make your money go further. Switchers, routers, conversion, modular, IP, 4K... Budget getting away from you? We all need to meet our budgets – whatever the size of operation. SAM understands. That’s why we have extended our range with new products that help to make your money go further – without compromising on quality. Regardless of what budget means to you – take a look: www.sam.com/budget
For more information contact your local SAM partner:
Kula Live Production
Vega Routing
A Member Of The Protea Technology Group
1 Port Road | V&A Waterfront | Cape Town | South Africa
Tel: +27 (0)21 425 6337 Email Jamesm@protea.co.za
www.protea.co.za KudosPro Conversion
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Glensound Paradiso comes to Mediatech Paradiso is a commentator’s box for three commentators. It can be used by itself to provide commentary facilities alongside an OB truck for small events or multiple Paradisos can be used at large events that require worldwide broadcast coverage. Audio links between the Paradiso and other equipment are by Dante (AES67 compliant) complete with redundant copper and fibre links. Analogue I/O and AES3 I/O are also provided directly from the unit for local connections and/ or another layer of redundancy. The Paradiso has been designed to be intuitive and easy to use for commentators’ who would rather
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| PRODUCT PREVIEW
Jasco introduces the Leyard LED MultiTouch video wall
be talking about the game than working out how the equipment works, and is also built to an exacting rugged and robust standard to make it a reliable piece of broadcast equipment for the busy engineer. The Paradiso has a unique commentator interface via ePaper Displays for quick, easy, intuitive, visible indication of individual headphone source names, levels and pan. Viewable in bright sunlight, the ePaper Displays provide an indication of headphone volume and pan position. They also display the name of the associated audio source/destination. The display name can be custom set or taken from the routed source name from within the Dante network. The bottom ePaper display that has no associated switch or encoder can be programmed to display a user’s name, but this is overridden temporarily when the associated inputs gain control is adjusted and the display shows the gain in dB of the input. Check out the Paradiso at Mediatech Africa 2017 on the Concilium Technologies (Pty) Ltd stand (E17).
Leyard and Planar are excited to introduce Leyard® LED MultiTouch, the industry’s first completely seamless LED-touch enabled video wall. Leyard LED MultiTouch incorporates patentpending Leyard® PLTS™ (Pliable LED Touch Surface™) touch technology, allowing up to 32 simultaneous touch points and enabling multiple users to simultaneously interact with the video wall without affecting other users.
Key Features of Leyard LED MultiTouch: • Completely seamless interactive LED video wall • Uses Leyard PLTS technology to create a smooth, durable and lightweight LED touch surface • Enhanced visual performance with
uniform color and brightness • Anti-glare surface with no parallax effect • Up to 32-point simultaneous touch capability • Available in 108”, 151” and 196” diagonal LED video walls Visit Jasco at Mediatech Africa 2017 at stand (G27).
PURE VIDEO
Uncompressed video over IP is a reality. When it comes to next-generation playout technologies, Harmonic Spectrum™ media servers have your back. Our latest Spectrum X system lets you ingest SDI and IP content, handle multiple codecs and resolutions seamlessly, and playout to a broadcast or OTT workflow from your MCR or the cloud. Do more with less. Do it with Spectrum, the industry’s most trusted video server platform. Learn more at harmonicinc.com
harmonicinc.com I #PUREInnovation ©2017 Harmonic Inc. All rights reserved worldwide.
| PRODUCT PREVIEW
Ross Video brings Trackless Studio software application to Mediatech At Mediatech Africa 2017, Concilium Technologies will be demonstrating how a very small space can be used to create a stunning virtual studio utilising the power of the Ross Xpression real time motion graphics system, thus enabling a single box solution for a virtual studio.
Ross Video virtual studio set up The Trackless Studio software application provides an intuitive interface and all of the tools required for virtual production. Advanced users can also access Xpression Studio when
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graphics manipulation is required. To keep costs to a minimum stationary cameras are used with virtual camera moves happening inside the actual scene itself, and by mounting the
cameras on their sides vertical resolution is increased to facilitate virtual zoom without losing resolution. Xpression also includes a high performance chroma keyer and offers a range of control surfaces from the standard PC keyboard through to remote control from a Carbonite switcher panel, with basic control even possible from a web browser all helping to keep overall costs down. Imagine having a library of stunning virtual sets allowing for dramatic camera moves, multi-camera support, transitions, live inputs, real-time 3D graphics, and updatable video clips and still images on the set. All this is done without a large studio space, and at an amazingly affordable price. The application opportunities for Trackless Studio are almost endless! Visit Ross Video at Mediatech Africa 2017 on the Concilium Technologies stand (E17).
PRODUCT PREVIEW
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AJA RovoCam, RovoRX-SDI and RovoRx-HDMI RovoCam is an affordable, lightweight UltraHD/HD compact block camera with an integrated HDBaseT interface that delivers incredible picture quality for a range of applications, from broadcast to live events, security, sports production and more. The camera which will be on show at Mediatech Africa 2017, can be easily mounted in a range of scenarios and its video and audio received up to 100m away. Several RovoCams can be ganged together and presets can be shared, making for easy set-up and remote control. AJA’s free RovoControl software enables remote control of up to eight RovoCams and electronic PTZ to move a 1080p box around an Ultra HD frame for Region of Interest pan, tilt and zoom. RovoCam also features gamma detail, color correction, spot focus capabilities and provides flexibility with visibility enhancer settings for day and night. Reliable, practical and compactly encased in durable aluminum, RovoCam captures gorgeous UltraHD and HD imagery with superior Sony optics with
built-in 12x optical and up to 20x zoom with Sony Super Resolution Zoom. RovoRx-SDI, RovoCam’s companion UltraHD/HD HDBaseT receiver, offers additional support for HDBaseT workflows, with 4x 6G/3G-SDI outputs and HDMI video and audio outputs, and genlock support. RovoRxHDMI, an UltraHD/HD HDBaseT receiver with integrated HDMI video and audio outputs, is designed to receive RovoCam’s output. RovoCam, RovoRx-SDI and RovoRxHDMI are available for $2,495 US MSRP, $995 US MSRP, and $495 US MSRP respectively. RovoControl 3.0, the latest software update for the RovoCam system, will be available as a free download soon with new configuration and control enhancements.
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Introducing the new modular K-Frame V-series production switcher. Engineered for locations with limited space but never compromising on creative production power and features. The frame offers a rocksolid solution for arenas, stadiums, houses of worship, broadcasters and broadcast trucks ... pretty much anywhere video production needs to happen your way. Learn more by visiting grassvalley.com.
Belden, Belden Sending All The Right Signals, and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affiliated companies in the United States and other jurisdictions. Grass Valley, GV Korona, K-Frame and V-series are trademarks or registered trademarks of Grass Valley Canada. Belden Inc., Grass Valley Canada and other parties may also have trademark rights in other terms used herein. Copyright © 2017 Grass Valley Canada. All rights reserved. Specifications subject to change without notice.
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| PRODUCT PREVIEW
Macro Video to showcase the Datavideo SE-500HD mixer/switcher and HDR-1 recorder The SE-500HD was presented at NAB in Las Vegas in April this year and is the HD successor of the hugely successful analogue SE-500 mixer. With the market swing to HD, the SE-500HD is a compact 4 input HDMI switcher with two HDMI outputs and is designed to allow users to input any camcorder, GoPro, HDMI laptop or tablet and switch the various sources with a push of a button or use of a T-bar. Features include Luma key for graphic overlay, split screen for podcast interviews, and PIP for Powerpoint presentations. Microphones and other audio sources plug directly into the SE-500HD’s onboard audio mixer, and are embedded into the HDMI output. The compact size of the SE-500HD makes it the ideal solution for corporate training, education, podcasts, and House of Worship applications. HDR-1 is a standalone H.264 USB recorder that is portable and easy to use. It records MP4 (H.264_AAC) format video files, which is ideal for archiving footage from a worship seminar, corporate meeting, school functions, or a live concert. One of the advantages of the HDR-1 over other similar recorders in the market is that it works independently of a PC. Using the SE-500HD in conjunction with HDR-1 gives users an all-inclusive, cost effective package for switching and recording a video production. Visit Macro Video at Mediatech Africa 2017 at stand (A15).
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The Datavideo SE-500HD mixer/switcher and HDR-1 recorder
PRODUCT PREVIEW
Grass Valley introduces the new GV Korona K-Frame V-series systems The new GV Korona K-Frame V-series systems from Grass Valley, a Belden Brand, are specifically designed for lowand mid-range broadcast and media applications, where compromising on performance is not an option. GV Korona K-Frame V-series systems are available in two system packages, with 1 or 2 M/Es and a compliment of licenses, for exceptional value and incredible power. The small footprint of the GV Korona K-Frame V-series is ideal for smaller stations, sub-studios, mobile environments, corporate, sports venues, educational, government and houses of worship production facilities. With its modular design for simple scalability and serviceability to its handling SD/
HD and the ability to produce in 3G/1080p with no loss of functionality and 4K UHD with a simple license upgrade, it is ready for anything. Out of the box, GV Korona K-Frame V-series provides you with 3G/1080p and 4K UHD (quad-split and 2SI) support capabilities, up to 3 M/Es plus two additional and powerful Video Processing Engines (VPEs) for all the
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no compromise mixing and keying power you will ever need. Its native 10-bit 4:2:2 processing even supports High Dynamic Range (HDR). This is real big switcher performance in a small form factor with a lower CAPEX cost than previously available. As part of the K-Frame family of Video Production Centers, the V-series works with any Grass Valley switcher
control panel, just as any control panel works with any K-Frame. This gives you the power to build a show on one panel, with the confidence to know that it will play back on any other panel. Check out the new GV Korona K-Frame V-series systems at Mediatech Africa 2017 on the Protea Electronics stand (D17).
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| PRODUCT PREVIEW
Visual Impact spotlights its LED offerings at Mediatech Visual Impact will be displaying some exciting new products at Mediatech Africa 2017. LED lighting technology has really come into its own within the film industry in the past year. Visual Impact will be showcasing the latest range of RGBW LED lights from ARRI, these include the entire Skypanel Range – the S30C, S60C and the new S120C. The company will also be showcasing a brand new RGBW LED offering from ARRI in the LC-7C LED Fresnels. The new models are 25 per cent brighter than the pre-existing versions and make a welcome addition to the LED range of film lights from ARRI. One of the most anticipated new camera releases this year has been the Black Magic URSA Mini Pro. Finally an offering from Blackmagic that conforms to the established requirements from professional television broadcast camera
52 | SCREENAFRICA | June 2017
operators. The URSA Mini Pro has built in ND Filters, ergonomically designed controls on the side of the camera and a revolutionary new interchangeable lens mount that lets you change between EF photographic lenses or PL and B4 lenses. The new magnesium body construction means that this camera was built to last but only time will tell how it stacks up to the traditional workhorses from Sony. Visit Visual Impact at Mediatech Africa 2017 at stand (G19).
See us at Mediatech 2017: Stand C61
www.sa123.co.za SPARK (SA) STAGE EQUIPMENT (PTY) LTD
| PRODUCT PREVIEW
Sony focuses on archive solutions and live production Sony will be exhibiting at Mediatech Africa 2017 on stand F25 with a strong focus on archiving and live production solutions. Advanced products and solutions on display will include: • Revolutionising data storage solutions with the new Sony Optical Disc Archive With the increase in data consumption and greater demands to store and protect data, Sony transformed data storage knowledge with a new solution – the Sony Optical Disc Archive. This is a storage White technology that provides exceptional data archiving and asset management, mainly assisting in managing, protecting,
Black
to benefit in the long-run, and acts as a catalyst in increasing reliability and protection, thus reducing the points of failure for many businesses.
• Preserve your content assets with Memnon archive management services
and accessing data archives. It is capable of maintaining large volumes of data and data integrity in “green environments” with limited environment controls. The Sony Optical Disc Archive has the ability to provide safe, long-term storage whilst maintaining low cost of ownership. It’s open and non-proprietary format involves the use of multiple bare discs contained within a robust cartridge and a dedicated disc drive unit with an associated software driver that is able to manipulate the discs individually whilst providing seamless read/write capability making it ideal for
both warm and cold storage. Furthermore, the Sony Optical Disc Archive is environment-friendly and saves archiving costs because each device has a life expectancy of 100 years and does not need to be replaced. It offers accessibility, high speed, and is tailored to fit the users’ needs which can begin with minimal data, and later develop into a vast archive as the data accumulates. Provided it is an optical disc, it is more resilient and durable than hard-disk storage systems or magnetic tape data storage. Sony Optical Disc Archives is a truly reliable system that is designed
Whether it’s a speech by an important historical figure, a recording by an unforgettable singer or a memorable event, some of the most valuable parts of our shared cultural heritage are contained in audio and video recordings. These audio visual documents are fragile and it’s important to preserve it for the long-term. These records are our cultural legacy. Memnon from Sony is a trusted provider of a range of services to digitise, restore, preserve and provide access to these recordings. We help digitise all analogue formats from magnetic tape to vinyl record, as well as offering long-term storage of your precious audio visual assets. Memnon has been supporting the owners of audio-visual collections – from broadcasters, cultural institutions to libraries and universities
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5/31/17 7:44 PM
PRODUCT PREVIEW
by providing the right conditions and the most suitable solutions.
• Low cost solution for high quality live production Live production does not necessarily mean unaffordable costs and investment. The affordable live production solution from Sony is the perfect partner for houses of worship, corporate, education and other medium sized events. This compact and cost effective kit can combine up to three camcorders, a multi-camera live producer and a remote controller that gives you the super power to make your event a hit. At Mediatech this year Sony will showcase the HXR-NX5R, PXW-FS5, PXW-Z150 fullHD and 4K camcorders working together with MCX-500 – the affordable and userfriendly production switcher that makes it simple for a single operator or small team to produce a broadcast quality live event. The lightweight RM-30BP remote controller allows you to control all the key features of suitable camcorders while sitting at your control desk. It also allows tally signals to be sent to connected camcorders, so a camera operator knows when each camcorder is on-air. Work faster, more efficiently with MCX-500’s advanced workflow. Visit Sony at Mediatech Africa 2017 at stand (F25).
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Zimele showcases the Cinedeck ZX ZX 45/40/20: Server class – Ingest, Playback and Post The ZX is a versatile, modular approach to a production recording and playback server that lets you choose from an unrivalled selection of Cinedeck advanced software tool sets and powerful hardware configurations. Now you can cost-effectively custom-build a workflow workhorse that meets your specific ingest, playback and transcoding needs for 4K, UHDTV-1, 2K, HD and SD.
Features: • Cinedecks are multi-functional; multi-channel, multi-codec, multidestination, digital file-based recorders/players with full duplex 3G SDI I/O. For 2K, HD and SD, ZX is optionally 2 or 4 channels. • All current Cinedeck models run the same easy-to-use interface and are built around the same video hardware. They are interchangeable, supporting the same workflows for a wide range of production and post-production tasks. • Each and every Cinedeck model
Cinedeck ZX with monitor offer simultaneous recording of all your master and proxy deliverables to get you to post faster. Local disks, SAN, NAS, etc., your files can be recorded directly to the storage you need to work from. Additionally, redundant recording gives you peace of mind by writing secondary independent files to an additional record destination of your choosing. • For post and finishing workflows, Cinedeck offers cutting-edge, patent-pending technology with file-based Insert Edit that
allows you to replace a single frame or multiple frames of video, an audio stem or track, or multiple audio tracks and video simultaneously, in a closed and flattened file on the most popular editing intermediates, including DNxHD, Prores, AVC-I and XDCAMHD. Cinedecks are used in a variety of industry-specific applications. Visit Zimele at Mediatech Africa 2017 at stand (B15).
June 2017 | SCREENAFRICA | 55
| PRODUCT PREVIEW
A radically simple storage solution with axle axle, which will be on display at Mediatech Africa 2017, is radically simple media management that makes it easy for anyone to catalogue, search and even automatically find the right footage from within a browser from a few to hundreds of terabytes of video. axle 2017 software scans nearly any storage and serves up a browser interface within Safari, Chrome, Firefox and IE, and a panel for Adobe Premiere Pro CC. It’s easy for users to tag many clips at once with custom metadata, work on a subclip level to insert comments, or mark in/out segments for transcode or export to an editor. Interfaces handling LTO and cloud archiving, transcoding at scale, and baseband video ingest are all available. A new level of capability opens with the axle ai module’s ability to search on visual similarity rather than up-front
You’re probably creating, using, and accumulating more video than ever before. If the time spent trying to find the right clips, browse, share with colleagues and clients, and gather input for editors is depriving your team of making better content or being more efficient, you need media management.
tagging or logging. Select a video frame or an image from your computer or the web, and find similar images within your media, ranked for similarity to CONTENT DELIVERY the one supplied using stateCONTENT DELIVERY of-the art Artificial Intelligence and deep-learning technology. Best of all, axle’s products are affordable and easy to deploy. Complete systems start under US$10 000, and you’re in good company with over 400 installations worldwide, including broadcasters like BBC, CBS, NOS and Reuters, universities including Harvard, MIT and Princeton, and corporations such as Price Waterhouse, Intuit and VMWare.
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Copyright © 2016 Grass Valley Canada. All rights reserved. Specifications subject to change without notice. Belden, Belden Sending All The Right Signals and the Belden Telephone: +27 11 719 5700 E-mail: shaunk@protea.co.za Live Production Content Delivery Networking Copyright © 2016 Grass Canada. rights logoNews are trademarks or registered trademarks of Valley Belden Inc.All or itsreserved. affiliated companies in the United States and Specifications subject to change without notice. Belden, Belden Sending All The Right Signals and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affiliated companies in the United States and other jurisdictions. other jurisdictions.Grass Valley ofand iTX areBelden trademarks or registered trademarks of Grass Valley. Belden Inc., Grass Valley and iTX are trademarks or registered trademarks Grass Valley. Inc., Grass Valley and other parties may also have trademark rights in other terms used herein. www.protea.co.za Grass Valley and other parties may also have trademark rights in other terms used herein.
23 Galaxy Avenue, Linbro Park, 2090 South Africa
Copyright © 2016 Grass Valley Canada. All rights reserved. Specifications subject to change without notice. Belden, Belden Sending All The Right Signals and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affiliated companies in the United States and other jurisdictions. Grass Valley and iTX are trademarks or registered trademarks of Grass Valley. Belden Inc., Grass Valley and other parties may also have trademark rights in other terms used herein.
56 | SCREENAFRICA | June 2017 Live Production
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Add a DaVinci Resolve Micro or DaVinci Resolve Mini control panel to unlock your full creative potential! Both panels feature professional weighted trackballs, along with precision engineered knobs and buttons so you can adjust multiple parameters at the same time. This lets you quickly create looks that are simply impossible with a standard mouse!
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15 T H 4-Ball
GO LF DAY
1 1 M ay 2017, CMR GOLF C LUB, MARAIS BURG
Eddie McAlone (SuperSport), Phillip Seleke (SuperSport), Mike Dewar (DCX), and Willie Botha (MultiChoice)
Yosuf Manomga (Concilium), Henk Spangenberg (Dimension TV) and Joshua Reynders (Dimension TV)
N Phawani (SABC), Alan Mendes (Concilium) and Lester Reltley (SABC)
King Matshaba (SABC), Andre Dreyer (SABC), David Teke (SABC) and Gary Johnston (Protea)
Robbie de Villiers (Vogue Shipping), Glen Ashford (Ashford Studios) Colin Benade (Moviemart) and Deon Truter (Moviemart)
James Garden, Andrea Reitz, Nick Garden (Eclipse Innovations) and Alan Otto (Lasernet)
Matthew Wilson (Silvercam), Robert Ridder (Protea Electronics), John Stevens (Global Access) and Lynton Allsop (Silvercam)
Martin de Koker, Jaco Bester, Corne Beukes (SuperSport) and Garith McCarthy (VN)
Raymond Harris (GlobeCast), Werdall Pietersen (Kwese), Derrick Wykes (UBS) and Kyle Suttie (GlobeCast)
JP Meeser (Telemedia), Cornelius Rykaart (MultiChoice), Kessie Pillay and Divesh Maharah (Telemedia)
Charl van der Merwe (Silverline 360), Andrew Cole (Concilium), Mlamli Booi (Sentech) and Archie Sethaelo (SABC)
Neil Edwards, Winston Smith, Karl Smith and Noel Goodall (Urban Brew)
Dennis Herold (SABC), Freddie Bredenkamp (Protea Electronics), Shaun Kerr and Carl Naude (SABC)
Mark Wenberg (Kwese), Andy Nilsen and Paul Divall (Jasco), Keith Mclintack (Brave Channels)
Patrik (Sony), Ashleigh (Egg), JP Hunke (Pure Distribution) and Chris Haghefen (Sony Mobile)
Pierre Zone, Steven Bouwer, Pieter McGuire and Andre Grobler (Data Centrix)
Henry, Sipho, Keith and Charles (SABC)
Werner Bauermeister, Richard Stapp, Alan Wilson and Tyrone Bailey (SuperSport)
58 | SCREENAFRICA | June 2017
Martin van Dalen (GlobeCast), John Robertson (Atlas Studios), Jonathan Gimpel (Atlas Studios) and Paul Molefe (SABC)
Jonathan Coetzee (Media Film Service), Devin Zivkovic (Digital Film Service) Keenan Tait and Jaycee Milner (Sony)
B Wallen (GlobeCast), Neal Watson, Tom Whittam (Kwese Sports) and Gavin Carter
Allen Seager (Protea Electronics), Yusuf Raja (Kwese Sport) and Gavin Flanegan
Jonathan Palmer and Lucah Steyn (Powerman), Nina da Silva (Rhythm City) and Gerard Sawenije
15 T H
GO LF DAY
Prize Winners
First place and Screen Africa Trophy Winners: Jaycee Milner and Keenan Tait
Second Place: Gavin Flanegan and Yusaf Raja
Third Place: Gavin Carter and Tom Whittam
PRIZE Sponsors:
Hole Sponsors
HOLE 1 – SCREEN AFRICA: Gezzy S Sibisi, Graham Grier and Tina Tserere
HOLE 6 – GLOBECAST: BACK: Kerwin Nombebe, Stefan Wiederkehr and Jason Habana. FRONT: Layla Walters and Princess Mthunzi
HOLE 8 – ATLAS STUDIOS: Doris Nthombeni and Florence Moloi
HOLE 10 – SONY: Eric Lawrenson, Gerhard Strydom, Colin Stoltz and Simon Robinson
HOLE 13 – SACIA: Tim Jones and Kevan Jones
HOLE 14 – PROTEA ELECTRONICS: Ravi Bheeka, Kenny Nkabinde, John van Rooyen and Graham Ratley
HOLE 15 – JASCO: Greg Bester, Eric Lawrenson, Mbeko Balfour, Liza Cornelissen, Thabo Letwaba, Colin Stoltz and Jonathan Smith
HOLE 17 – CONCILIUM TECHNOLOGIES: Ashley Mohoni, Goitsemodimo Sebekedi, Sarel Hlungwani, Desiree Hefer, Monja Stieger, Collette Corthouts and Steve Schafer
Local presence Global coverage
Hole Sponsors:
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M ar k e t plac e UPCOMING EVENTS JUNE 1 – 11 Encounters South African International Documentary Festival Cape Town www.encounters.co.za
12 – 17 Annecy International Animation Film Festival France www.annecy.org
JULY 8 – 16 Zanzibar International Film Festival www.ziff.or.tz/
19 – 21 Mediatech Africa 2017 Johannesburg www.mediatech.co.za
13 – 23 Durban International Film Festival Durban www.durbanfilmfest.co.za
14 – 17 Durban FilmMart Durban www.durbanfilmmart.co.za
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